17 Cynthia Hopkins A Living Documentary. 18 Mammalian Diving Reflex All the Sex I ve Ever Had. 20 Halory Goerger & Antoine Defoort GERMINAL

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1 PERFORMANCE PROGRAM

2 PERFORMANCE PROGRAM CONTENTS 4 Festival Sponsors 6 Samita Sinha Cipher 8 Tanya Tagaq Tanya Tagaq in concert with Nanook of the North 9 Eisa Jocson Death of the Pole Dancer & Macho Dancer 10 Bodycartography Project Super Nature (an Installation) 11 Tahni Holt Duet Love 13 Tim Hecker 14 Luke George & Collaborators Not About Face 15 Maya Beiser UNCOVERED Featuring members of the Portland Cello Project 17 Cynthia Hopkins A Living Documentary 18 Mammalian Diving Reflex All the Sex I ve Ever Had 19 Jack Ferver Mon, Ma, Mes 20 Halory Goerger & Antoine Defoort GERMINAL 21 Paul Clipson & Liz Harris HYPNOSIS DISPLAY 22 chelfitsch Ground & Floor 24 Visual Art at TBA:14 As round as an apple, as deep as a cup 25 THE WORKS 26 So-Good Meals Food & Drink at THE WORKS

3 A NOTE FROM ARTISTIC DIRECTOR ANGELA MATTOX Welcome to the 12th edition of PICA s Time- Based 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 4 SPONSORS SUPERHERO SPONSORS PRESENTING SPONSORS MAJOR SPONSORS 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 Holst Architecture Heinz Records/Pink Martini PATRON 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 SUPPORTER 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 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 ADVOCATE 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

5 SPONSORS 5 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 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. The voice becomes this thread in Cipher. 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 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); PHOTO: RASU JILANI 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). 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 7 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 Gutiérrez- Rivera, 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 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. Scream. Grunt. Growl, groan. Flutter. Quiver. Howl. 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 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 9 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 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 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 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 10 BODYCARTOGRAPHY PROJECT BODYCAR- TOGRAPHY 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 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 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 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 She was voted

11 BODYCARTOGRAPHY PROJECT / TAHNI HOLT 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. 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 11 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 PHOTO: EUGENIE FRERICHS

12 12 TAHNI HOLT 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 NDP Touring Award recipient for Duet Love, which will tour to DiverseWorks (Houston) and The Lucky Penny (Atlanta) in the spring of 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 & 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 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. 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 13 TIM HECKER PSU Lincoln Hall Sun, Sept 14 8:30 pm 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 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 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. 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 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 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 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 CREDITS For Not About Face, George is joined by collaborators Hilary Clark, Nick Roux, Benjamin Cisterne, Martyn Coutts, and producer Alison Halit. 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 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 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 ( ) 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. 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. 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, Melbourne in October After TBA Festival, Not About Face will have its New York premiere at The Chocolate Factory Theater in November 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. PHOTO: IOULEX MAYA BEISER UNCOVERED Featuring members of the Portland Cello Project PORTLAND PREMIERE PSU Lincoln Hall Mon, Sept 15 8:30 pm 15 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 16 MAYA BEISER 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 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 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 17 CYNTHIA HOPKINS A Living Documentary WEST COAST PREMIERE Winningstad Theater (Portland 5) Mon, Sept 15 Tues, Sept 16 6:30 pm A triumph of disciplined thinking, narrative fluidity, and musical accomplishment. The New York Times 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 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 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 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 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 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 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 19 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 Ferver s performances are so extreme that they sometimes look and feel like exorcisms. The New Yorker 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 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 All of a Sudden, a collaboration with Joshua Lubin-Levy at Abrons Arts Center in the spring of 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 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 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 His A Movie Star Needs A Movie was commissioned by The New Museum in 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 He remounted the work at PS 122 in 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 20 HALORY GOERGER & ANTOINE DEFOORT HALORY GOERGER & ANTOINE DEFOORT GERMINAL US PREMIERE PSU Lincoln Hall Thurs, Sept 18 Fri, Sept 19 8:30 pm 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 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 21 PAUL CLIPSON & LIZ HARRIS HYPNOSIS DISPLAY US PREMIERE PSU Lincoln Hall Sat, Sept 20 8:30 pm 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 Cantu- Ledesma 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 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 22 PAUL CLIPSON & LIZ HARRIS / CHELFITSCH 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. 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 23 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. Sebastian Breu & Toshiki Okada Toshiki Okada (Playwriter/Director) Born in Yokohama in Okada formed the theater company chelfitsch in 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 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 season. The troupe continues to update its methodology, which revolves around the relationship between speech and body. Since Current PHOTO: HIROHISA KOIKE 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 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 24 ARTIST 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, Various closing dates, performance dates, exhibition hours, and locations: pica.org. Aki Sasamoto, Skewed Lies 714 NE Hancock Building NE 7th) Performance: Sept 20, 6:30 pm & 8:30 pm Running time 45 min Jennifer West, Flashlight Filmstrip Projections Fashion Tech, Sept 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 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

25 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. THURSDAY, SEPTEMBER 18 Arca 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

26 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 #TBA4THMEAL / team delicious.co #meritbadgeco / meritbadgeco.com WILL BRYANT STUDIO

27

28 Ronna and Eric Hoffman Gallery of Contemporary Art Lewis & Clark College Dana Lynn Louis Clearing September 9 to December 14

29 MESSAIEN INVENTIVE BACH BRAHMS LISZT CRUMB MEN HLY COREA LIGETI RAVEL UNSTOPPABLE BEETHOVEN POU VES SCHUBERT ON FIRE LUTOSLAWSKI MESSAIEN BACH B WOMEN CHMANINOV MUHLY COREA LIGETI RAVEL INVENTIVE BEE H DVORÁK IVES SCHUBERT LUTOSLAWSKI MESSAIEN BAC ELSSOHN RACHMANINOV MUHLY UNSTOPPABLE COREA LI THOVEN POULENC MOZART BARTOK BACH DVORÁK IVES ACH ON FIRE CRUMB MENDELSSOHN RACHMANINOV INVE ON EDGE OPPABLE BEETHOVEN POULENC MOZART BARTOK BACH D E BEETHOVEN POULENC MOZART BARTOK BACH DVORÁK THE MESSAIEN BACH BRAHMS LISZT CRUMB INVENTIVE MEN HLY COREA LIGETI RAVEL UNSTOPPABLE BEETHOVEN POU VES SCHUBERT LUTOSLAWSKI MESSAIEN BACH BRAHMS L HMANINOV ON FIRE MUHLY COREA LIGETI RAVEL INVENT RTOK BACH DVORÁK IVES SCHUBERT LUTOSLAWSKI MESS TAMARA STEFANOVICH OCT 19 4:00 OCT 20 7:30 LINCOLN HALL SIMONE DINNERSTEIN DEC 14 4:00 DEC 15 7:30 LINCOLN HALL Duo ANI & NIA SULKHANISHVILI MAY 3 4:00 NEWMARK THEATRE Single tickets from $36 or all three from $108 portlandpiano.org info@portlandpiano.org LIVING SPACE THAT WORKS Modern live/work townhouses for lease at NW 19th & Overton 2014 / 2015 Season Generously Sponsored by Noam Ben-Hamou overton19.com

30 NW IRVING NW HOYT W BURNSIDE plan your portland art tour o airport to in alliance with museums, academic + nonprofi t galleries NW NORTHRUP Rose Garden Arena NW MARSHALL NW LOVEJOY NW KEARNEY Convention Center NW JOHNSON 84 Steel Bridge NW BROADWAY NW 8th NW PARK N NW 9th NW 10th NW 11th NW 12th NW 13th NW 14th NW GLISAN N 5 miles NW FLANDERS NW EVERETT 5 3 NE 11th NE 10th NE 9th NE 8th NW DAVIS NW COUCH 99E NE 12th NE 7th NE 6th 4 NE SANDY SANDY ANDY NW 19th NW 20th NW 21st E BURNSIDE Burnside Bridge enlarged area miles 17 SE ANKENY SE ASH SE PINE SE OAK SE STARK SE WASHINGTON SE ALDER SE MORRISON SE BELMONT SE YAMHILL SE TAYLOR SE SALMON SE MAIN SE MADISON SE HAWTHORNE SE CLAY SE MARKET 5 W I L L A M E T T E R I V E R SW 1st SW 2nd SW 3rd SW 4th SW 5th SW 6th 26 SE GRAND SE MARTIN LUTHER KING SE 3rd SE 2nd SW STARK SW BROADWAY 20 Jeld-Wen Field 26 SW 15th SW 16th SW 17th SW 18th 5 miles 15 GREATER PORTLAND AREA SW WASHINGTON SW ALDER 99E SW MORRISON 22 6 miles 5 Morrison Bridge 99E SW NAITO PARKWAY SW YAMHILL SW TAYLOR SW SALMON 217 SE WATER 10 miles Hawthorne Bridge SW MAIN SW MADISON SW JEFFERSON SW COLUMBIA SW CLAY SW MARKET 21 Streetcar Portland State University MAX light rail 19 1 Augen Gallery 716 NW Davis Street augengallery.com 2 Blackfish Gallery 420 NW 9th Avenue blackfish.com 3 Bullseye Gallery 300 NW 13th Avenue bullseyegallery.com 4 Butters Gallery Ltd 520 NW Davis Street buttersgallery.com 5 Charles A. Hartman Fine Art 134 NW 8th Avenue hartmanfineart.net 6 Elizabeth Leach Gallery 417 NW 9th Avenue elizabethleach.com 7 Froelick Gallery 714 NW Davis Street froelickgallery.com 8 The Laura Russo Gallery 805 NW 21st Avenue laurarusso.com 9 PDX Contemporary Art 925 NW Flanders Street pdxcontemporaryart.com 10 Quintana Galleries 124 NW 9th Avenue quintanagalleries.com 11 Waterstone Gallery 424 NW 12th Avenue waterstonegallery.com Most venues are accessible using Portland s metro area streetcar and MAX light rail. Please visit trimet.org for route and schedule information. 12 The Art Gym Marylhurst University Pacific Highway marylhurst.edu/theartgym 13 Blue Sky Oregon Center for the Photographic Arts 122 NW 8th Avenue blueskygallery.org 14 Disjecta Contemporary Art Center 8371 N Interstate Avenue disjecta.org 15 Douglas F. Cooley Memorial Art Gallery Reed College 3203 SE Woodstock Blvd reed.edu/gallery 16 Feldman Gallery + Project Space Pacific Northwest College of Art 1241 NW Johnson Street pnca.edu 17 Hoffman Gallery Oregon College of Art and Craft 8245 SW Barnes Road ocac.edu 18 Museum of Contemporary Craft in partnership with PNCA 724 NW Davis Street museumofcontemporarycraft.org 19 Newspace Center for Photography 1632 SE 10th Avenue newspacephoto.org 20 Portland Institute for Contemporary Art (PICA) 415 SW 10th Avenue, Suite pica.org 21 Portland Art Museum 1219 SW Park Avenue portlandartmuseum.org 22 Ronna and Eric Hoffman Gallery of Contemporary Art Lewis & Clark College 0615 SW Palantine Hill Road lclark.edu/hoffman_gallery 23 White Box University of Oregon in Portland 24 NW 1st Avenue pdx.uoregon.edu/whitebox NW 23rd

31 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 CHAMPION MEMBERSHIP $5,000 All above benefits, plus: Two TBA Festival Immersion Passes 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 For questions or to make a payment by phone please call or 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 $50 Contributor $100 Enthusiast $250 Advocate $500 Supporter $1000 Patron $2500 Champion $5000 Monthly Membership Plans are available. Please contact the PICA office to set up a recurring monthly giving plan. PAYMENT METHOD Check enclosed Visa Name Partner Name Address MasterCard American Express City State Zip Phone Signature Date Card No. Exp. CVV#

32 ANTOINE DEFOORT & HALORY GOERGER, GERMINAL; PHOTO: BEA BORGERS

33 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.

34 OUR TIME IS NOW! Offering a professional education in architecture in downtown Portland PROUDLY CELEBRATE PICA AND THE 2014 TIME-BASED ART FESTIVAL. 2-year Master of Architecture 3-year Master of Architecture BA or BS in Architecture PINK MARTINI PICA