A large screen in a ball box studio showing an image of a ghostly woman reaching to the viewer while looking down.


April 9–19, 2019
Studio 1—Goodman

Spring 2019

Findlay and Sandsmark are in residence at EMPAC with their company to further develop the project’s body-sensor and animation content. In its use of this technology, >>returner<< demonstrates a wariness of the inflexible binaries that one-to-one body-technology interactions engender: including presence/absence, natural/manufactured, and real/virtual. The performance weaves between and around these binaries to question them without dismantling them entirely—a nod to their unavoidable if not regrettable ubiquity in our daily lives. Attempting to avoid the trap of technophillic engagement, >>returner<< creates an at-times chilling piece of performance.

Main Image: Production still during Findlay//Sandsmark's residency in Studio 1, April 2019. Photo: Mick Bello/EMPAC.

A woman wearing rigging stands on one leg as her image is projected on to a screen in front of her in a black box studio.
a woman gestures in front of a screen in studio 1

Production still during Findlay//Sandsmark's residency in Studio 1, April 2019. Photo: Mick Bello/EMPAC.

Presented By

EMPAC Spring 2019


Support for this residency is provided by the Norwegian Council for the Arts.

Support for this residency and production is provided by the Arts Council Norway, DTS-Performing Arts Hub Norway, and Stavanger Kommune(City of Stavanger). 

EMPAC Spring 2019 presentations, residencies, and commissions are made possible by Rensselaer Polytechnic Institute, with continuous support from the New York State Council for the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; the Australian Government through the Australia Council for the Arts; and the Jaffe Fund for Experimental Media and Performing Arts. Additional project support by the National Endowment for the Arts; the New England Foundation for the Arts’ National Dance Project, with funding from the Andrew W. Mellon Foundation; and the Center for Curatorial Studies at Bard College.