{Re}HAPPENING highlights

We wish we had enough room to profile all 30 projects, but here’s a quick look at a handful of them. Event locations to be determined. For background on other {Re}HAPPENING artists and projects, visit rehappening.com.

“AEROSPHERE”

Asheville artist and performer Julie Becton Gillum returns this year with “AEROSPHERE,” the second installment of her four-part butoh dance series Sphere. “AEROSPHERE,” the follow-up to 2014’s “BIOSPHERE,” is a multidimensional, multiartist performance piece combining butoh and video mapping. Unlike ballet or modern dance, butoh “has no codified, basic physical technique,” says Gillum. Rather, the style is “bound to its disparate perspective on space and time, and its authentic, primal, physical urgency.”

“Playing under the influence: The AA Room”

New York poet, musician, visual artist and certified aromatherapist Tamalyn Miller will ensure that attendees make use of all five senses. “Playing Under the Influence” summons participants to explore their temporal connections with music, color, texture and scent. Viewers choose from among seven colors, each with a corresponding inhaler, based on their personal preference or what they’re wearing. Each participant and each choice feeds into Miller’s ongoing improvisational musical performance.

“Kjell, Ør the Y: An Augmented Reality Poem & Performance”

Judd Morrissey, a poet and code artist from Chicago, is a pioneer of site-specific electronic literature. “Kjell, Ør the Y,” Morrissey’s first {Re}HAPPENING performance, assigns GPS coordinates to a series of poetic materials and texts that participants can track down using a smartphone app. The work is in constant flux, changing over time as it cycles and physically shape-shifts through themes as big and varied as time, space, Gertrude Stein and Alan Turing.

“Later Rain”

If all goes well, say Charlotte-based performance artists Eric Mullis and Matt Cosper, they will lose control. This collaborative, improvisational piece — part writing, part musical performance — is entirely subject to chance. Seated at separate desks and writing furiously, the artists will work themselves into an ecstatic state. Once they lose it, so to speak, they’ll erupt into song. “The text is created via chance procedure,” Mullis said in his project proposal, adding, “Our goal is to have the audience’s experience be as if they stumbled into some kind of religious service or ritual.”  — K.S.