We Didn't Make Love is an experiential performance piece about unintentional abstinence and intentional renascence. A psychological portrait of loss of sexual self-esteem, We Didn’t Make Love begins by building a wall of insecurities. The wall is burst through as the mood shifts from repression to acceptance. The piece ends with the support of the audience who offer a gentle touch and the synchronized rhythm of their hearts.
Photos courtesy of Renée Regan
We Didn't Make Love by Katie Magician Sound
PGH PAF, Pittsburgh, PA + The Beehive, Washington, DC
Ex Files is a multimedia performance that tracks the evolving shapes of thought forms through the dissolution of romantic relationships. The piece presents relationship “evidence” in the form of stream-of-consciousness journal entries and one-way written correspondences with exes over the span of 5 years. The writings, dramatically recited during the performance, represent negative thought loops that lead to cognitive disorientation. The piece portrays a narcissistic approach to connection with unsatisfactory ends.
Musical accompaniment by Benjamin Schurr
Photos courtesy of Renée Regan
Ex Files Beehive
Thee Rat Trap, Washington, DC
Budge Dance is a mixed media movement piece working through concepts of bodily plasticity. Improvised movement, figurative video accompaniment, and live demonstration of Bernoni’s Principle explore various aspects of swelling. The work features music by SWOLL.
Visarts, Rockville, MD
These Dreams is a participatory installation In homage to and in collaboration with local music celebrity TV John Langworthy, Macyshyn recreates TV John’s “dream song” videos in her interactive installation, These Dreams. Lyrics and background content for the videos will inform a related workshop based on tapping into the subconscious symbolism in dreams. Performers make songs their own with dance moves, vocal flourishes, and costume karaoke.
John Langworthy Documentary
Katie Macyshyn capture's TV John in his private sphere. This video was created for Local Legends, an exhibition at VisArts in Rockville. Curated by Jose Ruiz and the MICA curatorial dept.
Howard Theater, Washington, DC
In the performance XXX Stacy (pronounced triple ex Stacy), multimedia techniques are used to tell the story of a celestial being breaching Earth. The installation aspect features an illuminated dome and a backdrop of video, droning sound, and fragmented poetry. The performance ends with a satirical burlesque routine to Boyfriend’s song “Like My Hand Did”. Through love, music, dance, and satire, Stacy exercises divine intervention to tap into ancient wisdom and retrieve lost parts of the soul.
XXX Stacy Documentation
Loving The Alien
A performance art piece about best intentions and interplanetary infatuation. Some time in the future, in a galaxy not so far from here.....
There was a young being who had taken a liking to the Earth creatures. With a little bit of finagling she could program her disco stick to pick up transmissions from Earth television. She liked to watch TV on her LSD screen inside of her sleep pod. Of course, with space time and what all, the transmissions were from about 50 years prior to the time on Earth presently. The space being so adored the colors and music of Earth, but between the exciting sounds and images, she could hear the planet crying out for help. Earth was filled with pain. Her species of altruists were concerned with bigger intergalactic issues than the lower beings on planet Earth, but the she saw potential in them. If only the Earth beings could experience true beauty, they could reach a higher state of consciousness and have peace. She put on a flesh suit to mimic the features of what appeared to be the most desirable women by Earth standards, then sped off through a complex web of worm holes. She found herself in the capital of the free world, Washington, D.C......
Sugar is a gateway drug. In addition to being a highly addictive substance with no nutritional value, sugar represents decadence fueled by oppression and continues to be manufactured through unsustainable processes. Products with similar socio-political and environmental implications include liquor, coffee, tea, and chocolate. In the performance Toothless and Ruthless, addictive products mentioned above are an analogy for hard drugs synthesized in a lab.
Rhizome, Washington, DC
The true history of civilization as we know it hinged on the mercy of extraterrestrial overlords. In the interactive performance Nut, participants are guided through an exercise in harmonic overtones, the sound of which powers the Egyptian goddess Nut in her mission to reunite with her love, Geb.
The multi-media performance, “Bobbie” is a 3 part reality intervention. Part one is a mockumentary on the life and legacy of fictional blues singer, Bobbie, and includes a satirical burlesque reenactment of her most famous scene. Part two points a faerie projection on various surfaces including mirrors, the ceiling, and a spinning spiral umbrella. Part three is a surrealist spoken word piece. Bobbie is wherever she’s needed. She passes from one person to the next in the form of a radiant green ball of love-light, headlining the lounge acts of their dreams.
Bobbie Waiting for Charlie
Sprung is a playful video experiment in collaboration with Armando López Bircann filmed in a small Montreal apartment turned Through The Looking Glass paracosm. In this work, the coquettishness of spring is juxtaposed with masculine magic.
Cheri is a projection from an alternate universe, residing in your television at the end of the basic cable channels around 3AM, when the wall between our realm and the spirit realm is weakest.
As the wall between worlds is compromised, the television displays in flashes subliminal messages about the American government and consumerism.
These brainwashing techniques are being fought by energetic entities which are tethered to the earth of the FireWater Casino, including Cheri, the featured lounge act.
Cheri the video is used as an intro accompanying a live Cheri performance, which includes corny jokes, singing, and channeling the spirits tied to the land at the FireWater Casino.
Salomiley combines Miley Cyrus, the mysterious biblical character Salome, and the artist herself to create a modern interpretation of the dance of the seven veils. This performance combines sex with naiveté to tell a political coming of age story. Is Salomiley or someone else in control of her seductive power?
Duo Armando Lopez-Bircann and Katie Macyshyn meld their gender-centric, fantasy based performance practice. Mixing influences of seapunk, dance music, folklore, video games, and American Indian mysticism, an original mythology is created. In their whimsical performances, the artists transcend states of being and show, in rapid succession, the journey of a thousand lives, or simply one that is lived with awareness.
Just Deserts is a study of the performer’s relationship to family in the wake of a tragedy. Set to the tune of Yusef Islam’s (formery Cat Stevens) Tea for the Tillerman, the protagonist attempts to fix violence, illness, and loss, in the hopes that time will heal the family unit. Through repetitive “antiquing” she rearranges a wall of symbolic heirlooms, but while working alone and living in the past, never seems to make progress.
Armando Lopez-Bircann and Katie Macyshyn's pOpera brings together two worlds in a volatile union of performance art and performing arts. Dub step beats push on the perpetual action, which is wrought with symbols and contradictions. Extravagant art objects turned costume, high energy sound and performance, and unconventional set pieces and objects create an oft-incomprehensible world in which a blow-up doll turned cyborg must find her way home. It is with this format that we question Frankensteinian themes such as the threatening power of women, unwanted children, the nature of social transformations, and the danger of knowledge.
The Grand Hippodrama: An Op'ry For The Ages
The constant human performance of day to day life contains great moments of vulnerability, heartache, and discovery. This drama of the human experience can be called an opera. The viewer’s acceptance of this is intrinsic to the meaning of my performative body of work, The Grand Hippo Drama, An Op’ry For The Ages . By creating ties to the opera I am then free to play on its tropes and language of binaries as a tool to discuss real-world issues of class.
Grand Hippodrama Preview
Act1 Scene1 Grand Hippodrama
Genderfuck Potluck investigates the nature of social constructs and their dictation of gender and sexuality as it pertains to identity. The metamorphosis evolves from reality to a fantasized conglomeration of gender and sexuality as facilitated through food.
by Rachel Hrbek, Katie Macyshyn, René Medrano
Performed to the Little Richard song of the same title, Baby Face, is an improvised dance routine, where the performer, dressed in a pumpkin-like furry costume, spins around a pole and wiggles for tips. This performance explores girl's sexualization in a humorous way, as the dance is meant to attract and repel the viewer.
Fortune Teller is an interactive sculpture/performance where participants offer a coin in exchange for a fortune card. The fortunes are in reference to the "Save The Corcoran" student movement of 2012 at the Corcoran College of Art + Design. The installation consisted of a wooden structure that was carried in on the performer's back. The performer is dressed as a turn-of-the-century southern charlatan. Once inside the fabric cover of the box, the performer puts on a costume, including a turban and crystal ball. The combination of smoke and mirrors, exploitation, and impermanence represented the actions of the Corcoran board of trustees which led to the Corcoran's downfall as an independent institution.