Philip Gates is a director and performance maker creating weird, caring environments for temporary publics. Deploying queer, choreographic, and participatory strategies, his work proposes alternative possibilities and modes of relation — relation, in particular, to the spaces we inhabit, to the social and political structures we operate within, to the data generated by and about us, and to the others we share time and space with during the course of a performance and beyond.
Current projects include Intimatics by Kate Dakota Kremer, an ongoing cycle of scores investigating the intersections of performance, intimacy, and citizenship; A/B Machines, an original stage work collaged from texts by Andy Warhol; and a research and performance collaboration with visual artist Jamison Edgar exploring big data and the queer archive.
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 at the Banff Centre and La MaMa Umbria. He teaches performance to undergraduates, and writes about dance for the Contemporary Performance Network. Philip is currently based in Pittsburgh, where he is completing work on an MFA as a Directing Fellow at Carnegie Mellon University.