Sometimes, artists want to be surprised, too. “There are things that we will never see,” said John Sutton about SuttonBeresCuller’s upcoming immersion experience at On the Boards called To Be Determined.
The experience will happen in all parts of the building at the same time. Total simultaneity means that every performance will be in conflict with every other, and because there will be no posted schedule—you have to wander to see what you find—when you see something great, you will immediately be filled with the feeling that you are missing something else great.
For several years, the Seattle artist trio has been sought after for large-scale and public artworks, governed by proposal-then-execution processes—models with similar restrictions to rehearsal-based theater. To Be Determined is a break. The performers—different ones each night—were selected by ads posted on Craigslist, simply to avoid the familiar. These people mostly live outside Seattle—in Snohomish, or Redmond, or Tacoma. Circus-style performers. Musicians. Dancers.
Onstage—and maybe elsewhere, Sutton wouldn’t give specifics—the performers will be joined by constructed objects. Things you might call sculptures if the whole history of installation art and readymades hadn’t happened. They were built also from Craigslist, from the free section—the cosmic-materialist reverse of a theatrical stage set, made new to be destroyed after the show. Come curious, Sutton says. And wear dancing shoes. Otherwise, he doesn’t say. He can’t. 
mmmm, i love me some stompy’s! thursday nights are the bomb.
http://www.stompys.webs.com
“I was so poor growing up – if I wasn’t a boy – I’d have had nothing to play with.” – Rodney Dangerfield
brothers glib
SBC came on the local scene a while back with a kind of art theatrics offering an apparent serious promise of significance. The team seems to maintain a continuing tension in the art community. Their history has been curious and prone to criticism. A battle seems to have emerged between the promise and the criticism. I have trouble dismissing them and yet often remain puzzled about their significance. I tell myself I must remain open minded and wait for what one would hope a future retrospective might bring as appreciation for their antics. I suspect they see themselves as deeply immersed in puzzle making as related to art. It is so twentieth century and strongly contemporary. As viewers we seem to be left on a twentieth century hook of art. Art that makes you think, “What in the world?” Art as a recursive quandary unto itself. This stuff could be quintessential, but who knows?