2019, homeschool PDX
Paragon Arts Gallery
(Installation Performance / Video, 2h:15m)

Weather is a performance in four acts.
It is a simulated landscape of eccentric juxtapositions collectively forming a site of contemporary wilderness.

It is an identity of its own — breathing through choreographic gesture, video, sculpture, and audio recording. The work reckons with representations of Nature, Individualism, and Capital in Anthropocentric time.

It asks, “what is the wild?”

Referring to William Pope L.’s words, “there is no other ontology than the stage, staging, and being staged,” Jonathan Gonzalez contemplates the stage as an extension of contemporary life. As a soloist, or in collaboration with manuel abreu, or in communion with gallery staff and visitors, they traverse the setting of technical elements, objects, and other subjects to be claimed by an augmenting theatrical climate. Excavating Enlightenment’s ideology of the Human – of Man – against documents of climate change – amongst narratives of traditions to create a tide in which the performer must weather.

I. An Oration on the curatorial proposal and Wilson Harris’s text, Not Total...

It's not total. It never really was only half that half the taste. Half of the moment that felt like we could fall once again one more time. One more time. Please. Please. The sun is a half cocked shot gun. 45 caliber. A stunning. Straight to the spine. Frozen feeling glacial time. Oops. Oops. takes a few attempts to find the edge, the edge feels a lot more specialist here I didn't get the tidal wave circumstances have begun to double and triple, quadruple. I find myself back in line one more time, purchasing something he says that it says that it just for me. When I look at a sea of blue. I think about Walker but also fabric. Lane over that cream white wall paint. In the bedroom in the cramped apartment off Avenue came Canarsie, Patrick. Think about the peculiarity of a button down, and Sunday Pentecostal church service and friendship. Sometimes there's a rumbling between conversation there's a distance that falls apart when each person tries to speak, and it gets wider more cavernous, and then one day it becomes real. Almost as real as standing at the edge of the Grand Canyon and you've looked directly inside. It is not going to work out.

Coming up they're bubbling. They're doing that thing that they used to do every time Wz step back one times to just as critical step it was one times to I used to fall back to the pattern of the accordion just in the background it can make me home when I feel that his inside of my phone I can feel the chill at my spine is also, it is. And then it's not. And that is not over and over and over again I'm falling back into the not that black not that the psycho sanctuary not that oops that. Yeah. Coming back to the beginning when I was thinking about just about what I was saying right before the moment I feel real. I feel real. You know what I mean.

yr tragic suicide, it's a no horror story. It's been a horror. It's been a horror subsumed submerged. The content of a black mystery the afterlife of the story. The medium ground. The heart. The Deep Space the cellar the interiors, the wine. The Chinese in growth, the mushroom tower the story The impossibilities the impeccable design. It is all all all

On the base of the money patch on the base. Broccoli imprint in the crackling Timberland shadow figure seductive mother missing out on inside of the sub real inside of the interior of something that was always somebody but already given up halfway through. I woke up next. I woke up next to you and I brought myself with myself back there. I woke up next year brought myself with myself back there. And inside of that place inside of the middle to between place will be full right between the cracks. I started to see that there are always another crack room. Always another crack deeper inside that's how the light gets in. That's how the light gets and there's always another crack deeper inside that's how the licensing. That's how life gets in memory. Do you have. Do you know what is yours. What memory Do you have. Do you know what is yours. Well memory Do you have. Do you know what is yours.

Make the jello mold. Use the jello mold. As a serving option, put it on a platter. Put the platter on your back, where your lower outfit sweater with the funny sleeves on you can do the change into these costumes. After having a period of introduction on the microphone, the poetic riff. Maybe Mars, and just introduce it from the chair and the sea, really chill, sit in the chair. Introduce Mars. Do Mars. Stop. There'll be 20 minutes, maybe more like 18 probably. And then, I think, drink water. Play some use or maybe don't play music, some water. Do you use a jump ropes to the rope splitting this idea of splitting is really beautiful. What other kind of fabric material. I think we have black rope in the house. Maybe it's black rope that does it, and we tried that tonight. There's something about the rope into the jello. That feels nice. It seems like we would put the permafrost track. Maybe on. It doesn't have to be on the bad guys but there needs to be a main track. A main track with a very subtle tone and the beeps. That coincide with each episode and it could be just a soft hum. And then I continue to like a passage into the next thing. And they function in terms of a time, three hours is very long ago. But if we begin at four 430 it's really like two hours and a half at imagine I'll make sure three hours and a half, really didn't make it two hours. two hours and a half, which four parts at a half an hour each is really two hours so maybe there's two hours and then I finish will be two hours in length. Yeah. I should be fine. So there's this introduction. Maybe there's a way to do order, maybe there's a way to read the reading and do the rope at the same time maybe the rope and the reading the jazz riff of the text this text that somehow sitting between definitions of ecological situations geographic formations, or formations. Then just straight old spill from my own brain feeling longing desire melancholy like winter. Weight of being a lot of heartache loves loss need it. You know all these conditions that feel very particular to me but I'm not formalizing I keep inside of the improv form can sit next to this continuous rope, which is somehow the, the anchor but it's also wavering, but when it wavers. And when it wavers with parts of text.  And then this jello mold, as a table feels really lovely mold maybe I wear my white mask. The valore pants and shirt sleeves, I can try that when I get home. So I'm checking on the black robe when I get home and also the costuming for this jello table. Wonder if we have a platter. Gonna be kind of fucked up on one of those platters, it might work but I'm not bringing the styrofoam anymore So, and then maybe it is a styrofoam maybe the final final portion is this styrofoam construction gets built. I don't know that feels kind of stupid. And then there's a black circle moment to imitate now. Well, thinking the way to think about it that Mars would happen. There would be this recitation with the rope. 30 minutes with that rope is very intensive the ABQ to try. I think it would be too hard, and too laborious like that's not. I don't feel like that's the purpose, it's an epic production but maybe it isn't a production like, like I can work better on the minor scale but I don't actually know like maybe I need to aim always from major skill properties and be okay with like they made space for. I don't have to give a pass which are like scalar production. This kind of epic works to situate themselves on a gallery context. Feel so attributed to a theatrical can and that's the thing that's like not completely in for the least it's rigorous isn't rigorous because it has many parts. I think more parts imply it like a kind of lack of integrity, lack of effort. in this situation. So, here we begin with the introduction. It goes into Mars. The introduction goes into Mars. Let's try that. Later, the introduction goes into Mars. And then from Mars was into the rope. And then from the rope goes into the table. The table. Sorry, go from sitting from sitting at the table to standing kneeling to the final moment maybe I just play that track. I see the rope, I see the splitting I see the text. I can even see Mars, if I really commit to maybe an acoustic version, I think I need to just try Mars acoustically or just with maybe try it with the track Jonathan I don't know and it sounds like it's too much but the truck. Mars is on the tip is on a question mark the rope and that language feels strong as a choice, we can try that tomorrow to the table feel strong as a choice. And if you just try one of the trace from the moon. And then I think there needs to be like the trace sexual section will have mostly going to be a sculpture, and that's gonna last. I'm gonna wear the mask. Whoa. Maybe the final, final final sculpture for final moment final moment is having a beer. Like as a final moment like having a beer. No it doesn't need to be disconnected from the results of being connected. Maybe in the fourth section. There's styrofoam and beers. Can I hand out styrofoam some beers, or be so stupid. That's funny that. Wow styrofoam some beers like 30 of them will be pretty hilarious.

II. A Body becomes a Glacier, or an object on the horizon, or a shoal...

Album plays in full as the performer remains static under a table cloth serving a jello-mold, green and containing used vials of biological material from the performer

III. A rope becomes a whip, becomes a fan, becomes a trailing echo...

While guests are available to move through the space, the performer becomes esconced in the gallery only audibly accessible from the echoes of a rope changing kinetically as a crack of a whip, jump rope, and trailing material against the concrete.


IV. An incomplete participation...

Audiences are requested to finish the work.