Design & Performance by James & Jen McGinn

McGinn & Again is a multidisciplinary family art collective initiated by James and Jen McGinn. While maintaining professional autonomy, their working practices often converge on collaborative projects, including but not limited to, generative artistic research, pseudo conceptual theory, and the development of post-contemporary pedagogical platforms. Collaborating with family and friends alike, their work explores the depth of these seasoned relationships in objective respect to hyper-formalist composition with a makeshift grander. Their efforts have mainly taken shape in the northeast United States / northwest Europe and hope to be coming soon to a theater near you.

James McGinn was born and raised in Sarasota, FL by a Scottish figure painter and an American Cecchetti ballerina. Initially trained as a classicist-turned romanticist, his relationship to contemporary art and performance continued to transform throughout his extensive professional training at The American Dance Festival, The New School – Eugene Lang College, and as a 2013 danceWEB scholar at Impulstanz – Vienna. While finishing Graduate research at P.A.R.T.S. in Brussels, James became heavily invested in trans/post-humanist theory & composition and started a database of referential form & gestural symbolism. He has been greatly influenced by performing in the work of Jonah Bokaer, Wally Cardona, Miguel Gutierrez, Ishmael Houston-Jones, John Jasperse, Daniel Linehan, Jen McGinn, Ryan McNamara, Marten Spangberg, and Robert Steijn, among others. His choreographic work has been shown throughout the US/EU, was presented at American Realness 2011, and selected as a finalist at the Danse Élargie Competition @ Theatre de la Ville. James currently works between Brooklyn and Brussels as a contemporary performer and choreographer exploring the territory between dance, theater, & performance for the stage and moving image. www.jamesmcginn.info

Jen McGinn received her B.A. and M.F.A in Dance from Hollins University in partnership with the ADF. She currently teaches at the University of the Arts and co-directs their Summer Institute in Dance; is a Dance Specialist for “Life Lines” Community Arts Project; and is the Studio Manager at the Center for Performance Research. She is currently making work as a 2014-2016 Artist in Residence through Movement Research and a 2015 Gibney boo-koo Grantee. Her work has been presented throughout the East Coast and abroad at various spaces including Brooklyn Arts Exchange (2013 Space Grantee); Dance Theater Workshop (Fresh Tracks); nEW Festival (2009 AIR); Movement Research at the Judson Church (’09-’15); Danspace Project (DraftWork and Academy Dances); Philadelphia Live Arts Festival (The A.W.A.R.D Show); Franklin Street Works (Showing the Work); Dixon Place (BRINK); Performance Mix Festival (’08, ’11, ’14); CPR (New Voices in Live Performance and Performance Studio Open House); AUNTS; Community Education Center (New Edge Mix); and the National Theater of Luxembourg (Bruler Pour Briller). Her interests include Cecchetti ballet, magical thinking, and logic problems. www.jenmcginndance.com

Culture Administration & Trembling is created and performed by Jennifer Lacey, Antonija Livingstone, Dominique Pétrin, Stephen Thompson, Dana Michel, Jamie Ross, An Thorne.

Video by Benny Nemerofsky Ramsay
Sound by Brendan Dougherty
Male Breast Feeding Ensemble : Thibault Lac, An Thorne, Jamie Ross, Mikiki, CT Thorne, Laurent Pichaud

Special Thanks to :
Florin Flueras, Noémie Solomon, Mikiki, CT Thorne, Julian Schnorr

Culture Administration & Trembling is conceived and produced by Antonija Livingstone
Management for A. Livingstone projects : Plan V Paris : FannyVirelizier@free.fr

Jennifer Lacey (FR/US)is an American choreographer now based in Paris. She received a Doris Duke Impact Award in 2014 and a Guggenheim fellowship in 2015, and Impulstanz Vienna DanceWeb coach 2016. As far afield from traditional dance performance as the work often goes, Lacey is commited to her essential point of view as a dancer and strives to produce a thinking body of work in which poetics transcend a conceptual basis.Lacey has taught technique, improvisation, composition etc. all over the globe for the last 15 years in institutions, studios and festivals. As a teacher of technique Lacey has been influenced by her studies with Release Technique pioneer, Joan Skinner. Over the past 10 years her teaching has expanded into her artistic practice.The form of the workshops is taken as performative and capable of producing content rather than just transmitting it. Consequently, she has been developmental in designing and running a project at the Impulstanz Festival in Vienna for artists who also teach. This program is in it’s 6th year and 2015 functioned as the DanceWeb Mentor itself.
During the 90’s in New York City Lacey was a member of the Randy Warshaw Dance Company as well as a dancer with Jennifer Monson, DD Dorvillier, John Jasperse, Yvonne Meier among others. At the same time she began developing her own work, which was presented at PS 122, Movement Research, Danspace St Marks, the Kitchen as well as at many European venues and Festivals notably the Kaai theatre, Beaubourg/Centre Georges Pompidou, Festival d’Autumn, Weiner FestWochen, the Tate Modern and Montpellier Danse. In 2000 Lacey founded Cie Megagloss in Paris with Carole Bodin and began collaboration with artist Nadia Lauro. Their collaboration has produced many works including “$Shot”, “Chateaux of France”, “Mhmmmmm” and “Les Assistantes”. A monograph of their work was published by Presse du Réal in 2007. In addition to her work with Lauro, Lacey has founded a number of projects with ambiguous borders: “Projet Bonbonnière” – a research and living project designed to rehabilitate Italianate theatres; “Prodwhee” – a disposable series of performances using the dance residency as currency; “Robinhood” – a mythic and invisible performance with artist Cerith Wyn Evans; “Robinhood – The Tour” – an act of theft perpetuated with composer/musician Hecker, presented recently at the Tate Modern; and “Transmaniastan” – a work commissioned for “a choreographed exhibition” at the Kunsthalle, St. Gallen. She has also produced several solos: “Two Discussions of an Anterior Event” (2004), “Tall” (2007) and “Ouch”(2007) (a tap version of Carolee Scheeman’s Internal Scroll).During her 2 years time as artist in residence at Laboratoire d Aubervilliers she has produced two projects, “Ma premiere fois avec un dramaturge”, and “I heart Lygia Clark”. These projects are performative but fall outside the standard modes of dance production and spectacle. In 2011 Lacey began a collaboration with American choreographer Wally Cardona and composer Jonathan Bepler, “Tool Is Loot”. This group is currently engaged in a 4 year 8 part project, “The Set-Up” based in meetings with international dance “masters”. In 2009 she presented “Culture & Administration”, for Festival Avignon, a duet in collaboration with Antonija Livingstone; the project is now reformatted and active as Culture Administration & Trembling, performed with Stephen Thompson, Dominique Pétrin animal companions and guests.

Antonija Livingstone ( CA /DE ) creates and performs at the frontiers of Dance and Performance. Her projects are often born from collaborations with visual artists, strangers and guests from beyond the professional performing arts milieu with whom she co-operates to make things out of dance. Her performance practice was first activated when as a close collaborator of Quebecois choreographer Benoit Lachambre, Livingstone tthen went on to work with Meg Stuart-Damaged Goods since 2002, and continues to tour the current project Sketches- Notebook. As a maker Livingstone has realized a variety of good humoured queer spirited co-created and co-produced works for stage, exhibition, and film. The Part (2004-2016) – a situation for dancing. In 4 episodes with Heather Kravas (2006- 2008), Cat Calendar with Antonia Baehr (2006),Culture & Administration with Jennifer Lacey( 2009- 2016) The 1001 with Sarah Chase, On Orientations and other works with Ian Kaler (2012), and most recently Supernatural with Simone Aughterlony and Hahn Rowe which they continue to tour in 2016. Livingstones work has been coproduced and presented internationally over the years by Tanz Im August, Berlin, Impulstanz, Vienna, Festival Avignon, Festival Transameriques Montreal, amongst other interdisciplinary venues world wide. Livingstone creates a new work in collaboration with scenographer Nadia Lauro for Festival Actorale Montreal, Marseille, and Festival D Autumn Paris 2016. She has been active as a coach and mentor for emerging artists and comrades such as Ian Kaler, Dana Michel, as well as at Impulstanz, Vienna, DOCH Stockholm, CCN Montpellier, SNDO Amsterdam, HZT Berlin, Circuit- Est Montreal. Management : Plan V Paris : Fannyvirelizier@free.f

Dominique Pétrin is a multidisciplinary artist born in Montreal. In visual arts as well as performance, her interests converge towards producing altered states of conscience and perception, be it through cognitive or visual illusions, or, for her performances, the use of hypnosis. A former member of the band Les Georges Leningrad, she also collaborated with such renowned artists as Sophie Calle and Pil & Galia Kolletiv. She staged performances at the Frieze Art Fair in London, at the Désordres Festival in Lille, MUTEK, Viva! and Rouyn-Noranda’s Performance Biennale. She was rewarded with an artist residency in Nunavik by the Quebec Council for the Arts, participated in the 29th Contemprary Art Symposium in Baie-Saint-Paul, and was selected for the last instalment of the Quebec Triennial at the Montreal Museum of Contemporary Art. She recently presented in Untitled at Art Basel Miami USA.

Stephen Thompson is recognized as a performance/dance artist, choreographer, researcher and pedagogue originally from Calgary, Alberta, living and working nomadically between Canada and Europe. He received a Bachelor of Kinesiology (art and science of movement) and Dance from the University of Calgary. Stephen has worked with a plethora of artists and companies notably Benoit Lachambre, performing in Trajal Harell s (USA) 2012 Bessie award winning – Large version of Twenty Looks or Paris is burning at the Judson Church, and Fabrice Lambert in Solaire presented by Theatre De La Ville in Paris. He has signed several performance artworks presented nationally and internationally and is currently developing a project together with visual artist Xavier Veilhan.

Brendan Dougherty is a composer musician active in both the Berlin Electronic Music and Tanz Aktuelle milieu, His new solo LP: “Sensate” on Entr’Acte records is released in November 2015. He has created a variety sound scores for Meg Stuart -Damaged Goods, notably, Violet, and Sketches, as well as with Jeremy Wade, Adam Linder, Ian Kaler and Antonija Livingstone projects in France, Québec, UK.

Dana Michel is a choreographer and performer based in Montreal. Before obtaining a BFA in Contemporary Dance at Concordia University in her late twenties, she was a marketing executive, competitive runner and football player. She is a 2011 danceWEB scholar (Vienna, Austria) and is currently an artist-in-residence at DanceMakers (Toronto, Canada) and at Usine C (Montreal, Canada) An amalgam of choreography, intuitive improvisation and performance art, her artistic practice is rooted in exploring identity as disordered multiplicity. She work with notions of performative alchemy and post-cultural bricolage – using live moments, object appropriation, personal history, future desires and current preoccupations to create an empathetic centrifuge of experience between her and her witnesses. Michel’s solo, Yellow Towel, was featured on the “Top Five” and the “Top Ten” 2013 dance moments in the Voir newspaper (Montreal) and Dance Current Magazine (Canada) respectively. In 2014, she was awarded the newly created Impulstanz Award (Vienna) in recognition for outstanding artistic accomplishments and was highlighted amongst notable female choreographers of the year by the New York Times. The year concluded with Yellow Towel appearing on the Time Out Magazine (New York City, U.S.) “Top Ten Performances” list.

Jamie Ross Jamieross.org

An Thorne snowlakekeep.org

This work is innately (intimately) queer as all lines of territory and practice are crossed….Culture, Administration & Trembling is a subversion of its own form; a curation of moments that destabilise our understanding of how things relate to other things and why. Culture, Administration & Trembling is not comfortable or easy yet evokes a sense of jouissance and insists upon a further reading.
- Benjamin Sebastian, This is Tomorrow

…the thrill of this piece lies its ability to do the unexpected. While the bizarre and unexpected can often seem to be done just to confuse, here it seems to be done out of care, hope and love. There is a presence that each performer, musician, and guest have that says, everything is going to be ok, we can do this together. A silent manifesto brought out in extreme patience.. .
- Chad Dembski, Charlebois Post Montréal

By Jonathan Capdevielle
Lighting Technician: Patrick Riou
Stage Manager: Christophe Le Bris
Sound Manager: Johann Loiseau
Artistic Collaborator: Gisélle Vienne
Artistic Consultant: Mark Tompkins
Audio Assistant: Peter Rehberg Touring
Artistic Assistant: Jonathan Drillet
Administration: Léonor Baudouin and Manon Crochemore

Thanks to Aurélien Richard, Mathieu Grenier, Tibo Javoy and Ya Basta, for the recording and the sound mixing of the chorals on “pitaladyfacegalaxymix”, Jean-Louis Badet, Barbara Watson and Henry Pillsbury.

With the help of DACM and the technical staff of Quartz, Scène Nationale de Brest executive producer and booking Bureau Cassiopée coproduction Centre Chorégraphique National de Montpellier Languedoc Roussillon dans le cadre de ]domaines[ (FR), Centre Chorégraphique National de Franche-Comté à Belfort dans le cadre de l’accueilstudio (FR) and BIT Teatergarasjen, Bergen (NO).

With the support of Centre national de la Danse (FR) for the studio during rehearsals

Jonathan Capdevielle was born in 1976 in Tarbes, France. He lives in Paris.

He has studied drama in Tarbes from 1993 to 1996, then he entered the Ecole Supérieure Nationale des Arts de la Marionnette.

He has been involved in several performances such as: Personnage à réactiver, Pierre Joseph (1994), Performance with Claude Wampler (1999), Mickey la Torche by Natacha de Pontcharra, translation Taoufik Jebali, directed by Lotfi Achour, Tunis (2000), Les Parieurs and Blonde Unfuckingbelievable Blond, directed by Marielle Pinsard (2002), Le Golem directed by David Girondin Moab (2004), Le Dispariteur, Le groupe St Augustin, Monsieur Villovitch, Hamlet and Marseille Massacre (atelier de création radiophonique – France Culture), directed by Yves-Noël Genod (2004-2010), Bodies in the cellar, directed by Vincent Thomasset (2013). He performs the role of Nicolas in the film Boys like us directed by Patrick Chiha (2014).
Gisèle Vienne’s collaborator since the beginning, he has been performing in almost all her plays: Jean Genet’s Splendid’s (2000), Showroomdummies (2001 and rewriting 2009) and Stéréotypie (2003), directed by Etienne Bideau – Rey and Gisèle Vienne. And I Apologize (2004), Une belle enfant blonde / A Young, Beautiful Blond Girl (2005), Kindertotenlieder (2007), Jerk, a radioplay (2007,) Jerk (2008), Eternelle Idole (2009), This is how you will disappear (2010) and LAST SPRING: A Prequel (2011), directed by Gisèle Vienne. Gisèle Vienne, Dennis Cooper, Peter Rehberg and Jonathan Capdevielle published, in March 2011 an audio book in 2 versions French and English: “JERK / Through Their Tears”, editions DIS VOIR. In 2015, he plays Jessica / Jonathan in The Ventriloquists Convention. He has toured worldwide and has been participated to many international events.

In September 2006, Jonathan Capdevielle created with Guillaume Marie We are accidents waiting to happen in the Palais de Tokyo. In August 2007, he presented for the first time the performance-show Jonathan Covering during the Festival Tanz im August in Berlin (DE), starting point of his first solo creation Adishatz/Adieu (2009). He has been invited to countless festivals and theaters throughout entire France and the world : le Quartz de Brest (FR), Festival d’Avignon (FR), Centre Georges Pompidou in Paris (FR), Danae Festival in Milan (IT), BIT Teatergarasjen in Bergen (NO), L’Usine C. in Montreal (CA), Théâtre Caï – Institut français de Tokyo (JP), Festival Santiago a mil in Santiago de Chile (CL), L’Arsenic in Lausanne (CH), SPRING Performing Arts Festival in Utrecht (NL), Dublin Theater Festival (IE), Bitef Festival in Belgrade (RS), Festival 4+4 days motion in Prague (CZ)…

In April 2010, he is a performer for the radiophonic play of Yves-Noël Genod and Nathalie Quintane, Marseille massacre in the framework of “ateliers de creation radiophonique de France Culture”.
In November 2011, he presented at the Centre National de la Danse in Pantin, Popydog co-created with Marlène Saldana . In August 2012, commissioned by the Far° Festival (performing arts festival), he created Spring Rolle, an in situ project with two performers, Jean-Luc Verna and Marlène Saldana.

In February 2015, he created in Tarbes his new piece, SAGA, a family romance inspired by his own memories. The performance revisits places and conjures up characters and situations that composed the episodes of an intense and colorful past life. The Centre Georges Pompidou hosted the Parisian premiere in March 2015. It has also been shown in Brest, Cergy, Créteil, Lausanne, Lille, Orléans, Poitiers, Tarbes, Toulouse, Bergen, Genève, Marseille, Montpellier, Strasbourg…

After the performance Adishatz/Adieu in Serbia in September 2015, he won Bitef Grand Prix, award of the Belgrade’s prestigious festival.

“With irony, perversion and off-kilter humor…. his mastery of the stage, his body, and his voice is phenomenal. A rare bird, indeed.” — Le Devoir

– See more at: http://www.ps122.org/adishatz-adieu/#sthash.g52BIjR0.dpuf

Concept, Choreography & Performance: Mette Ingvartsen
Light: Nadja Räikkä
Set: Virginie Mira
Sound: Peter Lenaerts, with music by Will Guthrie (Breaking Bones)
Dramaturgy Bojana Cvejic
Technical director: Nadja Räikkä / Joachim Hupfer
Sound technician: Adrien Gentizon
Company Management: Kerstin Schroth

Erin Markey: A Ride on the Irish Cream from Marin Media Lab on Vimeo.

Written and Created by Erin Markey
Music by Erin Markey, Emily Bate and Kenny Mellman
Lyrics by Erin Markey
Directed by Jordan Fein

Musical Direction by Emily Bate
Vocal Arrangements by Emily Bate
Band Arrangements by The Band: Emily Bate, Ian Axness, Chenda Cope and Mike Marcinowski
Choreographed by Chloe Kernaghan
Assistant Director: Ry Szelong
Music Assistant: Billy Lloyd

Performed by Becca Blackwell, Erin Markey, Ian Axness, Chenda Cope, Mike Marcinowski and Emily Bate

Costume Design by Enver Chakartash
Scenic Design by Adam Rigg
Lighting Design by Barbara Samuels
Sound Design by Dan Rider
Duck Construction by Nathan Lemoine

Production Stage Manager: Bridget Balodis
Production Manager: Mo Lioce
Production Assistant: Charles Quittner

Produced by Jordan Fein and Erin Markey

Erin Markey (Reagan, Writer, Creator, Co-composer & Lyricist) is a New York based performance artist, comedian, writer and composer named a “magnetic diva” by the New York Times and a Time Out New York Top Ten Cabaret Performer 2013-2015. Her work (full-length and short form) has been shown at BAM, Under The Radar Festival (Public Theater), New Museum, PS 122, Bard Spiegeltent, New York Comedy Festival, San Francisco Film Society, and regularly at Joe’s Pub at the Public Theater. She is the recipient of a 2014 Franklin Furnace Grant and a 2012 NYFA Cutting Edge Artist Award. She won an Eliot Norton Award for Outstanding Performance in 2013. In development for A Ride On The Irish Cream, she has been a resident artist at Brooklyn Arts Exchange, Mount Tremper Arts and Baryshnikov Arts Center. She is a company member of Obie Award Winning Half Straddle and is performing in and co-composing music for the upcoming Ghost Rings at New York Live Arts in April 2016. As an actress, she has appeared in numerous live and film/video driven projects. For a complete list, type “Reese Witherspoon” into an imdb search. She currently teaches at New York University.

Jordan Fein (Director) is a Brooklyn based theatre and opera director. Directing credits include War Lesbian (HarunaLee/Dixon Place),The Dixon Family Album (Williamstown Theatre Festival: Boris Sagal Fellow 2014), The Rake’s Progress and L’Elisir D”Amore (Curtis Opera Theatre), Dialogues of the Carmelites (Opera Philadelphia), Rags Parkland (Ars Nova Ant Fest/Jack), Edibles Inc. (Incubator Arts Project). Jordan was the Associate Director on Rodger and Hammerstein’s Oklahoma! (Bard Summerscape, dir. Daniel Fish) and The Elephant Man (Broadway and The West End, dir. Scott Ellis). This spring Jordan will return to Curtis Opera Theatre (Kimmel Center for the Performing Arts) to direct a new production of Mozart’s Le Nozze Di Figaro. He currently teaches at New York University, Playwrights Horizons Theater School. jordanfein.net

Emily Bate (Cloud/Guitar/Co-composer/Musical Director) is a singer, composer and harmony fanatic based in Philadelphia. Her current projects include Going Down Mount Moriah, a theater piece based around an 8-voice women’s choir; a series of “zingles” (zine + single) combining writing and music; and acoustic chamber-math duo Jonagold.

Kenny Mellman (Co-Composer) is in The Julie Ruin. Fronted by Kathleen Hanna, of Bikini Kill and Le Tigre fame, they released their critically acclaimed debut album Run Fast in September 2013 and have toured extensively since then. They are currently recording their 2nd album. Mr. Mellman was , for many years, one half (with Justin Vivian Bond) of the Tony nominated and Obie and Bessie winning act Kiki and Herb. His show Kenny Mellman Is Grace Jones toured the US, Australia and the UK and his one man musical about gay bashing and homophobia, Say Sea Boy You Sissy Boy? was commissioned by Dixon Place. He co-wrote the musical At Least It’s Pink with Michael Patrick King and Bridget Everett at ArsNova. He also, with Everett and Neal Medlyn, co-created Our Hit Parade, a downtown NY deconstruction of the pop charts which ran for 4 sold-out years at Joe’s Pub.

Becca Blackwell (Irish Cream) is a NYC based trans actor, performer and writer. Existing between genders, and preferring the pronoun “they,” Blackwell works collaboratively with playwrights and directors to expend our sense of personhood and the body through performance. Some of their collaborations have been with Young Jean Lee, Half Straddle, Jennifer Miller’s Circus Amok, Richard Maxwell, Sharon Hayes, Theater of the Two Headed Calf and Lisa D’Amour. Becca is a recipient of the Doris Duke Impact Artist Award 2015 and recently wrote a solo showThey, Themself and Schmerm that will be having a run in the upcoming spring of 2016.

Chenda Cope (Kendall Hampton/Bass) is a visual artist, musician and performer based in Philadelphia. She plays upright bass and sings with The Old Fashioneds and The Four Prophet String Band, both groups who draw from a repertoire of old time, gospel, bluegrass and early country. The Philadelphia City Paper called last solo album of original music, Clouds, “neatly, sweetly stunning” and she is currently working on a third. In addition to these musical projects, she works with Der Vorführeffekt Theatre, a diy theatre company that tours original work around the country. Recent plays include Three Kinds of Wildness (The Specialist) and The Great & Terrible and the Small & Meek: Oz!(The Tin Woodsman).

Ian Axness (Piano) is a collaborative pianist, composer, and music director based in New York City, working between forms of concert music, contemporary theater, and improvisation. He writes music for plays, devises semi-improvised variety shows, and plays piano for cabaret, opera, and American musical theatre. Ian has worked with organizations including the New York Philharmonic, New Dramatists, Yale Rep, York Theatre, Atlantic Theater, Shakespeare in the Park, Ars Nova, 92nd Street Y, Brooklyn College, NYU Abu Dhabi, and New York City Opera. Faculty: Playwrights Horizons Theater School.

Mike Marcinowski (Drummer) is a Brooklyn based drummer, percussionist and teacher. Equally at home in rock, folk and jazz realms, he enjoys bringing the subtlety and nuance of free improvisation to tightly arranged pop music. His current projects include the fiddle and drum duo Read; the indie rock inspired Tim Haufe trio; and Golden Medallion, a improvised bass, drum and trumpet trio. He can also be found teaching children how to hold drum sticks and collaborating with like minded musicians, dancers and singers.

Bridget Balodis (Production Stage Manager) trained as a director at the Victorian College of the Arts (Melbourne, Australia). She is the co-founder of experimental theatre company NO SHOW whose work includes, Shotgun Wedding (2012), The Seance (2013) and Unfinished Business (2013). Other recent directing credits include Jurassica (2015, Melbourne), Angry Sexx (2014, Melbourne), Kids Killing Kids (2014 Next Wave Festival, Australia) and Outside Line (2013, Melbourne). She is also an experienced stage manager and independent producer and since moving to New York in 2015 has line produced for terraNova Collective and Platt Productions, been a production assistant for Third Rail Projects, and assistant stage managed for Elevator Repair Service.

Enver Chakartash (Costume Design) is a company member of The Wooster Group where he has designed costumes for Early Shaker Spirituals, Early Plays (directed by Richard Maxwell), and, most recently, assistant directed and costume supervised The Room. In addition Enver is a frequent collaborator with Tina Satter’s Half Straddle. With Half Straddle credits include costume design forSeagull (Thinking of You); House of Dance and Ancient Lives. For Jim FIndlay, Enver designed and created costumes for Dream of the Red Chamber. With Young Jean Lee’s Theater Company he designed costumes for Straight White Men, presented at The Public, and designed additional costumes for We’re Gonna Die, presented at Southbank Centre, London. Enver designed costumes for Tony Oursler’s feature film, Imponderable, and, most recently for Tony Oursler’s short film, The Volcano. Enver has also collaborated with visual artists Aki Sasamoto, Hunter Reynolds and Sara Greenberger Rafferty in fabricating artworks that have been presented at galleries including MoMA PS1, Participant Inc and the Whitney Museum of American Art.

Adam Rigg (Scenic Design) is a designer and artist originally from Southern California. He is a founding member of the interdisciplinary collective I AM A BOYS CHOIR. Recent designs have been seen at BAM, La Mama, The Foundry Theatre, BRICArts, Yale Rep, The Wassaic Festival, Columbia Stages @ The Connelly Theater, Yerba Buena Center for the Arts, ODC SF, REDCAT, Broad Stage, and Los Angeles Theater Center. Adam is a 2015 Princess Grace Award Winner. Upcoming designs include Revolt. She Said. Revolt Again at SOHO REP, demonstrating the imaginary body or how I became an ice princess by I AM A BOYS CHOIR at Under The Radar at the Public Theater, o’Earth at The Foundry Theatre, Invisible Hand at Westport Country Playhouse, and the new opera adaptation Breaking The Waves at Opera Philadelphia.

Barbara Samuels (Lighting Design) is a New York based lighting designer and producer. Recent design credits include Kate Benson’s OBIE Award-winning A Beautiful Day in November on the Greatest of the Great Lakes (New Georges/ Women’s Project), Julia Jarcho’s OBIE Award-winning Grimly Handsome, The Assembly’s I Will Look Forward to This Later, as well as collaborations with Katie Pearl, Brian Mertes, Portia Krieger, and many more dance and theater artists around the country. Barbara has served as Associate Lighting Supervisor at Williamstown Theater Festival, as General Manager of OBIE Award-winning 13P, and is currently the Producing Director of the satirical theater company Morgan Gould & Friends. She holds a B.A. in Theater Production and Design from Fordham University and an M.F.A in Theatrical Design from NYU. In addition to her work on Markey’s A Ride on the Irish Cream, Barbara will soon be designing Dustin Wills’ O, Earth at the Foundry Theatre.

Dan Rider (Sound Design) is a New York-based writer, musician and sound designer. Recent sound credits include The Wolves (Clubbed Thumb), EVE (Judson Gym) and Karla Marx’s Proletariat Jamboree (Dixon Place). Rider was the first-ever Musical Theater Apprentice at Playwrights Horizons, and associate music directed the workshop of Hadestown at NYTW. As a singer/songwriter, Rider has played several NYC venues including Rockwood Music Hall and Caffe Vivaldi. www.daninadress.com

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“Erin Markey has laser-beam eyes, a hair-raising singing voice, and an intense, almost predatory sexuality. Markey’s uncanny self-possession goes hand in hand with perverse, non-sequitur humor that keeps her audience laughing, if unsettled.” – The New Yorker, 2013

“She defies expectations you don’t even know you have.” -Elisabeth Vincentelli, New York Post

“Fantastically weird, fiercely committed, occasionally terrifying” -TIMEOUT NEW YORK

M. Lamar: DESTRUCTION from Marin Media Lab on Vimeo.

Destruction by M. Lamar
Sound Design by Hunter Hunt-Hendrix
Art Direction by Sabin Michael Calvert
Libretto Cowriter Tucker Culbertson

M. Lamar works across opera, metal, performance, video, and sculpture to craft sprawling narratives of racial and sexual transformation. Mr. Lamar is a self described Negrogothic Devil worshipping free black man in the blues tradition. Lamar holds a BFA from The San Francisco Art Institute and attended the Yale School of Art, sculpture program, before dropping out to pursue music. Lamar’s work has been presented internationally, most recently at PS1 New York, Human Resources Los Angeles, Walter and McBean Galleries at the San Francisco Art Institute, Participant Inc., New York; New Museum, New York; Södra Teatern, Stockholm; Warehouse9, Copenhagen; WWDIS Fest, Gothenburg and Stockholm; The International Theater Festival, Donzdorf, Germany; Cathedral of Saint John the Divine,

Sabin Michael Calvert is a comics artist and long time collaborator of M. Lamar. He has been instrumental in the visual design and direction of M. Lamar’s stage work as well as albums art and overall aesthetic. Calvert has help to mold Lamar’s Negrogothic aesthetics drawing from underground black metal/punk/comic styles. Mr. Calvert has served as Art director for M. Lamar’s staged productions of Negro Antichrist, Speculum Orum: Shackled to the Dead, Surveillance Punishment and The Black Psyche as well as the forthcoming Funeral Doom Spiritual and DESTRUCTION.

With and for M. Lamar, Tucker Culbertson cowrote the librettos for DESTRUCTION and Funeral Doom Spiritual, and collaborated on staging and story for Negro Antichrist and Surveillance Punishment and the Black Psyche.  Tucker talks, writes, studies, teaches, directs and performs in a few incommensurable voices and spaces.  He is currently a constitutional law professor at Syracuse University, where he’s currently focusing on the twisted kinship among white supremacy, national security, and state sovereignty as rationalizations of ritual violence.  His writings on queer equality, human animality, colorblind racisms, constitutional terrorism, and sexual predators’ proper liberties appear in academic journals, some blogs, and
two anthologies of critical legal theory.  

Hunter Hunt-Hendrix (b. 1985) is a composer-philosopher-poet known primarily as the author of the text “Transcendental Black Metal” and as the guitarist, songwriter and conceptual architect of the band Liturgy. Drawing inspiration from romanticism, the internet, black metal, avant-garde classical music, rap, post-structuralist psychoanalysis, and the history of western philosophy and occultism, he has performed extensively in the US and Europe, including at the Pitchfork, Primavera and Unsound festivals and at art spaces including Almine Rech, Essex Street, Greene Naftali, Museum of Modern Art and Issue Project Room. His 2015 album The Ark Work  has been widely recognized as polarizing and groundbreaking. He lives and works in New York.

“Mr. Lamar plumbs the depths of all-American trauma with visionary verve.”
– The New York Times

“Lamar’s Goth-postpunk-diva affect is fused with his operatic style to create a mélange that cannot be named.”
– KQED

“M. Lamar, performs songs that are a cross stylistically between operatic excess, old-fashioned Negro spirituals and demonic possession.”
– Ottawa Citizen

“When talking about his art, Lamar is an intellectual powerhouse, but his work is informed by that thinking — not constrained by it. It is as emotional as it is thoughtful.”
– Out Magazine

“[H]e deconstructs the persona of the diva even as he wraps himself in divalike hauteur.”
– Hilton Als, The New Yorker

Choreography by Milka Djordjevich
Music by Chris Peck
Performed by Jessica Cook, Kyli Kleven and Djordjevich
Lighting Design by Madeline Best
Scenic Design by Sara C. Walsh
Costumes by Naomi Luppescu
Performance Advisor Rebecca Brooks

Milka Djordjevich and Chris Peck began their collaborative relationship as co-curators of the Movement Research Spring Festival in 2008 with Anna Sperber and Jeff Larson. Discussions about music and dance that grew out of their work on the festival led directly to An Evening with Djordjevich and Peck at The Chocolate Factory Theater in 2009. After that, the duo performed as part of Live on 5 Songs at the 2010 Whitney Biennial, a series of events curated by artist Martin Kersels. Peck composed music for Djordjevich’s solo Kinetic Makeover in 2013.

Milka Djordjevich (Choreographer and Performer) is a choreographer, dancer and teacher living in Los Angeles. She started making work and living in NYC in 2003 and since 2011 has been working between California, Europe and NYC. Her work has been shown at several venues including the 2010 Whitney Biennal, the Chocolate Factory Theater, Danspace Project and AUNTS (New York); REDCAT, Pieter, Machine Project and Hammer Museum/REstore Westwood, Show Box L.A./Bootleg Theater (Los Angeles); Counterpulse and The Garage (San Francisco); Uferstudios (Berlin); Kondenz Festival and Bitef (Belgrade); Locomotion Festival (Skopje); Artdanthe (Paris); WUK (Vienna); Fabrik (Potsdam); Solo in Azione Festival (Milan); Toihaus Theatre (Salzburg); Gateshead International Festival of Theatre (UK). She has received funding from the Suitcase Fund; The Foundation for Contemporary Arts; The Center for Cultural Innovation; a commission from the Danspace Project 2010-11 Commissioning Initiative, with support from the Jerome Foundation; and residencies at Fabrik Potsdam, PACT-Zollverein, Workspace Brussels, UCLA Hothouse, LMCC Swing Space, among others. Djordjevich was a 2006-2007 Movement Research Artist-in-Residence and a 2008/2010 danceWEB Europe Scholar. Her other projects include serving as guest editor for Critical Correspondence and curating Monday Morning Class at Pieter in Los Angeles. In addition to her work with composer Chris Peck, she has collaborated with choreographer Dragana Bulut and has performed for Heather Kravas, Jennifer Monson, Elizabeth Ward, Sam Kim, Sasa Asentic and Ana Vujanovic, among others. She has also assisted choreographer DD Dorvillier in various capacities and has taught at the University of California, Riverside and Irvine, Pomona College and Movement Research. Djordjevich received a B.A. from UCLA and an M.F.A. from Sarah Lawrence College. thisismilka.com

Chris Peck (Composer) is a composer, computer musician, and improviser who often collaborates with contemporary dance and theater artists, including David Dorfman, John Jasperse, RoseAnne Spradlin, Jeanine Durning, Mark Jarecki, Abby Yager, Ming Yang/Dance Forum Taipei, and Beth Gill. Peck performs as an improviser and multi-instrumentalist with Crystal Mooncone along with Jon Moniaci and Stephen Rush. The trio has toured widely since 2006, with performances at CCRMA (Stanford), the Center for New Music in San Francisco, and Spectrum in NYC. Peck collaborated with Deke Weaver and Jennifer Allen on Land of Plenty in 2008-2010, and made music for two installments of Weaver’s Unreliable Bestiary: Elephant in 2010-11 (performing in the premiere at the Stock Pavilion in Urbana, IL as well as subsequent iterations at the Sundance Film Festival and Salt Lake Arts Center) and Wolf in 2013. In addition to his work with Djordjevich, Chris is currently working on several projects with Brussels-based choreographer Eleanor Bauer, including a recently premiered commission for the “This Is Not A Pop Song” project of the Belgian new music ensemble Ictus. He completed a Ph.D. in Composition and Computer Technologies at the University of Virginia in May 2015.

Jessica Cook (Performer) is a Brooklyn based artist by way of Durham, North Carolina. After graduating from the Dance Conservatory at SUNY Purchase (2005) she appeared in the works of Noemie Lafrance, Hilary Easton & Company, & Gallim Dance (among others). Jessica has collaborated with artists in and involved with AUNTS, Movement Research and Roulette Intermedium. Performing in the works of Jessica Ray, Christine Elmo, Steven Reker, Eagle Ager and Milka Djorjevich, she grew into a more improvisational performance niche in her own sculpture / costume based work. Her most recent performances include Kim Brandt’s Landscaping, Collective Settlement’s God’s Eye [St. Marks Church], Noopur Singha’s Stigma Scripture [Judson Memorial], an AUNTS artist-led tour at the New Museum, a number of solo compositions / installations and ongoing collaborations with Matthew Mehlan as UUMANS having been performed at such venues as Clocktower Gallery, Trans Pecos, Secret Project Robot, and the Mixology Festival (2015). Jessica is currently a Licensed Massage Therapist / Practitioner working out of the Maha Rose Healing Center.

Kyli Kleven (Performer) is a Brooklyn-based artist. She has had the good fortune of collaborating with and/or performing in the work of Jillian Peña, Ryan McNamara, Kim Brandt, Philippe Parreno, Jennifer Allen, Deke Weaver, Jennifer Monson, Tere O’Connor, Kirstie Simson, The Bureau for the Future of Choreography, Jen Rosenblit, Marissa Perel, luciana achugar, and Tess Dworman. As a member of Stephen West’s Westknits Fun Squad, she had the weird experience of appearing on ABC’s Good Morning America, CNN’s Anderson Cooper, Cosmopolitan, and newspapers and magazines around the world. She studied ballet at The Virginia School of the Arts, and Dance and Gender Studies at The University of Illinois at Urbana-Champaign. She was a 2008 DanceWEB scholar at ImPulsTanz Vienna International Dance Festival. She started life in Alaska.

Madeline Best (Lighting Design) designs dances, lighting and video and is the production manager at The Chocolate Factory Theater. Best graduated from Bennington College, grew up in Durham NC and currently lives in Long Island City, Queens. She has designed lights for Neal Medlyn, Liz Santoro, Heather Kravas, Molly Lieber and Eleanor Smith, Keely Garfield, Milka Djordjevich, Aki Sasamoto, Beth Gill, RoseAnne Spradlin, Luciana Achugar’s PURO DESEO (Bessie award winning), and more. Performance experience includes work on The Chocolate Factory Theater’s Resident Projects Selective Memory and HotBox with Brian Rogers; multiple projects with Lauren Petty/Shaun Irons and with Choreographer Juliana May/MayDance.

Sara C Walsh (Scenic Design) Previous other designs include: Get Mad at Sin! with Andrew Dinwiddie and Jeff Larson (The Chocolate Factory, The San Diego Museum of Art), Confidence Man with the Woodshed Collective, Faye Driscoll’s You’re Me (The Kitchen, UCLA, Institute of Contemporary Art Boston), There Is So Much Mad in Me (Dance Theatre Workshop) and 837 Venice Blvd.(HERE Arts Center – Bessie Award Winner). She was Head of Design for Queen of the Night. This year Sara will be designing and performing in The Kioskers as part of puppet lab at St.Ann’s Warehouse, a suitcase band show of astounding proportions. Written by Scott Adkins, directed by Meghan Finn with music by the sublime Alaina Ferris. www.saracwalsh.com

Naomi Luppescu (Costume Designer) received her BFA in Dance from SUNY Purchase in 2004 after which she danced professionally while studying fashion design at FIT and at the Danish Design School in Copenhagen. She always felt a great need for costumes that were better suited for the moving body, hence started NaLu Designs, a company specializing in costumes for dance. Naomi has worked with Lar Lubovitch Dance Company, Parsons Dance, Alvin Ailey II, LeeSaar the Company, Kate Skarpetowska, Loni Landon Dance Projects, Emery LeCrone, Shen Wei Dance Arts, Murray Spalding Mandalas, among others. She is delighted to be working with Milka Djordjevich on this project.

Rebecca Brooks (Performance Advisor) is an independent dance artist and teacher. Her performance works have been presented by Danspace Project, NADA New York, Roulette, and many other spaces. She works as Performance Advisor with both Heather Kravas and Milka Djordjevich. As a performer she has worked with Marina Abramović, luciana achugar, Walter Dundervill, Maria Hassabi, Susan Rethorst, robbinschilds, and others. Faculty, Movement Research & Balance Arts Center; Co-founder, AUNTS; Co-curator, MR Festival Fall 2014 & MR Festival Spring 2007; Artistic Director, Rockbridge Artist Exchange (2009-2013). www.rebeccakelleybrooks.com

“Materials—the body, sound—merge exquisitely in this hourlong dance-song (song-dance?) … the song unravels into something wild, then plain, bodies as they are.”
– Siobhan Burke, The New York Times

“Choreographer Milka Djordjevich and musician Chris Peck have successfully created a rich, multi-faceted collaboration. Peck’s sophisticated sound contextualizes each of Djordjevich’s movement choices, both elements taking their time to mature through the 60 minutes of the piece…The elements of this collaboration are strong enough to stand on their own, and yet they exist in a highly considered equilibrium with one another.”
- Cassie Peterson, The Brooklyn Rail