by Mike Telin
On Saturday, January 9 at SPACES, Cleveland-based No Exit and St. Paul-based Zeitgeist continued their long-standing collaboration with An Evocation of Our Current Time.
Unlike most performances where the audience is aware of what they will be experiencing, this one gave you very little information in advance other than it was to be “a 55-minute multimedia experience that draws on improvisation, film, artificial intelligence, environmental manipulation, lies, magic, gaslighting and other forms of chicanery.”
Unlike most No Exit concerts there were no elaborate programs to follow. And instead of presenting a number of works by a variety of composers, An Evocation of Our Current Time was a single work by No Exit artistic director Timothy Beyer with technical assistance by James Praznik. As the capacity audience took their seats in the long gallery they were face to face with a dozen musicians, a projector, and a white wall.
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For the past eight months No Exit has been celebrating their 15th anniversary with their most ambitious project to date: 
For the recent set of concerts in their season-long celebration of the surreal, No Exit turned to two pivotal events in the history of dadaism for inspiration — the 1920 Festival Dada and the 1923 Soirée du Coeur à Barbe. This program, “Piano Dada,” included works of poetry, theater, and music that were performed at those historic Paris festivals. I attended the performance on March 16 at Heights Arts.
It’s got to be a daunting task to create something even more surreal than what we wake up to every morning in our 21st-century world, but Timothy Beyer and his No Exit new music ensemble are pulling that trick off with élan in their 
New music concerts can run the risk of sinking under the weight of their own self-importance, especially when “world premieres” are involved. Happily, while No Exit takes itself seriously, it goes about its business with a redemptive playfulness, as demonstrated in several of the entries in the hour-long concert that debuted on the ensemble’s YouTube channel on January 29.