Philip Wesley Gates is a director, performance maker, and writer/scholar currently based in Pittsburgh. Their work deploys queer, choreographic, and participatory strategies to propose alternative possibilities and modes of relation — relation to the spaces we inhabit, to the social, political, and technological systems we operate within, and especially to the others we share time and space with during the course of a performance and beyond.
Current projects include Nearest Neighbors, a research and performance collaboration with visual artist Jamison Edgar exploring big data and the queer archive; A/B Machines, an original stage work collaged from texts by Andy Warhol; and TERMINER, an algorithmic performance using the Salem witch trials to interrogate contemporary intersections of gender, technology, and power.
Philip has directed and performed at venues including HERE, Ars Nova, La MaMa, the Wild Project, the Brick, the Tank, the Bard Fisher Center, and the MIT Media Lab’s Hacking Arts Festival, and has been invited to research and practice internationally at the Banff Centre, the Prague Quadrennial, and La MaMa Umbria. Philip holds an MFA in Directing from Carnegie Mellon University, where their research focused on co-presence and the politics of audience as collective in contemporary performance.
Philip maintains an active critical writing practice and has covered work in international festivals including American Realness (NYC), zürich moves! (Zürich), Tanz im August (Berlin), and TBA (Portland, OR). An archive of their performance writing can be found here.