Performance
RED EYE X Allie Hankins | KIN Artist Partnerships
Allie Hankins | By My Own Hand, Part 5: INVISIBLE TOUCH
Dates
Sat, Oct 24, 12:30 am
Sun, Oct 25, 12:30 am
Pay as you wish, suggested $18-80.
If cost is a barrier, please email communications@redeyetheater.org for discount ticket options. No one will be turned away for lack of funds.
October 23-24, 2026
By My Own Hand, Part 5: INVISIBILE TOUCH is the final installment of Allie Hankins’ five-part performance series which queers notions of autobiography and self-reflection. INVISIBLE TOUCH is a quintet featuring Linda Austin, claire barrera, keyon gaskin (Portland), Lu Yim (Brooklyn), and Takahiro Yamamoto (Boston). The performers populate the space with light, shadow, haunted objects, dancing, and songs. Through the slippery processes of deconstruction, distillation, resurrection, and re-membering, INVISIBLE TOUCH reveals an aftermath of contending methods of makers and shared histories of friends and colleagues, and confronts notions of finality, authorship, and perception of self.
Red Eye presents KIN Artists Partnerships, a four part series of artists that pass through Red Eye with one animating principle: relationship. Enduring relationship.
Red Eye is part of a national network of artistic inquiry — and KIN is a significant step toward showing up to that conversation with intention and honesty. KIN is a response to the shifting needs of commissioned work, an experiment in interrupting the transactional way we value artistry.
Every artist that is a part of KIN brings something different — different resources, histories, forms of capital. Every artist has a relationship to real people, to Red Eye, Minneapolis, to the Twin Cities, to people and practices and communities that make this ecosystem what it is.
If KIN is about relationships– relationships to people and places - KIN is also about relationships to commissioning models, and artistic inquiry as transcontinental experimentation. KIN artists are sifting through the tethered immediacy of today. KIN is about queer tragedy, reflection, bending autobiography, and grief. KIN is about what is summoned through difficulty, what we owe ourselves, and what happens after collective life changing conditions. KIN is the most hopeful survival strategy we can muster: make it up again and again. Believe in body, dancing and each other.
Photo by Hannah Krafcik
Funding
This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund. This project is made possible by the voters of Minnesota through a grant from the Metropolitan Regional Arts Council (MRAC), thanks to a legislative appropriation from the arts and cultural heritage fund. This activity is made possible by the Cultural Districts Arts Fund granted by Minneapolis Arts & Cultural Affairs. Red Eye Theater is additionally made possible by grants from the Jerome Foundation, The McKnight Foundation, and the Ruth Arts Foundation.
Accessibility
Red Eye’s space is fully wheelchair-accessible. Masks are highly encouraged. Some events require masking and masks will be available at the venue if you don't bring your own. Please only attend if you are feeling well, and if not, we are happy to change your tickets to a different day at no charge.
About the Artists
Allie Hankins
Allie Hankins is a dancer, choreographer, and facilitator who has been producing and performing experimental works in Portland since 2013. Her work centers on deconstruction and the destabilization of persona through uncanny physicality, labyrinthine logic, and a razor sharp wit. She has self-produced nine original works and toured her productions to San Francisco, Los Angeles, Seattle, New York, Berlin, Minneapolis, Albuquerque, and Cork. In the Pacific Northwest, her works have been commissioned by Portland Institute for Contemporary Art and On the Boards in Seattle. Allie’s interdisciplinary practice has led to her professional engagements with choreographers Milka Djordjevich (LA), Morgan Thorson (Minneapolis), Julien Previeux (Paris), and Heather Kravas (Seattle), and Portland artists Linda Austin, Takahiro Yamamoto, keyon gaskin, Tahni Holt, Danielle Ross, and claire barrera. Allie has performed with these artists at esteemed venues such as New York Live Arts, Jacob’s Pillow in Massachusetts, DiverseWorks in Houston, and The Walker Art Center in Minneapolis. In 2013, Allie co-initiated the ongoing Queer performance cooperative Physical Education (PE) with keyon gaskin, Takahiro Yamamoto, and Lu Yim. PE produces festivals, hosts reading groups, and teaches workshops nationally, contributing to the culture of cross-disciplinary discourse and promoting accessibility and critical engagement with performance in Portland and beyond. Allie is a co-steward of FLOCK Dance Center, where she serves as a key facilitator of Portland's experimental dance community through residency and public engagement programs. She’s been awarded residencies at Centrum, Ucross, Headlands Center for the Arts, Caldera, Djerassi Resident Artist Program, and the Robert Rauschenberg Residency. Her work has been funded by The Regional Arts & Culture Council, the Oregon Arts Commission, the National Performance Network, and the Foundation for Contemporary Arts. She is the recipient of the 2024 Spark Award for Performance from the Miller Foundation.
Takahiro Yamamoto
Takahiro Yamamoto is a multidisciplinary artist and choreographer. His current conceptual investigations revolve around phenomenological effects of time, embodied approach to the presence of nothingness, and the social/emotional implications of visibility. He has received support from Creative Capital, New England Foundation for the Arts, Bogliasco Foundation, Oregon Community Foundation, MacDowell, NCCAkron, National Performance Network, Japan Foundation, Regional Arts & Culture Council, Africa Contemporary Arts Consortium and others. His performance and visual art works have been presented at Portland Art Museum, Portland Institute for Contemporary Art, Diverseworks, Contemporary Arts Center Cincinnati, The Henry Art Gallery, GoDown Arts Centre Nairobi among other venues. Yamamoto holds an MFA in Visual Studies from Pacific Northwest College of Art. He co-directs the performance company madhause with Ben Evans, and is part of the Portland-based support group Physical Education with Allie Hankins, keyon gaskin, and Lu Yim.
Currently, he is an editor for web-based journal Critical Correpondence at Movement Research, and a visiting faculty at Studio for Interrelated Media (SIM) department at the Massachusetts College of Art and Design in Boston, MA.
Lu Yim
Lu Yim is a trans-disciplinary artist who works in experimental performance to situate pain and sensation within a queer and contemporary conversation. Their work has been presented at Performance Space NY, Seattle Festival of Dance Improvisation, Pageant (NY), Center for Performance Research (NY), and Portland Institute for Contemporary Art. Yim co-organizes with Physical Education, an artist-run collective, along with Allie Hankins, keyon gaskin, and Takahiro Yamamoto. They were a 2019 Fellow at UCross Foundation (WY) and 2020-2021 AIR at Center for Performance Research (NYC). In 2023 they worked as a Queer | Art Fellow in Performance with mentor Julie Tolentino.
They were a 2024-2025 A.I.R. Gallery Fellow (NY) and are currently a 2024-2026 Movement Research Artist-in-Residence (NY). Yim holds an MFA in Sculpture from the Milton Avery School of Art / Bard College (2019). Outside of the studio, they are a personal trainer and somatic movement facilitator. Since 2020 they have hosted a virtual mutual-aid class ‘Action & Rest’ for folks dealing with burnout, chronic pain, and chronic fatigue.
Linda Austin
Linda Austin has been creating and performing a singular body of work since 1983. Her work deploys an assortment of sound, text, visuals, props and movement to create non-linear, poetic works, often laced with an eccentric wit. As an active participant in the downtown New York dance and performance community until 1998, Austin presented work at Performance Space 122, the Danspace Project, the Kitchen, and Movement Research at Judson Church. From 1992 to 1994 she lived and made work in Mexico, returning in Mexico City in 1998 for a two-month residency sponsored by Movement Research and funded by the U.S./Mexico Culture Fund. Linda is co-founder (with lighting wiz Jeff Forbes) and director of Performance Works NorthWest. Awards include the Foundation for Contemporary Arts Merce Cunningham Award (2017), a Fellowship in Performing Arts from the Regional Arts & Culture Council (2014), as well as Fellowships from the New York Foundation for the Arts (1992) and the Oregon Arts Commission (2007 & 2019). Her work has been supported by the Regional Arts & Culture Council, the Paul G. Allen Family Foundation, and Movement Research, as well as residencies at the Ucross Foundation, Djerassi Resident Artist Program, PICA’s Creative Exchange Lab, the Ellis Beauregard Foundation and Robert Wilson’s Watermill Center. Her writing has appeared in Berm, The Movement Research Performance Journal, the literary journal FO A RM and a 2003 collection from MIT Press, Women, Art & Technology.
claire barrera
claire barrera is a movement and language-based artist who has lived and worked in Portland, Oregon since 2001. Their creative and social practices spring from a life in social justice, healing and youth work and their identities as a trans, queer, chronically ill Xicane mother. For 20+ years they have worked in anti-violence, youth and art movements, in groups including Dicentra Collective and Brown Girl Rise. Their artistic research is born from a need to interrogate my own habits of private sustenance and public action, and community-level patterns of kinship, organizing, care and harm. They are passionate about investigating the social patterns that lead to harm and the possibility of creating alternative and liberatory worlds. They believe communities can find new pathways to change via creative play together, and collaborate with activist and healing communities to bring the arts as a tool to confront the issues we face, including the very ways we organize and understand ourselves outside of white supremacist emphasis on intellect divorced from the body and heart. Their means of survival become research into how groups have survived historically, and how audiences, communities and performers get by together.
keyon gaskin
keyon gaskin prefers not to contextualize their art with their credentials.