sets precarious parameters wherein roles & resources play actors & places as if everything extends itself uncertainly. In 2014, she founded DOORS UNLIMITED, a roving vessel for investigative operatics that proliferates communitarian-collaborative strategies for provisional-conditional experimenting with/in soap opera, encampment opera, opera-within-opera, telephonic inter-drama, dismantlement, dialectics, days & nights & both as neither, near-death, opera in bed, opera in spite of itself, opera in excess of itself, ante-institutional operatic allusions, elations, protrusions, performance, sticks, schools, stone squares, soggy cereal blankets, very long songs, backlog, tending tender tendencies, like water, underwater, fake hair, carpet squares, contact paper, play mats, flooded currency, fluidity, liquid plumber, uncertainty.
Her multi-phasic, month-long opera, Transient’s Theme, premiered at the Knockdown Center in 2014, following a 2-month connective-convective convocation or composition involving 80 participants at a campground in the Catskills. Ides’ performance or installation-as-proposition work has also been presented for/at Mandragoras Art Space (MAAS), Fragmental Museum, St. Marks Poetry Project, St. Francis College, Dixon Place, the Brooklyn Museum, & the Gershwin Hotel (as if there is only New York), but also lots of other places in other cities, & for BOMB Magazine’s Instagram account. Additionally, she co-curates occasional festivals that often have an air of counter-purpose to them, co-writes articles on minor peculiarities related to sound or film, co-edits a series of fugitive anthologies, harmonizes readily, & partners in movement with wonderful, really wonderful people for real & wonderful occasions too starry to count out because they are lit gleaming enough, luckily, to constitute really gladness. She is perennial artist-in-residence at the Prattsville Art Center as well as currently at SenseLab in Montréal. Ides teaches at Pratt, Bard, SVA, & U-Albany, & is being taught a lot.