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CONTEMPORARYPERFORMANCEALMANAC2

CONTEM
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Contemporary Performance
Almanac 2016

Contemporary Performance Almanac 2016

ISBN-13: 978-1532703607
ISBN-10: 1532703600
Contemporary Performance 2016
Contemporary Performance
105 West 10th St. #2
New York, NY 10011
contemporaryperformance.com
Cover Photo:
Yana Clarks Self RefleXion - Body of Light
Greg Heller

II

III

Note From The Editors:

Welcome to the third annual edition of the Contemporary Performance
Almanac. Were thrilled that the community of Contemporary Performance
both the online network and the larger performance worldhas responded
with such enthusiasm to this ongoing project. From the overwhelming response to the first annual edition, weve been spurred on by the positive
feedback from the contributors and readers of the book. Its exciting to see
artists returning with new work and to see new contributors to the collection.
Weve made improvements in the process of putting together this book based
on feedback from contributors and readers, and will continue to work towards
optimizing the project. We now include an online version of the Almanac in the
free PFORM mobile app.
Our motivation for the creation of this project remains the same: So often
presenters do not have access to artists and works that havent traveled
outside their city or country of origin, and artists do not have access to survey
the work of peers that might be working in sympathetic modalities.
Contemporary Performance sees a need to give artists, presenters, and
others in the field an opportunity to start new working relationships. We hope
that this Almanacas an extension of the Networkcan meet that need, and to
aid discovery, spark curiosity, and facilitate exchange.
Were continually excited to see the breadth of disciplines practiced by the
participants and the global scope of the contributions. Inside the pages of this
Almanac are the artworks described by the artists in their own words: eloquent,
challenging, provocative and urgent. Enjoy.
-Caden Manson and Jemma Nelson

Participate in the next

Contemporary Performance Almanac 2017
by submitting your work online at
https://contemporaryperformance.com/almanac-2017

Download the Almanac16 inside the free Pform App

for iPhone and Andriod at
http://pform.contemporaryperformance.com

About Contemporary Performance Network:

The Contemporary Performance Network is a social network and
community organizing platform providing artists, presenters, scholars
and festivals a space to meet, share work, and collaborate. The term
contemporary performance is used to describe hybrid performance
works and artists that travel between the fields of experimental theatre
& dance, video art, visual art, music composition and performance
art without adhering to one specific fields practice. The Network was
founded in 2010 and has grown to 7100 artists, presenters, curators,
foundations, scholars and publishers from 85 countries world wide.
As artists, we began to tour internationally with Big Art Group in 2001.
Some of our most meaningful experiences have been the personal
encounters that weve made with audiences and with other artists
through the years, and we wanted to take that experience of the festival
artists tent a meeting place to have informal conversation, exchange
ideas, and compare notes and recreate it for a global network, in
order to bring more people under its canopy and ignite more discussion.
Weve been thrilled with the response.
The Network continues to grow, evolve and adapt. As we are
experimentalists ourselves, we are always looking for new ways to
leverage technology, discover fresh communication strategies and play
with form. In the process, we are continually learning and encountering
surprises of our own as the Network changes. We couldnt have done
it without the support of family, friends and colleagues who provided
encouragement and patience through the process, and to them we say
thank you. And we thank above all the community of the Contemporary
Performance Network for their participation and spirit, whose creativity
daily inspires us and to whom this book is dedicated.
Join the network at www.contemporaryperformance.org

Table of Contents

Contents
<fidget>
(Philadelphia, PA, USA) ................................................................................................... 3
2boys.tv
(Montral, Canada) ............................................................................................................ 5
Ada Pinkston
(Baltimore, MD, USA) ........................................................................................................ 7
Agnes Btffn
(Flrli, Norway) .................................................................................................................... 9
Aidan Boyle
(Bremen, Germany) ......................................................................................................... 11
Aiko Kazuko Kurosaki
(Vienna, Austria) ................................................................................................................ 13
Akropoditi Dancetheatre Company
(Hermoupolis, Syros, Greece) ................................................................................... 15
Alan Tollefson
(Kagel Canyon, CA, USA) .............................................................................................. 17
Alba Blanco Boga
(Pontevedra, Spain) ........................................................................................................19
aleajactaest dance theater / Vasilis Skarmoutsos
(Athens, Greece) ............................................................................................................... 21
Alessandor Rachael
(Ogden, UT, USA) ..............................................................................................................23
Alexander DAgostino
(Baltimore, MD, USA) ......................................................................................................25
All The Queens Men
(Melbourne, Australia) ...................................................................................................27
Amareya Theatre & Guests
(Gdansk, Poland) ..............................................................................................................29
Ana Norrie Toch
(Edinburgh, Scotland) .................................................................................................... 31
Ana Oliveira
(Manaus, Brazil) .................................................................................................................33
Animal Cracker Conspiracy/ Rountree and Gunn
(San Diego, USA) ..............................................................................................................35
anna.laclaque
(Braunschweig, Germany) ...........................................................................................37
Anything Is Valid Dance Theatre
(Perth, Australia) ...............................................................................................................39

ARCOS Dance
(Austin, TX, USA) ............................................................................................................... 41
Ashes Company
(New York, USA) ................................................................................................................43
banished? productions
(Washington, DC, USA) .................................................................................................45
Benedikte Esperi
(Gothenburg, Sweden) ..................................................................................................47
Bernard Roddy
(Chicago, USA) .................................................................................................................. 49
Betty Grumble
(Sydney, Australia) ........................................................................................................... 51
Bjrn Ven
(Atlanta, USA) .....................................................................................................................53
BOOMERANG
(New York City, NY, USA) ..............................................................................................55
Branca Peixoto and Claudia Auharek
(Brussels, Belgium) .........................................................................................................57
Brian OMahoney
(Newark, NJ, USA) ............................................................................................................59
Carmen C. Wong
(Washington, DC, USA) .................................................................................................61
Carolina Berger | C.B. | Contemporary Performance
(So Paulo, Brazil) ........................................................................................................... 63
Caterina Genta
(Spoleto, Italy) ................................................................................................................... 65
Csar Munhoz: MITOMANO
(So Paulo, Brazil) ........................................................................................................... 67
Chris Purdie
(Orem, UT, USA) ............................................................................................................... 69
Christine Ellison
(London, UK) ....................................................................................................................... 71
CIA PARALADOSANJOS
(CAMPINAS, BRAZIL) ......................................................................................................73
Circus Foetus
(Brussels, Belgium) .........................................................................................................75
City Theatre Dublin
(Dublin, Ireland) ................................................................................................................77
Collectif AUM
(Lyon, France) .....................................................................................................................79
Compaa De Creacin Escnica
(Madrid, Spain) ..................................................................................................................81

Company R14-juliengrosvalet
(Nantes, France) ................................................................................................................83
Control Group Productions (Denver, CO, USA) ............................................... 85
CRT St. Blaise (Paris, France) .....................................................................................87
DANCING EARTH (Santa Fe, NM, USA) ................................................................ 89
Dandream Films & Shows by Daniel Arellano Mesina
(Andorra la Vella, Principat dAndorra) .................................................................91
Dapheny Chen
(Singapore, Singapore) .................................................................................................93
David Jude Greene
(Chicago, USA) ...................................................................................................................95
DEMO [Dispositivo Experimental, Multidisciplinar e Orgnico]
(Guimaraes, Portugal) ....................................................................................................97
Dimple B Shah
(Bangalore, India) ............................................................................................................ 99
Dorin Eugen Ionescu/Art EveryWhere
Association
(Bucuresti, Romania) ....................................................................................................101
Dreamwalker Dance Company
(Toronto, Canada) .......................................................................................................... 103
Elizabeth Shores (Albuquerque, NM, USA) ..................................................... 105
Emma Jayne Park [Cultured Mongrel Dance Theatre]
(Edinburgh, Scotland) ................................................................................................. 107
enrico d wey
(Berlin, Germany) .......................................................................................................... 109
Ephemera Collective
(NOVI SAD, SERBIA) ...................................................................................................... 111
Fe Vas
(So Paulo, Brazil) ..........................................................................................................113
Filipa Guimares
(London, United Kingdom) .......................................................................................115
Good Women Dance Society
(Edmonton, Canada) ....................................................................................................117
Gustavo Monteiro
(Porto, Portugal) .............................................................................................................119
GUT REACTION (Experi-Mental Theatre)
(Berlin, Germania) ..........................................................................................................121
Hand2Mouth
(Portland, OR, USA) .......................................................................................................123
Hannah Mary
(Brierley Hill, United Kingdom) ..............................................................................125

Hannes Egger
(Bolzano, Italy) .................................................................................................................127
Hear the Dance
(Warsaw, Poland) .......................................................................................................... 129
Heidi Jessen
(Oslo, Norway) .................................................................................................................131
herStay
(Global, Norway) .............................................................................................................133
HORSE
(Taipei, Taiwan) ................................................................................................................135
Igor Almeida
(Rio de Janeiro, Brazil) .................................................................................................137
Izumi Ashizawa Performance
(New York, NY, USA) .................................................................................................... 139
Jana Orlov
(Prague, Czech Republic) ..........................................................................................141
Jessi T Walsh
(Chicago, IL, USA) .......................................................................................................... 143
Joana Gelazyte
(OSLO, NORWAY) .......................................................................................................... 145
John Scott Dance
(Dublin, Ireland) ..............................................................................................................147
Jorge Feitosa
(So Paulo, Brazil) ......................................................................................................... 149
Joseph Silovsky w/ Victor Morales and Catherine McRae
(Brooklyn, NY, USA) .......................................................................................................151
Josephine Turalba
(Manila, Philippines) .....................................................................................................153
Jui Mhatre
(Manhattan, KS, USA) ...................................................................................................155
Julieta Gutierrez, Santiago Torrente
(Buenos Aires, Argentina) ..........................................................................................157
K&C Keklinen & Company
(Helsinki, Finland) ......................................................................................................... 159
Kate Mueth and The Neo-PoliticalCowgirls
(East Hampton, NY, USA) ...........................................................................................161
Kevin Trappeniers / Stray Light
(Brussels, Belgium) ...................................................................................................... 163
Kim Miller
(Milwaukee, USA) .......................................................................................................... 165
Komorebi
(Mexico City, Mexico) .................................................................................................. 167

Kristina Inirait
(Vilnius, Lithuania) ........................................................................................................ 169
Kuttu Kalai Kudam Centre for Performing Arts
(Punjarasantankal Village, India) ...........................................................................171
Laura Bartolomei
(Acquapendente, Italy) ...............................................................................................173
Laura Corcuera
(Braojos de la Sierra [Madrid], Spain) ..................................................................175
laura shapiro/quicksilverdance
(New York, NY, USA) .....................................................................................................177
Liam Warren
(Marseille, France) ........................................................................................................ 179
Little Lord
(Brooklyn, NY, USA) .......................................................................................................181
LuLu LoLo
(New York City, NY, USA) ........................................................................................... 183
Mara Santos
(Lisbon, Portugal) .......................................................................................................... 185
Maria Gillespie and Nguyn Nguyn
(Milwaukee, USA) .......................................................................................................... 187
Mariah Steele/Quicksilver Dance
(Oakland, California, USA) ........................................................................................ 189
Marina Nabais
(Lisbon, Portugal) ...........................................................................................................191
Markus Hensler
(Bern, Switzerland) ....................................................................................................... 193
Matto Lucas
(Melbourne, Australia) ................................................................................................ 195
Mauricio Gonzalez
(Las Palmas De Gran Canaria, Spain) ................................................................. 197
Mem Nahadr (New York, NY, USA) ....................................................................... 199
MET dance Company
(Houston, TX, USA) ....................................................................................................... 201
Michael Fenlason and Strada Company
(Tucson, AZ, USA) ..........................................................................................................203
MINWAL Theatre Company
(Saida, Lebanon) ............................................................................................................205
Miriam Carroll
(Limerick, Ireland) .........................................................................................................207
Modern Recollections
(Seattle, WA, USA) ........................................................................................................209

Molitrix Scenekunst/ Linda Birkedal

(Stavanger, Norway) .....................................................................................................211
MP_art [Maja Budzarov & Predrag Sidjanin]
(Novi Sad, Serbia) ...........................................................................................................213
NINO Maglakelidze-Sheets & C.A.R.L
(Tbilisi, Georgia) ..............................................................................................................215
Noelle Tolbert
(Baltimore, MR, USA).....................................................................................................217
OLICORNO
(Montral, Canada) ....................................................................................................... 219
Open Works Lab (
Malta, Malta) .....................................................................................................................221
Paris Legakis
(Athens, Greece) ............................................................................................................ 223
PartSuspended
(London, UK) .................................................................................................................... 225
Patrick Saint-Denis
(Montral, Canada) ....................................................................................................... 227
PRAXIS
(Tehran, Iran) ....................................................................................................................229
Proto-type Theater
(Lincoln, UK) .....................................................................................................................231
Prying Eye Productions
(Brisbane, Australia) .................................................................................................... 233
Rachel Erdos
(Tel Aviv, Israel) ............................................................................................................... 235
Rainer Pagel
(Belfast, UK) ..................................................................................................................... 237
Ralph Hall
(S. Jean Cap Ferrat, France) .....................................................................................239
RAZOR Inc
(Toronto, Canada) .......................................................................................................... 241
Rebecca Bryant Danceworks
(Long Beach, CA, USA) ............................................................................................... 243
Renzo Spiteri
(Malta, Malta) .................................................................................................................. 245
Riccardo Attanasio Matlakas
(London, UK) .................................................................................................................... 247
Robert Lee
(Dallas, TX, USA) ............................................................................................................249
Rosa Aguilera
(Marseille / Bcn / Bruxelles, Europe) ................................................................251

Rosanna Terracciano
(Calgary, Canada) .......................................................................................................... 253
Sara Zalek
(Chicago, IL, USA) .......................................................................................................... 255
Sasso & Company
(Boston, MA, USA) ......................................................................................................... 257
Scimmie Nude
(Milan, Italy) ......................................................................................................................259
Selin Kocagoncu
(Istanbul, Turkey) ........................................................................................................... 261
Shoshanah Ciechanowski
(Tel Aviv, Israel) ...............................................................................................................263
Slaveya Minkova
(Sofia, Bulgaria) ..............................................................................................................265
Sofia Karoumpa
(Athens, Greece) ............................................................................................................267
Sonia Gmez Vicente
(Barcelona, SPAIN) .......................................................................................................269
Sonia York-Pryce BVA, BDM(Hons) PhD candidate (
Gold Coast, Australia) ..................................................................................................271
Spyros Kouvaras / Compagnie Synthesis 748
(Athens, Greece) ............................................................................................................ 273
Studio Reynard | Hlne Lesterlin
(Saugerties, NY, USA) ................................................................................................. 275
Sumangala Damodaran and Friends (
Delhi, India) ...................................................................................................................... 277
Tania Alice
(Rio de Janeiro, Brazil) ................................................................................................ 279
Tantehorse
(Prague, Czech Republic/NYC, NY).................................................................... 281
Tatiana Svrckova Larsen
(Salt Lake City, UT, USA) ............................................................................................283
Laura Katz Rizzo
(Philadelphia, PA, USA) ..............................................................................................285
Thaise Nardim
(Palmas, Brazil) ...............................................................................................................287
The Ghost Road Company
(Los Angeles, CA, USA)...............................................................................................289
The Louis Armstrong Society Jazz Band
(New Orleans, LA, USA) ............................................................................................. 291
The Lucie Lee Dance Company
(Huddersfield, United Kingdom) ..........................................................................293

The Moving Architects

(New York City, NY, USA) ...........................................................................................295
The Nerve Tank
(New York, NY, USA) .................................................................................................... 297
The Performing Kitchen - Marcos Moraes
(So Paulo, Brazil) .........................................................................................................299
The Queen of Luxuria
(Chicago, IL, USA) .......................................................................................................... 301
Theater Mitu
(New York City, NY, USA) ...........................................................................................303
Theis & Nuno
(Copenhagen, Denmark) ...........................................................................................305
Thomas Kortvelyessy / Real Dance Company
(Rotterdam, Netherlands) ........................................................................................307
Tia Nina
(Washington, DC, USA) ..............................................................................................309
Tiarma Dame Ruth Sirait
(Bandung, Indonesia) ...................................................................................................311
Tore Vagn Lid / Transit Theatre Company
(Bergen, Norway) ...........................................................................................................313
Tormod Carlsen
(Oslo, Norway) .................................................................................................................315
Untitled Theater Company No. 61
(New York, NY, USA) .....................................................................................................317
Vidisha Saini (Fadescha)
(New Delhi, India) .......................................................................................................... 319
Vik Laschenov
(Moscow, Russia) ............................................................................................................321
Walter Dundervill
(Brooklyn, NY, USA) ...................................................................................................... 323
WHS / Kalle Nio
(Helsinki, Finland) ......................................................................................................... 325
Yana Clark
(Santa Cruz, CA, USA) ................................................................................................. 327
zoe | juniper
(Seattle, WA, USA) ........................................................................................................329
Zoe Robertson
(Birmingham, United Kingdom) .............................................................................331

Artists and Companies

Photo: Johanna Austin

<fidget> (Philadelphia, PA, USA)

<fidget> is a platform for the collaborative work of Megan Bridge (choreography) and Peter Price
(time-based media). <fidget>s performance works are dark worlds populated by biological, posthuman entities. Somatic, improvisationally generated movement is choreographed into formalist
structures. Interactive technology creates a sonic and visual environment which breathes in response to
the dance. Bridge and Price create awkward dystopias, referential and even appropriationist, grounded
in the discourses of contemporary art, culture, and theory (we like experiments). Focusing on the
materiality of movement, sound, and environment, <fidget>s work can be seen as a sort of metaphysical spelunking: churning up bits of evidence with which to construct a biological commentary on the
effects of a machinic and increasingly compartmentalized existence.
As artists, researchers, and curators Bridge and Price aim to challenge conceptual paradigms in the arts
and humanities and to deepen thinking about culture and the nature of human experience. <fidget>s
work has been seen in Berlin, Dresden, Johannesburg, Vienna, Zurich, Poznan, Detroit, Philadelphia,
New York, Pittsburgh, and Phoenix. The origin of <fidget>s collaborative work is multimedia dance
theater, an orientation that follows the historical legacies of Bauhaus, Ausdruckstanz, 1960s experimentalism, performance art of the 70s and 80s, and developing digital multimedia. Since 2000,
<fidget> has created twenty original works that involve live performance, sound, and visual design.
DISCIPLINES: Dance, Music, Theater, Performance, Experimental, Improvisation

Dust
Time expands, narrative shimmers forth and slips away; formalism meets humanity in <fidget>s staging of Robert Ashleys experimental opera Dust. Working with the original recording and a cast of five
dancers, director/choreographer Megan Bridge cultivates a shifting performance landscape that builds,
swells, loops back and comments on itself. The works complex musicality and surreal narrative carry
a strangely ebullient and humorous tone despite subject matter that includes war and a drug-induced
conversation with God. Ashley was known for the distinctly American voice, language patterns, and
structures of his operas. Bridge weaves movement that sometimes skates on top, sometimes intersects,
and sometimes rides the wave of Ashleys score. Movement and voice vacillate between a delivery that
is muttered then precise, pedestrian then virtuosic. An homage to minimalism is evident in the work
(Bridges choreographic mentor for the project was Lucinda Childs), yet is tempered by an improvisatory, somatic approach to movement generation that is inspired by working with Deborah Hay. Video
design by Peter Price responds in real time to the dancers movement, creating a colorfield effect that
breathes with the dance. Anthropologist and critic Carolyn Merritt (thinkingdance.net) writes of
Dust: Here time slows down...I sense a collective inhale. It links usone to another, audience to dancers, dancers to voices... If nothing can keep the river of time in place, perhaps the only remedy is to
jump in with both feet as often as we can...Nourish that part of ourselves that is infinite.
Production History: Tanzmesse, Dusseldorf (August 2016), FringeArts, Philadelphia PA; Lightbox,
Detroit MI (preview)
Video: https://vimeo.com/130364167
Contact: [email protected]
Website: http://www.thefidget.org

@fidgetspace

Contemporary Performance Almanac 2016

Photo: 2boys.tv

2boys.tv (Montral, Canada)

Since 2002, 2boys.tv, has pursued a collaborative practice that traverses disciplinary boundaries and
political frontiers. Comprised of artists Stephen Lawson and Aaron Pollard (notoriously known in
some circles as alter egos Gigi LAmour and Pipi Douleur), along with an ever growing roster of
co-conspirators, they are active locally, nationally and internationally. Their beginnings as an art duo
emerged from Montrals wildly eclectic cabaret scene. Subsequently, they have toured their interdisciplinary works and taught multidisciplinary creation across the country, to museums, galleries, theatres,
artist-run centres, universities and festivals. Their ongoing collaborations with colleagues abroad at
various intersections of performance and politics have brought them into a dialogue with spectators
throughout North and South America and in Europe.
As an artistic duo Lawson and Pollard share authorship on all projects and work from a tradition of
creative expression that cuts across artistic disciplines. Their practice - which they plan, write, construct, embody and perform - results in artworks whose forms are determined by their core ideas
and central passions and which incorporate unique approaches to video projection, costume, music,
sound, spectator participation and the dynamic use of space. 2boys.tv strives to consolidate and
expand on a practice that has turned from a politicized -though relatively hermetic- repertoire of
performances and installations to the development of permeable art works that demand from them a
deeper social engagement through collaboration.
DISCIPLINES: Performance, Projection, Music

TIGHTROPE
In 2011, 2boys.tv embarked on a quest to confront their relationship with the generation that vanished with the AIDS crisis and the societal amnesia surrounding this loss. While touring performances
in North and South America a parallel presented itself to the artists; individuals and cultures threatened by a systemic suppression of memory and the ever present ghosts of the disappeared. The result
of their exploration is Tightrope (English language title), a theatrical song-cycle for the forgotten.
Backed by a virtual choir of singers and musicians, 2boys.tv summon the shadows, apparitions and
voices of the disappeared; an invitation for us all to participate in a communal act of remembering.
As cabaret performers, Montral-based 2boys.tv elevate drag performance to the level of a sacred art
form. For Tightrope, they gather a chorus of local drag queens and gender-queer performers to play
the roles of sublime high-camp mourners. In a performance format that includes live and pre-recorded
music, texts and actions, this queer chorus interacts with projections to create a stunning visual spectacle. Within the cosmology of the performance, these queens function as profane shamans, witnesses
and guides through our communal memorial.
Tightrope and subsequent iterations Cuerda Floja (Mexico City, Havana), Corda Bamba (So Paolo),
and Corde Raide (Montral) were created in collaboration with performance artist and musician
Alexis OHara, whose poetic sound works and installations have been presented internationally.
Production History: 12th Havana Biennial (Cuba), Laboratorio Arte Alameda (Mexico City), Encuentro SESC/ARTprod (So Paulo), Triennale Quebecoise, Musee dart contemporain (Montral),
Buddies in Bad Times Theatre (Toronto)
Video: https://vimeo.com/112350063
Contact: [email protected]
Website: http://www.2boys.tv

https://www.facebook.com/2boystv/?fref=ts
Contemporary Performance Almanac 2016

Photo: Kristin McWharter

Ada Pinkston (Baltimore, MD, USA)

Ada Pinkston is a multimedia artist, educator, and organizer living and working in Baltimore, Maryland. Born in New York, her art explores the intersection of imagined histories and sociopolitical
realities on our bodies using monoprint, performance, experimental video, and collage techniques.
Inter-subjective exchange is also the primary substrate of her work. Her work has been featured in
Transmodern Performance Festival, P.S.1, and the streets of Berlin. A recipient of a Mississippi State
Arts Council Grant, Blaunstein Scholarship, and Michael Mazur Printmaking Scholarship, her most
recent collaborative project includes founding the LabBodies Performance Art Laboratory in Baltimore Maryland.
DISCIPLINES: Installation, Dance, Video, Movement, Interactive, Projections

This Bridge Called My Back or the never ending labor of

creating space to move past the isms
This Bridge Called My Back or the never ending labor of creating space to move past the isms is a
durational performance and installation that examines the intersections of oppression. For a period of
4 hours, the artist copies down text from the book 100 Years of Lynchings while recorded footage
found online of police brutality is projected on a loop. The artist deconstructs this intergenerational
trauma through movement throughout the installation that consists of hand painted fabric, projection, two chairs, paper, and one charcoal stick.
Production History: Gallery CA, Baltimore, MD
Video: https://vimeo.com/user1809591
Contact: [email protected]
Website: http://adapinkston.com

@adaanyanwu
https://www.facebook.com/adapinkston
Contemporary Performance Almanac 2016

Photo: Agnes Btffn

Agnes Btffn (Flrli, Norway)

Agnes Btffn is born in Jarnac, France and studied at the Norwegian Art Academy of Oslo in 1981/84
and 1990/92. In 1985/88 and 1990/91 she was apprentice/student and technical associate at the
Printshop of Rogaland Artists Association (BKFR), Stavanger, NorwayAgnes Btffns fokus is Crossover
performance projects involving printmaking, installation, photo/video, sculpture with social /existential contexts and participations of the public...
An existential tension passes through all of artwork by Agnes Btffn, who tries to unsettle what is
complacent and celebrate vitality, and an awareness of our presence in the world. Btffn invites us to
rediscover the path of becoming aware of our relationships to things, our relationship to each other
and our relationships to the world. Through a new ritual, she invites us to discover the mystic nature
of existence, to engage in mystical experimentation and seek, for ourselves, beyond the established,
settled and disembodied dogmas.
from the text Gravity and grace by Sylvain Berland written for the installation and workshop
e dive in the universe Haugesund 2008
DISCIPLINES: Performance, Printmaking, Installation, Photo, Video, Multimedia

#Fifl - Figures for landscapes - Nablus Palestine Adnan/

Osama
FIGURES FOR LANDSCAPE is a live sculpture project based on Barbara Hepworths sculpture
<<Figure for landscape>>
It is a performance project inspired by the sculpture FIGURE FOR LANDSCAPE by the british artist
Barbara Hepworth. The owner KUNSTHALL STAVANGER, sold it June 25 2014.
The sale created chaos in the population of Stavanger, the Norwegian town well known for being the
oil capital of the north. Among the most disappointed persons were artists and specialist in the art
field. Other artists and people interested in contemporary art supported the sale, though reluctantly :
after a fastidious work over several years to find sponsors to strengthen the economy of KUNSTHALL
STAVANGER, a project to give new energy to the 150 years old art institution earlier called Stavanger kunstforening <<Stavangers Art association, the leadership decided to sell the most valuable
sculpture in town. Today only the base of the sculpture is left.
The performance is participative, the public are the performers following instructions given below:
How to #Fifl with your friends?
You take a base, a friend or two and together you create a figure which reminds us of Barbara Hepworths sculpture FIGURE FOR LANDSCAPE.
With your feet standing together on the base, make your bodies create a figure which slips the landscapes through open spaces. Observe carefully how the figure is joined on the base and at its top.
The live sculpture is photographed and like in Hepworths FIGURE FOR LANDSCAPE, one can
see the landscape through it in the picture. It is therefore important with open spaces.
Production History: #Fifl - Figures for landscapes is a new project created in 2014 presented on
Facebook as it develops and various small places like KK - Kverulant katedral a debate program at
Sting in Stavanger, and in Florli Norway.
Video: https://youtu.be/kfXcrLQWZ0I
Contact: [email protected]
Website: http://www.abtffn.com
https://www.facebook.com/figuresforlandscapes/
Contemporary Performance Almanac 2016

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Photo: Samyak Tamrakar

Aidan Boyle (Bremen, Germany)

Aidan Boyle is a mixed media artist, composer and producer. He blends emergent media and technology with electronic music, visual art and the performing arts. His artistic productions incorporate
emerging media, algorithmic methods, generative visuals, live electronics, and the use of the computer
as co-performer. He uses interactivity and motion-tracking technologies as a medium to explore the
blurring boundaries between art and science. He explores innovative ways of using new media to
create novel interactive dance performances. His works range from real-time composition from dance
movement to the sonification of data. With a hybrid background in science, composition and new
media arts, his works bridge participatory/collaborative cultures and networked environments within
performance. Aesthetically he explores the emotion that is experienced through mixing interactive
visuals and sonoric media. Aidan has performed and exhibited both nationally and internationally
including Ireland, Spain, Germany, Brazil and Turkey. Originally from Ireland, he currently lives in
Bremen, Germany.
DISCIPLINES: Interactive Dance, Sound Art, Electroacoustic Composition, Motion Tracking, Interactive
Visuals

New Beginnings
Starting something from scratch always involves a long list of antagonistic forces: it can be intimidating and enticing, frightening and inspiring, exhausting and enriching, and all at the same time. New
beginnings require letting go of the past, leaving ones comfort zone, and taking a step forward. They
are impossible without fear, insecurity, and torment on one hand, and faith, courage, confidence, and
hope on the other. These countless ingredients of New Beginnings are embodied by the dancers in
a composition of contemporary dance and interactive sound/visual design. The performance offers a
glimpse into all possible adversities on the road to a fresh start. The scenes cover a wide range of first
encounters and challenges: from learning to walk, to the exhilaration of a new love; from the feeling of
intense pain and immense joy when giving birth, to the struggle to find endurance each time we start
a new endevour. The German art journalist Ulf Buschmann defined the performance as reminiscent
of the works of Pina Bausch in the sense that it converts inner thoughts and feelings into movement.
The music and visual designs are inspired by a minimalistic model that draws the audience in by artfully directing their attention to both visual and sonic details. New Beginnings takes the audience on
an emotional journey that is amplified by cues from dance, sounds and images, and it affords each and
everyone the freedom to interpret and internalize the performance in a very personal manner.
Production History: Theaterspace, Bremen, Germany
Contact: [email protected]
Website: http://www.aidanboyle.de

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Photo: SKA/Karin Schranz

Aiko Kazuko Kurosaki (Vienna, Austria)

Aiko Kazuko Kurosaki was born in Tokyo (JP) and studied dance and music in Vienna and Chicago.
She received scholarships for further education in Vienna, Salzburg and Chicago. She was responsible
for concept, artistic direction and choreography of the series Tanzwerkstatt Metropol 1988/89 in
Vienna, where she was also featured as a dancer. She was member of the Butoh Company Cie. Ariadone / Carlotta Ikeda and worked as the assistant of Carlotta Ikeda in Vienna (ImPulsTanz, Wiener
Festwochen), Tokyo, Paris, Berlin, Bordeaux a.o. between 1991 and 1999.
Her Solos: Kokoron (premiere 1993, Festival for Contemporary Art, Bolzano/IT); the show window
/ display project No Comment (2009, LABfactory, Vienna); BLANK for Untergang Art (a
co-production with Tanzquartier Vienna and NOMAD.theatre); Nett (2013, tanz ist Festival for
Contemporary Dance in Dornbirn/AT) a.o.
In addition she created several solo and group projects with Cie. Aiko for the Festival Transart Labin
(HR), Haapsalu, Laanemetsa (EE), Imagetanz 1954 (Vienna), Q202 (Vienna), Soho in Ottakring
(Vienna), tanz ist Festival for Contemporary Dance in Dornbirn/AT) a.o.
Aiko creates performances, living installations, performative interventions in public space and transdisciplinary projects with the focus on environment and social critical topics, such as a performance/
flash mob at the UNO-City Vienna for the memorial day of Hiroshima and Nagasaki against the reopening of the nuclear power plants in Japan after Fukushima and is a co-initiator and artistic director
for One Billion Rising Vienna 2013/14/15/16 a.o.
DISCIPLINES: Dance, Performance, Choreography, Butoh, Performing Art, Music

NETT - Boiling Water

The fine art of cooking reduced to its minimum the element water and the concentrated action of
it becomes a dance, an existential poetry which guides the audience through cultures and time.
Boiling water a limit state inbetween two aggregate forms as a synonym for the critical state of our
currrent beeing.
The everyday life of the Japanese society is associated with innumerous rituals. These rituals are not
only the echo of past traditions, but stand for respecting life, action and entity. They are in strong
contrast to life in the frantic, digitized, Manga-like, crazy mega-metropolises of Japan.
The radical process of change makes the global fragmentariness of the society visible.
Aiko is intensivly working with the basic principles of existence and the human exposure to those.
From the roots of her origin and her long term western life experience, she is translating traditional
forms and rituals into the contemporary contexts of our present time.
Concept, choreography, dance an performance Aiko Kazuko Kurosaki / live sound Franz Hautzinger / dramaturgy, stage and light design Thomas J. Jelinek / digital sound, visual media Thomas
Wagensommerer.
Co-production of tanz ist and nomad-theatre
Production History: tanz ist - Festival fur zeitgenossischen Tanz, Dornbirn, Vorarlberg, Austria
Video: https://vimeo.com/90102561
Contact: [email protected]
Website: http://www.aikaku.net

@KazukoKurosaki
https://www.facebook.com/aiko.k.kurosaki
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Photo: Michalis Argyriou, Loukia Batsi

Akropoditi Dancetheatre Company

(Hermoupolis, Syros, Greece)
Akropoditi Dancetheatre Company is a dance theatre company that was created in the island of Syros
with the initiative of Angeliki Sigourou. From October 2005 onwards the company exists as a NonProfit Organisation, registered in Syros Island, Greece and has created the performances Sebastian
(2015), Prayer (2015), Enestotas (Present Tense) (2015), Medusa (2014) in collaboration the
Orchestra of the Cyclades, Two states of waiting (2013), Prayer In 7 Parts (2012), Medeas
Choice (2011), in cooperation with Renato Zanella and the National Opera of Greece, PrayerPart 1(2010), The Last Monster, nine fables and a tale (2008), The Theatrical Art of the Beasts
(2007), Meetings (2006) and The Fisherman and his Soul (2005).
In January 2013 the company founded the Dance Centre, expression and creation in contemporary
arts Akropoditi, which work as a Studio for dance lessons and as a Workshop Center for Art projects
and events. Since April 2013, the Centre offers Residency programs for Performing Arts, Theatre,
Dance, Music, Literature and Educational Programs. In July 2013 Akropoditi Dancetheatre Company
founded Akropoditi DanceFest, a reoccurring international festival that hosts artists from Greece and
abroad, combining theoretical and practical workshops with diverse content.
DISCIPLINES: Research In The Field Of Movement And Expression, Support The Cultivation Of Mind
And Body, Free Creation

Medusa
The performance Medusa is a collaboration of the Akropoditi Dancetheatre and the Orchestra of the
Cyclades. The show involves 13 dancers, 13 musicians and 2 opera singers.
Composition - Conduction: Nikos Kypourgos
Direction - Choreography: Angeliki Sigourou
Myth: The performance is based on the Greek myth of Medusa. Medusa, of ravishing beauty and exquisite long hair, was a maiden and a priestess of Athena. Poseidon, charmed by her beauty, transforms
himself into a horse and rapes her in Athenas temple. The enraged goddess takes her fury out on
Medusa, transforms her hair into serpents and makes her live isolated on a rock. Most of all, she gives
her the power to turn onlookers, gazing directly into her eyes, to stone. Thus, Medusa remains all
alone in her wild dwelling. Whoever dares come close and set eyes on her, is doomed to stay with her
permanently, transformed into a dumb stone statue. All but Perseus. The adolescent Perseus, decapitates Medusa with the support of Hermes and Athena, and becomes a demigod hero. Medusas head,
Gorgoneion, is placed on Athenas shield, for its forbidding power is preserved even after death, thus
turned into a symbol of protection, deterrence of the enemy and gaining immortality.
Music: Medusas myth is directly related to the music, especially to its birth. According to it, Athena
invented the aulos in order to imitate the screamings and wailing of the Gorgons, following Medusas
decapitation. Thus, aulos became the instrument of ecstasy and fear, as well as the means through
which the art of music was donated to mortal people.
Production History: October 2014, Syros-Culture, Apollo Theatre, Hermoupolis-Syros.
Video: https://vimeo.com/user8568154
Contact: [email protected]
Website: http://akropoditi.gr/
http://tinyurl.com/hukfdxu
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Photo: David Flaten

Alan Tollefson (Kagel Canyon, CA, USA)

Alan Tollefson was born in Somerset, New Jersey in the United States in 1965. He earned a BFA in
1988, studying performance art, video, and sculpture at the School of the Art Institute of Chicago.
Tollefson earned an MFA in digital art and new media at the University of California at Santa Cruz in
2007. His work is inspired by the phenomenology of the performing body in the built environment.
He is also passionate about the problematic of power structures and systems of control over social
groups during civil rights abuses. In 2011 Tollefson formed The Bureau on Social Research Unit at the
University of La Verne as a think tank for developing ideas in interdisciplinary pedagogy. In the same
year Tollefson formed the performance collective UBIK et al to develop a performance program which
uses self-hypnosis to embody imaginary architectures. Tollefson is a multimedia artist who has exhibited new media works at McDonough Museum of Art in Youngstown, Ohio, and at Digital Media
Factory and Porter Sesnon Gallery, both in Santa Cruz; sculpture at Artists Space in New York City;
and performance art at Lower Links, Randolph Street Gallery, and N.A.M.E Gallery, all in Chicago.
He played the role of an angry audience member in Yvonne Rainers ROS/Indexical at Redcat Theater
in Los Angeles, Ca. In Beth Stephens and Annie Sprinkles purple wedding in Altadena, Ca, he performed Moon Clown. His original work Frozen Music/Pink Noise was presented in 2012 at Human
Resources in Los Angeles, Ca. Most recently he presented his original work URUK at The University
of La Verne.
DISCIPLINES: DanceTheatre, DigitalMedia, PerformanceArt, PostDramaticTheatre, PerformativeArchitecture, ArtePovera

URUK
An interpretation of the Gilgamesh epic, placed in the present day Persian Gulf, drawing comparisons
between the invasion of Iraq led by the Bush administration and the hubris of the warrior king. Presented in the style of dance theatre with a video design that encompasses the entire stage.
Production History: University of La Verne
Contact: [email protected]
Website: http://www.facebook.com/events/778989268848866

http://www.facebook.com/events/778989268848866
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Photo: Maya Kapouski

Alba Blanco Boga (Pontevedra, Spain)

Alba Blanco Boga (Vigo, 1981). Degree in Fine Arts, Master of Arts in Picture Book and Animation
from University of Vigo. Nowadays writing a PhD in Performance Art.
In her artistic work come together several disciplines like children book illustration, interactive books
design, audio-visual creation and performance art. In one or another way, all these materializations of
her work end up by tending to the drawing.
These representations share a common concern: to show The Spectacle of the Day-to-Day. In addition, she integrates the parallel knowledge that she has been acquiring during her personal formation
as the cuisine, the dance or the circus.
The base of her imaginary aesthetic is The House as scene, extolling daily activities, domestic objects
and childhood memories.
Nowadays she is enrolled in the PhD program Creation and Research in Contemporary Art at the
University of Vigo. She focused her research in fitting together two of her greatest interests: performance art and fairy tales.
DISCIPLINES: PerformanceArt, ContemporaryArt, Illustration, Videoart, InteractiveBooks

Chumba 3
Piece for the Performance art festival Chmalle 10, Spain Square, Pontevedra.
4 performer, clothes and shoes, ice, synthetic hair and chalk-stones
About 45
Starting from the Cinderella tale and using numeric structures extrapolated from folktales, as well as
a few of their usual magic objects, such as hair or shoes, we try to build a poetic approach that speaks
about the loss and also about the childhood as a haven of comfort.
Production History: One
Contact: [email protected]
Website: http://www.albablancoboga.com

https://www.facebook.com/AlbaBlancoBoga
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Photo: Yiannis Priftis

aleajactaest dance theater / Vasilis Skarmoutsos

(Athens, Greece)
Vasilis Skarmoutsos
I was born on 20/12/1984 in Lamia. I have studied Communication and Mass Media
(undergraduate) and cultural and film studies (postgraduate) at the university of Athens, and dance at
the professional dance school Rallou Manou. I have attended a series of seminars on classical ballet,
modern dance (Graham, Limon, release), improvisation and partnering, alexander technique and
choreography with Greek and foreign teachers. At the same time, I participated in seminars of acting,
directing and vocal training. I have worked as a performer with various choreographer,directors and
artists. In December 2011 I founded the dance theater group Aleajactaest, with which I choreograph
and direct my own projects. My work is based on dance, theater, devised theater and improvisation
and significant role has the detailed research on every subject (through history, articles, photography
etc.). Until summer of 2015 I have presented 10 different pieces. The performances are mainly based
on social subjects, and there is an attempt to comment on how the nowadays society has formed (example delirium was about hysteria and memoria about social memory). My main goal in the work
I create, is to show through the art of dance/theater my own aspect of the world and its matters, and
art, through me, functions as a statement.
DISCIPLINES: discipline, strenght, loyalty, devotion, insistence, patience

Beings
The concept of being is often restricted to describe entities (such as the concept of human being).
The human being, according to science, has gone through various stages of development and could
be examined in many ways, one of them is psychology. The beings refers to two human beings, in
a random time and space observing their communication but at the same time their existence also,
such as units but as an interaction between them. Their relationship is being discussed between the
diptychs of sleep-dream, consciousness thinking, motivation-emotion, and sexuality-love.For me the
importance of our existence is a great matter of my thoughts and by Beings I started the research of
that, on what our existence is and its different forms and ways of acting. Beings was a collaboration
between me and the composer Odysseas Gkallios, we both worked on the subject of the performance
separately and we united our works at last, our goal is to continue this work further.The audience
helped on that decision as they were very positive to the choreography although I prefer to use minimal and weird movement. The performers were me and dancer Eva Michala and the photographer
Yiannis Priftis helped us a lot in the artistic view of the performance.
Production History: festival music in motion in Athens
Video: https://vimeo.com/user19210913
Contact: [email protected]
Website: http://aleajactaest.gr

https://www.facebook.com/aleajactaest.gr
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Photo: Alessandor Rachael

Alessandor Rachael (Ogden, UT, USA)

If intimacy is what I ask for, dont I owe the viewer some of mine? My work is personal, and necessarily so. I am interested in intimacy and the way I relate to the world relates to me. My work is relational, and I am interested in what the viewer brings to it, which makes my work more about conversation
than message.
I want to tell you that it kills me knowing I can never hold onto anything, no matter how much I love
it, and no matter how lovely.
DISCIPLINES: Performance, Video, Body Art, Correspondence, Relational Aesthetics, Sculpture

Never done it before. Seems lonely.

In July, 2015, I faked my own disappearance by disconnecting on social media and ceasing any communication with my friends and family for eight days while traveling in Europe. Originally intending
the duration of the piece to be about two months, I ended it early because although I was disconnected and unable/unwilling to watch the reactions of my friends, my European connections who knew
about the project told me what was happening, and I felt two months would be excessive. I had hoped
it would take longer for anyone to even notice my absence. It turns out that silence on social media,
even just for a few days, will be noticed and have an effect. If youre not connected, something must
be wrong. In the past, it might have taken months or years for someone to find out their friend was
missing. Maybe never. Documentation of this piece includes recorded footage from before, during,
and after the performance of conversations between myself and the people I met which examine why I
did it and form the basis of a more intimate exchange between us. This work began with the intent of
putting parameters on myself to explore mortality and became a work about loneliness and connection, the impact of social media, and conversation as process. There is a long history of performances
relating to death and disappearance, most remaining pretty mysterious. This is, as far as Ive been able
to find, the most documented work of its nature.
Production History: London, England; Brussels, Belgium; Amsterdam, The Netherlands; Berlin,
Germany; Vienna, Austria; Paris, France; Madrid, Spain; Barcelona, Spain; Ogden, Utah, United
States; Facebook; YouTube; Weber State University.
Video: https://www.youtube.com/playlist?list=PL-usl6rjiVW7ToHv7gKWfNDIFhXs1LutX
Contact: [email protected]
Website: http://lenomduvide.com

@scissorpuppet
https://www.facebook.com/scissorpuppet
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Photo: Ada Pinkston

Alexander DAgostino (Baltimore, MD, USA)

Alexander DAgostino is an interdisciplinary artist, teacher, and arts organizer based in Baltimore,
Maryland. He graduated from the Maryland Institute College of Art in 2009 with a BFA in painting.
He investigates the queer and otherworldly through dance, ritual, installation and performance art.
The presence of the witch throughout history has always been one embraced and celebrated in radical
and queer communities. Channeling the abject nature of the Witch is a powerful way of using myth
and metaphor to critique and invent new ideas of gender and agency. Alexander is a Resident Artist at
the EMP Collective, where he has developed and co-curated Queer Pulse: an annual review of queer
performance art,teaches dance and movement research, and develops new performances with his collaborator Noelle Tolbert. His own work has been presented at Vox Populi in Philadelphia, the Center
for Contemporary Art in Afghanistan in Kabul, the Baltimore Museum of Art, Chashamas Summer
performance series in Manhattan, Panoply Performance Laboratory in Brooklyn, Bunker Projects Performance Art Festival in Pittsburgh, among others. His movements focus on the transformative power
of gestures, specifically in subverting of ballet with occult rituals in attempt to carry the physical body
into a state of ecstatics. His work is an attempt to listen to and develop an intuitive sense of the world.
DISCIPLINES: Performance Art, Ritual, Dance, Movement, Queer Theory, Installation

Glass Closet
The Glass Closet is an invisible yet real boundary that all Queer people experience on varying levels.
My closet is a boundary between the world hetero-hegemony, and my own self-empowering mythologies. I perform on a platform that has two clothing racks on either entrance. They will be filled with
garments I wear everyday, work uniforms, costumes and props from previous performances, masks,
heels, pointe shoes, etc. The performance is a ritual of passing in and out of the closet, allowing the
platform to function as a stage to perform movements and gestures exploring notions and politics of
my queerness. The garments, objects, and closet ephemera are gathered each time I pass through one
rack onto the stage, and hung back on the opposite rack as I walk off the platform. Moving from
to ballerina, to yoga-girl, to naked body, to super butch, to super femme, shifting from persona to
persona until I have arrived at Glitterwitch, the personification of my queerness at its core. The performance ends when I off the platform and out of the gallery into the real world.
Production History: Gallery CA 440 E Oliver St, Baltimore, MD 21202
Video: https://vimeo.com/133548077
Contact: [email protected]
Website: http://alexanderdagostino.com

https://www.facebook.com/witchbone
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Photo: Studio Pal

All The Queens Men (Melbourne, Australia)

All The Queens Men are Tristan Meecham and Bec Reid. Together they create spectacular theatrical
and participatory arts experiences. All The Queens Men are passionate about artistic connection, collaboration, and adventurous story telling examining the grand and the ridiculous!
All The Queens Men believe in the transformative power of participative performance. They engage
people from different backgrounds in the making and performing of their inclusive works, celebrating
everyday experts in exciting and technically proficient art contexts.
All The Queens Men have presented work around the world. In Fun Run, Tristan Meecham runs a
marathon on a treadmill live on stage supported by a cast of hundreds from the wider community.
In Game Show, 50 contestants compete each night for the chance to take home a grand showcase of
prizes: the hosts very own possessions! All The Queens Men are currently developing The Coming
Back Out Ball, a queer performance spectacle in collaboration with LGBTI older people in aged care
facilitates, to combat ageism and homophobia.
DISCIPLINES: Community, Performance, Spectacle

Fun Run
When the Greek messenger Pheidippides was sent to Athens to announce the Persians defeat in the
battle of Marathon, he ran the entire distance without stopping, burst into the Athenian assembly and
died on the spot. Fun Run is his story.
Fun Run is not just an homage to Pheidippides, but an OTT performance spectacle that pushes one
man to the limits of his endurance. Artist Tristan Meecham runs a gruelling 42.2kms on a treadmill
supported by massive visual effects, a booming soundtrack, a silky-voiced MC and hundreds of performers and athletes from the local community. Fun Run is a free public event that has it all - bouncing pom-poms, bulging muscles, cyclists calves and a flash mob that will have everyone moving.
And it was fun. What fun. You could hear it from blocks away. But what made this event so curiously
subversive was the lack of cues that clued us in that it was Art. Countless passersby wondered what
they were watching? a charity event? A corporate stunt? A sporting spectacle? It was all of these things,
kind of, or parodies of each. It definitely involved the city in a truly remarkable way, and as the sun
set and the runner entered the final leg of the race the atmosphere was electric among onlookers still
none the wiser as to why they were even there. A gold medal affair. John Bailey, The Age Newspaper,
Australia.
Aviator sunglasses and nipple pasties arent normal pieces of marathon running equipment but this
performance succeeded in amalgamating durational performance practices of the 1970s (while injecting them with humour), subversive gender antics, a critique of celebrity culture (his self-positioning
as a rock star-like protagonist with a heros narrative arc follows on the heels of marathon-running
celebrities) and an examination (or was it pure celebration) of public spectacle. Dylan RainforthArtlink Magazine Australia
Production History: 2015 ANTI Contemporary Arts Festival: Finland, 2015 Ansan Street Arts Festival: South Korea, 2013 Sydney Festival, 2011 Darwin Festival, 2010 Next Wave Festival, Melbourne.
Video: https://vimeo.com/atqm
Contact: [email protected]
Website: http://www.allthequeensmen.net
@A_T_Q_M
https://www.facebook.com/ATQMishere
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Photo: Natalia Grzebaa

Amareya Theatre & Guests (Gdansk, Poland)

Amareya Theatre & Guests - one of the most prominent and original physical theatre/dance groups
in Poland, with their unique style, exceptional methods of work, extraordinary courage to trespass
various boundaries on stage. The group Amareya Theatre was established in 2003 by dr Katarzyna
Pastuszak, dr Aleksandra liwiska and Agnieszka Kamiska. The continuous cooperation with
internationally renown artists from various disciplines such as Louise Fontain (storyteller/performer),
Joanna Duda (musician/composer), Jan Emil Mynarski (musician/composer), Dorota Androsz (Teatr
Wybrzee), Anna Kalwajtys (performer), Magdalena Jdra (Good Girl Killer), Daniela Komdera,
Yuko Kawamoto (Japan), Kae Ishimoto (Japan), Rui Ishihara, Jan Grzdziela and others has led to
forming the interdisciplinary collective Amareya Theatre & Guests collective. The most prominent
performances of Amareya Theatre & Guests include: Kantor_Traces: COLLAGE (2015), Yameru
maihime_prologue (2015), Nomadic Woman (2012), Fragile (2014), Ophelia_remix (2014).
Amareya Theatre & Guests presented performances at festivals in Poland and abroad: Redplexus Festival (Marseille), SUKKOT Dance Festival in Adama Centre/Mitzpa Ramon (Israel), Festival of Asian
Culture - MADE IN ASIA, International Festival Sound Around Kaliningrad, Russia; Shakespeare
Festival Gdansk, 11th IDTF Festival Tokyo - Theatre X; Tanzimpulse Festival (Salzburg), Tohoku
Fringe Festival (Aomori), Sukkot Festival in Israel and many others. In 2014 Amareya Theatre was
recommended by the jury of the Polish Dance Platform 2014. In 2015 Ka
DISCIPLINES: Butoh Dance, Performance Art, Dance, Physical Theatre, Body Art, Experimental Music

Kantor_Traces: COLLAGE
Kantor_Traces: COLLAGE is a performance/happening in which contemportary dance, buto
dance, performance art, experimental music and visual arts collide. Kantor_Traces: COLLAGE was
developed for the UNESCO year of Tadeusz Kantor and it is directly inspired by the deep yet unplumbed relation between Ankoku buto developed by Hijikata Tatsumi and aesthetic theories and art
of Tadeusz Kantor. Kantor_Traces: COLLAGE features buto dancers Kawamoto Yuko, Ishimoto
Kae Rui Ishihara, and Polish artists such as Daniela Komdera, Jan Grzdziela, dancers/performers of Amareya - Aleksandra liwiska and Agnieszka Kamiska, musicians - Joanna Duda and Jan
Mynarski, sculptors - Adriana Majdziska, Grayna Tomaszewska-Sobko. The costumes have been
designed by a Japanese designer Rebelis (Daisuke Tsukuda). Both Hijikata and Kantor were interested
in themes such as memory, death and decay. Through death Kantor explored life, Hijikata in his
Ankoku buto showed the beauty of ugliness. In a very precisely composed stage image both of them
tried to revive something which has passed and showed the fragility of human being here and now. We
walk the paths of Kantor and Hijikata and look for common points for us, artists born after 1970. We
have chosen three important dates - 1945, 1986, 2011 and ask the question: who is the man covered
by the dust of the past, the man living in the era of psychological, digital and ecological pollution. Premiere: 14.10.2015, New Synagogue - Gdask, realised within Moda Polska 2015 Stipend of the
Polish Ministry of Culture, duration: 60 min.
Production History: Centre for Documentation of the art of Tadeusz Kantor - Cricoteka (Cracow);
New Synagogue (Gdansk)
Video: https://vimeo.com/131081709
Contact: [email protected]
Website: http://www.teatramareya.pl

https://web.facebook.com/Amareya-Theatre-Guests-455359427901036/?ref=hl
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Photo: Suzanne Hefron

Ana Norrie Toch (Edinburgh, Scotland)

Ana Norrie-Toch is a freelance choreographer who works within dance and physical theatre, working
with dancers and actors and often collaborating with the two. Ana works closely as an Associate Artist
with Yellow Magpies Theatre Company who recently premiered Once this is all over we still have to
clear up at the Babel International Theatre Festival. Recently nominated for the 2015 Creative Artist
award Edinburgh, Ana expanded her experience with site specific work collaborating with artist Julie
Duffy and the Gallery of Modern Art (Awaiting result). As a choreographer she creates work that
fuses dance and theatre, where character creation is as important as its physical expression. The work
touches on the nature of various relationships we encounter in life using highly thought out symbolism that spans both movement and theatrical expression. Ana also has experience leading movement
workshops for actors and aims to encourage a further relationship between actors and dancers. Her
own personal experiences fuel her work bringing to the surface frustrations which would otherwise
remain untouched. The work gives form to where these thoughts and emotions can be vocalised,
explored and resolved, or not. She stresses the importance of addressing these disquieting themes with
the audience, who may be unfamiliar with or who would rather leave concealed or disown.
DISCIPLINES: Dance, Theatre, Physical Theatre, Choreography

May I please leave the table

May I please leave the table comes from an individual response to the work and writings of artist
Louise Bourgeois. Themes especially within the psychoanalytical writings deeply resonated with the
choreographers own experiences. The work of Bourgeois became a groundwork for the translation of
the Anas thoughts into the subtle language of physical performance. This artistic relationship began in
2014 with the first installment by the choreographer Ode a ma mere as a response to the collection of
works titled Maman by Bourgeois, representing and paying homage to motherhood and the strength
of a maternal figure. Now in 2015/16 May I please leave the table explores the disintegration of a
relationship from within. The work explores how the breaking of a dysfunctioning relationship is not
without effect to the youngest onlookers, even if scrupulously hidden from their eyes. The perspective
of the child is the main focus of the piece along with an insightful commentary on the state of the
relationship and the progression of their unhealthy union. The audience is submerged in an intimate
dream like state of the relationship,watching to see how it unravels by witnessing the women trapped
within and her passive partner.
Production History: Performing Arts Studio Scotland, Edinburgh.
Video: https://www.youtube.com/channel/UCPbHTGD35856wkUANh6R-tw
Contact: [email protected]
Website: http://www.ananorrietoch.com

@ananorrietoch
https://www.facebook.com/ananorrietochchoreography
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Photo: Tamiris Lima

Ana Oliveira (Manaus, Brazil)

Ana Oliveira recently graduated from Theatre Studies, at the University of the State of Amazonas in
Brazil. In 2012, she obtained a scholarship to attend Kent University in England, studying Theatre
Studies for one year. Her research focuses on different aesthetics such as clowning, performance art
and physical theatre. She is part of the Cacos Company in Manaus, a young production company that
has performed its pieces all around Brazil and other countries, such as Argentina and USA. Ana also
produces cultural events in Manaus, such as Short Scenes Theatre Festival (Festival Breves Cenas de
Teatro) and a Contemporary Dance Festival (MOVA-SE Festival de Dana).
The story of ELLA originated from the 2012 New Delhi gang rape. This event led to a contentious
debate about who was responsible for what happened. Such an event and surrounding debate that followed had a deep impact upon me, making me reflect upon rape culture from many different angles.A
scientific article was also written as part of the production. This article concerned gender-specific
violence against women in society and how this issue is portrayed in the show.
ELLA, a first experiment in the search for a hybrid aesthetics, challenges the borders between performance art and clowning in order to promote awareness and sensitivity towards important current
social problems.
DISCIPLINES: Clowning, Gender Studies, Solo

ELLA
ELLA is a solo that raises awareness on the different ways of gender-specific violence against women;
focusing on how women are portrayed in the media, specifically music clips and womens magazines
and how this affects the way women behave and see themselves. This is shown through the story of
ELLA, a clown who wants romance in her life, and with the effect of the media, she does everything
she can do in order to have a perfect date. A sensitive and intimate piece that uses the humor and
poetic aesthetics of the clown in order to engage and provoke the emotions of the audience on how
we are embedded into this culture that continues to oppress women in both implicit and explicit ways
around the world.
Production History: Casaro de Idias; Universidade do Estado do Amazonas - UEA, Festival Breves
Cenas de Teatro 6ed (Manaus/2014); Espao das Cias, Caf Teatro Les Artistes, PPGAS - UFAM
(Manaus, 2015), Pollock Halls - SUISS Program 2015 (Edinburgh-UK, 2015)
Video: https://vimeo.com/141562316 password: ellateaser
Contact: [email protected]
Website: https://anaoliveiramao.carbonmade.com/

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Photo: Rachel Dragonfly/ Animal Cracker Conspiracy

Animal Cracker Conspiracy/ Rountree and Gunn

(San Diego, USA)
San Diego based artists Bridget Rountree and Iain Gunn are Animal Cracker Conspiracy, a contemporary collaborative hybrid puppet company invested in peering under the surface of things and pushing
the boundaries of live kinetic performance. Joining forces in 2004 with a shared desire to collaborate
on performances that would radically decenter expectations, open new avenues of thought and invoke
the uncanny, they began combining puppetry, mixed media, film, visual art, and circus. Their ongoing
performance practice is based in devising frameworks for collaboration, investigation, and discovery
of the stories hidden amongst us. Their performances are inspired by art and the everyday, humans
and animals, ideas of progress and hybridity itself. ACC seek emergent performative structures,
that traverse abstractions of movement from the material to immaterial, folk to contemporary, and
intellectual to intuitive. They actively cultivate the suspension of disbelief by employing immediate
choreography and embracing the unknown. ACC have won awards at the several Fringe festivals, and
have performed in the Toy Theatre Festival in DUMBO, at various Puppet Theaters, Galleries and
Museums, at HERE Arts in NYC and at La Jolla Playhouses Play Development Center. They have
received continued support from the Jim Henson Foundation, the Puppet Slam Network and the La
Jolla Playhouse as well as grants from the Puffin Foundation, Sator Arts Foundation, Synergy Arts
Foundation, The San Diego Foundation, and the Leo S. Guthman Fund.
DISCIPLINES: Puppetry, Performance, Installation, Movement, Visual Art, Video

Paper Cities
Paper Cities is an hour-long openly variable performance by two performers and a musician who
interact with objects, books, recycled-material puppets, films and each other. Paper Cities disregards
notions of well made plays, dance theatre and even puppetry to reveal performers working out the
thorny, eternally disconnecting problems of human development re: resource management, immigration, exodus, language, printing, philosophizing, and ultimately losing sight of it all. It is a hybrid
theatrical response to: the de-forestation of contested territories, the coyotes threat and proliferation
alongside man seen through our collective memorys lens on a once open land. Based in imagined
historical colonial narratives and how they led to the continued natural resource extraction model we
live with today. An affront to the digital age of information, it refuses to reveal all the facts, like a book
with many missing pages the story can only be pieced together archeologically, forensically, or later
in dreams. Performers represent myriad experiences to create a moving poem, a grocery list of ideas,
thoughts and feelings about cities, the past, paper, and what it may have once meant to be human. Paper Cities questions the precarious foundations and logic by which humans have constructed the built
environment. What is truly being mined from both the earth and the human intellect? It asks the at
once rhetorical and desperate question have we forgotten our place and inextricable relationship with
the natural world?
Production History: Rao and Padma Makenini Play Development Center @ La Jolla Playhouse,
City Heights Weingart Library Performing Annex
Video: https://vimeo.com/132514200
Contact: [email protected]
Website: http://animalcrackerconspiracy.com
@animalcrackerco
http://tinyurl.com/Animal-Cracker-Conspiracy-Pupp
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Photo: anna.laclaque

anna.laclaque (Braunschweig, Germany)

anna.laclaque
voice.video.performance
The opera singer, pianist, and performance artist anna.laclaque works in her performances with live
electronics to alienate and multiplicate her voice and, with the help of video projections, generates
multimedia-based room installations. Her artworks have the goal to initiate cross-border artistic experiments and to define new and unanticipated expression forms.
With a particular affinity to contemporary music the opera singer anna.laclaque alias Annette Stricker
performed in multiple leading opera houses, world premieres (Sciarino Macbeth, Mitterer Massacre)
and international festivals (Paris, New York, Bregenz). She was influenced by intensive collaborations
with the stage directors Achim Freyer, Trisha Brown, and Reinhild Hoffmann, with the music directors Sivain Cambreling, Kasushi Ono, Beat Furrer, and Peter Rundel, as well as by projects with the
Ensemble Modern and Klangforum Wien. Since 2013 she is member of the Trio Konkret-zu-Abstrakt
concentrated on live-electro-acoustic music. In the context of her more recent development into
experimental performance arts she works together with the photographer and live-electronics musician
Michel Lavignon and received an award by the Braunschweigische Stiftung for the project aria direction z in 2015.
DISCIPLINES: Voice, Video, Performance, Live-Electronics

strapped voice
Performance for voice, video and live-electronics
In this multimedia-based performance an opera singer (anna.laclaque) combines her voice with liveelectronics (Michel Lavignon) and sets the merged acoustic oeuvre into the context of a movie. Voice
and electronics enter a dynamic interaction disturbing each other. It is essential for the authenticity of
the performance that everything is generated on stage without any addition of pre-recorded samples.
A multiplicity of acoustic images is generated, interrupted by highly dynamic runs through a tunnel
as a symbol of a transition into a new state of mind. Ultimately, the voice is decomposed, overlaid and
gets unrecognisable, and emerges as a new voice after each tunnel. The performance evokes different
emotional states which in their serial composition are associated with a disoriented search for the own
identity.
Production History: laclaque.raum fur performance (Braunschweig), hole of fame (Dresden), Atelier
Marion Jungeblut (Kunstfest Braunschweig)
Contact: [email protected]
Website: http://laclaque.org

https://www.facebook.com/laclaque.performance
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Photo: Quindell Orton

Anything Is Valid Dance Theatre (Perth, Australia)

Anything Is Valid Dance Theatre (AIVDT) was founded in 2008 in Perth by Serena Chalker and
Quindell Orton and is an award winning and critically acclaimed dance company specialising in
site alternative and intimate performance. AIVDT has performed at festivals in Australia and Europe contributing bravery to the world and breathing culture into the unlikeliest of places. In 2010
AIVDT premiered their first full length work UNEXPECTED-microclimates, a site-specific promenade performance in the Perth laneways, which debuted to a sell-out crowd. AIVDT went on to
created their acclaimed work Life in Miniature (completely absorbing (Perth Now) you had to be
there resonates with full force (Artshub) highly recommended (The West Australian)) set inside a
caravan for an intimate audience, which premiered at the 2012 Fringe World festival; was reimagined
for Nomadic Village (UK) and remounted for sell-out seasons at the MoveMe Festival and the 2013
Adelaide Fringe. Winner of Best Dance at the Adelaide Fringe, Life in Miniature was also nominated
for numerous awards including a WA Dance Award for Outstanding Achievement in Choreography.
In 2014 AIVDT made their international debut at Springhouse 2014 in Dresden (DE), where they
performed The Dual Existence of Time. This year, AIVDT collaborated with writer Grace Finlayson
to present Transitory at the inaugural Noted Experimental Writers Festival in Canberra before travelling to Europe to Tour When We First Met to the 24th Process Space Art Festival (BG) and Water
Tower Art Fest (BG).
DISCIPLINES: Dance, Performance, Site-Based, Improvisation, Immersive, Audio

When We First Met

When We First Met is a one-on-one audio-guided promenade performance where you, the audience
member, becomes a lead character in the story. As you wind through the backstreetsl, chancing on
scenes and forgotten moments, your private story weaves through the city. Set against the backdrop
of a changing landscape, this performance explores the nature and significance of human interaction
and fleeting encounters between strangers in this transitory world. During the course of the audiowalk, a fragmented narrative weaves its way through the guide, setting up a relationship between the
audience member and a single performer. The nature of the relationship is revealed in stages through
the different encounters and scenes that the audience member happens upon during the walk. As the
audience begins to view the city with a cinematic lens, they happen upon stolen moments and scenes
in unusual spaces which become vessels for the narrative of the work. Playing with proximity and
distance, this performance re-frames the streets as set and the general public as incidental extras in the
scenes. Within this performed sound-walk, the audience is encouraged to engage with their senses
and sharpen their perception in order to really see and understand the character of a city through the
eyes of a stranger. This immersive and intriguing performance becomes a dance between the audience
member and the city, weaving their way through familiar and unfamiliar spaces, and drawn to the
small, hidden or forgotten details of the city.
Production History: 24th Process Space Art Festival (Balchik, BG), Water Tower Art Fest (Sofia,
BG), Noted Festival (Canberra, AU), Festival Aternativnog Kazalisnog Izricaja (Zagreb, HR), You Are
Here (Canberra, AU)
Video: https://vimeo.com/132509424
Contact: [email protected]
Website: http://www.aivdt.com

@AIVDT
https://www.facebook.com/AIVDT
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Photo: Lynn Lane

ARCOS Dance (Austin, TX, USA)

ARCOS is an emerging multimedia performance company that experiments rigorously to discover
adventurous new forms of contemporary performance. Curtis Uhlemann and Erica Gionfriddo cochoreograph in a process forged by years of partnership and passion for visceral, athletic movement,
collaborating dynamically with media artist Eliot Gray Fisher for an immersive, interdisciplinary
experience.
Our multimedia aesthetic expresses itself through the dramatic interplay between visual and aural elements, combined with the pure physicality of how and where human bodies meet in space. We create
multimedia artworks to tell the stories we are compelled to share. Our narratives are inspired by ideas
of cross-cultural interaction and communication, the influence our technology and institutions have
on our perception of the world, and the turbulent process of traditions in flux. Our narratives take
the form of multimedia performance: projected video weaves together with layers of recorded sound
design, live music, choreographic and theatrical elements, employing each mediums unique characteristics to elaborate the narrative core. It is through emotional investments we provoke the audience
to make through these interdisciplinary narrative experiences that we attempt to communicate with
them.
ARCOS has created an interactive performance commissioned by contemporary art museum SITE
Santa Fe and presented work at the MacCallum Choreography Festival, CURRENTS International
New Media Festival, {254} Dancefest, Barnstorm Dance Festival and the Edinburgh Festival Fringe.
DISCIPLINES: Multimedia Performance, Contemporary Dance, Live Cinema, Metamodernist Theater,
Historical Documentary, Philosophy

The Warriors: A Love Story

Searching through his grandmothers trunk after her death, Eliot, a documentary filmmaker and musician, is transported into the past by the physical mementos he encounters. Moment after fractured
moment reveal the intertwined lives of Ursula, a German dancer and survivor of the Allied bombing
of Dresden, and Glenn, an American philosopher and veteran. An ensemble of dancers, interactive
video projections, archival footage, and live music conjure a universe of memories from a single trunk.
Over the course of the performance, the audience becomes witness to a series of scenes from the
young artists imagination: an adventurous modern dancers horrific flight through her burning city;
a philosophy professors struggle to make sense of the chaos he lived; the all-too-seductive military
indoctrination and propaganda process, and its evolution through the decades; Platos allegory of the
Cave; the courtship of former enemies in postwar Munich; a soldiers epiphany upon nearly shooting his own reflection in an abandoned farmhouse in France. As the living memory of older generations fades, The Warriors: A Love Story provokes us to consider if acts of art, philosophy, or love can
challenge those who make war and promote the idea of an inhuman enemy.
Production History: Center for Contemporary Arts (Santa Fe, NM, USA); Edinburgh Festival Fringe
2014 (Edinburgh, Scotland, UK): Winner: Mervyn Stutters Spirit of the Fringe Award); Colorado
College (Colorado Springs, CO); Long Center for the Performing Arts (Austin, TX).
Video: http://vimeo.com/108270199
Contact: [email protected]
Website: http://arcosdance.com
@arcosdance
https://www.facebook.com/arcosdance
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Photo: Lorah Haskins

Ashes Company (New York, USA)

Ashes Company explores universal theatrical forms. The group understands theatre as an art form
capable of incorporating many different kinds of art. It embraces dynamic relationships, particularly
those between spectator and image, appearance and negation, finite and infinite. For the company,
ashes suggest remnants of a combustible phenomenon: coming into presence.
The basis of what we call theatre is space as a world unto itself, governed by its own internal laws. The
ancient Greeks called this space a place of seeing. This sight is not one-directional; the spectators
gaze is returned. The theatrical space is at once too intimate and too expansive to be subjugated by literary conventions. There is no logos or message to communicate. Ultimately, this space is theological
because it is pervaded by the absence of god. A dramatic tension emerging from a distant objectivity.
A tzimtzum facilitating a presence that is irresolvable and majestic.
Jonathan Vandenberg is a theatre director who works variously as a writer, scenic designer, and sound
designer. His productions include Oresteia, Axis Mundi, The Kingdom, The Crossing of the Visible,
Tantalus, and Kafka Parables. In 2010, he co-founded Ashes Company. His work has been presented
by such organizations as Classic Stage Company, Mabou Mines, and the Center for Performance
Research. He was a Visiting Assistant Professor at Middlebury College for the 2014-15 academic year.
M.F.A. Columbia University.
DISCIPLINES: Theatre, Visual Art, Movement

Oresteia
Following King Agamemnons return from the Trojan War, the House of Atreus is plagued by reciprocal violence. In this production, Aeschylus trilogy becomes the catalyst for a new theatre performance
of three acts, approximately 90 minutes.
In our search for a future theatre, it became necessary to return to the Ancient Greek poets because
their drama founded the Western tradition. Athenian tragedy is a point of origin from which we
depart, charting our own evolving tradition. Salvator Settis has written, Rebirths feed off fragments
of the past. For a radical new theatre, we excavate its classical origins. This project is also an exploration of tragedy, which is the most powerful art form we have encountered. Of course, today we cannot
experience Athenian tragedy as it was conceived. Thus, the starting point for this project was, What is
a future tragic form? The Oresteia is an inexorable exploration of human nature and also a theological
drama. It is the only surviving trilogy of Ancient Greece, though its satyr play is lost. There is an opportunity to ask, What is indestructible here? What in this material has endured through time?
Experienced in a proscenium or thrust setting. Full-length production video available.
Production History: Classic Stage Company (2015), The Riverside Theater (2011)
Video: https://vimeo.com/48466569
Contact: [email protected]
Website: http://ashescompany.org
@AshesCompany
https://www.facebook.com/ashescompany
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Photo: C Stanley Photography

banished? productions (Washington, DC, USA)

banished? productions embrace the avant-pop by conveying critical and conceptual ideas in an accessible, even entertaining, way. We create, stage and install projects that are immersive, experiential, and
engaging. A banished? production:
-is ruthlessly interdisciplinary, but has narrative as its clew
-uses performance and its relationship with the audience as its main expression for its ideas
-has a compelling, inextricable relationship to time, space, architecture, storytelling and the sensorial
experience
-repurposes/refashions/upcycles ideas, forms, and artifacts as it acknowledges that it is creating along a
continuum
-generates surprise and fun as much as it triggers emotions and intellectual thought
-conveys particles of information within a concept that an audience must assemble and interpret;
-forces its audience to rethink its relationship with (insert idea here) and look at (insert idea here) differently in unpacking and assembling this information
DISCIPLINES: Performance

TYGER
TYGER is a devised performance and meditation on fragmentation, poetry, love, loss, and the rituals
to cope with being bereft. Sparked by selected writings of Jorge Luis Borges and Jose Riveras Brainpeople, the universe of TYGER is set in a dystopic future, and surrounds the art collective No Ingles
whose covert poetic acts of protest has made them targets of a political system that oppresses and
surveils its citizenry. TYGER is at once an interrogation of the plurality of truth; a personal ritual as
a means to resolve loss and grief; and a commentary on our state of passive surveillance and need for
political agency as part of a larger performance of social healing.
The performance went through a workshop treatment in 2014 and received a full production in April
2015, at the Mead Theatre Lab in Flashpoint (Washington, DC) with creative devisors Rachel Hynes
and Otis Ramsey-Zoe, directed by Carmen Wong, with performances by Annalisa Dias, Gregory
Ford, DeLesslin George-Warren and Rachel Hynes. Costumes and stage management by Kelley Kidd,
Lighting design by Gordon Nimmo-Smith, Video Projections and cameo by Jane Claire Remick assisted by Otis Ramsey-Zoe.
Production History: Flashpoint, DC and Hillyer Art Space, Washington, DC
Video: https://vimeo.com/banishedproductions
Contact: [email protected]
Website: http://banishedproductions.org

@banished_pdtns
https://www.facebook.com/banishedproductions
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Photo: Benedikte Esperi

Benedikte Esperi (Gothenburg, Sweden)

Benedikte Esperi is based in Gothenburg, Sweden. Her artistic practice is multidisciplinary and her
body is the key object AND subject.
Her artistic research problematizes subjects as norms, society and everyday life.
The live act is an important content of her performances but she plays with any media that could support her work. She composes music, shoot and edit videos, build stage setups and design costumes.
During 2015 she performed in Paris, Barcelona, Chicago and several cities in Sweden. Shes a part time
lecturer at the University of Gothenburg in dance and embodied aesthetics.
Art has the possibility to reveal what has to be revealed and it has the power to make a change!
DISCIPLINES: Performance, Choreography, Videoartist, Improvisation, Composer, Installation

inSITEout
inSITEout is a SOLO site- & body specific performance applied and transformed into various sites
with a montage of modules. Its also the final presentation of Benediktes MFA project in Contemporary Performative Arts at the Academy of Music and Drama. Gothenburg University, Sweden.
By using this method its possible to make a performance hosting my multidisciplinary practice. Her
body is the object AND subject exposed in different ways. Its about being present and curious, playing with risk and trust at the same time mirroring not only the society but also the representation of a
political body.
inSITEout is a personal, penetrating and sometimes unpredictable experience where the clash of the
artistic intention, the specific site and the audience becomes unique every time. The audience becomes
the object and subject as well while they, during one hour, walk through different rooms of moods.
This is not an authored story. Stories that might occur are within the spectator and reveal the multitude of how we experience the world and our role within it.
Production History: inSITEout Gothenburg
Video: https://vimeo.com/150161452
Contact: [email protected]
Website: http://benedikteesperi.com/

@benedikteesperi
https://www.facebook.com/Benedikte-331223796905014/
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Photo: Bernard Roddy

Bernard Roddy (Chicago, USA)

I take a photographic approach to documentation, but as a teacher I have found that filmmaking
can also be seriously considered in terms of the organization of reality, the degree to which reality is
staged. As a result, when thinking about cinema, I have a strong affinity with contemporary visual art
practices.
In both performance and documentary production the organization of human activities are of primary
importance. In my capacity as a philosopher, this has meant focusing on ethical concerns, particularly
where cultural differences arise. In addition, the nature of sound and language has taken on great
significance for me.
In my practice as a visual artist working in film I have explored text, speech, and the body in performance. Recently this work has been driven by an interest in the social inheritance of design, which I
would separate from its graphic inheritance, as well as by an interest in certain resemblances between
the musical score and the performance instruction.
My work both as a maker and as a writer has been informed by my teaching, itself a performance
practice. Teaching film and video within a studio art context led to explorations of performance for
camera, which I always understood in terms of participation and the questioning of individual responsibility that go into collective productions. Most recently, I have been working in collaboration with
ieke Trinks, an artist from the Netherlands.
DISCIPLINES: Documentary, Performance, Sound, Language

Call for Participants

Call for Participants (2014), a collaborative work with ieke Trinks, was designed to explore the procedures for enlisting non-artists to carry our performances in public spaces. Trinks and I set out to give
priority to the process typically obscured by the final product, the actions themselves. The process
consisted in arriving in a town where a performance festival was taking place and enlisting residents
who otherwise had no contact with either the festival or the arts in general to carry out simple, pointless activities. As the artists, we took interest in the forms in which a record might be produced, and
thus put together a booklet summarizing our results.
Production History: Playful Arts Festival, s-Hertogenbosch, the Netherlands, June 16 - 22, 2014
Video: https://vimeo.com/100059385
Contact: [email protected]
Website: http://tactilecorpus.com

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Photo: Rachel Mia

Betty Grumble (Sydney, Australia)

Betty Grumble is an obscene beauty queen, surreal showgirl and sex clown. Grumbles performances
promise to both titillate and terrify, a full glitz monster she lives and breathes by beauty offering forth
assumptions about the woman body that violently unravel in a flurry of fierceness, fluids and flesh.
Through performance and study both in Australia and internationally she has been engaging with the
woman body as a political site. With a BA from UNSW (HONS, MFA Performance Studies) and a
recent Stephen Cummins Queer Artist Bequest, Emma Mayes performative landscape straddles both
nightclub/cabaret and theatre/gallery spaces. Notable performances and training include: Day for
Night (Performance Space); Siti Company (New York); Block 9(Glastonbury); The Box (London);
Pretty Peepers Cabaret (Melbourne, Alice Springs and Perth Fringes); Minge World (Perth Fringe);
Best of the Fest (Edinburgh Fringe); Mardi Gras (Sydney)ArtBar (MCA); La Traviata (BELVOIR)
and an ongoing curatorial role at Sydneys infamous Tokyo Sing Song. Grumble is a world-renowned
master of grotesque storytelling and angry woman. She is dedicated to developing dynamic live arts
that infamously infect spectators in an unshaming, unadulterated burlesquing dance. She is working
towards an eco sexual feminism and wants to save the world. Love & Anger xxx
DISCIPLINES: Performance, Theatre, Burlesque, Cabaret, Video, Installation

Grumble: Sex Clown Saves The World

Meet Betty Grumble, surreal showgirl and sex clown. She has one hour to save the world. This is your
invitation to the event horizon as we go unashamedly into a burlesquing cabaret of deep disco dissent.
Bring your grin cause if it wasnt so serious she wouldnt be laughing so hard. This is a cross platform
performance piece titled GRUMBLE: Sex Clown Saves the World. Born from creating work that traverses both nightclub and traditional theatre space this one hour show successfully infiltrates a cabaret/
fringe environment whilst employing queer performance tactics to simultaneously celebrate and challenge the woman body as a site for reflection on the human condition. Continuing the research done
in the nightclub space, the artist unpacks the mask construction of drag alter-egos as sacred satirical
spectacle. This is an ecosexual gesture and womanly reveal. The work aligns the destruction of the
woman body with the destruction of the Earth body. Inviting the challenge to save the world in one
hour. GRUMBLE weaves stories of rage, desire, hope and humour among energetic eruptions of song,
dance, sensation and internal organs. Part protest, part party. Are you Betty to Grumble?
Production History: The Garden of Unearthly Delights, Adelaide Fringe 2016 // Day for Night,
Performance Space 2015
Video: https://vimeo.com/130286673
Contact: [email protected]
Website: http://www.bettygrumble.com

@Betty_Grumble
https://www.facebook.com/BettyGrumble
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Photo: Bjorn Veno

Bjrn Ven (Atlanta, USA)

Currently traveling between Norway, England and USA. Recently organized Ven Grd KUNST
International Performance Art Festival (VGKUNST2015) on the farm and island I grew up on in
Norway. Studied MA in photography at Royal College of Art, London.
I explore Identity, gender, failure, the heroic and the fool.
My practice started with self portraiture and exploration of male identity, but I have been slowly
including other people, to the point that Im exploring the broad specter of human identity.
To live is to explore, the purpose of existence is to explore.
To explore is to enter the unknown.
The domain of the artist is to explore.
The role of the artist is to encourage and inspire others to explore, without dictating what one should
explore.
Hence the artist is essential to humanity, without him we would only exist and there would be no difference between us and a stone.
Any individual, group or society that downplays the importance of the artist and exploration is an
enemy to humanity.
Not all artists explore, but I do.
DISCIPLINES: Performance Art, Photography, Video, Drawing

penbaring (Revelation)
A performance between me, the landscape and the camera. The work is experienced as a photographic
image 90x120cm. When I perform I take inspiration from the Fool, I do what ever comes to mind
without regard for what is correct, good or bad, it is how I explore and encourage others to explore.
Production History: Live Action 9, Guangzhou LIVE, Macau International Performance Art Festival, INFRACTION 9, TENDERPIXEL, The Norton Museum of Art, Nettie Horn, fotogalleriet
[format]
Video: https://www.youtube.com/channel/UC4Uh2XL20j4_nnfdnPHGP9A
Contact: [email protected]
Website: http://www.bjornveno.com

@bjornveno

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Photo: Kora Radella

BOOMERANG (New York City, NY, USA)

BOOMERANG is a daringly physical, poetically nuanced dance and performance project created in
2012 by co-directors Matty Davis and Kora Radella,with founding member Adrian Galvin. Recognizing the body as an evolving repository for both physical and psychological life, BOOMERANG
sifts through and siphons from the rich, eclectic histories that constitute the personhoods of the
people with whom they work to create unfailingly committed, vulnerable explorations of how human
histories can be sensitively layered, distorted, and recontextualized. BOOMERANGs work has been
presented in New York City at venues including Judson Church, Center for Performance Research,
Dixon Place, Roulette, Triskelion Arts, the Irondale Center, and at the United Nations, as well as in
Cleveland, Chicago, Pittsburgh, and Grand Rapids. Theyre also dedicated to presenting their work
in a wide variety of alternative spaces, from parks to vineyards, streets to the mountains, and within
schools and colleges. In June and July of 2015, while in-residence at Lake Studios Berlin, BOOMERANG made their European debut with and artist residency and performances in Berlin and Barcelona. In September 2015, they were shortlisted as 1 of 20 juried finalists for the Grand Jury Prize at
ArtPrize7, having been selected as one of the five top time-based artists by Sundance Institutes Shari
Frilot.In March 2016, BOOMERANG premiered, Repercussion, an evening-length work commissioned by Dixon Place, in collaboration with composer/musician Greg Saunier of the band Deerhoof.
DISCIPLINES: Contemporary Dance, Visual Art, Theatre, Performance Art

For the toward

For the toward is a performance which exists as a duet and a solo. The performers coax, ride, and
hurl steel sculptures that are the immediate result of relentless labor. Raw energy channeled into
athletic grace is absorbed by the performers as they maneuver such weight. This work is being made
into an evening-length duet, an expansion from the initial 20 minute work. BOOMERANGs strong
repertory of duets and solos makes touring viable and dynamic.
Its about negotiating the unbearable baggage of an intimate relationship. Its abstract but very legible,
really accessible, and palpable--the energy between the two performers. And the materials - nails and
big discs of steel - you really felt the energy from one moment to the next. It was relentless, and very
magnetic.
- Shari Frilot, Senior Programmer of Sundance Film Festival
It was dealing with strength and the environment, that he was not afraid to actually fling himself
around on the asphalt and moving these weights which, at some points you thought he was actually
going to crush himself. It was very moving, especially in the environment
- Crimson Rose, co-founder of Burning Man
The tension of it, the violence of it, was really captivating.
- Edward Winkleman, gallery owner, New York
Radella draws an erotic and sometimes surprisingly tender intimacy from the connection between her
two dancers, all the while threatening them, life and limb, with the heavy metal props they toy with
and maneuver...
- Eva Yaa Asantewaa, NYC Dance Critic
Production History: Dixon Place (NYC), Links Hall (Chicago), ArtPrize7 (Grand Rapids), Trust
Arts Education Center (Pittsburgh
Video: https://vimeo.com/154560671/5528ad4714
Contact: [email protected]
Website: http://www.boomerangdance.com
@boomerangdance
https://www.facebook.com/boomerangdancekma
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Photo: Andressa Duarte

Branca Peixoto and Claudia Auharek

(Brussels, Belgium)
The project Em que p estamos? is led by two brazilian dancers, Branca Peixoto and Claudia
Auharek, who share an interest in relations between dance, urban intervention and performance. We
both studied at the Palcio das Artes Artistic Training Center; integrated Dana Jovem Dance Group
and acted together as choreographers and dancers in the video-dance work Vo, interior da obra
directed by Ananda Campana. Currently, with the project Em que p estamos? we come together to
deepen the experience on the language of contemporary dance in connection with urban spaces. Our
research is based on our interest in the relationship between body/city, dance/architecture, also related
to the fields of research of our bachelor courses in architecture (Branca) and physiotherapy (Claudia).
What kind of incentive does the city offer to our physicality, so that we can experience and feel
ourselves? Which urban choices were made to the city in this sense? These reflections are pertinent to
the understanding that architectural solutions of a city are not given, they are choices. Thus, we also
assume that choosing the environmental provisions of a city (natural and artificial) is a problem not
only aesthetic, but essentially political. The choices that materialize in the CITY also materialize in the
BODY.
Based on this understanding, bringing our dance to public spaces is a way of discussing, through body
itself, the body experiences that the city allows and induces us. Where (and how) in the city does our
body want to be in DANCE?
DISCIPLINES: Dance, Performance, Architecture

Em que p estamos?
Em que p estamos? is a dance performance that articulates with different environmental, social and
architectural contents of urban spaces. Through poetic landscapes made up of the dancers, their shoes
and the physical space in which they dance, the question Em que p estamos? (A brazilian expression that roughly means: In which point of a process do we find ourselves?) is related to questions
about the body experiences that the city allows us and to which it leads us.
We believe that different types of urban spaces and soils are related to different types of body organization and scenic reasons. We use this principle as a sensory and conceptual stimulus that guides us in
our project. Due to the fact that it happens in the street, this approach of dance is also intrinsically
linked to improvisation and spontaneous interaction with the city. Besides, the interaction between
our body and the shoes is another point of research that outlines this process.The shoe is understood
as an agent in space, an element that carries various semiotic and sensory information.
The soundtrack developed by musician Pedro Amorim Filho reflects some concern about installation
and soundscape. Seeking sound solutions that contain in itself possibilities of adaptation and mobility is precisely a challenge for a site-specific project. Towards that goal we use some small autonomous
sound devices arranged according to the scenic action space. Support for sound becomes mobile and
unusual, camouflaged in the urban space, placed within the scenic objects (the shoes).
Production History: Casa do baile (Belo Horizonte, Brazil), Lagoa do Nado (Belo Horizonte, Brazil),
Mercado da Lagoinha (Belo Horizonte, Brazil), Museu Ablio Barreto (Belo Horizonte, Brazil)
Contact: [email protected]
Website: http://claudiaauharek.wix.com/emquepeestamos

https://www.facebook.com/
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Photo: Brian OMahoney

Brian OMahoney (Newark, NJ, USA)

Brian OMahoney is a New Jersey based performance artist and theatre maker, currently studying
Communications & Media and Theatre Arts & Technology at the New Jersey Institute of Technology. His practice is interested in exploring both narratives and languages, by breaking them down
and presenting them in new ways. By using body, gesture, and various media, his work aims to create
images and scenarios which allow for the spectator to create their own narrative and prescribe their
own meaning to the work. Brians work, both solo and collaborative, has been shown at The Watermill Center, Roodkapje Rot(t)terdam, Rutgers University, The Hub of New Music & Arts, Middlesex County College, and at private events. He has previously been a resident artist at The Watermill
Center, in Water Mill Long Island. (2013, 2014, 2015) He has also worked with artists such as Robert
Wilson, Andrey Bartenev, Dimitris Papaioannou, Jess K Smith, and Mei Ann Teo, amongst others.
DISCIPLINES: Performance, Theatre, Video, Media, Communication

TALK TO ME
Brian OMahoney, an artist working in performance and digital media, presents his new work: TALK
TO ME. Growing up with a speech impediment, he has always been sensitive about the use of his
voice, and by extension words, as a primary method of communication; as such, the work explores
the creation of new languages, both physical and digital, by recycling historical methods of communication. The work seeks to re-examine and re-contextualize past forms of communication under this
new visual language in an attempt to redefine their significance. Part archaeological dig, part collage,
TALK TO ME stumbles randomly through humanitys past, with OMahoney sampling various ways
humans communicated in an effort to investigate non-verbal, non-narrative communication by using
a new vocabulary based on image and gesture.
Production History: Bradley Hall Theatre (Newark, NJ) 2015
Contact: [email protected]
Website: http://www.brianomahoney.com

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Photo: CCW

Carmen C. Wong (Washington, DC, USA)

Carmen C. Wong is a constant outsider who creates performance concepts and collages, and a recent
practice-based-researcher in the field of performance and theatre studies, specifically in gastro-performances. Her works examine performances by, with, and around food and its eaters, with a recent
focus on how belonging is enacted through food in transitory/migrant communities. Recurring motifs
in her explorations include the emergence of the subjunctive between nostalgia and memory, playing
and agency, materiality and the sensory. A nomadic practitioner working in collaborative constellations with artists in various disciplines, she has created site-responsive work in cities that have astonished and humbled her, and have been surrogates for home. She is also the founding Artistic Director
and agent provocateur of banished? productions, an avant-pop experimental theatre company based in
Washington, DC.
DISCIPLINES: Gastro-Performance, Site-Responsive, Participatory

Sentient/Feeding: Ollebrod
Sentient/Feeding: Ollebrod is a food-art workshop and event that engaged with Danish senior citizens
in the making of ollebrod: a largely-forgotten Danish bread-porridge made with rye bread scraps and
hvidtol (a malted beer). This humble Danish dish was framed in terms of enabling discussions on
hyperlocality and food waste, intergenerational dialog, and narrative embodiment. The workshop with
the seniors provided a rare and delightful opportunity to observe the personalizations and
choreographies in cooking a dish from memory, and for me to begin to embody these narratives as
part of a dialogue about New Nordic food in the context of waste and frugal eating, an issue
receiving increasing scrutiny in Denmark, and worldwide.
At intimate tables of three, and with a simply-written invitation, participants (several of whom are not
Danish) would feed or be fed the prepared ollebrod, and encouraged to chat about what memories
these tastes have triggered, or share their own personal stories of this polarizing dish that has fallen
by the wayside in popular tastes, a vestige of frugal country eating. In this way, the project ultimately
frames the act of feeding with social aesthetics to create an intimate space within the everyday for
democratized performances using an every-day, sense-able, digest-able actor and mediator.
Production History: University of Copenhagen, PSi Fluid States Solid Tastes Symposium
Contact: [email protected]
Website: http://oho-co.tumblr.com

@oho_co

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Photo: Camila Fontenelle de Miranda

Carolina Berger | C.B. | Contemporary

Performance | (So Paulo, Brazil)
Carolina Berger is performer, multimedia artist and art researcher with a PhD on Multimedia Contemporary Performance at University of So Paulo - School of Communications and Arts. An eager
analyst of mythologies and ritual practices related to the divine feminine, she builds her poetics both
with deep personal and interactive techniques to set an universe of connections between technology,
presence, embodied mind and forms of freedom.
In the Process Art - contemporary performance work titled #LiveLivingPerformanceProject, Carolina Berger brings together three representations of the feminine in order to navigate through bifurcated narratives that link literature, photography, video and multimedia performance. To account
for this universe, she creates a performative triad: C.B. (performer), Madame C. Bcamier (literary
heteronym) and Lcia D.B. (her alterego character). With her work oriented to the contemplation of
mythology, sublime manifestations of the embodied mind and the human search for Self-liberation
she seeks the transformative potentialities of human action in relation to the nature elements. Also,
she experiences the performance arts to create thoughts and poetic actions in relation to her concerns
on female body patterns, power, freedom and love.
DISCIPLINES: Multimedia, Multimedia Performance, Videomaker, Live Cinema

#LiveLivingPerformanceProject
A trilogy of multimedia performances related to the nature elements and South American native
culture representing an unique approach to an emerging revolution based on the principles of feminine mythologies towards new forms of freedom and harmony between nature and technology. The
content is built through video and words of a network based in different forms of presence where the
digital feminine triad created for the project and many other inspiring women embody a quest for
conscious freedom. The Earth Performance - Untamed Performance - discusses the imprisonment of
femininity in patterns related to the exacerbated exploitation of hipersexualized body and sexist South
American culture. With this aim the multimedia ritual based in South American native xamanism,
Untamed Performance mix empowerment speeches in live audiovisual performance, xamanic instruments and improvised poetry. The audiovisual extract is built with the thoughts of woman from the
different territories reached by the performance network. In water performance - Lcia on the Wonder Verge the artist invites the public to be part of a ritual based on African-Brazilian mythological
deities Oxum and Yemanja to discuss love, power and freedom. Awakening Performance is a tribute
for the energies of the feminine Afrobrazilian deity Iansa that represents the wind, fire and lightning.
Its also a tribute to the artists Loie Fuller and Maya Deren with images representing the strength of
women dealing with science, technology, mysticism and art.
Production History: LASALLE College of Arts | Singapore; Satyrianas Theatre Festival - Performix
- So Paulo/BR; Curta-se Live Cinema Festival- Aracaj/BR ; Cineme-se -Transmedia Bienal FestivalSantos/BR; Volusiano Institute - Artistic Residency - So Paulo/BR
Video: http://carolinaberger.com.br/live-living-performance-project/
Contact: [email protected]
Website: http://carolinaberger.com.br

http://www.facebook.com/madamecb
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Photo: Enzo Aronica

Caterina Genta (Spoleto, Italy)

I am a performer, dancer, actress, singer. Graduated as a soloist and choreographer in Germany, at
the Folkwangschule, working with the dancers of the Wuppertaler Tanztheater of Pina Bausch. The
encounter with the dancer Butoh Tetsuro Fukuhara made me deepen the research of an authentic
and expressive movement. I won Prize finalist Equilibrio 2008 with the performative project Myo-ho
dancing bones. Since 2006 I collaborate with the composer and videographer Marco Schiavoni with
whom directed short films, theater productions and independent music projects. Di qui a cinque
anni from the text by Federico Garcia Lorca, theater performance with actors and digital scenes,
guest of the Royal Academy of Spain in Rome reviewed extensively by the journal Signa, Centro de
Investigacion de Semiotics Literaria, Teatral y Nuevas Tecnologias (University Madrid). First Prize and
Critics Prize at Festival Voci dellAnima 2013. Soloist dancer and singer at the Spoleto Festival in 2014
in the Oratory Drama Weather by Elizabeth Swados.
As performer Im looking for a defenseless body exhibition: eros, cruelty and beauty, alluding to a carnal contact with the public. My body exposed leads to a common breath. We are all bodies, all similar,
we have all true desires and feelings, love and cruelty, similar needs; all our bodies are defenseless and
powerful at the same time. Visual transformation help me to find a performative body.
At the end our true need is just to touch and be touched, to be loved and to love.
I want to rediscover the body and the cruel beauty of life.
DISCIPLINES: Dance, Theater, Body, Music, Voice, Song

Tempest
Im looking for the cruel beauty of life through the energy of my performance on stage. Breath, life,
love. I play and offer myself to the look. All I have on stage is my body, my presence, my action.
A defenseless and powerful body-mind-person. Everyone has his own Tempest to cross. Cathartic
storms that regenerate and renew desires and creativity. We all are similar, we all have true desires and
feelings, love and cruelty, similar needs; we all are defenseless and powerful at the same time.
This performance is a poetic tale in music, dance, images through the words of Prospero, Miranda,
Caliban and Ariel. Dissolve the charms, Tempest began and than there can be pain, anger, love. The
feelings are all possible and everything dissolves into thin air. Ariel free lives in all the existing things
suggesting that We are such stuff As dreams are made on. Everything passes The cloud-cappd
towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye all which it inherit, shall
dissolve. A performative representation that combines dance, text, voice, singing. The texts are taken
fromShakespeares The Tempest, danced, recited and sung in the original language and in Italian.
Audience can be international.
In this performance Im looking for authenticity beyond any aestheticism and the audience can feel it.
Public comes with me in the magic play of representation were anything is possible.
Production History: july 31 2015 Rassegna Fontanonestate Gianicolo Rome Italy sept 1 2015 Internazional Cosmonauti Festival in Tuscania Italy
Video: https://www.youtube.com/watch?v=a4lzc1GX9kg&feature=youtu.be
Contact: [email protected]
Website: http://www.caterinagenta.com
https://twitter.com/CaterinaGenta
https://www.facebook.com/caterinagentaindipendentperformingartist?ref=hl
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Photo: Daniel Sorrentino

Csar Munhoz: MITOMANO (So Paulo, Brazil)

Since 2000, Csar Munhoz creates content for live, film and TV productions, and works as a branding
consultant for artists and organizations in Brazil, USA, Australia, Mexico, and Sweden. Award-winning music composer and sound designer. Skills also include creative writing, video-mapping, performance, stage design, and entertainment law. Munhoz is currently editor-in-chief at A Coisa Toda TV,
Brazilian video streaming channel focused on diversity, art and politics. He is an active member of So
Paulos club kid scene, producing parties and performing all around Brazils queer club scene. Csars
work, both as an industry creative and as a performance artist, is focused on immersive experiences
that mix the feeling of a rock show and a movie session. The artist is moved mainly by the desire of
making visceral connections with the audience, and his aesthetics mix the raw nerve of GG Allin, pop
music, video collages and impacting stage productions.
DISCIPLINES: Performance, Music, Video, Videomapping, Pop

Csar Munhoz: MITOMANO

MITOMANO is Csar Munhozs performance, rock and video show that is on the road since 2010.
And intense experience shared with audiences in Brazil, United States and Chile, fueled by a desperate way of dealing with music, video and performance art. MITOMANO, in Portuguese, means one
who lies so much he is engulfed by his own lies. On stage, Munhoz sings his own pop music, and
delivers visceral stage presence with plenty of audience interaction, everything surrounded by surreal
videomapping scenarios, in order to display a distorted version of his childhood popstar ambitions.
Shameless breakdowns and rage explosions are common in MITOMANOs shows, just as much as
tender sing-a-long-with-the-audience moments.
Production History: The Garage (San Francisco, USA), The Funhouse (Seattle, USA), Noites Caf
com Leche, Dynamite Pub, Fundao Bienal de So Paulo (So Paulo, Brasil), Galeria Icono, Sofa Pub
(Santiago, Chile), Bicicletaria Cultural, Museu Oscar Niemeyer (Curitiba, Brasil)
Video: https://www.youtube.com/channel/UCA79aAORFsjmGAgAvwCIIcw
Contact: [email protected]
Website: http://www.mitomano.com

@cesarmunhoz
https://www.facebook.com/mitomano.brasil
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Photo: Chris Purdie and Chad Keyes

Chris Purdie (Orem, UT, USA)

Chris Purdie, 1973. MFA, Art and Technology, The Ohio State University, 2012.
The audience is a significant part of my work. The way the audience will perceive and interpret an idea
is what drives me. As an artist I feel responsible to empower the audience by creating an environment,
setting a stage, then inviting the audience to participate and complete the work. I supply an experience that is open-ended to allow the audience to see it in their mind.
I see myself as a facilitator of human interactions, a producer of multi-sensory experiences, a sculptor
of the invisible (thoughts, sound, time, and motion). The sequences and scenarios I set in motion are
comprised of objects (constructed and found) and explore ideas related to communication, existence,
and resistance. I work with understandable and intuitive objects to provide an opening into the
experiences I provide. I seek to find gestures and tropes that contain universal meanings, ones that can
bridge gaps and provide a sense of connection, as well as the possibility for individual introspection.
Commonly I begin a project with a word, image, object, or tradition that seems paradoxical or loaded.
My desire is to expose discreet details, rupture conventions, and keep things in flux. Within my work,
I create subtlety amplifiers to accent or highlight that which may otherwise go unnoticed. At first
glance, my interventions may be invisible or silent. Given time and patience, the work will reveal itself
to you.
Mission: Bring people into the art. Bring the art into the people. Bring people together.
DISCIPLINES: Kinetic, Sculpture, Performance, Time-based, Sound, Light

the indefinite continued progress of existence and events

This installation was motivated by time, presenting traditional and new forms of representing the
passage of time. It comprised 5 individual yet connected works: 1. Generally Relative (Clock, string,
hooks, pulleys, cable, and a rock.) A clock hangs from a pulley that is attached to a tight rope strung
across the gallery. One end of a string is tied to the minute hand of the clock and the other end is
affixed to the gallery wall. As the minute hand turns it twists the string, creates tension, and propels
the clock forward across the room. 2. Plow: An Accumulation of Cooperative Effort (Spider gears,
u-joints, extension shafts, pulleys, cable, bolt, steel sled, and rocks.) As gallery patrons turn the crank
the 2000-pound rock sled slowly moves forward. With enough participation and through combined
efforts the rocks will be transported across the room. 3. Real Time: Wisconsin Fast Plant (Cruciferae
or Brassica rapa) (Time lapse footage, computer, projector, and cables. Duration: 44 days.) A timelapse video of a plant growing is returned to the actual length of its growing-cycle. 4. Work: Prose and
Consequences (Video footage, sound, computer, projector, and cables. Duration: 3:10:17 looping.)
A video documenting the artist cumulatively burying himself inches at a time. 5. Unnatural Lighting (Sunlight, sensor, wire, dimmer, electricity, and light bulbs.) The lighting outside of the gallery
controls the lighting in the gallery. If it is light outside then it is light inside and vice versa.
Production History: CUAC, Salt Lake City, Utah.
Video: https://youtu.be/FyW2yw3Sazw
Contact: [email protected]
Website: http://chrispurdie.com/
@IamChrisPurdie
https://www.facebook.com/Chris-Purdie-113934651960118/
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Photo: Sarah Doerfel

Christine Ellison (London, UK)

Christine Ellison is an artist based in the UK. She approaches performance as drawing; placing materials, machines and people on a level playing field. She is motivated by questions of the culture industry,
particularly relating to how our engagement with making and materials is shaped by technology. The
work responds to existing socio-cultural constructs such as the music industry and the world of fashion with an emphasis on costume, colour and sound. Ellison is founding member of POLLYFIBRE,
the girlband from a post-digital dimension who use crudely amplified analogue tools and machines to
express discontent with the limitations of making music with digital software. She is author of Agency
of Noise: platform for noise based enquiry through performance. Since 2006 Ellisons work has been
included at international venues including Embassy Gallery, Edinburgh, Rapid Pulse International
Performance Festival, Chicago, The Haifa Art Museum, Dublin Fringe Festival, Eastside Projects, Birmingham, Performa, New York, DEAF Electronic Arts Festival, Dublin, Kaunas Art Bienniel, Whitechapel Gallery, London, and White Box Gallery, New York. Ellison is currently Associate Professor
in Art at the University of Reading.
DISCIPLINES: Live Performance, Art, Fashion, Noise, Dance

COMMAND X: a post-digital fashion show

Command X asks if increased dependency on digital platforms divorces us from hard realities or
if it can create fertile territory for the cultivation of a new post-digital consciousness? The catwalk
becomes a site to explore this question in a work that parodies the idea of a flat society who has forgotten how to exist in multi-dimensionality. Masked models in two-dimensional clothing march to a live
orchestra of amplified scissors. Reminiscent of the Bauhaus Theatre of Shapes, the people here are
poised to move material objects that relate to the body somewhat like fashion garments but that sit,
rather, in their own space between digital drawings and wearable items. Clothing becomes a point of
departure from which to explore relationships between material and human. Inter-spliced with filmed
elements that suggest we cannot appreciate the full picture of the event through one live lens -but
which at the same time actually disrupts any possibility of that occurring -we are caught in a dilemma
of which reality to focus on. Can we read the information fast enough? Can we consume every element simultaneously so as not to miss out? Or do we develop new ways of experiencing liveness based
on our increasing ability to engage in a nuanced multi-platform state. Command X brings supposed
binaries of live and mediated to a teetering collapse, where they are often indecipherable, provoking
reflection on what we are looking at, what has happened and, consequentially, what is at stake.
Production History: Absolut Fringe Festival, Dublin, 2011. Rapid Pulse International Performance
Festival, Chicago, 2012.
Video: https://vimeo.com/search?q=POLLYFIBRE
Contact: [email protected]
Website: http://www.pollyfibre.com/

https://www.facebook.com/pollyfibre
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Photo: Arthur Amaral

CIA PARALADOSANJOS (CAMPINAS, BRAZIL)

Cia paraladosanjos is considered an hybrid artistical collective who created together 16 shows with the
cooperation of clipa center of performance art (israel) and lume teatro (brazil). Most of its creations
are physical, visual and full of aerial acrobacies and vertical dances. Recently participated in clipa
aduma festival (tel-aviv), israel festival (jerusalem), fiti, tic, fringe and many others in brazil. The group
has also an intense research in site-specific, site-generic, site-response creations with the collaboration
of idit herman (israel) zecura ura and dorothy max prior (uk). In 2016 cia paraladosanjos is celebrating 15 years of existence.
DISCIPLINES: Physical Theatre, Visual Theatre, Aerial Dances, Performance, Circus, Visual Arts

MOLHADOS&SECOS
Celebrating 15 years of intense work we decided to create this new show to share with audience an
intensification of our senses that only art can bring to us.
Molhados&Secos is inspired in extreme dry and wet realities. In real and fantastic stories of people
who suffered a brutal intervation of human or natural disasters in their lives. An invitation to think
about human fragility faced to nature. Its a compilation of four scenes, directed by four different
directors (Fernando Villar, Idit Herman, Monica Alla and Raquel Scotti Hirson). Visual dramas and
Visual comedies about the capacity of dreaming, resilience and overcoming after obstacles. Creating a show about the relations between economical and ecological crises led us to research how an
individual affects and how an individual is affected. We tried to reconstruct 2 minutes of the personal
experience of the actors (Marcos Becker and Marilia Ennes) when they lost everything in a flood. In
the attempt of ressurecting a real experience through memory we need to give up the hope of reality
and true news. In the same way we cannot trust the truth of any news since jornalistc ones to the history itself.
Production History: Sp Escola De Teatro (So Paulo), Centro Cultural Casarao (Campinas), Centro
Cultural Kkk (Registro), Fundaao Cultural Cassiano Ricardo (So Jose Dos Campos)
Video: https://www.youtube.com/watch?v=uNL4W9N8md8
Contact: [email protected]
Website: http://www.paraladosanjos.com

@ParaladosanjoS
https://www.facebook.com/molhadosesecos/?fref=ts
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Photo: Valentin Boucq

Circus Foetus (Brussels, Belgium)

Circus Foetus is the result of an encounter between Thomas Saulgrain (Angers, France) and Alma
Buholzer (Vancouver, Canada). Inspired by their shared experiences at the National Circus School
in Montral, the two artists imagined Circus Foetus as a way of continuing to push circus into a
deconstructed, non-narrative territory more commonly inhabited by contemporary dance. The way
they relate to performance creation has been largely influenced by Peter James, an emblematic figure
of Montrals interdisciplinary performance scene. Drawing from its roots in the circus world, the
company confronts circus traditions with influences ranging from physical theatre and Butoh to transhumanism and psychoanalysis. Thomas is pursuing this work with the trans-medium creation titled
NSFW. He is currently inspired by neuroscience and its role in developing artificial intelligence, and
more broadly by transhumanism. He has had the opportunity to work with Guy Alloucherie, Roberto
Olivan, David Atkins, Philippe Decoufle and recently with Kitt Johnson. Interested in performance
theory and psychoanalysis, Alma is engaging with the work of Jacques Lacan, asking how its conceptual language can be applied to the workings of performance.
DISCIPLINES: Circus, Performance, Dance, Magic, Multimedia

Or Cirque
In Or Cirque, the traditional circus archetypes of the clown and the trapeze artist are stretched and
twisted, becoming objects among objects. Or cirque is a rite of passage. A beginning and an end. Its a
subject/object piece, a separate entity over which we have little control. The soundtrack oscillates between Nicos My only child, Toshimaru Nakamuras No-input mixing table, Beyonces hit Drunk
in Love, and Etienne Daho and Jeanne Moreaus version of Jean Genets Le condamne a mort.
Production History: Theatre La Chapelle, Montral, Canada; Festival Mirabilia, Fossano, IT; Les
Migrateurs, Strasbourg, FR
Video: https://vimeo.com/125708581
Contact: [email protected]
Website: http://www.circusfoetus.com

https://www.facebook.com/CircusFoetus/
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Photo: Michael Scott

City Theatre Dublin (Dublin, Ireland)

Scott began working with the texts of W.B Yeats in 1992, and which developed into a production
of THE CUCHULAIN CYCLE. This song cycle has been in development over a sustained period
of time, some songs taking years to complete, others shorter time frames, Scott says of the creative
process I try not to force the words into a particular time structure, because they are alive, they
breathe, and respond to the human voice. So it takes a long and painstaking process to find a musical
language that can be as elastic as the words. The singers always ask Whats the time signature? and I
reply There is none, sing it as you would speak it. The music and the musicians will fit around for
you, as the words breathe and reverberate in your voice. Scott has also written two operas based plays
by W.B Yeats PURGATORY(1998) and THE DREAMING OF THE BONES (2000). Purgatory
was funded by the Arts Council and was so successful, that within six weeks of its performance, the
Arts Council awadred a grant to Scott to write opera and produce The Dreaming of the Bones.
DISCIPLINES: Theatre, Music, Music-Theatre

SONGS FROM THE SWANS AT COOLE (Yeats Songs)

Michael Scott has been working with the plays and poetry of W.B Yeats since 1992. He received grant
aid from the Irish Arts Council to create The Cuchulain Cycle. This producion was described by the
Irish Times as the most exciting and daring productions of yeatss works in four decades the production also traveled to The Riverside Studios In London and was hailed by the press, public, and the
Yeats Society in London.
We worked for two years previously on the CUCHULAIN CYCLE to find a way to translate Yeats
ideas of Theatre to a 20th Century audience. Music, mime, words, dance were woven into a kaleidoscope of theatre which the audience was immediately able to grasp and enjoy.
Yeats sought to create new kind of theatre, free from the scenery and trap- pings of the 19th Century,
it is our task at the beginning of the 21st century to explore new avenues of theatre making using
his marvellous language as a basis. Songs From the Swans of Coole is a song cycle by MICHAEL
SCOTT with readings of some of the major poetry and letters and writings of W. B Yeats. It is a full
evening show which explores the poetry and writings of W.B.Yeats focusing on his un- requited love
for Maude Gonne and the changing social and political situation in Ireland. His ideasof nationalism
and the development of the Irish State are also explored and interwoven. Two actors, one male and
one female, perform a selections of poems and two opera singers perform the new musical settings.
Production History: The Pavilion Theatre Dunlaoghaire, The Civic Theatre Dublin, Townhall
Theatre Galway, National Library of Ireland (as part of the 150 Yeats Celebrations) Expo Milan 2015
(Irish Pavilion)
Contact: [email protected]
Website: http://www.citytheatredublin.com

@yeatssongs
https://www.facebook.com/yeatssongs
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Photo: Anouck Everaere Photographe

Collectif AUM (Lyon, France)

The Collectif AUM is a creation of two young dancers, Robin Lamothe and Lisa Bicheray. The will
of the company is to propose an evening organised as a trilogy about a generic topic. Each of the two
founders of this company will defend their own interpretation of this theme, and the third piece,
-which corresponds to the third part of the evening- will be created by a guest, who will change for
each and every new creation. The other wish of the company is to propose an exchange between different artistic disciplines. For this goal, the guest who will be specialized in another artistic area, will
practise an artistic form differing from contemporary dance. The company is also looking for diversity
with at least one male artist and one female artist, guaranteed by the two creators of the project.
Opening theaters to everybody, allowing everyone to develop a critical eye and to understand their
own affinities with the artistic world, these are the aims of Collectif AUM. The characteristic of
this company is the organisation of the evening. The objective is to propose an evening as a trilogy,
where three artists are defending their interpretation of a common topic. Among these artists, the
two creators of the company, two contemporary choreographic artists. and a third one, a guest, who
is changing for each and every new production and who is using a different artistic form, different
of contemporary dancing. For this first creation, the guest will be an actress, Juliette Paire, who will
perform a monologue in french.
DISCIPLINES: Dance, Theater

Juno Sospita
For this first production we have chosen to talk about the contemporary woman model. Who is she?
What does she have to represent? How do we imagine her?
Robin Lamothe and Lisa Bicheray will propose a different choreographic solo each around this theme.
The guest for this very first creation will be an actress, Juliette Paire, who will perform a monologue in
french.
The evening will therefore propose two choreographic soli and one theatrical monologue, the three
evolving on a bare stage, with only a lighting creation to coat it.
The first soloist is Remembering Our Mothers, created and performed by Robin Lamothe:
A man seen by women, women seen by a man. Fragments of memories. << The modern woman >>.
Does she exist Dissimilar. Complex. Women are like that, and this piece too. Fragments of memories... Remembering our mothers.
The second one is Intincts de femmes desarmees, created and performed by Lisa Bicheray :
Are we beautiful, Sensual, Strong? Are we gentle, delicate or sensitive? Are we all of this? What is
behind the code of this visible feminity? Is this rage of living, deep down of me, which makes me
woman? Am I woman... Before everything? What are our weapons, to us, desarmed women?
The third one is Monologue,
How a text, which hasnt been written to talk about women, can it still give them a universal extent?
Performed by a woman, it seems to be written to echo them. The woman in humanity. Between confession and everyday nature.
Production History: First creation
Contact: [email protected]
Website: http://www.facebook.com/collectifaum
https://www.facebook.com/collectifaum
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Photo: Lucia Valdivieso

Compaa De Creacin Escnica (Madrid, Spain)

Compania de Creacion Escenicas work is mainly based in the actor and his physical and vocal discipline. This is developed from a psycho-physical training which comes from eastern tradition. This
work is put into practice in the creation of classical Spanish theatre pieces.
The companys aim is to establish a straight communication with todays audiences. Oscar Miranda,
founder and director of the company, says: Our pieces are the reflexion of our time, a very concrete
situation. Our work is to think about the world around us in our everyday life, and to be its reflexion. Our productions end up being a great aesthetic codification, but absolutely theatrical. For me,
theatre should be the creation of metaphor through action and codify body gestures. What connect
our theatre with the audience are not the words or the stories but the actors energy; I build my theatre
with such energy. Ece-Teatros identity is enrooted in traditional theatre texts. Our sensibility is based
on them; they are a great platform of inspiration for us. Lorca, Calderon or Cervantes concrete views
over their time are an example for us. They, among many others, teach us how to look into our reality.
In this postmodern drifting world I hold onto the classics since they have the power to remind me
who I am. Innovation in theatre means for me being able to create a common language with the audience behind which you are unable to hide.
DISCIPLINES: Theatre, Dance, Performance, Education

Amor de Don Perlimplin con Belisa en su jardin

Amor de Don Perlimplin con Belisa en su jardin talks about frustration. It is about the human beings difficulties to get over frustration, which happens to be the cause of aggressiveness. Both frustration and aggressiveness get together in this piece to devastate everything on their way, from Perlimplins harmless innocence to Belisas palpitating cheek. Nothing can relieve us when frustration takes
control and our worse instincts flourish to overtake our will. Is in this moment when tragedy appears,
anticipated by human beings condition, unavoidable though.
In our piece we present actors as kind of puppets. A demiurges hand seems to move them without any
will. It is the hand of lust, greed and, of course, frustration. Its all about a bunch of characters with a
strong luck of rationality, unable to think or to manage their own will.
Production History: Off De La Latina (Madrid)
Video: https://www.youtube.com/watch?v=0zj0aEUhKvA
Contact: [email protected]
Website: http://ece-teatro.es

@ECEteatro
https://www.facebook.com/Escuela-de-Creacion-Escenica-245412428915872/
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Photo: P.T.

Company R14-juliengrosvalet (Nantes, France)

The R14 - juliengrosvalet company is a young contemporary dance company born from the desire
of a dancer, long buried , to choreograph. In 2012, Claude Brumachon for whom he performs from
many years , asked him to creat a short piece. He seized the opportunity and created in January 2014
the Forbidden Lights trio with the complicity of Lise Blanc and Grgory Alliot who got some success
with the public of Nantes. Julien then develops a work around the shadow and light as inspiration and
wants to continue his research exploring light as a partner or obstacle...
DISCIPLINES: Dance

Forbidden Lights
We mustnt fear sunlight just because it almost always serves to illuminates a miserable world.
(Ren Magritte)
Three ones isolated in their loneliness, three souls who live on the sidelines of a world that they no
longer want accepted, facing...
Forbidden Lights is all that we can not see and all that we do not watch. Thats all that we will not see
anything and we do not want to show. Its all one wants to make us see and all that we want to show
well. Thats all we want to see and all that we do not want to show us...
See and be seen, not to see and not be seen
Production History: Centre Choregraphique National de Nantes
Video: https://vimeo.com/87324172
Contact: [email protected]
Website: https://www.facebook.com/R14juliengrosvalet/?ref=aymt_homepage_panel

https://www.facebook.com/R14juliengrosvalet/?ref=aymt_homepage_panel
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Photo: R.J. Hooker

Control Group Productions (Denver, CO, USA)

We create performance from the fundamental medium of liveness, driven by boundless fascination
with action and environment, mining the expansive potentials of en face engagement through lenses
of rigorous philosophical and conceptual inquiry.
Our collaboration-driven research takes a critical-experiential mode, simultaneously observing and
entering our topic and contents. We seek live performances capacity for collision and displacement of
ideas and perspectives the ability to exist within contradiction and emerge into momentary utopic
projections.
We pursue things that nag at us, that we cant shake or cant square with our outlook and position
points of illogic in our world or our view of it conundrums, contradictions, unsettling or dislocated
phenomena. We take on topics that we find suspect and we try them on, take them into ourselves.
We are missionaries on the cultural frontier, refugees of the imploding solipsism of the American avant
garde. We are permaculturalists in a consumption-ridden society, seeking new paths and new roles for
artists and their creations to arrive at relevance and sustainable existence.
Founded in 2008 by artistic director Patrick Mueller (former member: Troika Ranch DT (NY); Ben
Riepe Kompanie (Dusseldorf ); Mancopy Danse (Denmark); others), the company has focused on
building a sustainable home in Denver, focusing on partnerships, coalition-building, and other noncash economies. With a well-established local presence and support, Control Group is now beginning
to reach toward regional and international visibility.
DISCIPLINES: Performance, Dance-Theatre, Intermedia, Installation, Site-Responsive, Live-Interactive

Salon Romantik: CREATION (re-creation)

CREATION (re-creation) implodes the calcified modern artist ethos of the MASTER MAKER
model. The work pits masculine mandates of originality and individual genius against the feminized
biologies of reproduction and evolution, arriving at an event built of flawed reproductions and manufactured organic materials. Between making and cultivating it finds a complex, dynamic landscape
of shaky agency, shifting intentions, and underlying instincts.
The work culminates a 4-year process engaging the ethos of 18th century Romanticism through a contemporary lens of 21st century social movements environmentalism, new Western spiritualities, and
the technologization of post-industrial society. In a world of fragmented master narratives, it engages
both an overarching dialectic of Rationalism vs. Romanticism, and also the particularities of Romanticisms specific historic contents.
Set in a crystalized digital-physical environment game room, workshop, boudoir, dance-club, all
of it surveilled by live-feed security cams the performance unfolds through a traditional three-act
structure, evolving from quiet live installation to driving dance party. Embracing a delicate, luscious
minimalism, the work sinks deeply into its manufactured world, unfolding a fascinating, complex
relationship between the artist and the creation.
The work is designed for re-creation. Its rich environmental design is versatile to site and context, and
the entire contents of the work physical design and 3 artists travel compactly (single vehicle for
regional travel, limited baggage for air travel).
Production History: The Dairy Center for the Arts, Boulder, CO; Launchpad, Carbondale, CO
Video: https://vimeo.com/124049866
Contact: [email protected]
Website: http://www.controlgroupproductions.org/
@ControlGroupArt
https://www.facebook.com/ControlGroupProductions/
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Photo: Ali Ihsan Kaleci

CRT St. Blaise (Paris, France)

For over ten years, a team assembled by the Turkish director and playwright Ali Ihsan Kaleci, works
on an international scale, mainly in France and Turkey. SBlaise Centre for Theatrical Research (CRT
SBlaise) is the name of that group which crosses continents and disciplines of the performing arts.
For us, theater is a living art. It is an art that reflects the values of a society and that illuminates the
human adventure. But today, in a general point of view, theater is separated from the viewer, has lost
the relationship between stage and audience, often appears as a form of art turned into manifest. The
actors education became disorganized and without a system; the craft is often overlooked and eventually, theater appears as an elitist art. Perhaps one of the most important reasons for this is that the
theater is still regarded worldwide as an art from the West.
Our goal is to re-question theater and show how it can still be necessary, that is vital. In the light of
traditional performing arts, one of our main objectives is to bring together in theater dance and music,
which were separated in the contemporary categorization of disciplines. In this aim, research, education and creation take an important place in our work. Through these three axis, we wish to build a
bridge between the Western and Eastern Theater and showing the richness that this allows.
DISCIPLINES: Theatre, Dance, Song

Between the Earth and the Sky. Krolu.

The Turkish director and playwright, founder of international theater center in Paris, Ali hsan Kaleci,
wrote and directed a play inspired by one of the oldest and most important epics in the world yet
unknown to the Western public: Krolus Epic.
Krolu, seeking immortality, that stands against injustice, sharing fraternity, is a mythical character
whose life is told through an epic comes from the depth of ages, spread in Uighur countries from
China to the Balkans. Like the most important stories inherited by mankind, such as the Mahabharata
or Iliad, they reminds us these essentials questions : between the Earth and the Sky, what is the human
being? What is its role? What is the meaning of his existence?
Ali hsan Kaleci and his team approach of this issue through the story of the life of a mythical hero,
representing a set of exemplary values both in terms of cultural heritage, time, space and history. Making a natural bridge between Europe and Asia, between the past and the present, this work is intended
as a tool of cultural transmission in a time when we feel a need for re-examine deeper and deeper the
roots of humanity.
In this show, the epic of Krolu, which was transmitted orally for generations, is played in a contemporary form and unites with the world of dance and music, between tradition and modernity.
Production History: 3rd Cappadocia International Theatre Festival (Turkey)
Contact: [email protected]
Website: http://ideogramarts.com

https://www.facebook.com/crtblaise/
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Photo: Paulo Tavares

DANCING EARTH (Santa Fe, NM, USA)

We grow choreographic dreamvision from a sense of place cultivated out on the land through our
distinctive land-dance practice.
Our tribal values honor dance and song as essential ritual for transformation, which we expand to
socio-environmental change. We dance the rich diversity of our contemporary heritage with intent
to promote ecological awareness, cultural diversity, healing and understanding between peoples. Our
aesthetic embodies the spirituality inherent in earth, and is created by, with, and for the land and the
peoples of the land.
DISCIPLINES: Native, Cultural, Dance, Theater, Culinary, Ecology

..Between Underground and Skyworld...

DANCING EARTHs ...between Underground and Skyworld... is explores animistic connection to
Seeds, Roots, Plants, Foods in a poetic multi-dimensional Indigenous contemporary performance over
the course of a day(s). Morning ceremony, daytime artmaking, culminating in performance with live
DJd soundscape, spoken word, poetry, song in Native languages and environmental videoscape, then
shared feasting with exchanges of seeds, recipes and stories. This work began in New Mexico - relevant
as USAs most food insecure state with 1 in 3 people hungry - and evolved through collaborative
exchanges with Native elders, farmers, herbalists and food justice groups, we bring energy of landscape to theater, and spirit of dreamscape to earth.. Ideal for residencies, the core choreography can
reflect local experience with an adaptable opening segment that integrates community at each location
(through aspects such as dance, song, visual art, writings, seed exchange, or feast ). We investigate the
functional movements and spiritual philosophies of modern/ancient planters, foragers, hunters as well
as bio-mimicry and metaphor of seeds, and roots. Our previous danceworks are ecologically rooted,
and with this universal theme of food, we open even greater potential for accessibility by people of all
backgrounds to participate interactively. From our communities we receive the sanction and stories
that inform our work, with the understanding of artists as visioners and transformers who imagine
and animate an alternate reality into being. We embody the spiritual, visceral and emotionally relatable
Production History: Planet IndigenUs in Toronto, McMichaels Gallery of Canada, Culver Art
Center CA, pending 2016-17 : Arizona State Universitys Gammage Hall AZ, Riddu Riddu Festival
Norway, Mesa Verde National Park CO, Fort Lewis Concert Hall CO
Video: https://www.youtube.com/watch?v=TEYWGl4B0TM
Contact: [email protected]
Website: http://www.dancingearth.org

@Dancing_Earth
https://www.facebook.com/DancingEarthCreations/?fref=ts
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Photo: Daniel Arellano Mesina

Dandream Films & Shows by Daniel Arellano Mesina

(Andorra la Vella, Principat dAndorra)
Daniel was born in Santiago of Chile and he grew up in Andorra. He studied Post production, editing
and sound of cinema in CECC (Centre dEstudis Cinematografics de Catalunya - Barcelona). In 2009
he premiered in Museu del Comic a version of the musical Sweeney Todd, made with toys using
stopmotion animation (La Massana - Andorra). In 2012 he directed a lowcost TV series, now on YouTube, called Art de Garatge, Art of Garage (Andorra La Vella - Andorra). He participated in WEYA
(World Event of Young Artist - Nottingham), ListahatiTH (Arts festival - Reykjavik) and in Errors Allowed (Mediterranean 16, Biennial of Young Artists from Europe and the Mediterranean promoted by
the International network Bjcem - Ancona) with TITANO, a project by Little Constelation. In 2013
he won the Talentejant Plastic award (Young Creators competition) with Prestigi, Poder i Valor
(Escaldes- Engordany, Andorra). In 2014 he premiered the contemporary multimedia performance
Clown Palace (La Massana - Andorra). Also in 2014, he was part of the jury of the Ull-Nu Audiovisual Festival for Young filmakers of the Pyrenees - Andorra) In 2015 he is currently creating a new
multimedia performance called Ginnungagap which is expected to be shown in 2017.
Daniel is always involved in audiovisual projects. His work focuses on a particular obsession on little
items and their relation to space. For example, the starting point of Clown Palace was a game with
toys that became a performance, where the experimentation wonders how little things on stage can
become huge and interact with all the elements
DISCIPLINES: Performance, Stop-Motion Animation, Vj, Multimedia

CLOWN PALACE
Clown Palace is a multimedia performance with prosthetic figures, live video projections, and stopmotion animation projected on a semi-transparent screen with dancers performing live. Inspired by the
legacy of Alexander Calders circus, Clown Palace uses new technologies to expand on the concept of
the miniature circus. The miniature theatre is set in the center of the stage. Ballet interplays with stop
motion images projected on semi transparent screens which cover the stage. All of this accompanies
an original score. Clown Palace comes alive in 60 minutes and is suitable for all audiences. Anybody
can enjoy the mystical timeless story and the poetry of the images. Clown Palace was dreamed up and
created by a team of young talents from around the world (Canada, Chile, the Netherlands, France,
Spain and Andorra) who worked together throughout a whole year via internet.
There is a place in the world where the angels of white winds court, a place designed to let the dreams
fly. All starts when a clown, Le Clown, appears lost in a magic palace, The Palace, inhabited by white
angels, blue phoenix and grey citizens. Accompanied with the citizens of the palace, Le Clown will live
beautiful adventures discovering friendship, courage and love across miniature circus acts. But when
the blue old phoenix escape from their cages and scare away the angels and Le Clown, the citizens
help Le Clown with hot air balloons so he can fly up to the sky with the most beautiful angel, thus
discovering true and everlasting love.
Production History: Teatre de les Fontetes
Video: https://youtu.be/9UAZJ_f7-qU
Contact: [email protected]
Website: http://www.clownpalace.com
@Clown_Palace
https://www.facebook.com/ClownPalace
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Photo: Bernie Ng

Dapheny Chen (Singapore, Singapore)

Dapheny began her dance training in Ballet at an early age. She is versed in contemporary dance, ballet, jazz, hip hop and salsa. Shes a graduate of LASALLE-SIA College of the Arts Singapore. During
her years in LASALLE-SIA, she studied under Caren Carino, Ravenna Tucker, Jaime Redfern, Aaron
Khek, Jamal Jamaludin, Stephanie Burridge, Ledi Deans, Joey Chua, Lim Mei Chian and Albert
Tiong. She has performed in various Singapore and international festivals such as Contact Contemporary Dance Festival (SG), NUS Arts Festival (SG), EMCC (SG), M1 Fringe Festival (SG), Paris
Unesco International Dance Week (FR), Colorado College Dance Festival (USA), Bangkok Dance
Festival 2010 (BNK).
Through a dancers form, thoughts, emotions and character, I hope to engage others with their
thought provoking and artistically risky human stories. I am constantly seeking to redefine the what
ifs and what nots within the ever evolving forms of contemporary dance yet still retaining my true self
as an artist. The works I create are a reflection of my connection and responses to the urban landscape
thus making them valid to both myself and my audience. Collaboration and Exploration are key elements to my creative and performance process. With the usage of different arts medium, I would like
to connect, contribute back and converse with the audience while challenging the boundaries of dance
and the arts.
Arts is not an indulgence, it is a culture, a society, a breathing form that is constantly evolving and
expanding. Its relevance is what makes us valid, expression is what makes us different.
DISCIPLINES: Dance

A Box Full Of. This

A Box Full Of. This is hugely inspired by the humble abode - the Housing Development Board
(HDB) flats in Singapore. The new flats are getting smaller with some rooms only being able to house
a double bed and a wardrobe. What struck me the most was how constraint some of the spaces were
and the vast difference in the older versions of the HDB. It is evident that we have traits that are similar to Japans and Hong Kongs tight living society.
As population rises, the demand for residential living increases and in relation, space getting sparse
and expensive. Unless we are blessed with financial wealth, the majority of us would have to settle for
a HDB and in turn how are we able to make such a tight space livable while sharing a home with the
rest of the family.
as a family unit, as a couple or even as friends living under the same roof.
BFOTs different sections present different combinations of occupants and explore the various tensions or comfort we experience due to the tight living space. How much of our relationships between
one another is affected by personal or sharing spaces we are entitled to and how do we in turn react to
them or change the way we work.
I created this work in response to the changing economical and social standards of Singapore in
response to my own experience and eventual worries of the changes in an expensive Asian society. I
question the possibility of shoe box flats sprouting globally much thanks to our habits which directly
affects us in the exact same way - making changes.
Production History: Goodman Arts Centre Black Box (SG), University Cultural Centre Theatre
(SG)
Video: vimeo.com/daphenyc
Contact: [email protected]
Website: http://www.daphenyc.com
https://www.facebook.com/dapheny.tan
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Photo: David Jude Greene

David Jude Greene (Chicago, USA)

My artwork is an extraction of my daily life abstracted, doctored and reformed for an alternate universe of relativisms. As a prevaricator, my lines of reality are blurred for both the artist and my viewers.
I am a wonderfully horrible liar and one hell of a non-linear storyteller. The art I make is a moment
of life distilled into image both still or moving, live or recorded, color or black and white.
My choices of themes constantly deal with the many manifestations of relationships.
My association to space and place, internalized situation, interpersonal, sexual and social relationships
all build my body of work.
My work is a reflection of these interpersonal situations.
Popular culture is constantly referenced and recreated in my process.
The creation of this work is grounded in research, critically viewed and the outcome of presentation
is determined. The work may take the form of a simple line drawing or an evening of performance
work. In many cases there is still image and moving images. The bodies of work contain a storyline or
multiple storylines.
DISCIPLINES: Performance, Art, Movoment, Installation, Video

It can never go well...

It can never go well... is a physically narrated movement work that deals with a relationship and its
humorous disasters.
The work was performed live for Chicagos Salonathon at Beauty Bar In August 2015.
Production History: Salonathon/Beauty Bar Chicago
Video: https://vimeo.com/davidjude
Contact: [email protected]
Website: http://davidjudegreene.com

@davidjudegreene
https://www.facebook.com/davidjudegreene
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Photo: demo

DEMO [Dispositivo Experimental, Multidisciplinar e

Orgnico] (Guimaraes, Portugal)
DEMO (Dispositivo Experimental, Multidisciplinar e Orgnico), founded in 2010, its a collective
of artists that focuses on artistic research, creation and production grounded in the performative and
visual arts, while its practical purpose is to put together performances both in Theatre and
Performance Art, and Music, to organize workshops, exhibitions and publications. It aims at supporting the growth of a critical approach through the dynamism of art by sharing and exchanging knowledge and thoughts, and by merging different disciplines. DEMOs artistic agenda is therefore set on
the education of new audiences and in the decentralization and internationalization of portuguese art.
It is composed by Cheila Pereira, Cludio Vidal, Gil MAC, Margarida Cabral and Paula Rita
Loureno who assume a joint artistic direction. All the members did training in theater and have
graduation and masters degrees respectively in international relations/theater, communication design/
butoh dance, graphic design, sculpture, education/theatre.
They share the same artistic and aesthetic positions enabling them, through DEMOs creation-research
projects, to develop an artistic identity while experimenting the interflow of various artistic languages,
where visual plasticity is one of its features.
Their work seeks a balance between the experimental component of the creations and the educational
and / or community activities where the public sometimes takes a creative and participatory role.
DISCIPLINES: Theatre, Performance, Dance, Visual, Media

PRESENA
PRESENA is a show that crosses theater, dance, sound art and interactive technology.
The show is based on the concepts of presence and absence, held as the substance for both experimentation and sound interaction. Stillness, silence, the natural sound of the moving body, sound
processing and amplification, the handling of materials and objects, as well as the mapping of both
space and body, come together in the creation of new states, of multiple dimensions. In this sense, the
creative process found in real-time sound interaction the dramatic link between the different media in
a single plastic whole.
PRESENA is, therefore, a show in which music composition and technological interactivity bring
to the spotlight a presence that cannot be felt and an absence that is actually very present.
Production History: Teatro Estdio do CITAC, Coimbra; Centro Cultural de Amarante.
Video: https://www.youtube.com/watch?v=cpEcOZ9VKYI
Contact: [email protected]
Website: http://www.demo.pt

https://www.facebook.com/demo.dispositivo
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Photo: Nataraj P.S

Dimple B Shah (Bangalore, India)

A multidisciplinary artist from Bangalore, INDIA, with Post Diploma in Printmaking from MS
University, Baroda, my work basically integrates different mediums of art, which converge into performance art and create impact with socio-political undertones. My over a decade of experience is spread
over four continents and have manifested into curations under renowned artists, numerous solo and
Print Shows, Group Exhibitions, Installations, Art Festivals, works collected by Indian and internationals collectors and accolades with prestigious awards including Indias First Gold Prix, Prince Claus
Fund, IFA Grant, etc. Notable projects include Project 560, Katharsis in Forbidden Zones, Encounter Self, Healing Perfumes, Saffron Border, and so on.
DISCIPLINES: Performance Art, Painting, Print Making, Installation, Multimedia

Time-Lapse-Reliving Past
A generation which ignores history has no past: and no future - Lazarus Long, from the works of
Robert Heinlein.
Through this interactive performance audiance had a glimpse of bygone era, the sense of past, a journey and reflection of time to relive the time itself. This was done by showing small still moving images
in a kaleidoscope box the old medium to reach out people in the present time. This medium was very
popularly used in olden days, commonly used in villages, it is like bringing the past in to present.
The old indigenous kaleidoscope was designed in a new way, film positives of images from the past,
where people could get the glimpse of that period. Through this interactive per formative installation.
This performance was targeted all kinds of audiences from School Children, Auto Drivers, Common
people, Old people and Women. This performance was a journey in itself for me since from the time
of hunting for old photos online and reading about them and learning more things which I didnt
knew like the history of National College, the first Abala Ashram and going through life of great
personalities was indeed a great learning and inspiration for me. One really feels proud living in such
a great place with so much history. The outer body of Kaleidoscope was mix of old imagery and flower
print, I had also used custom made helmet which could display multiple portraits at a time, like turning pages of history book, with images of important personalities.
Production History: Basavanagudi Live Art Project, Project 560, India Foundation For Arts, Bangalore, India.

Contact: [email protected]
Website: http://www.dimplebshah.blogspot.in

@dimplebshah
https://www.facebook.com/dimplebshah
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Photo: Eva Campos Suarez

Dorin Eugen Ionescu/Art EveryWhere Association

(Bucuresti, Romania)
Dorin Eugen Ionescu finished the Performing Arts Faculty at the Spiru Haret University in 2007. He
is currently freelancing between dance, performance and theater. In 2013 he got the DanceWeb scholarship for ImPulsTanz-Viena. He danced in A stroll in the air by Georgiana Bobocel, 1+1=1 by
Cristina Lilienfeld. In 2007 he created Showbiz-a theater and dance performance (Nottara Theater
Bucharest). In 2007 he won best supporting actor at the Hyperion Festival Bucharest and in 2008 one
prize for group performance at the Young Performers Gala. In 2014 he created the performance called
Herviss Family.
Coaching/Workshops/Training with: Ivo Dimchev, Jerome Bel, Trajal Harell, David Zambrano, Keith
Hennessy, Kira Kirsch, Meg Stuart, Charmaine Leblanc, Matteo Fargion, Inaki Azpillaga, Mirva
Makinen, Martin Keogh, Miguel Gutierrez, Konstantinos Mihos, Hilde Rustad, Jess Curtis, Ray
Chung, Archie Burnett etc.
Art EveryWhere is an independent artisitc association, created in 2007 by director/choreographer
Dorin Eugen Ionescu. Since than in the frame of the association more than 30 shows were created for
different venues and spaces, spiraling between dance, music, theater and more. It main objectives are
the interdisciplinarity of arts, the accessibility of art( workshops and classes for both professionals and
non-professionals, giving opportunity for individual artistic development.) etc.
DISCIPLINES: Performance, Theater, Dance

Herviss Family
Herviss Family investigates ways of relating on stage, levels of awareness in the development of the
characters and also possibilities to build the artistic act by theater strategies enforced by means of
expression specific to contemporary dance and performance techniques. The result is a creation which
makes the synthesis between various artistic tools applied through a strong interdisciplinary view-Gina
Serbanescu, critic.
Herviss Family is a performance that questions contemporary dance. The characters are playing with
notions like: structure, improvisation, traditional, concept, idea, multi-disciplinary, contemporary;
since this performance is also about the conventions used in creating a show.
Production History: Arca Theater Bucharest, Red House Sofia, Roundhouse London, Volksroom
Brussels
Video: https://www.youtube.com/watch?v=9O6yGL6xY3E
Contact: [email protected]
Website: https://www.facebook.com/familiaherviss/?fref=ts

https://www.facebook.com/familiaherviss/?fref=ts
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Photo: Chris Randle

Dreamwalker Dance Company (Toronto, Canada)

A Crazy Kind of Hope is a new piece from choreographer Sarah Chase created with performer Andrea
Nann. In this story based work, the exquisite and eloquent dancer, Andrea Nann, introduces a few
simple numbered patterns of movement gestures. During the piece these patterns begin to intersect
and harmonize, creating a heightened poetic landscape, where Andreas own spoken stories unfold into
realms of water, flowers, surf, loss, and love.
Sarah Chase / Co-creator & director
Sarah Chase, artistic director of Astrid Dance since 2009, is a celebrated choreographer and performer.
Based in Ontario until 2004, Sarah is now an artist in her home province of British Columbia and
has taken the helm of Vancouver-based Astrid Dance. Her work has toured extensively throughout
Canada and Europe since 1996 where she also performed in the works of Raimund Hoghe and Benoit
Lachambre. She has created commissions for Toronto Dance Theatre, Peggy Baker Dance Projects,
Andrea Nann and Dreamwalker Dance, Robin Poitras and Ron Stewart, Montral Danse, and Theatre
Replacement. She is an Associate Artist of the National Arts Centre in Ottawa. Sarah was the recipient
of the Jaqueline Lemiuex Award in 2004.
Andrea Nann / Co-creator & performer
Originally from Vancouver, Andrea Nann is now a Toronto based contemporary dance artist, artistic
director of Dreamwalker Dance Company. Andrea creates works for the stage, film, and various outdoor sites. She is currently a visiting artist at River Run Centre (Guelph), Burlington, Centre for the
Arts (Burlington) and Soulpepper Theatre (Toronto).
DISCIPLINES: Dance, Storytelling

A Crazy Kind of Hope

Dreamwalker Dance Companys A Crazy Kind of Hope is an intimate solo performance combining
beautifully articulate, hypnotic movement patterns with stories of hope and heartbreak. The piece is
made in the unique dance-storytelling form of choreographer Sarah Chase who devises unique movement patterns to provoke private memories and personal stories from co-creator/performer Andrea
Nann.
Audiences are drawn in, mesmerized and deeply moved by this seemingly simple, utterly compelling,
virtuosic performance.
Production History: National Arts Centre - Ottawa, Canada; Scotiabank Dance Centre - Vancouver,
Canada; Firehall Theatre - Vancouver, Canada; Registry Theatre - Kitchener, Canada
Contact: [email protected]
Website: http://www.dreamwalkerdance.com

@ANDreamwalker
https://www.facebook.com/groups/dreamwalkerdance/
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Photo: Elizabeth Shores

Elizabeth Shores (Albuquerque, NM, USA)

b.1984, Currently based in Albuquerque, NM.
As an interdisciplinary artist, writer, and curator, I engage the politics and science behind representations of landscape in environmental law. My research-based creative practice addresses the connections
between objectivity, corporate personhood, and the production of landscape through collaborations
and interviews with scientists, artists, and lawyers, site-specific performances, audio, video, FM
transmission, and writing. Recent projects include the creation of nano-sized titanium sculptures built
upon circulating US currency, radio transmissions in the Earths stratosphere, video installations, and
several curated performance series.
DISCIPLINES: Intermedia, Video, Transmission, Audio, Site, Sculpture

My Presence is Productive
My Presence is Productive, Inc. operates with the understanding that within any power dynamic
where an elite class constructs and circulates normative values, didactic and rigid systems of representation can lead to a belief that one is free when in reality there are only a pre-defined set of choices
from which to choose. The objective of MPIPI is to create a new set of tools to suggest alternative
models of information interpretation and construction in order to escape a mindset ignorant of its
limited options.
One example of My Presence is Productive is a site-specific, 3 x 5 double-sided polyester flag created
as a response to corporate personhood. Corporate personhood is a legal concept that grants U.S.
corporations the fundamental right to exist as individuals and to freedom of speech. The creation of
this flag is meant as both a warning and an inquiry. When a human is personified in an object, whose
voice is represented? By delegating the outsourced labor required to manufacture this flag, My Presence is Productive offers a glimpse of what it might feel like to be a corporation.
Production History: Exhibition History: SITE Santa Fe, Tamarind Institute, The Museum of Modern Art (NYC), Columbia College Chicago, the University of Iowa Museum of Art, the University
of California San Diego, and the University of New Mexico Museum of Art. Publication/Presentation History: Arizona State University, New York University, the School of Visual Arts, and the New
Mexico State Capitol.
Video: https://vimeo.com/elizabethshores
Contact: [email protected]
Website: http://www.elizabethshores.com

@elizshores
https://www.facebook.com/liz.shores.5
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Photo: See Imagine Define - 2015 (as part of Dance Live Festival)

Emma Jayne Park [Cultured Mongrel Dance Theatre]

(Edinburgh, Scotland)
Carrying the innate values of hip hop culture whilst exploring new territories in theatre, EJP makes
socio-political work with the intention of creating genuine dialogue. High Octane... energetic, witty
& playful (The Skinny), her practice asks audiences to engage through questioning their own social
norms. Following Scottish contemporary dance training, EJP completed an internship at DNA,
Manhattan and apprenticeship with Company Chordelia. She has since worked with practitioners
such as Conflux (Ricardo Puccetti/ Patrick Nolan), Ocean All Over, Angus Balbernie, Norman
Douglas, Freshmess, Barrowland Ballet, Gibert Deflo and Gary Clarke. Committed to developing her
creative voice, EJP has travelled across Europe learning intensively from artists such as Alan Greig, Ivo
Dimchev, Katie Duck, Rasmus Olme, David Gordon, Liz Lerman, Nicole Piesl and Alva Noe. Further
receiving mentorship from Christine Devaney, Jonzi D and Jonathan Burrows through the choreographic development initiatives of Breakin Convention. Although branding her work dance theatre,
EJP explores spoken word, physical theatre, immersive techniques and interdisciplinary collaboration
to strengthen the quality and communication of her work. Each piece takes a unique form focussed
on generating a powerful experience and occasionally walking the line between dance and live art.
Founding Cultured Mongrel as a means to impact the arts world beyond simply touring work, she has
established several unique working practices with a focus on supporting creative development, pushing
the form and sustaining the sector.
DISCIPLINES: Dance, Theatre, Hip Hop Theatre, Physical Theatre, Intimate Performance, Critical
Dialogue

#TheSoloFilter
Ever left a performance discussing what YOU would have done differently? #thesolofilter is an opportunity to remake a performance into the piece you wish you had seen.
Five audience members are invited to respond to a short performance through re-authoring it on
the original cast over a ninety-minute period, an intimate process voyeuristically opened to a wider
audience in an open rehearsal installation. These series of works are then structured to form a flowing
performance that is presented to a live audience followed by a post show discussion of the research and
work.
#thesolofilter is an ongoing creative practice and research project designed by Emma Jayne Park to
challenge artists whilst supporting the development of a more rigorous dialogue around performance.
Not limited to the re-authoring of solo work the process allows a choreographer the opportunity to
see their work filtered through the lens of other artists, audience members and even critics to give a
greater sense of how people experience what they create.
The process developed following an intensive period training with Liz Lerman and David Gordon
(2012), transforming Emma into a strong advocate for Critical Response Process and its ability to support the development of a more rigorous yet objective dialogue around art. However, in encountering
the practice of CRP Emma determined the need of some viewers to present a bolder and more subjective form of feedback, at the risk of possibly challenging the artists and their own ego.
For more detailed information please visit our website.
Production History: Dance Base, Edinburgh. The Work Room, (Tramway) Glasgow. Platform,
Glasgow. Suttie Arts Space, Aberdeen. Citymoves Studio, Aberdeen. Chapter, Cardiff.
Video: https://vimeo.com/143602175
Contact: [email protected]
Website: http://www.culturedmongreldance.com
@culturedmongrel
https://www.facebook.com/EmmaJaynePark.PepperBakewell/
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Photo: Ian Douglas/Manuel Moncayo

enrico d wey (Berlin, Germany)

Over the years, I have willingly split myself within contexts:
- dancing for Ishmael Houston-Jones, Yvonne Meier, Trajal Harrell, Milka Djordjevich
- puppeteering on Broadway for War Horse or in William Kentridges Il Ritorno dUlisse
- on film for Dennis Cooper/Zac Farleys Like Cattle Towards Glow
- originating my own creative work, performance and otherwise.
- as a self-indentified Asian and/or American man living in considered queerness, here, there, and
everywhere.
The (form of the) work, like its context, changes, according to the project or theme - from a puppet
piece, to a series of writings, to film, to dance - until the form aligns itself to its time/context. The
focus is not on output, however, there is an explicit desire in my current work to engage in text and
storytelling within composed movement scores and choreographies - scores being where the bulk
of my work has life. Irritation might be a better word for desire; that nagging feeling that will not
let me be, a stalling that pushes me forward, an in-between space that I question, that questions me.
Desire exists in the act of pushing into it, painful and sublime. Which can be one and the same. The
act of performing exists as a means of understanding rather than a way of staking a claim. So desires
remain, irritations remain, and the work continues.
DISCIPLINES: Performance

1, this useless tool, this folded flower

1, this useless tool, this folded flower is the first part of a solo series. It is a query made through personal filters - the Asian body as invisible, as fetishised/unwanted, eunuchised in many eyes, greater so
within my own - examining what I refer to as cultivated mythologies - dom/sub/top/bottom sexual
positioning, gay/queer aesthetics, and frameworks of humiliation/abjection. The work is an everfolding, lurching body on hands and feet: a character/object, underscored by personal texts colonised
by the voice of an other. The body layers movement drawn from Narcissus frozen in reflection, and
Echo, the voiceless entity searching for connection. Within these seemingly static, voiceless, solitary
states, perhaps these three figures - lost in the proverbial woods - fold into one another. Music composed by Amit Gilutz. Visual design by Elliott Jenetopulos. Text performed by Joby Earle. Written/
built/performed by Enrico D Wey. sometimes it is easier to take it to grin and bear it. sometimes i
would appreciate it if there was something else on the table. sometimes, though, that is all you really
want. sometimes all i really want is fried chicken. sometimes i want the taste of a Twinkie. sometimes
i look over my shoulder just to make sure. sometimes i rip out the few hairs that surround my asshole,
rosebud, whatever, so that it doesnt appear so... brooding. this flower pales in comparison, this folded
flower, white, doubled over and over
Production History: Abrons Art Center. New York, NY
Video: https://vimeo.com/124196177
Contact: [email protected]
Website: http://enricowey.com

@andthelab
https://www.facebook.com/enricowey
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Photo: Bojan Stojkovic

Ephemera Collective (NOVI SAD, SERBIA)

Ephemera Collective is a group of spatial designers and agents, based in Novi Sad, Serbia. In their creative and teaching practice, members of the Ephemera Collective work with the vast and diverse pallet
of methodologies and strategies borrowed from the other disciplines, aiming towards the profound
understanding and the production of space itself. The collective ventures into performance, theatre,
storytelling, visual arts, phenomenology and social science, in order to detect tools and acquire skills
necessary for the establishment of an architectural alternative. By doing so through their projects,
workshops, texts and the educational practice members of the Ephemera Collective create places
for every purpose and of every scale - from a microcosm to the whole world. Alive places. Breathing
places. Places that tell stories. Places - the protagonists. Following the exact instructions from The
Manifesto written in the early days, the collective looks for challenging, exciting and creative ways
of dealing with issues from the spatial design interdisciplinary field. Arguing that the spatial designs
creative potentials are borderless, the collectives mission is to prove that.
DISCIPLINES: Spatial Design, Site-Specific, Architecture, Research, Performance, Education

Layers of Space
Making theory work in practice, one of the collectives core strategies, reflects in projects as was Layers
of Space. Launched as a series of performative events created particularly for the purpose of a closer
observation and examination of the spatial consequences in participants experience, this project
represented a specifically guided spatial practice. The practice in question, namely the Spatial Embodiment, relies on the elemental procedure a clearly defined and articulated chain of actions, ultimately
leading to the evolution of the participants individual narrative / space. Equally based on ones own
body as a medium of communication and on ones personal capability (sensibility and intellect), Layers of Space requestioned traditional memory models which emphasized abstract analytical experience
above physical.
Confronted with the projects protagonist the abandoned building of the Electro-distribution in
Prague participants were instructed to carefully perceive the environment and to sensually embrace
it, in order to create and develop personal narratives, thus supporting the individual existence at that
specific spatial spot. Led by spatial traces and spatial evidence, participants identified with the imagined roles deeply rooted in the devastated spatial frame of the vanishing architecture. Resulting on
multi-levels, this project reinforced participants spatial imagination and has left the ruin marked with
the new layer of meaning.
Production History: Layers of Space took place in June 2015 during the 13th edition of Prague
Quadrennial of Performance Design and Space (Prague, Czech Republic), as a part of curated artistic /
educational event Shared Pedagogies: 4 experimental workshops in interdisciplinary pedagogy.
Contact: [email protected]
Website: http://ephemeracollective.org/

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Photo: Regina Vasconcellos

Fe Vas (So Paulo, Brazil)

Fe Vas, 29-year-old, artist from Minas Gerais, lives and works in So Paulo.
Felipe has a multidisciplinary training and develops a hybrid work in performance art. His work
begins with a scenic consciousness where the body is his main research object and instrument for
physical and durational actions.
Through the integration of languages such as the theatre, performance, photography and audiovisual,
Felipe Vasconcellos develops a methodology for procedural and cumulative creating over the representation of the body and the contemporary subject.
Bachelor in Visual Arts, painting, sculpture and engraving in Centro Universitario Belas Artes (So
Paulo/2014). Hes also graduated as technician in theatre by the State technical school of Theater
Martins Pena (2007) and at CPT - Theatrical Research Centre/SESC Consolao (2011), both in So
Paulo.
In 2015 the artist was invited to participate in some events in So Paulo: Feira Internacional de Arte
de So Paulo(International Art Fair) ; the festival Performance. Msica-Contaminao (Performance.
Music-Contamination) at Centro Cultural Banco do Brasil and Demasiado Pasolini at Mario de Andrade Public Library with the performance Lucipher-body installation.
In 2014, Fe Vas presented the performance/installation Corpo Fechado (Unbreakable) at Verve Gallery during the collective exhibition Palavras-Chave (Keywords)/Centro Universitrio Belas Artes de
So Paulo; and participated in the following events: the Festival called We Are What We Lost, in So
Paulo, carried out by the group OuUnPo (Ouvroir dUnivers Potentiels); IX Hemispher
DISCIPLINES: Performance Art, Video-Art, Installation, Site Specific, Body-Art,

Corpo Fechado (Unbreakable)

Hanging in the air by climbing belt, the artist writhes, wearing an outfit covered with coins, in a
decomposition process in this guise. The work exposes the reification of the body and its market value
in different institutional areas, also discussing the selling of the aesthetic experience and the difficulties
to become detached.
This research on performance has the artists body as a working tool and alive object that is exposed
and integrated into the exhibition space. The performance-installation has in its conception the composition of different forms of intervention: the materials on the body; the body in the environment;
the action on the object: the subject; and, the reaction to the works composition.
The action is based on the individuals condition to provide the only means of survival in contemporary society. It is in this context, where the subject is configured as an instrument of production, producer and consumer of himself and the other, that the work opens questions about body overwhelmed
by the market and by the culture of excessive consumption.
Production History: International Fair of Contemporary Art of So Paulo, 2015 / Galery Verve and
Centro Universitrio Belas Artes, So Paulo.
Video: https://felipevas.wordpress.com/2015/01/10/corpo-fechado/
Contact: [email protected]
Website: http://felipevas.wordpress.com
@_fevas_
https://www.facebook.com/felipe.vasconcellos.520
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Photo: Maria Joao Guardao

Filipa Guimares (London, United Kingdom)

Filipa Guimares was born in Porto. Between 2001 and 2006 she studied Visual Arts Painting at
Fine Arts School, University of Porto. She holds two Masters Degrees. The first is in Contemporary
Art Practices from the Fine Arts School, University of Porto and the other is in the Visual Language
of Performance from the University of the Arts London. She has given lectures and talks at several
institutions, including the Chelsea College of Art.
Since 2005 she develops art projects in the realm of visual arts and performance, in public space, art
galleries, museums, theatre and other contexts. She presented her work in many exhibitions internationally and performed in venues such as: CCB (Centro Cultural de Belm), in Lisbon; La Casa
Encendida, in Madrid; Tate Modern, Barbican Theatre, Toynbee Studios and Chelsea Theatre, in
London.
What I create is defined by the difficulty of definition. The goal is to attain the indecipherable, sinuous
and deviant side of the real. To break the border between dream and reality, confronting one with the
other, placing them side by side. It is as if reality and the contexts that constitute it were the scenery,
making the dream clearer and moreover more conscious. It is a dream that considers and questions
reality, which interferes in reality. Basically, this dream is the will to glimpse reality from another point
of view and the attempt to give it to others.
DISCIPLINES: Visual Arts, Performance, Photography, Video, Painting, Installation

Title: Becos (Alleyways) / Subtitle: Carolina

Title: BECOS (Alleyways)
Subtitle: Carolina
Year: 2015
Video production and photo credit: Maria Joao Guardao
This project consists of a series of performative acts at Lisbons alleyways. Each series is performed by a
different character I create for myself and for the specific chosen places. There are 153 alleyways in the
city, and I intend to live in all of them for short periods of time, through these imaginary characters.
Carolina
The first series of the project Becos is called, Carolina, and was already documented in video and
photography. It is about a character who is eating different pieces of fruit in seven different alleyways,
in the areas of Castelo de So Jorge and Alfama. She spends a whole day going from beco to beco,
sitting on a traditional Portuguese chair, opening her magic pot to find out which fruit she would be
eating next.
Production History: Public Space (Lisbons Alleyways)
Video: https://vimeo.com/143678500
Contact: [email protected]
Website: http://www.filipaguimaraes.net

https://www.facebook.com/Filipa-Guimares-1412180095683378
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Photo: Marc J Chalifoux

Good Women Dance Society (Edmonton, Canada)

Alida Nyquist-Schultz is a performer, choreographer, teacher, and collective artist of GWDS. She
holds a BA with Honors from the School of Contemporary Dancers in Winnipeg, MB. Her choreographic style centers around creating a strong, theatrical, gestural vocabulary rooted in contemporary
dance in order to develop a unique language of expression. Her dynamic, highly physical and emotionally driven work has been performed at numerous festivals and events across Canada. Alida creates
work as a means of understanding and connecting to the world around her and the people in it.
DISCIPLINES: Contemporary, Modern

Withheld
I created Withheld because I consider myself an introvert and consequently I, for much of my adolescence, struggled with feeling trapped in my own body. Creating through dance has allowed me
to express the isolation and anxiety I felt during that time. It has also helped me to understand the
greater repercussions from feeling that my introversion was holding me back. Withheld explores the
bodys predisposition to withhold, confine, and distort emotions, impulses, and information. Whether
withholding is due to a political, social, or psychological threat, our desire to reach out and connect to
another is affected by this repression. Four dancers express the physical vocabulary and interpersonal
dynamics that evolve out of this withholding or confinement of expression. The audience experiences
Withheld through a series of duets, solos, trios and ensemble work which reveal the themes of repression in recurring physical patterns of capture and release. The evocative music, the emotional and at
times theatrical connection between the dancers, as well as the strength of the movement, results in an
emotionally upheaving experience for audiences of diverse backgrounds.
Production History: The Westbury Theatre (Edmonton AB) Dancers Studio West (Calgary, AB)
LUni Theatre (Edmonton, AB)
Video: http://youtu.be/0TNcejQKSpQ
Contact: [email protected]
Website: http://www.goodwomen.ca

@goodwomendance
https://www.facebook.com/Good-Women-129045133840025/?fref=ts
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Photo: Jos Caldeira

Gustavo Monteiro (Porto, Portugal)

Gustavo Monteiro was born in Porto, Portugal on 14th June 1992.
Graduated in 2014 from the Salzburg Experimental Academy of Dance (SEAD) in Austria under
direction of Susan Quinn. In the academic year of 2012, SEAD rewards Gustavo with a Mentors
Award in recognition of his outstanding work as a student and dancer.
Between 2010 and 2014, he was involved in several creation with Rootlessroot, Martin Nachbar,
Michicatzu Matzune, Helder Seabra, Hubert Lepka, Mia Lawrence and Michal Mualem.
On the beginning of 2015, in parallel to his work as performer, he started developing his own choreographic work and since then he created and produced Looking for the face I had before the world
was made. This piece performed in main theaters such as Teatro Municipal do Campo Alegre and
Teatro Nacional Mosteiro So Bento da Vitoria, both situated on the city of Porto in Portugal.
In 2015, he worked as performer with Marco da Silva Ferreira, for the opening ceremony of Loul.
European City of Sport and he was part of a new creation by Cie LaFlux (Juha Marsalo & Caroline
Savi) that was premiered in Paris.
For the year 2016, Gustavo in collaboration with Francesca Perrucci, will create his new artistic production The heart is a muscle and You know it can (h)old (working title).
Currently the activities of Gustavo Monteiro are focused around the creation, production, distribution
and promotion of his own artistic work, The freelancing in professional projects as dancer, assistant or
choreographer, the organization of events and educational activities
DISCIPLINES: Dance, Performance, Experimental, Contemporary, Improvisation

Looking for the face I had before the world was made
Looking for the face I had before the world was made is a journey through the labyrinth of the
mind. Who am I? This is a question that its common to all and that its part of our instinct, but for
which society has created rules to suppress in order to go against chaos in our heads.
Francesca Perrucci, a born performer, will in a kind of sacrifice or a kind of self-imposed life sentence
(as if Zen-like passivity meets a hollowed-out capitalist madness), challenge her limitations in order to
discover new answers about herself and the world around her.
Looking for the face I had before the world was made is an emotional and touching performance.
CREDITS: Created: 2015. Choreography & Direction by: Gustavo Monteiro, Created with &
Performed by: Francesca Perrucci, Music: Godspeed You! Black Emperor, Dramaturgy Support: Luis
Mestre, Teaser recording & edition: Francisco Moreira, Artistic Residencies: Companhia Instavel
(Porto), Collectif Au Quai (Brussels), Special thanks to Ana Figueira for the support that she gave.
Production History: 2015: April 25th | DansCentrumJette | Brussels, Belgium ; June 30 | desNORTE Mosteiro de So Bento da Vitria | Porto, Portugal ; September 17 | Palcos Instveis
Primeira Obras Teatro Municipal do Campo Alegre | Porto, Portugal ; September 25 | In works
SignSix | Brussels, Belgium
Video: https://vimeo.com/142532519
Contact: [email protected]
Website: http://www.gustavomonteiro.pt

https://www.facebook.com/gustavomonteiro.pt
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Photo: Cindy Albrecht

GUT REACTION (Experi-Mental Theatre)

(Berlin, Germania)
GUT REACTION is an English expression that indicates a reaction to a situation derived by a persons instinct and experience. MARCO RIVAGLI and GIULIA MANDELLI, both established professionals in their own artistic field, after many previous collaborations, give birth to the Gut Reaction
at the beginning of 2015. The unique style that characterizes them, leads the audience on a journey
into the most improbable imaginings through an investigation where theatre, body movement, music
and rhythm collide. Energy, freshness, art and instinct are the heart of the project. Gut Reaction
put across a new vision where the artist, the audience and the event organization collaborate in the
creation of the show itself. Their work is SITE SPECIFIC: dramaturgy, choreography and music
are composed specifically for the location. The duo, that has already performed many shows all over
Europe, offers pieces for a very heterogeneous audience and now often perform live also with the participation of Emanuel Victor (Argentina) and the live painter Merav Leibkuechler (Israel/Germany).
DISCIPLINES: Performative Arts, Contemporary Dance, Music, Physical Theatre, Live Painting

4MOODS
4MOODS is a piece inspired by the book The Curious incident of the dog in the night time written
by Mark Haddon.
The show is a personal interpretation of the story; the concepts led the duo in the composition of the
scenes and the music dramaturgy.
The book is written from the perspective of a 14 year old boy with Aspergers syndrome (a form of
autism) that, becoming a detective in the hunt for the murderer of a dog, is conducting an investigation in a personal growth and realization. The author doesnt focus on the problems of autism, but on
the reality seen with those eyes. Likewise the Gut Reaction decided to live the stage. Using the expressive language of the body and rhythm,a series of seemingly disconnected situations are proposed with
the aim to evoke the most varied, personal and unexpected images in the mind of the audience.
Production History: Buhnenrausch, Cammerspiele, Pirandello Sprachschule, Berlin Fashion Week,
Feat. Sigue Sigue Sputnik Electronic, Candia Lake, Untertitel
Video: https://www.youtube.com/watch?v=R43dH5rfnaA
Contact: [email protected]
Website: https://www.facebook.com/gutreactiontheatre

@theatregut
https://www.facebook.com/gutreactiontheatre
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Photo: Anna Campbell

Hand2Mouth (Portland, OR, USA)

Described by The Seattle Times as having the kind of promise, fearlessness and energy that the
American theater needs, and should encourage, Hand2Mouth is a permanent ensemble of artists
who have been working together since 2001. Our mission is to make original theatre that is bold and
accessible. Led by artistic director Jonathan Walters, Hand2Mouth creates original performances from
their rehearsal studio in Portland, OR, and regularly performs in Portland, New York, Seattle and San
Francisco.
Jonathan Walters founded Hand2Mouth in 2000 after training with street theatre troupe Teatr Biuro
Podrozy in Poland. Hand2Mouth has since created over 20 original performances from its home in
Portland, OR, and the ensemble has grown to include a core of company members and associate
artists. Hand2Mouth performances are developed over a period of 10 - 18 months through intensive
rehearsals; each show demands its own creation process and training which builds over months of
exploration including long form improvisations, movement exploration, text research and songwriting. From these raw seeds, the company hones fragments into cohesive wholes, producing theatre that
could not be created from the pages of a script alone.
DISCIPLINES: Theatre, Performance

PEP TALK
Like any good spirit squad, they had me roped in from the get go for their joyous descent into that
pillar of American culture: the motivational pep talk. - Portland Monthly
PEP TALK is an interactive theatrical celebration of coaches, teams, and everyday heroes. A crew of
four coaches take the stage to explore the power of the pep talk in our lives and demonstrate, with
the audiences help, that every person has the ability to both give and receive words of encouragement
and motivation. Combining the bravado of Muhammad Ali, the gravitas of Vince Lombardi, and the
humor of The Bad News Bears, PEP TALK creates an art/sport atmosphere that inspires audiences to
reflect on the past, cheer on the present, and step from passive observers to active participants.
Production History: On the Board, Oregon Contemporary Theatre, Surplus Space Gallery, Coffee
Creek Correctional Facility (to name a few)
Video: https://vimeo.com/98671636
Contact: [email protected]
Website: http://www.hand2mouththeatre.org

@H2MTheatre
https://www.facebook.com/H2MTheatre
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Photo: Mental Images

Hannah Mary (Brierley Hill, United Kingdom)

I obtained my joint degree in Theatre and performance studies in July 2013 and since graduating
have developed two solo shows that encompass poetry, choreography, unique scenography, organic
sound production and projections to deliver powerful and emotional imagery to the audience through
endurance performance installations. I have toured these pieces round several spaces , online and will
continue this during 2016, developing my third piece for showcasing.
I have also been working with an Art community interest company for the past year, which enables
artists to develop and showcase their work. As head of communications I run their promotions, correspondence and talk to the artists about how best to develop their show for an exhibition. This means
I have great access to a diverse collection of people and their artwork in many mediums
I love failure, which is fortunate for the lack of motivated rehearsal I have for my life. Through my
own suffering with severe failings both physically and mentally , Ive found creativity, inspiration, understanding and the empowerment of accepting destruction. I try , I fail , but I dont change nor wish,
but acknowledge and try to fail better. Its far more interesting and far more human.
My performance work and my poetry focuses around the organic. Natural responses to emotions ,
environments and the inclinations of my body. I try to recognize, accept and give in to the traumas
my body experienced or is experiencing and delve into their mysterious without judgment.
DISCIPLINES: Performance, Writer, Deviser, Director, Singer, Composer

hannah taylor
Provocative ideas and concepts that emerge for me personally as an artist from the pomegranate are in
connection with my blood condition and fertility as a woman, as well as being a young person suffering a long term disabling illness that interlinks and progressively exaggerates these concepts for me.
The symbolism of the pomegranate in Greek Mythology: Persephone
Persephone does not have any known offspring even though Her myth is directly associated with
Fertility and the seasonal cycle. After Hades the God of the underworld wanting her to be his bride
tricked her into eating a pomegranate, she was cursed to have to return for so many months a year to
the underworld. The Goddess of fertility and ripe seasons having to spend half her existence within
the shadows of death, returning to spring the world to life.
This piece looks at many aspects of the condition of ITP ; Idiopathic Thrombocytopenia Purpura and
the psychological effects this condition has caused for me over time. However it can also be interpreted within any of the boundaries of fertility, struggle, loss of youth, loss of control, the need to consume, the toxic relationship that develops during obsession or addiction and the struggle women have
with the responsibility and expectation of pregnancy, motherhood and feeling Ripe. The audience
stands with backs against each wall , so that it is performed in the round. There is not much space
between me and the audience and It can be viewed from any angle. This is so they are within the ritual
im performing whilst remaining seperate. They are observers.
Production History: Fargo Village Coventry, Asylum Gallery Wolverhampton, Aberystwyth University
Video: https://www.youtube.com/watch?v=Oa6TKXX_Sy8
Contact: [email protected]
Website: https://hermasks.wordpress.com/
@HannahMaryArt
https://www.facebook.com/TheCrimsonMistress
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Photo: Alexandra Ryazanova

Hannes Egger (Bolzano, Italy)

Perform Yourself! encourages visitors to enter into a discourse with themselves as well as with others
and with the space itself. After receiving instructions from the artist, the visitors are themselves transformed into performance artists such as living sculptures, thus challenging the traditional concept of
the audience as passive observers.
Hannes Egger began to develop a series of works that were created either as performances or as installations, under the label Perform Yourself . For the Panorama-4-exhibition in the fortress of Franzensfeste/Fortezza in South Tyrol in 2012, he built a wooden dance floor as a stage upon which the
audience was invited to follow the indicated instructions and to perform certain moves. Several similar
works followed. In 2013, he organized along with Antonella Tricoli a series of lectures and discussions on the theme of YouTube Performance Today. The aim was to explore the impact of video
platforms on performance art. The catalogue Web Performance Today featuring the results was
published the year after.
DISCIPLINES: Performance Art, Installation, Participatory Art, Concept Art, Theory

PUBLIC VIEW
Hannes Egger went on stage via a winding staircase, positioning myself in the centre of it. The
audience sat in rows in front of me just like in a concert hall.
Hannes Egger began to explain that artists have an important role and that curators are of great i
mportance, too, and that without organizers, no festival or exhibition could ever take place and even
art dealers and collectors make a valuable contribution to the arts. But there is another group of
people which is of paramount importance, as many art works - especially performances - would not
work without them. Yet this group is rarely acknowledged: the audience.
On stage, Hannes Egger pointed out that the aim of this performance titled Public View is to focus
attention on the audience as the unnamed protagonist. Thus, I invited every member of the audience
to step on to the stage one by one. I shook hands with each of them and we posed for photos.
Before the end of the event, each left his or her name, together with a phone number and email a
ddress. The next day, each participant received an SMS from me on their mobile phones, instructing
them how to conduct their own performance.
Production History: Musion (Bozen/Bolzano), Dox (Praha) 54. Biennale di Venezia (Venezia), La
Muga Caula (Figueres), Tiroler Landesmuseum Ferdinandeum (Innsbruck), Art Center (Krasnojarsk)
Contact: [email protected]
Website: http://www.hannesegger.com

https://www.facebook.com/hannes.egger.167
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Photo: by: Radosaw Pietraga

Hear the Dance (Warsaw, Poland)

HEAR THE DANCE is a unique dance project based on varied forms of percussive dance: Irish step
dance, flamenco, tap dance, contemporary dance and ethnojazz music. A colourful performance where
the dance is an integral part of the music, different cultures meet on one stage and where a tradition and a contemporaneity are synonyms. The project was created by the accomplished dancers and
musicians, varied dance show lead dancers, masters of the tradition/contemporary performers. Hear
the Dance is one of a few music projects in the world which fuse traditional irish music, flamenco and
jazz. It is a harmonious collage of different music worlds, the aim of which is to show the possibilities
of coexistence of the different cultures in the modern world.
DISCIPLINES: Dance, Music, Percussive, Ethnojazz, Fusion, Contemporary

Hear the Dance

The mission of Hear the Dance is to present the most developed forms of percussive dance in context
of contemporary performance and the music behind them: flamenco, Irish step dance and tap dance
fulfilled with contemporary dance. We show that in these cultures a dancer is at the same time a musician. Dance is a music and music is a dance. In the field of rhythm and a modern esthetic we seek a
common platform where we are united and equal. Both in the area of music and dance we seek the
common language, creating a fusion but whit respect for the identity of its individual parts. We show
a tradition side by side with an avangarde. With respect to the origins we present the old folklore like
the North Kerry step dancing (nearly extinct regional style of the Irish dance from county Kerry) as
well as the contemporaneity. We show that a tradition is not a set of past customs but a living process
lasting through the generations. Dance and music of grandparents, parents and children can coexists
peacefully and fulfill each other. Our main goal is to show the possibilities of coexistence of the different cultures in the modern world.
Production History: Over 30 performances and workshops all around Poland since the opening
night July 2014.
Video: https://www.youtube.com/watch?v=CUTmI0qHZcs
Contact: [email protected]
Website: http://www.uslyszectaniec.pl/eng.html

https://www.facebook.com/uslyszectaniec/?fref=ts
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Photo: Jacob Johannes Buchard

Heidi Jessen (Oslo, Norway)

Choreographer, performer and dance artist. Heidi Jessen born in 1987 in Sandnes, Norway. She is educated at Oslo National Academy of the Arts (MA in choreography 2013-2015), Skolen for Samtidsdans (School of new dance, Oslo 2008-2010) and Spin Off Dance, Oslo 2006-2008. As a choreographer, Heidi is working both in collaboration with other choreographers and artists and with creating
work on her own. Heidi works within the performing arts field, she also explores other media or other
formats such as photography and video. Insistence on the visual, questions of kinesthesia, perception
and thoughts of choreography as an extended practice have been crucial to most of her work.
DISCIPLINES: Choreography, Dance, Stageart

Just Before After

Just Before After is a performance based on inspiration from myths and costume rituals. By using
four performers and unrecognizable costumes, I intend to create a dynamic mix of strange mythology
and bodies that are constantly in transformation. Pretty and ugly are mixed together and the daily life
and concrete suddenly becomes misty and unreal. With different materials, hybrid figures are created
and a world appears with warmth and rawness. By continuous transformations, lines are crossed between the human and the bestial, the real and the unreal. The human underneath disappears and then
returns. Could this mysticism mixed with identification awake something amongst the viewers? And
what is this? In Just Before After lies the meaning of something that is between. Something that is
between animal and human, between inside and outside, between body and room, between concrete
and abstract. Together with a costume designer I create four costumes with inspiration from the history, yet from my own interpretations. The costumes create new forms on the bodies that give both
possibilities and limitations to movements. These costumes make the starting point of the movement
material that is shown. It has also been important to use Kinetic empathy, to feel through ones own
body how it will feel to do the movement of the figures. It is about the personal, sensory and physical experience of the staged artwork. This way to an artwork gives the viewer the freedom to create its
own experiences. Without co-work between the artist and the viewer, the stage art would not exist.
Production History: Just Before After has been presented at Dansens Hus, Norway may 2015 and
Kristiansand Theratre, Norway October 2015
Video: https://vimeo.com/138959478
Contact: [email protected]
Website: http://www.heidijessen.com

https://www.facebook.com/heidi.jessen.12
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Photo: herStay, Stein Reusch Weber

herStay (Global, Norway)

herStay represent a sustainable and eco friendly global art unit, also functioning as a production
company, curator and impresario, with larger, regional, national and international institutions among
herStay different global partners. herStay is as well, on the side running the Nordic languaged art
magazine Kunstbevegelsen.
herStay art unit is organized by the the finance principle of being 30% art fund sponsored, and 70%
market oriented, as such. A model well-suited for continuity and growth.
Concidered an art ambassador to the Nordic chic, Monica Emilie Herstad, given an associate professor status, practising as a choreographer and dancer - is the artistically founder of herStay, since the
establishment in 2000.
DISCIPLINES: Performance, Art, Dance, Film, Fashion, Media

herStay performance Daphne vs Apollo

A performance made out of an attempt to focus on nature per se, as the hidden kee to solve a mystery
of love, referring as it is to this European culture classic.
The audience respond well to the different layers of the work, such as the video scenography as enclosed.
Written comments are received from a skilled crowd, professors and academics acclaim the work.
Production History: Work in process, The Scandinavian Institue in Rome
Video: https://www.youtube.com/watch?v=6R6vUsK-oyc
Contact: [email protected]
Website: http://herStay.net

@herstay
https://www.facebook.com/herstay
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Photo: Chang Chih Chen

HORSE (Taipei, Taiwan)

The logo of HORSE is a Chinese character made of three horses, indicating the strong motivation,
explosive energy and deep-felt passion for dance of HORSE members. Founded as Taiwans first allmale dance company in December 2004, HORSE has already established a distinctive profile through
evocative physical movements and unlimited collaborative creativities that are very unique to their
generation. On being first time nominated Taishin Arts Awards 2008, Taiwans most prestigious arts
prize, HORSE received the Performing Arts Award of the year.
The artistic policy of HORSE is to provide a platform for the creative expression of Taiwans dance
artists. By regularly staging works of Taiwanese choreographers as well as commissioning international
artists to set pieces on the company, HORSE aims to create a fertile ground for mutual stimulation
and to establish a repertoire of changeable, multifaceted and diverse styles.
Think warmer and fuzzier Pilobolus and you have Horse, a charming and imaginative young all-male
dance troupe from Taiwan...it was a feast of evocative, playful small dances showcasing the supple
physicality and subtle dramatic gifts of its performers. Jennifer Dunning
DISCIPLINES: Dance, Physical Theatre, Site-Specific Theatre

2 MEN
2 Men is the collaborative creation between Edward Lam, the sharpest observer of culture on both
sides of the Taiwanese Strait, and the choreographers Wu-kang Chen and Wei-chia Su. Starting with
the premise of two men who are most familiar with each other, Wu-kang Chen and Wei-chia Su
have known each other for 15 years, and over time, the emotional build-up between the two playmates/colleagues has become complicated and subtle. Aside from a shared intimacy, their relationship
also sometimes features an undercurrent of mutual competitiveness. Their collaboration with
Edward Lam adds a whole new source of stimulation. With his trademark precision and intricacy,
Lam provides a rich entry point into the various flavors of the relationship between the two men. This
new point of view liberates the two performers from their habit of developing movements from
physical elements, and turns them towards a psychologically-based starting point. Music-wise,
HORSE furthers its open-minded experimentation of sound design in recent years, and collaborates
with improvisational pianist Shih-yang Lee in the daring use of the prepared piano devise. Shih-yang
Lees energetic, explosive piano work most certainly ups the ante on the experimental nature of the
two HORSE artists performances.
* Contains minor dialogue, deliverable in both original Mandarin or translated English.
Production History: 2012 (Taipei) National Theater - Experimental Theater, 2012 (Shanghai)
Modern Drama Valley, 2013 (Essen Germany) Kurt Jooss Preis, 2014 (Singapore) National University
of Singapore, 2014 (Dresden Germany) Hellerau, 2015 (Hong Kong) Hong Kong Cultural Centre,
2015 (San Francisco) Fort Mason Center, 2015 (Oregon USA) OSF Green Show, 2015 (Beijing)
Drum Tower West Theatre
Video: https://youtu.be/fHqLof7vi4w
Contact: [email protected]
Website: http://www.horse.org.tw

https://www.facebook.com/Horse.Taiwan
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Photo: Irakerly Filho

Igor Almeida (Rio de Janeiro, Brazil)

Actor, poet and performer from Teresina, Piau. Igor Almeida is a student of Theatre at Casa das Artes
de Laranjeiras, in Rio de Janeiro. The artist is strongly inspired by Brazilian culture, mainly produced
in the northeast. He likes things that are simple, natural and beautiful. Through his work he seeks to
get to know his inner self as a human being by immersing in the human. In this work he counted on
the help of others artists: Ana Brbara Rodrigues and Rafael Brando (supervision), Roberta Rocha
(costume), Ney Almeida and Matheus Niquelatti (production).
DISCIPLINES: Performance, Body Art, Urban Art, Installation Art

De onde vem essa vontade de ser algum?

The performance De onde vem essa vontade de ser algum? emerged from the authors need of
self-knowledge. The concept of the work was developed through a collage of texts that the artist wrote
or read at different times of his life. In this way, those texts created very strong and similar images, all
within the same subject, about the need of being somebody. From the formulation of the texts, it developed the bodys need: what this body feels when getting in touch with this text and how it wanted
to express itself in agreement or disagreement to the text. The desire to be someone that beats inside
a body makes the head to throb, and the body stops. It stops in the middle of a pathway. He wants to
ask passers-by who they are, so he can understand them, and then understand himself. In practice, the
performer stays inert for about one and a half hours in a public place in the city. Markers are provided
to the passers-by, so they can answer the question, Where does the desire of being someone come
from? writing the answers on the artists body. He wears only blue swimming trunks crafted in blue
stones. The performance brings up an opportunity, for both the performer and those who were present during the event, to look inside themselves. The city is used as a place for artistic practices and the
body as an activator of artistic situations.
Production History: Frei Serafim Avenue (Teresina); UCAM_PortasAbertas Festival (Rio de Janeiro).
Video: https://vimeo.com/143083096
Contact: [email protected]
Website: http://deondevemessavontadedeseralguem.tumblr.com/

@almeidaigor
https://www.facebook.com/deondevemessavontadedeseralguem?fref=ts
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Photo: Rick Burks

Izumi Ashizawa Performance (New York, NY, USA)

Izumi Ashizawa Performance seeks cultural collaborations through its original performance languages.
Originally founded in 2002, Izumi Ashizawa Performance explores the physical story-telling with
unconventional puppetry and object animation. The company values the interdisciplinary collaboration process with dancers, actors, composers, musicians, sculptors. Based on Japanese physical
performance techniques, Ashizawas movement techniques are taught around the world, including the
U.S.A., Japan, Norway, Austria, Bulgaria, Slovenia, Romania, Poland, Turkey, Iran, Australia, the Cayman Islands, and Peru. The original performances by Izumi Ashizawa Performance were performed in
various countries.
DISCIPLINES: Physical, Choral Music, Devising, Japanese, Puppetry, Masks, Theatre for Young Audience, Visual Arts

Mysterious Lake
Mysterious Lake tackles the issue of environmental sustainability and the cultural conflict of the
East and the West in the form of a play for children and family members. American boy who discover
his own self through a mysterious encounter with Japanese Yokai spirits. The show is filled with
unconventional puppets, original songs, and Taiko drumming!
Production History: Staller Center for the Arts, NY, Long Island Childrens Museum, NY
Video: http://www.izumiashizawa.com/#!minotaur/c1k45
Contact: [email protected]
Website: http://www.izumiashizawa.com

@https://twitter.com/izumedusa
https://www.facebook.com/Izumi-Ashizawa-Performance-56774476454/?ref=hl
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Photo: Michaela Dvokov

Jana Orlov (Prague, Czech Republic)

I work with site-specific performance that perceives the body as the field of an event. Performance for
me is living poetry.
Education:
2012 - 2014, Faculty of Fine Arts, Brno, Tomas Ruller Performance Studio, Masters degree
2013, Faculty of Art and Design, UJEP, Plze, Margita Titlov - Ylovska Painting Studio, fellowship
2011 - 2014, Environmental studies, Masaryk University Brno, Masters degree.
Performances (a selection):
1 October 2015, A.K.T. V International festival of performance art, The Brno House of Arts.
17 Seprember 2015, 9th international Dada festival, Kolin.
6 Seprember 2015, Festival of naked forms, Perla, Vrane nad Vltavou.
23 June 2015, concert by Skryt pvab byrokracie in Katan, Prague.
17 June 2015, opening of The Mapping of Consciousness While Waiting for a Train, an exhibition in
the PROJEKTPLUS gallery, Holesovice train station.
12 June 2015, Chebsk dvorky, Live Altar - Dark Matter, performance with Darina Alster.
24 May 2015, Hunger 5th Festival of Performance (Gallery of Ferdinand Baumann).
26 March 2015, Art Prague (The Muse Room of Robert Carrithers), a performance with Natlie
Hokov.
20 March 2015, opening of Hideouts, an exhibition with tpn Barto, Art Space NOV, Pardubice.
28 January 2015, opening of Video NOD exhibition, NOD, Prague.
Other realizations:
Organisation of sympozium Trash as Art / Art as Trash (Pardubice), 18-20 September 2015.
Organisation of Live Art in Streets Festival, Pardubice, 27-28 March 2015.
DISCIPLINES: Performance, Poetry

Venus of the Rags

This performance is the incarnation in action of the well known installation by Michelangelo Pistoletto entitled Venus of the Rags from 1967. I regard this installation as a confrontation between the
classical and traditional (in terms of both the visual and values) and the new, undifferentiated and
abstract, and an exploration of the contradiction between the high and the low, between Venus
and a pile of garbage. However, this is not any old garbage. These are the clothes in which Venus, as
an archetype of the vain woman or simply woman as such, might swathe herself. What if this were
last seasons haute couture that has been discarded, placed on a par with the substandard? In this
performance fashion functions as a symbol of the consumer obsession with newness and a disposable
lifestyle. A woman who stands in front of the mirror trying on more and more clothes at a certain
moment becomes ridiculous and foolish. Fashion is ephemeral and superficial, desire nourished by
advertising. The line between desire and obsession is as fine as that between what is and is not garbage,
between rags and a luxury fashion item. Finally, this contextualisation is about the situation of the artist and contemporary art itself, the status of which oscillates between garbage and haute couture.
Production History: http://www.dum-umeni.cz/en, http://www.galeriepavilon.cz/
Contact: [email protected]
Website: http://www.janaorlova.cz
https://www.facebook.com/jana.orlova.18
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Photo: Jamie Morgan / Rae Goodwin

Jessi T Walsh (Chicago, IL, USA)

Jessi T Walsh is an interdisciplinary artist and educator with a background in biological sciences.
My performance work investigates the risk-trust partnership between artist and audience. I directly
engage my audience in sensory actions between bodies to make gestural performance experiments,
oftentimes using edible or fragrant materials and medicinal plants. Through structured improvisations in touch, adornment, flora, generosity, and consent, we build the work together to sweep the
audience from the experience of stranger-spectator into the role of participant-artist. Be it a peepshow
in a hole in the ground as deep as I am tall, or a grand silver-leafed performance installation embracing the landscape as it shifts over time, these works move past site-specificity into site-responsiveness.
With the generous gift of participation from my audience, I can better understand more than what
my work is, but what my work does, as actions and narratives grow between bodies in elemental and
constructed landscapes.
What is our sense of togetherness, collaboration, in a non-hierarchical, shared, improvised moment?
How does the artist create a safe, investigatory space with her audience? What happens when one cannot know what will happen?
DISCIPLINES: Performance, Social Practice, Education, Plant Medicine, Video, Production Design

Botanical Performance Suite, Rosekill, NY, 2015

CARBON HUNGER, with Poppy Jackson (UK)
Doused in honey in a chicken shack, the two sit on tree stumps and eat an entire tabletop full of
charcoal.
Poppy Jackson: http://poppyjackson.co.uk/
Photographer: Jamie Morgan www.jamie-morgan.com
I HAVE IMPURE SEXTS
A meditation on the preposterousness of the fertility process. The fertile bodys invitation: You have
permission to touch my body incanted a hundred times in a teeming field, many hands rub a translucent white fluid onto skin which seed-banks the reproductive organs of medicinal plants and waisthigh grasses on the fertile body. A bouquet of Queen Annes Lace (Daucus carota), known as an herbal
contraceptive and abortifacient, slowly grows from the vagina. Running fully engorged, the fertile
body makes her way from the field to the roof with a string of participating audience close behind her
like a snake of pearls.
Photographer: Rae Goodwin http://www.raegoodwin.com/
Production History: Rosekill Residency c/o Grace Exhibition Space (NYC), GRAFT Gallery (ABQ),
Berlin Art Studio (DE), Defibrillator Performance Art Space (CHI), Bethnal Green Working Mens
Club (UK), Hyde Park At Center (CHI), School of the Art Institute of Chicago, Prop Thtr (CHI),
Columbia College Chicago
Video: https://vimeo.com/jessitwalsh
Contact: [email protected]
Website: http://www.jessitwalsh.com

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Photo: Eirik Magnus Slyngstad

Joana Gelazyte (OSLO, NORWAY)

Joana Gelazyte(1985), Lithuanian performer based in Norway since 2012. She educated from Vilnius
Academy of Fine Arts, Lithuania (2005 - 11). 2014 - till now, a member of PAO (Performance Art in
Oslo) organization. Joana works with performance, video, photography, installations.
I am creating from direct observation, using information that comes from my immediate experience
of seeing. It is the life, clarity and presence of information at the moment that informs my creative process. Watch Sam out of the corner of ones eye, following, fixing, feeling, experiencing. My
personal experiences, dreams, the old Baltic Tribes nature roots and people around - nourish creativity. Sound and nature - perfect inspiration. Im using my body, the raw materials of nature. Ashes
and wood become part of my art, my body and forest carpet fading into one when black and grey
became colourful and deeply feeling. Creativity - self-cleaning, ritual.
One of my chief aims is to convey how the surrounding environment influences and supports objects
and also how the presence of the object affects the surrounding environment; this reciprocal interaction has both physical and psychological aspects that enliven the visual reading of my drawings, installations and paintings.
The value of my work is not merely found in the convincing representations of people, objects or
places, but also in it is the ability to emotions, feeling and mood at that moment.
DISCIPLINES: Performance, Installation, Photo

A MESSAGE FROM THE PAST TO THE FUTURE

Employing unexpected visual experiences in her new performance, Joana Gelazyte seeks to link the
future and the past. The author draws her inspirations from the environment, reflecting the sudden
emergence, transformation and fading of images, contact with the sounds.
My space is the place where different thoughts and feelings melt together (narrative), its a
never-ending motion and dynamics when time defines all trajectories and motion-shifts.
I explore time; that finds me as a mediator between the future and the past.
Production History: PAB - Performance Art Festival in Bergen ( Norway).
Contact: [email protected]
Website: http://www.joanagelazyte.com

https://www.facebook.com/joanita.gelazyte
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Photo: JinYoul Lim

John Scott Dance (Dublin, Ireland)

John Scott, Dublin born, studied with Pablo Vela, Susan Buirge, Julian Beck and Judith Malina. He
performed in Meredith Monks Quarry and with Yoshiko Chuma, Sarah Rudner, Anna Sokolow and
Thomas Lehmen. He recently collaborated with Pan Pan Theatre on Becketts QUAD. His work has
been performed at Irelands Abbey Theatre, La MaMa, Danspace Project at St Marks Church and
throughout Europe and created works for Blanca Arrietta company, Spain and Conservatoire National
Superieur, Paris.
The Work is Virtuosic, physical, passionate and absurdly humorous - described by Thomas Hahn/
TANZ magazine as Beckett meets Monty Python. Works range from duets to 15 dancers. Scotts
performers vary from Cunningham and Forsythe, virtuosos to African Torture Survivors, with whom
he has created several unique works, the most famous being Fall and Recover. Recent works include
LEAR, with Valda Setterfield, New York Live Arts, 2016, Kilkenny Arts Festival, and Quad with
Pan Pan Theatre, Dublin Dance Festival/Beckett Summer School. HYPERACTIVE, La MaMa
Moves, New York, Galway Arts Festival, Dublin Dance Festival, Feathers, Tiger Dublin Fringe, 2015,
Actions, Queer Zagreb, Les Hivernales, Dance Base, Edinburgh, Dancing Roads, Bremen, Fall and
Recover and The White Piece, Brazil, New York and Merce Cunninghams Totem Ancestor and
Night Wandering
Scott I make work using compelling performers with varying virtuosities from dance/technical to
spiritual. I like to break rules, mix dance and voice, to take risk and find beauty, justice and love in
broken places
DISCIPLINES: Dance, Text, Theatre

HYPERACTIVE
HYPERACTIIVE - a live human dance installation - playing with space, audience, masculinity. Four
men speak, push, fall, dream while creating the work. Made originally for a vast warehouse space with
the audience surrounding the performers. I wanted to put four very different male bodies together and
attempt to merge and break apart and discuss their identities and animals while creating the dance. It
is wild, physical, moving, and funny. Audience are placed close surrounding the performers, placed
close - like watching live sculpture
Production History: La MaMa, New York, USA, Galway International Arts Festival, Dublin Dance
Festival, Ireland, Visual GB Shaw Arts Centre, Carlow, The Dock Arts Centre, Carrick on Shannon,
Ireland
Video: https://vimeo.com/148116297
Contact: [email protected]
Website: http://www.irishmoderndancetheatre.com/IMDT/Home.html

@johnscottdance
http://www.facebook.com/pages/irish-modern-dance-theatre/63888647990
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Photo: Jorge Feitosa

Jorge Feitosa (So Paulo, Brazil)

Jorge Feitosa (Porto Velho, RO, 1969) lives and works in So Paulo since 1988. He has a degree in
Visual Arts from the Fine Arts University of So Paulo (2013) and in Photography at Museum of
Modern Art of So Paulo (MAM), where he participated together with a collective of photographers
in the publication of the book Luz Marginal Procura Corpo Vago
He researches Performance and its relationship to photography and video, bringing up an imaginary
presenting issues related to contemporary man, for example, the idea of rooting and displacement.
Motivated by this idea, the artist has been performing since 2012 a series of works on photo-performance and video performance in his native town Porto Velho, Rondnia, in the Northern region of
Brazil.
Among its main exhibitions stand out Foto-Performance, Oficina Cultural Oswald de Andrade, SP
(2015), Mappa Dellarte Nuova - Imago Mundi Art - Fondazione Giorgio Cini, Veneza-Itlia (2015),
2a Bienal de Veneza/Neves, MG, (2015), Das Matizes as Matrizes, SP ESTAMPA, Verve Galeria
(2015), Performa-Projetos Curados/Curated Projects, SP-Arte - Feira Internacional de Arte de So
Paulo (2015), Impresses Impressas, Da Luz ao Inacabado, Galeria 13 Centro Universitrio Belas
Artes de So Paulo (2014) and Dilogos e Expresses Grficas, SP ESTAMPA, no Museu Belas Artes
de So Paulo (2012).
DISCIPLINES: Performance

ESTADO DE SUSPENSAO
In Estado de Suspensao/ The State of Suspension video performance held in a flooded area for the
construction of hydroelectric Santo Antonio and Jirau, located about 120 km from Porto Velho,
birthplace of the artist, the artist is hanged around the waist and fastened by a rope tied to a tree.
Performing in a single action, during the first few seconds the artist is cutting the rope that suspends
him until the moment that he can cut it and falls into a free fall in the river. An action that symbolizes
the individual in search of his roots even if in an eternal suspension state: the roots and the constant
human displacement state. Motivated by the idea of an individual who immigrates and migrates and
which still has strong ties to his hometown, this work alludes to the metaphor between man and
nature. As the trees that have their basis in the roots, human beings are based in their hometown. But
unlike the trees, people can move, dragging their roots wherever they go. While a tree is born in a
certain place and die there, people are in a constant state of suspension belonging everywhere and at
the same time that do not belong anywhere
Production History: unpublished
Contact: [email protected]
Website: http://www.jorgefeitosa.com

https://www.facebook.com/jorgefeitosaartesvisuais/
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Photo: Cory Weaver

Joseph Silovsky w/ Victor Morales and Catherine

McRae (Brooklyn, NY, USA)
Joseph Silovsky has been performing and making machines for theater since 1990. The mad scientist
of New Yorks experimental theater, he is known for his odd and ingenious mechanical creations that
he uses to tell stories of obscure historical incidents and the minutiae surrounding them. The combination of low and high-tech props that he builds creates an extraordinary landscape for his singular
performance style. His shows are quirky and humorous, but are inevitably contrasted by the tragic
subject matter that is addressed.
He has performed solo and group shows at HERE, St Annes Warehouse, PS122, the Collapsable Hole
and other venues in New York, as well as in Chicago and at the Kananahk Performance Art Festival in
Rakveres, Estonia. He premiered Send for the Million Men at HERE Arts Center (December 2014),
and performed it at Mass Live Arts in Great Barrington, MA (July 2015). Various workshop versions
of Send were performed at Catch!, Labapalooza, Little Theater, HEREs Culturemart, and the Collapsable Hole (2011-14).
Prior performances have been: The Jester of Tonga at PS122, Binghamton First Night Festival, and
elsewhere, (2007- 2009); and The Reddest Dirt in Oklahoma, Tonics Little Theater, Jan 2006. Joseph
collaborated with Victor Morales as Tutto and the Ragman (2001-2005), as well as with Radiohole
(2003-2013), The Builders Association (2000-2010), Lucky Pierre (1998-1999), HMS (1995-1997),
and the Cook County Theater Department (1994).
DISCIPLINES: Performance, Video, Puppetry, Live Music

Send for the Million Men

Send for the Million Men is the culmination of two decades of research on Sacco and Vanzetti, two
Italian anarchists executed in Boston in 1927 for a crime they most likely didnt commit. Created by
Joseph Silovsky, with Catherine McRae (music) and Victor Morales (video/performer), this staged
performance tells the story using oratory, puppetry, robotics, video projections and hand crafted
machines. The performance combines descriptions of the actual events with narrative from Silovskys
life and research, bringing into focus the flawed judicial processes in that era and showing how it still
reverberates today. A series of objects establishes the background information for the show. Silovsky
maps out the crime scene on an empty stage, illuminating both the stark facts and his obsessively
detailed knowledge of the story. He presents the night of the arrest silently an arrangement of
suitcases becomes an eerie town, using elaborate projection-mapping. Interwoven within these stories
is a meta-narrative about truth and perception. What is evidence? What is proof? Silovsky performs
with Victor Morales as two earnest but bumbling storytellers, and their reliability as honest conveyors
fades in and out as the performance progresses. There is a constant pointing to the frame- no fourth
wall is ever established. You as an audience member are requested to be both suspect and trusting.
This structure is upended when contrasted with the stark rejection of their appeals and the execution
of both Sacco and Vanzetti at the end of the show.
Production History: Here Arts Center, NY, NY; Mass Live Arts, Great Barrington, MA
Video: https://vimeo.com/123620410
Contact: [email protected]
Website: http://www.silovsky.com
https://www.facebook.com/silovsky
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Photo: Georgios Katsagelos

Josephine Turalba (Manila, Philippines)

Josephine Turalba, born and lives in Manila, is an interdisciplinary artist who incorporates performance, photography, sculptures, video, sound installations. She holds an MFA, New Media from
Transart Institute NY and Donau Universitat Krems Austria and a Bachelor of Arts in Psychology
from University of the Philippines. She exhibited Scandals, her participative performance at Personal Structure: Crossing Borders at the European Cultural Center, concurrent with the 56th Venice
Biennale. Her works explore issues of divide and convergence between the Global North and South,
focusing on a visceral approach to the politics of violence and dynamics of infliction, trauma, depicting traces and spaces, where empathy translates into healing.
Josephines works negotiate influences from different cultures foreign influences on Philippine culture and vice-versa, taking on an investigative approach to place and time (in history and the present),
in relationship to a sense of self; using the female body as a site of/on/around/for her sculptural pieces
to speak of history and speak to different spaces in society. For the past six years, she has performed
urban and rural interventions in her sculptural bullet armour in different cities around the world
investigating how histories of trauma define ones identity through engagement with communities in
marginal and liminal spaces.
DISCIPLINES: Inter-Disciplinary, Performance, Video, Sculpture

Out of the Echoes

At the VII Tashkent Biennale 2013, I was allocated space to install my sculptural bullet dress. I felt
that the place did not do justice for the work and that it must take life in the streets of this great land.
Like in any international conference, we were herded like sheep and given a strict schedule, reminding me of the days under Martial Law in my country. Feeling restricted, I decided to explore the
idea of spontaneity challenging the biennale setting, where artists, curators, organizers, and audience
are programmed to act in a certain way. Out of the Echoes is a performance, sculptural, and photo
project set in Samarkand, one of the main cities of the Great Silk Road, a major thoroughfare of trade
and civilization. Collecting the debris of memories of lives that once breathed there, now just echoing
through its walls, I explored nostalgia in the lost city, now forgotten in the name of progress. The Silk
Road was the bridge between Asia and Europe, a cradle of trade and civilization. Generations of lives
crossed, traded, and intertwined here. I paid homage at the mausoleum of the great Timur (known
as Tamer the Lame), the last extraordinary nomad conqueror. A meditative dervish swirl dance was
performed with the awesome backdrop. As I greeted their people within the performance, reactions
were varied. An Imam rejected any kind of interaction. I greeted with cupped hands and reverential
salutation, Namaste (I bow to you), as our hands clearly communicated opposing messages.
Production History: Samarkand, Uzbekistan 2013 during the VII Tashkent Biennale 2013

Contact: [email protected]
Website: http://www.josephinturalba.com

https://www.facebook.com/JosephineTuralbaStudio
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Photo: Shreepad Joglekar

Jui Mhatre (Manhattan, KS, USA)

Born and raised in Mumbai, India, I have been engaged in two genres of art for most of my life: dance
and visual art. I complemented my undergraduate education in Fine Art and in classical Indian dance
Bharata Natyam in Mumbai, India. I concurrently worked as a font designer in Indian languages, and
performed and taught dance in India for more than a decade.
I currently live in the United States of America, which has brought new geographic and cultural
contexts, broadening my work as an artist. The status of being an immigrant offers experiences of
displacement, contradictions, assimilation, and waiting, which I explore in my work. I take delight in
unusual juxtapositions and bring elements of contradictions into my choreography, particularly presenting the differences between contemporary western archetypes and classical Indian symbology. My
performances often integrate movements, text-speech, elements of design, and audiovisual media.
I have a Masters degree in Performance and Creative Research and have performed in India, United
States, United Kingdom, and Canada. I enjoy creating movement-based communal experiences
through teaching and performing. As an artist in residence in Paducah, Kentucky, I led members of
the local community in a movement-based public art project. As a graphic designer, my work specializes in lettering and font design. I am always interested in collaborations.
DISCIPLINES: Performance

Happy Meals
Happy Meals is a performance based on the experiences of the culture of consumption, and industrialization of food in the United States as perceived through an outsider perspective. It focuses on
food as an important aspect of cultural experience in the U.S. The performance includes objects such
as oversized soda cups, junk mail flyers of fast food restaurants, large shopping carts as elements signifying American archetypes of a gluttonous food culture that worships size over substance.
Bharata Natyam dance has a narrative structure. The dancer uses body gestures and facial expressions
to tell a story, traditionally drawn from Indian mythology. In Happy Meals, I extend this traditional
aspect of story telling to my contemporary experiences. The performance takes inspiration from the
language and terminologies from the food industry combined with the movement vocabulary and
symbolic gestures of Bharata Natyam dance to express the dilemma, and contradictions in experiencing the food culture as an outsider in the United States.
The sheer number of products in a single category, the oversized portions served in restaurants, the
amount of food wasted everyday, and the overload of information printed on food packets can be
overwhelming for a person not raised in this culture. Against this backdrop, the performance calls
upon the importance of simple eating. Inspired from Indian rituals and ceremonies that revere human
connection with nature and environment, it reminds us to respect the basic essential life-giving natural
ingredient - water.
Production History: Marianna Kistler Beach Museum of Art, Manhattan, Kansas
Video: https://vimeo.com/127402878
Contact: [email protected]
Website: https://vimeo.com/user15875939

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Photo: Cristina del Conte

Julieta Gutierrez, Santiago Torrente

(Buenos Aires, Argentina)
The purpose of the piece lays on the execution of specific experiments, related to the biological processes which determine the reception of light stimuli and spatial perception.
By engaging a contemporary audience, we mean to build and explore new ways for contemporary
storytelling.
DISCIPLINES: Performance, Light Art

FUSCA
A transdisciplinary work on light and its effects on space and human perception.
A reduced audience inhabits a space where two performers serve as instruments to a minimalistic
adaptation of Ibsens Hedda Gabler. Dissociating their bodies from dramatic interpretation. Two consoles, eight lamps which adapt and relocate to generate ambiances and alter spacial perception.
Each member of the audience must wear special filtered glasses to experience the piece.
Production History: Fabrica Peru, El Emergente Teatro, Teatro Municipalidad de San Andres de
Giles
Video: https://vimeo.com/141336730
Contact: [email protected]
Website: https://en.wikipedia.org/wiki/Light

@julietagur
https://www.facebook.com/ahoraquemoalnino
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Photo: Lilja Lehmuskallio

K&C Keklinen & Company (Helsinki, Finland)

As a woman Im taking a stand on the world. It is shocking to see the current division into east and
west, north and south, rich and poor, A- and B- class citizens. I have investigated how very private
things experienced in the body can be linked to broader contexts. I want to stress the possibility of
discovering shared opportunities as opposed to division and isolation. My great passion is to find
out how to instil as much information and thought as possible into movement. I am convinced that
movement can be as accurate a tool for communication and expressing the mind as any other form of
communication. I dislike the vocabulary of market economy, which is appearing more and more in
the areas of culture and art. I dont consider myself a provider of services, perhaps more like a servant.
I work because of the fear of the increasing lack of values and the growth of the meaning of money in
the world: the commercialism in art, the disappearance of humanism and the increasing of inequality
and exploitation. I see my role as an artist as a role of an observer, provocateur, problem-setter, poet
and promoter of female existence.
DISCIPLINES: Contemporary Dance, Performing Arts, Interdisciplinary

DIVA VULVA
Finland in 2015 lives in the middle of a capitalistic spectacle.
This spectacle is also an environment of power.
Power produces images and lives in these images.
Money produces money and images create more images.
Together they produce bodies, how to recognize, live and represent bodies.
Does democracy actualize for everyone: women, immigrants, gender and sexual minorities, marginalized, disabled?
Power is gendered.
The gender of power is heteronormativity.
Capitalism intervenes the body and molds it: with pleasure.
Are pleasure and consumption just secular things, which will bring an end to the transcendental
beliefs?
No.
Pleasure and consumption remind a religious mystery, a transcendental principe, the mystery church
for centuries transmitted to people, telling what is this world and this reality they live in.
The transition of pleasure and consumption into lifestyle didnt leave the locus of the transcendental
principal empty.
Now the principal of pleasure and spectacle is in that locus.
It tells people what is the world they live in, what are its meanings, what a person should seek after in
life and what is his reality. Sanna Keklinen.
Production History: Physical Art Theatre / Helsinki Finland, Le Carreau du Temple / Paris France,
Lonely in the Rain? -festival / Joensuu Finland
Video: https://vimeo.com/kekalainenco
Contact: [email protected]
Website: http://www.kekalainencompany.net

https://www.facebook.com/KekalainenCompany
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Photo: Tom Kochie

Kate Mueth and The Neo-Political Cowgirls

(East Hampton, NY, USA)
Kate Mueth with her Neo-Political Cowgirls makes new, unexpected dance theater that is socially
immediate, music-driven and wild in its deeply experiencial style. Currently available to tour is the
11-room immersive production EVE (fresh from Off-Broadway in NYC) and the smaller, up-close
VOYEUR (Hamptons and Berlin) NPC will also create new, site-specific work for anyone, anywhere.
The work from NPC is story-driven, mind-bending, and visually arresting. The actress Blythe
Danner called EVE a Stunningly brilliant piece of work, not to be missed! Committed to making
opportunities in the theater for women and putting womens stories out into the fabric of society,
NPC also extends their empowering workshops for girls or women wherever they travel. Kate Mueth
is an award-winning conceiver of new work and director who is also an Equity actor and member of
The League of Professional Theatre Women.
DISCIPLINES: Theater, Dance, Experimental

VOYEUR
VOYEUR is a multi-room theater piece which is music-driven that consists of 5-8 different private
moments among women. Each room is a separate vignette exploring a specific issue usually kept
quiet in the life of a person. VOYEUR can address anything and NPC is happy to incorporate particular issues our client may like to see addressed. (No, we do not perform sex acts or apply shock for
shock value tactics.) Some topics from past VOYEURS- a daughter emulating her mothers insecurity
with her body, lovers arguing, a teen and her mother trying to relate, an artist fighting to create art, a
woman eating in a secret place, an old woman having a wonderful time alone, a young woman lonely
at a party, etc. The performances utilize dance, movement, and sometimes text. At times heartbreaking, other times funny, VOYEUR is always provocative and filled with deeply moving stories. The
audience travels freely in small groups to one room at a time to witness each moment. 20-60 minutes
long, this piece can be implemented almost anywhere and for any ages. Entire theaters (backstage, onstage, dressing rooms, stair wells, bathrooms), barns, private homes, office complexes, parks, schools,
etc., have all been used by NPC for VOYEUR performances. VOYEUR was created in order to offer
audiences new ways to experience theater while bringing them closer to the life of the performer. (Video link is of ONE style and story of VOYEUR - where the audience walks OUTSIDE the building
looking IN- VOYEUR can take place in any place -indoors or out.
Production History: The Gym at Judson, John Drew Theater at Guild Hall, Art von Frei, Danny
Kaye Playhouse, Various Outdoor and Site-Specific Locations throughout the Hamptons on Long
Island, NY.
Video: https://www.youtube.com/watch?v=Fyz3KvGLWPA
Contact: [email protected]
Website: http://www.npcowgirls.org

@npcowgirls1
https://www.facebook.com/neopoliticalcowgirls/
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Photo: Kevin Trappeniers

Kevin Trappeniers / Stray Light (Brussels, Belgium)

Kevin Trappeniers develops a stilled, visual and physical theatrical language in precise, detailed and
sensate work at the intersection of theatre, dance and visual arts. He mostly creates wordless performances in which acting, lighting, sound, body and scenography are interrelated and equally important
- content and form are sensory amplified.
Trappeniers is fascinated by an increasingly self-dividing world: within the human ranks, chaos reigns,
consensus is sadly decreasing and beauty and ugliness stand as far apart from each other as they are
becoming one and the same. It is this enlargement of humane nature - with collaborative, collective concord as antidote - captured in themes like love, death, suffering and belief, that he ventilates
through a fight against the loss of freedom, the amplification of fears and the rotting of identity.

Since 2011, Trappeniers has been artist in residency at LL, research place that supports young artists
in Brussels. Asymptote is a first project stemming from this residency, and the result of an extensive
research process. The Flemish Government subsequently granted his company Stray Light a first project subsidy.
In 2014, Trappeniers worked at the contemporary dance piece Selfed for Plesni Teater Ljubljana (SI),
which he reworked to the physical theatre performance Drag Chain / Push Chain in 2015 at TAKT
Dommelhof. Using techniques of Parkour, the play reflects on the positioning of a person towards
individual and social power structures.
DISCIPLINES: Theatre, Performance, Dance, Visual Arts

ASYMPTOTE
In darkness, in silence, and stripped from time and space, a landscape unfolds in which vulnerable bodies manipulate time, each other and their environment. Asymptote researches the mutual
influence between a landscape and its inhabitants, and the virtual and real identity that stems from
occupied space. Growth, bloom and collapse fade into each other on a human scale.
How does man manipulates time? How do people manipulate each other? What is essential to man
with respect to himself, to others, in his dealings with his surroundings and towards the dynamic
objects he creates or discovers? What is the limit of our human relationships?
An asymptote refers in mathematics to a curve that approaches an axis ever closer, without ever touching. The paradox of an infinite never quite coming together, and the poetry caused by slow-moving,
are key in Asymptote. In a society that is ever more rapidly progressing, two human figures arise who
appropriate a landscape and come home. Or not quite. The audience experiences a physical impact
that appeals to the mind through a heavily estheticized yet minimal style.
CREDITS. concept, director: Kevin Trappeniers I performers: Manon Avermaete, Kevin Trappeniers I
music, sound design: Kreng I light design: Laurence Halloy I artistic support: LL I technical coordination: Jo Leys I coaching, distribution: Vincent Van den Bossche / Vincent Company I production:
Stray Light vzw I coproduction: TAKT Dommelhof I in collaboration with: LL, BUDA, Campo, De
Werf, fABULEUS, Thtre de Bouxwiller I with support of the Flemish Government (BE)
Production History: TAKT Dommelhof (Neerpelt, BE), LL Arts Centre, Brussels Dance! Festival
(Brussels, BE), Schouwburg Kortrijk (Kortrijk, BE), Monty Arts Centre (Antwerp, BE), Cultural Centre Hasselt, Fricties Festival (Hasselt, BE). (New tour dates coming end 2015. Distribution by Vincent
Van den Bossche / Vincent Company.)
Video: https://vimeo.com/kevintrappeniers
Contact: [email protected]
Website: http://www.kevintrappeniers.be

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Photo: Kim Miller

Kim Miller (Milwaukee, USA)

I move across the fields of video and performance art, employing forms borrowed from dance, theater
and film. My interests are in how agency and power are portrayed in actions and images, and certain
questions that arise in the relationship between them: How does gesture inform or complicate a subject? Is a radical democratic subject possible?
My new work involves scripted rehearsals by non-performers, framed by a disrupted sitcom structure.
This series will work together as a season of programs, intended for online streaming.
The DIY nature of my aesthetic is deliberate, a clear separation from the spectacular arena of overproduced popular culture. That I borrow elements of that vocabulary reflects it back to itself, to form a
productive feedback loop where both viewer and subject lose their bearings. The address of the you
of the spectator is also the address of the me. Whats at stake is our subjecthood, working towards a
democratic subject, hopefully and enthusiastically, without ever reaching this place.
My use of this radical democratic model opens a conversation between viewer and performer, destabilizing the discrete subject and object, the us-and-them. It flexes parameters of inclusion, dislodges
a standard hierarchical order, engages and erodes the position of the viewer. When I say you, I have
called a you into being.
DISCIPLINES: Performance, Video, Dance, Theater, Visual, Sculpture

The Revolution/Flood
Part of a feminist, queer science fiction trilogy. The performers enact a series of vignettes about cruise
ship passengers stranded on Port-au-Pleasure passing the time in pursuit of bourgeois pleasure. Meanwhile, the revolution/flood is growing stronger. Tension builds as leisure and necessity clash. The revolution/storm prevents them from rejoining the ship, and theyre left to their own in Port-au-Pleasure.
Live performance accompanied by live music soundtrack. Performers quote movement passages from
modern dance history.
The camera is a presence within the performance, and the performers at times address the camera rather than audience. Audience may have to move with the action as the performers use an entire space.
Performance run time 25 minutes.
Production History: Green Gallery, Milwaukee
Video: https://vimeo.com/141733656
Contact: [email protected]
Website: http://kimmillerkimmiller.com

https://www.facebook.com/
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Photo: Mara Arteaga

Komorebi (Mexico City, Mexico)

He/She who walks finds the road
DISCIPLINES: Dance-Theater, Music, Visual Arts, Photography, Video, Media

Hikari
Triptych which reveals the constant struggle between opposed forces that are paradoxically intertwined. From darkness, comes light. With light, comes searching. The search begets a desperation that threatens to consume it all and drag the subject to the deep dark, descending into
the underworld. Nevertheless, even when sunk in the depths, the individual can surmount this
disposition and grows, expanding like a song, like waves to light, from larva to butterfly... from
searcher to Illuminated, going from internal journey to the plenitude of the Self. Hikari is an allencompassing Multimedia Performance experience which combines contemporary dance, live music
and video feeds, ambience lighting and live camera-work. The play itself last 40 minutes and
is presented as triptych with two interludes, where all of the elements are featured.
Production History: Hikari is the resulting effort after the joining of forces between dancer
Dora Hagerman and guitarist Hector Murrieta and their manifest intentions of creating artistic
experiences which are not restricted neither by space nor discourse. Once the starting choreographic
proposals were completed by Ms. Hagerman, and the interludes and the musical explorations by
Mr. Murrieta were completedbased on three pieces by contemporary authors: E. Sharp. T.,
Murail and A. ShapiroHikari came into being as a dramatic representation of the journey to selfdiscovery and the quest for Illumination, aimed at reaching audiences apparently too immersed in the
generalized angst experienced by our current societies. It is Komorebi Companias firm belief
that this is significant effort towards the publics sensitization through the use of dynamic
metaphors expressed as a conjunction of movement, lighting, images and sound. Above all else, Komorebi aims to bring the spectator closer to the experience of discovering our Inner Light through
the individuals process of searching, falling into despair and exercising self-affirmation via ones
emotional and spiritual spaces; all presented as a homage, a promise and a celebration of this very
act.
Video: http://komorebiart.com/portfolio_page/hikari/
Contact: [email protected]
Website: http://komorebiart.com

@entresenderos
https://www.facebook.com/Studio Komorebi Art
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Photo: Evgenia Levin

Kristina Inirait (Vilnius, Lithuania)

Kristina Inirait (b. 1974) lives and works in Vilnius. During the last decade she has participated in
a number of international exhibitions, such as the 15th Tallinn Print Triennial, the 4th Ars Baltica Triennial of Photographic Art, the Prague Biennale 3, the 2nd Moscow Biennale of Contemporary Art,
the 9th Baltic Triennial of International Art, and others. Her works have been presented in art institutions such as the Kalmar konstmuseum, the ania Centre for Contemporary Art in Gdansk, the ar/
ge kunst Galerie Museum in Bolzano, the Kumu Art Museum in Tallinn, the Muzeum Sztuki in Lodz,
the Mcsarnok in Budapest, the NGBK in Berlin, the Casino Luxembourg - Forum dart contemporain in Luxembourg, the Pori Art Museum in Finland, the Fondazione Sandretto Re Rebaudengo in
Turin, and others. She also participates in international film and video festivals.
DISCIPLINES: Film, Performance, Sound

Change All the Buttons

Kristina Inirait presents her new interdisciplinary art project Change All the Buttons (2015),
where she visually and acoustically attempts to rethink a daily routine by choosing repetitive motifs
and accentuating senses of various temporalities.
In different spots of the building the womens choir creates a certain rhythm during the performance
of a musical composition. However, the rhythm is not homogeneous, as choir members all together
and separately perform different repetitive actions during the event.
In this project attention is focused on the repetition of action integrated into the carousel of daily
activities. The choir selects and performs one of the most popular and most often rehearsed musical
compositions taken from their own repertoire. But the composition is performed many times in an
unusual way: mostly focusing on breaths (these are pauses between parts of musical composition)
what performers usually do imperceptibly, and claps what spectators express during or after a show.
The musical experiments of the choir are integrated into the context of Kristina Iniraits experimental film Change All the Buttons, which reflects a film Jeanne Dielman, 23 Quai du Commerce,
1080 Bruxelles (1975) by Chantal Akerman.
By repeating motifs many times, this art project seeks to produce differences and retrieve a daily routine by showing the variety and dynamics of its fragments through constant repetition.
Production History: The Vilnius University Planetarium, Lithuania
Video: https://vimeo.com/151074336
Contact: [email protected]
Website: http://www.inciuraite.lt/page2/page35/page26.html

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Photo: Kuttu Kalai Kudam

Kuttu Kalai Kudam Centre for Performing Arts

(Punjarasantankal Village, India)
Kattaikkuttu is a complex, music and movement theatre in rural North Tamil Nadu, India. It is performed over-night during eight-hour long performances that are commissioned by a village, a street or
a family on the occasion of a religious festival or to honour the soul of a beloved, departed person.
We use our visual presence here to draw your attention to Kattaikkuttu and other unique, but marginalized theatre forms that exist- often unrecognised and excluded from the contemporary arts scene
- in many nooks and corners of the world.
The Kattaikkuttu Gurukulam is a residential school where talented, rural children and young people
can combine training as a professional Kattaikkuttu actor or musician with comprehensive education. We use Kattaikkuttus traditional artistic knowledge and communicative power and combine it
with sophisticated craftsmanship and perfection in order to reach out to multiple audiences: primarily
rural, but also urban, national and global. The Gurukulams holistic artistic vision is geared towards
strengthening the artistic scope and the validation of Kattaikkuttu and creating sustainable and dignified livelihoods for its performers.
DISCIPLINES: Theatre, Dance, Music, Makeup, Acrobatics, Facial Expressions

Arjuna in the all-night Kattaikkuttu play Karna Moksham

The founder of the Kattaikkuttu Gurukulam, actor, director, playwright and teacher P. Rajagopal
strongly believes that becoming a Kattaikkuttu actor or musician is a dignified choice that should
be open to all. His single-minded determination has led to many firsts: With quality education and
artistic training under one roof and accessible to the poor, children no longer drop out of primary
education when they become a performer (Rajagopals own experience). For the first time in its history, Kattaikkuttu has opened its doors to girls with efforts in full swing to break the social taboo that
prevents rural girls and women from entering the stage.
The photograph shows Arjuna, displaying a mask-like make-up and head-gear that is typical of Kattaikkuttus epic repertoire. What makes this photograph special is that Arjuna is performed by an 18-year
old girl, S. Tamilarasi. Tamilarasi is a graduate of the Kattaikkuttu Gurukulam and the second young
woman who has opted for a professional career in the performing arts.
Tamilarasi (1994) is a versatile young performer who plays both female and male roles. She has acted
in more than 200 performances, including traditional, all-night Kattaikkuttu shows and novel repertory written by her Guru P. Rajagopal. In 2014 she completed a residency with the Scuola Teatro
Dimitri, a college for physical theatre in Verscio, Switzerland; presently, she works as a junior artistic
teacher at the Kattaikkuttu Gurukulam.
Production History: Worldwide
Video: https://vimeo.com/35152600
Contact: [email protected]
Website: http://www.kattaikkuttu.org

@https://twitter.com/Kattaikkuttu
https://www.facebook.com/Kattaikkuttu.Theatre/
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Photo: Lorenzo Scoppoletti

Laura Bartolomei (Acquapendente, Italy)

I was born and raised in Rome. My father was a painter and a cinema cartoonist, my mother a potter.
I grew up messing up with colors, clay and dirt. I then enrolled in a Fine Art degree.
But the body its always been my real interest.
Since I can remember I have been moved by a deep curiosity about how the body functions, how it
feels, how it recovers from injuries, how it adapts to disability, how it decomposes, the relationship of
the body with surroundings and the emotional sphere, its limits.
That is why when I got in contact with Butoh I felt like I had found a home. That is why puppetry
is so interesting for me: puppets in their archetypal function can be eaten up, mutilated, can die and
regenerate, and can translate feelings that we have somehow forgotten in modern times.
Three main themes recurs and cross each other in my research ground.
The body with all that comes with it.
Materials.
Nature in all its forms, texture, colors, geometry.
My research at the moment is oriented toward a dialog between inner body outer body the world
in the natural context.Humans relate with nature and each other through skin, body organs and their
senses, a relationship that translates in emotions and feelings. My aim is to establish a silent dialog
with the public where this primordial consciousness is shared along with emotions and memories. I
wish to celebrate the greatness of nature.
DISCIPLINES: Performance, Puppets, Theatre

Study on love
While my father was seriously ill I spend long time in his studio, watching his work as painter, especially the series called Rottami Riabilitati, in which huge piles of wrecked cars challenge the few naked
humans in the picture. Those humans are nearly transparent, almost disappearing, but still humans,
making love, having children, taking walks among the cars. This started an introspective reflection
among my loved ones, about what is love, what moves us toward each other and how a meeting can
change a life.
A woman alone, in a room, completely bandaged and hanging from the ceiling, moves minimally and
slowly.
The public is allowed, somehow invited, to go close to the woman, to explore her body surface, with a
magnifier. The bandage, if lifted, will reveal drawings, photos, mirrors, smells, memories.
The woman engages with the audience via her gaze but not with her voice nor gestures, in a silent
dialog.
Production History: Moody Space, Orvieto, Italy - Espao Arter, San Paulo, Brasil
Video: https://www.youtube.com/watch?v=EzCOHUIjfjM
Contact: [email protected]
Website: https://laurabartolomei.wordpress.com/

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Photo: Laura Corcuera / Los Oficios Terrestres

Laura Corcuera (Braojos de la Sierra [Madrid], Spain)

Laura Corcuera Gonzlez de Garay. (Zaragoza, Spain, 3th November 1979). Writer, performer,
activist and journalist. She performed with La Pocha Nostra (EE UU) in Athens, some weeks before the democratic referendum in Greece (5th July 2015). Founder and member of LA SELECTA,
coffee-laboratory of arts and sciences in the mountains of Madrid, Spain, where she lives from 2011.
Founder of the JOURNAL OF THE NATIONAL MUSEUM OF NATURAL SCIENCE (Madrid).
Founder and member of DIAGONAL Newspaper in Madrid. In 2011, as a sabbatic year, she studied
in the Drammaturgy Departmentant, Aarhus University, Odin Teatret, International School of Clown
from Eric de Bont. Others masters: Encarna de las Heras, Charo Francs, Isaac Alvarez, Antonia Baer,
Susanne Linke, Jango Edwars and Philippe Gaulier. Degree in Journalism and courses PhD Theoretical, structural and ethical approaches of mass communications, Department of Journalism III,
Complutense University of Madrid. Research proficiency examination: Theatre as a media and tool
of social change: the semiotic perspective.
I combine performance, phisical theatre, science and journalism in order to create my own way of
expression. It is not an artistic desire, but a necessity for me. I tend to work with other people focused
on social changes. Ive been always attached to the nature, living in the mountains, islands, small villages and big cities aswell, looking for a deep connections with others animals and plants. What I do is
just a personal need of draw up an aesthetic expression.
DISCIPLINES: Performance Art, Physical Theatre, Feminism, Philosophy, Analogical Journalism,
Antropology

Rituales de autoncensura (Rituals of self-censorship)

A physical performance of 30min, structured in five personal rituals about self-censorship. How to
explain through the body the political, sexual and religious censorship? The challenge, to corner the
police that all of us (above all in Occident) WE have inside us. Whatever can happen will happen?
Coming from the franquist repression in Spain (outside) to Iberian and European identities (inside),
here and now, what can it happens? Which is the prize of our radical freedom?
No special tecnical needs (no special lights, no special sound) I bring with me two analogical tape
recorded with Freddy Mercurys Under Pressure and my death grand-fathers voice (in Spanish).
Que puede pasar? que puede acontecer? Represion y censura franquista (politica, religiosa, sexual).
Vengo de un silencio, raimon. partitura de la mascara. musica para la represion politica. caminar,
caminar, caminar. resistir. este trauma que tengo en mi piel no es mio, es de la historia de mi pais
espana. en silencio. la jaula de la sexualidad: la hiena policia que sale de mi boca y que encierro en
la jaula sacada de mi vientre. me despojo de la jaula. transicion espanola (la caida o el salto). Sin
afueras, sin rincones. El vinculo impensable con el mundo es el de un cuerpo que ha perdido el miedo
a caerse fuera, porque no lo hay (...) El cuerpo que ha perdido el miedo a caerse fuera y que por eso
puede herir con su mano el corazon de la realidad (En las prisiones de lo posible, Marina Garces)
Production History: Los Oficios Terrestres/ Palma de Mallorca (First release 15h May 2015), Spain /
University of Rostock, Germany, (24th November 2015)
Contact: [email protected]
Website: http://lcorcuera.tumblr.com
@lcorcuera
https://www.facebook.com/laura.corcuera79
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Photo: Ian Douglas

laura shapiro/quicksilverdance (New York, NY, USA)

Exploring, creating and performing movement is how I make sense of being human. My independent
artistic journey has taken me from New York to the Northwest, Asia, Europe, and back to New York.
In creating some pieces, I know at the outset if the piece is about something. In creating other pieces,
I start with the movement - in silence - and the imagery and ideas reveal themselves much later. My
movement style is informed by extensive research and study of traditional and new, Eastern and Western ways of understanding body, mind and spirit. When the movement is compelling in itself, then
working with music or text or visual elements becomes a collaborative conversation that seamlessly
integrates and/or judiciously juxtaposes the various media. From the energy medicine of meditation
and chi kung to the energy policies currently under public debate, I am inspired by the convergence
of traditional cosmologies and movement practices with contemporary science and environmental
studies. Playing with this convergence through the medium of movement, the resulting performance
pieces range from the contemplative to the whimsical to the dramatic, and often contain implied or
direct social commentary that invites the viewers own questions and reflections.
DISCIPLINES: Dance, Theatre, Interdisciplinary, Video

After All
After All is the title of an evening of solo dance theatre created and performed by Laura Shapiro as
well as the title of one of the pieces in the program (see photo). In a mysterious, uncanny yet fluid
layering of dance, video and haunting music, After All was created, in part, during a FAR Space
Residency, with the support of the Lambert Foundation, in the summer of 2013. Video of natural
environments and industrial landscapes was created for the piece and is projected in performance by
video artist Andrew Gurian. After All is a site-adaptable piece, with the spill of the video, different in
each venue, delimiting the dimensions of the performing space for me, so that both visually and kinesthetically it becomes a somewhat different piece in each space in which it is performed. The haunting
music for cello and electronics was composed by Paul Rudy for new music cellist Madeleine Shapiro
(no relation to the choreographer). Without literal narrative or characters, After All suggests animals
and humans exploring and responding to their drastically changing environments. Another work on
the program, The Lemonade Variations, is currently in development, and will include live as well as
recorded video by Andrew Gurian. Selected work from repertory is also available and may include In
Parts: Moving (like the Bride of Frankenstein), Never Done, Out of the Blue and Confessions of a
Luddite.
Production History: BAAD!Ass Womens Festival; Movement Research at Judson Church; Tribute
to Frances Alenikoff at Edens Expressway; Dixon Place; ADG Performance Festival; Lower East Side
Festival of the Arts, Theater for the New City; CAVE; Toronto Fringe Festival; PS 122; The Construction Company; Dia Center for the Arts; 92nd Street YMHA Harkness Center for Dance; Morningside Dance Festival; University of Montana; La MaMa E.T.C.; ADG conference at American Dance
Festival; Stoner Loft; Princeton University; Queensborough Community College; Northwestern
University.
Video: https://youtu.be/exoNd9BYwYo (excerpts);
Contact: [email protected]
Website: https://www.quicksilverdance.wordpress.com

https://www.facebook.com/quicksilverdance/
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Photo: Didier Philispart

Liam Warren (Marseille, France)

Liam Warren is an emerging Canadian dance maker based in the south of France.
After training at Canadas National Ballet School, he attended Codarts University of the Arts in The
Netherlands, obtaining a Bachelor of Dance. Warren has performed for 6 years under the mentorship
of Angelin Preljocaj.
Liam Warrens creations highlight the unique, reactive, and interceptive nature of the human body to show how the body is constantly subjected to various systemic stimuli affecting its movement and
functioning.
He is interested in how the body will modify its movement based both on a conscious anatomical cue,
or as a result of being in a certain socio-political situation; and what responses are made under these
given circumstances.
Among his projects, Warren has collaborated with artists such as artist Mary Jordan, filmmaker Gregoire Colin, and the choir Vox Clamantis in Estonia. His work has been presented at venues across
France, such as the Pavillon Noir - Centre Chorgraphique Nationale (Aix-en-Provence), KLAP Maison pour la danse (Marseille), and at the Festival Vaison Danses.
DISCIPLINES: Dance, Performance, Physical Theatre, Political Body

ABSENTIA
Absentia reveals the imprints of a body. As it moves, its polymorphic variations reveal the ambiguity it
leaves in space.
This work is the result of a curiosity to explore how the trajectory of physical movement might be
retraced.
Absentia seeks to put a light up to the shadow space between where the body is now and where it has
been; how the body pushes itself into space; and what traces are left in that space as the body retreats.
...(Absentia) holds the essential, the primordial, a hidden truth about life,
the living body... one does not leave entirely unscathed.
- Selim Lander, mondesfrancophones.com
Production History: Pavillon Noir - Centre Choregraphique Nationale (Aix-en-Provence), KLAP Maison pour la danse (Marseille)
Video: https://vimeo.com/142716481/

password: liamwarren2015

Contact: [email protected]
Website: http://liamwarren.net

@somewhereup

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Photo: Whitney G-Bowley

Little Lord (Brooklyn, NY, USA)

Little Lord is a Brooklyn-based theater company that produces vibrantly bawdy, irreverent, intelligent,
queer, funny (and often musical) theater. Focusing on offbeat adaptations of classic or neglected texts,
Little Lord plunders the theatrical canon in order to forge new plays from old parts. Bridging the gap
between mainstream (narrative-driven) and formally challenging theater, Little Lords work has been
praised as thought-provoking, fearless in its weirdness, and scrappy creative brilliance.
Founded in 2007, Little Lord has developed and premiered eight original productions at venues
throughout New York City, including: BAMBIF*CKER/KAFFEEHAUS (Brick Theater, Brooklyn,
2015), Pocahontas, and/or AMERICA (Bushwick Starr, Brooklyn, 2013), Babes in Toyland (Brick
Theater, Brooklyn, 2011; OHIO Theatre Ice Factory, NYC, 2009), JEWQUEEN (UNDER St
Marks, NYC, 2011), (oh my god I am so) THIRST(y) (Incubator Arts Project, NYC, 2010; Chocolate Factory Theater, Long Island City, 2009), BALABUSTAS, a queer yiddishkeit Thesmophoriazusae (HERE Arts Center, NYC, 2007), and The Barbesteia: Curse of the House of Malibu (OHIO
Theatre, NYC, 2007) www.littlelord.org
Praise for Little Lord:
There are darker currents sweeping under, and occasionally subsuming, the campy surfaces in which
Little Lord traffics. --- New York Times on BAMBIF*CKER/KAFFEHAUS (Critics Pick)
To call Little Lords work ambitious is an understatement. It is fearless in its weirdness. -- Tablet
Magazine
DISCIPLINES: Theater, Performance, Experimental, Adaptations, Collage

BAMBIF*CKER/KAFFEEHAUS
Sure, you cried when you watched the animated classic Bambi...but how well do you know the real
story? Little Lord uncovers just what lies behind those beloved doe eyes in BAMBIF*CKER/KAFFEHAUS, a madcap examination of early 20th century Vienna and of the forgotten artist behind both
the worlds most beloved deer, as well as its most scandalous piece of pornography. Copious amounts
of coffee, the birth of psychoanalysis, sexualized rabbits, The Sound of Music, and Zionism all come
together in Little Lords makeshift, pop-up Viennese cafe. Your childhood will thank you.
BAMBIF*CKER/KAFFEEHAUS is based on an unlikely duo of works by the Viennese-Jewish author
Felix Salten: the pornographic faux memoir, Josefine Mutzenbacher, The Life Story of a Viennese
Whore, and his arguably more famous novel, Bambi, A Life in the Woods. Staged in an immersive
style, BAMBIF*CKER/KAFFEEHAUS audiences become cafe goers and feast on a fine spread of nostalgic American treats inspired by the storied cafes of Vienna. Complete with coffee specialties (read:
Nescafe) and authentic Austrian pastries (read: Toaster Strudel).
The world premiere of BAMBIF*CKER/KAFFEEHAUS was a New York Times Critics Pick, and
performed to sold-out houses.
The zany company Little Lord whips on its long apron, flips a napkin over its arm and serves up a
nicely realized bit of perverse wackadoodle frivolity...Surely it will touch something in you that will
wriggle with pleasure. Time Out New York
Production History: The Brick Theater, Brooklyn, NY
Video: https://vimeo.com/138199825 (Please contact for video password.)
Contact: [email protected]
Website: http://www.littlelordbambi.com
@littlelordnyc
https://www.facebook.com/LittleLordTheater
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Photo: Keka Marzagao

LuLu LoLo (New York City, NY, USA)

LuLu LoLo is a New York based international performance artist, playwright/actor, historian, and
activist. As a performance artist and playwright, LuLu incorporates historical references, ritualism,
generosity, symbolism, myth, and always humor to engage the public in social issues. She has written and performed eight one-person plays Off-Broadway portraying the dramatic struggle of women
in New York Citys past exemplified by subjects such as the Triangle Shirtwaist Factory fire and the
lesbian lover of murder victim Kitty Genovese. LuLu recently performed Joan of Arc of 14th Street:
Where are the Women? highlighting the lack of public monuments honoring women in New York.
A previous performance, Pilgrimage by Proxy: Paris Chapter, was a series of symbolic journeys in
Paris on behalf of people. LuLu was a Blade of Grass Fellow and a Lower Manhattan Cultural Council
Writer in Residence. LuLu has performed at Art in Odd Places 2015, 2013, 2011, 2009; El Museo del
Barrio; Flux Factory; and in Italy, France, Belfast, New Orleans, Provincetown, Philadelphia, Ohio,
and New York.
DISCIPLINES: Performance Art, Sociallyengaged, Interactive, Playwright, Actor, Installation

Joan of Arc Asks Where are the Women Monuments?

As Joan of Arc, attired in battle armor, helmet, sword and shield I interact with people asking: Where
are the Women Monuments? creating a dialogue over the lack of monuments to women. In New
York City there are only 5 monuments honoring women compared to 150 honoring men. Joan of
Arc invites people to suggest names of women they feel should be honored with monuments. The
process to nominate varies: names can be written on chalk on the sidewalk, or written on pieces of
paper and placed on an art gallery floor, or as in my recent performance written on a placard which
the person holds proudly as they are photographed with Joan of Arc. There has been a strong social
media interest in this performance worldwide and will be developing this further with performances at
the sites of monuments to women.
Production History: Art in Odd Places:Recall 2015
Video: https://vimeo.com/user11110194

https://www.youtube.com/user/lololulu3

Contact: [email protected]
Website: http://www.lululolo.com

@fablululolo
https://www.facebook.com/lululoloproductions
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Photo: Luis Conde

Mara Santos (Lisbon, Portugal)

Mara Santos is a brazilian choreographer and performer. dance teacher, anthropologist and researcher.
Her training includes studies in Contact - Improvisation, Composition in dance, Improvisation,
Choreography and Contemporary. As a dance artist she worked in colaborative work as a choreographer and dancer between others with Vera Mantero, Alito Alessi, Martim Pedroso and Emanuele Sciannamea. Degree in Social Sciences, Social Anthropology and Dance. At the moment she is doing a
Ph.D. in Dance at the University of Lisbon, under the guidance of the writer and Professor Gonalo
M. Tavares.
Dance as a place of ritual of events, actions, conflicts, images that claim the others gaze outside. It
is a direct language that speaks body to body. It is the skin on the flesh, muscles and bones. To be a
dancer is to have the courage of the fearful. It is the courage to make a world that we want to live, is to
create worlds. It is the statement of desire. And is the denial of hierarchy between people, animals and
things. Is the desire to be thing. Is to build planes of immanence: sweat, fold, smell, gesture and color.
It is not to be buried in ourselves. It is the full listening to each other and space. The art of dance is
one thing mysterious that all becomings(devires) are possible. Is the repetition with difference, theory
and practice.
DISCIPLINES: Dance, Choreography, Practice- Based- Research, Philosophy, Improvisation

Outlines of a practice of love

(Contornos de uma prtica de amor)
Outlines of a practice of love (Contornos de uma prtica de amor) was a result of a series of artistic
residencies made in Lisbon (Casa do Brasil de Lisboa and Olga Roriz Studio). My interest was to work
the relationship between soundscape, objects and dance, basically to create choreography with space
for improvisation. As methodology I worked through authentic movement. Little by little I discovered that the piece was a duet. So I worked with Lilian Gil, who helped me finish the piece. During
the process I needed a chair and a big white dress. The piece was born of caos. And the name came
from a text that my father wrote. We are talking about love that is an outline: My rhythm inside
the continuous repetition of questions to find your measurement in the drama of love. This scenario
is the architecture of your desire, which oscillates between the desire to stay and the desire to depart;
between the desire to find the way, the desire to fly and the desire to stay and embrace the ground.
Production History: International Platform for Choreographers Teatro Municipal Joaquim Benite

Contact: [email protected]
Website: http://Maradomar.wix.com/Marasantos

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Photo: Jessica Kaminski

Maria Gillespie and Nguyn Nguyn

(Milwaukee, USA)
Maria Gillespie and Nguyn Nguyn have been collaborators since 2005. Their interdisciplinary projects Bloom and Mapping the Migration of Gesture draw from dance theater, improvisation, and new
media to explore memory, language, and the embodied archive.
Maria Gillespie is a choreographer, performer, and assistant professor of dance at University of
Wisconsin-Milwaukee. She received her MFA in choreography from UCLA and her BFA in dance
from SUNY Purchase. Gillespie founded Oni Dance in 2005 and was named one of Dance Magazines 25 to Watch. Her work has been presented at numerous venues in the US including The Ford
Amphitheatre, The Getty Museum, REDCAT, CalArts, and numerous festivals and universities. She
has performed and taught internationally in Mexico, Japan, and China. She was awarded the 201415 Global Studies Fellowship to present her work in Beijing and Guangdong, China. Bloom, comes
from her ongoing research into language and corporeality, https://translatingmetaphor.wordpress.com/
project-narrative/
Nguyn Nguyn, born in Vietnam, was a Regents Scholar at UCLA and graduated with a B.S. in
Microbiology and Molecular Genetics and MFA in Choreography from UCLA. Nguyn Nguyn has
taught at Santa Monica College and Cal State LA and worked with various artists including David
Roussve, Yu Cheng-Chieh, Holly Johnston and Maria Gillespie. His work has been presented at numerous venues and festivals throughout California and the Guangdong International Dance Festival
in China. He is a founding member of Los Angeles Movement Arts collective, is faculty at Renaissance
Arts Academy and is part of The Rock Collection.
DISCIPLINES: Dance, Performance, New Media, Improvisation

The Bloom Project

The Bloom Project is a collaborative and modular dance theater and installation piece developed
by choreographer and performer, Maria Gillespie in development with her collaborators, Nguyn
Nguyn (choreographer) and Fabio Altenbach (media artist). The Bloom Project exists as solo and
duet performances and utilizes different media technologies depending on the performance site. The
choreographies that are offshoots of The Bloom Project (Bloom, Bloom Inscribed, and Inscribed Here,
The Archive) are multi-media meditations on home, memory, erasure of histories, and modes of translation. This dance theater project is invested in revealing the process within performance of collaboration between Gillespie and Nguyn Nguyn, improvisation, ideas of translation, and integrating new
media into performance. The Bloom Project brings together new media, dance-theater, and personal
history to inquire - how does the dancing body create and communicate meaning? The Bloom Project
investigates cultural memory and the corporeal archive.
Production History: Beijing Dance Festival, Guangdong Dance Festival, REDCAT (Roy & Edna
Disney/CalArt Theater, Chicago Harvest Contemporary Dance Festival, Breaking Ground Festival,
UW-Milwaukee - Kenilworth Studios
Video: https://vimeo.com/135686767
Contact: [email protected]
Website: www.onidance.org & mappingmigrations.wordpress.com

@onidance
https://www.facebook.com/onidance/?ref=hl
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Photo: Ganesh Ramachandran

Mariah Steele/Quicksilver Dance

(Oakland, California, USA)
Mariah Steele is a choreographer, educator and interdisciplinary researcher. She has performed with
esteemed choreographers in NYC and Boston, including Peter DiMuro, Rebecca Rice, James Martin, and the Anna Sokolow Archival Company. Steele holds a BA in Anthropology from Princeton
University; a MA from Tufts Universitys Fletcher School of Law & Diplomacy, where she researched
using dance in peacebuilding; and will complete her MFA in Dance at Hollins University in 2016. As
the founder and Artistic Director of Quicksilver Dance, her choreography has been presented at MIT,
Harvard University, Tufts University, Princeton University, SUNY Purchase, Boston Center for the
Arts and Brooklyns John Ryan Theater, among other venues. The Boston Globe named Steele a rising
talent (2013), and she was nominated for the Best Choreography award at Montrals St-Ambroise
Festival (2014).
As an artist and world citizen, I have two missions: to build relationships across cultures and to reveal
to the world why dance matters. Thus, my choreography is interdisciplinary by nature, exploring the
human condition through movement storytelling, inspired by many different cultures and ways of
knowing. Using anthropological inquiry and artistic exploration, my dances delve into contemporary
and timeless issues to inspire reflection and imagination and to spark new perspectives and dialogue.
Choreography engages my mind to find connections across disparate ideas, emotions and experiences;
provides me with a deeper understanding of the world; and allows me to share my discoveries with
others.
DISCIPLINES: Dance, Storytelling, Anthropology, Interdisciplinary, Environment

Tempest in a Teacup
Tempest in a Teacup presents five distinct dances that together explore how our human relationships intertwine with our relationships to the natural world. Audience members will go on a journey
that juxtaposes the individual with the cosmic, starting with The Constant Effort of Beginning,
an abstract septet that celebrates the cycle of life, and ending with On the Threshold of Memory,
a septet that challenges us to think about how collective memory shapes our views of the past and of
ourselves. Along the way, the spoken-word-and-movement solo No Sugar, Please, explores the personal and cultural history of tea; a duet re-imagines the storied relationship of Caesar and Cleopatra
as equals in a modern setting; and five dancers investigate our interdependence with both natural and
man-made environments in Habitus. The varied themes and movement choices offer something
for everyone, as moments of humor and pathos await alongside intellectual rigor and flights of the
imagination. Reviewers of the 2014 Montral performance of Tempest in a Teacup wrote: A quiet
and refreshing spectacle that transports us, (Margot Cascarre, DFDanse, 2014) and, This is dance
for dancers: great variety of mood and movement and performers who bubble with enthusiasm for the
work...I dare you to find a company that dances with more heart (Bloody Underrated Blog, 2014).
Production History: Simmons Hall at MIT; Studio Multimedia at St. Ambroise Festival Fringe de
Montral
Video: https://vimeo.com/125424188
Contact: [email protected]
Website: http://www.quicksilverdance.com

https://www.facebook.com/QuicksilverDanceCompany/
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Photo: Aninha Elyseu (up) / Sara Roda (down)

Marina Nabais (Lisbon, Portugal)

I was born in Luanda, lived in Rio de Janeiro and Amsterdam and currently live in Lisbon. One can
say I am a citizen of the world. Im interested on global phenomena: whatever makes us human,
as well as our connection to nature in a broad sense. We all change as individuals, as well as on the
whole. We suffer metamorphosis all throughout life. The body, before anything else, has an extreme
potential to embody the counsciousness of the present moment. The bodys perception is thus one of
my leit-motifs: its ability to ground us to time, to the concrete, and simultaneously stimulate imaginaries and creativity.
My work has two main sides to it: the pursuit of bodies potential (often my own body, as I dance all
my works as a choreographer), its anatomy applied to dance and its power to suggest narratives, not
always linear. The audiences link to my work is many times achieved through contemplation, my own
research method. Another mark of my work is that it relates to all ages, speaking differently to each of
them. Ever since I started my course as a choreographer in 2008, I have created several pieces children
and youth, such as Miocardio (2014) that toured extensively across Portugal, and other pieces for
mixed audiences, as Avesso (2008), Por um rio (2011) or O peso de uma semente (2013).
Institutions as notable as Culturgest, Fundacao Serralves, Teatro Maria Matos, Teatro Viriato among
many others -, have welcomed and co-produced my work.
DISCIPLINES: Dance, Theatre forms

De Seda
De Seda (Of silk) is the final object of a one and a half year continued research around the contemplation of nature and how to carry its depth and transformation potential to the works experience.
Contemplation of whatever is, without further attributes, nurtures my process. It is the tool to express
symbolic, representative and philosophical features, that convey the audience from a dreamlike and
poetical world to the concrete, a duality that is always undermining my performances experience.
I began exploring devices that would influence movement and vice-versa in 2013 with O peso de
uma semente (The weight of a seed), and later on with Sediela (2014, performed at Serralves em
festa). This device, made of amplified strained nylon strings, requires the movement to go through a
metamorphosis as it touches the devices net, producing sound. The device objectifies space, time and
sound through dance.
You may see many different narratives within the performance. The body can frequently relate to
a silkworm gradually transforming itself into a butterfly that is finally free to discover its cocoon
universe. But it could as well be a spider, testing its web and moving across her creation franticly.
As proved in prior presentations, audiences of all ages feel engaged and react lively to the intriguing
sounds issued by the invisible device and to the unpredictable, yet slightly figurative, choreography.
Production History: DeVIR CAPa (Faro, Portugal) / If Barcelona Arts Santa Monica + Antic
Teatre (Barcelona, Spain) / 19a Mostra de Teatro de Almada (Almada, Portugal) / Culturgest (Lisbon,
Portugal)
Video: https://youtu.be/6Vv88-bDbsY
Contact: [email protected]
Website: http://marinanabais.wix.com/marina-nabaishttps://www.facebook.com/marina.v.nabais?fref=ts
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Photo: Daniel Rieben

Markus Hensler (Bern, Switzerland)

born 1964.
Markus Hensler currently lives and works in Bern.
DISCIPLINES: Performance

Ghost 34
His performances directly respond to the surrounding environment and uses everyday experiences
from the artist as a starting point. Often these are framed instances that would go unnoticed in their
original context. By manipulating the viewer to create confusion, he makes work that generates diverse
meanings. Associations and meanings collide. Space becomes time and language becomes image.
His works question the conditions of appearance of an image in the context of contemporary visual
culture in which images, representations and ideas normally function. By parodying mass media by
exaggerating certain formal aspects inherent to our contemporary society, he makes works that can be
seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works appear as dreamlike images in which fiction and reality meet, well-known tropes merge,
meanings shift, past and present fuse. Time and memory always play a key role. By applying a poetic
and often metaphorical language, he tries to approach a wide scale of subjects in a multi-layered way,
likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and
again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By studying sign
processes, signification and communication, he wants to amplify the astonishment of the spectator.
Production History: PZ Bern, Laubeggstrasse 34, CH-3006 Bern
Video: https://www.youtube.com/watch?v=yjFysDPnxhs
Contact: [email protected]
Website: http://www.markushensler.ch

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Photo: Matto Lucas

Matto Lucas (Melbourne, Australia)

Creating art is a way for me to belong to myself. Using performance as a foundation, I aim to further
the understandings of queer male body value systems.
In questioning human worth, my concern is to own space or property.
The work presents the passive body, and the body at work bodies that transgress both fragility and
empowerment.
It exists to be both frightened and frightening.
It exists. I exist.
DISCIPLINES: Performance, Video, Photography

KILL ME, CHARLIE

Kill Me, Charlie was the beginning; the start of the voyage of the body as a canvas, as weapon, as
point of analysis.
What value is held on male, queer bodies? The pursuit of male beauty within the queer community
leads to body dysmorphia, the Adonis syndrome and a constant sense of un-worth.
The audience watched as Lucas body was donned in a transparent bourqua, black boots and block
jocks, while he continuously ran on a treadmill, lifted a barbell and exercised to the point of collapse.
An affective piece that forced the audience to psychically experience the physical extreme of pain and
self-harm inflicted on ones body in pursuit for perfection.
Production History: Melbourne Library Service
Video: https://vimeo.com/91254357
Contact: [email protected]
Website: http://www.mattolucas.com

@mattolucas
https://www.facebook.com/MattoLucasArtist
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Photo: Rafa Gavalle

Mauricio Gonzalez
(Las Palmas De Gran Canaria, Spain)
My first dance teacher took us to his house for tea and watch videos of Ballet.
I was 16 years old.
The TV was in the bedroom, carpeted floors and a large double bed.
We layed on the carpet, someone leaned on the margins of the super bed. The teacher lying in the
center and Makarova and Ivan Nagi in the second act of Swan Lake, falling in love, succumbing to the
spell of Rotbhart, the romantic tragedy of love.
Ballet and desire (sexual). Those two realities are intermingled.
Postage, and pirouettes developpes dancers provoked exclamations such as:
I cum !!!
What orgasm !!!
Ufffffff !!!
The excitement that produced the ballet and to be in this chamber as close to the object of desire
mixed.
Since then the romantic ballets had a strong erotic-sexual charge (and had).
With Wakefield Poole: Visions and Revisions I get to embody the feeling or belief that accompanied
me years of ballet.
I feel that each of my previous work was looking this time.
I feel I am an artist of a single work, like so many others.
Now for the presentation of Pradillo I have another desire that has to do with the trans-mission of the
work and how to live the changes related to my identity. Behind the word code re-sounds. Works
transmitted orally from the eighteenth century and remain today >>
Mauricio Gonzalez
DISCIPLINES: Balletvsporno

WAKEFIELD POOLE visions and revisions

Wakefield Poole is the name of one of the American dancers who were part of the Ballets Russes de
Monte Carlo and gay erotic film director.
In Visions and revisions I make a comparative study between two works that the director knows
dancer. On the one hand, the second act of Swan Lake Wakefield danced countless times being with
the Ballets Russes and, secondly, his first film Boys in the Sand 1971, a landmark of gay erotic film.
The title Visions and revisions synthesizes the proposal. Vision and ability to see as well as imaginary
perception perceived as real. Review and action to look at the detail and carefully something.
The look is always individual. I share this work (in public) as a performance lecture my vision as a
dancer (choreographic vision) of these two pieces that identify me.
Production History: CCCB de Barcelona, Festival Sismograf, Sala Hiroshima, La Pradillo
Video: https://youtu.be/-ZkJ8SYun3w
Contact: [email protected]
Website: http://momelvivero.org/gender/english-version/

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Photo: Joseph Boggess

Mem Nahadr (New York, NY, USA)

Mem Nahadr (also known as M. Nahadr, Madwoman and simply M), is an internationally acclaimed American Performance Artist and multi-octave vocalist best known for the performance of the
song Butterfly, composed by Yoko Kanno and lyricized by Chris Mosdell for Cowboy Bebop-The
Movie, a cult classic Japanese Anime. She is also an author, composer, poet, filmmaker and human
rights activist. Nahadrs artistic presentations often include: vocals, projected digital imagery, stage
props and ultra-violet lighting effects, combining them in her own unique vision to collaboratively
support the sonic story in each Aria of her Operas. These particular multi-disciplined combinations
are chosen to most accurately and interestingly express the underlying aspects of the storytellers
subject matter, allowing for fluidity and improvisation within the work, as well as providing a literal
evidence to the premise. I have been compelled to combine and use all that I have experienced and
learned, as resource for my artistic endeavours. I have discovered an infinite inspiration to investigate
and express my findings and feelings... - Mem Nahadr
DISCIPLINES: Music, Film, Dance, Theater, Fashion, Poetry

FEMME FRACTALE: An Opera of Reflection

FEMME FRACTALE: An Opera of Reflection, is an investigation through art and technology into
the concept of Self- Similarity, Superpositioning and the function of Recognition and Reconciliation inherent in the simple Repeating Pattern as reflected in existence.
The music for this art piece is comprised of a series of compositions, ARIAS, written to reflect several
aspects of Fractalized Being. From GREY ARIA and M THEORY with its funk reminiscent yet
industrial groove heralding the Diversity hidden in Singularity, to the downtempo classical ambient
meets rock of PANACEA and the equally soulful ON MY MERRY WAY which pronounces the
recognition of the Whole as witnessed in its Parts. Then there are the power ballads GONE & PASSAGE with their deep declaration of dedication to the aspect of Continuum and Reconciliation.
This art collection, created by internationally acclaimed performance artist Mem Nahadr, is presented
as an ongoing interactive exhibition with both Analogue and Digital components. Couched in classical ambience and contemporary beats including some unfamiliar genres, this work seeks to stimulate
the audience toward enjoyment and analytic questioning simultaneously, with the subsequent inevitability of open dialogue between artist and listener.
This project is supported by James P. Nichols, Grammy Award Winning Producer, Engineer and
Senior Film Applications Engineer at Dolby Laboratories.
Production History: UFORGE ART GALLERY, Boston, MA
Video: https://vimeo.com/118505504
Contact: [email protected]
Website: http://www.MemNahadr.com

@Nahadr
https://www.facebook.com/MemNahadr
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Photo: Ben Doyle

MET dance Company (Houston, TX, USA)

METdance, founded in 1995, strives to educate, entertain, and inspire its audiences through a diverse
curation of repertory that spans a full range of emotion, content, and collaboration. Based in Houston, TX, USA, METdance performs throughout the United States presenting works by established
choreographers and emerging artists including the artistic visions of Robert Battle, Sidra Bell, Camille
Brown, Peter Chu, Larry Keigwin, and Kate Skarpetowska. METdances passionate performers and
choreographers come from a range of cultural and ethnic backgrounds, and instill the companys work
with a complete spectrum of emotionality and physicality. From comedy and humor to poignant
and dramatic, from fierce athleticism to detailed minimalism, METdance is committed to presenting works that speak to every audience member regardless of their background, age, sex, or experience with dance. In this way, METdance is proud to be a leader in diversity and vitality of content.
Presenters can create a unique program for their patrons from over 20 works in METdances current
catalogue of repertory in addition to presenting specific programs curated by the company. The
METdances gorgeous dancers push the choreography to its fullest and most generous capacity, while
sharing the joy and electric verve of their craft with the audience. Adam Castaneda, Houston Press,
June 4th, 2015.
DISCIPLINES: Contemporary, Modern

Significantly Other
Significantly Other is the creation of Margot Gelber, METdances annual emerging choreographer
commission for 2015. Gelber, coincidentally a native Houstonian, was selected from a field of over
140 choreographers from across the United States. Significantly Other toes the line between humor
and sentimentality, and is inspired by the search we embark upon to find the person to share our lives
and ourselves with. Often times we get it wrong over and over again and have to resort to extraordinary means before we find something that fits. The piece unfolds in three sections: the first section
simulates a speed dating scenario with the dancers utilizing a large table and chairs set to the score of
the William Tell Overture, the second section is a duet that develops atop of the table set to music
by The Zombies, and the third section is a series of vignettes created and performed to text from the
motion picture When Harry Met Sally. Significantly Other was created in collaboration with the
dancers and is designed for proscenium performance spaces.
Production History: Miller Outdoor Theatre
Video: https://www.youtube.com/watch?v=dLZ4dMtThU4
Contact: [email protected]
Website: http://www.METdance.org

@HoustonMetDance
https://www.facebook.com/HoustonMetDance
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Photo: Michael Fenlason

Michael Fenlason and Strada Company

(Tucson, AZ, USA)
It must be said that performance and the arts in general can be difficult in a place like Arizona, but
like aloes and cacti, uncompromising things grow in harsh climes. Michael Fenlason began in Phoenix
creating The Unlikely Theater, a company that performed original pieces of theatre and performance
art and then donated the proceeds to other socially committed nonprofit charities, like food banks and
crisis nurseries, as well as environmental and human rights groups. Working with Tucson, Arizonas
Beowulf Alley Theatre, Michael created and produced the play Word Clouds about a tragic shooting
for which he was honored by the American Association of Community Theater for far-reaching impact on theater. His production of Joan s Burning was created in support of Planned Parenthood and
his company was the first to perform 8 the Play for the benefit of marriage equality in Arizona.
With productions in New York, London, San Francisco, San Diego, and the Edinburgh Festival
Fringe, Michael started Strada Company in 2014 to create political, (economic, sexual, partisan) visual
content for the web and live performance.
DISCIPLINES: Theater, Media, Music, Performance, Comedy

American Noise
John Loki is a shock jock who has lost his job for saying things on the radio in opposition to the
media company that owns the station. He is hours away from eviction and must find a job, a place to
love, and possibly win back his performance artist girlfriend. Using a mashup of live music, standup
comedy, wig heads,Pop Tarts, and performance art, John Loki finds in his dark night of the soul a
light in the promise and hope of kindness and possibility. The thing about being homeless in America
is that its kind of like being rich in America. Youre your own boss. You travel a lot. You can do or say
whatever you want. The only difference of course is that if youre rich, people will actually listen. John
Loki struggles to understand his part in the great, distracting American Noise. This project is about
relevance in art. The performance has occurred in large theaters and in living rooms.
Production History: Edinburgh Festival Fringe; Geary Street Theatre, San Francisco; Mesa Arts Center, Arizona,; Beowulf Alley Theatre, Tucson, Arizona.
Video: http://stradacompany.org
Contact: [email protected]
Website: http://stradacompany.org

@johnlokiminute

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Photo: Haquim Khouzam

MINWAL Theatre Company (Saida, Lebanon)

MINWAL was established in Saida in the year 2014. Its scope of work covers writing, directing, and
performing several theatre creations in addition to implementing several educational projects. The
decision to base its center of work in the heart of Saida, South of the Lebanese capital Beirut was and
remains key in the dialogue that we create between art and the general public.
MINWAL Theatre Company aims to revive theatre productions and open up opportunities for establishing theatre troupes to enrich the cultural life in Lebanon. We find that activating regions in Lebanon culturally and artistically is the key to recover the concern of decentralizing cultural life while
also integrating Lebanese youth in cultural engagement, since we feel theres a lack of creative outlets
for this specific generation. In addition, we aim to create a space where they may express themselves,
and learn about performing arts and the possibility to implement their own thoughts, inspirations,
and concerns away from social and geographic borders. Additionally, the empowerment of performing
arts through community institutions as a main catalyst by tackling modern research and inquiries with
other humanistic fields of sociology, anthropology etc. allows the performing arts to create intersections between the community institutions. And thus, enhancing individualism and collectivism of the
civil society is at the forefront of MINWALs work.
DISCIPLINES: Performance, Multimidea, Theatre, Experimental, Music, Tragedy

Isthmus | Barzakh
Barzakh, the loose translation of Isthmus in Arabic, is the barrier between two things. It is also the
place that stands in between earth and the afterlife from the moment of death and until judgment, for
(s)he whom has passed shall enter into a timeless and placeless space, where No living being says to
the dead: be me.
Many questions trouble the mind of human beings, from the thought of existence and being through
to the end of life, or death, passing through time and the attempt to determine it. Humans are born
into a world of experiences that begin and end, while the sole constant is time never stopping, even
with the sudden stop of a human beings heartbeat.
The event in this theatre performance is the moment that is built upon through a situation. And this
situation is focused on an accident that has pushed the actress (Roaa Bzeih) into the realm of the
Isthmus - from one space of time into another - where she was revived after 35-minute of resuscitation
due to a cessation of a heartbeat as a result of a tragic car accident that almost took her life.
TEAM: Artistic vision and Directed by: Jad Hakawati, Performed by: Roaa Bzeih
Text : Jad Hakawati and Roaa Bzeih, Video: Antoine Meyer, Scenography: Jad Hakawati , Lighting
design: Hagop Derghougassian , Sound design & music: Rabih Salam (Oud) & Sary Moussa, Poster
& design of print material: Karim Farah , Press & social-media: Be:Kult, This performance is produced with a grant by Al-Mawred Al-Thaqafy / Culture Resource.
Production History: The Sunflower Theatre - Beirut
Video: https://vimeo.com/142494824
Contact: [email protected]
Website: http://www.minwal.org

https://www.facebook.com/minwaltheatre
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Photo: Miriam Carroll

Miriam Carroll (Limerick, Ireland)

I am in my final year studying Sculpture and Combined Media in Limerick School of Art and Design
in Ireland. My practice consists of performance, video and photography, performance is a key element
in my work. I work with organic materials which are removed from their environment and I explore
the material by othering it into a new material. It is manipulated into extensions of the human body
where I explore themes of anxiety, psychological trauma and repression of childhood memories, this
process allows me to challenge the viewer to explore humour in the unknown. I make work to inform,
entertain and challenge my audience, to make them laugh and question the unknown. I am constantly
getting involved with festivals, workshops and performance groups to push the boundaries of my practice. I was involved in a recent art collaboration with three performance artists from Westminster in
London, the project was called Rumpus and the artists had to perform on the streets of Westminster
making 3D Sculptures out of everyday materials. It questioned art in everyday life and we brought
this question to a public space to see how people would react. I perform with Bbeyond Belfast when I
am available, a performance group from Northern Ireland who meet up on an occasional basis in different parts of the country to perform in public spaces.
DISCIPLINES: Sculpture, Photography, Performance, Drawing

Manicure, 2015
Description of work, Manicure (2015)
The work is a video performance piece which consists of dried seaweed being filed . cut and painted.
The material is manipulated into extensions of the human body which are placed on the fingers
resembling nails. I made the work to explore trauma in the everyday and expose the audience to question taboo topics in society such as anxiety and post traumatic stress disorder. Nails are a part of the
body we manicure and keep clean, what happens when we do not manicure and polish them? How
do we look to the public, we are judged on our appearance rather than our situation. The nails act as a
metaphor in the work which represents our attitude to these taboo topics. We clean, polish and paint
ourselves the way we want others to see us, because its easier to do that than to expose ourselves. The
audience experience the work by looking inside a washing machine which the video was installed on
a monitor on the back of the machine. The washing machine is an object related to the everyday, it
seemed a suitable space to screen the video. It allowed the audience to interact and find humour in the
unknown, this was the aim of the work.
Production History: Chapel Court, Cathedral Pl, Limerick, Droichead Arts Centre, Stockwell St
Drogheda, Louth
Contact: [email protected]
Website: http://miriamcarroll1.wordpress.com

@MirmsyMiriam
https://www.facebook.com/https://www.facebook.com/curly.sue.9674
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Photo: Tim Summers

Modern Recollections (Seattle, WA, USA)

Modern Recollections is an experimental theatre company cofounded in 2012 by artistic director Carl
Lawrence and choreographer Matt Drews with a respective body-politic that is comprised of visual
artists, designers, composers, actors, dancers, performers, laborers, and intellectuals. Utterly discontented by theatre, they work inside and outside of the proscenium, taking over frozen reflecting pools,
galleries, apartments, and theatres to produce incredible feats of performance and installation, which
operate within secret languages and codified structures. Their work has been produced locally in
Seattle and nationally, including Remembrance which was curated and presented by Robert Wilson
for his 2012 annual gala at the Watermill Center (NY), Ive Seen Half of Gods Face, The Other Half
is You which premiered at the Yellow Fish Epic Durational Performance Festival XIV at the Hedreen
Gallery (Seattle), and Atemwende which premiered at Next Fest NW 2014 at Velocity Dance Center (Seattle).
DISCIPLINES: Theatre, Performance, Dance, Installation, Visual Art

Atemwende
Atemwende transforms dance, performance, ritual, and symphony into an enveloping and hypnotic
landscape that plunges the spectator into a vacuum of divine melancholy. It is a sleepless nightmare. It
is the site of a gaping wound, which swells and hemorrhages. It is a work in which every gesture and
every word and every image is directed at itself, seeking its own destruction. Everlasting defeat is the
only imperative. The piece draws from the bitterness and decay of Georges Batailles paternal betrayal,
Caravaggios The Incredulity of Saint Thomas, states of paretic madness, and the violent blinding
of famed bullfighter Manuel Granero to assemble a poetic manifestation of Batailles elevation out of
darkness and into darkness as saint of the impossible.
Conceived/Directed: Carl Lawrence
Choreography: Matt Drews
Music: Cameron Armstrong
Costumes: Brynne McKeen
Graphic Materials: The Generic Factory
Dramaturgy: Juan Franco
Lighting: Evan Anderson
Performers: Elizabeth Rathbone, Cameron Fletcher, Matt Drews, Kyle Bernbach, Josh Taylor, Juan
Franco, Carl Lawrence
Production History: Next Fest NW 2014, Velocity Dance Center, Seattle, WA
Video: https://vimeo.com/modernrecollections
Contact: [email protected]
Website: http://modernrecollections.org

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Photo: Elin Osjord

Molitrix Scenekunst/ Linda Birkedal

(Stavanger, Norway)
Molitrix Scenekunst (MoS) is a company producing contemporary performance and working with
visual art, electronic music, text and film. The company has produced several critically well-received
performances of various length and character for indoor and outdoor. Molitrix Scenekunsts main aim
is to produce and tour dance works of high quality.
Linda Birkedal completed her BA at Trinity-Laban, London. Her further education is at the University of Copenhagen, University of Stavanger and Stockholm Academy of Dramatic Arts (SADA). After
working in London and Copenhagen for several years as a dancer, choreographer and producer, she established Molitrix Scenekunst (MoS) with Stavanger as a base in 1999. Linda was awarded Norwegian
state scholarship 2005-2007. In 2008 she received a scholarship from Stavanger commune. In 2012
she received the choreographic scholarship from the union of Norwegian Dance Artists (NoDa) and
in 2013 she received a scholarship from Rogaland County Municipality honouring her many years of
producing and working in Rogaland.
MoS works has been presented at Tou Scene in Stavanger, RAS/Sandnes kulturhus in Sandnes, BIT
Teatergarasjen (Meteor/Oktoberdans) in Bergen, Dance House in Oslo, Dansearena Nord in Hammerfest, DansiT in Trondheim, Agder theater in Kristiansand, Consert House in Stavanger, The light
House in Utsira, Dansescenen/Dansehallene in Copenhagen and Dansestasjonen in Malmo. Molitrix
Scenekunst is supported by Kulturradet, Stavanger kommune, Sandnes kommune, Rogaland Fylkeskommune, Fond for utovende kunstnere and Fond for lyd og bilde
DISCIPLINES: Contemporary Dance, Performance

In between and Backup

In between
In between is a performance work that examines the word between conceptually, investigating it
in connection to place, condition or relation. The project will give attention to the plastic room or
place where one is positioned between one or several places, experiencing ambivalence. The poetic
potential that lies in the depths of space and in the act of opening and stretching the in between. The
in between that opens up for doubt, the ambivalent, the indecisive and the slow finding it being as
important as the effective, decisive and determined.
Backup
The project investigates the consept backup understood both as storage, copy and reinforcement, and
reflects around how technology effects our relationship to memories, preservation and time.
We experience how technology can be a restriction, an enhancement, an all consuming addiction
and even become a helpful support. Technology influences the context, which is linked to choices we
make. In what ways affects digitalization how we relate to time and each other? How human can technology become, through our utilization of it? Through body, sound, light and technology, performers
and audience share a common space where the human and the digital device are connected.
A footstep may evolve into rhythm, which in turn affects the space, and the flickering light can
become poetry.Time can create a unity of connections. A backup of our collective memory. The audience is invited to take their own perspective and make their own choices in experiencing this project.
Production History: Tou Scene and RAS.
Video: https://vimeo.com/molitrix/
Contact: [email protected]
Website: http://www.molitrix.com
https://www.facebook.com/molitrix
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Photo: Neue Galerie Graz/UMJ, Niki Lackner

MP_art [Maja Budzarov & Predrag Sidjanin]

(Novi Sad, Serbia)
MP_art is an acronym of the artistic couple [Maja Budzarov and Predrag ianin] who regard their
joint work as more important than collecting artistic biographies _ art consists of art alone, not artists. Starting to live and work together in January 2003, they decided to reject their previously earned
personal histories, the work under their own personal names as well as they reduced the mediums of
their previous research. They focus on exploring mutual emotions and intimacy through a primarily
physical (performance art) and meditative (painting/text/color) expression. In their work they equally
use their bodies, photography, text, video, the Internet, and occasionally combinations of new media
with different classical materials (paintings, ceramics and glass). Their works usually have a strong reference to the place, time and physical/meditative context in which a personal experience of intimacy
and privacy reflects upon the universally recognized and accepted phenomena. Their artistic practice/
strategy is based on closeness and directness, on interaction and liberation from ideological restraints
imposed by mass communication, on the aesthetics of a personal attitude towards the world, post
avant-garde and conceptual art experiences in the social context of the current moment, which they
are openly critical of.
DISCIPLINES: Performing Art, Visual Art, Installation, Video Art, Multimedia Art, Ceramic, Glass Art

MP_per_15 CONFESSION PILLORY

The performance was a part of the project SHAME, realized in Neue Galerie Graz, Graz, Austria.
The project realized in Austria called MP_pro_o2 SCHAM_A contained exhibition, performance,
video, video interviews and a sound installation.
M & P stood in the completely dark mirror room of the Neue Galerie Graz. They were tied with a
strong rope to the pillar. They were also blindfold. The performance began when the visitors enter
the room and when the video projection started. The video projection, with loud and tense sound,
presented static words shame on the bodies of M and P. Between each alternate image was a break of
10 seconds [without images but with sound]. When the video projection began, M and P started to
liberate their bodies from the rope. Until the end of the performance, when the video tape ended and
the light came on. They hadnt free themselves from the rope... They were tied to the pillar until the
last visitor exit the room.
The performance symbolically presented some of the shame words which are common feelings of
shame felt by M and P. These words are allegorical expression [together with a red carpet on the pillar
base] of the shame for the people in world politics and people who are responsible for all our lives
[with planetary problems such as wars, economy, global warming, etc]. Some of the words are also
very personal expression of a shame.
Production History: Neue Galerie Graz, Graz, Austria
Video: https://www.youtube.com/channel/UCL6Ustz0hv-NcfLbhNh3qOQ
Contact: [email protected]
Website: http://mpart.rs

https://www.facebook.com/mp.art2
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Photo: UN WOMEN @ C.A.R.L. Organizations

NINO Maglakelidze-Sheets & C.A.R.L

(Tbilisi, Georgia)
Nino Maglakelidze-Sheets works in many disciplines Internationally. She is a Visual Artist, Performance Director and Arts Manager. Researcher - PhD Student at Ilia State University - Tbilisi, GEO.
Since- 2013 - Founder & Artistic Director of the C.A.R.L. - Contemporary Arts Research Laboratory.
Since - 2011 - Founder & Artistic Director of The (24 - hour) Experimental Theatre Festival at the
Rustaveli State Professional Drama Theatre -Tbilisi, GEO / Ilia ChavChavadze State, Professional
Drama Theatre -Batumi, GEO / Valerian Gunia State, Profesional Drama Theatre -Tbilisi, GEO.
In 2009 & 2010 She get Probated ( as a Scenographer - Stage, Costume , light Designer) at the The
Royal National Theatre, London, UK.
In 2010 She became a State Department alumni with the -DeVos Institute of Arts Management Fellowship Program at The John F. Kennedy Center for the Performing Arts, Washington DC, USA.
Also in 2010 -Nino took the course at the Stagecraft Institute of Las Vegas, USA.
2011 / 2012 (2) She receive a (3) FH (Fulbright -Hays ) grants. 2015 as a Professional Artist Nino
was participated in P.Q. Prague Quadrennial - with the performance - Puppet People - Dream (ReStage). Ninos work based on her practical research - to find a new forms in the arts, then made the
theoretical analyses for the academic articles. C.A.R.LaboratoRy looks for the new talents to collaborate from all over the world. Ninos main goal with the C.A.R.LaboratoRy is to focused on the
Contemporary arts Development in general and on experimental theatre performances, happening
show, side specific theatre, environmental theatre also on original sound, lighting text and set design.
In the C.A.R.Laboratory one of the important role takes the social art and human rights ( Since 2012
- C.A.R.L works with the UN Women Organization).
DISCIPLINES: Experimental Laboratory, Environmental Theatre, Site-Specific Theatre, Contemporary
Art, Multimedia Scenography, Visual Art

Research multidiscipline
The -Interior of Violence was one of the first example of the side specific, environmental theatre with the multimedia performance and an interactive exhibition in Tbilisi (GEO).
In the experimental production Georgian traditionalism was shown with contemporary concept.
The exhibition was set up in the form of a home interior at the pavilion for performance where
audience could walk between different rooms and take part in the performance - eat, drink and cook
Georgian traditional dish - XINKALI, then sit next to the big table, listen to TAMADA ( the leader of
the dinner table , who was telling the stories of this family and talking about Georgian traditions) and
having conversation with the other guests, among whom were actors as well. The end of the story with
the not so forgotten Caucasus Georgian tradition was very dramatically where young girl (from the
brides room ) was kidnapped ( By the boys -actors) and during the fighting she was killed . This
Interior of violence the allegorical story of the ugly tradition results and shows all society in mirror.
The featured stories - articles (on violence against women, as well as domestic violence) basically was
written by journalists , bloggers and then developed by director and writer .
Production History: Tbilisi International Festival - Expo Georgia Pavilion. Poti Drama Profesional
Theate - Lobby (Poti / Georgia). Marjanishvili State Profesional Theatre (Tbilisi / Georgia).
Video: https://www.youtube.com/watch?v=605faISjsqk
Contact: [email protected]
Website: http://services.pq.cz/en/pq-15?itemID=268&type=costumes
https://twitter.com/nino_maglakelid
www.facebook.com/CARL-Art-Laboratory-480732458795167
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Photo: Ada Pinkston

Noelle Tolbert (Baltimore, MR, USA)

I am a Philadelphia native, a diamond in the rough of performance art making her way in Baltimore
and beyond. My work is a manifestation of struggle and the precision needed to endure and overcome
the suffocating nature of life. I am a woman of courage, fight, understanding, versatility, and instinct.
In my performances I utilize resources from everyday life in order cut through the audiences mind
and hearts with raw material relatable to all walks of life. I use dance, choreography, performance art,
teaching, and storytelling to heal and connect people in order to challenge how we engage with and
define art.
DISCIPLINES: Dance, Performance Art, Movement Research, Durational Performance, Interactive
Installation, Poetry

Tree of Secrets
To determine limbo in a mindset is to fall deeply into an abyss of memory, thought, and knowing
reality. What does limbo feel like? How would I know if I was in limbo? What if those who created
the very paths that we walk today were forced into limbo with family issues, religion, and secrets?
I find the bridge between my world and the life of Kronos, a Titan God provocative and inspiring.
Destructive and devouring, Kronos married his sister and was locked away for swallowing his children. In Tree of Secrets I devour a rotisserie chicken as if it were my own child in a crown royal bag,
pull a bouquet of flowers from underneath my dress as if to rip out my innocence and expose myself
as the wife of Kronos. A simple meal, a glass of wine, chains, and a fancy dress will compliment the
dungeon days of Kronos. The piece becomes manipulative as I invite people to come sit with me and
share their secrets with knives and flower petals.
Production History: Sub-Basement Gallery
Video: https://www.youtube.com/watch?v=4Ba86MoIWn4
Contact: [email protected]
Website: https://napsquad.wordpress.com/

https://www.facebook.com/NAPMOVES
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Photo: Aymeric Freymond

OLICORNO (Montral, Canada)

As a self-taught artist, my desire to create originates from the desire to understand my relations with
the universe around and within me through body experiences, giving me a very direct access and
physical knowledge of my environment. The body becomes the main tool in this quest for meaning,
both through the material creation and through the collection of sensory information.
The visual works I create are always charged with bold performative energy that shapes textured
surfaces that are sculpted over time with various body parts. Every step is part of a larger process with
no real ending. With this in mind, I often allow myself to retransform a work several times and to
present to the audience every stage of its transmuting process. Nothing is definitive, everything can be
transformed over and over. My work reflects lifes inherent self-transformation and evolution.
During the last years, I fuelled my work with academic research in quantum physics, astronomy,
neuroscience and psychology, but physical experimentation, such as sensory deprivation, physical and
psychological endurance and long meditative phases, remain for me the purest source of knowledge
acquisition.
DISCIPLINES: Performance, Painting, Installation, Music

Beauty Is What You See

The series of blind painting performances Beauty Is What You See was born while I experienced
three days of sensory deprivation. During the course of the third day, I started exploring the concept
of the relative nature of aesthetics, in connection with the complexity of human perceptions, and I
created my first blind work. I have now done more than a hundred performances in various contexts.
Each time after the deprivation is over, I experience the shock of observing the work that was created
during this process. My physical memory remains intact but the temporary abstract representation
that my mind makes each time is completely supplanted.
Production History: Rack Gallery (Montral), Le Centre National dExposition (Saguenay), Galerie
Roccia (Montral), Fattal (Montral), Green Point Gallery (Ney York City)
Video: https://www.youtube.com/watch?v=DT4uoJ0iGZw
Contact: [email protected]
Website: http://www.olicorno.com

@olicorno
https://www.facebook.com/olicornoofficial
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Photo: Liza Falzon

Open Works Lab (Malta, Malta)

We are interested in play, performance and participation.
We are curious about the infinite potential of the imagination and the power of people coming together.
Our work is open because it provides others with access, passage and a view to experiences that are
not closed or blocked. It constantly questions what alternative options are open to it and to us. It is
candid, its edges drawn away from each other, unfolded, spread out.
We are sceptical about art for arts sake, yet at the same time we honour it.
We treasure expertise but yearn for the experimental, which is why we invoke the laboratory as our
space.
Our projects are varied but always exploring the relationship between traditional and digital age storytelling.
Renzos toolkit is sound while Giulianas the written and spoken word.
Gaby is our anchor, so if you want to get to know more about our work or to propose a collaboration,
shes your point of contact.
DISCIPLINES: Performance, Storytelling, Auditory Culture, Digital Age Storytelling, Narrative Adaptation, Participatory Culture

Alice in Absentia
Listen, draw your chair up close to the edge of the rabbit hole, hold on tight and I will tell you a story.
The tale of a man, a child named Alice, a White Rabbit, a Queen of Hearts, a Mock Turtle and a baby
that turns into a pig. As you join me, however, beware for not all is as it seems in the land we shall
visit. Here, roads may lead to nowhere and falls are neverending but if you stay for long enough you
may find that little golden keys will lead to beds of bright flowers in the loveliest garden you ever saw.
Alice in Absentia is a story about discovery and growth, a story about time and the changes it brings
to all of us and our lives. Exploring the relationship between its creator, Lewis Carroll and the little
girl who inspired its creation, Alice Liddell, this adaptation of Alices Adventures in Wonderland works
its way through complex emotions including wonder, shame, passion and regret. Told as a performative storytelling piece, the original text is curated by Giuliana Fenech and interwoven with an original
musical score by Renzo Spiteri to create an experience that draws upon practices of traditional and
digital-age storytelling.
Production History: Spazju Kreattiv (Valletta, Malta)
Contact: [email protected]
Website: http://www.OpenWorksLab.com

https://www.facebook.com/OpenWorksLab
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Photo: Andrew Moon

Paris Legakis (Athens, Greece)

Paris Legakis is a multidisciplinary artist, activist and a theorist. In his work, Paris researches how art
can be beneficial to the society and influential to politics. He has written the manifesto Claim your
Anger, on politics and political art, in which he suggests three thesis for what political art must be.
The concepts of memory and of borders in geopolitical and social level play core role. He experiments
with different art practices of social engagement and he invites artists and non-artists to work together.
Field researches on burning sociopolitical issues are essential part of his projects. Through his work, he
attempts to reveal different perspectives in the everyday life and to foster the idea of social change.
Paris is from Athens (1981), Greece. He has completed the MA program Performance Studies, Tisch,
NYU, where he was awarded for Outstanding MA Work, 2015. In 2012, he finished the MFA program Public Art and New Artistic Strategies, Bauhaus University-Weimar, Germany and in 2009 he
graduated from Athens School of Fine Arts. He has won several scholarships and distinctions, including Fulbright, and he has completed various art residencies. His projects have been presented internationally, such as in Prague Quadrennial of Performance Design and Space, Prague (2015), Rapid Pulse
Performance Art Festival, Chicago (2015), NGBK, Berlin (2015), Judson Church, New York (2014),
Athens Video Art Festival (2014), Cyprus International Performance Art Festival (2014), Facade
Video Festival, Plovdiv (2013), Marta Museum, Herford (2011).
DISCIPLINES: Multidisciplinary, Participatory, Political, Site-Specific, Performance, Dance

Voices of the People

People from South Korea and people from North Korea who have escaped to South Korea were asked
to express their viewpoints about the sociopolitical condition in written. The answers of the participants were given to performers who translated the messages in motion. The performers meet for the
first time in a live performance on a platform which is set right next to the central river of the city;
a limit that separates the city in the northern and southern side. They communicate the messages
between themselves and towards the audience. Four musicians accompany the ritual with traditional
Korean musical instruments (Samul-nori) that play in an experimental way. The audience is invited
to express their opinion through megaphones. Messages of North Korean people are being read. The
performers embody instantaneously the messages they hear.
Production History: Han River, Hongeun Seoul Art Space
Video: https://vimeo.com/72091644
Contact: [email protected]
Website: http://www.parislegakis.com

https://www.facebook.com/nefeliano
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Photo: Vangelis Nikolakopoulos; Margherita von Aulock

PartSuspended (London, UK)

PartSuspended is a multidisciplinary group led by Hari Marini that addresses issues emerging from the
contemporary way of living through physical and visual devised theatre. PartSuspended has pursued
innovative work through devising, which challenges the conventional performance narrative and looks
for inspiration in everyday life. An essential part of the process is the intuition of the participants,
supported by practical techniques and theoretical material from theatre, dance, visual art, sociology
and architecture. We look at the various ways in which the performance space facilitates, informs and
influences the audiences experience. PartSuspendeds experimentations have led to dynamic performances that ask both performers and audience to engage with imaginative approaches of creating and
experiencing performance. Since its formation in 2006, PartSuspended has established collaborations
with artists from a variety of disciplines such as theatre practitioners, visual artists, photographers
and writers. PartSuspended believes that different disciplines can open up possibilities and enrich the
creation of performance, as well as enhance the performance effect on the audience.
PartSuspended has presented their work to a variety of venues such as ZealousX (Bargehouse, Oxo
Tower Wharf ); Railway Carriage Theatre (Athens); Peckham Space (London); Z-Arts (Emergency
2013); Matthews Yard, Siobhan Davies Dance Studio, ]performance space[, Camden Peoples Theatre
(ScenePool Festival), Arcola Theatre (Create09 Festival), Southwark Playhouse, You & Your Work
(Cube Microplex Bristol
DISCIPLINES: Performance, Theatre, Devised, Visual

Arrivals-Departures: Station 4
We are departing. We are arriving. We are moving on. We are moving in. We are moving away. We are
moving around. We are always on the move.
Arrivals-Departures: Station 4 explores the meaning of arrivals and departures in our lives, especially
at a time when the movement of people, products and ideas is increasing at a fast pace. Journeys contain hope, happiness, enthusiasm, but also fear, anxiety, and even death. Arrivals-Departures: Station
4 collects stories and looks at transition spaces (such as train or tube stations, airports and ports). How
have arrivals and departures affected our lives and contributed to wanted or unwanted changes?
We dont always get to choose which direction our journey takes, thus, our performance captures the
comic and dark side of unexpected turns in our life.
Through physicality, video projections, sound and devised text, Arrivals-Departures: Station 4 explores
what happens during the transition period in which we are moving from one place - physical, mental,
imaginative or emotional - to another. Each space where we present our piece constitutes a station
influencing the performance and leaving its imprint in the dramaturgy of the devised outcome. We
take the audience on a journey with a variety of unexpected and humorous moments.
Production History: - Arrivals-Departures: Staion 1 - Invention Festival, Stanley Halls (London) Arrivals-Departures: Station 2 - Railway Carriage Theatre (Athens) -Off-Off Festival, Epi Kolono
(Athens) -Athens Fringe Live 2015, Vryssaki (Athens) - Arrivals-Departures: Station 3 -
BIOS
(Athens)
Video: https://www.youtube.com/watch?v=Fxupg9lv4uw
Contact: [email protected]
Website: http://www.partsuspended.com
@partsuspended
https://www.facebook.com/PartSuspended
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Photo: Patrick Saint-Denis

Patrick Saint-Denis (Montral, Canada)

Patrick Saint-Denis conceives interactive installations designed primarily for concert settings. His
audio-sensitive inventions take on various forms, ranging from video installation to large-scale robotized machinery. His performances integrate various musical formations which sonically drive the installations. At the edges of the concert format and digital art, his works are also shown in exhibitions.
He is currently course lecturer at University of Montral where he teaches Visual Music and Physical
Computing.
DISCIPLINES: Sound, Robotics, Interactivity, Performance, Installation

Sway Array
Sway Array is an audio-robotic performance that seeks to implement in the physical space, the emphasis on form, color and movement encountered visual music. A kind of physical visual music where the
performers interact on stage with an electromechanical device consisting of a set of robotic loudspeakers.
Production History: Studio 303 (Montral), MNM Festival (Montral)
Video: vimeo.com/143676764
Contact: [email protected]
Website: http://www.patricksaintdenis.com

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Photo: Sina Adli

PRAXIS (Tehran, Iran)

We are living in a society which is suffocating by the absolute ideas and we are imprisoned in this situation and we have no way to get free. Praxis Group consists of three main members: Toomaj Daneshbehzadi, Camelia Ghazali and Iman Eskandari. We have gathered together to oppose the monolgic
absolutes. Our theatrical perspective is based on twenty centurys experiences with respect to all artistic
areas including fashion industry, painting, sculpture, and other technical and physical theatrical
achievements.
The term Praxis was chosen for the group as we believe that this is the human action in history
which should form the ideas. We specifically meant the theories of German philosopher, Karl Marx.
We authenticate experiencing and we think human experiences should modify and clarify his beliefs- whatever belief that has been shaped through history.
DISCIPLINES: Theater

THE MAN OUTSIDE

ANTI WAR PERFORMANCE,The memory of our world is dark and it has suffered from the phenomenon of war for many centuries. War shapes and starts based on the era in which its happening.
However, it has no consequence other than the desolation of human beings soul. As an artist, our
responsibility is to remember and review all those destruction and miseries that war has brought us
so far, with the aim to make a world with no war, bloodshed, emigration and human destruction.The
man outside is about the cry of humanitys soul from the war which has destroyed all the human
achievements under the name of defending human values. The play is about the desolation of humanity by human beings, its about the destruction of human societis by wilderness of war. As long as the
collective memory of the children of our human societis is about the devastating wars destroying cities
and countries, this play will remind us that wars have brought about nothing than annihilation and
they will never have any other outcome. Wars only result in the humiliation of humanity, homelessness and sorrow. The man ouside is a continuous cry to always remind us that wars only lead in
destruction. It will remind us that if some countries never take part in a war it doesnt mean that they
can be irresponsible for humanitys and the humam destiny, or they can be indifferent toward the
darkness and misery of wars in other country. This play indeed addresses those who behave irresponsibly, indifferently and are ignorant of the wars atrocities. It reminds us that children are dying in these
wars ....
Production History: Hafez Venue
Video: https://m.youtube.com/watch?v=XU_hETuIpzM
Contact: [email protected]
Website: http://m.youtube.com/watch?v=XU_hETuIpzM

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Photo: Proto-type and Adam York Gregory

Proto-type Theater (Lincoln, UK)

Proto-type are a company of multi-disciplinary artists led by Rachel Baynton, Gillian Lees, and Andrew Westerside.
We make and produce original work that is diverse in scale, subject and medium. Recently, this has
included: touring theatre (Third Person: Bonnie and Clyde); site-specific installation (Through the
Walls); a two-week long theatrical experience using pervasive technologies (Fortnight), and a multimedia concert-performance featuring a live laptop orchestra and animation (The Good, the God and the
Guillotine).
We have been making and producing work since 1997, in the US, the Netherlands, Russia, China,
Armenia, France, Zimbabwe and the UK. Proto-type have been based in New York City (1997-2006),
Lancasters Storey Institute (2006-2010), Manchesters Northern Quarter (2010-2014), and have
recently re-located to Lincolns Cathedral Quarter.
Critics have called our work an intriguing brush with altered reality (New York Times), daring,
experimental and theatrically engaging (Theatremania) and enthralling (Zambezi News).
DISCIPLINES: Theatre, Performance, Contemporary, Live Art, Multi-media, Inter-disciplinary

A Machine theyre Secretly Building

From what might be a news desk, an office, a bedroom, a bunker under a mountain or a theatre, two
people - reporters, senators, freedom fighters, or just... well... concerned citizens like you - think about
what it is to speak up, speak out, blow the whistle and lift the veil.
A Machine theyre Secretly Building charts a course from the Top Secret secrets of WWI intelligence
(via the moon, 1972s Chess World Championships, a disco in Oklahoma and the cafeteria at CERN)
through to 9/11, the erosion of privacy, Edward Snowden and to the terror of a future that might
already be upon us.
Proto-type have combined original text and classified intelligence documents with film from digital
artist Adam York Gregory and sound design by Paul J. Rogers, to vent their frustration at the insidious
machine of surveillance.
A Machine theyre Secretly Building is about how we got to the point where our governments are spying on us and how thats changing who we are.
Written and directed by Andrew Westerside | Devised and performed by Rachel Baynton and Gillian
Lees | Digital design and artwork by Adam York Gregory | Original sound design by Paul J. Rogers |
Produced by Matt Burman || #AMTSB
Production History: Glasgow Tramway (UK - commissioning partner), Warwick Arts Centre (UK commissioning partner), Bite Size Festival of New Performance 2015 (UK), Lincoln Performing Arts
Centre (UK - commissioning partner), hAb/Word of Warning (Manchester, UK - commissioning
partner), Nuffield Theatre - Lancaster Arts (UK - World Premiere), Oxford Playhouse (UK), Derby
Theatre (UK), Lawrence Batley Theatre (Huddersfield, UK), The Hub (Leeds, UK), Barnsley Civic
(UK)
Video: https://vimeo.com/139957520
Contact: [email protected]
Website: http://www.proto-type.org
@proto_type
https://www.facebook.com/prototypetheater
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Photo: FenLan Photography

Prying Eye Productions (Brisbane, Australia)

Harnessing collaboration, Zaimon and Lizzie make bold choices to integrate movement, theatre, surround sound and video imagery. Confronting current social issues; offering insight through alternative
perspectives they unpack complex and ambiguous situations. Their resonating productions merge
imagination and reality, sparking intellect and emotion to ignite your primal instincts. Their recent
work, White Porcelain Doll, has been nominated for an Australian Dance Award for Outstanding
Achievement in Independent Dance and as Artists in Residence at Brisbanes Judith Wright Centre
of Contemporary Arts, they are developing another entrancing new work, Wolf . Choreographic
commissions include Expressions Dance Company, Brisbane Festival, Noosa Long Weekend Festival,
Queensland University of Technology, Adelaide College of the Arts, Sir Robert Helpmann Centenary
Awards, Sybella Blencowe, Fresh Bred Ensemble, the Centre for Performing Arts, Royal Academy of
Dancing. Performance career credits include Random Dance Company (UK), Attic Dance Company
(UK), Expressions Dance company, Leigh Warren and Dancers.
DISCIPLINES: Dance, Theatre, Multimedia, Contemporary

White Porcelain Doll

A fairytale of horror stories. His fairytale. Her story.
Imagination is key to staying ahead of a deadly game for a mortal doll guarded in an underground
kingdom. This pulse-pounding thriller of silent moving theatre changes the shape and tone of
Australian dance theatre. A man stands emotionless on a perched stage dwarfed by a majestic curved
curtain holding a red dress staring at his mortal doll sitting frozen in fear upon a plastic-wrapped
arm chair. Unable to read his expression to anticipate his next move, with no doors, windows, or easy
escape from his merry-go-round fairytale, she has one goal; find a way to survive. Multimedia opens a
window for the audience transporting them into the beautiful escapism of her imaginative mind. This
unforgettable production shows the power of the human spirit. Stirring every emotion to prompt you
to consider the driving question - What would you do if your life was held in someone elses hands
Production History: Judith Wright Centre of Contempory Arts - Performance Space, Brisbane,
Australia
Video: https://vimeo.com/117989813
Contact: [email protected]
Website: http://www.pryingeye.org

@pryeyepro
https://www.facebook.com/pryingeyeproductions/?ref=ts&fref=ts
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Photo: Uri Rubinstein

Rachel Erdos (Tel Aviv, Israel)

Rachel Erdos is an award-winning independent choreographer born in Newcastle upon Tyne. She
received her MA from The Laban Centre London specializing in choreography. For over 10 years she
has been living and working in in Tel Aviv, Israel. Her work has been seen around the world including
Israel, UK, Ireland, Italy, Cyprus, South Africa, Slovakia, China, Denmark, Switzerland, Hong Kong,
Senegal, Germany, Kyrgyzstan, Belarus, Kazakhstan, Tajikistan, and The U.S. Her work has been
shown in some of the most prestigious venues including The Kennedy Centre, Washington DC and
the Royal Opera House London.
My works deal with intimacy, looking at complex interpersonal relationships and inner exploration.
I aim to make work that is physical, visual and emotive. The seed for each new work usually derives
from an emotional stimulus or an aspect of human interaction that Im currently interested in. I work
very collaboratively using the dancers input to build material and relying heavily on their physical knowledge and kinesthetic understanding. I work often with composers and visual artists. I tend
to work in the way a film director might, as an outside eye, constantly watching and evaluating the
process. Current themes in my work include the personal politics of space and borders and issues of
intimacy - how it is cultivated between individuals and groups.
DISCIPLINES: Performance, Dance, Theatre

Castle
Castle is an intimate duet created in reaction to current political situations and living conditions in
many places in the world, but particularly relating to my experience living in Israel for over 10 years.
As the cost of living grows people are forced to inhabit smaller spaces and others cannot afford decent
housing. Wars are fought over small pieces of land and borders change with the fracturing and forming of national identities. In Castle, the dancers inhabit a 2.5-meter square of fluorescent lights that
demarcate their territory. Do walls and borders liberate and protect us or trap us in our own castle?
Are we free in our minds, homes, lives, or countries? The work has very simple technical requirements.
The lights easily pack up and travel with the performance and the only requirement is connection to
electricity and a sound system. The show takes places in a 6.25-meter2 square that is 6.25 square meters large and can be viewed from all sides or frontally. The work is best seen in an intimate environment where the audience is as close as possible to the performers. This work feels a bit like a caravan,
bringing our home to other peoples location. Within this simplistic set up we produce a professional
dance performance with a strong aesthetic with offers a unique opportunity to see dance close up and
personal.
Production History: The work was shown as a solo in: The Accidental Festival 2014, The Roundhouse Camden, London; The Teiva Centre for Music and Alternative Performance, Tel Aviv, Israel;
Berlin and Cyprus, Lucky Trimmer Dance Festival. The work was then further commissioned as a
duet by Machol Shalem Dance House, Jerusalem, Israel. This version premiered in September 2014 at
The Museum on the Seam, Jerusalem and has been performed in The Suzanne Dellal Centre, Tel Aviv,
Israel and other venues throughout Israel.
Video: https://vimeo.com/138490239 (part1) https://vimeo.com/141998590 (part 2)
Contact: [email protected]
Website: http://www.rachelerdos.com
https://www.facebook.com/rachel.erdos.7
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Photo: J Hutchings and B Bjorkum

Rainer Pagel (Belfast, UK)

My art comments on belief systems, societal events, political developments, absurd ideas and conventions of communication and human interaction. Performance allows me to use process to illustrate
how the world in which we live changes while were not looking, and how we then misinterpret what
we have not seen but assume we know intimately and accept as unassailable truth. The key themes of
my performances are linked to my interest in peoples assumptions, perceptions and beliefs, without
being aware that all truths are relative and constructs of our individual minds and the environment in
which we grew up (physically, intellectually and emotionally). My performances also relate to disbelief,
matters we dont want to see, experience or believe, but have suffered or will have to endure in future.
They unashamedly tell stories without becoming theatre, or merely illustrations. I use my visual
vocabulary to set the context for my stories and my references range from the obvious and banal to
cultural, historic, political and at times intimately personal meanings of my actions. I do not repeat
my performances, though elements of a particular performance may re-appear in a different context in
a new work.
DISCIPLINES: Performance, LiveArt

I cant believe its not suffering!

For some time now, I have been working on issues around reality and fake, acceptance or refusal of
situations and facts pretending and appearing to be so close to the real thing that it would be virtually impossible to detect any difference. The accuracy of our perception of the world in which we live
and act depends on our ability accurately to discern reality to enable the shift from I dont believe its
not... to I know it is... to happen. The setting for the Performance Art Bergen Open Festival was
a 19th century prison, in use between 1867 and 1990, now a listed building slowly decaying, where
the public can see, imagine and perhaps even feel how the wretched inmates might have progressed in
their penance with their cleansing of mind, spirit and behaviour. Bread, soap and water. Most artists
chose one of the prison cells for their performances, I decided to use the corridors for mine, moving
slowly, over a period of some two hours, from the emergency exit on the upper floor to the exit on the
ground floor leading to the exercise yards. My thoughts during the performance were around getting
out, escaping, starting afresh and the tragic fate of the Syrian toddler Aylan Kurdi, who drowned on
his way to a supposedly safer life. Almost there: just this wall, gate, door, river, stretch of water, and
weve made it. Or suffer. The consequences.
Production History: 2006 Exchange Places - Canadian and Northern Ireland Artists, Black Box,
Belfast. 2007 - Fix Performance Festival, Catalyst, Belfast. 2008 - Archive, Catalyst, Belfast (Solo).
2008 - I am - Jestem - Polish and Northern Ireland Artists, Black Box, Belfast. 2009 - New Moves
- Contemporary arts Festival, Glasgow. 2009 Open 10 - International Performance Festival, Beijing,
China. 2009 - Commemorating 160 years of Belfast Art College - University of Ulster, Belfast. 2010
- InfrAction, International Performance Art Festival, Sete, France. 2010 - Enniskillen Arts Festival,
Enniskillen. 2010 Tulca Arts festival, Galway. 2010 An hour on a Sunday, PS2 Gallery, Belfast.
2011 - InfrAction Venice, International Performance Art event, Venice, Italy. 2011 - Guangzhou
Live, International Arts Festival, Guangzhou, China. 2012 The Decade of Anniversaries, University of Ulster, Belfast. 2012 - Sweden Live, International Arts Festival, Gothenburg, Sweden.
2013 - Deframed, 2nd InfrAction Venice, International Performance Art event, Venice, Italy. 2014
Die Axt im Haus..., Bbeyond Bel-Mad Exchange, Belfast. 2015 Migrant, 3rd InfrAction Venice,
Venice, Italy. 2015 - I cant believe its not suffering, Performance Art Bergen Open Festival, Bergen,
Norway.
Contact: [email protected]
Website: http://www.rainerpagel.org
https://www.facebook.com/rainer.belfast
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Photo: Fabio Roses

Ralph Hall (S. Jean Cap Ferrat, France)

This performance - reiterates Hall - wishes to describe contemporary reality and show the cruelty that
distinguishes the human being at the height, perhaps, of his evolutionary process: there is no more
room for any value, everything is massacred by the claws of marketing, everything is compressed,
boxed, caged, hastily sold, bought, discarded, in the name of the god of money, trampling every right
- of animals but also of human beings themselves!.
With his performance Hall once again forces us to reflect on the brutality of common gestures, of
actions veiled by false love, hypocrisy and vanity, and on the urgency of interrogating ourselves on the
future of our planet.
By remaining with the face in the cage and moving my arms and legs in a vain attempt to get rid of
it, - continues Hall - I want to express the sense of suffocation experienced by animals locked up in
the holds of ships, in aviaries, in any narrow space delimited by bars, and their desperate and futile
attempt to break free from this constraint.
The only comforting company in this performance is music, especially that of Mozart and Madonna,
thanks to which - in an almost mystical catharsis - the Artist is estranged from reality, reaching a state
of empathy with the animals status and their condition which will lead him to bang his shoes on the
floor, crawl with his body, cry, writhe, kiss the soil itself, lean forward as if the animal that he personifies is desperately trying to resist capture.
DISCIPLINES: Performance, Visual Art, Sculptor, Painter, Land Art

[The Last 2.0]

During the days of Biennale Venice ,Art Basel, Freeze Ralph Hall will give life to [The Last 2.0], a
spectacular performance, particularly important for the message he wants to convey and which will
take place among the stands of the fair as well as the streets of the cities.
This performance - reiterates Hall - wishes to describe contemporary reality and show the cruelty that
distinguishes the human being at the height, perhaps, of his evolutionary process: there is no more
room for any value, everything is massacred by the claws of marketing, everything is compressed,
boxed, caged, hastily sold, bought, discarded, in the name of the god of money, trampling every right
- of animals but also of human beings themselves!.
With his performance Hall once again forces us to reflect on the brutality of common gestures, of
actions veiled by false love, hypocrisy and vanity, and on the urgency of interrogating ourselves on
the future of our planet. There was once a world where man lived in harmony with nature, in balance with all species on our planet. During this performance I want to squeeze myself, live in close
contact with the cold metal of a net - says the Artist - discover and accept a new madness, the state
of being entrapped, a helpless object in the hands of others. Hall will remain for hours lying on the
ground with eyes that scan the landscape of Venice Basel ,London and its people through the grilles
of the cagebreaking reality in a multitude of checkered visual icons, micro images distorted by the
claustrophobic situation induced by the performance.
Production History: [THE LAST 2.0]
Video: https://youtu.be/FpfxZIXRgwY
Contact: [email protected]
Website: https://hallralph.wordpress.com

@HallRalphhall
https://www.facebook.com/hall.org/?ref=hl
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Photo: Sheree Tams

RAZOR Inc (Toronto, Canada)

My background is in live theatre design and performance, physical theatre and devised collaborations.
I am influenced by Pauline Oliveros, Martha Clarke and the work produced by the late Lyn Austins
Music Theatre Group, I had the great privilege of working with these women early in my career.
Now I create visually poetic images in worlds that relate to text and performance art. Incorporating
the human form into landscapes. Using the process of building and photographing scale models of
environments and projecting them into a space where I perform. The work I produce is textural and
movable, making connections between sculptural objects and memory through space and time. Engaging with audiences through smell, touch, taste, images, sound, and text. Interpreting time though
movement phases. Questioning the traveller in all of us. Using performance, video, photography,
installation, and drawing. Discovering new pathways connecting memory to identity. Using visual
poetry in movement and action.
DISCIPLINES: Performance, Installation, Poetry, Video, Sound, Sculpture

Dropping Stitches
Memory being the main motivation behind this work. I had been working on shows that travelled
to Nursing Homes and hospitals and was overwhelmed by the memories people wanted to share and
how they surrounded themselves with objects that instigated memory, how we have no history without memory and when we loose our memory we also loose ourselves. How we create them and store
them in our own unique way. One persons memory of an event will be completely different than the
next person. A single object will ignite many different memories, as with smell, taste, touch etc. When
memory fades it changes. Sometimes we fabricate memories we would like to have.
Using a sculptural wall of objects crocheted together and projected into the space, the performer
interacts with this memory quilt and goes on an adventure. Using all the senses of animals, Smell
(Jacobsons organ), Taste, Vision, Balance and Sensing gravity.
Production History: Workshopped to date at Walmer Centre Theatre, Toronto
Contact: [email protected]
Website: http://www.shereetams.com

@oberonwildbore

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Photo: Gregory RR Crosby

Rebecca Bryant Danceworks (Long Beach, CA, USA)

Rebecca Bryants danceworks combine contemporary and postmodern dance with sound, text, video,
and objects. Originally trained as a visual artist, Bryants approach to dancemaking includes an
emphasis on improvisational methods and performative states, as well as non-hierarchical collaboration within and across disciplines. Known for her wonderful insistence on making art about complex
ideas (Janice Steinberg, SanDiego.com), Bryant tackles current societal phenomena using motifs that
are both visceral and ironic. She creates performative situations where underlying cultural assumptions are brought forth to be questioned; her works aim to foster a critical examination of the cultural
norms that we reinforce in our daily lives as a way of stimulating positive social change.
Bryant has performed her work in 22 states across the U.S. and in Canada, Mexico, Colombia,
Argentina, Spain, Germany, Romania, Hungary, Denmark, Norway, and Sweden. Her projects have
received support from the Puffin Foundation, residencies at Djerassi Resident Artist Program (California), Camac International Artist Residency (France), and Guapamacataro Art and Ecology Residency
(Mexico), as well as multiple university travel, research, and equipment grants. Bryant is an active
collaborator; she is co-founder of PMPD (dance/percussion) and worked extensively with the Lower
Left Performance Collective for 13 years. Bryant is an Assistant Professor of Dance at California State
University Long Beach, and often teaches workshops in conjunction with performances of her work.
DISCIPLINES: Dance, Multimedia, Theater, Performance

MANUFACTURED
MANUFACTURED is an 18-minute dancework combining contemporary/post-modern dance with
text and objects. The piece features fifty small cardboard boxes, derelict costumes that can be donned
and transformed onstage, spoken and projected text, and a soundscore by collaborator Don Nichols.
This multimedia performance experience investigates the relationship between privilege and empathy.
Our society is full of imagery, hyperbole, and metaphors that describe and delineate the differences
between those who have and those who have not; this work aims to explore the ways in which
these images and metaphors limit our perception of other human beings. Onstage situations placing
privilege/affluence up against need/misfortune are configured and re-configured with the audiences
preferences in mind; a producer mentality is transparently used to tailor the dancing and scenery for
maximum audience impact. This work is constructed as a series of vignettes, shown out of any logical
order, pushing against the idea of a linear or singular narrative. MANUFACTURED seeks to create
a complex and layered world that both reveals and confuses the mechanisms by which we empathize
with each other.
Production History: Martha B. Knoebel Dance Theater; Long Beach, CA (USA)
Video: https://vimeo.com/129141738
Contact: [email protected]
Website: http://www.rebeccabryant.net

https://www.facebook.com/rebecca.bryant.9828
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Photo: Emma Tranter

Renzo Spiteri (Malta, Malta)

Renzo Spiteri is an artiste who constantly surprises and whose music touches the soul directly. An
internationally respected electronic experimental artist, composer and musician, Renzo is renowned
for his artistic versatility, creative use of sound and unlimited modes of expression. He shares his work
base between the UK and Malta, although his own projects as well as collaborations with artistes in all
genres of artistic expression take him to different countries around the world. His on-going concern
with expanding the musical vocabulary of his performance practice and compositional technique has
led to in-depth study of modern technology and techniques to create music that has a strong sculptural and dimensional aspect to it.
In 2004, Renzo spent a 5-week work intensive at the Sonic Arts Research Centre (SARC) in Belfast
(N. Ireland) as musician in residence, and in 2008 he was appointed National Ambassador to the European Unions Year for Intercultural Dialogue. Renzo is co-founder and co-curator of the new media collective Open Works Lab; artistic director of Ghanafest, Malta World Music Festival; composer
and sound designer for ZfinMalta Dance Ensemble (Maltas national contemporary dance company);
Cultural Ambassador to Le Meridien Malta; artistic director of the annual music event Teatru Unplugged held at Maltas National Theatre Teatru Manoel, and an endorsed artiste for Yamaha Drums
& Hardware, Paiste Cymbals & Gongs, Schlagwerk Percussion and Toca Percussion.
www.RenzoSpiteri.com
DISCIPLINES: Electronic experimental, Live peformance, Sound Art, Auditory Culture

Quintessence
Maltese electronic experimental artiste and performer Renzo Spiteri presents his new solo performance
Quintessence. Through improvisation and a sculptural array of acoustic instruments, found largescale objects and live electronic manipulation, Renzo presents the audience with a truly immersive
experience and brings publics together to discover the meeting point between live performer, sound
art, story, music and digital technology. Quintessence is at the forefront of artistic experiments in digital age storytelling technique and was premiered at the Royal Northern College of Music (Manchester,
UK) in partnership with Future Everything Festival 2015. It is a piece that challenges the audience to
reconsider what sound can mean and how the boundaries of self and world, performer and spectator,
organic and inorganic, sound and instrument are rendered fluid and all encompassing. Combining
complex sound art layers with vocal phrases, a powerful narrative and an array of emotions, Renzo
engages the audience in an environment of unique visual possibilities and sonic sculptures, presenting
them with a rare and highly artistic feat.
It ruptures through thought so that sound must mean something else.
Giuliana Fenech, Writer and Researcher
An immersive experience with truly hypnotic soundscapes that evoke myriad contrasting emotions
during the space of less than an hour. It is a piece that touches the soul directly.
From A Tapestry of Sound and Emotions, Ramona Depares, Arts & Culture Editor Sunday Times of
Malta, Apr 2015
Production History: Royal Northern College of Music (Manchester, UK) part of Future Everything
Festival 2015; Gallus Theater (Frankfurt, Germany) part of Cultural Days of the ECB; PNEM Sound
Art Festival 2015
Video: https://youtu.be/0k9m9HwqoS8
Contact: [email protected]
Website: http://www.renzospiteri.com
@RenzoSpiteri
https://www.facebook.com/RenzoSpiteri
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Photo: Thakira Desai

Riccardo Attanasio Matlakas (London, UK)

Riccardo Attanasio MAtlakas is an Interdisciplinary artist born in Naples, Italy, who moved to
London and worked internationally. Matlakas is involved in Performance, painting, participatory
projects, lectures and life. After his degree in classical sculpture in Naples he moves to London where
he studies to a Master in Social Sculpture at Oxford Brookes University, Riccardo continues also in
parallel his dance research that involves: Contact Improvisation, Dankira Tehwagi and Butoh. He
is currently based in London (UK). Matlakas mixes his South Italian background with every place he
visits. The reason he makes work is because that is his tool to deliver a deeper truth that goes beyond
our rational understanding of existence,
DISCIPLINES: Performance, Painting, Lectures, Installation, Dance

Sweet Thorn
Sweet Thorn
Durational Street Performance
By Riccardo Attanasio Matlakas
Curated by Anis Daraghma
Statement:
I will be dressed of barbed wire and I will walk in the street. On the barbed wire there will be 50/80
Roses. I will blow balloons and will write sentences on them then will burst. The sentences will be
words and things I dont want anymore for human being a society. I will then cut the barbed wire to
make a stem. On each stem I will tight 2 or 3 bursted balloons and make a white flower out of it. I
will then give a rose and a white hand made flower to someone passing by as a symbol of regeneration
and blossoming future. At the end of the performance with the remaining of the barbed wire and
roses there will be made an installation that will create a big flower with a Rose Bouquet on top. As a
symbol of positive transformation. Walking in barbed wire represents the fact that everything can be
taken but our essence will be impossible to be possessed by others and that although we can have a
loss of property or objects, there will always be growth afterwords. The idea of Sweet thorn Emerged
from my tour to Palestine and South Africa and developed at IPSA (Institute of Palestine in South
Africa). Sweet Thorn, is inspired by the sound of sweet sweet home, in this case the home is my own
body, the essence of my soul that cant be taken by anyone. This performance is about essence and
about saw seeding freedom.occupation, every move under occupation is a painful one. Yet progressiveness, love, and hope persist.
Production History: Ipsa (Institute of Palestine and South Africa in Cape Town) and Jieaf (Performance art festival in Jeju Island, Korea)
Video: https://www.youtube.com/user/matlakas
Contact: [email protected]
Website: http://www.matlakas.co.uk

@matlakas
https://www.facebook.com/Riccardo-Attanasio-Matlakas-49551758186
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Photo: Roger M. Denton

Robert Lee (Dallas, TX, USA)

Born 1975 to a Native American father and Palestinian Christian mother Robert Lees work is characterized by the framing of space in 4 dimensions - length, width, height and time. A formally trained
sculptor his first notable piece, One and Four Chairs (1997) based loosely on Joseph Kosuths work,
posits a chair with its geospatial coordinates stenciled onto the wall in graphite.
A student of performance artists Linda Montano and Michael Smith at the University of Texas at
Austin, Robert Lee abandoned academia prior to completing his BFA to enlist in the US military for
a performance titled I Love America and America Loves Me (2000-05). Returning to complete his
degree in 2010 (after recovering from combat injuries) he describes the piece as praxis - doing something, and then only afterwards, finding out why you did it.
War of Art (2015) showcases his work from this period and provides commentary on human conflict, human nature, the State, the culture of war, and defining peace. It is his belief that nation states
and the underlying market economic system that perpetuate them is obsolete.
DISCIPLINES: Performance Art, Installation, Assemblage

33 DEGREE PARALLEL
Robert Lee, at the age of 33, begins collecting bottles of air on the North 33 degree parallel beginning
with his place of birth - Orange County, CA (N33xW117). To date he has traveled east collecting
over 40 bottles of air at each longitudinal degree to span the United States. He intends to circumvent
the globe across the 33 degree parallel totaling 360 bottles of air at each degree of longitude.
Continuing from the east coast of South Carolina the journey spans the Atlantic Ocean, Madeira
Islands (Portugal), Morocco, Algeria, Tunisia, the Mediterranean Sea, Lebanon, Syria, Iraq, Iran,
Afghanistan, Pakistan, Kashmir/Jammu (Northern India), Tibet, China, East China Sea, South Korea,
Japan and the Pacific Ocean.
Robert Lee welcomes those interested in the work to contact him directly.
Production History: 1st Singapore Biennale (2006), ARTFORUM (2010), SUCCESS Magazine
(2012)

Contact: [email protected]
Website: http://robertlee.me

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Photo: Augustin le Gall

Rosa Aguilera (Marseille / Bcn / Bruxelles, Europe)

I was born in Seville, in the south of Spain and learned soon that I wanted to travel and perform
around the world. I moved to Barcelona and studied Scenography. I worked as FX artist and technical
assistant for cinema and theater, also for Almodovar films. I discovered trapeze, and dance. In 2000 I
moved to Bilbao to study physical theater. I started performing with diverse companies. Then I created
mi group called Lur Zabal and we travelled and performed in the streets of India, South America and
Spain. I came to Barcelona and then I moved to Switzerland, Italy, France, to improve my practice
in movement research and dramaturgy. I finished my Master degree in Public Space Dramaturgy in
October 2016 in the Aix en Provence University.
I am passionate of research about Contemporary Body Mutation. I get inspiration in human bodies,
and his representation.
I express trough personal experiences the universal subjects that concerns me, translated to contemporary languages and exported to the public space. I think than the hybridation of disciplines bring
us hope to continue living in this era. I look for a personal langage that everyone could access without
loosing originality quality and compromise with genuine creation. The transmission of strong poetical
and philosophical symbols is fundamental for average public.
DISCIPLINES: Physical theater, Dance, Circus, Theater, Street Performance, Visual

TransmuT
Transmut is a research based on mutation and resilience, a reflection on the body and its metamorphosis process.
The term resilience comes from resilio Latin, meaning rebound. Resilience is about to expand our
movements and amplify our power of self-esteem. This artistic project, is based on my experience in
terms of resilience. In 2004, a motorcycle hit the right side of my body: two teeth and three fractured
ribs (one that pierced the lung). Leg in three parts, the muscles of the buttock separated from the
bones and scares everywhere. I started into dance, acrobatics and trapeze. After six months of immobility, two operations, my prospects to enter a circus school vanished. During the last ten years, I
look for a way to restore and understanding of my body; to investigate the alchemy between circus
and dance, objects and space.Transmit is the human flesh facing the asphalt, the hard forms of the city
transformed by an experimental body: deformed, floating. Is a recipe with improbable ingredients:
a car, prostheses, ropes, a trapeze, a circular path.Is an intimate speaking in public space, where I try
to find my own language, Is my first job as a writer, concerned by the question of how to talk about
yourself by being inside the performance.
Production History: La Chartreuse, Avignon. Dream City, Tunis. Ateliers Sud Side, Marseille. Faiar
Marseille
Video: https://vimeo.com/122824720
Contact: [email protected]
Website: http://transmut.tumblr.com
@rosavent1
https://www.facebook.com/rosavent
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Photo: Reynard Li

Rosanna Terracciano (Calgary, Canada)

Rosanna Terracciano experiments within and around the boundaries of flamenco, dance, contemporary performance and film. Her work is steeped in the tradition of flamenco, but driven by the idea
of a personal flamenco. She thrives on challenging mainstream perception of the flamenco art form,
and is frankly bored of tired words like passionate and fiery so often used to describe the form.
Possibility excites Rosanna and is at the root of much of her creative practice. She strives to always
contribute to critical thought regarding the flamenco dance form and its place within the broader
artistic and cultural landscape. Her professional artistic trajectory has involved many detours along
the way, including: a youth spent dancing Italian tarantellas with tambourine in hand, performing in
colourguards along many well-worn Canadian parade routes and in competition to packed football
stadiums throughout the United States, training in contemporary dance at the University of Calgary, completing a degree in Structural Engineering, patiently fumbling her way through the ins and
outs of making films and humbly researching flamenco dance and culture in Spain for greater than a
decade. Rosannas solo dance works have been presented internationally, including the 2014 Bienal de
Flamenco Sevilla, Flamenco Empirico (Barcelona), Coetani Experimental Flamenco Festival (Athens),
Vancouver International Flamenco Festival and Fluid Festival (Calgary). Ultimately, Rosanna creates
to satisfy her relentless search for all things beautiful.
DISCIPLINES: Flamenco, Experimental, Dance, Contemporary, Performance

POLKA(dots)
My mom has always loved polka-dot flamenco dresses. My dad has always loved dancing the polka.
Flamenco meets polka. POLKA(dots) is Rosanna Terraccianos newest experiment in flamenco
performance, created and interpreted by Terracciano. POLKA(dots) is the follow up to Terraccianos
last work which premiered internationally at the prestigious Bienal de Flamenco Sevilla in 2014.
POLKA(dots) is a multi-coloured solo in collaboration with bata de cola and farolillos, aka long flamenco dress (one) and paper patio lanterns from the annual Sevilla spring fair (many). POLKA(dots)
is a commentary on the act of celebrating, where dances and stories for polka-dots and polkas set the
stage for play and for remembering past moments of play. POLKA(dots) includes a unique original
score by Calgary experimental percussionist, improvisor and noise musician Chris Dadge, using the
collected sounds of Montrals Hedi Graja (flamenco song) and Calgarys David Matyas (flamenco
guitar) and Danilo Terra (accordion). POLKA(dots) was created with the support of the Alberta Foundation for the Arts and Studio Pleamar (Montral) Artist in Residence Program.
What else could POLKA(dots) be? POLKA(dots) is a flexible work; it can fit formal theatres or nontraditional site-specific spaces (low technical requirements make that possible + some help from the
audience). POLKA(dots) likes audience interaction. Can you hold onto this string, please? That
question will be asked of the audience regardless of the presentation setting.
Production History: Alberta Dance Festival (Calgary, Canada; 2015)
Video: https://vimeo.com/rosannaterracciano
Contact: [email protected]
Website: http://www.rosannaflamenco.com

@rosannaflamenco

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Photo: Ji Yang

Sara Zalek (Chicago, IL, USA)

I present myself.
My departure into the body as a material for transformation is rooted in over twelve years of Butoh
training, a place where two Japanese dancers created a hybrid movement vocabulary that has spanned
four generations and regenerated across cultures globally. I am deeply moved to continue my investigation through Butoh because of its historically marginal nature, its use of psychology and symbolism,
its motivations rooted in the discovery of self, and its departure from codification.
Since childhood, I have been enchanted with inventing peculiar worlds, inserting curiosity, expressing
with action, finding awareness through sensing. After many consistent years of outsider art making,
my degree from The School of the Art Institute and subsequent immersion into a vibrant arts scene
piqued my interest for building community and professional support for artists. By nurturing my
organizational and communication skills alongside an art making practice, I have become an entrepreneur. I have participated in over 70 unique collaborative performances in the past fifteen years. Since
2010, I have presented solo work combining dance, theater, sound, installation, and film, eluding
boundaries of identification. I am glitching performance genres to refine my research of self within
current culture, to nurture new opportunities with artists, social scientists, and radical movements.
I am most inspired by feminism, poetry, fluxus, and expressionism; obsessed with dreams, permaculture, shamanism, transformation; and committed to acute listening, fierce artistic collaborat
DISCIPLINES: Performance, Dance, New Media

In:Between
In:Between Worlds includes efforts to stand, to smile, to reach out, to fall down, to fear, to relent, to
risk, and to rise. The dance is performed primarily on an inflating and deflating mattress, enmeshed in
various plastic. The mattress creates the stage - an elevation which slowly engulfs and buoys my body.
The deflation is far more chaotic as I continue the effort to dance destabilized, eventually coming
back to the ground. I personally thank each person in attendance, for their creative pursuit, for their
participation, for their love.
This work has been an iterative process over two years investigating the physical and psychological
effects of dying on the living, the performance itself is a process of recovery and a space for personal
sharing. It has been performed in gallery spaces and in public, with varying sound scores and gestures.
In honor of life, of death, and the space in between which I occupy - I look for a way to connect, to
overcome my fear of isolation, to believe in my intuition, to see myself through the eyes of another,
even when they are no longer physically present. I reveal my soul in hopes that I can honestly connect
with our collective unconscious.
As we mature, literally and otherwise, we find importance in what supports that great balance of
inclusion, of difficult themes next to joyous ones. Our integrity in the face of our fragile and childish
hearts is what holds us upright. Ones relentless disclosure leads to beholders disclosure.
Production History: Links Hall, Defibrillator Gallery, Chicago Cultural Center, Out of Site Chicago,
Headwaters Theater, S&S Gallery, High Concept Laboratories
Video: https://vimeo.com/01saratonin
Contact: [email protected]
Website: http://www.saratonin.com

@01saratonin
https://www.facebook.com/saratonin01
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Photo: Grace Stauffer

Sasso & Company (Boston, MA, USA)

Founded in 2014 by Artistic Director Lacey Sasso, Sasso & Company is a Boston-based contemporary
dance company. During our first full season, Sasso & Company produced and performed Love In
Motion - An Evening of Dance, at Green Street Studios in Cambridge, MA, USA. The project was
fully funded via a Kickstarter campaign and is continuing to develop during our second season. The
company has performed at Dance for World Community, Mobius 1 Minute Festival, Good THANGpassing, Dancing Around a Square, 3rd Life Choreographers Series, and Dance Astoria. Sasso &
Companys mission is to create work that is informed by psychological theory as well as autobiographical experiences. The companys work is honest, emotional, exploratory, innovative, and exciting for
first time dance viewers as well as long time dance enthusiasts. In our second season will be exploring
the nature of emotional and physical distance to inspire new repertoire.
Through her research in graduate school and her experiences working as a counselor, Artistic Director
Lacey Sasso creates work that expresses the deep emotional turmoil and complexity she encounters
daily. She is interested in creating work that is emotionally charged, yet sensitive to the patients that
are being represented. Further movement inspiration is gained through observation of pedestrian
movers and trained dancers alike. Sasso & Company aims and to continue pushing the bounds of
contemporary dance by utilizing non-traditional performance settings such as museums and outdoor
spaces all the while creating work made for the stage.
DISCIPLINES: Contemporary, Modern, Jazz

Variations on Love Styles

This evening length work investigates the intricacies of the way we love. According to Sternbergs Triangular Theory, there are 7 different love styles. These 7 styles all consist of a different combination of
3 common traits: commitment, passion, and intimacy. Variations on Love Styles explores the intricacies and nuances of these varied love styles from an empty and unsatisfactory relationship to consummate love, the ultimate trifecta of all elements creating the most perfect, everlasting love. Further, the
piece features an original score written and produced by Adam Rogers.
Production History: Green Street Studios, The Dance Complex, Somerville Arts for the Armory,
Dance for World Community Outdoor Festival, Mobius Gallery, The Bohemian Hall and Beer Garden
Video: https://vimeo.com/141520343
Contact: [email protected]
Website: https://www.facebook.com/sassoandcompany

@laceysassodance
https://www.facebook.com/sassoandcompany
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Photo: Margherita Busacca

Scimmie Nude (Milan, Italy)

Scimmie Nude (Bare Monkeys), Italian company established in 2003 and directed by Gaddo Bagnoli, base their methodology on a careful choice of the most advanced theatre acting techniques
from throughout the twentieth century: Mejercholds biomechanics, Grotowskis physical theatre
and Gurdjieffs practice of using centres, as well as the scientific works of philosopher William James.
But the main source of inspiration for the companys poetics, technique and drama is without doubt
Antonin Artaud.
Scimmie Nudes work is neither naturalistic nor psychological, its a physical vocal theatre. For Scimmie Nude it isnt a classical representation or entertainment, only the need to say and do what the
body, the mind and the heart cant hide any more. Artauds Theatre of Cruelty and the peculiar characteristics of his research are combined with Scimmie Nudes artistic needs. Cruelty is not an acting
style, it is not something to do, its something which happens.
Since 2008, the Scimmie Nude companys research has resulted in a trilogy of original spectacles
(produced by Federica Maria Bianchi): Fearanddesire, Machines and Perversions, followed by Aliens,
Dance in Reverse and Cromosomie in 2015.
In 2013, at the FIT Festival in Canada, Fearanddesire was voted the best performance in the festival,
winning the Peoples Choice Award and in 2014 Dance in Reverse has been mentioned as one of the
best show in Italian theatrical season and for one of the best female actresses and invited in 2015 to
High Fest International Performing Arts Festival in Armenia.
DISCIPLINES: Theatre

FEARANDDESIRE
A woman, tied and gagged. Two men come up to her and start interviewing her furiously, persecuting
her; but, as theyre leaving, the woman begs them to stay... We cant simply narrate Fearanddesire,
because theres no real story about it, theres only a plot taking its shape in the individual conscience of
each member of the audience; its like each watcher builds his/her own story thanks to the projections
of his/her own sensitivity and the surfacing of his/her unconscious archetypes. A white box contains
the shows contents (the show can also be set without the white box). The three actors, wearing the
three primary colors, move in an abstract space, weaving situations and facts. Each color has a precise
meaning; the only objects on stage, binding and connecting the performers actions, are a rope, a red
ball and a chamber pot. Pictures flow inexorably and inevitably, and force the actors into changing
situations to which they react, each time turning into animals, mothers and fathers, lovers, children,
soldiers and so on. These imaginary roles represent the monster we carry within us and basically refer
to a couple of parts: the victim or the torturer. The desire to (not only physically) have does rule our
life. If someone acquires power, (s)he becomes the master/torturer of someone else, who will in turn
crave for power, and so forth, always torn between fear and desire. We endlessly crave for something
more and when we get it we fear we might lose it.
Production History: Teatro Pim (Milan); Teatro della Contraddizione (Milan), E45 Fringe Festival
(Naples), Festival Aut Out (Siena), Teatro San Genesio (Roma), Teatro Moderno (Agliana), Teatro
Out Off (Milan), Festival Emersioni (Milan), Fete Internationales du Theatre (Canada), Teatro Foce
(Switzerlad), Rome Fringe Festival (Rome), Hidden Theatre (Volterra), Spazio Aita (Brescia)
Video: private access with password (pw: scimmienude) http://vimeo.com/88877841
Contact: [email protected]
Website: http://www.scimmienude.com
@scimmienude
https://www.facebook.com/Scimmie Nude compagnia teatrale
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Photo: Selin Kocagoncu (Video Still)

Selin Kocagoncu (Istanbul, Turkey)

Selin Kocagoncu (b. 1982, Toronto) researches more fundamental issues such as ethics in life and art.
Exploring communication for lasting impact, her ongoing project YHT Piece attempts to alter the
culture of an escalator via crafted gestures and verbal requests. Currently, Kocagoncu is also engaged
in devising apt documentation for Mini-Conversations, her 2013 performance at Contemporary
Istanbul, where she conducted and collected discussions on art and artisthood.
Kocagoncu has increasingly become preoccupied with the role of documentation in performative
work. Avenues explored comprise where an artwork is realized (Stretching Exercises poses documentation as artwork), how to fully convey the subjectivity of performance (#solo documents artists recollection as a screenplay), how to sustain the performance in documentation (Mini-Conversations),
and how to authentically record a performance (YHT Piece).
Her work has been exhibited, screened, and/or performed at venues including MASS MoCA (North
Adams, MA), Siemens Art (Istanbul), White Box (NYC), Akbank Art Center (Istanbul), The Usher
Gallery (Lincoln, UK), Apartment Project (Istanbul), and GalataPerform (Istanbul). Her performance
series SK Vending Machine debuted in Belgrade, has been realized in Istanbul as well as Stockholm
as part of Exchange Radical Moments!
Selin Kocagoncu earned her BA from Wesleyan University (CT, USA, 2005) and MFA from Marmara
University, Istanbul (2010). She lives and works in Istanbul, where she founded SK Studyo (2011), a
project inquiring into alternative education in arts.
DISCIPLINES: Performance, Urban Intervention, Visual Arts

YHT Piece
YHT translates as High-Speed Train, is one of the Erdogans grand projects, and carries their common characteristics: It is poorly constructed, serves to strengthen the community of AKP supporters,
and is billed as a symbol of New Turkey being built by this administration. The most significant
aspect of this New Turkey is the violent polarization of society in which viewpoints and lives other
than ones own is vehemently disregarded as false and wrong. YHT Piece takes place on the escalator
where the YHT arrivals first encounter Istanbul. The escalator culture of standing on the right and
walking on the left was adopted organically in the first subways of the city, but met with heavy resistance in the later subways of the outer districts, including where the YHT station is located. So, what
culture of Istanbul do travellers enter into and reproduce during their stay? In YHT Piece, Kocagoncu
acts as an actuator to establish a culture of respect towards others, reflected in the way the escalator is
used. In performance, the piece is experienced as the artists run-of-the-mill request to make way. This
crafted request takes place twice a week and is secretly documented via her smartphone. In exhibition,
a selection of this documentation is viewed in a series of 30-second videos on tablet-sized screens that
are ordered chronologically and played in sync. This selection charts out the changes in the reception
of the request and in the culture of the escalator.
Production History: YHT Station, Istanbul
Video: https://www.youtube.com/channel/UCCei0WO5u8YVtaNIjZs9cnw
Contact: [email protected]
Website: http://www.selinkocagoncu.com
@segeligin

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Photo: Albi Serfaty

Shoshanah Ciechanowski (Tel Aviv, Israel)

Shoshanah Ciechanowski, 1973, Israel. BFA. Bezalel Academy of art and design, Jerusalem. A Tel
Aviv based multi-disciplinary artist whose practice includes; video, drawing and performance. For the
last years, elaborated a workshop which identify and develop awareness of the relationship between
an artists body and the fundamental building blocks of creation. My search is concerned with the
body as a pivotal site for transmissions and transformations of presence, meaning and media. The
body of work is consistently centered upon the workings of the body, using my own body as a kind of
machine-center for various communications with other types of bodies. In the contemporary context
of an overflow of information, I reestablish the body as a center, be it fleeting and always on the verge
of collapse, in order to be able to select a certain point, follow a specific line, circumscribe a region
from whence to begin something new. A point zero. This point can be a certain conceptual point,
a word, a sentence, a paragraph, a tiny set of constraining rules for action. The ambidextrous writing
technique, is a natural outgrowth of the consistent logic and desire running through the practice.
Influenced by the local and global social and political conflicts, explores the intervals between the
absolute and the relative and addresses transformation as an outcome of observation. The artworks
reflect my relentless quest for balance which lies between criticism and language on the one hand and
emotion and intuition on the other.
DISCIPLINES: Performance, Video, Drawing, Teaching, Sculpture

MYNAMEIS
The performance MYNAMEIS, is an ongoing social project, searches to explore the possible connection between human-being beyond constructing identity, culture and language. An abstract story.
The audience are invited to put a stamp on a developing work. I am standing beyond a glass, using
the borders of my body as a tool and simultaneously write with two hands, a mirror text. The work
engaged with quest for balance which concentrates on movement. The viewer is asked to say his first
name, last name (as a sound language) and his own manifest, wish. A proper happening allowing
the performing body to encounter and remold a social matter with its own unique potentials, turning the viewer into a participant that comes to feel his own body in its relations to others. Points
of instruction on how to approach and what to say, a plane of inscription functioning as a crucial
filter, and the performing body as a privileged center for a pre-distilled channel of contingent perceptions and a pre-refined procedure of hazardous actions. furthermore, these live enunciations are from
multiple sources, accumulating on the inscription plane just as multiple gazes are accumulating in the
performance space.
The work aims to travel around countries and increase awareness of the human connections inbetween
individuals and cultures by the meditative action of continuous ambidextrous writing. The duration
of the practice (one hour) puts an emphasis on the linking between an individual and the collective.
Through time, the content of the text become an abstract story, the form remains.
Production History: 2014: #1 Analog-Epilog Festival Musrara Mix #14, Jerusalem,Israel / solo show
#2, The Mansion House, Tel Aviv, Israel. / solo show #3, Where Is Jesus, Berlin, Germany, / solo
show #4, Villa Poggio Sanfelice, Firenze, Italy. 2015: #5 NightLight Festival TLV, Israel / Draw to
Perform, an international symposium, performance MYNAMEIS #6. London. UK.
Video: https://vimeo.com/115522789
Contact: [email protected]
Website: http://www.shoshici.com

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Photo: Shane Junn Bollman

Slaveya Minkova (Sofia, Bulgaria)

Slaveya Minkova is a Bulgarian artist working with performance, film/video, and installation, based
in Chicago and Sofia. She has received her BFA from School of the Art Institute of Chicago in 2013,
and participated in the Abandoned Practices Institute held in Prague in 2012. She is currently working and traveling throughout Bulgaria, documenting architecture and tradition. Her aim is to explore
the points of intersection between landscape transformation and history, both factual and created.
She uses fragmented storytelling as a form of expression, seeking validity in the unsaid. In her work
she often focuses on Eastern European culture and identity, drawing from her own background and
personal history, using both fact and fiction interchangeably. Culture-creating processes and the sociopolitical implications of architecture are central themes in her practice.
DISCIPLINES: Performance, Installation, Film, Video, Photography

Archollapse: Dressing a House

Archollapse began as an investigation of memories and stories from my home in Eastern Europe, and
its architectural and social transformation in the second half of the 20th century. Raised in Bulgaria
immediately following the political transition in 1989, I grew up surrounded by architecture, which
no longer served its purpose or had never achieved its potential. Modernist housing blocks in particular became the inspiration for the ongoing archollapse project. The dramatic transformation of the city
landscape, from individual homes to monstrous collective housing units, and disrupted social dynamics of communities was so significant, that my generation somehow came to exist in a setting filled
with stories of the past not fitting with the present. Consequently, archollapse came to serve as an
attempt at finding the bodys place in dehumanized, concrete surroundings and the histories embedded in them. In this iteration I perform the Dressing of a House, a gesture at once mourning and
consoling the sadness in abandoned traditional houses. In Bulgarian the word house is feminine.
With this performative action I examine and share the feminine within myself with the feminine of
the house, as I dress her with my own clothes.
Production History: Sullivan Galleries, Chicago; Nightingale Cinema, Chicago; Gallery X, Chicago;
on site performances in several Bulgarian villages
Video: https://vimeo.com/110540916
Contact: [email protected]
Website: http://www.cargocollective.com/slaveyaminkova

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Photo: Sofia Karoumpa

Sofia Karoumpa (Athens, Greece)

My name and artistic name is Sofia Karoumpa. I born in Greece, Larissa in the region of Thessaly on
the 29th of May 1965.My interest in painting started when I took the first prize at a student competition in 1979. However, I did not pursue a career in painting back then, because of adverse family
issues but at the same time I never stopped being creative and producing work. The following years I
became interested in different forms of art and:
2000-2004- Started having painting lessons with Thanassis Totsikas Larissa at his visual art studio.
2010-2012- I attended classes of visual arts next to Maria Papadimitriou ( Biennale of Venice 2015)
at the university of Thessaly.
2014 Took part in choreography Parliament By Michael Klien Musume Benaki ( performance)
2012-2015-Project monodialogue in Anafi island, community the Cyclades ( In progress)
2015 Took part in the art introjection (MMCA- Bennale Thessaloniki 2015), intsallation with
Volcanic lava. ( in progress)
2015 Studied photography at Leika Academy of Athens.
The reason I chose to use my body as a medium of art is because I feel that this is the only way I can
convey a message of hope and believe that Greece will find the way to overcome the financial crisis
facing today.
DISCIPLINES: Performance, Installation, Painting, Photography

MONODIALOGUE
The reason I did this performance in Anafi on the 6th of July, was the day of the referendum in
Greece. This whole performance and installation was my way of expressing indignation against the
whole situation and at the same time my belief and hope that Greece can overcome this crisis successfully.
I constructed a double ladder with an extension of another ladder forming a Y ( Why? ). The
double ladder was covered by newspaper articles from current news papers related to the heated
situation of Greece at the time of the referendum. The extension was covered in red painted rope to
express the heated situation and the flag was made injury-gauze. This installation was carried on my
back going uphill by a cliff, barefoot for four hours, disregarding pain and imminent danger.
The feedback I received was a very positive one by tourists from all over the world who were present
and local people alike. This performance was broadcasted in the media as a message of hope from the
tourists themselves.
Production History: In Vimeo, Youtube, Facebook

Contact: [email protected]
Website: http://www.anelle-shop.com

https://www.facebook.com/sofia karouba
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Photo: Sonia Gmez

Sonia Gmez Vicente (Barcelona, SPAIN)

Sonia Gmez. Dancer, performer and choreographer.1992-1997 She studies Contemporary Dance
and Choreography in the Institut del Teatre in Barcelona and P.A.R.T.S (Performing Arts Research
and Training Studios) in Brussels, Belgium; 1997-2004 She has worked with the companies General
Electrica and La Carnicera Teatro; 2004-2014 The last ten years she is directing and performing
her own spectacles., 2004 Trilogia Egomotion; 2004-2006 The performance Mi madre y yo and Las
Vicente matan a los hombres with Rosa Vicente Gargallo, Sonia Gomezs mother., 2005 The single
series of performances I will never stop dancing and Madrid, Room303; 2006 The show Natural 2:
I like your bones, your soul and your brain (Mercat de les Flors, Barcelona); 2007 The lecture The
Experiences with a stranger (Festival de Dansa o no,,,Barcelona); 2007-2010 The scene version The
Experiencies with a stranger Show (CAER, Reus/Mercat de les Flors, Barcelona); 2010-2011The short
pieces: Eau de Chichi (CUVO/Matadero/Madrid), Hardheaded Woman (LP11/Ex -Festival de Dansa/La Porta/CCCB Barcelona) and OFFvsON (Festival MnLlibre11 and SnarKids11, Barcelona);
2012 The fail big piece, Moviments Politics (CAER-Reus/Mercat de les Flors, Barcelona); 2012-2014
The project about body-movement-architecture, Animated Composition (Dies de Dansa-MNACBarcelona, MACBA Barcelona, ALHNDIGA, Bilbao and Federico Silvas Museum, Mexico); 2013
The dance performance The Inquisitive Middle in collaboration with the british choreographer Lucy
Suggate (Festival TNT, Terrassa, Festival Salmon, Sonar Barcelona)
DISCIPLINES: Dance, Performance, Transmision, Exchange

BALLERINA
I want to exchange knowledge with other performers that I consider important for the dance history
and dedicate the result to the audience in a intimate situation. I wish to revisit with them the act of
performing art after years of representation, satisfaction, questioning in each new project how is to
make a dance performance and where is going to bring the work.
MAIN WORKING CONCEPTS IN BAILARINA AS A STARTING POINT FOR THE PROJECT DANCERS.
In Bailarina movement is the main star of the show and everything revolves around the desire to
move. This had always been something left pending for Sonia Gomez; taking the time to discover how
to dance without the theatrical and autobiographical tools she had employed over the last ten years.
The stage design of the piece is very simple in order to allow us to view the performer in the most
natural and direct way possible.The piece is designed to be danced in unexpected places, precise places,
beautiful places, that transmit pleasure and empathy to both performer and spectator. Im glad that
Bailarina is so exciting, so Sonia Gomez without, obviously intending to be, and at the same time, so
unexpected. Im glad she still surprises me.
Ruben Ramos, Teatron. 02/OCT2014 http://www.tea-tron.com/rubenramos/blog/2014/10/02/notasque-patinan-56-solo-espero-que-os-hagais-una-idea/
A delicate and tender dance solo from Sonia Gomez, Bailarina. Santi Fondevila for the newspaper Ara.
cat. 02/OCT2014 http://www.ara.cat/premium/cultura/diferentfestivalTerrassa-Noves-Tendencies_0_1222677738.html
Bailarina is a piece of choreography with eight
Production History: TNT Terrasa, Sismograf OLot, Alhondiga BIlbao, Auditorio de Tenerife, La
Casa Encendida, Salmon Festival
Video: https://vimeo.com/104715601
Contact: [email protected]
Website: http://soniagomez.com
https://www.facebook.com/sonia.g.vicente?fref=ts
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Photo: Sonia York-Pryce

Sonia York-Pryce BVA, BDM(Hons) PhD candidate

(Gold Coast, Australia)
English born Sonia York-Pryce studied dance at Elmhurst Ballet School, The Royal Ballet School, The
London School of Contemporary Dance and Laban, London UK. Her current PhD research at QCA,
Griffith University, examines the role of dancers who extend beyond the paradigm of age, and the contribution that they make to current dialogue and practice within the field of dance. The research indicates there is a renewed interest in the value and visibility of the mature dancer. There has long been
prejudice held towards the mature dancer but a new shift recognising the lifetime of embodied dance
experience is slowly being highlighted. Through interviews with professional dancers in the field, and
from her own personal experience as a mature dancer, she seeks qualitative data in order to analyse the
lived body experience, embodiment and muscle memory. The primary research has gathered data from
mature dancers across the globe that addresses ageing, physicality, injuries and stamina in the dance
world they inhabit.
DISCIPLINES: Dancer, Researcher, Photographer, Filmmaker

Interprete Inappropriate Behaviour

This film forms part of the creative research of the PhD: Ageism and the Mature Dancer.
This visual documentation celebrates the mature dancers corporeal difference and how their practice
rather than their age defines them.
8 mature dancers, 4 from London UK and 4 from Sydney Australia were asked to view a video of
my dance motif and instructed to re-interpret, recreate or ignore the choreography. Each dancer was
filmed independently and from this the responses were edited down to make one final film: Interprete - Inappropriate Behaviour - creating an embodied dialogue of movement. Each of the 8 dancers
interpretations can be viewed on my website
http://www.soniayork-pryce.com/portfolio_PhD_InappropriateBehaviour.php
Production History: The White Box Gallery, Queensland College of Art, Griffith University, Qld,
Australia The Danscience Conference 2015 Brisbane Australia Gold Award winner of the Pavilion
Dance South West: Joie de Vivre 2015 open call for Short Dance Films featuring Older Dancers
Video: https://vimeo.com/136466421 Interprete - Inappropriate Behaviour
Contact: [email protected]
Website: http://www.soniayork-pryce.com

@muffinyp
https://www.facebook.com/soniayork-pryce Visual Artist
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Photo: Korina Kotsiri

Spyros Kouvaras / Compagnie Synthesis 748

(Athens, Greece)
The Company Synthesis 748 was founded in Paris by Spyros Kouvaras, choreographer, dancer and
performer. The work of the company examines conceptual and philosophical issues concerning human
nature through the exploration of the tragic and political body on stage.
The choreographic research consists of a mechanistic approach of movement and of the search of its
pure physicality using at the same time the body as a canvas, as an abstract surface, so that the movement can be in the image and this movement can vibrate the image. The objective is the culture of
a personal choreographic writing that would be concentrated on the development of a new dancing
language thus creating works under an aspect of a hybrid form. The performances of the company do
not tell a story. The scenic installations that always make up the starting point of the global composition are characterized by the creation of timeless and out of place spaces, by the creation of situations
and fields which are interpreted more by the unconscious and less by the logic. The companys works,
often like choreographic installations in movement, approaches the scenic space like an exhibition
room, the performance itself like an exposed object and propose to the audience the role of the visitor.
The pieces of the company are more likely performances that dance than dance performances...
DISCIPLINES: Contemporary Dance, Performance Art, Choreographic Installations, Installations In
Movement

OPUS I # Temporality
OPUS I # Temporality, is a solo choreographic performance which examines the sense of time and
temporality inspired by M. Heideggers philosophy. The temporality as the essence of existence, as
something that finds its meaning in the eternal move of being. It is not only the composition of
movements that characterize the choreography but the moment of the refraction of time, as a dive in
its eternity. A mathematical dance, an interdependent system of balance - unbalance, on which the
human being exposed to the phenomenon of gravity, tries to recover, to stand, to walk...Assuming that
the energy of the visual work comes from the inner entity and diffuses outward, while we focus on the
same time our attention to the moving body, which is also pushed by an inner vibration outwards,
we realize that these two energy lines pulsate. The deceleration, as well as the reduction of movement
straight to time with the physicality of the performer, results reveal the body in postures which are
unnatural and unusual. This creates further abstraction on the work and on the way that we see the
body as a fragmentary form, and finally as a force that affects us. With its slowness and its gradual
development, the choreography suggests us a situation of <<waiting>>, where the form is captured
easily. As the images change, the relation between space, duration and movement grow strongly and
the audience is able to get to it in his own way.
Production History: Owl Art Space Gallery / Athens (Gr), Space-Time Berlin Contemporay Art
Platform / Berlin (Ger), Galleria Zero / Barcelone (Esp)
Video: https://vimeo.com/115434141
Contact: [email protected]
Website: http://vimeo.com/channels/synthesis748

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Photo: Derin Tanyol / Helene Lesterlin

Studio Reynard | Hlne Lesterlin

(Saugerties, NY, USA)
I am motivated by the subversive nature of the hand-made and the ephemeral amidst the worlds sophisticated cascades of mass-produced objects and experiences. I am committed to live performance as
a way to cement nourishing and challenging communal experiences in the context of todays political
and social upheavals. Humor and satire are the sly tools of my trade, and I have embedded myself in
archival materials, to bridge between the reconstructed past and the imagined future. I create visions
of utopia as a salve for cynicism, while skewering that which needs it.
Hlne Lesterlin creates performances and time-based art works that span dance, theater, sound,
installation and puppetry, working with a consistent group of collaborating artists. Founded in 2012,
Studio Reynard is home base for her work as artist, director, performer, curator and instigator of
collaborative projects. Current projects include a series of works steeped in medieval sources: Fox vs.
Kingdom, a satiric puppet show, is performed as a feast; Darkling is a somber, transmogrifying solo
dance performance with recorded voices and live interactive video. Two recent works are based in historical archives: Overlook, a solo dance-lecture is based on the art colony heyday of Woodstock, NY;
and Geographica, a site-specific improvised dance duet with a radio-based sound-score, responded to
both Olana, a Persian-inspired historic site, and current events in the Middle East. Her work has been
performed in theaters, galleries, and site-specific outdoor locations in the US, France, the Netherlands
and Taiwan.
DISCIPLINES: Performance, Dance, Theater, Puppetry, Sound, Curation

OVERLOOK
OVERLOOK is a clipboard lecture that turns into a dance with memory, a time machine, a dream
of utopia. Using an amalgam of voices, historical accounts and essays, original texts, song and dance,
Helene Lesterlin embodies high-stakes musings on art-making, life, death, high jinx, and a rooted
sense of belonging to a colony of dreamers. Created using interviews with artists and elders, and
the explosively inspiring archives of the Woodstock Historical Society, this solo performance transforms local lore, personal narrative, and the stories of the unique characters populating Woodstocks
art colony heyday. Woodstock, a village laid out on the flank of Overlook Mountain in the Catskill
Mountains of New York, became synonymous with Bohemia as artists settled its hillsides in the 1900s
in a sweeping effort to create a thriving art colony and utopian community based on Ruskins ideals.
Roaring through the 1920s and beyond, it became known as much for revelry as for art, culminating
in the famous Woodstock concert in 1969. Through the lens of memory, on a foundation of firsthand accounts, this performance throws down radical propositions from 100 years ago, while igniting
a flame in solidarity with utopia and hope for tomorrow. (Technical needs for this performance are
flexible and light.)
Production History: Premiere: Kleinert/James Center for the Arts, 2015
Video: vimeo.com/124578197
Contact: [email protected]
Website: http://studio-reynard.com
@hlesterlin
https://www.facebook.com/helene.lesterlin
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Photo: Nandan Saxena

Sumangala Damodaran and Friends (Delhi, India)

Sumangala Damodaran is an academician and a musician, working at the Ambedkar University, Delhi, India. She has been involved in research and documentation of a forgotten musical tradition, that
of the Indian Peoples Theatre Association, from the 1940s and 1950s, which will soon be published as
a book and from which she performs resistance songs in six languages from the Indian subcontinent.
Her band consists of her along with the guitarist Mark Aranha, sarod player Pritam Ghosal and various other professional Indian musicians. The songs were released as an album titled Songs of Protest:
A Forgotten Tradition from the 1940s and 1950s in 2010 and was produced and arranged by Susmit
Sen, the well known Indian guitarist.
She also completed Insurrections and Mayihlome-Aahwaan, two CDs that emerged out of a
poetry-music collaborative project between Indian and South African poets and musicians, which was
performed at the Fugard Theatre in Cape Town in 2012, in the festival Poetry Africa in 2013 and
2014.
Her most recent interest is in a historical and musical exploration of the minor note based melodies
resembling the Raga Bhairavi that can be heard across diverse cultures spanning from India to North
Africa and Spain. She is interested in tracing and performing the musical connections and migrations,
particularly of women slaves and nomads, between India (specifically Kochi and Delhi) and Persia,
North Africa and the Middle East between the 7th and 15th centuries.
DISCIPLINES: Resistance Music

Songs of Protest
The bands repertoire consists of resistance songs around famine, war and the lives of ordinary people
in India from the early part of the twentieth century until the present. While performed in Indian languages, the performance also draws parallels and connections between the resistance songs from India
and other parts of the world. Sumangala and the band have performed in various parts of India and in
Hong Kong and Colombia. The work featured in the performances has been undertaken in order to
bring forth the contemporary relevance of a historical repertoire as well as to bring out the diversity of
forms and styles that are seen in Indian resistance music.
Production History: Asia Art Archive, Hong Kong; Kochi-Muziris Biennale, India; National School
of Drama Festival, Delhi; Thoughtworks Annual Away Day, Bangalore; Swara Samarasya music Festival, Bangalore; National Thatre, Bogota, Colombia; University of Nicosia, Cyprus
Video: https://www.youtube.com/watch?v=OcuXSjIh3HE, Resistance Songs of IPTA: A Revolutionary Legacy - YouTube Video for sumangala damodaran newsclick 10:59 https://www.youtube.com/
watch?v=W6Lr1llA6Ko
Contact: [email protected]
Website: http://aud.ac.in

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Photo: Chedly Zouiten

Tania Alice (Rio de Janeiro, Brazil)

Tania Alice works in the field of socially engaged art, creating healing art works, based on buddhist
philosophy. Working with Somatic Experiencing and meditation, she uses the interfaces between
visual and performative arts and the language of relational aesthetics in a critical way, working in the
streets and in art places with non-artists, creating cooperative art works that mixture reality and
fiction. Her works increases the affectivity between human beings and human beings and animals,
creating, at the same time, poetic disruptions in urban and not-urban spaces. She holds a PhD in
Contemporary Arts from the Universite de Provence Aix-Marseille I, France (2003) and works as an
artist-researcher and performance art teacher at the Federal University of the State of Rio de Janeiro
(UNIRIO), where she also develops a research about the creative teaching of performance art. She
has presented her artistic work and given workshops in many countries of North and South America,
Europe and in Nepal. For five years, she has been the artistic director of the Rio de Janeiro based performance art collective Everyday heroes (Heris do Cotidiano) and recieved important awards like
the Fulbright Grant for artistic research. Actually, she is working on creating the structure Performers Without Borders, a platform of performers who create participatory performances in zones of war,
natural catastrophes or situations that generate any kind of trauma, creating artistic interventions that
help to construct processes of peace.
DISCIPLINES: Performance Art, Relational Art, Socially Engaged Art, Healing Arts, Buddhism

The Bed Project

The project consists in a 12-hours stay in a bed, during which visitors are welcome to join. The project
has started in public spaces talking about social questions like housing and social exclusion and then
went inside art spaces, exploring intimacy and vulnerability. The work is the continuation of my research about performative displays that empower the participants, using the resources of Somatic Experiencing. I envision this performance as a way to create an intimate way of communicating through
body-language with people from another country, thereby creating together a performance art work.
Production History: MAC/Niteri (Brazil), Glasshouse ArtLifeLab (NYC), CalArts, Side Street
Project and Art Walk (Los Angeles), Gruntaler9 (Berlin), Friche La Belle de Mai/Asile 404 (France),
Wolke (Brussels) and on bridges of the Amazon River (Tecnobarca Residency).
Video: https://www.youtube.com/watch?v=gwygChwKZOU
Contact: [email protected]
Website: http://www.taniaalice.com

https://www.facebook.com/tania.alice.9
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Photo: Vojtech Brtincky

Tantehorse (Prague, Czech Republic/NYC, NY)

Tantehorse is a physical theater company based in its founding city of Prague and now, also. in New
York. Since its founding in 2006, Tantehorse has researched the urgent questions of contemporary
society and transformed them into theatrical productions based on a strong and appealing visual and
physical aesthetic. Their dance and theater pieces have achieved exceptional international recognition as The Best of Contemporary Dance 2012 (Washington Post) and The Herald Angel Award
(Edinburgh Fringe). Since 2008, they have produced two premieres a year, site-specific performances,
workshops and lectures on the topic of European physical theater and an authorial approach to devised works.
Tantehorse is led by two internationally acclaimed artists: Mirenka Cechova and Radim Vizvary. Both
stage directors, choreographers, performers and scholars, they are known as the leading proponents of
physical and mime theater in Europe and as experimenters with cross over projects between opera and
mime, dance, spoken theater, performance art and installations. Pulitzer prize winner Sarah Kaufman
(Washington Post) wrote about their thought provoking performance S/He is Nancy Joe, most
impressive of all is simply Cechovas body, which she turns into a battleground of self-identity and
societal censure... Masculine and feminine, two dimensions and three, play out on that magical canvas
with schizophrenic velocity. Theres a message in that, about the universal beauty of the human form its nonconforming breadth included.
They embody a treasury of physically expressive theater arts.
DISCIPLINES: Theater, Dance, Performance

Lessons of Touch
Vision is discriminating, touch is freeing. Lessons of Touch is an inner excursion into the topic of
intimacy; an exploration of the boundaries of our personal tolerance.
What does it mean to be exposed in front of others while still being intimate towards ones own body
and ones own senses? What does it mean to cross from the safe zone and to enter the unknown,
foreign body? To touch, smell, lick, bite, sting, slap and hit ones self and the other? Lessons of Touch
explores a world of subliminal, archetypical themes of the human body and its contacts with contemporary voyeuristic society, generously and fearlessly observed and solved, from animalistic and pagan
images, through Egyptian animal mythology and Oedipal antic myth, to the descent from the cross
and the Pieta.
It is not only about contact between bodies and between generations. It speaks about searching,
revealing and permeating the mutual mental and physical subliminal experiences which are deeply
hidden in each of us... The piece enters into a direct dialogue with its spectator. (Theater Journal,
Prague, CZ, Vladimir Hulec)
The performance is divided into three parts: the first part is a solo Me and My Body, the second part,
Me and Him, is a love duet between a young man and a 70 year old woman, and, the third part, Me
and the Others, is performed with people chosen from the audience, who, equipped with hidden
earphones, are led and manipulated by the director.
Production History: Experimental space NOD/ROXY (Prague, CZ), premiered October 2015
Video: https://vimeo.com/channels/tantehorse
Contact: [email protected]
Website: http://www.tantehorse.cz

https://www.facebook.com/TanteHorse/?fref=ts
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Photo: Thomas Larsen

Tatiana Svrckova Larsen (Salt Lake City, UT, USA)

Tatiana Svrckova Larsen was born in Cadca, Slovakia and lived there until she emigrated to the US in
her twenties. She has attended Josef Vydra School of Applied Arts in Bratislava, Slovakia and University of Matej Bel in Banska Bystrica, Slovakia. Larsen has exhibited her work in venues such as Urban
Arts Space in Columbus, OH, Utah Museum of Contemporary Art, Central Utah Art Center in
Salt Lake City, UT as well as several alternative gallery spaces and performance venues in Los Angels
and Wichita areas. Her videos have screened at the Wexner Center for the Arts in Columbus, OH,
Torrance Museum of Art in Torrance, CA and Sam Huston University in Huston, TX. Tatianas work
often explores the grey area between the past and present and the idea of passing from one state of
existence to another. Larsens step into the realm of selfless art was heralded by her continuing project,
art4ONE4all. This project consists of a series of artworks that begin with an interview. As Larsen
learns about her subjects, she becomes inspired by the unique experiences and lives each person has
lived. Larsen then begins the process of transforming these stories into works of art. Whether they
be video, performance, installation, public site specific works, photography, painting, sculpture, or
drawing is determined by the experiences which inspired her. These pieces allow the personal stories of
others to be brought to light in a public setting, reminding us that we all have stories to tell.
DISCIPLINES: Performance, Installation, Video, Sculpture, Public-Art, Photography

Thistle - art4ONE4all
This first project from the art4ONE4all series is inspired by Thistle - a young transient hitchhiking
from Chicago to Mexico who I met playing music on the streets of Provo, Utah. She had no money
and no other belongings than the musical instruments she carried. I was very touched by her experiences and the wisdom she had gained during her extensive travels. As a result, I decided to make a performance piece inspired by Thistles story. When I asked Thistle what the most important experience
in her life was, she said, Personally my favorite feeling when I am on the road is when Im by myself
and Im standing on the side of the highway on the interstate on the on ramp. I cant even compare
anything to it, not knowing whos going to pick you up: you just left all familiarity. I love traveling
with people, dont get me wrong, but for some reason when Im just standing there by myself I feel
alone, but not lonely - just alone. And just happy to be standing there. Genuinely fucking loving it.
I decided to re-perform this moment where I would be hitchhiking, standing on the side of the road.
I wanted to somehow capture this moment forever. I spray painted the silhouette of my shadow onto
the road, leaving this image permanently imprinted as a memorial to Thistles experience. This project
is a permanent piece made in Lytle Creek, California.
Production History: Utah Museum of Contemporary Art, UT, Central Utah Art Center, UT,
Wexner Center for the Arts, OH, Torrance Museum of Art, CA, Urban Arts Space, OH, am Huston
University, TX WSU Shift Space Gallery, KS, Incheba, Slovakia,
Video: https://vimeo.com/75259288
Contact: [email protected]
Website: http://tatianalarsen.com

@tatiana_larsen
https://www.facebook.com/art4ONE4all
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Photo: Laura Katz Rizzo

Laura Katz Rizzo (Philadelphia, PA, USA)

Laura Katz Rizzo, is the BFA Program Director and an Assistant Professor in Temple Universitys
Department of Dance, She is Vaganova American Ballet ABT NTC Certified, and, studied at: The
Maryland Youth Ballet, The Chicago City Ballet, The San Francisco Ballet, The Pennsylvania Academy
of Ballet and The Houston Ballet. In her childhood, she performe3d with The Joffrey Ballet and New
York City Ballet, later performing with several classical ballet and contemporary dance companies. She
holds a BA in History and English from the University of New Mexico, an Ed. M. in Dance, and a
Ph. D. in Dance and Womens Studies from Temple University. She has written for numerous dance
publications, presented papers, lectures, choreographic work and master classes at significant conferences, and renowned universities and dance companies around the world. Most recently she has published Dancing the Fairy Tale as well as submitted a chapter to Routledges upcoming Wrestling and
Performance. In addition she is in the midst of making a dance film entitled Takoko Vs. 9 Lives. Dr.
Katz is currently engaged in scholarly and creative inquiry around the appearance of ballet in popular
contexts in the United States during the 1940s and 50s. Movie theatres, vaudeville, wrestling and
burlesque shows have become fertile sources of material that she unpacks and explores in her work.
DISCIPLINES: Ballet, Choreography, Scholarship, Wrestling, Contemporary Dance, Improvisation

Takako Vs. 9 Lives

Based on research around the life and work of male ballet dancer, wrestler and pop icon, Ricki Starr
(1931-2014), this piece follows in the tradition of his work of hybrid performance; using camp,
humor, technical virtuosity, and dominant values and aesthetic structures around gender, sport and
the performing arts to queer the dancing body, revealing how social meanings and relationships are
enacted and produced through corporeal labor.
It is a duet for two ballet trained dancers, who perform inside a wrestling ring using movement
vocabulary drawn from both ballet and wrestling, as well as engaging in the theatrical techniques of
performance art and silent film. The audience stands in as an audience for a wrestling match, and is
actively encouraged to respond vocally to the action as it unfolds.
Production History: Performance Garage, Temple University, Film
Video: https://vimeo.com/127220422
Contact: [email protected]
Website: http://https://www.facebook.com/laurakatzrizzo/?ref=hl,

@LauraKatzRizzo
https://www.facebook.com//laura.e.rizzo.1
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Photo: Antonio Juarez

Thaise Nardim (Palmas, Brazil)

I am working with performance since 2008, when I found in this media the possibilities that the
theater did not satisfy through the acting work and training. My main research today is about changing states of attention, especially through the use of extended time frames, repeated actions, very slow
movements and the use of small objects and simple details. I like to think my work like a visual poetry
- a minimalist one. The pieces tend to be delicate, long and repetitive, and require much physical
effort of my body to do the slow movements as well requires availability of the viewer to follow the
small events that occur. Through this work I hope to discuss the modes of perception, appreciation
and visual delight in contemporary times, suggesting to the viewer the need for other rhythms to live
than those imposed by the our live system and the medias.
DISCIPLINES: Performance, Visual, Atention, Theatre, Education

Storm or She will not get bothered at all shes just watching
the water at fall
Manipulating a translucent glass plate that has my height, my weight and the width of my open arms,
I start the action dripping a small drop of water at the upper end of an standing glass, sustained only
by my body. I follow the path of the drop with my eyes and movement, very slowly, while I equilibrate
the glass with my body, until the drop touches the ground - which lasts about 40 minutes. Next, I put
a new drop near to the first, and again I watch it way, following it and balancing the glass, until the
ground. This sequence of actions is repeated for 8 times, totaling around 320 minutes. In the debut
event of this work, I performed four sessions in four subsequent afternoonss, totaling 1280 minutes of
drops putted and followed - 1280 minutes of delicate attention.
Production History: Performance em Encontro - Encontro de Arte da Performance do SESC Campinas (Campinas, So Paulo, Brasil) - 2015
Video: https://vimeo.com/18774216
Contact: [email protected]
Website: http://thaisenardim.com

@thaizize
https://www.facebook.com/thaizize
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Photo: Mark Seldis

The Ghost Road Company (Los Angeles, CA, USA)

The Ghost Road Company is one of Los Angeles premiere theatre ensembles dedicated to the creation
of new work for the stage. Our company is unique in its approach, having developed our own methods of collaborative development over the years - methods that utilize the talents and experiences of
each ensemble member. These techniques produce plays created by our members with a dedication to
our mission:
The ensemble scavenges the current social landscape for objects, language and images that are, in turn,
informed by the ensembles individual experiences of the world, creating something surprising and
unexpected. The world of the piece is the piece itself, in which the everyday transforms into unexpected realizations and epiphanies about the nature of truth and possibility in the world at large.
The Ghost Road Company was founded and incorporated in 1993 by Katharine Noon, Don Gordon and Ferdinand Lewis who were recent graduates of The California Institute of the Arts Theatre
program. The intention of the company is to create new works for the stage including dynamic new
adaptations of classic plays, myths and works of literature as well as original plays. We proudly create
our world premiere productions to first be seen and experienced here since the diverse Los Angeles
community provides the filter through which we, as artists, see the world. Then we take our work on
tour to various venues in the United States and abroad, expanding the knowledge and reputation of
Los Angeles theatre.
DISCIPLINES: Theatre

Asterion
Inspired by the myth of the Minotaur, Asterion explores the life of one man who has seen the dark
side of his nature and fights to regain his humanity. Returning from a sort of exile, battle weary
Asterion faces a strange homecoming full of veiled intentions and twisted familial bonds. In this world
of shadows, Asterion must face his demons as those closest to him fan the flames of his monstrousness.
This visceral, physical and poetic piece was conceived by Katharine Noon and developed by Noon
with Ghost Road Company ensemble members and guest artists through their continually evolving
collaborative process.
Production History: Atwater Village Theatre
Contact: [email protected]
Website: http://www.ghostroad.org

@the ghostroad
https://www.facebook.com/GhostRoadCompany
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Photo: Jimmy Maxwell

The Louis Armstrong Society Jazz Band

(New Orleans, LA, USA)
Whatever the occasion, this New Orleans jazz band guarantees excellent music and a good time! The
Louis Armstrong Society was formed in 2001 during the celebration of Louis Armstrongs centennial
birthday. The mission was simple: to share the legacy of great New Orleans jazz and the one-of-a-kind
spirit of Louis with people around the world. That spirit was based on Louiss perspective of life; although he played for kings and queens, heads of states, and crowds all over the world, he maintained
a simple, joyous view of the world.The Louis Armstrong Society is dedicated to the promotion and
preservation of New Orleans jazz and to honoring the most notable and influential individual of the
genre: Louis Armstrong, aka Satchmo.
The Louis Armstrong Society celebrates great music and New Orleans heritage of jazz music through
live performances across the country. The New Orleans based performers include some of the most
respected musicians in the Big Easy, and all know the importance of blowing that horn!
The band is comprised of members of the Louis Armstrong Society, a secret organization where musicians are invited to perform by invitation only. Youll hear Louis classics such as Back Home Again
in Indiana, Blueberry Hill, and Struttin with Some BBQ. This fun-filled evening culminates in
a real second line parade as everyone helps those Saints Go Marchin In. Join us for this truly New
Orleans show and hear the history of jazz through the eyes of Satchmo, while simultaneously enjoying
the music that made him famous!
DISCIPLINES: Jazz, Music

A Salute to Satchmo! By The Louis Armstrong Society Jazz

Band
The preservation and education of music history is vital to celebrating our unique culture, especially
right here in New Orleans: the birthplace of jazz.
Today, jazz encourages the creativity of young people and teaches them about teamwork, respect, and
group dynamics, as well as interaction with their audience. Its democracy at work! Jazz education is
vital to the growth of our young people, and this holistic approach to jazz history and appreciation
celebrates the basic human instinct of playing music, while honoring one of the most influential artists
of the genre. These themes are directly at the heart of the Louis Armstrong Society, a secret society
founded by New Orleans musicians who are dedicated to the undying love of Armstrongs music.
Much like the mysterious krewes of traditional Mardi Gras, the society members come together to
secretly select musicians that best embody the spirit of Louis Armstrong. In doing so, the band is committed to showcasing Armstrongs classics, celebrating his unique style, and preserving his legacy in
New Orleans and the world - thus entertaining audiences and secretly educating them a bit along the
way!.
Production History: Rochester Jazz Festival, Sacthmo Festival, Vancouver Wine & Jazz Festival,
Coral Gables Summer Concert Series, Naples Fl. Performing Arts Center,
Video: https://www.youtube.com/user/lasjbnola
Contact: [email protected]
Website: http://http://www.larmstrongsoc.org/
@lasjb1.com

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Photo: Charlotte Armitage

The Lucie Lee Dance Company

(Huddersfield, United Kingdom)
I graduated with BA Hons Performing Arts Dance Performance Degree at De Montfort University
(based at Bedford Campus) in 2008 and continued with postgraduate studies and achieved Masters
by Research in Dance and Digital Media in 2013 at University of Bedfordshire. I am fully qualified
teacher and hold Pedagogic Diploma in Lifelong Learning from the University of Huddersfield. Currently I am lecturer in dance BA Hons Dane Practice degree at University Centre Doncaster and part
time BA Hons Dance lecturer at University of Lincoln.
I have 11 years professional experience as a dancer, performer and teacher. I performed at local festivals as well as at the West End at Her Majesty Theatre (Star EFX production 2006). I took several
evening classes with Rambert Dance Company, attended The Place contemporary dance classes and
attended several workshops with Cando Co Dance Company, Wayne McGregor, Mathew Bourne, Rafael Bonachela to name few. I have also 6 years experiences of working and performing with integrated
dance companies, and 2 years of working and performing with young people and/or adults with learning difficulties as part of Cando Co Youth Dance Company (2005-2008). I have project management
experiences and organising events and festivals.
About the Lucie Lee Dance Company:
The Lucie Lee Dance Company is a new emerging professional Dance Theatre Company, which embrace the use of digital media in their dance performances. The company produces experimental dance
theatre and site specific works with the interaction of digital media within performances. The outreach
within
DISCIPLINES: Dance, Theatre, Digital Media, Interdisciplinary, Video, Performance

Pathology of Inner-Self (working title)

They self-express, self-confine and sometimes separate from the others. Through the personal inner
trauma they analyse, brake up and reassemble the self . They represents Us, You and Me.
Pathology of Inner-Self (working title) is investigating the 4d theatrical sensory aspects of dance
theatre and technology through abstract approach.
This RnD project combines dance theatre with digital technologies to explore the affects of mental ill
health and how this can disrupt the concept of the self.
This project is partially funded by Grants for Arts Art Council England and is supported by wonderful
organisations through their open space scheme: 1 Theatre in The Mill http://www.brad.ac.uk/theatre/,
2 Mind the Gap http://www.mind-the-gap.org.uk, 3 IOU http://www.ioutheatre.org
We have received further support from Lawrence Batley Theatre and Dean Clough Viaduck Theatre.
This RnD is an interdisciplinary collaboration bringing together professionals from different arts
forms: Lucie Lee - Dancer/Choreographer, Charlotte Armitage - Photographer (www.e-dance.net),
Wayne Sables Project - Film Maker (http://www.waynesablesproject.co.uk), David Mackenzie; Stantz
-Musician and Composer https://soundcloud.com/stantz, Kate Morton - Set and costume designer
(https://katemorton.carbonmade.com), Janine McMillan (Dramaturg) http://www.don.ac.uk/universitycentre/departments/staff/Pages/Janine-McMillan.aspx
Production History: Theatre in the Mill and Mind the Gap (Bradford), Yorkshire Dance.
Contact: [email protected]
Website: http://www.lucieleedancecompany.org.uk
@LucieLeeDance
https://www.facebook.com/lucieleedanceco/
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Photo: Rachel Neville

The Moving Architects (New York City, NY, USA)

The Moving Architects (TMA), a non-profit NJ/NYC-based contemporary modern dance company
under Artistic Director Erin Carlisle Norton, channels the research of places, structures, their histories, and associated cultural transformations into choreography, exploring the embodiment of past
and distant spaces in the heightened present of live performance. As an all-female dance company
formed in 2007, Norton expertly crafts choreographies that bring to the stage tenacious and dauntless female characters that explore power struggles, community, and hierarchies through tensionfilled and emotionally raw movement. In terms of new choreographies, the 2011 work PLUCK was
choreographed and set long-distance via Skype video-conferencing software; the 2015 work Demure
as Dynamite looks to women in the bible as delineated by the poetry of Nortons late grandfather
Thomas John Carlisle; and in 2015 the company explores editing in dance through a partnership with
Shana Simmons Dance. TMA has performed and taught extensively in academic and community
settings nationally and internationally, with evening-length performances including: Triskelion Arts
(NYC), Links Hall (Chicago), and Columbus Dance Theater (OH). International engagements include Guatemala City, Morocco, and Tajikistan and Kyrgyzstan with the US Department of State/US
Embassies. Select festivals include: Pentacle Showcases at Ailey Citigroup Theater (NYC) and Green
Street Studios (Boston), The Other Dance Festival (Chicago), World Dance Alliance Festival (WI) and
Performance Mix Festival (NYC).
DISCIPLINES: Dance

Demure as Dynamite
The Moving Architects Demure as Dynamite looks to the women of the bible in portrait as
depicted in two volumes of poetry by Artistic Director/Choreographer Erin Carlisle Nortons late
grandfather Thomas John Carlisle. Shamefulness and submissiveness, vitality and heroism, these traits
are pulled from the prose and conveyed through the angularly powerful and suggestively fragile states
and interactions among five dynamic female dancers. The works tone represents the range of emotions
in these portraited women, revealing the darker, agitated underbelly of the female experience while
embracing the meaningful significance of camaraderie and generosity found between women in biblical times and today.
Production History: Triskelion Arts/NYC, Ailey Citigroup Theater/ NYC, Dixon Place/NYC, HERE
Arts Center/NYC, South Orange Performing Arts Center/NJ, Movement Research Edens Expressway/NYC, Green Street Studios/Boston, Jamaica Center for the Performing Arts/NYC, Proctors GE
Theater/NY, Wilson College/PA, Kelly Strayhorn Theater/Pittsburgh
Video: https://vimeo.com/129169499
Contact: [email protected]
Website: http://www.themovingarchitects.org

@MovingArchitect
https://www.facebook.com/movingarchitects/
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Photo: Raymond Haddad

The Nerve Tank (New York, NY, USA)

Named One to Watch in 2010 by BroadwayWorld, The Nerve Tank is a world-class innovator in theatrical performance. Founded by Melanie S. Armer and Chance D. Muehleck, the company collaborates with actors and designers in a spirit of artistic adventure and remodels traditional performance
methods. We combine elements of popular culture, mediated image, and physical presence to test
lines of engagement between spectator and live event.
Based in New York, we have staged works at chashama, Dixon Place, University Settlement, Incubator Arts Project, the World Financial Center Winter Garden, the Grace Building Plaza, and La MaMa
ETC. From 2008 to 2010 we were the resident theatre company of the Brooklyn Lyceum. NT was
named a Person of the Year by the New York Theatre Experience, and The Maiden was nominated by
the New York Innovative Theatre Awards for Outstanding Performance Art Production in 2014.
DISCIPLINES: Theater, Movement, Interactive, Immersive

The Maiden
Persephone takes a dive. Hades drops some knowledge.
A contemporary reboot of the abduction myth, The Maiden
explores questions of power and showmanship in the context
of a trailer park nightclub. Found text, choreographed movement,
and live music combine to rip into a kidnapped psyche.
Equal parts performance art, dance, and theatre, this multimedia production
is a wild bricolage of found text, poetry and visual splendor. --OffOffOnline
The Nerve Tanks extremely entertaining creation is one that commands
attention with its out-of-the-box restructuring of a classic Greek text
as a visual and auditory brain freeze. --Exeunt Magazine
Production History: LaMaMa ETC
Video: https://www.youtube.com/watch?v=u936M32QZmc
Contact: [email protected]
Website: http://nervetank.com

@nervetank

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Photo: Pops Lopes

The Performing Kitchen - Marcos Moraes

(So Paulo, Brazil)
The Performing Kitchen collaborative platform for research and creation on dance and performance is an artistic project created and directed by dancer, choreographer and performer Marcos
Moraes in collaboration with several other artists and professionals. It is an environment for artistic
creation, an ongoing effort to learn from collaborative work, digging into the challenges of otherness, and into the flavors of knowledge from different ingredients people - added to whatever they
wish to create within the frameworks of performing & visual arts, literature and so on. The project
has been supported by The So Paulo Dance Grant (2013&15) which permitted the creation of
photographic essays, a performance work, a dance show, a party/installation, a video, a video installation, a series of meetings&chats, among other things - In 2016 it has the federal support of Klauss
Vianna Dance Grant, for circulating through Brazil. In 2014 it was awarded The Denilto Gomes
Dance Award. Every action or creation starts from desire: What moves us right now? Unique, each
meeting develops a dramaturgy through collaboration. We are also concerned with new ways of sharing art processes&works, to provide participants (audiences) with an experience on the alchemy of
The Kitchen creations. MORAES is a performer and an activist who has been at the front of political
struggles for culture public policies in Brazil.
DISCIPLINES: PerformanceArt, Dance, Visual Arts, Video, literature, Music

The Pig & the Cook - an eatable performance

When I started The Performing Kitchen project I had this image of grabbing an apple and putting
into my mouth, and offering myself to the audience as a roasted pig. It had to do with questioning
what is a valid function of an artist currently. It took form with the performance The Pig and the
Cook, which took place at Mezanino Gallery, in So Paulo, Brazil, during the Movimenta#1- performance festival, and lasted around 6 hours, divided in three parts: preparation, cooking and serving.
Everything is prepared, cooked and served (my body, the ingredients and the space), with a little
help from the team: The scenic ambiance by Cesar Resende, the altar by Teresa de Toledo (Art, scents
and essences), the sound ambiance & altar by singer + DJ Aricia Mess, the videos and images by myself and Osmar Zampieri, everything creates different layers between the sacred (altar & offerings), the
mundane (feasting&dancing) and the political discourse on food, art and human society. The work
unfolds through contemplative states of mind, a party moment in which people just meet, talk, eat,
maybe watch videos and definitely dance, plus a finale that culminates with the artists offering to the
audience, who decides how to finish the dish.
Production History: Galeria Mezanino, So Paulo
Video: https://vimeo.com/143314282
Contact: [email protected]
Website: http://www.acozinhaperformatica.com.br

@marcosexpress
https://www.facebook.com/aCozinhaPerformatica
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Photo: Jamie Gannon

The Queen of Luxuria (Chicago, IL, USA)

I am interested in how people shape and define a city. I firmly believe that cities are people as opposed
to buildings and architecture and we need to rethink our urban planning to think about how people
live in the city. Out of Site is part of this vision supporting performance artists to produce new work
in a public space adding to the soul and wonder of our neighborhoods. I have been a lifelong advocate
of the philosophy Act local, think global termed by Lucy Lippard.
In my own practice my work intersects with people and the city and oscillates between the public
and private. I produce large-scale interactive performances with multiple participants that have been
developed and researched over a long period of time. My source of inspiration often comes from the
everyday be it the hairdressers, the dinner table, the bathtub, the supermarket or our sleep dreams. I
start at a point of research and investigation that is both personal and yet everyone can relate to it in
some capacity. I have developed a public practice that is embedded in communities. For example, in
2015 I produced a performance for Uptown for the third year running and created a large scale project for Beverly entitled Neighborhood Magic.
DISCIPLINES: Performance, Sculpture, Drawing

Neighborhood Magic
Neighborhood Magic weaves the personal histories of eight people into the neighborhood of Beverly,
Chicago. Carron transformed the stories into poetry and devised an interactive public performance
for the Art Walk on October 3, 2015. Neighborhood Magic was a multifaceted project working with
eight people over the age of seventy from diverse backgrounds. The people worked with Carron to
shape and define the performance as it was realized over four months. Eight mail boxes were sculpted
inspired by the individual stories. The eight participants chose locations in the neighborhood that
had historical significance for them. We activated those sites with a choir who choralized the poetry
and with post boxes so the public could post their on important moments. The personal stories were
transformed into poetry on the spot by Carron Little and the beat box Yuri Lane transformed it into
music. Cities are people and these eight people have made a significant impact in their own ways to
the history of Beverly, Chicago and beyond. This generation lived through an seminal moment in
American history and this is revealed in the poetry.
For more information about this project and the stories please check out the blog at: http://neighborhoodmagic.tumblr.com
Production History: Beverly Neighborhood, Chicago
Video: https://vimeo.com/123027281
Contact: [email protected]
Website: http://carronlittle.com

@carronlittle
https://www.facebook.com/carron.little.5
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Photo: Justin Nestor

Theater Mitu (New York City, NY, USA)

Theater Mitu is a permanent group of collaborators committed to expanding the definition of theater
through methodical experimentation with its form. Driven by a theory we call Whole Theater,
the company investigates global performance as a source for our training, work, and methodologies.
Founded in 1997, Theater Mitu has earned a reputation as an adventuresome and dynamic ensemble
of artists. Under the leadership of founding artistic director Ruben Polendo, the Company is dedicated to the practice of transliterating a wide variety of performance traditions, exploring theatrical form,
and supporting the growth of its members, who are at the creative core of each piece the Company
produces. Its considerable body of work has taken on a variety of forms: developmental work with
some of the worlds leading theatrical innovators, productions in conjunction with universities and
conservatories, engagement with non-theatrical communities and, international research and training with its members. The current work of the company is is situated in the tension between acting
and performance, theatrical design and installation, and multi-media and interactive technology.
The companys practice investigates trans-global performance; interdisciplinary collaborative models;
contemporary mythology; artist training, emergent technologies, ritual and the sacred. Based in New
York City, and company-in-residence at New York University Abu Dhabis Arts Center (United Arab
Emirates), Theater Mitu continues to create, develop, and present work in the US and internationally.
DISCIPLINES: Theater, Multimedia, Performance, Installation, Interactive Technology

Hamlet/Ur-Hamlet
What do we do with all the Hamlets throughout Time?
We dig them up to look at their bones.
They reveal our cycle of life, love and death.
How do we make something that remembers everything?
By seeking the harmony of rebellion and the collisions of history.
This is a theatrical experience about Hamlet.
We are not Hamlet.
Imagine Shakespeares Hamlet has been buried in a mass grave with its predecessors, Saxo Grammaticus Amleth, Belleforests Hamlet and the originating Scandinavian mythologies of this epic (known
as the UR-Hamlet). Among all of these buried bodies of text live the memories of death, madness,
revenge, compassion, and love that plague the human existence. Now imagine Theater Mitu unearths
this grave.
Resisting a traditional staging of Hamlet, Theater Mitu investigates these remains as material that
amplifies, explores and wrestles with what it is to be born, to truly live and to die. Part installation,
part theater, part punk rock concert? the piece both harmonizes with and revolts against Hamlets narratives, languages and histories. Theater Mitu challenges the boundaries between classical adaptation
and contemporary performance with this site-specific, hyper-theatricalized production.
Production History: The NYU Abu Dhabi Arts Center (UAE)
Video: https://vimeo.com/128693596
Contact: [email protected]
Website: http://www.theatermitu.org

@theatermitu
https://www.facebook.com/theatermitu
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Photo: Henning Sjostrom

Theis & Nuno (Copenhagen, Denmark)

We are two dancers from Copenhagen, Denmark who come from very different background. In the
overlap between our ways of dancing we found the seed for what we call improvised partner dancing. And it is really no more and no less than that. Improvised is not random though, what you see is
a vocabulary of techniques that make it possible to be synchronized and in harmony with very little
effort. But every dance also steps outside of these techniques and pushes our limits for communicating
movement. We put up our videos to show you the journey we are on, but also to inspire you to dance
in your own way. Working with people in all ages and backgrounds; literally aged 3 to 96 years, professional dancers, beginners, people with various physical and mental disabilities, we have discovered
that there is really no limit to speaking this language and finding joy in it.
We always love making new friends. So if you find yourselves in Copenhagen feel free to contact us
and wed love to share a dance studio with you. If you want us to come to you to teach or perform,
were happy to learn about it.
DISCIPLINES: Improvised Partner Dancing, Improvisation, Contemporary, Ci, Blues

Improvised partner dancing

We dance because thats how we communicate. All our dancing is improvised; we dont know the
music, we dont know the story before we begin. When people see us perform they watch an intimate
and honest conversation between two people. There is contact and movement, attentiveness and misunderstandings. What we do in everyday life - just as a dance. When we perform, we reach out and try
to show a language. A language without limits, that everyone can learn. So when we dance to you, its
because we want to talk to you.
Production History: Dansekappellet, Dansehallerne
Video: https://vimeo.com/141713172
Contact: [email protected]
Website: http://storbydans.dk

https://www.facebook.com/theisandnuno
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Photo: Jean-Ulrick Desert

Thomas Kortvelyessy / Real Dance Company

(Rotterdam, Netherlands)
Thomas Kortvelyessy is a choreographer, dancer, performer, teacher, and cultural thinker, who works
at the premises of creating contemporary dance against the background of existing traditions and
strategies for a globally aware society. These premises include virtually all aspects of dance, from conception to performance, and from research and further development, to production and reflection.
He is the artistic director of his enterprise Real Dance Company, and an advisor to Contact Zone Rotterdam and ArtEZ Dansacademie, Arnhem (NL), as well as a member of Circle Dance Rotterdam, the
artist-organized association CLOUD at Danslab, Den Haag, the Dutch Society for Dance Research in
the Netherlands (VDO), and a member of the Kinetic Awareness Center, a 501(c)3 not-for-profit
corporation dedicated to research and development in the Kinetic Arts and Sciences.
His works have been made possible by grants from the Rotterdam Arts Council, Borough of Delfshaven, European Cultural Foundation, Fleur Groenendijk Foundation, aisthesis (stichting in oprichting)
and the Kinetic Awareness(R) Center.
Of his own work and interests he says:
If it lives, it moves, if it moves its worth it. My work examines the living moving bodymind against
existing structures, works-in-progress of the past and the present. I dance with and within the world
around me, in a time where we either succeed to develop global planetary awareness or die. I choose to
live.
DISCIPLINES: Dance, Research, Development, Interdisciplinary, International, Intermedia

the dance/r is present

The work consists of an installation of videos made in 2014 as artist in residence at Emily Harvey
Foundation, in Venice, Italy, in collaboration with visual artist Jean-Ulrick Desert and with Marianna
Andrigo / LiveArtsCultures, C32 WorkSpace, eventi arte Venezia, and Gisela Weimann. The videos
show local reprises of two of his works in public space, the solo Sokrates and the intermedia grouppiece walking conssensus / skytime. Visitors of the installation can sign up for a 1-on-1 showing
titled Tea with Thomas, to continue to ongoing conversations that are made with the dance pieces.
By referring to The Artist is Present by Marina Abramovic at MOMA from 2010, the work brings
up questions about the similarities and differences in the status and conditions for producing and
experiencing dance and visual art.
Production History: Mirta Demare International Visual Art, Schouwburgplein Rotterdam, tuzrakter
Budapest, C32 Venice
Video: https://youtu.be/bXjUHgn2omk
Contact: [email protected]
Website: http://realdancecompany.org

@tkortvelyessy
https://www.facebook.com/realdancecompany
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Photo: Ryan Maxwell Photography

Tia Nina (Washington, DC, USA)

Tia Nina is the brainchild of local movement-based artists Leah Curran Moon, MPA PhD (J Van
Stone), Ilana Silverstein, MFA (Sammy Rain) and Lisi Stoessel, MFA (Sticks) who founded the
feminist punk rock dance band in 2011. By originating vivid, creative live performances of punk rock
modern dance, voice & stage art and live-form puppetry, Tia Nina defines - unforgettably - the value
of thinking critically about gender in popular culture. The work provokes dialogue across all generations around the body, gender, politics and modern dance performativity.
Tia Nina has played the festival circuit including Capital Fringe (Washington, DC), Asheville Fringe
(Asheville, NC), and The Festival of Subversive Artists and Minds (College Park, MD), as well as
theatre venues including the Gesa Powerhouse Theatre (Walla Walla, WA), and Single Carrot Theatre
(Baltimore, MD). Tia Nina has also played SlutWalk DC on the National Mall, and the Wonderland
Ballroom. Tia Nina has been known to throw community events including feminist parties for artists
and scholars, and tailgate events for modern dance concerts.
Tia Nina shows have been included on syllabi for Gender Studies courses, and the band has taught
in Dance and Womens Studies departments at University of Maryland, George Washington University, Whitman College and DeSales University. Tia Nina works with talented designers to create their
original aesthetic. Collaborators includee composers Michael Moon, and Eric Shimelonis, performer
Colleen Hutchings (Chymes Maloney), and costume designers Katy Kincade and Deb Sivigny.
DISCIPLINES: Dance, Physical Theater

Juiced
The wildly gushing work, Juiced, screams yes to sex-positive, non-objectifying punk rock performance. The rock concert atmosphere invites audience members to hoot, holler, dance and think
along with the band. The show appeals to broad audiences because it can be read like a rock concert
-- purely for entertainment, technicism and production values -- or it can be an invitation to engage
in thoughtful social critique and a reimagining of our gendered world. Juiced combines technique
from modern dance, acrobatics, contact improvisation, embodied vocalization, clowning, puppetry,
critical theory and punk rock to deliver a fun, challenging rock concert meltdown that leaves audiences sweaty and thinking. In this work, Tia Nina asks: What does non-objectifying, sex positive
performance look like? How does it move? How do we reconceptualize gender and power through
performance? How do we create fluid, non-hierarchical gendered imagery? With Juiced, Tia Nina
encourages viewers to question the images given to them by dominant others, to think differently
about gender and sexuality and to let go of themselves in the process. Tia Nina premiered Juiced on
February 7th, 2015 at The Clarice as part of A Festival of Subversive Artists and Minds.
Production History: Juiced: 2/7/15 The Clarice, Washington, DC Pitchin the Tent: 11/1/14 Slutwalk on The National Mall, Washington, DC 5/14/14 Church Night at The Wonderland Ballroom,
Washington, DC 3/14-15/14 Single Carrot Theatre, Baltimore, MD 1/24-25/14 Asheville Fringe Festival, Asheville, NC 11/7-17/13 Fall Fringe Festival, Washington, DC 10/30/13 Gesa Power House,
Walla Walla, WA 7/13-27/13 Capital Fringe Festival, Washington, DC Rockit Launch: 9/1-2/12
Atlas Performing Arts Center, Washington, DC
Video: https://vimeo.com/channels/tianina
Contact: [email protected]
Website: http://www.tianinarocks.com
@tianinarocks
https://www.facebook.com/tianinarocks
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Photo: Hardianto Setiadi

Tiarma Dame Ruth Sirait (Bandung, Indonesia)

Tiarma Sirait is an exciting Bandung-based fashion artist whos presenting visually provocative &
thought provoking fashion art performances & always questioning all the conventional wisdoms both
of the East & West. Her performance in fashion has been acknowledged by many international art
institutions & she has intensively participated in many domestics & overseas exhibitions. Shes exhibited in Indonesia & around the world; Malaysia, Bangladesh, India, Cambodia, Singapore, Thailand,
China, Philippines, Korea, Japan, Australia, Turkey, France, Germany, U.K., Sweden, Denmark, Italy,
Poland, Slovak, Hungary, Bosnia & Herzegovina, Cuba, Colombia, Portugal, Spain, Canada, USA &
others. Tiarma was educated in Textile Design @Bandung Institute of Technology (ITB) Indonesia; in
Fashion Design @Royal Melbourne Institute of Technology (RMIT) Australia & Master in Fashion
& Textile Design @University of Boras, Sweden. I describe myself as a Transporter & Transformer
of culture. When I travel around the world, I carry the whole culture with me along with my physical
presence & meet ppl from other cultures. My understanding of different cultures through travel, social, cultural interaction & general communication with other people has given me the opportunities
to transform the ideas & experiences I encounter into different visual forms, reflecting my perception
of them. With conceptual approaches to popculture, my work utilizes fashion to provoke & explore
theme & issues of contemporary life & presenting visually provocative through installations & fashion
performances.
DISCIPLINES: Fashion Art Performance, Performance Art, Theater

TRANSPORTER & TRANSFORMER

Art&Design production exists in a dialectical relationship between a society&the culture, between

an artist&the viewers. We all exist within a social system, which is seemingly internally coherent, but
may not be easily translated outside. Our interpretations of cultures help us to take possible actions
to create changes towards a positive direction;to use our creative work to extend&identify important
aspects of cultural experience&enhance these in terms of peoples experience. However, the situation changes as one moves from one geographic&cultural location to another. We live in a complex
transnational&global meeting, mixings&clashing of different cultural perceptions at an increasing
rate&pace as never seen before.
The idea of my fashion art is intended to express the unusualness&the weirdness of
costumes&movements; its potential to inspire&to feed the imagination, using the body. It is not
the everyday, but the fantastic&surreal. In specific theatrical/ceremonial situations, a costume is
worn&experienced for those purposes creative/events;these may be part of a story or cultural tradition,
a religious/political event&their impact in their context is to transform&extend the experience of the
participant&audience, as well as to build the narrative of the cultural event. The basis of my project is
the process of cultural interaction, where I transport my culture&transform it in relation to other cultures that I meet in different country&in different form. My costume based on combination between
the influence of Indonesian Batik(East), European Victorian Style (West).
Production History: 2015 Finalists of the Gudang Garam Indonesia Art Award (GGIAA) 2015 @
National Gallery, Jakarta - Indonesia; 2014 Apakabar Ibu #2; Women Exhibition @National Gallery,
Jakarta - Indonesia; 2014 Changi Airport Destination-Themed Events 2014 organized by Kemenparekraf in Singapore; 2013 Featured in a digital group show @Brooklyn Night Bazaar // See.Me Art
Market - USA; 2013 Featured in a digital group show @SCOPE Miami 2013 during Miami Art Week
Video: https://www.youtube.com/watch?v=RVecKXwQ8JM
Contact: [email protected]
Website: https://TiarmaSirait.see.me
@TiarmaSirait
http://tinyurl.com/Gudang-Garam-Indonesia-Art-Awa
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Photo: Thor Brdreskift

Tore Vagn Lid / Transit Theatre Company

(Bergen, Norway)
Transiteatret-Bergen works under the artistic direction of Tore Vagn Lid with the development of a
contemporary theatre working in the intersection between theatre and music. Tt-B constitute a core
of artists - a stable artistic production-network - comprising director, sound-, light-, and video- designer, animators, set designers, actors, singers and musicians. The company works mainly with base in
T.V.Lids concepts and ideas. Tt-B has since its foundation in 2001 carried out a series of scenic experiments including several award-winning productions.
Tore Vagn Lid is a theatre director, playwright, musician, and artistic director of Transiteatret-Bergen.
Tore Vagn Lid holds a professorship in dramaturgy at the National Academy of the Arts (KHIO) in
Oslo. He earned a PhD from the Institute for Applied Theatre Studies in Giessen, Germany.
DISCIPLINES: Theatre, Music, Crossover, Performance, Scenic DUB, DUB

DUB Leviathan!
In this project Tore Vagn Lid presents a scenic album in a cross-pollination of stage play, radio play
and concert. A state of emergency describes a situation in which normal laws and regulations are set
aside, often as a result of an sudden catastrophe or unexpected occurrence. In Tore Vagn Lids scenic
dub, stage art and the dub DJs modus operandi join forces towards a common goal: to prepare us for
a state of emergency and make a kind of contingency theatre for the future. Thomas Hobbess work
Leviathan describes the natural condition of man as a war of All Against All.
Keywords for the scenic album are active - and in particular interactive - man, in a future characterised
by new crises and new struggles in which the rules are in flux and risk zones are expanding. DUB as
a music production form evolved in a time of protest and revolt in Jamaica around 1970. The mixer
board acquired an extended function, accompaniment was a central feature and the vocal track disappeared. Vagn Lid makes a dramaturgical principle of this.
<<an earthshaking event>>
<<If one first is to use children as actors in adult performances, Transiteatrets performance DUB
Leviathan! excels themselves clearly. The performance is both
ambitious and jarring. DUB Leviathan! discusses various forms of <<state of emergency>> in a postdramatic theater, where music, acting, sound, set design and
video work together in a visual whole.>>
Periskop.no
<<A extensively constructed scenic event bombards us with the disturbing fact; the
violence is in the blood of us all>> VG
Production History: Dramatikkens Hus, Cornerteatret, Stamsund International Festival
Video: https://vimeo.com/139132150
Contact: [email protected]
Website: http://www.transiteatret.com
@transiteatret.com
https://www.facebook.com/transiteatret
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Photo: Tormod Carlsen

Tormod Carlsen (Oslo, Norway)

I am a theatre maker and artist who fokus my work creating new types of scenic expressions both in
larger auditorium works, outdoor performances and installations. The landscape often plays a central
role in my work, both as a metaphor and as a concrete part of the show. My works has been shown on
BiT, Bergen, Festspillene i Nord Norge, The Greenlandic National Theatre, The Norwegian Theatre
among others.

DISCIPLINES: Installation, Healing Service, One-Mans Theatre, Outdoor Happening

O
O is a shiny lump on wheels that carries a small panoptic theatre and a weather machine inside. On
the outside it looks much like an oil-lump or a diffuse mirror of it surroundings. It functions much
like a fair attraction. A healer who uses the weather and the landscape to heal its audience controls the
machine. To take part in this show, the audience has to sign up for an appointment with the healer
and will be allowed to enter the lump. Here they are placed in the centre of the landscape panoptic
and the healer starts their work. Each session lasts for about ten minutes depending on how long it
takes to re-establish a healthy relationship between the audience member and nature.
Production History: Will premiere in Bergen in May 2016.
Contact: [email protected]
Website: http://www.tormodcarlsen.com

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Photo: Arthur Cornelius

Untitled Theater Company No. 61

(New York, NY, USA)
Untitled Theater Company #61 is a Theater of Ideas: scientific, political, philosophical, and above all
theatrical. Some of our tools: language, live music, puppetry, video, found text, and outstanding performances. We have been performing in downtown New York for the last 20 years at theaters such as
La MaMa, 3LD Art + Technology Center, The New Ohio, HERE Arts Center, St. Anns Warehouse,
the Brick Theater, the Czech Embassy, and the Walter Bruno Theater at Lincoln Center. Some of our
recent projects include The God Projekt, a puppet production presented in the Henson Festival examining the origin of monotheism; Do Androids Dream of Electric Sheep?, an adaptation of the book by
Philip K. Dick; The Vaclav Havel Festival (a complete festival of Havels work); Pangs of the Messiah,
a play examining about the settlements in the West Bank; and NEUROfest, plays about neurology.
Our productions have been Critics Picks by The New York Times, The Village Voice, and Time Out
New York.
DISCIPLINES: Theater, Dance, Opera, Multimedia, Puppetry, Cabaret

Money Lab: and economic vaudeville

Money Lab is an economic vaudeville, a multi-disciplinary experiment to discover whether economic
ideas can be represented through performance. It uses a mixture of theater, dance, video, cabaret,
opera, puppetry, and games in order to explore everything from the gold standard, to the 2008 stock
market collapse, to the theories of some of the most noteworthy economists (such as Adam Smith,
Karl Marx, Arthur Laffer, and Elinor Ostrom), to the intersections of economics and art. Among the
elements presented during the evening are audience participatory games based on economic behavioral experiments, including auctions, The Dictator Game, and The Ultimatum Game, developed with
the help of Game Play curator Gyda Arber and economist Rosemarie Nagel; and a number of rotating
acts. Upon entering, audience members will be required to purchase five dollars worth of tokens that
they will used in the games during the evening. Red and blue tokens will representing the conflicting
economies of food vs. flowers, aka basic needs vs. beauty/art. The results of the games will change the
value of the tokens during the course of the evening, and the fluctuating exchange rates will be posted
throughout. One central question of the evening is: how do we value art, and can it be measured on
an economic scale. Hilarious, provocative - The Village Voice Dont ever take a stock tip from a
critic, but this one looks like a buy - New York Magazine
Production History: HERE Arts Center, Brick Theater
Video: https://www.youtube.com/watch?v=q0C2xOzKD4Y
Contact: [email protected]
Website: http://www.untitledtheater.com

@EdwardEinhorn
https://www.facebook.com/UTC61
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Photo: Vidisha Saini

Vidisha Saini (Fadescha) (New Delhi, India)

Vidisha Saini is an artist and an arts organizer. She has an interdisciplinary practice and works with
image, language and various performative mediums. Vidisha constantly queers? history, gender, work
and utopia.
Through her performance as a Zebra since 2012, she has enquired into politics at intersections with a
postcolonial body - of gender, representation, fluidity of sexuality and home. Its a form of camouflage
through the skin of distraction, a tactic of being ungraspable and continually in transformation. She
wants to reflect upon how the performance of a postcolonial and a postmodern identity tries to negotiate through notions of representation and multiplicities they encompass and embody.
Engaging with contemporary art she has curated alternative learning pedagogies, queer, feminist &
immigrant solidarity groups, digital formats, site-specific interventions, research-based processes and
public art projects.
DISCIPLINES: Performance Art, Participatory, Community-based, Interdisciplinary, Curation

Girls Will Be Girls, Speak Evil, 2015

Indian and international media covered protests that followed Nirbhaya a gang rape case in New
Delhi in 2012. Several blasphemous comments regarding women and their sexuality were made by
political and media figures. Speak Evil is a series of performances that use satire to understand
beyond the surface of these comments through participatory dialogue, based on a brief manifesto I
hear evil, I see evil, I will Speak Evil, I will Speak Evil, I will Speak Evil.
Girls Will Be Girls was a continuous 4-day long performance, where three performers were wearing
Zebra costumes all through the four days and nights. In this particular performance the performers
did all normal public and private activities in the same manner, only that they were in the Zebra costumes. Usually the dialogues were trigged by the costumes and the props, which would further delve
into politics of feminism and postcolonialism.
Production History: Kolkata International Performance Art Festival
Video: https://vimeo.com/vidishasaini
Contact: [email protected]
Website: http://vidisha-fadescha.com

@fadescha
https://www.facebook.com/vidisha.saini
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Photo: Vik Laschenov

Vik Laschenov (Moscow, Russia)

IVE always been attracted by paradoxicalness and irrationality. My heros, as I do, live into their
specific wonderfull worlds. The whole point based on characteristics of visual language, clarity and
straightness of the storys mesage. Strange / deviant / sensual & sensuous / bodily / imaginative / multilayer mixed with narrativity and different temporality of places, people and situations.
I use photography, video and performance as a base for my projects.
I call myself a performance & visual artist.
I live and work in Moscow, Russia.
DISCIPLINES: Performance, Video, Contemporary Dance, Videoart, Cinema

SINCE CHILDHOOD I WAS TAUGHT TO WORK BY MY HEAD

AND NOW IT SEEMS IVE GOT THIS HANG
Use your mind, Do it by your head etc. Current time is characterised by brainwork worship.
This video is a documentation of attempts to straight follow these guidelines.
Production History: Korosche, Russian Short Film Festival in Kaliningrad
Video: https://vimeo.com/125809261
Contact: [email protected]
Website: http://www.laschenov.com

https://www.facebook.com/vik.laschenov
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Photo: Maria Baranova

Walter Dundervill (Brooklyn, NY, USA)

Walter Dundervill is a choreographer based in New York City. He creates immersive performance
environments fusing dance, visual art, costume, and sound design. His work has been presented at
MoMA PS 1, Dance Theater Workshop, New York Live Arts, Judson Church, The New Museum,
Participant Inc., and at the Solo in Azione Festival in Milan. Dundervill has received Bessie Awards as
a dancer, a costume designer, and for the visual design of his own choreography, Aesthetic Destiny 1:
Candy Mountain. Dundervill has performed for both dance and visual artists including RoseAnne
Spradlin, DD Dorvillier/Future Human Dance Corps, Bruce Nauman, Lovett/Codagnone, Luther
Price, and David Wojnarowicz. He is a member of the Artist Advisory Council at Movement Research. He has been an artist in residence at Movement Research, the New Museum, and New York
Live Arts.
Dundervills performances function as live temporal objects in which people and materials merge and
interact. While the dancers embody various elemental states to reveal increasingly complex movement structures, Dundervill builds elaborate visual and sonic environments around them. Objects,
costumes, and sound provide both stimuli and obstacles to which they respond. A culture of opaque
social codes emerges from this process examining the power structures between choreographer and
dancer, submission and resistance.
Dundervill makes worlds fueled by his obsessions with art history, costume, cinema, and literature. He
seeks to blur boundaries between decor and dance by creating formal transparencies for viewing the
visual and the kinetic.
DISCIPLINES: Dance, Visual Art

ARENA
ARENA is a 3 hour dance installation in which an elaborate environment is continuously created and
transformed, built up and broken down. ARENA spans various historical epochs and artificial environments via costumes and visual design. The performance is structured around a chromatic sequence
which proceeds from white to vivid color; then to black and eventually silver. Dundervill maintains
a workman-like focus while constructing this world, draping the dancers in layers of costumes and
fabrics while they occupy various performative states of stillness, languor, and chaotic frenzy.
Dundervill created ARENA with the desire to bring the audience into the mindset of focused visualization and sensory exploration utilized by the dancers. He proposes an opportunity for transformation via saturated sensory stimulation - color, texture, hypnotic sound, and the constantly shifting
kinetic and affective presence of the performers.
The audience may sit either at the periphery of the installation or within its environs. Viewers may
enter and exit at any time during the performance. They are encouraged to view the performance from
different vantage points. Those that take in the entire performance experience a process of material
transformation and temporal expansion and compression. Those that view discrete portions of the
dance will encounter very different energetic and visual experiences depending on when they come
and go.
Production History: JACK, Brooklyn, NY, MoMA PS1-Greater New York Performance Series
Video: https://vimeo.com/138833157
Contact: [email protected]
Website: http://walterdundervill.com

https://www.facebook.com/wdundervill
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Photo: Tom Hakala

WHS / Kalle Nio (Helsinki, Finland)

Kalle Nio is a visual artist and a magician from Helsinki. In his work he examines different kinds of
expression possibilities provided by video image and its capacities related to time and space. In his
performances he combines cutting edge video technologies to the stage magic techniques of the past
centuries.
WHS is a visual theatre / contemporary circus group from Finland. The group has taken their performances across more than 30 countries.
DISCIPLINES: Magic, Theatre, Dance, Visual Arts, Video Projections, Circus

Lht / Departure
There is a woman and a man, who have a complicated relationship. Confused, they stand on a stage,
surrounded by clothes. Feelings and thoughts are expressed through the movement of their bodies and the movement of the clothes, which have a life of their own.
Lht / Dpartt is the latest production of visual theatre & circus company WHS. Directed by magician and visual artist Kalle Nio, the performance brings to the stage a couple that has drifted apart
from each other and is now floating in the middle of dreamlike imagery and illusions. Inspired by
the work of 19th century magicians stage illusions, the performance creates a mysterious atmosphere
where absurd humor and tragedy alternate. The piece will provide a unique theatre experience in
which circus, magic, dance, clothing design and visual arts merge.
Production History: Finnish National Theatre Finland / OGR Turin, Italy / Crossroads festival Antwerpen Belgium / Hameenlinnan kaupunginteatteri Finland / Teatro Nacional, Panama City, Panama
/ Teatro Nacional San Jos, Costa Rica / Teatro Nacional La Castellana, Bogot, Colombia / So Luiz
Teatro Municipal, Lisbon, Portugal / National Theater Sarajevo, Sarajevo, Bosnia and Herzegovina /
KUMU, Art Museum of Estonia, Tallinn, Estonia
Video: https://vimeo.com/63723026
Contact: [email protected]
Website: http://www.whs.fi

https://www.facebook.com/w.h.s.fi
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Photo: Greg Heller

Yana Clark (Santa Cruz, CA, USA)

I am a multi-media artist born and raised in an environmental preservation in Southeast Brazil. In
2011 I received my B.F.A. in Sculpture at the Federal University of Minas Gerais, Brazil. Recently Ive
relocated from Los Angeles to Santa Cruz. My work has been evolving through multiple media
platforms including performance, happenings, propositions, photography, video art, and installation
as a form of investigation of the mental nature of the body and its relation to light, time, and space.
The performance work resulted in my understanding as a propositor to participants, as well as in
a series of mesmerizing site-specific photographs and video art. This is an outcome of collaborations
with other professionals, especially with my husband Lucas Bonetti, a photographer and
cinematographer.
My inspiration for art comes from our complex human nature. I am interested in the artistic
expression of our existential questions and the investigation of the frontiers of mind, body, space, and
time. With propositions and images, I intend to inspire and invite participants to have a direct experience of new reflections.
DISCIPLINES: Performance, Photography, Video Art, Installation

Self RefleXion - Body of Light

Self RefleXion (2010) is a body installation made of mirrors, an outcome of art as an expression for
existential questions as well as the investigation of the frontiers of mind, body, space and time. Its
vision happened as a result of daily meditation and the interrelation between the mind and light.
The presentations and projects for installations intersect art with diverse areas with the intent to
co-create experiences that can expand perceptions of reality, and our relation with the present, the
ethereal and infinite. As a proposer I integrate art with elements of nature, psychology, philosophy,
architecture, as well as the physical properties of light and sound, determined to expand the presence
in the moment.
Self RefleXion is presented to the participants as interactive performances, happenings, propositions,
photographs, video art, and installation.
Most recently I presented Self RefleXion at a solo art exhibit at Portal Arts Gallery in Santa Cruz.
Production History: Portal Arts Gallery, Santa Cruz, CA; Solo Utopia, Santa Cruz, CA; Malibu
Lumber Yard Gallery, Los Angeles, CA; Abundance of Magic Party, Los Angeles, CA; Frequency
432Hz Art Festival, Joshua Tree, CA; Hudson/Linc Gallery, Los Angeles, CA; Majahuitas Hotel,
Puerto Vallarta, Mexico; Nebula Art Exhibition, Los Angeles, CA; UFMG Art Gallery, MG, Brazil;
Video: https://vimeo.com/141588794
Contact: [email protected]
Website: http://yanaclark.com

https://www.facebook.com/mirrorbodysuityanaclark/?ref=bookmarks
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Photo: Juniper Shuey

zoe | juniper (Seattle, WA, USA)

zoe | juniper is driven by the idea of mythologizing the experience of our senses; creating performances
and visual art that challenge the viewers perception of time and perspective as well as allowing our
works intention to be spacious enough for empathetic experiences to emerge. Our work realizes and
exists in the state of liminality- the sense of being in-between. By working across different disciplines,
we filter our sensual experiences into the mediums that best embodies a facet of the myth our overall
concept is based on. Projects spans dance performance, photography and sculptural video and performance installation. Within these, we are designing experiences that all maintain the idea of liminality;
the thresholds of conscious/unconscious, action/reaction, before/after and cause/effect. While this idea
of mythologizing serves as the trajectory of our work, our concerns are with relaying non-linear storyness, originating and distilling significance from rigorous physicality, calibrating the dialogue between
the mediums in which we work and literally creating tangible artifacts from the performance within
the installation and calcified memories within the photography.
The collaboration between Zoe Scofield and Juniper Shuey is defined by having visual, sonic and choreographic designs work in tandem so that aesthetics and form become seamless. The purpose of their
collaboration is to immerse the audience in the conjunction of the physical and fantastical realms.
DISCIPLINES: Multidisciplinary, Contemporary, Dance, Visual, Design

Clear & Sweet

Clear & Sweet is a new multi-disciplinary performance incorporating dance, vocals and visuals resulting from an inquiry into Southern Baptist Sacred Harp Singing and choreographer Zoe Scofields
complicated connection to her southern roots. In 2014, Scofield and visual artist Juniper Shuey
embarked on a research and creation process incorporating their multi-disciplinary stage performance
with Sacred Harp Singing.
Sacred Harp Singing is a form of spiritual a cappella choral singing founded in Southern Baptist
churches that is now practiced in secular groups. The strikingly raw singing - it only uses 4 notes and
can be sung by anyone - caught Scofields attention while on a trip home to Georgia and has become a
powerful lens for exploring the complexities of growing up in the South. Recognizing commonalities
between Sacred Harp Singing and zoe | junipers work - a desire to bring redemption through physical
exertion and to allow for personal experiences of worship in the company of others - the company will
bring these unexpected synchronicities to stage.
Production History: Creative Residencies: June 2015 - Baryshnikov Arts Center, New York with
support from The Princess Grace Foundation. August 2015 - On the Boards, Seattle. December 2015
- New York Live Arts, New York. January 2016 - Center for Performance Research, New York. March
2016 - Rockefeller Foundation Bellagio Residency, Italy. May - July 2016 - NYU: Tisch School of the
Arts, New York. September 2016 - Contemporary Art Center, New Orleans. ||| Performances ||| Fall
2016: Performance Premiere: CAC New Orleans | New Orleans, LA. On the Boards | Seattle, WA.
Carolina Performing Arts | Chapel Hill, NC. Spring 2017: New York Live Arts | New York, NY. Bates
Dance Festival | Lewiston, ME
Video: vimeo.com/zoejuniper
Contact: [email protected]
Website: http://zoejuniper.org
@zoejuniper
https://www.facebook.com/zoejunupercompany
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Photo: Christian Kipp

Zoe Robertson (Birmingham, United Kingdom)

Award winning jewellery artist Zoe Robertson designs and makes wearable sculpture for performance.
She is a practice based researcher currently exploring Jewellery within a performative context where
the relationship between the animated object, the body and space is investigated. The resulting jewellery is theatrical in scale and responds to kinaesthetic sensations in which the tactility, sensuality and
physicality of the objects is important. This can been seen in her most recent solo exhibition flockOmania where she collaborated with contemporary dance artists.
The interdisciplinary and collaborative nature of her works moves beyond Jewellery and into the
fields of performance, sound, and dance. This open-minded approach to challenging the boundaries
of jewellery coupled with an intuitive relationship with materials is the driving force and motivation
behind her work. Design ideas arise by experimenting with a breadth of unconventional materials
often industrial in nature and the combination of these processes continually serve to initiate a visual
language which is capitalised upon to create her work.
Her studio The Dual Works Ltd is based in the Jewellery Quarter, Birmingham, United Kingdom.
Her work is exhibited within an international arena and images are published extensively, to see more
visit the exhibitions and publications pages of her website.
DISCIPLINES: Artist, Jewellery, Site Specific, Improvisation, Contemporary, Installation

flockOmania
www.flockOmania.com is a solo exhibition and installation showcasing wearable sculpture which
explores the relationship between Jewellery, Dance and Performance. It was created by Zoe Robertson in response to a collaborative relationship with dance artists Dr Natalie Garrett Brown and Amy
Voris. Their background in contemporary dance, movement improvisation and site based performance
provided the catalyst for this body of work.
The resulting jewellery is theatrically-sized to emphasize and explore themes relating to the scale and
movement of the body. The installation challenges the traditional conventions of jewellery display
whereby the work hangs freely in the space rather than being contained by a glass cabinet. This creates an immersive environment which encourages performativity, audience interaction and response.
Whereby the space is seen as a laboratory of making in which the dance artists improvise movement
and the audience is invited to interact, to touch, to play, to wear, to explore, and to respond.
A series of durational dance interventions led to a grand finale by the collaborating artists. Working
across art forms of sound, light, dance, photography and film these artists created an atmospheric,
dynamic environment within which the dancers explored the ever- changing relationships between the
object, body and space.
This work is site responsive and can be re-imagined for promenading to immersive environments
depending on the location and requirements for touring.
Production History: Lanchester Gallery (UK) Spring 2015, Parkside Gallery (UK) Spring 2016
Video: https://vimeo.com/127816443
Contact: [email protected]
Website: http://www.zoerobertson.co.uk
@_Zoe_Robertson

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Index of Disciplines

332

Index
Acrobatics........................ 171
Actor................................ 183
Adaptation....................... 221
Aerial................................. 73
Aesthetics........................... 23
Analogical........................ 175
Animation.......................... 91
Artepovera.......................... 17
Artist................................ 331
Arts... 73, 115, 121, 139, 159,
163, 167, 261, 279, 299, 325
Assemblage....................... 249
Atention........................... 287
Audience.......................... 139
Audio......................... 39, 105
Auditory................... 221, 245
Ballet................................ 285
Based-.............................. 185
Blues................................ 305
Body.15, 23, 29, 65, 137, 179
Body-art........................... 113
Buddhism........................ 279
Burlesque........................... 51
Butoh........................... 13, 29
Cabaret...................... 51, 317
Ceramic........................... 213
Choral.............................. 139
Cinema................ 41, 63, 321
Circus.......... 73, 75, 251, 325
Clowning........................... 33
Collage............................. 181
Comedy........................... 203
Community....................... 27
Composer.................. 47, 125
Concept........................... 127
Creation............................. 15
Critical............................. 107
Crossover......................... 313
Culinary............................. 89
Cultural.............................. 89
Culture..................... 221, 245
Curation.................. 275, 319
Dance...... 3, 7, 11, 13, 25, 29,
31, 39, 41, 55, 57, 65, 71, 75,
79, 81, 83, 87, 89, 93, 97, 101,
103, 107, 119, 121, 129, 131,
133, 135, 147, 159, 161, 163,
165, 171, 177, 179, 185, 187,
189, 191, 199, 209, 211, 217,
223, 233, 235, 243, 247, 251,
253, 255, 269, 273, 275, 281,

Da285, 293, 295, 299, 307,

309, 317, 321, 323, 325, 329
Dancer............................. 271
Dances............................... 73
Dancing........................... 305
Design.............. 111, 143, 329
Devised............................ 225
Deviser............................. 125
Devising........................... 139
Devotion............................ 21
Dialogue.......................... 107
Digital...................... 221, 293
Director........................... 125
Discipline........................... 21
Drawing..... 53, 207, 263, 301
Durational........................ 217
Ecology.............................. 89
Education... 81, 111, 143, 287
Electronic......................... 245
Engaged........................... 279
Ethnojazz......................... 129
Exchange.......................... 269
Expression.......................... 15
Facial................................ 171
Fashion....... 71, 133, 199, 311
Feminism......................... 175
Field................................... 15
Film......... 133, 169, 199, 265
Filmmaker........................ 271
Flamenco......................... 253
Forms............................... 191
Free.................................... 15
Fusion.............................. 129
Gender............................... 33
Glass................................ 213
Happening....................... 315
Healing.................... 279, 315
Historical........................... 41
Immersive.................. 39, 297
Improvised....................... 305
Insistence........................... 21
Intermedia.......... 85, 105, 307
Intimate........................... 107
Japanese........................... 139
Jazz........................... 257, 291
Jewellery........................... 331
Journalism........................ 175
Kinetic............................... 69
Laboratory....................... 215
Land................................. 239
Language............................ 49
Lectures............................ 247

Contemporary Performance Almanac 2016

Light.......................... 69, 157

Literature......................... 299
Live.41, 63, 71, 121, 151, 231,
245
Liveart.............................. 237
Loyalty............................... 21
Magic......................... 75, 325
Makeup............................ 171
Making.............................. 99
Masks............................... 139
Media.. 59, 97, 133, 167, 187,
203, 255, 293
Medicine.......................... 143
Mind.................................. 15
Modern............ 117, 201, 257
Motion............................... 11
Movement... 7, 15, 25, 35, 43,
217, 273, 297
Movoment......................... 95
Multimedia............. 9, 41, 63,
75, 91, 99, 213, 215, 233, 243,
303, 317
Multimidea...................... 205
Music.................. 3, 5, 13, 29,
65, 67, 77, 121, 129, 139, 151,
167, 171, 199, 203, 205, 219,
277, 291, 299, 313
Narrative.......................... 221
Native................................ 89
Noise.................................. 71
One-mans........................ 315
Opera............................... 317
Outdoor........................... 315
Painter.............................. 239
Painting..... 99, 115, 121, 219,
247, 267
Partner............................. 305
Patience.............................. 21
Peformance...................... 245
Percussive......................... 129
Performing......... 13, 159, 213
Philosophy......... 41, 175, 185
Photo........................... 9, 145
Physical.29, 31, 73, 107, 121,
135, 139, 175, 179, 251, 309
Plant................................ 143
Playwright........................ 183
Poetry....... 141, 199, 217, 241
Political.................... 179, 223
Practice............................ 143
Practice-........................... 185
Print................................... 99

333

Production....................... 143
Projection............................. 5
Public-art......................... 283
Puppetry... 35, 139, 151, 275,
317
Puppets............................ 173
Queer................................. 25
Relational................... 23, 279
Research.15, 111, 185, 217, 307
Researcher........................ 271
Resistance......................... 277
Ritual................................. 25
Robotics........................... 227
Scenic............................... 313
Sculptor........................... 239
Sculpture.23, 69, 105, 153, 165,
207, 241, 263, 283, 301
Service.............................. 315
Singer............................... 125
Site................... 105, 113, 331
Site-based........................... 39
Social............................... 143
Socially............................. 279
Solo.................................... 33
Song............................. 65, 87
Sound... 11, 49, 69, 169, 227,
241, 245, 275
Spatial.............................. 111
Specific..................... 113, 331
Spectacle............................ 27
Stageart............................ 131
Street................................ 251
Strenght............................. 21
Studies............................... 33
Support.............................. 15
Teaching........................... 263
Technology....................... 303
Text.................................. 147
Theater.......................... 3, 41,
65, 79, 89, 101, 161, 165, 181,
199, 203, 229, 243, 251, 275,
281, 297, 303, 309, 311, 317
Theatre............ 29, 31, 43, 51,
55, 59, 73, 77, 81, 87, 97, 107,
121, 123, 135, 139, 147, 163,
171, 173, 175, 177, 179, 191,
205, 209, 215, 225, 231, 233,
235, 259, 287, 289, 293, 313,
315, 325
Theory........................ 25, 127
Time-based........................ 69
Tracking............................. 11

334

Tragedy............................ 205
Urban....................... 137, 261
Video.7, 9, 23, 35, 37, 51, 53,
59, 67, 95, 105, 115, 143, 151,
153, 165, 167, 177, 195, 213,
241, 263, 265, 283, 293, 299,
321, 325, 327
Videoart..................... 19, 321
Video-art.......................... 113
Videomaker........................ 63
Visual.35, 43, 55, 73, 97, 115,
139, 163, 165, 167, 209, 213,
215, 225, 239, 251, 261, 287,
299, 323, 325, 329
Visuals................................ 11
Voice............................ 37, 65
Wrestling.......................... 285
Writer.............................. 125
Young............................... 139

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Contemporary Performance Almanac 2017
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Contemporary Performance Almanac 2016

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