UPCOMING/RECENT EVENTS & NEWS
• TIGER Fall 2019 Tour . . . performance dates in progress
— Bemidji State (Bemidji): Oct 1
— Bryant-Lake Bowl Theater (Minneapolis): Oct 3
— 21c Museum Hotel (Cincinnati): Oct 8
— 21c Museum Hotel (Louisville): Oct 10
— 21c Museum Hotel (Nashville): Oct 11
• The Bear in the Valley, 37 min film
— Virginia Commonwealth University (Richmond, VA): Dec 5, 2018
— Bowling Green State University (Bowling Green, OH): Feb 21
— Grand Valley State University (Grand Rapids, MI): Feb 28
— University of Kentucky (Lexington, KY): Mar 18
— University of Michigan (Ann Arbor, MI): Mar 22
— Appalachian State University (Boone, NC): Apr 4
— New York University (New York, NY): TBA 2019.
— St. Michael’s College (Burlington, VT): TBA 2019.
• ASAP/10, New Orleans. Oct 2018
• Digital Naturalism Conference, Koh Lon, Phuket, Thailand. June 2018
• Deke Weaver’s Impossible Project by Alex Cipolle / A Beautiful Perspective
• BEAR/Bestiary Review by Jonathan Fineberg / Hyperallergic
• BEAR & The Unreliable Bestiary (solo)
– Holly Hughes’ basement, Ann Arbor, MI March 2018
– Allerton Park, Monticello, IL March 2018
– Buffalo Humanities Festival, Buffalo, NY Sept 2017
– Dixon Place, NYC Sept 2017
– Beacon Music Factory, Beacon, NY Sept 2017
– Bowdoin College, Brunswick, ME Sept 2017
– Parker River National Wildlife Refuge, Newburyport, MA Sept 2017
– Carnegie Mellon University, Pittsburgh Sept 2017
– Human-Animal Studies Summer Institute, Urbana, IL July 2017
Inspired by the literary concept of the unreliable narrator and the medieval bestiary, which gave every living thing a spiritual purpose, The Unreliable Bestiary is an ark of stories about animals, our relationships with them, and the worlds they inhabit. Deke Weaver’s life-long project is presenting a performance for every letter of the alphabet – each letter representing a threatened animal or habitat. Beyond the live performances the project includes a book and digital-film/DVD documenting each performance, and solo versions of each performance. The slow accumulation of books and digital-films/DVDs will form an encyclopedic set, transforming the work, giving longer life and physical form to this ephemeral practice.
The deliberate, audaciously ambitious gesture of creating 26 individual, full-length pieces is presenting a tiny sliver of our current catastrophic loss of habitat and biodiversity. The gears of an ecosystem’s clockwork include air, water, animals, money, and the human imagination. Our fantasies, assumptions, and cultural mythologies literally shape the land. Animals and their stories are embedded in our environmental, economic, political, and judicial systems, the systems thoroughly enmeshed with each other. It’s all part of the same cloth. You tug on one corner of the bedsheet and the whole thing moves. Through the animals, The Unreliable Bestiary is about the systems: everything is connected. In some ways, it comes down to this: how can you get people excited, or even to just pay attention to something incomprehensibly vast. It’s been said that by 2050 climate change, rapacious resource extraction, and our exploding population will push half the species on the planet into extinction. The lions and tigers and bears of our ancient stories will be long gone. Central to our myths, embedded in our language, rooted in our imaginations – what will we do when our dreams disappear?
BESTIARY PERFORMANCES TO DATE
In 2009 we opened MONKEY on Darwin’s 200th birthday. We made MONKEY for a black-box theater, but other performances are taking place in specific sites – sites that reflect the animal’s story. Places like circus tents, or national park amphitheaters. We staged 2010’s ELEPHANT in the University of Illinois’ cavernous Stock Pavilion. ELEPHANT was huge. The piece featured video projected on two 90-foot long screens, dance, songs, storytelling, and an enormous twelve-foot-high elephant puppet. In September 2013 we presented WOLF, The Bestiary’s third performance. After a park-ranger-guided bus trip to forested Allerton Park (Monticello, Illinois), the audience was led over the river and through the woods to grandmother’s house: a barn filled with video, dance, music, and stories that pulled some of the threads together. BEAR was our 4th performance. With death in the fall and life in the spring, hibernation links the bear’s yearly cycle to Persephone, resurrection, the Underworld, sowing, and reaping. BEAR’s meditation on seasons and time was staged in three chapters: Fall (2016), Winter (2016-17), and Spring (2017). The original, sprawling site-specific versions of WOLF and BEAR have both been distilled into one-man presentations – part live performance, part cinematic documentation – touring film festivals, galleries, theaters, and living rooms. The fifth performance will be TIGER, slated for the fall of 2019.
COLLABORATORS, HONORS, AND SUPPORT
The Unreliable Bestiary’s core group of artists, designers, performers, and thinkers have included Jennifer Allen, Chris Peck, Valerie Oliveiro, Susan Becker, David Hays, Nicki Werner, Maria Lux, Jason Patterson, Jessica Cornish, Laura Chiaramonte, and Andy Warfel. The project has received enthusiastic support from the School of Art & Design at the University of Illinois, the Urbana Parks District, the Krannert Center for Performing Arts, the Center for Advanced Study, and many many generous individuals. The Bestiary has been honored with grants from Creative Capital, the Guggenheim Foundation, the Illinois Arts Council, the University of Illinois Campus Research Board, the College of Fine and Applied Arts, and Humanities Without Walls, with residencies at the MacDowell Colony, the Ucross Foundation, Taft-Nicholson Environmental Humanities Center, and Isle Royale National Park. In addition to the fully realized site-specific performances, compact versions of the work have been presented at the Sundance Film Festival, the Chicago Humanities Festival, the Houston Cinema Arts Festival, the Cinema Pacific Film Festival (Eugene), the Goat Farm Arts Center (Atlanta), galleries, theaters, and universities around the country.
I am a writer-performer, designer, theater and media artist. My interdisciplinary performances and videos have been presented in Australia, Brazil, Canada, Europe, Russia, and the United States in experimental theater, film/video, dance, solo performance, and broadcast venues such as the Sundance Film Festival, the New York Video Festival at Lincoln Center, The Berlin Video Festival, MoMA/NY, PBS, Channel 4/U.K., the Museum of Contemporary Art/LA, the Chicago Humanities Festival, Dixon Place, HERE, PS 122, The Moth, Roulette, Judson Memorial Church, Tonic, Galapagos, Yerba Buena Center for the Arts, the Edinburgh Festival Fringe and many others including livestock pavilions, national parks, night clubs, backyard sheds and living rooms. A Guggenheim Fellow and Creative Capital grantee, a resident artist at Yaddo, Isle Royale National Park, the Taft-Nicholson Environmental Humanities Center, a three-time resident at Ucross, and a five-time fellow at the MacDowell Colony, I have been awarded commissions and grants from the city of San Francisco, the states of New York and Illinois, the University of Illinois (Urbana-Champaign), and other public and private foundations.
Recent work on my life-long project, The Unreliable Bestiary, includes presenting BEAR, a three-chapter hibernation cycle, creating and touring live-cinema solo versions of the original sprawling site-specific performances WOLF and BEAR, editing the multi-camera video documentaries for WOLF, ELEPHANT, and BEAR, designing the artist books for MONKEY and ELEPHANT, research for TIGER, an early workshop for TIGER (part of Perform Midwest: Incubating Collaborative Research, a project funded by the Humanities Without Walls consortium), conference presentations, and completing the short film The Bear in the Valley. The texts for MONKEY and ELEPHANT, are included in Animal Acts: Performing Species Today (edited by Holly Hughes and Una Chaudhuri, 2014, University of Michigan Press) and accompanied by essays written by Nigel Rothfels and Cary Wolfe. My “Polar Bear God” performance was highlighted in Chaudhuri’s chapter in Readings in Performance and Ecology (edited by Theresa May and Wendy Arons, Palgrave MacMillan). ELEPHANT and WOLF are featured in Marla Carlson’s Affect, Animals, and Autists: Feeling Around the Edges of the Human in Performance (University of Michigan Press, 2018). Digital video documentaries of MONKEY, ELEPHANT, and WOLF are held in the libraries of Princeton, New York University, University of Michigan, University of Iowa, University of Georgia, and University of Kentucky.
With a BA from Bowdoin College (1985) and an MFA from the University of Colorado, Boulder (1988), I was the Senior Animator for the Showtime Networks’ Broadcast Design Group from 1999 to 2005. An associate professor at the University of Illinois at Urbana-Champaign with appointments in the Department of Theater and the School of Art & Design’s New Media Program, the 2018-19 academic year finds me teaching in the School of Art & Art History at the University of Florida.
For information on performances, lectures, workshops, video, and publications get in touch with me here:
deke (at) unreliablebestiary (dot) org
Photos by Valerie Oliveiro (ELEPHANT, WOLF), Nathan Keay (BEAR), and Deke (displays and Natural History Museum dioramas).