- Devon Ma
Opening Reception, Saturday, April 4, 1pm - 4pm
Limited free seating is available on a roundtrip chartered bus from New York City for the April 4th opening. Reservations are required and can be made on this by calling +1 845-758-7598 or emailing Mary Rozell at mrozell@bard.edu.
Artist: Jonathan González
Performer: Marguerite Hemmings
Full Tilt presents commissioned works by choreographer, artist, and writer Jonathan González, building upon his ongoing choreographic project Swerve Fatigue (2024–) through a new performance and installation.
Swerve Fatigue engages choreographies of “swerving”—abruptly shifting in course—to channel collective resilience in the face of crisis. Throughout its development, the improvisational work has cultivated a responsiveness between five performers and the environments in which they rehearse, generating an embodied archive. Under González’s direction, the performers’ bodies often seem to pulse or vibrate, at times appearing to blur and dissolve into one another, moving as a shared mass.
In the face of relentless pressures toward individualism, Swerve Fatigue challenges the illusion of the autonomous individual, instead centering interdependence. For Full Tilt, González extends the questions posed by Swerve Fatigue, considering how they might unfold across a two-person performance as well as a larger constellation of objects.
On April 4, 2026, from 10:30 a.m. to 3:30 p.m.,* González will join ensemble member Marguerite Hemmings for the exhibition’s eponymous performance, a durational work foregrounding endurance. Throughout the performance’s five hours, their shared movements will emphasize the exhausting process of coming together. The sounds of their labored breathing, amplified during the performance, will render fatigue as a marker not of failure but of persistence.
In addition to the live performance, a still image taken from rehearsal footage is printed as a large-scale photograph, and sweat-soaked clothing worn during rehearsals accumulates into a sculptural form. Audio from the performance lingers in the space, while metal plaques inscribed with the performance’s choreographic score are installed near the museum’s entrance. These works not only serve as documentation but register the residues of an embodied practice, marked by glimpses of gestures, sweat stains, and cues that invite continuity rather than closure.
Taking its name from a phrase that describes pushing forward with total commitment, Full Tilt builds upon González’s dedication to fostering “interdisciplinary engagement toward otherwise modalities of collaboration, representation, and study.” In endeavoring toward such forms, improvisation becomes a means of wayfinding, allowing relations to continually be made and remade, rehearsed and reconstituted, in real time.
Support for artist travel is generously provided by Francesca Sonara (CCS Bard ’10).
*Please note that the first 30 minutes of the performance takes place prior to the museum opening to the public at 11a.m.
