HIJACK | HIJACK'S APARTMENT

September 17-19, 2026

HIJACK has taken up living in Red Eye. The skyline is our view. We shove the furniture aside to make room for a swirl, a twirl and some kind of kick-of-the-leg.

How do you live these days anyway? We are experimenting in animal husbandry. We are cosplaying Lady Liberty but she is melting and trashy in an 1980s way. We tumble and flow, we dig in our heels, accumulate, decay.

We are just trying to listen authentically to the walls. To each other. We are the walls. We will show you the secret doily, our secret guts spilled out across the floor. Actually. Who knows what will happen. Improvisation is our only hope for survival. We are trying to bring one thing into a sensible relationship with another (*).

While we made this dance in Minneapolis, in Berlin, Mary Ocher made the album
“Weimar”. We loved it and asked if it could come to the party. She said yes.

Liquid vertebral dance math: two people, three goats, eight songs played twice, three narratives, one album, two shoes, one dance, zero mustaches, and you. You are invited in, to two people alone and together and together with you and the imprints of our downtowns and the memories of old Red Eyes and the ghosts of a party.

(*) as in Living in the Composition, Lisa Nelson. Contredanse Editions, 2026

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.