Memory Method is a black-and-white stop-motion animation playing on a continuous loop at the 108 throughout the festival. Designed to reward repeat viewing, it’s full of visual details that emerge slowly over time. The film’s world expands further into the room via a collection of related artworks. 

The 108 will be less a screening room than a place to drift in and out of between events—a visual hangout furnished with art furniture from the artist’s recent MASS MoCA show. Doors open all day, someone is always there, and there are plenty of reasons to come back.

Inspired by Euripides’ The Trojan Women, this new performance from Farm Arts Collective asks a haunting question: what do women carry with them when they are forced to leave home? Reimagining Hecuba, Andromache, Cassandra, and Helen through a contemporary lens, Scattered Seeds of Troy explores migration, survival, and the search for agency in a broken world. Seeds become both literal and symbolic—food, memory, inheritance, resistance. Created through Tannis Kowalchuk’s devised theatre process, the piece blends movement, text, music, and visual spectacle into a timely meditation on displacement and hope.

A closing reception of Works on Paper by Alastair Gordon, with an artist’s talk at 7pm. Gordon’s work involves simple markings with ink and (sometimes) gouache, a kind of long-hand calligraphy, without words. The process is slow, repetitive and contemplative. What begins as a written text, might turn into an abstract “emergence”. The larger pieces take several months to complete.

The FarNear is a durational performance exploring intimacy through reading, writing, and shared authorship. Tethered to each other by a 25-foot clothesline, the artists send edible notes back and forth, creating and consuming poems that transform language into physical points of connection and separation. Drawing from love letters between women artists and writers, the piece invites reflection on how intimacy and boundaries evolve, reshaping identities, words, and space in an ongoing dialogue.

Like the ancient Greek oracle at Delphi, Adam Lovitz, Stuart Shils, and Misha Wyllie issue pronouncements – via visual utterances – that open into the spacious and unfamiliar. Hear from the artists, as they guide us through the work. “The Delphic” is the first exhibition at The Ruffed Grouse Gallery for these three Philadelphia-based artists and features new paintings, ceramics, and works on paper. 

Ways of Getting There is an immersive sound installation featuring music by Baxter Ellard and Solomon Hendrix. Exploring patterns of growth and evolution across organic and inorganic systems, this piece invites reflection on how human structures—emotional, cultural, political, and social—mirror the same cycles of change found in ecosystems, environments, and stars.

This piece will play on a continuous loop throughout Saturday and Sunday. We invite you to step into the experience, interact with the sound, and inhabit a space designed in collaboration with Susan Mendoza of the Chi Hive, featuring contributions from other local artists.

Part of Deep Water Lab, an initiative supporting local early career artists.

“100 Pink Smoke flares (twice)”, by Raphaele Shirley is an ephemeral installation created with 200 pink smoke signal flares. The flares, lit simultaneously, build a wall of smoke that temporarily masks the landscape behind it. This ephemeral mass of color marks the appearance and disappearance of natural and urban settings as they are transformed my man’s hand. “100 Pink Smoke flares (twice)”, offers a reflection on nature’s beauty and timelessness, landscapes in distress, as well as it underlines their state of emergency in our current age of Anthropocene. The artwork oscillates between abstraction and figuration referring to romantic era landscape paintings and minimalistic language simultaneously. A musical procession leads viewers to the site before the remotely triggered flares ignite. From this initial gathering through the smoke’s final dispersal, the complete experience unfolds over 30-40 minutes.

In association with Catskill Art Space.

David Dann’s “The Clock” explores time’s irreversible march toward an existential terminus. A functional wooden clock, its hands turning backward and forward, anchors the work, flanked by Rodin-inspired figures (Adam and Eve) and a drive weight shaped like the forbidden apple. Twelve framed Hours—short stories spanning a century—line the walls, tracing a universal protagonist’s journey. Inspired by Howard Pyle’s The Wonder Clock and a family heirloom, the paused mechanism invites reflection on metamorphosis as both rupture and reckoning. Wine will be served.

In association with Catskill Art Space.