147 Devices for Integrated Principles unfolds on stage as Hillerbrand+Magsamen unpack a large “preparedness box” of items while the audience unpacks their own smaller box found under their seat, based on the artist’s instructions for how to use the items.
Applying a Fluxus sensibility to art historical tropes of still life painting, photography, and dramatic theater, Hillerbrand+Magsamen playfully engage audiences in the drama of survival.
Hillerbrand+Magsamen perform the explanation of these devices through photography, video, sculpture, and performance, punctuated with Kirk Lynn’s experimental and humorous scripted language and Peter Stopshinski’s score. Overlapping screens of varying sizes display a video, continuously panning to the right, that reveals the artists and their children interacting with Rube Goldberg-esque contraptions. The images depict sublime survival, inviting audiences to play with ideas and expectations of “preparedness.”
147 Devices for Integrated Principles unfolds on stage as Hillerbrand+Magsamen unpack a large “preparedness box” of items while the audience unpacks their own smaller box found under their seat, based on the artist’s instructions for how to use the items.
Applying a Fluxus sensibility to art historical tropes of still life painting, photography, and dramatic theater, Hillerbrand+Magsamen playfully engage audiences in the drama of survival.
Hillerbrand+Magsamen perform the explanation of these devices through photography, video, sculpture, and performance, punctuated with Kirk Lynn’s experimental and humorous scripted language and Peter Stopshinski’s score. Overlapping screens of varying sizes display a video, continuously panning to the right, that reveals the artists and their children interacting with Rube Goldberg-esque contraptions. The images depict sublime survival, inviting audiences to play with ideas and expectations of “preparedness.”
147 Devices for Integrated Principles unfolds on stage as Hillerbrand+Magsamen unpack a large “preparedness box” of items while the audience unpacks their own smaller box found under their seat, based on the artist’s instructions for how to use the items.
Applying a Fluxus sensibility to art historical tropes of still life painting, photography, and dramatic theater, Hillerbrand+Magsamen playfully engage audiences in the drama of survival.
Hillerbrand+Magsamen perform the explanation of these devices through photography, video, sculpture, and performance, punctuated with Kirk Lynn’s experimental and humorous scripted language and Peter Stopshinski’s score. Overlapping screens of varying sizes display a video, continuously panning to the right, that reveals the artists and their children interacting with Rube Goldberg-esque contraptions. The images depict sublime survival, inviting audiences to play with ideas and expectations of “preparedness.”