performance program

PERFORMANCE
PROGRAM
PERFORMANCE
PROGRAM
CONTENTS
4
Festival Sponsors
6
Samita Sinha
Cipher
17
Cynthia Hopkins
A Living Documentary
18
Mammalian Diving Reflex
All the Sex I’ve Ever Had
8
Tanya Tagaq
Tanya Tagaq in concert with Nanook of the
North
19
Jack Ferver
Mon, Ma, Mes
9
Eisa Jocson
Death of the Pole Dancer & Macho Dancer
20
Halory Goerger & Antoine Defoort
GERMINAL
10
Bodycartography Project
Super Nature (an Installation)
21
Paul Clipson & Liz Harris
HYPNOSIS DISPLAY
11
Tahni Holt
Duet Love
22
chelfitsch
Ground & Floor
13
Tim Hecker
24
Visual Art at TBA:14
As round as an apple, as deep as a cup
14
Luke George & Collaborators
Not About Face
15
Maya Beiser
UNCOVERED
Featuring members of the
Portland Cello Project
25
THE WORKS
26
So-Good Meals
Food & Drink at THE WORKS
A NOTE
FROM
ARTISTIC
DIRECTOR
ANGELA
MATTOX
Welcome to the 12th edition of PICA’s TimeBased Art Festival!
TBA will change you.
TBA will make you see the world
in new ways.
Spoken by a local fan, I was deeply moved
and inspired by the simplicity and potency
of this sentiment. Our annual ten-day
festival celebrates our contemporary
moment by presenting artists who challenge
social boundaries, cultural assumptions,
and artistic forms. TBA is a platform for
discovery and exchange, and reminds us of
the potential for art to inspire, to confront,
and to awaken.
This year’s TBA Festival encompasses
performances and exhibitions by local
and global artists who are fearless in their
experimentation and rigorous in their
inquiry, revealing a poignant reflection
of our artistic moment. While the festival
is determinedly multi-disciplinary, a
convergence of forms and aesthetic
perspectives, this year’s program places
particular emphasis on new, interdisciplinary
music and vocal experiments. I was
particularly moved by the force of the
human voice. From Inuit throat singer Tanya
Tagaq’s Nanook of the North, to the world
premiere of Cipher by Samita Sinha, many
of the projects highlight artists who traverse
traditional techniques to create bold
contemporary expressions and question
conventional notions of cultural identity.
While not bound by a singular theme, the
Festival’s connective undercurrents expose
a commonality of questions and societal
aspirations—from the whimsical approach
of the French collective behind GERMINAL,
a piece that constructs a community and a
world at the point of inception, to the deeply
contemplative Ground and Floor by Toshiki
Okada’s chelfitsch, which ruminates on a
post-traumatic society reconciling its future.
We encourage you to delve fully into the
Festival to discover unexpected layers and
connections between the projects. Your
responses and reflections are vital, which
is why we have created more opportunities
to engage with artists and fellow audiences,
from candid artist talks, to contextual
lectures, participatory workshops and
forums. We hope these Festival experiences
are rich, complex, and enduring. Thank you
for your generosity, for your willingness to
shed expectations and wholly engage with
the work, with the artists, with each other.
Angela Mattox, PICA Artistic Director
4
SUPERHERO SPONSORS
SPONSORS
PRESENTING SPONSORS
MAJOR SPONSORS
Holst Architecture
Heinz Records/Pink Martini
Enterprise Holdings
Bill Boese
Kristin Bremer & Steve Moore
Lisa Brooke
Lucinda Carmichael
Hugh d’Autremont
Rosine & Colin Evans
Julianne & Tim Hershey
Susan Hoffman & Fred Trullinger
Deborah Horrell & Kit Gillem
Peter Koehler Jr. & Noël Hanlon
Dorothy Lemelson
Alex & Lynn Miller
Betsy Miller
Ryan Noon & Dylan Parkins
Reuben Roqueni & Marlana Donehoo
Kelly Saito
Howard Shapiro
Jill Sherman & Marc Monaghan
Susan Sterne & Pete Kellers
Michael Tingley & Ellen Fortin
M.J. Murdock Charitible Trust
Advantis Credit Union Grow Fund
The Autzen Foundation
The Equity Foundation
MAP Fund
WESTAF
Wieden + Kennedy
Tonkon Torp LLP
Gerding Edlen
Boora Architects
Poler
Perkins & Co.
The Standard Insurance Employee
Matching Program
The Native Arts & Cultures Foundation
Kristy Edmunds & Ros Warby
Barnes Ellis
Ferguson Wellman Capital Management
Rick Frey
Victoria Frey & Peter Leitner
Steve Galloway
MK Guth & Greg Landry
Twink Hinds & Graeme Harrison
Robert & Terri Hopkins
Beth Hutchins & Pete Skeggs
Phil Iosca
Aleksandar & Larissa Kirovski
Sally & John Lawrence
Kathleen Lewis
Mark London
Tom Maher & Kacey Baxter
John Mayo
Casey Mills & Carmen Calzacorta
Paul Schneider & Lauren Eulau
Ethan Seltzer & Melanie Plaut
Bonnie Serkin & Will Emery
Jim Sampson & Geof Beasley
Thomas & Megan Shipley
Lori & Dick Singer
Topher Sinkinson
Stephanie & Jonathan Snyder
Kathleen & Leigh Stephenson-Kuhn
Annette Thurston
Kricken & James Yaker
HERENOW Creative Network
SERA Architecture
The Jackson Foundation
NORTH
Ferguson Wellman Capital Management
NW Natural
Mark Spencer Hotel
Union Bank
The Japan Foundation
Kathy & James Gentry
Swich, LLC
SUPPORTER
ADVOCATE
Pamela Baker Miller & Kent Richardson
Marc Bales
Jane & Spencer Beebe & PDX Contemporary Art
Shari & John Behnke
Annie Bellman & Michael Woods
Louisa Brown
Marianne Buchwalter
Philip Cole
Theo & Nancy Downes-Leguin
Cynthia & Steven Addams
Byron Beck & Juan Martinez
Lisa Berkson Platt & David Platt
Big Sky Fund of the Equity Foundation
Jolanta Bott
Alex Cole
Stephen Domreis
Jennifer Dunn
Ann & Mark Edlen
MAJOR MEDIA SPONSORS
SUPERHERO
Leslie B. Durst
Calligram Foundation
Andy Warhol Foundation for the Visual Arts
Paul G. Allen Family Foundation
PRESENTING
Dan Wieden & Priscilla Bernard Wieden
Oregon Arts Commission
National Endowment for the Arts
Regional Arts & Culture Council, including support
from the City of Portland; Clackamas, Multnomah,
& Washington Counties; & Metro
Work for Art, including contributions from more
than 60 companies and 1600 employees in
the region
Maybelle Clark Macdonald Fund
Engaging Dance Audiences
MAJOR
Linda Hutchins & John Montague
TC Smith & Showdrape, Inc.
Charlie & Darci Swindells
Dan Winter & John Forsgren
Dorie & Larry Vollum
National Performance Network
New England Foundation for the Arts
Kinsman Foundation
French American Cultural Exchange
The Boeing Company
Travel Portland
Nordstom
CHAMPION
Jana Bauman & John Baker
Claudia & Harry Bray
Chris Israel & Jason Bell
Kirk & Jessica Kelley
Sarah Miller Meigs & Andrew Meigs
Christiane Millinger & Anton Pardini
The Anne K. Millis Fund of the Oregon
Community Foundation
Eric Philps & Laura VanHouten
Jane Schiffhauer
John Shipley
Al Solheim
Jeff Stuhr & Peter Kalen
McGraw Family Foundation
Goddard College
NIKE
Heinz Records
PATRON
5
SPONSORS
Pam Greene & Hans Kretschmer
Stephen Gomez & Shannon Holt
Pat & Kelley Harrington
Dave Holt & Karen Babbitt
Robert & Pamela Howard
Kay Hutchinson
Philip Iosca Jr.
Elizabeth Leach
Julie Mancini & Dennis Bromka
Jeffrey Morgan
Trudi & Richard Morrison
Steven Neighorn
Barry Pelzner & Deborah Pollack
Michael Scott & Cullen Brady
Ann Shipley & Benjamin Dean
Angela & Rex Snow
Kim Sordyl & John McCalla
Sylvia & George Sterne
Carol & Elton Storment
Ken & Mary Unkeles
Sharon Urry & Scott Soutter
Liz Weldon & Kurt Parker
Joey Wolf & Lisa Rackner
EF Institute for Cultural Exchange, Inc
Meyer Memorial Trust
The Big Sky Fund of Equity Foundation
IBM International Foundation
Stoel Rives LLP
+Citizen
Cargo
IBM Foundation, Matching Gift Program
Eric & Heiki Von Der Heyden
Meri & Jonathan Kemp
Kennedy Dental
ENTHUSIAST
Ben Archibald
Bettina & Fred Blank
Dennis Brown & Dave Meeker
Tina Bue
Eric Busch
Oonie Chase
David Cress
Alan Davis
MaryAnn Deffenbaugh
Jeff Dey & Heather Amuny-Dey
Mary Elliott & Mark Friedman
Cathy Edwards & Mike Wishnie
Dr. Christina Fox & Travis Pond
David Fredrickson & Shay Carrillo
Dick & Vicki Frey
Joan Frosch
Kyle & Charles Fuchs
Patricia Gardner
Teri & Christopher Gelber
Lorraine Guthrie & Erik Kiaer
Luisa Adrianzen Guyer & Leigh Guyer
Jo Haemer & Timothy Green
Lourri Hammack
Michael Hummel
Jeanine Jablonski
Shannon Jackson & Michael Korcuska
Brendan Kennedy & Kenny Mellman
Michael & Kristen Kern
Paul King & Walter Jaffe
Yolanda Klein
Howard Lichter & Bec Frieberg
John Light & Patricia Barnes-Light
Chris & Barbara Linn
Michael Long
Alice & Hal McCartor
Larry Moiola
Martin Müller
Denise Mullen
Megan & John Murphy
Claire Paris
Andrea Pastega Vloon
Mark Ray
Eliot & Lilith Rockett
Cara Rozell
Steve & Susan Rupert
Ethan & Carol Smith
Richard Solomon & Alyce Flitcraft
Mark Solon & Donnie Tankersley
Jennifer Spillers
Patti Stein
Kim Thomas & John Morrison
George & Nancy Thorn
Todd Tubutis
Aimee Watkins Litch
Johnna Wells
Katie West & Todd Herman
Sarah Wilke & Brandon Pemberton
Benjamin Wolkov
Ann Wylie
Pride Foundation
Nick & Konstantina Khoury
Swan Paik
CONTRIBUTOR
Jamin Aasum
David Banyan
Marni Beardsley & Kevin Diller
Michelle Berlin
Edward Berman
Andrew Billing & Sara DeWaay
Matthew Boal
Erica Boberg & Ben Gonzalez
Karen Brooks
Marc Bruun & Blake Hedinger Bruun
Kim Carlson & Larry Shatuck
Anibal Casso
Whitney Chapman & Clint Werner
Emily Chenoweth
Nan Curtis & Marty Houston
Linda Czopek
Lisa & Michael Czysz
Andrew Dickson & Susan Beal
Steve Dotterrer & Kevin Kraus
Gabrielle Drinard
Garek Druss
Daniel Duford & Tracy Schlapp
Kevin Valk & Jennifer Dzienis
Karen & Randy Feldhaus
Courtney Fink
Sarah Flanagan
Michelle Fujii & Toru Watanabe
Nancy Gelles
Steve Goodman
Ronda Haas-Huntze
Jonathan Hart & Patrick Long
Justin Hays
David Hidalgo & John Bischof
Tom & Edwardeen Hilts
Judy Jacobson
Nuri Katz
Ellina Kevorkian
Karen Kiefaber
Fergus Kinnell
Cynthia Kirk & Jim Leisy
Adam Kuby
Yoshio & Nikki Kurosaki
Karen Lee
Casey Lehner
Richard Leitner
Peter & Karen Leonard
Patrick Leonard & Amanda Peden
Doug Lovett
Jay Margulies & Susan Hawkins
Mary Miele
Jeff Miller
Jordan & Taylor Morrell
James Opie
Byron Oshiro
Esther Park & Omar Clemetson
Daniel Peabody
Al & Fannie Phillips
Diane Ponti
Mary Priester & Mike Papas
Jill Raynor-Holdcroft
Evan & Jennifer Reynolds
Renee Rothauge & Matt Palmer
Mark Russell & Jennifer Goodale
Richard Sarnoff
Tracy Savage Mollenholt
Bette Sinclair
Kathryn Sklar
Tricia Snell
Lydia Stacy
Paul Steiner
Steven Sterne
Cerinda Survant & David Kaplin
Jon Tarry
Anna Telcs
Eleanor Thalheimer
Storm Tharp & Mike Blasberg
Ellen Thomas & Fred Cann
Joe Thurston
Barry Tonkin
Manny Vellon
Carrie Walkiewicz
Holcombe Waller
Howard Weinstein & Kayley W. Cook
Kaie Wellman & Kevin DeGarmo
Jo Whitsell
Evan Wilcox
Cory & Dawn Zimmerman
Monograph Bookwerks
Le Happy
Grow Film Company
Eutectic Gallery
Cosmonaut Creative Media
Jennifer Fowler
Kari Skedsvold & Bob Workmeister
Jeff & Donna Jones & Wax
Michael Kennedy
Aaron Woldrich
DThree Productions
Randolph Foster
Ann McCauley
Richard Yugler & Christine Tarpey
Alison & Dean Freed
Anna & Alexander Dvortcsak
Don & Jennifer Arancibia
Richard Brown Architect
ADDITIONAL SUPPORT
Aesop
Allied Fire & Security
Bindery LLC
Dennis Uniform
DocuMart
Douglass F. Cooley Memorial Art Gallery
at Reed College
Ecotrust
Fort George Brewery
Full Sail Brewing Company
Georgia Straight
Grüner Restaurant
KINK FM
Kask
Mitchell Wines
New Deal Distillery
Noetic Design, Inc.
North Country Productions, Alan T. Jones
Parrilli Renison LLC
PSU Shattuck Annex
Ransom Spirits
Stumptown Coffee
The Mark Spencer Hotel
The Paramount Hotel
Magnolia Properties
The Ace Hotel
Fourteen30 Gallery
The Lumber Room
Val Enterprises
6
SAMITA SINHA
SAMITA SINHA
Cipher
WORLD PREMIERE
Winningstad Theater
(Portland’5)
Fri, Sept 12
Sat, Sept 13
6:30 pm
CREDITS
Produced by MAPP International Productions
Created and Performed by Samita Sinha
Lighting Design/Director of Production: Christopher Kuhl
Sound Design: Dave Sharma
Visual and Scenic Designer: Dani Leventhal
Costume Designer: Anna Telcs
Artistic Advisor: Toumas Laitinen
Lighting Design Assistant: Devin Cameron
Artist Statement
There is a thread that runs through the
chaotic multitude of eras and cultures and
energies that inhabit us.
By unraveling Indian music (raga, specifically
khayal) into fundamental principles—of
tone, rhythm, line, embodiment, and
language—I create a compositional language
for ciphering, a hybrid of vocal music and
performance. The voice unspools and
communicates within analog and digital
soundscapes of rhythms and drones. Certain
sounds have meaning as objects as well as
sonically.
Cipher is the bottom of what moves the
voice to utter, and the transparent surface
where we see its shapes. Recovering instinct,
I sink voice into body and let body emerge
through voice, unraveling the self as I
unravel form. New forms arise as containers
for the twin unravelings, borne of what is
not yet written.
Set List / Order of Movements
breath lines
threadb(e)are(r): a blues
i ink
ii thunder
iii blue sky gravity
PHOTO: RASU JILANI
The voice becomes this thread in Cipher.
at Watermill Center (NY), Kelly-Strayhorn
Theater (PA), Macalaster College (MN),
and UC Berkeley; and in Delhi and Assam,
India. Her awards include grants from the
National Endowment for the Arts, New York
State Council on the Arts, Queens Council
on the Arts, Urban Arts Initiative, and a
Fulbright Scholarship; and residencies with
Atlas Performing Arts Center (DC), BRICLab
(NY), Coleman Center for the Arts (AL),
Millay Colony for the Arts (NY), Ohio State
University, and The Watermill Center (NY).
three and one
love song
Samita Sinha combines tradition with
experiment to create bold new forms,
combining a deep grounding in North
Indian classical vocal music with jazz,
electronic, folk, and ritual music in multiple
languages. Her compositions include scores
for Fiona Templeton’s performance epic,
THE MEDEAD (2012); Parijat Desai Dance
Company’s Make Space (2010); and Jaishri
Abichandani’s multimedia work Three
Muses (2006). She has performed her
solo projects at Center for Performance
Research, Chocolate Factory, Issue Project
Room, Roulette, and The Stone (all NYC);
As a vocalist, Sinha has toured
internationally with Sekou Sundiata’s the
51st (dream) state; in a 2011 revival of Robert
Ashley’s That Morning Thing; and with Daria
Fain and Robert Kocik’s Commons Choir
(which she also vocal directed). Her newest
ensemble project is Tongues in Trees, a
trio with Sunny Jain and guitarist Grey
McMurray. Earlier ensembles include her
Indo-jazz collective, Kaash; and composer/
pianist Marc Cary’s Focus Trio (electroacoustic jazz) and Anatomy (electronic
music). Committed to combining art and
civic practice, Sinha has devised and led
social singing rituals that bring together
diverse groups of people in varied public
settings, including a series of Peoples’
Potlucks through NYC; the Community
Coalition Choir in York, AL; and Community
Sings in her Queens neighborhood. The
development of her new work, Cipher,
includes the Exploring Your Voice
workshops for young women of color in NYC.
Christopher Kuhl is a lighting, scenic,
installation, and conceptual designer for
new performance, theatre, dance, and opera.
Recent work includes Voices of Strength:
A Mini Festival of Contemporary Dance &
Theater by Women from Africa (Produced
by MAPP International Productions),
HOLOSCENES and ABACUS with Early
Morning Opera (Sundance Film Festival,
EMPAC); The Elephant Room with Rainpan
43 (Philly Live Arts, Arena Stage, St. Ann’s
Warehouse, Center Theatre Group); Quartier
Libres by Nadia Beugré (New York Live
Arts); Soldier Songs (Prototype Festival);
The Nether, The Author and Eclipsed (Center
Theatre Group); John Cage Song Books
with SF Symphony (Carnegie Hall); Under
Polaris with Cloud Eye Control (REDCAT,
EXIT Festival Paris, Fusebox Festival); Watch
her not know it now by Meg Wolfe (REDCAT);
Motherhood Out Loud (Primary Stages, The
Geffen); How to Completely Disappear for
which Kuhl won an Ovation Award (Boston
7
SAMITA SINHA
Court Theatre); and Everyone Who Looks
Like You, Undine, and My Mind Is Like An
Open Meadow (Hand2Mouth Theatre). Kuhl
was Lighting Director for Ralph Lemon’s
How Can You Stay In The House All Day And
Not Go Anywhere? and has also had the
pleasure of working and making art at On
the Boards, The Kennedy Center, The Walker,
The Krannert Center, YBCA, Portland Center
Stage, Hartford Stage, Dallas Theatre Center,
BAM, Jacob’s Pillow, LA Opera, Santa Fe
Opera, Beijing Music Festival, Queer Zagreb,
KVS Belgium, MAC France, Santiago a Mil
Chile, Reed College, Columbia College and
Duke University. In 2011, Chris was the
recipient of the Sherwood, Drammy, Horton,
and Ovation Awards. Chris is originally from
New Mexico and a graduate of CalArts.
Dave Sharma, producer/percussionist, has
spent a decade consistently working on
boundary-pushing projects in New York City
and abroad. As a producer and writer, he
has worked on projects with Kendra Foster
(D’Angelo/George Clinton), Arama Brown
(Hannah Montana), Jason Castro (American
Idol), DJ Rekha (Basement Bhangra),
Brazilian vocalist Zuzuka Poderosa,
Canadian band Delhi 2 Dublin, and the
independent film, A Decent Arrangement. As
a percussionist, Dave can be found touring
everywhere from the Montreal Jazz Fest
to Barcelona with the 17-member-strong
Brooklyn disco orchestra Escort; he also
performs on drumset and electronics with
techno balladeer MNDR. In 2008, he played
drumset and percussion with electronic
artist Moby, including at Wembley Stadium
and Rock: Werchter. Sub Swara, his own colead group, has been recognized by Rolling
Stone, the BBC, Pitchfork, and the Fader
for bridging electronic music with organic
elements. As a solo electronic artist and
DJ, his releases have been profiled by DJ
magazine and numerous blogs. Additionally,
Dave was a featured player in both the
Broadway and national tour productions of
A.R. Rahman and Andrew Lloyd Webber’s
Bombay Dreams, and subsequently worked
on the development of Disney’s Tarzan:
The Musical. Dave is a teaching artist with
both Carnegie Hall’s Musical Connections
program and the Mark Morris Dance
Group’s outreach program; performing to
underserved communities in New York City.
As part of the Musical Connections program,
he co-led a songwriting workshop with
fellow artist Falu and Found Sound Nation
in late 2011 at the Crossroads Juvenile
Detention Center in Brooklyn, NY. He is a
tabla student of Pdt. Samir Chatterjee at the
Chhandayan Center of Indian Music, where
he also teaches.
Dani Leventhal, Scenic and Visual designer,
employs a process of accumulation and
excision to create videos and drawings that
unearth a curious beauty in the minutiae of
everyday life. In 2003, she received an MFA
in sculpture from the University of Illinois
at Chicago and, in 2009, an MFA in film/
video from Bard College. She has screened
her work at The Rotterdam International
Film Festival, The Gene Siskel Film Center,
PS1, and Anthology Film Archives. Leventhal
has been the recipient of numerous grants
and awards, among them the Wexner Center
Film/Video Residency, the Milton Avery
Fine Arts Award, the Astraea Visual Arts
Grant, and the Post MFA Fellowship at The
Ohio State University. Her work is in the
permanent collections of the Museum of
Modern Art, The University of Illinois at
Chicago and Yale University.
Anna Telcs is a textile sculptor who creates
hand sewn textile collections for both public
performances and display. She trained
in both Industrial Design (University of
Washington) and in Humanities (Seattle
University). In 2004, Anna moved from
Seattle to New York to work in the Fashion
Industry, where she worked with London
Fog, Thom Browne, and Helmut Lang. In
February 2012, she completed a residency
with Robert Wilson at the Watermill Center.
As a current resident of Seattle, Anna’s
design work has been featured on both
the East and West coasts. Anna’s approach
to design work attempts to question the
existing perceptions around manufacturing,
worth, and beauty, ultimately seeking to
go deeper into the armature of the fashion
object itself as well as the systems and
structures that contextualize and regulate
it. This aesthetic can be found in her most
recent project The Dowsing, which was first
conceptualized during her residency at the
Watermill Center. The Dowsing has since
been displayed twice in New York, including
a showing at the America Society.
Toumas Laitinen is a Helsinki-based director,
performance artist, curator, and writer. For
the past ten years his home base has been
Reality Research Center, an experimental
performative arts collective committed
to questioning the nature of reality. He
invents new forms of performance based
on the bodily participation of the audience.
He has innovated performances in the
form of retreats, an esoteric philosophical
school, pedagogical systems, secular rituals,
guided walks through urban spaces, and a
methodology of immortality. Laitinen has
worked widely as a director and curator
in the field of contemporary theatre and
performance art in Finland, and has been
active in creating organizational foundations
for the unorganized field of performance in
Finland.
Cipher is a National Performance
Network (NPN) Creation Fund project
co-commissioned by Portland Institute for
Contemporary Art (PICA) in partnership
with REDCAT, and Center for the Arts at
Virginia Tech and NPN. The Creation Fund
is supported by the Doris Duke Charitable
Foundation, Ford Foundation, and the
National Endowment for the Arts (a federal
agency). The Forth Fund is supported by
the Andrew W. Mellon Foundation. Cipher
is co-commissioned by Wexner Center for
the Arts at The Ohio State University, and
was developed in part with the support of
BRIC (Brooklyn, NY), Atlas Center for the
Performing Arts (Washington, DC), and
Topaz Arts (Queens, NY).
Cipher has also received funding support
from the National Endowment for the
Arts, and individual donors: Marion Kaplan,
Stephen Cowan, Arnie Zimmerman, Kenneth
and Kathaleen Lang, Solé Pierce, Irene
Krugman, Lois Gudeon Sloan, and others. A
special acknowledgement to Sam Sweet for
his generous support and contribution to
Cipher.
Artist’s Acknowledgments
Cipher is a “solo” work that would not have
been possible without an army of people.
My deep gratitude to Dani Leventhal,
Dave Sharma, Chris Kuhl, Anna Telcs, and
Tuomas Laitinen for gracefully co-shaping
the whole. To MAPP: Cathy Zimmerman
for going above and beyond, Joyce Lawler,
Rasu Jilani, Michelle Coe, Julia GutiérrezRivera, and Jonathan Kitt for unconditional
support and heroic efforts. To Laetitia
Sonami, Daria Fain, Ralph Lemon, and
Stephen Cowan for profound guidance, to
Shubhangi Sakhalkar, Alka Dev Marulkar and
Shiv Shankar Pandey for profound musical
foundations. To Sekou Sundiata. To Monica
Kim for this space and Maximilian Balduzzi
for faith, to Jesse Harold, Isaac Cheng, Aram
Jibilian, Julia Ulehla, Bonnie Jones, and
Andrew Zimmerman for living alongside
and witnessing. To Tongues in Trees for
music. To Bob Bielecki and Marc Cary for
tech wizardry. To BRIC, especially Emily
Harney; Topaz Arts; Rubin Museum; Panoply
Performance Lab, Watermill, and Marion
Kaplan. Finally, to Sikha and Awadhesh
Sinha, Didi, and Dipu for giving me life and
love.
MAPP International Productions is a
nonprofit performing arts producing
organization that develops sustainable
environments for artists to create, premiere
and perform contemporary performing arts
projects, and to use arts, humanities, and
dialogue to advance appreciation of diverse
cultures and perspectives. MAPP’s curatorial
vision leads it to seek out artists on the
cutting edge of their disciplines, artists who
lead the way in tackling complex subject
matter and experimenting with form, and
whose works are the engine that continually
pushes the cultural conversation forward
in our society. MAPP realizes its mission
through three interconnected programs—
New Works, Artist-Public Dialogues, and
MAPP on Tour—and through its national
and international programs, the Community
Engagement and Public Humanities
initiatives, and The Africa Contemporary
Arts Consortium. Since its founding in
1994, MAPP has produced 47 acclaimed
multidisciplinary performing arts projects
created and performed by more than 400
artists, and produced over 70 national
tours, bringing these works to public in
42 U.S. states and 16 countries. MAPP has
introduced the U.S. public to artists from 25
countries in Asia, Africa, Europe, Australia,
and the Caribbean.
8
TANYA TAGAQ
TANYA TAGAQ
Tanya Tagaq in concert
with Nanook of the
North
WEST COAST PREMIERE
PSU Lincoln Hall
Fri, Sept 12
Sat, Sept 13
8:30 pm
CREDITS
Film Director and Producer: Robert J. Flaherty
Live Performers: Tanya Tagaq, Jesse Zubot, and Jean Martin
Soundscape Composer: Derek Charke
[Tagaq] made [Inuit throat singing] sound
fiercely contemporary, futuristic even.
Recalling animal noises and various other
nature sounds, she is a dynamo, delivering
a sort of gothic sound art while stalking the
stage with feral energy. —Jon Caramanica,
The New York Times
In this concert for film, Tagaq fuses her
voice and musical talents to create a
mesmerizing, original soundscape for
Nanook of the North, perhaps the most
famous (and perhaps most infamous) film
ever made about indigenous people. Tagaq’s
haunting throat singing combines with
violinist Jesse Zubot and drummer Jean
Martin’s improvisatory genius and Juno
Award-winning composer Derek Charke’s
original film score to frame film pioneer
Robert Flaherty’s 1922 semi-documentary in
a new, contemporary light.
Experimenting with and honing her personal
style in Inuit throat singing since she was
a teenager in Nunavut, innovative vocalist
Tanya Tagaq can capture the most ethereal
moments of desire, or find the deepest,
huskiest, beating pulse, with her voice and
breath. She creates soundscapes from
inhalation and exhalation, summoning
powerful emotion from the smallest
movement of lips, throat, and lungs.
Tanya Tagaq’s music isn’t like anything
you’ve heard before. Unnerving and
exquisite, Tagaq’s unique vocal expression
may be rooted in Inuit throat singing but her
music has as much to do with electronica,
industrial, and metal influences as it does
with traditional culture.
This Inuk punk is known for delivering
fearsome, elemental performances that are
visceral and physical, heaving and breathing
and alive. Her shows draw incredulous
response from worldwide audiences, and
Tagaq’s tours tend to jump back and forth
over the map of the world. From a Mexican
EDM festival to Carnegie Hall, her music and
performances transcend language.
PHOTO: IVAN OTIS
Scream.
Grunt.
Growl, groan.
Flutter. Quiver. Howl.
Tagaq makes musical friends and
collaborators with an array of like-minded
talents: opera singers, avant-garde violin
composers, experimental DJs, all cutting
edge and challenging. Tanya’s albums make
for complex listening, but her string of Juno
nominations attests to her ability to make
difficult music speak a universal tongue.
Tagaq’s newest CD, Animism, was produced
by west coast shape-shifter Jesse Zubot
(Dan Mangan, Fond of Tigers) with additional
production by Juan Hernandez. The record
features Michael Red (Low Indigo), a live
programmer whose wild northern field
recordings often serve as Tagaq’s de facto
backing band, percussionist Jean Martin,
and Belgian opera singer Anna Pardo
Canedo.
Tanya Tagaq in concert with Nanook of
the North was commissioned by TIFF Bell
Lightbox as part of its film retrospective
First Peoples Cinema: 1500 Nations, One
Tradition. Nanook of the North film is used
courtesy of The Flaherty.
U.S. representation: Bernstein Artists, Inc.
bernsarts.com
9
EISA JOCSON
EISA JOCSON
Death of the Pole Dancer
Macho Dancer
WEST COAST PREMIERE
BODYVOX
Fri, Sept 12
Sat, Sept 13
8:30 pm
CREDITS
Death of the Pole Dancer
Concept, Choreography, and Performance: Eisa Jocson
Coach and Dramaturgical Advice: Rasa Alksnyte
Commissioned by: In Transit Festival, Haus der
Kulturen der Welt, Berlin, 2011
Supported by: Nadine, Brussels
Technical Manager: Yap Seok Hui
Touring Manager: Tang Fu Kuen
As a woman portraying a seductive male
dancer, she is hauntingly accurate. —The New
York Times
Death of the Pole Dancer interrogates the
way we look at what we think we see. The
audience is propositioned to reflect on
what they are witnessing: a woman during
the act of pole dancing. The performance
re-negotiates notions of voyeurism and
restraint, vulnerability and violence,
sexuality and power.
Macho Dancer: In the Philippines “macho
dancing” is performed by young men in
nightclubs for male and female clientele.
With its culturally specific movement
vocabulary, macho dancing is a distinctly
Filipino phenomenon. It is an economically
motivated language of seduction that uses
notions of masculinity as body capital.
Macho Dancer is a solo work of a woman
performing a “macho dance” that works
to challenge our perception of sexuality
and questions gender as a tool for social
mobility.
The macho dancer, through his practice, is
pushed into a marginal, weak position in
society. However, the image that a macho
dancer simulates is that of a strong male.
The woman performing a macho dance
assimilates that role of a strong male, and
with transgressing gender, the performer
also seems to change her social status.
Nevertheless, since she engages in that
marginal practice that is macho dance
PHOTO: GIANNINA OTTIKER
Macho Dancer
Concept, Choreography, and Performance: Eisa Jocson
Light Design: Jan Maertens
Music Composition: Lina Lapelyte
Coach: Rasa Alksnyte
Dramaturgical Advice: Arco Renz
Songs: Devil’s Dance by Metallica, Total Eclipse Of The
Heart by Boney Tyler, Pagbigyang Muli by Erik Santos
Premiere: April 24, 2013 at Beursschouwburg
Co-production: Workspacebrussels, Beursschouwburg
Residency and Support: Workspacebrussels,
Beursschouwburg, Wpzimmer
Technical Manager: Yap Seok Hui
Touring Manager: Tang Fu Kuen
she remains vulnerable, weak, just like the
social status of an objectified woman. The
performance thus generates a “gender
loop” in which performer and audience
are entangled. The very act of this woman
performing a gender loop veers attention
towards her body as a product. By emulating
and simulating the macho dancer, she
investigates social, cultural, and economical
conditions that ultimately unveil this perfect,
normative body as a constructed body.
Eisa Jocson is a contemporary
choreographer and dancer from the
Philippines. Trained as a visual artist, with a
background in ballet, she won her first poledancing competition in Manila in 2010, and
also started pole ‘tagging’ and other public
interventions in Manhattan and various
cities.
Under successive residencies in Belgium,
Eisa developed an artistic praxis that
probes the stereotype and context of the
female pole dancer. Her Death of the Pole
Dancer solo toured Berlin, Brussels, Zurich,
Vienna, and Ljubljana. Eisa then trained in
macho dancing, and premiered the solo
Macho Dancer in spring 2013, which then
toured four important European summer
festivals: Impulstanz, Noorderzon, Tanz im
August, and Theater Spektakel in Zurich
where she won the Zürcher Kantonalbank
Acknowledgement Prize.
From pole to macho dancing, Eisa
investigates the labour and representations
of the dancing body in the service industry,
exposing gender formation, seduction
politics, and Filipino social mobility. Her next
work will uncover the world of ‘Japayuki’—
the foreign entertainers hired from the
Philippines to perform for the pleasure of
‘salary-men’ in clubs throughout Japan.
10
BODYCARTOGRAPHY PROJECT
BODYCARTOGRAPHY
PROJECT
Super Nature
(an installation)
WEST COAST PREMIERE
THE WORKS
Fri, Sept 12
Sat, Sept 13
Sun, Sept 14
12:00–6:00 pm
One audience participant every 15 min.
No reservations required.
CREDITS
Performers: Olive Bieringa, Anna Marie Shogren, Otto
Ramstad, and Willa Bartolmay.
Light: Heidi Eckwall
Sound: Zeena Parkins
BodyCartography Project’s Super Nature
is an intimate performance installation
for an audience of one in intervals of up
to fifteen minutes. One person encounters
one performer and has a kinesthetic
interaction. Both performer and audience
have agency to transform the energy
of the space through behavior, sensory
response, proximity, and interaction. The
result is distinct singular movement-based
performances that range from the sublimely
subtle to the grand. Super Nature endeavors
to choreograph empathy by provoking an
audience’s visceral response over the need
to immediately make narrative meaning.
As co-directors of the BodyCartography
Project Olive Bieringa (NZ) and Otto
Ramstad (USA) investigate empathy and
the physicality of space in urban, domestic,
wild, and social landscapes through dance,
performance, video, installation, and
movement education. Their works range
from intimate solos for the street, stage, or
gallery, to large community dance works,
short experimental films, and complex
works for the stage. They have created
performances, short films, and installations
across the USA, Canada, New Zealand,
Japan, Europe, Russia, and South America.
They were recently named “Dance Company
of the Year” by the Twin Cities City Pages
and are featured artists in the first book
about site dance in the USA published by
University of Florida Press entitled Site
Dance, the Lure of Alternative Spaces.
PHOTO: AARON HAYES
Here was a deeply intellectual experience of
consciousness conveyed through physicality.
Across the synapses between sensation and
thought, the animal and the human, the
ecological and illogical, the participants in
Super Nature roared, howled, tingled, and
leapt, flinging themselves over to feel out
the distance and, for a moment, close the
gap between the animal spirits and what it
means to act naturally.
—jkramer.net
Olive also curates projects such as Fall
2014, Twin Cities contact improvisation
series for the Cowles Center for Dance &
the Performing Arts, the artist/scientist
initiative City Art Collaboratory for Public
Art St Paul, SEEDS Festival/Somatic
Experiments in Earth, Dance, and Science,
an interdisciplinary arts and ecology festival,
at Earthdance in Massachusetts, and the
Kinesthetic Kino: International Dance
Cinema.
Additionally, Otto has been featured in the
work of D.D. Dorvillier, Miguel Gutierrez,
Morgan Thorson, Shelton Mann, Karen
Nelson, Lisa Schmitt, and Kitt Johnson from
Denmark. Otto has performed solo works
in Denmark, Finland, England, New Zealand,
Italy, NYC, and across the USA.
Anna Marie Shogren is a native
Minneapolitan come Brooklyn based dancer/
choreographer/artist. Her choreography
has been seen in NY/Brooklyn at the Dance
New Amsterdam, Gowanus Ballroom, St.
Cecilia’s Convent, and has been presented
by Movment Research at Judson Church,
AUNTS, Catch!, DNA, Dixon Place, and
the Good Gadfly; in Minneapolis at The
Walker Art Center, Southern Theater, Red
Eye Theater, Bryant Lake Bowl Theater,
and further. Installation work has been
shown at Center for Contemporary Art
Sacramento, Thomas Hunter Project Space
at Hunter College, 594 Loft, Fowler Art
Collective, and the Flux Factory. She loves
the Body Cartography Project. She has
also performed with choreographers Faye
Driscoll, Megan Byrne, Morgan Thorson,
Karen Sherman, Justin Jones, Laurie Van
Wieren, Chris Schlichting, Cynthia Stevens,
and others. Her design work includes
costuming for choreographers Morgan
Thorson, Benn Rasmussen, Katie Rose
McLaughlin, and herself. Shogren studied
at the University of Minnesota where she
received a BFA in dance and a minor in
art, graduating in 2005. She was voted
11
BODYCARTOGRAPHY PROJECT / TAHNI HOLT
Willa Bartolmay dances for Young Dance in
Minneapolis.
Super Nature is a co-commission of
the Walker Art Center, Minneapolis;
Performance Space 122, NYC; and PadlWest,
San Diego. Super Nature is supported by
the National dance Project, MAP Fund,
National Performance Network Creation
Fund, Metropolitan Regional Arts Council,
American Dancers Abroad, CEC Arts
Link, Impulstanz Festival, Studio 206, the
McKnight Foundation and is underwritten by
the American Composers Forum’s Live Music
for Dance Minnesota program in partnership
with New Music USA, with funds provided by
the McKnight Foundation and the Andrew
W. Mellon Foundation and the National
Endowment for the Arts in cooperation
with the New England Foundation for the
Arts through the National Dance Project.
Major support for NDP is provided by the
Doris Duke Charitable Foundation and
the Andrew W. Mellon Foundation, with
additional support from the Community
Connections Fund of the MetLife Foundation.
In 2014, Super Nature will additionally tour
to DancePlace, DC and Kelly Strayhorn,
Pittsburgh.
TAHNI HOLT
Duet Love
Imago Theatre
Sat, Sept 13
Sun, Sept 14
Mon, Sept 15
Tues, Sept 16
6:30 pm
CREDITS
Choreographed by Tahni Holt in Collaboration with
Performers: Ezra Dickinson, keyon gaskin, Allie
Hankins, and Lucy Yim
Music Composition Created and Performed by Luke
Wyland except that one song by Corrina Repp
Dramaturgy: Robert Tyree
Lighting Design: Jeff Forbes
Costume Design: Jayme Hansen and Kate Fenker
Costume Assistance: Rebecca Katz
Duet Love performs love, lust, and charged
energy. Portland choreographer Tahni
Holt returns to the TBA Festival with her
latest work that presents coupled bodies
PHOTO: EUGENIE FRERICHS
the 2008 City Pages (Mpls) Dancer of the
Year and is a two time Sage Award (Mpls)
nominee. In 2010, she received a fellowship
for a residency in Skagastrond, Iceland at
the Nes Artist Residency. She works with
the Brooklyn based art collective, Non
Solo, whose work has been presented many
places around NY, and throughout the West
Coast. She has written performance and
art related reviews for the Thomas Hunter
Project Space at Hunter College and has
been published with the Le Poison Rouge
Arts and Culture Blog, InDigest Magazine,
and Critical Correspondence.
performing gendered states around the
romantic premise of the “duet.” Holt and her
artistic team draw from iconic photographs
of hetero couples to drive this inquiry into
how bodies perform gender. If masculine
and feminine are forces and factors, how
do markers of gender inflect the movement,
emotion, and decisions of dancing bodies?
Notes from Robert Tyree (Dramaturg)
Over the months of rehearsals with Allie,
keyon, Ezra, Lucy, Luke, and Tahni, I’ve sat
and sifted through time in the quiet studios
where Duet Love has developed. Here now,
those bodies will resume their intimate
exchanges. There then, the ghost of gesture
is already beginning the traces we’ll carry
into tomorrow. The blunt externality of
photography and the distinct internality
of movement choices—each will access our
attention tonight. The dancers have studied
images of four iconic, romantic couples from
the ‘50s to the present. They’ve built equally
critical relationships between and within
themselves; “a sensorial body of work,”
Tahni tells me over coffee. At times in Duet
Love, I relate to the dance from a position of
composure and contemplation of discernible
12
events. A moment later, this dance
unravels and complicates me—an object
of attendance too swiftly transforming for
my intellect to hold onto; I’m disconcerted
but all the more caught up. Even with this
work I’ve spent so many hours with, I lose
my point of view and enter into a running
relationship with the performance—cleaving
soft intersections between my ability to
reflect upon the dance and a necessity to
invent relationships with it.
Tahni Holt is a dance artist based in
Portland, OR. Her work has been presented
throughout the United States, at On The
Boards (Seattle), Fusebox Festival (Austin),
and The Lucky Penny (Atlanta), to name
a few. In 2010, Holt was curated into the
PORTLAND 2010 Biennial and is an Oregon
Arts Commission Fellowship awardee (2007).
She has had the pleasure of being an artistin-residence most recently at Caldera, as
well as Anchorage, Boise, France, Greece
and, in 2013, Romania, with Bucharest
choreographer Madalina Dan, funded
through the Suitcase Fund of New York
Live Arts. She is honored to be a 2014-2015
NDP Touring Award recipient for Duet Love,
which will tour to DiverseWorks (Houston)
and The Lucky Penny (Atlanta) in the spring
of 2015.
In 2011, Tahni was honored to be one in
four Oregon choreographers highlighted in
Dance: before, after, during, an exhibition
curated by Terri Hopkins at the Marylhurst
Art Gym. This past year she received the
Barney Award by White Bird Dance. The
award commissions a new work to premier
in an upcoming White Bird Dance season.
Along with dance making Holt is founder
and director of Portland’s newest dance
center, FLOCK. FLOCK is a dance center
for movement exploration, creation and
artistic practice, dedicated to Portland’s
contemporary and experimental dance
artists.
Tahniholt.com / flockpdx.org
Ezra Dickinson is a multi disciplinary
artist who began dancing at the age of
four, trained at Pacific Northwest Ballet
for twelve years on full scholarship. While
attending PNB Ezra also completed a
seven year apprenticeship in ceramics.
Ezra earned his BFA in Dance with an
emphasis in choreography from Cornish
College of The Arts. Ezra regularly practices
and is commissioned in performance/
choreography, ceramics, sculpture, visual
art, photography, design, murals, street art,
film, animation, and textiles. Along with
being co-artistic director of The Offshore
Project and Actually Really, Ezra is also a
member of The New Mystics, The Maureen
Whiting Company and Hyper Nova.
ezradickinson.com
keyon gaskin doesn’t care for bios/
contextualizing your experience of his
performance.
Allie Hankins is a choreographer &
performer currently residing in Portland
TAHNI HOLT
& Seattle. Allie works/collaborates with
choreographer Tahni Holt, composer Jordan
Dykstra, musician & poet Noor, and is a
founding member of Physical Education:
a critical/casual research/performance
collective with keyon gaskin, Taka
Yamamoto and Lucy Lee Yim. Her work
has been presented at On the Boards and
Velocity Dance Center in Seattle, at Conduit
Dance and Studio 2 in Portland, and in
various venues in Minneapolis, New York,
Berlin, and Vienna. Her evening-length solo,
Like a Sun That Pours Forth Light but Never
Warmth will be presented October 24-26,
2014 at Conduit Dance in Portland with
support from Washington’s Artist Trust GAP
grant, Oregon’s RACC grant, Velocity Dance
Center’s SCUBA program, and the Robert
Rauschenberg Residency in Captiva, FL.
Lucy Yim is a dance artist who has
performed locally and nationally since 2005.
She has shown work at the The Chocolate
Factory (NYC), Salvage Vanguard Theater
(AUS), and all over Portland. Lucy has
danced for choreographers Linda Austin,
Sally Silvers, and Tahni Holt, amongst
others. She has been awarded residencies
at PWNW and Studio II, as well as multiple
grants from RACC. She is part of dance
creation space FLOCK, and co-curates Bill
of Goods, a performance event at Holocene.
She currently teaches GYROTONIC and
GYROKINESIS.
Luke Wyland is an interdisciplinary artist
and composer working in the fields of
music, performance, and dance. He is known
primarily for his work behind the art-pop
band AU, but has also been composing
music for dance, film, and commercials
for over 10 years. A graduate of the
Massachusetts College of Art (Studio for
Interdisciplinary Media), he has presented
his work throughout North America and
Europe to critical acclaim.
Corrina Repp is a singer and multiinstrumentalist based in Portland, Oregon.
She has been releasing records under her
own name since 2001, and is best known
for her work in the band Tu Fawning. This is
the third time Corrina has had the honor of
working with Tahni Holt.
Robert Tyree fosters initiatives to
empower artists and engage audiences
of contemporary performance. Tyree
grew into dance between the University of
Washington, all-night parties and danceWEB
at ImPulzTanz (2011). He has performed for
a number of choreographers in Portland,
Oregon—notably for Tahni Holt. In 2013,
Tyree’s collaboration with Romanian poet
Andra Rotaru, Lemur, briefly toured the US,
Romania, and Austria. Tyree is co-director
of FRONT, a newspaper devoted to writing
from the field of contemporary dance. His
own writings on performance have been
published online (Performance Club, PICA)
and as an indie book (Intensive Dance).
roberttyree.net
Jeff Forbes is a Portland based lighting
designer working primarily in theater and
dance. His work in dance and performance
includes frequent collaborations with
choreographers such as Danielle Agami,
Linda Austin, Tahni Holt, Linda K Johnson,
Mary Oslund, Sally Silvers, and Cydney
Wilkes,and is resident designer for the
Boris and Natasha Dancers. For the
NorthWest Dance Project, he has worked
with choreographers such as James
Canfield, Lucas Crandall, Andrea Miller,
Benoit-Swan Pouffer, Ihsan Rustem, Didy
Veldman, Patrick Delcroix, and Wen Wei
Wang. He is a co-founder, with Linda Austin,
of Performance Works NorthWest, for which
he also serves as technical director.
Kate Fenker is a costume designer and
visual artist based in Portland, Oregon.
Projects include Pep Talk, Something’s Got
Ahold of My Heart, and My Own Private
Idaho by Hand2Mouth, SUN$HINE by Tahni
Holt, and the upcoming How to End Poverty
in 90 Minutes by Portland Playhouse. She
is excited to be collaborating with Jayme
Hansen on costumes for Duet Love.
Designer Jayme Hansen has been creating
in Portland for 14 years. Always inspired
by collaboration, each project reveals a new
groove in the development of her signature
style. Today her work is dramatic, yet often
easy, modern, and never without glam.
www.jaymehansen.com
Thank You
Wendy Hambidge for bringing Body-Mind
Centering into the rehearsal process, Chris
Larson, Angela Maddox, Erin Boberg, and
all PICA staff and TBA tech crew, Tonya
Lockyer and Kim Lusk of Velocity Dance
Center, Rachel Cook of DiverseWorks, Blake
Beckham and Malina Rodriquez of Lucky
Penny, Eugenie Frerichs, Toby Query & Esmé
Query, Levi Query, Ron & Karen Query, Patty
& Craig Holt, Linda Austin, Rebecca Harrison,
TC Smith, KT Niehoff & 10degrees residency,
Elizabeth Quinn of Caldera, Bryan Suereth of
Disjecta, Meagan Atiyeh & Elizabeth
Spavento and FLOCK’s VIP Club & members.
Duet Love is co-commissioned by PICA
through the Calligram Fund for New Work
and by Velocity Dance Center through their
Guest Artist Series and Creative Resident
Program. Duet Love is a recipient of the New
England Foundation for the Arts’ National
Dance Project Touring Award, with lead
funding from the Doris Duke Charitable
Foundation and The Andrew W. Mellon
Foundation. Duet Love was made possible
by support from individual donors and a
2014 Caldera Artist in Residency as well as
a 10 degrees creative residency.
13
TIM HECKER
TIM HECKER
PSU Lincoln Hall
Sun, Sept 14
8:30 pm
Canadian-based musician and sound artist
Tim Hecker explores the intersection of
noise, dissonance, and melody, fostering an
approach to songcraft that is both physical
and emotive. Marking Hecker’s Portland
debut, this rare concert will be an immersive
sensory experience that includes material
from Ravedeath, 1972, along with his latest
release Virgins, and previously unreleased
new material.
Tim Hecker, a Canadian-based composer
and sound artist, has spent the last decade
inhabiting a unique intersection between
noise, dissonance, and melody. In his varied
and celebrated works, digital and organic
sources tightly intertwine. The result is
a hybrid aesthetic that recalls electronic
abstraction and psychedelic American
minimalism. Hecker purposefully obfuscates
the clear tonal distinctions of traditional
instrumentation, preferring to cultivate
enigmatic, uneasy soundscapes. The beauty
and crush of Hecker’s sonically processed
noise has been compared to “tectonic color
plates” and “cathedral electronic music.”
As the New York Times put it, he plays
“foreboding, abstract pieces in which static
and sub-bass rumbles open up around slowmoving notes and chords, like fissures in the
earth waiting to swallow them whole.”
In 2011, Hecker was named by NPR as one
of the Top 100 Composers Under 40. His
2003 album Radio Amor, released on the
acclaimed German electronic music label
Mille Plateaux, was recognized as a key
recording of that year by WIRE magazine.
In the years since, Hecker has worked
extensively with the distinguished Chicagobased label Kranky. His album Harmony in
Ultraviolet (2006) warranted comparisons
to Brian Eno and Kevin Shields, and was
ranked #13 on Pitchfork.com’s Best Albums
of The Year. Ravedeath, 1972, was awarded
the Best New Music title by Pitchfork.com,
and was nominated for the 2011 Polaris
Music Prize.
Tim Hecker is an extensive, vigorous live
performer, and the immense power and
menace of his live shows makes him a
contemporary master of volume and texture.
He has presented his works at the Institute
of Contemporary Art (London), Primavera
Sound (Barcelona), Unsound Festival
(Krakow), All Tomorrow’s Parties (Minehead),
Fondation Cartier (Paris), Bimhuis
(Amsterdam), Columbia University’s Miller
Theatre (New York City), among others.
PHOTO: TSUYOSHI SUZUKI
The Montreal-based musician is noted for
his perfectionism, a near-OCD attention
to detail that yields richly hued, minutely
pockmarked drone-scapes that are unusually
rich in grain and nuance. —Philip Sherburne,
SPIN
Hecker’s production work is also
international in scope. Ravedeath, 1972,
which was awarded the 2012 Juno Award
for Electronic Album of the Year, was first
conceived during a long Montreal winter,
developed at the Banff Center for the Arts
in Alberta, Canada, and completed during
a summer spent in Reykjavik, Iceland. With
the assistance of musician and engineer
Ben Frost, Hecker recorded on a pipe organ
built inside the Frikirkjan Church, and later
manipulated the recordings to corrosive
effects. The pipe organ, the album’s
disembodied, distorted narrator, is a gesture
at a possible secular transcendental sound,
a visceral, potent alternative to traditional
theological catharsis. The recording’s
sonic marriage of pipe organ, piano, guitar,
digital software, and effects pedals evokes
an alternative utopia, one in which the
coexistence of violence, melancholy, and
euphoria is a profound metaphysical
imperative.
collaborated with video artists Doug Aitken
and Stan Douglas in several installation
pieces. Hecker’s work also includes
commissions for contemporary dance, film
scores, and various writings.
Selected Discography
2011
2010
2009
2008
2007
2006
2004
2003
2002
2001
Hecker’s October 2013 release Virgins was
recorded during three periods in 2012,
mostly in Reykjavik, Montreal, and Seattle,
using ensembles in live performance. The
sound palette of this work is wider, almost
percussive and tighter sounding than
previous works. While this album remains
committed to a painterly form of musical
abstraction, it is also a record of restrained
composition recorded live primarily in
intimate studio rooms. This record employs
woodwinds, piano, and synthesizers toward
an effort at doing what digital music does
not do naturally—making music that is out of
time, out of tune, and out of phase.
In addition to his solo compositional work,
Hecker has worked alongside musicians
such as Oren Ambarchi, Ben Frost, Daniel
Lopatin (Oneohtrix Point Never), David
Bryant (Godspeed You! Black Emperor), and
Aidan Baker to name a few. He has also
Ravedeath, 1972 — Kranky (US)
Apondalifa — Room 40 (Australia)
An Imaginary Country — Kranky (US)
Fantasma Parastasie — Alien8 Recordings
(Canada) with Aidan Baker
Atlas — Audraglint (US)
Harmony in Ultraviolet — Kranky (US)
Mirages — Alien8 Recordings (Canada)
Dropped Pianos — Kranky (US)
Norberg — Room40 (Australia)
Radio Marti/Radio Havana — EN/OF
Editions (Germany)
Mort aux Vaches — Staalplaat (Holland)
Radio Amor — Mille Plateaux (Germany)
Trade Winds, White Noise —
Parachute Arts Journal (Canada)
Haunt Me, Haunt Me, Do It Again —
Alien8 Recordings (Canada).
My Love is Rotten to the Core —
Substractif/Alien8 Recordings (Canada).
Ultramarin — Force Inc Music Works /
Mille Plateaux (Germany)
Ravedeath, 1972 is by no means about
prettiness or tranquility. Hecker pits noises
against one another in such a way that
creates a constant push and pull between
discord and beauty. It’s a bit like William
Basinski’s Disintegration Loops, but instead
of music aging over time, this is far more
combative—like these songs are being
attacked from the inside out. —Joe Colly,
Pitchfork.com
14
LUKE GEORGE
LUKE GEORGE
& COLLABORATORS
Not About Face
US PREMIERE
Conduit Dance, Inc.
Sun, Sept 14
4:30 pm
Mon, Sept 15
Tues, Sept 16
Wed, Sept 17
Thurs, Sept 18
8:30 pm
Not About Face is woven by George’s sincere
and lucid intent to draw our embodied
presence into the moment. Is this the
business of live art? Of mysticism? Of both,
no doubt. But it also looks quite naturally
to be the business of dance. George almost
precludes remote viewing, instead drawing
us into collective engagement and (by way
of experimental enactment) an inkling, yes,
of the mystical. —Jessica Sabatini, Real Time
Arts
A choreographic experiment in anonymous
intimacy and fake belief, Not About Face
questions the nature of the unspoken
contracts between performer and audience,
and investigates belief utilizing aspects
of the supernatural and spiritual. In this
performance, the audience is robed in
shrouds and is a free-roaming chorus of
anonymous witnesses of the performance.
George is joined by collaborators Hilary
Clark, Nick Roux, Benjamin Cisterne, Martyn
Coutts, and producer Alison Halit. George’s
practice is occupied with the interplay
between the embodied and conceptual.
George explores energy and presence in
relation to how we perceive ourselves,
each other, and the world around us.
Luke George’s practice is occupied with
the interplay between the embodied and
conceptual. George is interested in the act
of performance, both as a collective and
individual experience for performer and
audience, and in how things are transmitting
between them. He aspires to access multiple
modes of performance and embodied
knowledges in daring and unorthodox ways.
Artist Statement
I’m currently busy with these questions:
Do I need to believe it to perform it?
Do I need to perform it to believe it?
How does this believing/performing then
transfer to the spectator?
What is it to be with ourselves and to be
with each other?
What can come from intimacy, empathy, and
collective desire?
What happens if we mute the presentational
face of the ‘thing,’ the thing that’s in front of
us, if we remove the identifiers; the names
and references we use in order know and
PHOTO: JEFF BUSBY
CREDITS
For Not About Face, George is joined by collaborators
Hilary Clark, Nick Roux, Benjamin Cisterne, Martyn
Coutts, and producer Alison Halit.
understand the thing we’re looking directly
at, and in the process, what if we also also
mute our own faces and identifiers and are
free to move closer to or away from the
thing and each other, and, what if actually
the thing itself is what is happening to you,
to me, to us, and between us?
—Luke George
Luke George (choreographer/performer) is
an artist working in dance and performance.
He grew up in Tasmania and is based
between Melbourne and Brooklyn. Luke
makes his own performance work, as
well as collaborating and performing in
the work of other artists. Since receiving
his BA from the Victorian College of the
Arts, George has been in the works of
many artists including Miguel Gutierrez
and the Powerful People, Phillip Adams
BalletLab, Chunky Move, and Jo Lloyd to
a name few. George received Melbourne’s
Greenroom Award for Best Male Dancer
(2011). He recently performed the opening
act for Swedish band The Knife in their
Californian concerts. His own works have
been presented internationally in Melbourne,
Sydney, Perth, New York, Tokyo, Norway, and
The Netherlands. For his work he received
Melbourne Fringe Awards (1999, 2013), an
Asialink Residency (2005), the Russell Page
Fellowship (2007), and was commissioned
to create works for the Sydney Opera House
(2006), Lucy Guerin Inc (2010), and Phillip
Adams BalletLab (premiere 2015). George
collaborates across disciplines and has
worked on projects in theatre, film, live-art,
socially engaged practices, and in queer
club nights. He has been teaching classes
and workshops internationally since 2003.
He provides dramaturgy on dance projects
and co-curates a regular Melbourne dance
and discussion night called First Run.
Hilary Clark (collaborator/performer), based
in New York, is a dancer and collaborator
performing in pivotal experimental dance
and theater based work, touring nationally
and internationally. She has been involved in
curating, teaching, making, and discussing
dance and the dancer. She currently is
performing in the work of luciana achugar
with whom she has worked since 2005,
Miguel Gutierrez and the Powerful People
(And Lose the Name of Action), Young Jean
Lee Theater Company (Untitled Feminist
Show), and with Luke George (Not About
Face). She danced with Tere O’Connor
(2004–2011) and has also performed in
works by Jon Kinzel, Larissa Velez Jackson
with whom she shared 10 years of a
shared performance practice. Clark was
honored with a 2008 New York Dance and
Performance Award, a Bessie, for her body
of work as a performer with Tere O’Connor,
Fiona Marcotty, and Luciana Achugar. As a
teacher she has taught at ClassClassClass
(NYC), Movement Research (NYC), as guest
artist at various colleges and Chunky Move
(Melbourne, Australia).
Nick Roux (collaborator/sound, video,
set design, and system programming) is
an artist working across mediums and
collaborations. His primary concerns are
editing, arrangement, composition, and
temporal-based work. Nick studied Media
Arts and Sound Production at RMIT. As
15
LUKE GEORGE / MAYA BEISER
a composer and system designer he
has worked with Luke George, Tristan
Meecham, Aphids, Nicola Gunn, Dario
Vacirca, Ashley Dyer, Torque Show, Tamara
Saulwick, and Kristy Ayre. Nick has created
video for George Egerton-Warburton,
Global Creatures, Chunky Move, NYID and
Next Wave Festival. His own short films
HOMEMADE and THE PALINDROMIST
were selected for Flickerfest (2009) and
Cinedans Film Festivals (2011). Nick has
toured internationally with Chunky Move
and continues to work extensively with
real-time motion graphics developer Frieder
Weiss. Together they recently designed and
programmed the large scale real-time video
graphics system for KING KONG the musical.
Benjamin Cisterne (collaborator/lighting
design) is renowned for creating bold
designs, based in light, that are integral to
a performance. He is passionate about the
capability of light in performance design and
its role in art, and works collaboratively with
creatives on projects across all art forms.
Since completing his studies in 2002 at the
WA Academy of Performing Arts, Benjamin
has been instrumental in the development
of new techniques in lighting design for the
performing arts and exhibition industries.
He has extensive experience working both
nationally and internationally, leading
teams of designers in the creation of
lighting designs and multimedia for various
performance, exhibition/museum, and
architectural projects.
Melbourne in October 2013. After TBA
Festival, Not About Face will have its New
York premiere at The Chocolate Factory
Theater in November 2014.
The creative development of Not About
Face was supported by grants from the
Victorian Government through Arts Victoria,
the Australian Government through the
Australia Council, its arts funding and
advisory body, Arts House, and the Besen
Family Foundation. The work was developed
in residencies in Melbourne at Arts House
CultureLAB, Lucy Guerin Inc, West Space
Gallery, Thousand Pound Bend, and in New
York at Abrons Arts Center. The Australian
premiere of Not About Face was funded
by the Australia Council and presented
at Dancehouse. The New York premiere is
commissioned by the Chocolate Factory
Theater. International touring of the work is
supported by Arts Victoria and the Australia
Council.
Alison Halit (producer) is an experienced
international producer who works for a
boutique portfolio of artists including Luke
George and Collaborators, Aphids, and
Rawcus. She has toured work throughout
Europe and North America to festivals and
venues such as: Aarhus Festival, Noorderzon
Festival (Groningen), The National Theatre
Studio (London), Dublin Fringe Festival &
Project Arts Centre (Dublin), Mladinsko
Theatre (Ljubljana), Zuppa Theatre
(Halifax), PS 122—COIL Festival & The
Chocolate Factory (New York), Chapter
Arts Centre (Cardiff), Culturgest (Lisbon),
Teatro Nacional Sao Joan (Porto), BIT
Teatergarasjen—Oktoberdans and Meteor
Festivals (Bergen), and Regional Arena for
Samtidsdans (Sandnes). She has produced
collaborations between artists from South
America, the UK, Australia, the United
States, France, Singapore, and Belgium. Not
About Face first premiered at Dancehouse,
PHOTO: IOULEX
Martyn Coutts (collaborator/dramaturgy)
is an award winning Australian
interdisciplinary artist who is concerned
with ideas of the live, the interactive, and
mediated body. He is an Artistic Associate
at contemporary arts company Aphids, a
Board Member of the Next Wave Festival
and is a founding member of art collective
Field Theory. His most recent participatory
project I Think I Can has been presented 10
times across Australia in 2014 and in 2015
will tour to Canada, the United States, and
Turkey. Coutts has provided dramaturgy on
many projects including Not About Face
and NOW NOW NOW by Luke George and
Collaborators.
MAYA BEISER
UNCOVERED
Featuring members of the
Portland Cello Project
PORTLAND PREMIERE
PSU Lincoln Hall
Mon, Sept 15
8:30 pm
Uncovered is a collection of classic rock
tunes, re-imagined and re-contextualized,
in stunning performances by cellist Maya
Beiser. A “cover tune” can be an homage to
the original, but these “uncovers,” in new
arrangements by Evan Ziporyn, do more and
evoke the power of music by rock legends
such as Led Zeppelin, Hendrix, Nirvana,
Joplin, Howlin’ Wolf, and AC/DC. For TBA,
Maya will be joined by the Portland Cello
Project in selected arrangements. Maya
juxtaposes rock classics with contemporary
compositions, including Michael Harrison’s
epic Just Ancient Loops, performed with
a film by Bill Morrison; composer and
Wilco drummer Glenn Kotche’s Three
Parts Wisdom; and David Lang’s take on
Lou Reed’s Heroin. Beiser’s performance
explores the juncture where the spiritual,
traditional, urban, and popular culture meet.
16
Uncovered goes deep inside the music of
Led Zeppelin, Janis Joplin, Kurt Cobain,
Jimi Hendrix, Howlin’ Wolf, and King
Crimson to reveal each song as a musical
masterpiece—a totem of our collective
consciousness forged by our shared,
popular culture. Deconstructing the Rock
idiom, the cello takes on the part of both
the lead singer and lead guitar, with many
other layers created by Maya’s cello in the
studio and regenerated live with electronic
processing. These “uncovers” are the result
of Maya’s collaboration with composer Evan
Ziporyn, who created all the arrangements.
Maya and Evan’s complex and masterful
musical language is the lens through which
this music is unveiled.
Portland Cello Project Members: Nancy
Ives, Kelly Quesada, Sage McCoy, and
Douglas Jenkins.
Portland Cello Project
Since the group’s inception in late 2007,
the Portland Cello Project (or, PCP, as
their fans affectionately call them), has
wowed audiences all over the country with
extravagant performances, everywhere
from Prairie Home Companion, to that punk
rock club in the part of town your grandma
warns you not to go to after dark. The
group has built a reputation mixing genres
and blurring musical lines and perceptions
wherever they go.
No two shows are alike, with a repertoire
now numbering over 800 pieces of music
you wouldn’t normally hear coming out
of a cello. The Cello Project’s stage setup
ranges from the very simple (4-6 cellos), to
the all out epic (which has included 12 cellos
playing with full choirs, winds, horns, and
numerous percussion players).
Glenn Kotche’s own musical life is a
constant shift between his hermetic
experiences as a composer and solo
performer and the polar opposite of that
experience as the drummer in the six-piece
rock band, Wilco. In playing with various
ideas of how to approach his piece for Maya,
he found himself gravitating towards a more
layered and rhythmically complex sound.
Kotche began investigating possibilities
for Three Part Wisdom by taking some
solo drum kit ideas that he was working on
for himself and experimented with adding
pitches to the rhythms. The piece utilizes
eight layers of delay feed from the live cello
to create a lush and rich miasma of sound.
The title of David T. Little Hellhound is a
reference to legendary bluesman Robert
Johnson’s 1937 song Hellhound On My
Trail, considered to be among his greatest,
which tells the story of a man pursued by
demons, unable to rest. In the Johnson
mythology, this song reinforces the tale of
the Crossroads, in which he reportedly sold
his soul to the devil in exchange for musical
abilities.
In Heroin, David Lang set the poetry of Lou
Reed to his own music.
MAYA BEISER
Maya’s collaboration with film artist Bill
Morrison is reflected in the 25 minutes
Just Ancient Loops. Morrison uses archival
footage, chemical process, and animation to
create a visual tapestry that illustrates, in
his words, “the implication of an unknowable
future as reflected through a dissolving
historical document.”
Just Ancient Loops, composed by Michael
Harrison, is an epic piece that unveils
every aspect of the cello—from its most
glorious and mysterious harmonics to
earthy, rhythmic pizzicatos—all utilizing
“just intonation,” an ancient tuning system
in which the distances between notes are
based upon whole number ratios. Morrison’s
film explores the many spiritual beliefs
and view of the heavens, and the ancient
philosophical concept of the “Music of the
Spheres,” which regards the proportions of
the movements of celestial bodies as a form
of music.
Maya Beiser has captivated audiences
worldwide with her virtuosity, repertoire,
and relentless quest to redefine her
instrument’s boundaries. Throughout her
career she has reimagined the concert
experience, creating new music for the
cello, commissioning, and performing works
by today’s leading composers. She has
collaborated with composers Tan Dun, Brian
Eno, Philip Glass, Osvaldo Golijov, Steve
Reich, David Lang, Louis Andriessen, and
Mark O’Connor, among others. A featured
performer on the world’s most prestigious
stages, Maya appeared as soloist at the
Sydney Opera House, New York’s Lincoln
Center, Carnegie Hall and BAM, London’s
Barbican, Royal Albert Hall, and South
Bank Center, and the World Expo in Nagoya,
Japan. In 2011, Maya was invited to present
at the exclusive TED conference. Her
TEDtalk has had close to a million views and
has been translated to 32 languages.
Maya has conceived, performed, and
produced acclaimed multimedia concerts,
including World To Come, which premiered
as part of the inaugural season of Carnegie
Hall’s Zankel Hall; Almost Human, a
collaboration with visual artist Shirin
Neshat; and Provenance, which forms the
basis of her best selling album. Top New
York critics have consistently chosen her
Carnegie Hall concerts on their “Best Of
The Year” lists. Maya’s latest production,
Elsewhere: a CelloOpera, premiered in
October 2012 at Carolina Performing Arts
followed by a sold-out run at the BAM Next
Wave Festival. ELSEWHERE is an imaginative
retelling of the Biblical legend of Lot’s
wife, created by Maya with director Robert
Woodruff. Maya’s latest recording, Time
Loops, was selected among NPR’s top 10
recordings of 2012.
Collaborating with renowned film composer
James Newton Howard, Maya is the featured
soloist on several film’s soundtracks
including M. Night Shyamalan’s The
Happening, Denzel Washington’s The Great
Debaters, Edward Zwick’s Blood Diamond,
Rupert Sanders’ Snow White and the
Huntsman, and M. Night Shyamalan’s After
Earth.
Raised on a kibbutz in the Galilee
Mountains in Israel by her French mother
and Argentinean father, Maya Beiser is
a graduate of Yale University. Her major
teachers were Aldo Parisot, Uzi Weizel,
Alexander Schneider, and Isaac Stern. Maya
was the founding cellist of the new music
ensemble, the Bang on a Can All-Stars.
mayabeiser.com.
17
CYNTHIA HOPKINS
CYNTHIA
HOPKINS
A Living Documentary
WEST COAST PREMIERE
Winningstad Theater
(Portland’5)
Mon, Sept 15
Tues, Sept 16
6:30 pm
CREDITS
Created (Written & Composed) and Performed by
Cynthia Hopkins.
A Living Documentary is a raw comedic
reflection on the trials and tribulations of
earning a living as a professional theater
artist in the 21st century. Intertwining
elements of musical comedy, documentary,
and fiction, Hopkins’ newest work
intersperses autobiographical storytelling
with portrayals of semi-fictional comedic
characters, all the while asking myriad
questions about the realities of artistic life
in New York City. A veritable departure from
past works, A Living Documentary presents
a stripped-down, one-woman-show, in which
Hopkins plays herself and an eclectic cast
of characters. Featuring several of Hopkins’
original compositions.
Thanks to David Belt, Kelly Copper, Andrew
Dinwiddie, Inga Glodowski, Caleb Hammons,
Molly Hickok, John Hodgman, Jeff Larson,
Paul Lazar, Young Jean Lee, Pavol Liska,
Adam Max, DJ Mendel, Carly McCollow,
Annie B Parson, Carla Peterson, Nate Read,
Michelle Stern, Marion Boulton Stroud, Jeff
Sugg, the staff of New York Live Arts, and
anyone who has ever supported the work of
Cynthia Hopkins in any way.
Cynthia Hopkins (cynthiahopkins.com)
is an internationally acclaimed musical
performance artist. She writes and sings
songs, records albums, and creates
groundbreaking multi-media performance
works that intertwine truth and fiction,
blurring the lines between edification and
entertainment. Through the process of
making performances, she attempts to
alchemize disturbance into works of intrigue
and hope that simultaneously stimulate the
senses, provoke emotion, and enliven the
mind. She has produced six performance
works and eight albums of original music.
Her work has been honored with many
awards, including the 2007 Alpert Award
in Theater and a 2010 Guggenheim
Fellowship. She most recently premiered
A Living Documentary, an experimental
piece exploring the challenges of earning
one’s living as a performing artist in the 21st
century (performed in March 2014 at New
York Live Arts); and is currently at work on a
screenplay whose working title is Alcoholic
PHOTO: THOMAS KOCHIE
A triumph of disciplined thinking, narrative
fluidity, and musical accomplishment. —The
New York Times
Movie Musical (a tale of self-destruction and
redemption).
Sustainable Artistry of Cynthia Hopkins
(an essay written by Ivan Talijancic for the
premiere of A Living Documentary at New
York Live Arts in March 2014)
Over the past decade, Cynthia Hopkins has
accumulated an impressive body of work
creating multimedia productions of her own
devising, including the trilogy comprised of
Accidental Nostalgia, Must Don’t Whip ‘Um
and The Success of Failure (or, The Failure
of Success) and, more recently, The Truth:
A Tragedy and This Clement World. Her
practice garnered recognition on a national
scale, including an Alpert Award in 2007 and
a Guggenheim Fellowship in 2010.
Hopkins is a brutally honest artist—not one
to sweep one’s own (or the world’s) issues
under the rug. Never to shy away from
getting personal, especially with herself,
she has boldly confronted issues such
as family, addiction, career, and climate
change, negotiating difficult themes in a
witty, bracing, self-effacing, and, ultimately,
humorous manner, successfully steering
away from getting mired in pathos. When
she chooses to tackle a subject, Hopkins
leaves no stone unturned, starting with
herself, and it is perhaps this courage—the
act of stripping bare the masks one tends to
wear in daily existence—that has consistently
made her work equal parts endearing and
disturbing.
While still dealing with some familiar tropes,
A Living Documentary represents in many
ways a new direction in Hopkins’ œuvre.
For the artist, the departure was prompted
by an epiphany of sorts, which occurred in
the process of producing her most recent
large-scale performance; becoming aware of
making work in a manner that is ultimately
unsustainable—a never-ending cycle of
not securing a living wage for one’s own
work and incurring debt in the process.
Firstly, this realization prompted her to
investigate the very fabric of daily life in
the performing arts. In order to capture an
accurate snapshot, Hopkins approached
many respected colleagues and gathered
a vast number of responses from fellow
artists over time, parsing them for both
commonalities and idiosyncrasies. Based on
these interviews, she developed five semifictional characters that episodically appear
throughout the piece, intertwined with
musical interventions.
While exposing timely issues of shifting
trends in the arts economy and ailing
ecology of our field, Hopkins also made a
radical departure in her own approach to
making work. Implementing her findings
in her own practice as a performance
maker, with A Living Documentary she has
committed to creating a work that is fully
sustainable. In this manner, not only does
she accomplish the goal of securing a living
wage for the artist/creator, she shares
this work as an example of sustainable art
making practice—one that will hopefully
serve as an inspiration to the field at large.
—Ivan Talijancic
A Living Documentary was commissioned
by New York Live Arts and made possible,
in part, by the National Endowment for
the Arts (additional support was given
by contributors to the Dance Theater
Workshop Commissioning Fund at New
York Live Arts). A Living Documentary was
developed, in part, through residencies at
The Watermill Center (in partnership with
New York Live Arts); Bunker in Slovenia
(through the Suitcase Fund); Mount Tremper
Arts; and Acadia Summer Arts Program.
Some material for this work was developed
through showings at the Catch performance
series.
18
MAMMALIAN DIVING REFLEX
MAMMALIAN
DIVING
REFLEX
All the Sex I’ve
Ever Had
WEST COAST PREMIERE
PSU Shattuck Hall Annex
Wed, Sept 17
Thurs, Sept 18
Fri, Sept 19
Sat, Sept 20
7:00 pm
+ POST-SHOW Q&A
I entered the theatre with trepidation, but
emerged from it realizing that I had just
been a part of the most profoundly moving
performance I have seen… —Corrie Tan,
Straits Times
Mammalian Diving Reflex, of the revered
social practice-based work Haircuts by
Children (TBA:07), returns with All the Sex
I’ve Ever Had. Mammalian uses storytelling
to plunge fearlessly into provocative
uncharted waters with a frank, vulnerable,
and unpredictable work that examines
intimacy, old age, youth obsessed culture,
and sex. Mammalian assembles a crosssection of elderly Portlanders and asks them
to open up about their sexual adventures
(and misadventures). They will courageously
share private histories, ask audience
questions, celebrate life’s milestones, and
even dance. Everything is revealed from
first crushes, illicit liaisons, and unexpected
pregnancies to orgies and things we really
shouldn’t mention here. All the Sex I’ve
Ever Had allows us to acknowledge that our
elders have a lot to teach us, a lot to share,
and that aging can yield a way of being
in the world that is open, generous, and
fearless.
All the Sex I’ve Ever Had has been presented
in seven cities around the world including
Oldenburg (Germany), Bern, Singapore,
Glasgow, Prague, Philadelphia, and Toronto.
Founded in 1993, Mammalian Diving
Reflex is a research-art atelier dedicated
to investigating the social sphere, always
on the lookout for contradictions to whip
into aesthetically scintillating experiences.
Mammalian creates site and social-specific
performance events, theatre-based
productions, gallery-based participatory
installations, video products, art objects
and theoretical texts. They create work
PHOTO: LUCIA EGGENHOFFER
CREDITS
Performance by: Mammalian Diving Reflex
Conceived by: Darren O’Donnell
Directed by: Darren O’Donnell and Konstantin Bock
Produced by: Eva Verity and Jenna Winter
Sound Design: David Chandler
Local Coordination: Erica Thomas
Portland Cast: Please see program insert
that recognizes the social responsibility of
art, fostering a dialogue between audience
members, between the audience and the
material, and between the performers and
the audience. It is their mission to bring
people from across the planet together
in new and unusual ways to create ideal
entertainment for the end of the world.
Artist Statement
We’re always flooded with gratitude for
the privilege of being granted access to
the lives of the participants in All the Sex
I’ve Ever Had; all are incredibly generous
and fearless people. There is courage that
comes with time, allowing some people the
license to embrace and share themselves,
flaws and all. That said, the performers
are often extremely combative about
their role in the production—as well they
should be; they can be as demanding and
as powerful as any of the best divas. They
have changed our attitudes toward aging.
It looks pretty alright: count us in. Over the
years, everybody on the Mammalian side of
the equation has rolled up their sleeves and
participated in the generation of the text,
including Eva Verity, Director of Creative
Production, Jenna Winter, Managing
Director, and of course, Konstantin Bock,
Co-Director. Everyone has fully participated
as artists, even while juggling so many other
hats. I believe this spirit is, in good part, a
response to the performers’ generosity. We
hope it’s as fun for you as it always is for us.
—Darren O’Donnell
This presentation of All the Sex I’ve Ever
Had has been made possible in part by
grants from the Canada Council for the
Arts Theatre International Program and
the Ontario Arts Council’s National and
International Touring program. All the Sex
I’ve Ever Had was developed with Oldenburg
State Theatre and Pazz Festival.
19
JACK FERVER
JACK FERVER
Mon, Ma, Mes
WEST COAST PREMIERE
Ecotrust
Thurs, Sept 18
6:30 pm
Fri, Sept 19
6:30 pm
Sat, Sept 20
12:00 pm
CREDITS
Written, Choreographed, and Performed by Jack Ferver
Music: Franz Schubert, Frédéric Chopin, and Roarke Menzies
In Mon, Ma, Mes, the NYC-based dancer,
choreographer, and writer examines the
permeability between the real and the
fictive in a disarming and interactive
retrospective of his life and work. Presented
as a solo lecture-performance, Ferver
scrutinizes his life as an artist through a
stylized question and answer session and
performs emotionally charged excerpts
of earlier works while deconstructing
them with humor and vulnerability. The
layered combination of self-analysis and
performance creates an intimacy with the
audience that reveals the tragicomedy of
the human psyche. Through sudden shifts in
style and form, blurred boundaries emerge
between the realms of grand theatrics and
stark naturalism, the persona and the self.
Artist Statement
Ferver’s performances use high-energy,
often violent, choreography and exacting
scripts that juxtapose hyperbolic prose
with “hyper-real” dialogues to explore the
tragicomedy of the human psyche. From
the sudden shifts in style and form, blurred
boundaries emerge between the realms
of grand theatrics and stark naturalism,
character and self, humor and horror.
Jack Ferver has been creating full-length
works since 2007. He has been presented
at The French Institute Alliance Francaise
(NYC), The Kitchen (NYC), The Institute
of Contemporary Art (Boston, MA), PS
122 (NYC), The New Museum (NYC), The
Museum of Arts and Design (NYC), Diverse
Works (Houston, TX), Danspace Project
(NYC), Abrons Arts Center (NYC), Dixon
Place (NYC), and Théâtre de Vanves in
France. Shorter and solo works have been
presented at MoMA/PS1, Andrew Edlin
Gallery, Dance New Amsterdam, LaMaMa
E.T.C., The Culture Project, and NP Gallery
(all NYC). His work has been written about
in The New York Times, The Financial Times,
The New Yorker, ArtForum, Modern Painters,
TimeOut New York, The New York Post, The
Boston Globe, and Dance Magazine.
Ferver’s current work, Chambre, a
collaboration with Marc Swanson premieres
this fall at Bard College. Ferver premiered
PHOTO: IAN DOUGLAS
Ferver’s performances are so extreme that
they sometimes look and feel like exorcisms.
—The New Yorker
All of a Sudden, a collaboration with Joshua
Lubin-Levy at Abrons Arts Center in the
spring of 2013. Ferver’s solo Mon, Ma, Mes
premiered as part of Crossing the Line
at the French Institute Alliance Francaise
in fall of 2012 and returned as part of
American Realness at Abrons Arts Center.
His solo, Two Alike, a collaboration with the
visual artist Marc Swanson, was presented
at Diverse Works in conjunction with The
Contemporary Arts Museum of Houston in
2011. The work then premiered in New York
at The Kitchen and traveled to the Institute
of Contemporary Art in conjunction with
Summer Stages Dance in Boston in 2012. In
2011, Ferver also premiered his duet with
Michelle Mola, Me, Michelle at the Museum
of Arts and Design as part of Performa 11.
It returned as part of American Realness
at Abrons Art Center. Ferver’s Rumble
Ghost premiered at PS 122 in 2010, and
was brought back for their COIL Festival
in 2011. His A Movie Star Needs A Movie
was commissioned by The New Museum in
2009. It was also presented in American
Realness at Abrons Art Center and at
Théâtre de Vanves in France. He was the first
choreographer to be presented at The New
Museum’s current location with I Am Trying
to Hear Myself in 2008. He remounted the
work at PS 122 in 2009. In 2009 he also
premiered his evening length work Death is
Certain at Danspace Project. In 2008, Ferver
premiered MEAT, his second Mondo Cané!
commission from Dixon Place. Ferver’s first
Mondo Cané! commission was in 2007 for
his first full length work: When We Were
Young And Filled With Fear.
As an actor, credits include the film Gayby,
Strangers With Candy (Comedy Central),
and numerous other film and theatre
projects. His writing has been published in
the magazine Novembre. He has curated for
Danspace Project, Center for Performance
Research, and Dance New Amsterdam. He
also teaches at NYU, Bard College, and has
set choreography at The Juilliard School.
jackferver.org.
Roarke Menzies is a composer, performer
and sound artist. He has created original
music for contemporary ballet company
BalletX, dance-theater artist Jack Ferver,
game developers InterAction Education,
VICE Media Group, and many others.
Menzies’ music has been heard on stages at
The Fisher Center for the Performing Arts at
Bard College, The Institute of Contemporary
Art (Boston, MA), The Wilma Theater
(Philadelphia, PA), The Kitchen (NYC),
Abrons Arts Center (NYC), Diapason Gallery
(NYC), Storefront Gallery (NYC), Boltax
Gallery (Shelter Island, NY), Jacob’s Pillow
(Becket, MA), Reverb Dance Festival (NYC),
and French Institute Alliance Française
(NYC).
Thank You Reid Bartelme, Jeremy Jacob
Schlangen, and Marc Swanson.
Mon, Ma, Mes was commissioned by the
French Institute Alliance Française (FIAF)
and first presented at FIAF’s Crossing the
Line Festival in October 2012.
20
HALORY GOERGER & ANTOINE DEFOORT
HALORY
GOERGER &
ANTOINE
DEFOORT
GERMINAL
CREDITS
Concept and Direction: Halory Goerger and Antoine
Defoort
Performers: Arnaud Boulogne, Ondine Cloez, Antoine
Defoort, Halory Goerger, and the voice of Mathilde
Maillard
Technical and Stage Direction: Maël Teillant
Light and Video Direction: Sébastien Bausseron
Sound: Robin Mignot
Production Management: Julien Fournet and Mathilde
Maillard
Administration: Sarah Calvez
Light Advice: Annie Leuridan
Logistic: Pauline Foury
GERMINAL will be performed in French with English
subtitles.
In GERMINAL, French artists Halory Goerger
and Antoine Defoort create one of the most
talked-about recent works of contemporary
international theater. Both whimsical and
philosophical in approach, GERMINAL asks:
if we had the opportunity to start the world
from scratch, how would we do it? As this
sometimes absurd and humorous creation
tale unfurls, characters invent telepathy,
question physics, construct new rules for
social engagement, and dream up language.
Remaking everything in the world, but
without any moralistic intention. GERMINAL
smartly dismantles the conventions
of theater into a metaphor for human
evolution and employs the stage as a fruitful
open space where new worlds are up for the
making.
Artist Notes
GERMINAL is the title of a famous realistic
19th century novel about a coal miners’
strike in France. Though, we just took the
title, which proved to be a good one. The
performance deals with other issues.
Working Titles
walk man
the entire universe
civilization
there are rules
master plan
socialism
civil code
Topics
Index of the chapters of the french novel
Bouvard et Pécuchet. Incidentally, a good list
PHOTO: ALAIN RICO
US PREMIERE
PSU Lincoln Hall
Thurs, Sept 18
Fri, Sept 19
8:30 pm
of the topics that we intended to cover in
GERMINAL:
1. Agriculture; landscape gardening; food
preservation
2. Chemistry; anatomy; medicine; biology;
geology
3. Archeology; architecture; history,
mnemonics
4. Literature; grammar; aesthetics
5. Politics
6. Love
7. Gymnastics; occultism; philosophy
8. Education; music; urban planning
Halory Goerger makes shows and
installations instead of building houses or
repairing animals because it’s better like
that for everybody. He works on the history
of ideas, because everything else was
already taken by the time he came along. In
most of his undertakings, total destitution
flirts with formal rigour, and a concern for
getting out alive.
Antoine Defoort tries to maintain a good
atmosphere and a high level of porosity
between his seasonal whims, life, as in real
life, and contemporary art. He therefore
often finds himself struggling with blatant
contradictions that are either proudly
assumed or shamefully hidden through the
use of mind numbing non-sequiturs and
wild digressions. Failures and accidents are
welcomed with open arms and create a
crispy granularity particularly appreciated
by connoisseurs.
Together with Julien Fournet, Antoine
Defoort and Halory Goerger co-founded
l’amicale de production, a small production
house in Lille/Brussels (France/Belgium).
Support and Mentions
COPRODUCTION: La Biennale de la Danse
de Lyon (France), Kunstenfestivaldesarts
(Brussels, Belgium), le Phénix- Scène
nationale de Valenciennes (France), Buda
Kunstencentrum (Kortrijk), Kunstencentrum
Vooruit (Gent, Belgium), le Vivat-Scène
conventionnée d’Armentières (France), le
Manège.mons/CECN/technocITé (Belgium),
alkantara festival (Lisbon, Portugal),
le TnBA-Théâtre National de Bordeaux
en Aquitaine (France), Théâtre de la
Manufacture—CDN Nancy Lorraine (France),
NXTSTP (European Union Cultural Program),
Festival Baltoscandal (Rakvere, Estonia),
Noorderzon Performing Arts Festival
Groningen (Netherlands), Rotterdamse
Schouwburg (Rotterdam), le CENTQUATRE
(Paris), Festival Transamériques (Montréal),
Carrefour International du Québec (Québec).
SUPPORT: This project is supported by
the Conseil Régional Nord-Pas-de-Calais
and the Ministère de la Culture et de la
Communication (DRAC Nord-Pas-de-Calais).
EUROPEAN NETWORK: This project is
supported by APAP/Performing European
network (DGEAC-Cultural Program). Antoine
Defoort and Halory Goerger are artists in
residence at Phénix-Scène nationale de
Valenciennes, Beursschouwburg-Brussels
and CENQUATRE—Paris and at APAP/
Performing Europe (DGEAC—Programme
Culture). L’Amicale de production is
supported by the Ministère de la Culture et
de la Communication (Conventionnement
DRAC Nord-Pas-de-Calais), the Conseil
régional du Nord-Pas-de-calais, and Ville
de Lille. L’Amicale de production receives
support from Institut Français for the
distribution of its projects abroad.
This project received the support of French
Institute, Face program and specific program
French Institute/Région Nord-Pas-de-Calais/
Ville de Lille.
21
PAUL CLIPSON & LIZ HARRIS
PAUL
CLIPSON & LIZ
HARRIS
HYPNOSIS DISPLAY
HYPNOSIS DISPLAY is an original live
sound and 16mm film collaboration between
experimental vocalist and musician Grouper
(Liz Harris) and filmmaker Paul Clipson.
Utilizing a slipstream of sound and imagery
from the vast natural and urban landscapes
of America, HYPNOSIS DISPLAY envelopes
viewers in deeply felt connections to
landscape, environment, and place. With an
attentive yet neutral eye, the film reflects
on the American experience and “home.”
Neither image nor sound takes precedence—
the two intertwine with sophistication while
preserving the raw sense of discovery that
only field recordings and in-camera edited
film rushes can yield.
Liz Harris is based on the Oregon Coast
and has been recording, performing, and
releasing solo material under the name
Grouper since 2005 on various imprints
including Kranky, Type, and her own
YELLOWELECTRIC. Her work explores
paradoxical, literal, and impressionistic
experience of environment and human
behavior. Her compositions have been
commissioned and shown across Europe and
the U.S., including Galerie ZDB, the Berkeley
Art Museum, and Issue Project Room. Harris
was most recently awarded residencies with
Signal Fire and The Ucross Foundation.
Paul Clipson is a San Francisco-based
filmmaker who collaborates with
sound artists and musicians on films,
performances, and installations. His work
has been presented both nationally and
internationally at festivals such as the New
York Film Festival and the Edinburgh Film
Festival. His Super 8 and 16mm films aim to
bring to light subconscious visuals that work
in a stream of consciousness manner and
combine layered in-camera edited studies of
environments.
Commissioned by Opera North Projects:
operanorth.co.uk/projects.
Presented in association with Beacon Sound.
Excerpt from Dummy/Fact Magazine
interview with Liz Harris and Paul Clipson.
You released a project with Jefre CantuLedesma last year, someone Paul has
worked with frequently. Was it through that
connection that this project came about, or
does the link go back further?
Liz: Paul and I met each other through
friends and the music scene in the Bay
Area. Our first experience working together
PHOTO: PAUL CLIPSON
US PREMIERE
PSU Lincoln Hall
Sat, Sept 20
8:30 pm
was for a performance at the Root Strata
On Land festival in San Francisco a few
years ago. After the performance audience
members did not believe me when I said
we hadn’t coordinated the imagery and
music to go together before hand. There’s
something very synergistic happening in
our approach to making work, our creative
values. Originally, Leeds Opera North got in
touch wanting me to score an existing silent
film—I knew right away I wanted to pitch an
original collaboration with Paul instead.
Paul: Our connection did begin through
Jefre. Liz and I met in Spain at a festival
she played in, while I was there with Jefre,
screening Super 8mm films with Tarentel,
the band he was in at the time. A few years
later, Liz and I worked together for the first
time at a San Francisco festival, On Land,
that Jefre organized via his label Root
Strata. I thought our performance there
together was really great, and a few years
later we worked together again in Portland
for a show at Valentine’s. I’ve always been
struck by the intensity and emotional
register of Liz’s work, and have enjoyed
working with her whenever the opportunity
was there.
Tell us about the process for HYPNOSIS
DISPLAY: did the images or the sounds come
first, or did the two emerge together?
Liz: Together, but not in the same room.
The bulk of intense collaboration has been
on conceptual structure, conversations
that happened before beginning work. We
spoke on the phone and in person, and sent
writing and influences (books, films, ideas)
back and forth. We traded stills, clips and
recordings. It is important to us both to
give each other room on literal detail and
structure, aesthetic choices. There is a kind
of magic conversation that occurs between
independent structures that have the same
intention, same foundation.
Paul: The sounds and images were
conceived in parallel streams of work.
Besides our various separate travels (Liz
doing shows, I shooting some of the film
in Los Angeles and New York) Liz was
primarily in Astoria, while I was working
in San Francisco. Whenever possible, we’d
share parts of our work together, but mostly,
the two forms are like field recordings from
parallel universes, where a sort of emotional,
intuitive osmosis will combine our work
together when we present the sounds and
images live in June.
You’ve produced artwork and videos yourself
in the past. Was there any crossover in
this project, with you being involved in the
creation of the visuals, or Paul in the music?
Liz: As Paul says, not literally. Almost
certainly subconsciously. We’ve each
been audience for each other’s sketches,
filmed and recorded together, decided on
landscape and concept together, given each
other feedback.
Paul: Not literally, but in sharing our work
together for this project, perhaps an
unconscious influence occurred. I hope so.
22
What appealed in creating a work about
contemporary America?
Paul: I think we’re both deeply moved and
inspired by environments, landscapes and
space in general and in particular, there’s a
very visceral charge in our work methods
that has to do with engaging with and
responding to where we live. This was an
opportunity to further bring into focus
particular themes or obsessions that we’ve
felt in regards to this country.
Liz: The idea of belonging, wanting to feel
at home in my own body/culture/country,
is a theme that finds its way in to my work
naturally. I was raised being told that I
wasn’t actually part of the US. I feel strongly,
most of it negative, about where the US
sits in this world. Often it’s merited, and at
times I feel I’m using an idea of the US as
a figurehead for more intricate upsets. I
wanted to explore this. Paul and I are both
captivated by the way that impressionistic
and literal interpretations of landscape
overlap. It took effort and mindfulness for
me to pull back and present a portrait that
acknowledged personal opinion, and also
left room for simple observation, for the
independent opinions of the audience, for
the beauty (community, culture, landscape)
that exists here, too. Paul’s description of his
own approach helped me with this balance.
His eye is attentive and neutral at once.
Trains feature heavily in the trailer, certainly
a recognisable element in “American
mythmaking.” Is the film in part trying to
realign, or update, some of these ideas and
images?
Paul: Not consciously, but rather in
attempting to record some of these
recognizable elements and environments
(trains, highways, cities, etc.), both
sonically and visually, there’s an interest to
experience these spaces in a different way,
or to feel them in unusual terms, to try to
understand these places and how they can
become separate or strange to us.
Liz: Trains, moving vehicles, machinery
recordings feature strongly in the sound
track, too—a commuter train, several
bridge crossings in cars, cars driving past a
stationary point on the Golden Gate Bridge,
the sound of fishing boat engines in Alaska
from above and below water, recorded on
hydrophone. Surely, travel and the sound
of machinery of production/consumption
are intrinsically tied to the narrative of US
westward movement/invasion/consumption
of the North American interior and Pacific
Coast. For me, the conscious fascination
with sounds of rhythm and travel are
towards more ephemeral allusions. I love
the train scenes and sounds in Stalker. Such
a graceful metaphor to describe both the
movement from concrete description of a
landscape towards a more poetic impression,
and the evolution of personal isolation in
a country plagued by a kind of decayed
idealism, by disrepair.
PAUL CLIPSON & LIZ HARRIS / CHELFITSCH
CHELFITSCH
Ground & Floor
U.S. PREMIERE
Imago Theatre
Fri, Sept 19
Sat, Sept 20
8:30 pm
Sun, Sept 21
4:30 pm
+ 3:30 pm PRE-SHOW Q&A with
Toshiki Okada
CREDITS
Playwriting and Direction: Toshiki Okada
Performers: Taichi Yamagata, Makoto Yazawa, Mari
Ando, Azusa Kamimura, and Miho Inatsugu
Music: Sangatsu
Set Designer: Shusaku Futamura
Dramaturg: Sebastian Breu
Costume: Yuko Ikeda (Luna Luz)
Stage Director: Koro Suzuki, Kazuhiko Nakahara
Sound Director: Norimasa Ushikawa
Sound Operator: Ayumu Okubo
Lighting Director: Tomomi Ohira
Video Director: Shimpei Yamada
Producer: Akane Nakamura, Tamiko Ouki
Company Manager: Nana Koetting
Amongst the new generation of Japanese
theatremakers, Toshiki Okada and his
company chelfitsch stands out with a unique
theatrical vision and a willingness to tackle
their country’s social malaise. —Jackie
Fletcher, British Theatre Guide
In Ground and Floor, chelfitsch Theater
Company and revered playwright Toshiki
Okada take the audience on an exploration
into theater and the dream-like realms
of fiction. Influenced by the devastating
Tohoku Earthquake of 2011 and the resulting
impacts on Japanese society, Ground and
Floor is a narrative of the dead and the
living that is played out on the stage of a
“Japan in the not-too-distant future.” With
inspiration also taken from the ancient
Japanese theater tradition of Noh, Ground
and Floor pivots on a female character as
she attempts to confront the dramatic
silence around her. Ground and Floor is
a moving metaphor for contemporary
Japan and, with an original score by Tokyo
musicians Sangatsu, is an experience of
stand-out musical theatre singular only to
chelfitsch Theater Company.
Musical Theatre with Ghostly Apparitions
Ground and Floor is musical theatre. The
performance is quite straightforward, in the
sense that it is made up of two orthodox
elements, namely “music” and “theatre.”
Our attempt was to make music and theatre
share the time/space of the stage (for that
is our own definition of musical theatre), to
make this process of sharing as astonishing
as possible, and to present it to the audience
in the most vivid shape we can attain. This
task sounds very simple when put in words.
However, it was very difficult to realize. We
never thought of any group of musicians
but Sangatsu to take up this challenge
with us. We can place full trust in this band
who already composed music for works
by chelfitsch several times in the past. No
doubt partly because they have known and
worked with us for a long time, Sangatsu
are able to smoothly follow even our most
abstruse lines of thought. This may be due
to the common ground we have in respect
of outlook and aspiration. It is easy to strike
empathetic chords with them.
Music is the perfect catalyst to create
awareness of time and space and make
people share both of them. The main
reason why we decided to put together a
piece of “musical theatre” this time can be
found here, after all. Whether this power of
music can be used to its full extent or not
ultimately depends on whether the actors
can successfully share the time/space of the
stage with music as their roommate. These
two elements merely existing side by side
does not mean that such a sharing already
took place. Their relationship will end up
being only superficial if the performance is
too heavily influenced by the music’s rhythm
or emotional mood. Conversely, the piece
will lack flavor if the two are juxtaposed
but isolated on separate layers, like a salad
dressing that has not been mixed well
before pouring (doing so would be very
easy). Nothing really magical will occur, no
matter how richly the theatre space is filled
with the sounds of Sangatsu.
What’s important for the relationship
between music and theatre—and also for
this piece as a whole—is, first of all, that the
actors listen to the sounds. Secondly, they
need to maintain a close relationship to
the mutual feedback that occurs between
music and performance. This approach
should enable the words spoken by the
actors, and also their physical body itself, to
co-exist on the same plane with the music.
It also enables both sides to share the stage
equally. Although this idea is simple enough,
its execution is by no means routine, much
less easy. In Ground and Floor, for example,
ghosts appear. The transformation of a
flesh-and-blood actor into a ghost is, in the
final analysis, an event that occurs with a
subtle change of this sort.
There is nothing new about the concept
of musical theatre as an equal sharing
between theater and music per se. It has
been around since ancient times in Japan,
for example, in the genre of Noh theatre.
Ground and Floor draws on the Noh style
to a certain extent. Ghosts appear in it as
noted above, and many of you surely know
that Noh is theatre basically performed by
spirits of the dead.
I personally remain deeply affected by
the huge earthquake that struck Japan
in 2011 and the far-reaching impact it had
on Japanese society as a whole. This is
by no means unrelated to the fact that
Ground and Floor takes up the relationship
between the living and the dead. I could
no longer avoid thinking about ties to the
dead. The effect on me naturally does not
end there. The various apprehensions left by
the disaster have not been diminished one
bit in my mind. Apprehensions about life,
23
CHELFITSCH
society, politics, and Japan itself—I ended up
plastering them all over this piece. I wrote
Ground and Floor in order to ponder the
situation of a conflict of interests between
the dead and the living. Lately, I have begun
to think that a bigger “diplomatic effort”
ought to be made to reconcile the interests
of the two sides. I can’t help but feel that
we have really neglected to make such an
effort.
During the last two years, the focus of my
concern has shifted from searching for new
forms of theatre to using its “hardware”—
ancient cultural technology—in a way that
is meaningful for present society. The two
may not appear to differ greatly, but there
is a world of difference between them as
regards the underlying conception. I have
suddenly been freed from the framework of
judgments stamping theatre as new or old,
and this freedom is another effect worked
on me by the earthquake disaster and the
situation that followed in its wake.
Toshiki Okada (Playwriter/Director)
Born in Yokohama in 1973. Okada formed
the theater company chelfitsch in 1997.
Since then he has written and directed all
of the company’s productions, practicing
a distinctive methodology for creating
plays, and has come to be known for his use
of hyper-colloquial Japanese and unique
choreography. In 2005, his play Five Days
in March won the prestigious 49th Kishida
Kunio Drama Award. Okada participated
in Toyota Choreography Award 2005 with
Air Conditioner (Cooler), garnering much
attention. In February of 2007, his collection
of novels The End of the Special Time We
Were Allowed debuted and was awarded the
Kenzaburo Oe Prize. He has been a judge for
the Kishida Kunio Drama Award since 2012.
In 2013, his first book on theatrology was
published by Kawade Shobo Shinsha.
chelfitsch Theater Company
chelfitsch Theater Company was founded
in 1997 by Toshiki Okada, who writes and
directs all of the company’s productions.
Named after a deliberate mispronunciation
of the English word “selfish,” chelfitsch
Theater Company began to refine its textual
aesthetic as that of colloquial language
representing contemporary youth culture.
With Five Days in March (premiere in 2004
and awarded the prestigious Kunio Kishida
Award for Best Script) the company began
to juxtapose a noisy choreography derived
from everyday mannerisms to the text. The
company’s international debut took place in
2007 when Five Days in March was invited to
the KUNSTENFESITVALDESARTS in Brussels.
The works of chelfitsch have been presented
to great acclaim at premier international
theater festivals and venues throughout
Europe, North America, and Asia. In 2011,
Hot Pepper, Air Conditioner, and the Farewell
Speech received the critics’ award from
the Association québécoise des critiques
de théâtre for the 2010-2011 season. The
troupe continues to update its methodology,
which revolves around the relationship
between speech and body. Since Current
PHOTO: HIROHISA KOIKE
—Sebastian Breu & Toshiki Okada
Location, which debuted in 2012, it has
created works that are exploratory forays
into the realm of fiction. Ground and Floor
premiered as a play commissioned for the
KUNSTENFESTIVALDESARTS 2013 in May.
Sangatsu
A Japanese instrumental band based in
Tokyo. Sangatsu has released several albums,
and jingles. They have also performed live,
collaborating with theater, dance, and other
art forms. They are launching a new project
Catsch and Throw, a kind of open platform.
They also participated in Current Location
in 2012.
Additional Credits
Production: Kunstenfestivaldesarts
Executive production: chelfitsch (Tokyo)
Associated production: precog (Tokyo)
Co-production: Festival d’Automne à Paris,
Les Spectacles vivants – Centre Pompidou
(Paris), HAU Hebbel am Ufer (Berlin), La
Bâtie – Festival de Genève, KAAT (Kanagawa
Arts Theater), Kyoto Experiment, De
Internationale Keuze van de Rotterdamse
Schouwburg, Dublin Theatre Festival,
Théâtre Garonne, and
Onassis Cultural Center(Athens).
Residency support: KAAT (Kanagawa Arts
Theatre), Kyoto Experiment
Special thanks to: Steep Slope Studio, Nao
Kusumi (Anatomy lecture)
Supported by Agency for Cultural Affairs
Government of Japan in the fiscal 2014
24
VISUAL ART AT TBA:14
As round as an apple, as deep as a cup
Poems are problems. They mess with our relationships to language and meaning. Our mouth
feels different in their execution. I am positive they change our brain chemistry, but of this
alchemy I have no proof.
In spite of the fact that no one will pay for a poem, poem and poet persist.
The Art World’s current obsession with “the poem” and its maker “the poet” seems related
to the form’s freedom as well as to its sparse economy. We have yet to to destroy its value by
placing it on the auction block. We want a piece of poetry because some of the magic in our
world has been lost. What is more magical than a poem, more otherworldly than a poet?
Many artists have said to me over the past few years “Language isn’t working!” What they
mean is that we don’t have the words to describe the art we are making let alone the place
and positions we find our society in. We are not even sure if we should put words on top of
“things” or “experiences” or “feelings.” Poems offer great solace during this confusing time.
(maybe “confusing time” is the business of poems and poets!?)
As round as an apple, As deep as a cup is a group of projects, perhaps an exhibition. The
presentations are not odes to something…the artists may or may not be poets, but all of
it is OF poetry. I hope that the endeavor feels like this, a thing broken apart and then put
together again in the mouth. That the projects behave like the carefully chosen discordant
words. A poem that is a problem of the very best kind.
— Kristan Kennedy, Visual Art Curator
As round as an apple, as deep as a cup projects are free and open to the public from
September 11 to October, 2014. Various closing dates, performance dates, exhibition hours,
and locations: pica.org.
Aki Sasamoto, Skewed Lies
714 NE Hancock Building (enter @ NE 7th)
Performance: Sept 20, 6:30 pm & 8:30 pm
Running time 45 min
Jennifer West, Flashlight Filmstrip Projections
Fashion Tech, Sept 11–30
Performances: Sept 16, 8:30 pm and Sept 17, 10:00 pm
Exhibition hours: 12:00–6:00 pm daily (closed Sept 22)
Jesse Sugarmann, We Build Excitement
Fashion Tech
On View: Sept 18, 19, & 20: 10:00 pm
MSHR, Resonant Entity Modulator
Fashion Tech, Sept 11–30
Performance: Sept 18, 10:00 pm
Exhibition hours: daily 12:00–6:00 pm (closed Sept 22)
Lisa Radon, INFINITY INCREASER
PICA, 2nd floor, Sept 11–Oct 11
Exhibition hours: Sept 11–Sept 21: 12:00–6:00 pm daily
Sept 22–Oct 11: Tues–Fri 11:00–6:00 pm, Sat 11:00–4:00 pm
Emily Roysdon, Uncounted Futures
PICA, 2nd floor, Sept 11–Oct 11
Exhibition hours: Sept 11–Sept 21: 12:00–6:00 pm daily
Sept 22–Oct 11: Tues–Fri 11:00–6:00 pm, Sat 11:00–4:00 pm
Wynne Greenwood, Stacy
Curated by Stephanie Snyder and Wynne Greenwood
Douglas F. Cooley Memorial Art Gallery, Reed College,
Sept 2–Oct 19
Opening reception: Sept 12, 4:00–8:00 pm
ARTIST
25
THE WORKS
THE WORKS is where TBA goes after dark. Where artists wind
down with a drink, and where dance parties dissolve into the
night sky. Rock shows, drag balls, comedy, visual art, TBA
Kitchen, mock reality TV shows, and more. Ten nights of happenings, performance, music, and film. It’s an after-party where
everyone’s invited, a moonlit summer nitery, a newly discovered
warehouse venue that transforms each day.
THE WORKS at Fashion Tech
2010 SE 8th Ave., Portland, Oregon
Doors open nightly at 10:00 p.m.; Outdoor bar/food opens at 9:30 p.m.
THE WORKS is a 21+ venue, except where noted.
$8 Members/$10 General at the door; included in all levels of TBA Passes,
except where noted.
THURSDAY, SEPTEMBER 11
TBA:14 Opening Night!
THEESatisfaction, FREE
10:30 p.m.
FRIDAY, SEPTEMBER 12
DROPPING GEMS CURATES THE WORKS
Featuring London’s Little People, DJAO, and Philip Grass
10:30 p.m.
SATURDAY, SEPTEMBER 13
Pepper Pepper
CRITICAL MASCARA “A Post–Realness Drag Ball”
10:30 p.m.
SUNDAY, SEPTEMBER 14
Christopher Sutton
RE: Disc COVER
10:30 p.m.
MONDAY, SEPTEMBER 15
Cinema Project Night
In Favor of Skepticism
10:30 p.m.
TUESDAY, SEPTEMBER 16
Jason Traeger
PORTLAND STAND-UP COMEDY PHOTO ALBUM: LIVE!
10:30 p.m.
WEDNESDAY, SEPTEMBER 17
Larry/Laura Arrington
SQUART!
10:30 p.m.
FRIDAY, SEPTEMBER 19
Oneohtrix Point Never
10:30 p.m.
SATURDAY, SEPTEMBER 20
Chanticleer Trü
Evelyn
10:30 p.m
PHOTO: MARIO GALLUCCI
THURSDAY, SEPTEMBER 18
Arca
10:30 p.m.
26
SO-GOOD MEALS
FOOD & DRINK AT THE WORKS
OUTDOOR BAR OPENS NIGHTLY AT 9:30 PM
IN THE TBA:14 KITCHEN
Our inner host(ess) with the most(ess) has broken loose, blitzed on wine coolers, with a
stack of O.G. Better Homes & Gardens to inspire the party–planning. For TBA, Team Delicious
and our cocktail soul mates, Merit Badge, will bring back a bygone era when “entertaining”
meant more than a kale salad.
It’s dated, it’s decadent, it’s easy, yet elegant. Think “your tipsy Aunt with smeared lipstick.”
Think “close talking.” Think “baked potato bar.” We can’t promise much in this world, but we
can suggest: cheeseburger towers, vegetable casseroles, cocktail wieners, fruit cocktail jello
shots, tropically–inclined beverages, upside–down pineapple desserts, and ice box cakes.
We’ll be in the kitchen where we always are, the perennial LOAF OF THE PARTY.
TEAM DELICIOUS is an event specific experiential food project bag of mixed nuts. One
part Liz Calderón (Special–Projects), one part Jake Sheffield (Grüner/Kask) and one part
collection of collaborators from chefs to artists to professional goofballs (Will Bryant Studio).
MERIT BADGE is a delicious drinkery run by Matt Mount and Heather Hawksford. Punches!
Pineapples! Parasols! Come gather around their flowing bowl and quench your late-night
thirsts.
R.S.V.P DINNER / SEPT 17, 7:00 PM
We cordially invite you to an “elegant” al fresco dinner (in a parking lot), served with the
gone-but-not-forgotten flourish of the grand restaurants of yesteryear. For one night, we’ll
summon the uncompromising finesse of James and Julia (Beard and Child DUH!), and we’ll
capture the style of Sardi’s, Elaine’s, and the Pump Room, where table-side Caesars and
flaming desserts were the norm. Like the finer things in life, this weeknight fête is a tad
over-the-top, but we think it is the exact kind pampering you deserve at TBA. R.S.V.P used
to mean something and together we will bring fancy back! Your napkins will be folded, your
plates will be china, your server will be dashing...we do hope we have the pleasure of seeing
you. Count yourself in.
Hosted by Miss Elizabeth Calderón and Chef Jake Sheffield and their Delicious Team. Special
Drink Pairings at Market Price by Merit Badge. Seating limited. Reservations required.
Fashion Tech, Wed Sept 17th
Time: Guest Arrival 7 o’clock in the evening
$45 – pica.org
Gratuity not included
BLOODY MARY BRUNCHEON / SEPT 21, 11:30 AM
Your forecast for the final day of TBA: Spicy, salty, and refreshing and bright with a Bloody
Mary or seven...
Team Delicious and Merit Badge have come up with a recipe to soothe your savage art
hangover. The kitchen will be in PANTRY RAID mode, whipping up a “scrambled” brunch
from the remains of the festival that was. Salad in a glass! Eggs on your plate! These are not
your mothers leftovers! Reminisce about late night antics and profound performances with
your new-found festival friends.
Sun Sept 21st
11:30 – 1:30 pm
Fashion Tech
21+
À la carte menu at event
WILL BRYANT STUDIO
#TBA4THMEAL / @team.delicious / team–delicious.co
#meritbadgeco / @meritbadgeco / meritbadgeco.com
Ronna and Eric Hoffman
Gallery of Contemporary Art
Lewis & Clark College
Dana Lynn Louis
Clearing
September 9 to December 14
www.lclark.edu/hoffman_gallery
INVENTIVE•BEETHOVEN•POULENC•MOZART•BARTOK•BACH•DVORÁK•IVES•SCHUBERT•LUTOSLAWSKI•MESSAIEN•INVENTIVE•BACH•BRAHMS•LISZT•CRUMB•MENDELSSOHN•RACHMANINOV•MUHLY•COREA•LIGETI•RAVEL•UNSTOPPABLE•BEETHOVEN•POULENC•MOZART•BARTOK•BACH•DVORÁK•IVES•SCHUBERT•ON FIRE•LUTOSLAWSKI•MESSAIEN•BACH•BRAHMS•LISZT•CRUMB•MENDELSSOHN•RACHMANINOV•MUHLY•COREA•LIGETI•RAVEL•INVENTIVE•BEETHOVEN•POULENC•MOZART•BARTOK•BACH•DVORÁK•IVES•SCHUBERT•LUTOSLAWSKI•MESSAIEN•BACH•BRAHMS•LISZT•CRUMB•MENDELSSOHN•RACHMANINOV•MUHLY•UNSTOPPABLE•COREA•LIGETI•RAVEL•INVENTIVE•ON
FIRE•BEETHOVEN•POULENC•MOZART•BARTOK•BACH•DVORÁK•IVES•SCHUBERT•LUTOSLAWSKI•MESSAIEN•BACH•ON FIRE•CRUMB•MENDELSSOHN•RACHMANINOV•INVENTIVE•MUHLY•COREA•LIGETI•RAVEL•UNSTOPPABLE•BEETHOVEN•POULENC•MOZART•BARTOK•BACH•DVORÁK•IVES•SCHUBERT•LUTO
INVENTIVE•BEETHOVEN•POULENC•MOZART•BARTOK•BACH•DVORÁK•IVES•SCHUBERT•LUTOSLAWSKI•MESSAIEN•BACH•BRAHMS•LISZT•CRUMB•INVENTIVE•MENDELSSOHN•RACHMANINOV•MUHLY•COREA•LIGETI•RAVEL•UNSTOPPABLE•BEETHOVEN•POULENC•MOZART•BARTOK•BACH•DVORÁK•IVES•SCHUBERT•LUTOSLAWSKI•MESSAIEN•BACH•BRAHMS•LISZT•CRUMB•MENDELSSOHN•RACHMANINOV•ON FIRE•MUHLY•COREA•LIGETI•RAVEL•INVENTIVE•BEETHOVEN•POULENC•MOZART•BARTOK•BACH•DVORÁK•IVES•SCHUBERT•LUTOSLAWSKI•MESSAIEN•BACH•BRAHMS•LISZT
WOMEN
ON
THE EDGE
TAMARA
STEFANOVICH
Duo ANI & NIA
SIMONE
DINNERSTEIN SULKHANISHVILI
OCT 19 – 4:00
OCT 20 – 7:30
DEC 14 – 4:00
DEC 15 – 7:30
LINCOLN HALL
LINCOLN HALL
MAY 3 – 4:00
NEWMARK THEATRE
LIVING SPACE THAT WORKS
Modern live/work townhouses for lease at NW 19th & Overton
Single tickets from $36 or all three from $108
portlandpiano.org • 503.228.1388 • info@portlandpiano.org
2014 / 2015 Season Generously Sponsored by Noam Ben-Hamou
overton19.com
plan your
portland art tour
in alliance with museums,
academic + nonprofit galleries
to
o
ort
airport
5 miles
N
26
15
12
enlarged
area
99E
43
5
22
5
14
1
10 miles
99E
84
2
6 miles
405
26
3
217
17
NE
SA
ND
Y
NE 11th
SE CL AY
SE MADISON
SE HAW THORNE
SE MAIN
SE TAYLOR
SE SALMON
SE BELMONT
SE YAMHILL
SE ALDER
SE MORRISON
SE WASHINGTON
SE OAK
SE STARK
SE ASH
SE PINE
SE ANKENY
E BURNSIDE
NE 7th
NE 6th
99E
SE 3rd
Conve n t ion
Ce nter
SE 2nd
ge
B r id
rne
Haw
N
RK
Y
10 Quintana Galleries
124 NW 9th Avenue
503-223-1729
quintanagalleries.com
RKE
Y
T
UM
MA
SW
CO L
CLA
SW
ON
SO N
D IS
FER
MA
JEF
SW
B IA
N
MO
SAL
MA
SW
IN
SW
LO R
T AY
R R IS
HIL
YA M
MO
L
SW
AY
WA
ON
G TO
ER
WA
S H IN
RK
DW
ALD
S TA
OA
PA
714 NW Davis Street
503-222-1142
froelickgaller y.com
9 PDX Contemporary Art
925 NW Flanders Street
503-222-0063
pdxcontemporaryart.com
th o
Mo
BR
I TO
10
11 Waterstone Gallery
424 NW 12th Avenue
503-226-6196
waterstonegallery.com
11
21
3
NW 13th
SW
SW
SW
NW 19th
NW EVERETT
NW FL A N D E RS
NW GLISAN
NW HOY T
NW IRVING
NW JOHNSON
NW LOVEJOY
NW KEARNEY
NW MARSHALL
NW NORTHRUP
SW
NW 20th
NW 21st
8
J e l d - We n
Fi e l d
Po r tla nd
State
Universit y
15 t
h
14 Disjecta Contemporary
Art Center
8371 N Interstate Avenue
503-286-9449
disjecta.org
15 Douglas F. Cooley
Memorial Art Gallery
Reed College
3203 SE Woodstock Blvd
503-517-7851
reed.edu/gallery
16 Feldman Gallery
+ Project Space
Pacific Northwest College of Art
1241 NW Johnson Street
503-226-4391
pnca.edu
17 Hoffman Gallery
Oregon College of Art and Craft
8245 SW Barnes Road
503-297-5544
ocac.edu
18 Museum of
Contemporary Craft
in partnership with PNCA
724 NW Davis Street
503-223-2654
museumofcontemporarycraft.org
19 Newspace Center
for Photography
1632 SE 10th Avenue
503-963-1935
newspacephoto.org
20 Portland Institute for
Contemporary Art (PICA)
22 Ronna and Eric Hoffman
16 t
h
Gallery of Contemporary Art
Lewis & Clark College
0615 SW Palantine Hill Road
503-768-7687
lclark.edu/hoffman_gallery
17 t
h
18
th
26
6
Streetcar
MA X light rail
NW 23rd
13 Blue Sky
Oregon Center for the
Photographic Arts
122 NW 8th Avenue
503-225-0210
blueskygallery.org
21 Portland Art Museum
1219 SW Park Avenue
503-226-2811
portlandartmuseum.org
NW 14th
405
12 The Art Gym
Marylhurst University
17600 Pacific Highway
503-699-6243
marylhurst.edu/theartgym
415 SW 10th Avenue, Suite 300
503-242-1419
pica.org
20
N W 11 t h
NW 12th
6th
SW
NA
SW
NW 9th
NW 10th
2
6 9
5th
SW
NW 8th
NW PARK
3rd
4th
SW
7
1
5 13
18
SW
d
SW
NW BROADW AY
SW
2n
SW
SW
4
SW
SW
1s t
SW
W BURNSIDE
NW DAVIS
NW COUCH
SW
SW
SW
Froelick Gallery
8 The Laura Russo Gallery
805 NW 21st Avenue
503-226-2754
laurarusso.com
ge
B r id
r r is
lB
ee
St
23
16
R I V
E R
on
rid
ge
N
Burnside Bridge
5
W I
L L
A M
E T
T E
Charles A. Hartman
Fine Art
134 NW 8th Avenue
503-287-3886
hartmanfineart.net
7
SE WATER
R ose
G a rden
Arena
300 NW 13th Avenue
503-227-0222
bullseyegallery.com
6 Elizabeth Leach Gallery
417 NW 9th Avenue
503-224-0521
elizabethleach.com
SE GRAND
SE MARTIN LUTHER KING
5
SE MARKET
19
NE 10th
NE 9th
NE 8th
Bullseye Gallery
4 Butters Gallery Ltd
520 NW Davis Street
503-248-9378
buttersgallery.com
NE 12th
84
Blackfish Gallery
503-224-2634
blackfish.com
G R E AT E R
PORTLAND
AREA
4 miles
716 NW Davis Street
503-546-5056
augengallery.com
420 NW 9th Avenue
5
5 miles
Augen Gallery
Most venues are accessible
using Portland’s metro area
streetcar and MAX light rail.
Please visit trimet.org for route
and schedule information.
23 White Box
University of Oregon in Portland
24 NW 1st Avenue
503-412-3689
pdx.uoregon.edu/whitebox
JOIN PICA
Become a member and enjoy PICA’s groundbreaking
work all year long. Your membership benefits you
with discounts and other perks, and benefits PICA by
enabling us to present world-class artists, fund artist
residencies and commissions, subsidize free and
low-cost programs, and reach new communities with
contemporary art.
INDIVIDUAL MEMBERSHIP $50
• Discounts on TBA Festival passes and tickets
• Discounts on tickets to PICA’s year-round
programming
• Discounts on PICA merchandise and publications •
Access to PICA’s Resource Room, containing 3,000+
books, periodicals, and audio-visual materials
• Advance sales on programs and events • Invitations
to visiting and resident artists
CONTRIBUTOR MEMBERSHIP $100
• All above benefits, plus: Discounts on up to two
tickets per performance for year-round performances
• Acknowledgement listed in printed materials and
on the Donor Wall at THE WORKS at TBA
ENTHUSIAST MEMBERSHIP $250
• All above benefits, plus: Two PICA t-shirts
ADVOCATE MEMBERSHIP $500
• All above benefits, plus: One PICA tote bag
SUPPORTER MEMBERSHIP $1,000
• All above benefits, plus: One gift PICA membership
to the household of your choice
• Invitation to special artist receptions
PATRON MEMBERSHIP $2,500
• All above benefits, plus: One PICA hooded
sweatshirt
OTHER WAYS TO SUPPORT PICA
Give us your skills! Donate in-kind services, such
as construction, design, or printing. Give us your
stuff! Donate materials such as lumber, computers,
frequent flyer miles, or projectors. Give us your
time! Volunteer at the PICA offices and events.
Give us your friends! Bring a buddy to PICA events.
Contemporary art loves company. Don’t forget to
like us on Facebook, and follow us on Twitter and
Instagram!
Please make checks payable to Portland Institute for Contemporary Art,
and return this form to: 415 SW 10th Ave, Suite 300, Portland, OR 97205.
For questions or to make a payment by phone please call 503.242.1419
or email membership@pica.org. You can also become a member online
at pica.org. Business Sponsorship and in-kind opportunities are also
available.
MEMBERSHIP LEVEL
Individual Contributor Enthusiast Advocate Supporter Patron Champion
Monthly Membership Plans are available. Please
contact the PICA office to set up a recurring
monthly giving plan.
PAYMENT METHOD
Check enclosed
Visa
• All above benefits, plus: Two TBA Festival
Immersion Passes
MasterCard
American Express
Name
Partner Name
Address
City CHAMPION MEMBERSHIP $5,000
$50
$100
$250
$500
$1000
$2500
$5000
State
Zip
Phone
Email
Signature Date
Card No.
Exp.
CVV#
ANTOINE DEFOORT & HALORY GOERGER, GERMINAL; PHOTO: BEA BORGERS
TBA:14 PERFORMANCE
PROGRAM
MAMMALIAN DIVING
REFLEX
All the Sex I’ve Ever Had
Wed, Sept 17
Thurs, Sept 18
Fri, Sept 19
Sat, Sept 20
PORTLAND CAST
Ingrid Rose
Ingrid’s guiding inspiration for her life work stems from her
history of growing up in South Africa, where she decided early
on to devote herself to individual and social change. Since that
time, Ingrid has spent 40 years of her life exploring various
modalities that enhance human potential and growth, both in
herself and others.
Norman Watanabe
Norman Watanabe is a 72 year old native Oregonian born in
Ontario and raised on a farm. He attended the University of
Oregon, served in the US Air Force, and then received a degree
in business from Portland State University. He was married for 4
years, divorced, never remarried and has no children.
Fred Sly
Fred Sly teaches communication skills to the general public and
in Oregon prisons. Fred delights in his family and grandchildren,
in singing in local choirs, and in swimming and floating the
lovely waters of Oregon. Fred is an “occasional” performer, most
recently performing with the Portland Peace Choir.
Jackie Anderson
Jackie Anderson is a retired paralegal. She is a volunteer
worker; a licensed barber on-call to provide haircuts to bedridden people. She is currently a senior at PSU, aspiring for an M.A.
in Art History. She was recently inducted into Phi Alpha Theta by
its National Council for her accomplishments.
David Rolin
David has been a jewelry designer represented in fine art
galleries. He is a custom auto designer/builder featured in many
magazines over the years. David is a performing/recording
drummer, lyricist, and vocalist. He is a sex positive, pan-erotic
photographer showing in galleries and competitive exhibits.
OUR TIME
IS NOW!
Offering a professional education
in architecture in downtown Portland
PROUDLY CELEBRATE PICA AND THE 2014 TIME-BASED
ART FESTIVAL. WWW.BRUCECAREYRESTAURANTS.COM
2-year Master of Architecture
3-year Master of Architecture
BA or BS in Architecture
www.pdx.edu/the-arts/architecture
PINK
MARTINI
PICA