Wesley Chavis A '17

Ku In Tuo Muah

2:45, 4:30

What does a person do when ancestral love wells from within? Does that ephemeral presence expand from this person, this sensing flesh, this presence, this guttural breath?

Surrender. suspend spread             Are we together? 

At the precipice of future faith

Open the mouth

His original home is Beaumont, Texas. There resides the ancestral root of the love Wesley receives, nurtures, returns, and interrogates through artworks. He currently lives in New Orleans, LA.

Growing up in The South, Wesley attended an all-black Baptist church where he witnessed the sensorial power and palpability of God, mediated through the exuberant touch, breath, poly-rhythms and ecstatic praise of communing bodies. Through movement, he both tests and desires mediation between the physically sensuous and the tangible immaterial. The faithful process of questioning the co-mingling between the corporeal and religious ephemeral tills the fertile ground on which he blooms, withers, and resurrects in new seasons.

Kabir Ahmed Masum Chisty A '15

The artist body in self-made bathtub


Dealing with the complexity of life, an Artist develops his own point of view in a way of the journey to his life, would be his personal philosophy, which changes its own shape and form continuous; and his body tries to stabilize with this notion. And experiences a complex narration, a relationship.  A relationship between substance and body, body and mind; myth and reality, time and space. 

Kabir will do a continuous motion in a hole full with mud in his performance. Which would be Juxtapose of motion, texture, line and color among in material-(earth+water).  A piece of land would be dug as look like a bathtub, where Chisty will stay and take his body into mud continuous 3 hours in movement (when the body becomes exhausted, it will take the rest than again been to the persona). He will deal with the body, the mind, and the various emotional states that he passes through in the duration of his performance. His body moves in various positions in the full-mudded hole, investigating space, occupy the place and expand time through motion.

With liquid mud covering Kabir’s body himself, he will use some animation principal in his movement as ‘slow-in, slow- out; first-in, first- out’.

Kabir Ahmed Masum Chisty works in the field of fine art, poetry, performance, and animation. Based in Narayanganj and Dhaka, Bangladesh. His work poses a deep concern for the human psyche; the crises of duality that leads mankind into controversial life cycles by dealing with odium, love and desire. Kabir completed his MFA in Sculpture from University of Dhaka in 1998; in 2015, he attended Skowhegan School of Painting and Sculpture. His work has featured in the 54th Venice Biennale in the Bangladesh Pavilion, the 5th Fukuoka Asian Art Trinnale, He received an award in 2005 for best short film in International Short & Individual Film Festival in Bangladesh.

Onyedika Chuke A '17

The Forever Museum Archive: A Template for Spiritual Orchestras

3, 4PM

My practice is focused on an archive that I began in 2011. Titled “The Forever Museum archive”, it utilizes histories and political systems to present three-dimensional models (templates) based on the collection of a theoretical museum that houses all works of human history. 

FMA: A Template for Spiritual Orchestras, is an aural experience that hybridizes various religious and non-secular modes of worship. It uses layered sound played on public address speakers to present songs and instruments used in worship by immigrant groups found in New York. The songs will remain in their respective languages, spliced and layered together. The resulting effect is a sound field not specific to local, jurisdiction nor religion. 

For example: Nigerian Christian gospel songs in the Igbo language would be heard simultaneously with Honduran's Garifuna language and Chinese Buddist chants in Mandarin. 

The resulting composition is played on a loop. Timed to reflect similarities and differences in pitch, tone, and melody. 30 languages in total will be layered to reflect an orchestra. As a cultural hub, public space and former landfill Socrates Sculpture Park presents the perfect space to explore sound as site and stratified landscape. 

Annette Cyr A ‘76



One thing lost in our urban life is silence. SILENT/LISTEN offers the experience of silence, as one participant at a time, commits to wearing my high-end noise-cancelling headset for 5 minutes. 

Participants will experience:

  • The expansion of time encapsulated in 5 minutes
  • The enhanced visual acuity experienced when sound is removed

Each one of the senses, including hearing, benefits from a reset, a cleansing. (Think: cleansing of the palette) 

SILENT/LISTEN was inspired by viewing Calder’s Small Sphere and Heavy Sphere, 1932/33 at the Whitney Museum of Art. After watching very little activity for 20 minutes, with all 80 of us being as silent as possible, I returned to the city streets in an amazing state of calm, open to reflection.

The famous precursor of SILENT/LISTEN is 4’33”, the 1952 composition by John Cage. The performer is instructed to not play the instrument for the duration of 4 minutes 33 seconds. 

About the title: Composer Robert Hart pointed out to me that Silent and Listen are anagrams of each other, being made of the same letters.

SILENT/LISTEN provides the opportunity to refresh your awareness. After hearing SILENT/LISTEN, I look forward to hearing what happens for you. 

A painter as well as filmmaker, Annette Cyr balances the solitude of painting with the camaraderie of filmmaking. Cyr’s background includes an MFA from Yale, a recent Masters in Digital Cinema from National University, Los Angeles, a year in Tuscany, one in Paris, and a couple of decades in NYC. 

Cyr’s films focus on the lives of artists. Blindness, a narrative short about a painter who may be going blind, distributed by Hewes Pictures, will broadcast on ShortsTV, ShortsInternational, and DirectTV in 2017/2018. 

The New Look, an episode from The Life of a 21st Century Artist, the comedy series about the predicaments of an artist, Annette Souris (the Mouse), recently screened at the Skowhegan Alliance, NYC and in film festivals in Southern California.

Cyr divides her time between New York and San Diego, where Cyr is Lead Faculty of Art at National University. Currently on sabbatical, Cyr’s focus is on her Women in Predicaments painting series and developing other film projects. 

The use of silence is always concise and expressive in Cyr’s films, leading to SILENT/LISTEN, her first audio and performance work.



Gordon Hall A '13

Four Hands In Use

3 PM

Hall enlarges to seat-size the Ball and Claw design motif that is commonly found at the bottom of 18th-Century furniture and arranges them in the locations of the four feet of an enormous invisible Queen Anne style side table. These four furniture-animal hybrids hold the body of the sitter in an intimacy mirrored in the bird claw’s grasp of the ball. 

This piece will be accompanied by several unannounced “activations” in which Hall and three other individuals of Hall’s choosing sit quietly on each of the four stools at the same time for 30-minute intervals that rotate until each has sat for 30 minutes on each stool.

Andrew LaFarge Hamill A ‘14


Through the lenses of masculinity and femininity this performance constructs real objects through mechanisms arising out of an interplay of physical activities influenced by yoga, ballet, woodworking, and psychological theory.  

Andrew LaFarge Hamill is a New York based artist. He attended Skowhegan School of Painting and Sculpture in 2014, received an MFA in Sculpture from Suny New Paltz in 2014, and a BA in Anthropology from Bates College in 2005. He teaches Sculpture at Rutgers University - Camden. 

Timothy Hutchings A ‘96

3:45, 4:45 PM

A series of airhorns will be discharged in Light House Park on Roosevelt Island, across the water from Socrates. These horns will occupy a tricky social space by reflecting the blasts of river traffic, the sounds of Icahn Stadium, the joy of revelers, the tropes of hip-hop, and the distant warnings of Riker’s Island.

Tim Hutchings is a visual artist and game designer living in Portland, Oregon.  He has had exhibitions at the Kunsthalle Wien, the Long Beach Museum, and a host of places in between.  His work awkwardly examines cracks and spaces in between other things. Tim attended Skowhegan as a participant in 1996, and returned as Media associate for 2002-2005.



For SkowheganPerforms, Junte will present a meditation on the recent catastrophes in Mexico and Puerto Rico as experienced by members of the collective. Operating from our ‘base camp’ within a grove of trees in Socrates Sculpture Park, members of Junte will explore the idea of communication during crisis. Through an interactive performance dealing with vocal, gestural, and visual communication, we will examine how communication is initiated, enacted, moderated, disrupted, delayed, suspended, eliminated, re-established, and sustained. Our performance is informed by and draws from some member’s direct experiences on the ground during these disasters and engaging in relief efforts immediately after, as well as other member’s experiences of being removed from these events and loved ones. Performance in this context is not as a metaphor, rather a real sharing of lived realities of these disasters, that of action and reaction and that of distanced waiting. Junte’s camp at Socrates will function as a portal of connection between New York, Puerto Rico, and Mexico, acting as drop-off site for materials and monetary donations for both affected areas as well as providing resources and information for those looking to contribute to local organizations to assist in the immediate and long-term relief efforts.

Junte is an arts and culture project founded in Adjuntas, Puerto Rico in December 2016 by a group of 8 artists both local and international. It operates under the cordial support and mentorship of Casa Pueblo of Adjuntas, a legendary self-sustaining environmentalist community organization. Junte is a place of gathering, where global and local communities engage in cross cultural exchange through the arts with the aim of fostering and strengthening connections. Junte is international with a hands-on local approach: artists, architects, engineers, writers, and creatives contribute by building both physical and creative spaces of inquiry. As an alternative to “Junta,” Junte’s philosophy is to work holistically and laterally, providing a horizontal platform to collectively cultivate culture and reinforce its relevance to politics.

Melissa Koziebrocki A ‘17

Feeding Dress_Birthing Dress

4:15 PM

Feeding Dress_Birthing Dress is an ongoing durational performance that was developed at the Skowhegan School of Painting and Sculpture during the Summer of 2017. Originally, the work was a collaboration with Florence the pig, a defiant 400 pound pig, who begrudgingly had been sent to the slaughterhouse. Her remaining weight in lard, which almost equalled that of the Artist, was used to fill a transparent plastic dress. In her death, the Artist wore the weight of Florence on her body in order to mirror their shared experience of navigating the world within a fat body. After carrying the weight of the dress, the Artist sheds her supplicant skin and hung said dress from a pulley system (used for skinning game animals). In a cathartic moment, the Artist cuts open the dress to give birth to a new entity that exists beyond the hegemonic constraints and heaviness associated with the demands of the normative body.

Melissa Koziebrocki is a Feminist Performance Artist and Pedagogue whose art practice focuses on the body as the physical site for processing trauma. Through radical somatic explorations, her work dwells in the margins, broaches questions of queer identity and tackles systems of oppression. She subverts normative notions around gender, patriarchal violence, the gaze, the Jewish body, the Fat body and the body of the Other. She was the recipient of the Graduate Fellow Award at the San Francisco Art Institute, where she received her MFA in New Genres in 2017. In the Summer of 2017, she participated as a Resident Artist at the Skowhegan School of Painting and Sculpture. She has a Bachelors in Art History from McGill University, a Bachelor of Fine Art from OCAD University, and a Masters of Museum Studies from University of Toronto. She has exhibited in such spaces as: the Berkeley Art Museum, Panoply Performance Laboratory, San Francisco Mint, Performance Art Houston, Highways Performance Space, Root Division, ATA Gallery, Diego Rivera Gallery, SOMArts, XPACE, SAFEhouse for the Performing Arts, The Marxist Library,  Artscape Gibraltar Point, Buddies in Bad Times’ Rhubarb Festival, Artscape Youngplace, Feminist Art Conference and OCAD University. Her work has been published in She Does the City, Theory Boner: Manifesto and was featured on the cover of Foglifter Journal.

Emcee C.M., Master of None A ‘07


3:15, 4 PM

I will gather the edible wild plants growing around the park, explain what they are, and infuse them in water for tasting as WILD TEA MAGIC POTION. I will make a brief speech about the colonization of indigenous lands by settler societies, and the historical justification of these morally bankrupt actions. Colonization has an etymological relation to digestion, which I will draw upon in my speech, in order to make clear the truly hideous gluttony of our contemporary consumer society. I will challenge participants to take on a practice of occasional fasting, to remind us viscerally of our decisive power to choose decolonization actions over remaining subdued by the restrictive and destructive worldview into which we have all been systematically indoctrinated. This action seeks to disrupt our hegemonic complicity in the white-supremacist-capitalist-patriarchal empire that we call “the beast,” in whose “belly” we are slowly being digested. Before each person tastes the WILD TEA MAGIC POTION offered them, I will ask them to make an oath about all this. At the close of the performance I will guide participants in the exchange of a short time listening to each other speak about any feelings that may have arisen from the experience.

Emcee C.M., Master of None, is Colin McMullan. He grew up in a homeschooling family, played outside a lot, worked at a Siberian village school, did odd jobs in NYC, and developed a practice of active public work, utilizing vehicles, play, conversation, publications, and food, often with a loose collective of the K.I.D.S., for which he has received institutional support from LMCC, IPG, CAG, ISCP, CUE, CBA, BBBP, ECAR, Eyelevel BQE, Smack Mellon, Skowhegan, Bronx Museum, Flux Factory, the Aldrich, Artspace, and I-park. He currently harvests tree sap and works on decolonizing his native Connecticut.

Laura Morrison A ‘17 and Lauren Bakst

Call Bird

2:30 PM

A character has fallen out of an ancient portal into an overgrown rural setting… They want to build themselves a body. A wire carry-cage for chickens with leftover straw works well for the torso. At the back of a low-ceilinged bunker some mouldering records are on the ground. One is good for the head. On the cover sleeve her face is turned to the left in profile with blue sky behind. A broken typewriter and a bunch of poison ivy serve as the pelvic region. And so on.

Call Bird is a layered scenario conceived by Laura Morrison. This new work initiates oblique narrative entry points to a short text about a character without a body. Morrison will vocalize prompts and Lauren Bakst will respond with performative enactments and/or movement. Just as the character in the story constructs its body haphazardly from the physical, cultural and historical objects around them, the vocalizing of the text will only loosely and incompletely define Bakst’s performance. The relation will highlight the willful nature of the body and the body’s linguistic relation to cultural artifacts. The original text itself is perhaps untouched by attempts to access it, activating instead a network of rich and disturbed life peripheral to its central content.

Laura Morrison is an artist from London based in New York. Her work with writing, performance and painting hosts narrative elements alongside physical dynamics in lush, semi-absurdist scenes. This year she has had residencies and fellowships at Pioneer Works, Skowhegan and Hospitalfield in Scotland. Her work is currently being shown in London at Quick Millions and in Spring 2018 she will work on a new commission in Glasgow.  

Lauren Bakst is a New York based artist working in dance and performance. She is happy to have recently worked with/alongside artists Ivo Dimchev, Yuri Masnyj, Effie Bowen, and now Laura Morrison. She is making her new project Private Collection with Chanterelle Ribes. Lauren is also Managing Editor of the Movement Research Performance Journal and teaches at the University of the Arts School of Dance.

Amy Ritter A ‘16


2:15 PM

The task of mowing a lawn is the responsibility of the tenant and should be performed consistently to ensure that their lot is free of weeds, insects and other plants. Through this visual and audible display of upkeep it opens up a dialogue of the advantages and disadvantages of being a homeowner and lot renter in a mobile home community. There is often a negative stereotype associated within the manufactured home culture that I aim to make apparent through the performance of mowing a lawn. Also bringing the sounds and smells of the suburban landscape to the city as a reminder of the lack of equitable and sustainable housing as a problem for both urban and rural American communities.

Amy Ritter (b. 1986) is a Brooklyn based artist born in Allentown, PA. Ritter holds a B.F.A. from Tyler School of Art at Temple University, and a M.F.A. from The Ohio State University (2014). Ritter attended Skowhegan School of Painting and Sculpture in 2016. Her most recent residencies include a fellowship at the Fine Arts work Center, Provincetown, MA (2015), LMCC’s studio program located in Lower Manhattan (2016-2017), and a Hot Pick for Smack Mellon (2016). Ritter has recently been represented at SUPERMARKET Art Fair in Stockholm, Sweden, AIPAD, Spring Break Art Show, and this winter at Satellite Art Fair in Miami. She currently has a public sculpture installed at Socrates Sculpture Park part of their Emerging Artist Fellowship.

Annesofie Sandal A ‘15

Anything From The Heart


A mobile cardboard box will collect screams, songs, moans, whispers, secrets, lies, poems, opinions, questions etc. through its ear and sometimes a similar reply will echo back from inside the box. The box will move to different spots in the park during the day. Lending its ear to the publics impulse and emotions.

The title and the idea is inspired by a quote from Wong Kar Wai’s movie Happy Together in which they refer to the Argentinian light house at the end of the world, where people can leave their unhappiness behind.

A person is inside the box – maybe myself.

A toast to friendship, thanks for everything.

You saved up enough?


Congratulations. (they toast) Where are you going next?

South to Ushuaia.

It’s cold there.

They say it’s the end of the world. I’d like to see it. You ever been there?

(Shaking head) There’s a lighthouse down there. Heartbroken people go there…and leave their unhappiness behind.

Do People still do that?

Maybe. I don’t know.

(Takes out a recorder) Say something.


You’re my only friend here. It’ll be a souvenir. I don’t like pictures.

I don’t know what to say.

Whatever. Anything from your heart. Even something sad. I’ll take it to the end of the world.

I’m not sad.

Something cheerful, then. Go ahead. I’m gonna dance. (Passes the recorder and leaves the table)

(Lifts the recorder to his mouth. Silence. Cries into the recorder).

Annesofie Sandal is a Korean born, Danish, visual artist based New York. Group exhibitions include Borg Biennial in Antwerp, The Sculpture Triennial in Odense, Changdong National Art Studio in Seoul and the 4th AIM Biennial at Bronx Museum of The Arts in New York. Solo shows count Factory Gallery in Seoul, Ace Art Gallery in Winnipeg and Format Art Space in Copenhagen.

Last year she was a Harpo Fellow at Santa Fe Art Institute. Past residencies include Skowhegan, ISCP, Caldera and Museum of Modern Art in Seoul. She holds an MFA from The Royal Academy of Visual Arts in Copenhagen. 

Pallavi Sen A ‘17

This Is A Special Song For You, Plant


In This Is A Special Song For You, Plant, being as invisible as possible, Pallavi will sing to, and catalogue as many plants, leaves, flowers, and trees on the grounds of Socrates - thinking about love lost, love gained, her inability to recognise trees - while worrying about her/our future, and counting, describing, animating plants, exploring vocal notes and plant shapes. 

Using instagram as a recording medium, she will build minute long looping videos, one after the other. As the day progresses, these short songs will be broadcast at a phone near you! This can be your own phone, or a friend’s. Look for it.

Born in 1989, Pallavi Sen grew up in Bombay + New Delhi. She works with installation, printmaking, textiles, Instagram, and intuitive movement. An invested dabbler, her latest interests include the lives of birds and animals, South Asian costumes, domestic architecture, altars, deities, style, the history of pattern, of woven cloth, friendship + love, her future lover, farming and the artist as farmer, work spaces, work tables, eco-feminism, love poems, the gates to Indian homes, sisterhood, walking, and cooking deliberately.

Tomoe Tsutsumi A ‘10

Pancake - Story


1. At SkowheganPERFORMS 2017 in Socrates Sculpture Park, I would invite one audience member to sit facing me at a table that is set up with an electric griddle and the ingredients for making pancakes.

2. I would explain to the participant that in order to get a pancake, he or she needs to share one of the following: a story; a memory; a secret; or remain silent. Our conversation would be recorded.

3. While the participant speaks (or not) in their chosen way, I would make a pancake on the electric griddle.

4. There will be additional toppings available on an adjacent table for each participant to add according to their taste. These could include fruits, maple syrup, cream, etc.

I strongly believe that in this contemporary world, storytelling is necessary for individuals and their community. As an artist, I would like to share the time and space with participants so they can tell their stories to a willing listener and receive a reward for doing so.

Tomoe Tsutsumi is a visual artist living and working in Ridgewood, New York. She was born in Tokyo, Japan. She holds an MFA in Fine Arts from Parsons the New School for Design and a BFA in Fine Arts, Painting from Colorado State University. She explores the themes of individuality, community, communication and the relationship between them. The medium of her work varies from drawing, painting, sculpture, video, performance and community projects.


Deborah Wasserman A ‘97

Polyphony and Cacophony: The Morphing Woman, or, How to explain myself to a sculpture


The Morphing Woman, or, How to explain myself to a sculpture Is a site-specific performance conceived for Socrates Sculpture Park by artist Deborah Wasserman.   

While our society has historically and culturally positioned the female body as a site of adoration and the male gaze, Wasserman’s performance aims to release its projected, idle and muted passivity into a fluid, ‘active and creative power’, endowed with a ‘voice’, and a gaze, while still referencing it as a ‘sculpture’.

Moving, crawling stretching and standing still around the park’s site from inside a stretchy, mesh fabric, wearing a bodysuit, Wasserman looks to balance and position her body made silhouettes and shapes against the landscape/horizon line, wired to a pre-recorded soundtrack.

Employing words and language/s to respond, in a spontaneous and creative manner to the site and the sculptures on display, she aims to encourage audiences to experience art, poking fun at certain types of art jargon while continuing to embrace the creative process through their bodies.

Amia Yokoyama A ‘17, Cosima Schietekat, Natalie Casagran, with Zhi Yuan Yang A ‘17


3:15 PM

Wetwinkie is an all-women performance trio, established between Los Angeles and Mexico City. Combining original music, spoken word, dance, and interactive costume, Wetwinkie proposes a physical texture as well as a theatrical scene: the soppy soap bubble, the feeling of glue between fingers. Using language as another kind of material or surface, we slip across our transnational, tri-lingual backgrounds into a new methodology of poetry and movement. Sprouting from the scene of hyper-bureaucratic hyper-gendered office maintenance (formerly called “the secretarial pool”), Wetwinkie marks the space where such a landscape may become fluid and fecund. Physical byproducts of industry are repurposed through fantasy. Pleasure returns, however ill-fitting or fleeting its forms. Songs move between meditative chants, electro-pop dance hits, and declarative manifesto. As earth settles into its new post-human form, shedding lushness for base, exchanging excesses, in concert with the ephemerality of the season, we sing the feeling.