Red Rover Series > Ian Hatcher and Anna Martine Whitehead

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Ian Hatcher: Private Screening is a live performance which considers questions of presence, access, and vulnerability in light of a cultural rush into interfaces of abstraction. Locked in a feedback loop that routes itself through the computational cloud, the mind’s means of provisionally defining itself — language — becomes data to be collected, systematized, synthesized, monetized, and maximized for impact. In these conditions, what does it mean to speak and listen intimately? When the mind is conjoined with a network, what does it mean to be self-consciously present. Private Screening is a work-in-progress response to Goat Island’s last performance, The Lastmaker, a piece that mapped the emotional terrain of impending finality. Private Screening picks up several of The Lastmaker’s concerns and motifs, recontextualizing them to look for the edges of the self amid a haze of algorithmic machines.

Anna Martine Whitehead: Notes on Territory is an interdisciplinary performance lecture using the prison and its inverses as a prism to consider architecture, surveillance, and the body. Through the lecture format, Territory is a space for movement and dance, sound, language, and surveillance technologies (light and video) to probe the dual inquiries: What is the prison; Where are its holes? In collaboration with sound artist Damon Locks and lighting designer Giau Truong, Territory takes the cross and the arch as architectural, spiritual tools, and research tools for exploring the rich tradition of Black liberatory practice. Set to premiere in 2019, the work is currently in development with the support of Chicago Dancemakers Forum, Pivot Arts, and the University of Michigan Daring Dances.

About the Artists

Ian Hatcher is a writer, vocalist, programmer, and performance artist based in New York. He has performed and exhibited in 15 countries, including at Artists Space, The Kitchen, e-flux, Pioneer Works, the Chicago Cultural Center, the Bibliothèque Nationale de France, Fondation Louis Vuitton, Festival Actoral, Alexandrinsky Theater in St. Petersburg, Runokuu in Helsinki, and the University of Hong Kong. His published books and vinyl records include Prosthesis (Poor Claudia); Drone Pilot (cOsmOsmOse); Colony (Various/Artists); and Abra, a conjoined artists’ book and iOS app created with Amaranth Borsuk and Kate Durbin. A performative surveillance workshop with Tyler Coburn, Remote Viewer, was recently presented at Triangle in Brooklyn. Previously on faculty at Brown University and NYU, he currently teaches at Rutgers-Camden, where he is a 2018-19 Digital Studies Fellow.

Anna Martine Whitehead has been presented by venues including the San José Museum of Art; Velocity Dance Center; Chicago Cultural Center; Links Hall; AUNTS; Pieter; Yerba Buena Center for the Arts; and CounterPULSE. She has developed her craft by working in close collaboration with Onye Ozuzu, Jefferson Pinder, taisha paggett, Thomas Teurlai, Every house has a door, Keith Hennessy, BodyCartography Project, Julien Prévieux, Jesse Hewit, and the Prison + Neighborhood Art Project, among others. Over the last ten years, Martine has written about blackness, queerness, and bodies in action for Art21 Magazine, C Magazine, frieze, Art Practical; and contributed chapters to a range of publications including most recently Queer Dance: Meanings and Makings (Oxford, 2017) and Organize Your Own: The Politics and Poetics of Self-Determination Movements (Sobsercove, 2016). She has received generous support from Chicago Dancemakers Forum, the Foundation for Contemporary Arts, DCASE, Headlands Center for the Arts, Djerassi, and Chances Dances; and is a 2018 3Arts Awardee. Martine is the author of TREASURE | My Black Rupture (Thread Makes Blanket, 2016). Martine teaches at the School of the Art Institute of Chicago. Find out more at

About Red Rover Series

Red Rover Series {readings that play with reading} is curated by poets Laura Goldstein and Jennifer Karmin. Founded in 2005, the over one hundred events have featured a diversity of renowned creative minds.  Each event is designed as a reading experiment with participation by local, national, and international writers, artists, and performers.  Fostering innovative forms and aesthetic solidarities, Red Rover Series has also devised large-scale collaborations of writers improvising together at the Museum of Contemporary Art Chicago, the MLA conference, AWP, the &NOW Festival, and the New Orleans Poetry Festival.

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