INFINITE RECORD: Archive, Memory, Performance, Nov. 14 & 15
Hosted by Music and Theater Arts, School of Humanities, Arts, and Social Sciences,
Massachusetts Institute of Technology
Convened by Østfold University College / Norwegian Theater Academy


Day 1 – Friday, November 14
Rinaldi, E33, 34 Carleton St., Cambridge, MA
9am – Registration

9:30am – Opening Remarks
Anna Kohler – Prof. Jay Scheib – Dr. Claire McDonald

10am – Infinite Record: Archive, Memory, Performance
Dr. Karmenlara Ely and Maria Magdalena Schwaegermann

11:15am – Coffee Break

11:30am – Ask Me, I’m Still Here, Part II
Dialogue between Prof. Joan Jonas and Anna Kohler

1pm – Lunch Break
Venue: Killian Hall, Rm. 14W-111, Hayden Library Bldg.

2pm – Archival and Dramaturgical Epistemologies
“The Sky Remains The Same”: Sex, Loss, Weighted (2010)
Josh Lubin-Levy, Julie Tolentino
Theatre – ting, how to relate to documentary material
Camilla Eeg-Tverbakk
Q&A moderated by Serge von Arx

4pm – Welcome: Deborah Fitzgerald, Dean, MIT School of Humanities, Arts and Social Sciences

4:30pm – Performing the Continuous Present:
Chang In a Void Moon as Living Archive
John Jesurun
Q&A moderated by Anna Kohler
Venue: Rinaldi, E33, 34 Carleton St.

5:45pm – Refreshment Break

6:15pm – Reflection on Infinite Record: Archive, Memory, Performance
Dr. Karmenlara Ely, presentation and Q&A

7pm – Live Art in Dialogue
Bunky Echo-Hawk (Pawnee/Yakama)

8:30pm - Optional presentation: Special Screening
Listening To Third Grandmother’s Stories (2011)
Directed by Wen Hui

Day 2 – Saturday, November 15,
Killian Hall, Rm. 14W-111, Hayden Library Bldg. (160 Memorial Dr.)

10am – Plasticity and Persistence of Memory in the Human Brain
Dr. John Gabrieli
Q&A moderated by Anna Kohler and Maria Magdalena Schwaegermann

11:15am – Coffee Break

11:30am – The infinite record at hand: Paleolithic gesture “now”
Dr. Rebecca Schneider
Arthur Bispo do Rosario’s Archive of Everything that Exists
in the World
Dr. Eleonora Fabiao
Q&A moderated by Karmenlara Ely

Venue: Rinaldi, E33, 34 Carleton St.

1pm - Lunch Break

2pm – Freeing up the Archive
Jouvay Popular Theater Process presented by Tony Hall
Dialogue between Tony Hall and Bunky Echo-Hawk
Q&A moderated by Karmenlara Ely

3:30pm – Artists at MIT/ Hidden and Future Archives
Leila W. Kinney

4:15pm – Coffee Break

4:30pm - Reinventing Your Record with Humor
Ingrid Jungermann
Q&A moderated by Josh Lubin-Levy

5:30pm – The Archive of Presence / The Archive without Past
Prof. Serge von Arx and Prof. Jay Scheib

7pm – Connectivity Chorus: Neural Networks and Memory as Performative Practice
Dr. Maiya Geddes and Prof. Arnold Dreyblatt with MIT students
Installation on Display at Rinaldi:
Traces and materials from INFINITE RECORD by various artists,
A Song for the Archive film by Claire Hind and Gary Winters,
and others.



Friday, November 14
Venue: Rinaldi E33

10:00am – 11:00am:
INFINITE RECORD: Archive, Memory, Performance
Dr. Karmenlara Ely and Maria Magdalena Schwaegermann
Ephemerality is the conditio sine qua non and represents the most intimate quality of theatre. Materiality and touch hauntingly become only resonances through time. Through performance, bodies are created and cast off, only to be reanimated. Through the project INFINITE RECORD: Archive, Memory, Performance, Østfold University College/Norwegian Theater Academy witnessed the various working strategies of three artists who are dealing with the never-ending endeavor of «holding on to» and “letting go.» This presentation introduces the artistic research project funded in 2012, and its underlying curatorial and dramaturgical signature. The project began as a question about how to approach the paradox of live performance archives in our local context: yet “archive” now implies methods of relation, repetition, embodiment, listening and care. It also implies means of erasure, overwriting, abandonment.

11:30am – 12:45pm
Ask me, I’m still here Part II
Anna Kohler and Prof. Joan Jonas
Memories of past performances become part of the work, attach themselves to our – the performing artist’s –  body like glue or sweet/bitter layers of vibrant experiences which thickens as the years pass. They are part of us, like the tall stories of fishermen about their catches. They can be perceived as a heavy burden or a treasure, no wonder that there is such a broad perception and range of what to do, from letting them go and disappear into the ephemeral forever to re-working them into new material to the mockery about the accumulation of “stuff”. How do we approach this accumulation as artists? Does it make sense to consult “the archive” when the artist is still in the present and can be consulted? What is the difference between a recorded presence and a live one? It’s a performance dialogue, a dispute between chronist and anemophile: a conversation with artist friend Joan Jonas

Venue: Killian Hall

2pm – 3:45pm
Archival and Dramaturgical Epistemologies
“The Sky Remains The Same”: Sex, Loss, Weighted (2010)
Josh Lubin Levy, Julie Tolentino
Exploring the body’s potential as both a medium and container of record, The Sky Remains The Same is a project by artist Julie Tolentino in which she invites select collaborators and fellow artists to choose a work from their own performance history to archive into/onto her body.  Dramaturg Joshua Lubin-Levy began working with Tolentino in the Fall of 2013, as The Sky took to archiving several works by the artist duo Lovett/Codagnone.  In this joint session, Tolentino and Lubin-Levy will each deliver short papers followed by a discussion of the queer archive built in and around The Sky Remains The Same.  Exploring Tolentino’s body of work, we will also discuss the larger resonance this queer bodily archive puts forward.

Theatre – ting, how to relate to documentary material
Camilla Eeg-Tverbakk
I will present parts of my current research on how directors, dramaturgs, and performers relate to documentary material in their practices, and how this relation influences the encounter with an audience. Referring to current object theory and philosophy of things, I propose both a conceptual and a practical framework for the theatre occasion by relating to the document as thing. This leads to a questioning of what a document really is in the context of theatre and performance, how documents and memory are produced, and how they function in the social construction.
Q&A moderated by Serge von Arx

4:30pm – 5:30pm
Performing the Continuous Present: Chang In a Void Moon as Living Archive
John Jesurun
MacArthur genius grant winning author/director John Jesurun will discuss his ongoing sixty-one episode serial play Chang in A Void Moon as it has manifested itself over its thirty-two year history.
Q&A moderated by Anna Kohler

Venue: Rinaldi

6:15pm – 6:45pm
Reflection on INFINITE RECORD: Archive, Memory, Performance
Dr. Karmenlara Ely
In this presentation I trace the poetics of what we have been calling “the archive” as I have come to experience it through Infinite Record. I reckon with and identify my experience by tracing not what is gathered or collected, but what remains. It is a personal push for the project’s conceptual dispersal from something known into something wild.

7pm – 8:30pm
Live Art in Dialogue
Bunky Echo-Hawk (Pawnee/ Yakama)
Participants will lead Echo-Hawk’s conceptualized painting through their ideas, opinions, and experiences and help create a live art work.  Bunky Echo-Hawk works internationally as a widely exhibited artist and advocate for Native Americans. His work is an interactive performance dialogue used to create a live painting as a trace of and response to the debate in his signature style.

8:30pm – 9:15pm
Optional presentation
Special Screening
Listening to Third Grandmother’s Stories (2011)
directed by Wen Hui
In Chinese with English Subtitles.


Saturday, November 15
Venue: Killian Hall
10am – 11am
Plasticity and Persistence of Memory in the Human Brain
Prof. John Gabrieli
This talk explores the process of memory related to ephemeral and recorded experiences.
Q&A moderated by Anna Kohler and Maria Magdalena Schwaegermann

11:30am  – 12:45am
The infinite Record at (Negative) Hand: Paleolithic Gesture “now”
Dr. Rebecca Schneider
In this talk I will discuss changing orientations to documentation and performance looking at questions of duration. How long is “brief”? How brief is 40,000 years? Prompted by new materialist inquiries into the animate world, I will explore emergent questions about the infinite “live,” the “enduring ephemeral” (Chun), and the ek-stasis of the gestural hail, taking negative hand prints on Paleolithic cave walls as an invitation to thought/experience as performance. What should be the limits to liveness? What is suggestive about the “undead”? And what can we make of the perpetual “outmode” of theatre in relationship to these questions?

Arthur Bispo do Rosario’s Archive of Everything that Exists in the World
Eleonora Fabião
This talk introduces Arthur Bispo do Rosario’s mission: to catalogue everything that exists in the world to be presented to God on Last Judgment Day. And, while doing it, to represent and to reconstruct the world. This triple archiving task of collecting, constructing, and representing was accomplished throughout almost 50 years of feverish work during Bispo’s internment at Colônia Juliano Moreira asylum in Rio de Janeiro. By resisting any disciplinary definition, this archive poses a critical question: what historiographic sensibility, means and modes can address it? It launches a call for a reflection on how to experience and experiment with “archive-acts” in search of a performative historiography.
Q&A moderated by Dr. Karmenlara Ely

Venue: Rinaldi

2pm – 3:15pm
Freeing up the Archive
Tony Hall
Jouvay Popular Theater Process
This presentation will introduce the artist’s influential approach to theater and performance practice: Jouvay Popular Theater Process, developed out of complex intersections between Trinidad Carnival roots, archives and bodies. Both a response and challenge to the inherited norms for performance practice in the Americas and West Indies – Hall excavates the sonic spaces, fleshy wounds and rhythmic archives of Carnival to bring alternative ways of remembering to the stage. JPTP is a dramaturgy, a teaching method, an actor training and a poetic world.

Dialogue: Tony Hall and Bunky Echo Hawk, on community based methods, moderated by Dr. Karmenlara Ely

3:30pm – 4:15pm
Artists at MIT/Hidden and Future Archives
Leila W. Kinney
Hundreds of Visiting Artists have worked at MIT in various programs that emerged from the collaborative, experimental processes fostered by the Center for Advanced Visual Studies, founded in 1967 by György Kepes (1906-2001) and continued by the late Otto Piene (1928-2014).  The ephemeral nature of these encounters, their frequently immaterial form and their elusive transmission are not captured in traditional artistic performances or artifacts. Three profound and arresting investigations of the problem of the “archive” will guide this exploration of the ongoing theater of artists at MIT:  Nader Tehrani and Gediminas Urbonas’ Liquid Archive, 2011, Trevor Paglen’s The Last Pictures, 2012, and Olafur Eliasson’s Your uncertain archive, 2014.

4:30pm – 5:15pm
Reinventing Your Record With Humor
Ingrid Jungermann
By sharing actual memories and then screening the comedic, fictional versions, I will show how I allowed comedy to take charge of my memory, enabling me to expose difficult parts of the past and reshape them into an experience that evoked light over darkness.
Q&A moderated by Josh Lubin-Levy

5:30pm – 6:30pm
The Archive of Presence / The Archive without Past
Prof. Serge von Arx and Prof. Jay Scheib
Our built environment is the living archive of society. The same way each work of architecture upon its completion becomes a volume in that archive, the archive constantly is updated and kept alive. Our cities are an archive in a constant flux. The collision of past and present precludes the otherwise inherent notion of hegemonic power to be exerted with the decision of what is to be included into the archive. The city as consolidated memory is an everchanging mass of a culture’s expression. Architecture is the act of the archive’s constant permutation. It differs from other art forms by its imposing character. The architect is, with the incessant desire to shape society’s memory, its futile chronist.
The theatricality of our urban environment allowing and facilitating human interaction is the amalgamating agent, the inner organizing structure of the archive. But at the same time the performative represents the anemophile force within the complex intertwinement of the city’s demarcating factors. Theatre in this context is understood as the physical meeting at a distinct place for a manifold dialogue, not solely as an intellectual but as much also as a sensory experience. The roles of spectator and performer are blurry and mainly defined by social conventions. Scenography is the stipulated spatial, architectural framework for the events to take place within. The scenographer is the architect who creates the potential for these dialogues to take place and unfold.

7pm – 8:30pm
Connectivity Chorus: Neural Networks and Memory as Performative Practice
Dr. Maiya Geddes and Prof. Arnold Dreyblatt
A performance echoing the neuroscience of brain connectivity: four nodes, two networks fluctuate in time to produce a correlated and anti-correlated chorus. The presentation begins with a collaborative performance by Dr. Maiya Geddes Prof. Arnold Dreyblatt (Guest Scholar, CAST, MIT) and Anna Kohler with participating students from Theater Arts followed by presentations of individual research work on memory by Dr. Geddes and Prof. Dreyblatt. The performance of “Connectivity Chorus” is a simulation of the oscillating “Salience (SN)” and “Default Mode / Resting State (DMN)” cognitive networks which is based on recent neuro-scientific research. Relevant scientific and literary texts has been chosen as content material.  The performers follow a digitally programmed score with sonic output, in directing cyclical appearances of fragmentary thought and reminiscence while in a state of wakeful rest.

Dr. Maiya Geddes will discuss the susceptibility of memory to distortion and states that influence memory formation. She will also highlight the impact of Neurological illness on the creative process.
Installations on display at Rinaldi:
Traces and materials from INFINITE RECORD by various artists,
A song for the Archive film by Claire Hind and Gary Winters and others.


Arnold Dreyblatt
Arnold Dreyblatt (b. New York City, 1953) is an American media artist and composer. Dreyblatt’s visual artworks create complex textual and spatial visualizations for memory. These projects, which reflect on such themes as recollection and the archive, include permanent installations, digital room projections, dynamic textual objects and multi-layered lenticular text panels. He has exhibited and performed in galleries, museums and public spaces such as the Hamburger Bahnhof Museum for Contemporary Art, Berlin; The Jewish Museum in New York; the Museum of Applied Arts (MAK), Vienna and Gallery e/static in Turin. Arnold Dreyblatt is a Visiting Scholar at MIT and is currently teaching a Music and Theater Arts course at MIT entitled “The Harmonic Archive: Music, Sound and Installation Art as Artistic Research.” A member of the second generation of New York minimal composers, Dreyblatt continues to develop his work in composition and music performance, having invented a new set of original instruments, performance techniques and a system of tuning. He has formed and led numerous ensembles under the title The Orchestra of Excited Strings for over thirty years. Dreyblatt studied Composition und Ethnomusicology at Wesleyan University and Media Studies at the State University at Buffalo, where he studied music with Pauline Oliveros, La Monte Young and Alvin Lucier and video art with Woody and Steina Vasulka. He has been based in Berlin since 1984. In 2007, Dreyblatt was elected to membership in the visual arts section at the German Academy of Art (Akademie der Künste, Berlin). He is currently Professor of Media Art at the Muthesius Academy of Art and Design in Kiel, Germany.

Bunky Echo-Hawk
Bunky Echo-Hawk is a multi-talented artist whose work spans both media and lifestyle. A graduate of the Institute of American Indian Arts, he is a fine artist, graphic designer, photographer, writer and a non-profit professional. He is also a traditional singer and dancer. Throughout his career, Bunky has merged traditional values with his lifestyle and art. He has exhibited his work in major exhibitions throughout the United States and internationally in NYC, Chicago, Denver, Santa Fe, and Frankfurt, Germany, to name a few. His poetry has been published in magazines and anthologies throughout the country, and his plays have been performed and produced across the nation. Bunky is also an advocate and an educator He has performed at numerous major venues throughout the United States. Additionally, he speaks at conferences, conducts workshops, and teaches both art and writing. In 2006, Bunky co-founded NVision, serving as Executive Director until 2009 Bunky is a 2008 First Peoples Fund Business in Leadership Fellow, a 2008 United States Artist Fellow nominee, a 2008 Joan Mitchell Foundation Fellow nominee, and a 2008 Boulder County Multicultural Award recipient. In 2010, Bunky signed with Nike and is designing for the NIke N7 line. Bunky lives and works in Pawnee, Oklahoma. To learn more about the artist, his projects, and his work, please visit

Camilla Eeg-Tverbakk
Camilla Eeg-Tverbakk is currently a research fellow at Norwegian Theatre Academy, and PhD student at Roehampton University, London. She held the position of Artistic Director for the acting program at NTA between 2007-11. She works as dramaturge in independent projects as well as in collaboration with directors and choreographers in Norway and internationally. She has also been active as a curator, teacher, and lecturer since 1997. She trained as performer and theatre artist at Ècole Jacques Lecoq, and holds an MA in Performance Studies from NYU, and an MA in Theatre Science from the University in Oslo. Eeg-Tverbakk was the editor of the books Dans i samtiden on Norwegian contemporary dance (Spartacus 2006), and Performance Art by Baktruppen, first part (Kontur 2009).

Karmenlara Ely
Karmenlara Ely is the current Artistic Director of Acting at Østfold University College/Norwegian Theater Academy in Fredrikstad, Norway. Before coming to Norway, Karmenlara taught theater and performance theory as a full-time faculty at New York University’s Tisch School of the Arts, where she holds a PhD in Performance Studies. Her research often examines the critical role of the obscene body in taboo breaking and the complexities of erotic pleasure and consumption in artistic processes. Recent public lectures on performance include seminars in Norway, Iceland, Germany and the UK. She collaborates as a performer, dramaturg and scenic costumer on theater, festival and performance works in New York, Northern Europe and the Americas including recent projects with Spiderwoman Theater. She is the project leader for Infinite Record: Archive Memory Performance.

Eleonora Fabião
Eleonora Fabião is a performer and performance theorist living and working in Rio de Janeiro and New York. Associate Professor of the School of Communication at the Federal University of Rio de Janeiro, she holds a PhD in Performance Studies (NYU). Fabião has been performing, lecturing and publishing throughout the Americas and Europe. In 2011 she received the “Art in the Streets Award” from the Brazilian National Foundation of the Arts (FUNARTE), and in 2014 the “Rumos Itaú Grant” to develop the “Mundane Project: book, street exhibition, performances.” During 2010-11 Fabião was a fellow of the Hemispheric Institute of Performance and Politics and is currently a member of its Council. She is the researcher on Latin American Performance Art for the Re.act.feminism Performing Archive based in Berlin. Institutions where she recently taught include: Department of Performance Studies (NYU 2010-14), Theatre Studies (Freie Universität Berlin 2009), Norwegian Theatre Academy (Fredrikstad 2009), Instituto Universitario Nacional del Arte (Buenos Aires 2013), SP Escola de Teatro (São Paulo 2010 and 2013), and MoMA (NY 2014).

John Gabrieli
John Gabrieli is the director of the Athinoula A. Martinos Imaging Center at the McGovern Institute. He is an Investigator at the Institute, with faculty appointments in the Department of Brain and Cognitive Sciences and the Harvard-MIT Division of Health Sciences and Technology, where is holds the Grover Hermann Professorship. He also co-directs the MIT Clinical Research Center and is Associate Director of the Athinoula A. Martinos Center for Biomedical Imaging, MGH/MIT, located at Massachusetts General Hospital.

Maiya Geddes
Maiya Geddes is a Canadian physician researcher who completed her residency in adult Neurology at McGill University after obtaining an MD at the University of British Columbia. She is completing two fellowships in Boston: Dr. Geddes is a postdoctoral research fellow in the Gabrieli Lab at the McGovern Institute for Brain Research at MIT, and a clinical fellow in the Center for Brain / Mind Medicine at Harvard. Her research focuses on the influence of motivation on memory and her clinical work involves treating patients with disorders of thinking, emotion, or behavior.

Tony Hall
Tony Hall, Trinidadian playwright, attended University of Alberta and Northern Alberta Institute of Technology. He formulated Jouvay Popular Theatre Process out of Emancipation Performance Traditions. Two acclaimed plays: ‘Jean and Dinah . . . Speak Their Minds Publicly’ (1994), Twilight Café (2002). Tony collaborates extensively in Trinidad Carnival. Some street and environmental plays: ‘A Band On Drugs’ (1990), the site-specific ‘Macqueripe’ (2003). For screen with Banyan, Port of Spain: ‘And the Dish Ran Away with the Spoon’ (1994) BBC documentary, ‘Gayelle’ (1985-1990) award winning cultural magazine. Tony has lectured at Indiana State University, Terre Haute, University of Winchester, Hampshire, The Carnival Learning Centre, Isle of Wight. He lectures at Trinity College, Hartford, University of Trinidad and Tobago, Port of Spain, University of the West Indies, Trinidad.

Claire Hind
Gary Winters is Co-artistic Director of performance company Lone Twin whose work is regularly shown across the world to popular and critical acclaim. Claire Hind is an Associate Professor at York St John University and course leader for the MA in Theatre and Performance. Gary and Claire collaborate on live performance pieces for the city, studio, gallery or museum; they make Super 8mm film shorts, printed artworks, neons and boxed archives that slip between performance documentation and artefact. Their work has toured internationally and has been regularly supported by the Arts Council England.

John Jesurun
John Jesurun is a writer/director/media artist living in New York. His presentations integrate elements of language, film, architectural space and media. His exploded narratives cover a wide range of themes and explore the relation of form to content. They challenge the experience of verbal, visual and intangible perceptions. His work is distinguished by his integrated creation of the text, direction, set and media design. Since 1982: text, direction, design for over 30 pieces including: the 61 episode CHANG IN A VOID MOON, the media trilogy: DEEP SLEEP/WHITE WATER/BLACK MARIA, EVERYTHING THAT RISES MUST CONVERGE and SNOW.  Fellowships include NEA, MacArthur, Rockefeller, Guggenheim, Asian Cultural Council, and Foundation for Contemporary Performance Arts. Published by TCG, Sun & Moon Press, PAJ, NoPassport Press. “Shatterhand Massacree and other Media Texts” published by Performing Arts Journal. Past projects include FAUST~HOW I ROSE/ BAM, PHILOKTETES/Soho Rep, FIREFALL/DTW, STOPPED BRIDGE OF DREAMS/La Mama, Jeff Buckley video “Last Goodbye,” Harry Partch’s opera “Delusion of the Fury”/Japan Society. Teaching: Justus Liebig University/Giessen, Goethe University, DASARTS, NYU, Tokyo University, Kyoto University of Art+Design, Bard College, Carnegie Mellon, New School.
John Jesurun’s continuing web serial Shadowland can be seen on Vimeo. “Fragments from a Triumphal Arch” premieres this December at NYU’s Experimental Theater Wing.

Joan Jonas
Joan Jonas (MIT professor emerita) is a visual artist and a pioneer of video and performance art. Her experiments and productions in the late 1960s and early 1970s were essential to the formulation of the genre. Her influence was crucial to the development of many contemporary art genres, from performance and video to conceptual art and theater. During the past decade, Jonas has collaborated with composers such as Alvin Lucier to develop collaborative video-performance works, and has performed and toured with The Wooster Group. Her most recent work continues to explore the relationship of new digital media to performance. Jonas has been awarded fellowships and grants for choreography, video, and visual arts from the National Endowment for the Arts, the Rockefeller Foundation, the CAT Fund, the Artist TV Lab at WNET/13 (New York City), the Television Workshop at WXX1 (Rochester), and the Deutsche Akademischer Austauschdienst (DAAD) in Germany. Jonas has received the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival, the Polaroid Award for Video, and the American Film Institute Maya Deren Award for Video. Jonas has had major retrospectives at the Stedelijk Museum, Amsterdam (1994), and Galerie der Stadt Stuttgart, Germany (2000), and was represented in Documenta, Kassel, Germany five times. In 2004, the Queens Museum of Art presented Joan Jonas: Five Works, the first major exhibition of the Joan Jonas’s work in a New York museum. The exhibition included a selection of the artist’s most significant installations, a video room, and a survey of Jonas’ drawings, photographs, and sketchbooks. She is creating a multimedia installation to be featured in the United States’ pavilion at the 56th Venice Biennale. Currently the most extensive retrospective of her work is being shown at the Hangar Bicocca in Milan, Italy.

Ingrid Jungermann
Ingrid Jungermann is a filmmaker who created two acclaimed web series, THE SLOPE and F TO 7TH, featuring Janeane Garofalo, Amy Sedaris, Olympia Dukakis, Michael Showalter and Gaby Hoffmann. Her work has screened at various film festivals around the world, including Rotterdam International Film Festival, Los Angeles Film Festival, Outfest and Frameline. She is currently developing a feature film called WOMEN WHO KILL, a crime comedy about love and death. Ingrid was one of Filmmaker Magazine’s 25 Faces of Independent Film, Out Magazine’s 100 People of the Year, and Go Magazine’s 100 Women We Love. She received her MFA from NYU Graduate Film School.

Leila W. Kinney
Leila W. Kinney is the Executive Director of Arts Initiatives and of the MIT Center for Art, Science & Technology (CAST).  She is an art historian whose research and publicationsmedia in transition, art institutions and artists’ engagement with mass culture in the late nineteenth and twentieth centuries.  At MIT, her role is to advance the arts in the areas of strategic planning, cross-school collaborations, communications and resource development.  She oversees the Visiting Artists program and Eugene McDermott Award in the Arts at MIT, among many other arts programs for students, the MIT community and the public at large.

Anna Kohler
Anna Kohler laid the foundation for her work as a director and performer in Europe, where she studied acting and directing at the Conservatory for Art and Drama, the Mozarteum, in Salzburg, and later received her degree in Acting and Aesthetic Studies at the Université IIIV Vincennes, Paris, after studying mime with Etienne Decroux. Since joining the New York experimental theater scene in1983, she has worked on stage with playwrights and directors like Stuart Sherman, John Jesurun, Richard Foreman, Richard Maxwell, Fiona Templeton, and Werner Herzog, working alongside actors like Steve Buscemi and Mark Boone Jr. (the trio’s nightclub performances were legendary).  She was a performer with the Wooster Group for 13 years. Her solo performance D’Arc-Ness was premiered at the Triple X festival in Amsterdam. She appeared in movies by Jonathan Demme, Peter Sellars, and Hal Hartley. As a director, she has conceived and directed plays that were performed internationally and in New York.

Joshua Lubin-Levy is a current doctoral candidate in the department of Performance Studies at New York University.  His dissertation, “Uncollectible: Jack Smith and Performing the ‘Hatred of Capitalism’” centers on the artist, performer and filmmaker Jack Smith, looking at the intersection of dematerialization and collection defying arts practices that emerges within postwar American art.  He writes between the disciplines of performance, queer theory, contemporary marxist philosophy, and critical approaches to race, gender and sexuality.  In addition to his doctoral work, he is also an dramaturg and curator, working in New York City.

Claire MacDonald
Claire MacDonald has had a thirty-year long career in the arts, beginning as a performance maker and subsequently moving into writing, teaching, cultural leadership and art making. She holds a PhD in Critical and Creative Writing; has been a Judith Wilson Fellow at Cambridge University; Head of Theatre at Dartington College of Arts; Director of InterArts at George Mason University in Virginia USA, and Director of the International Centre for Fine Art Research at University of Arts London. She is currently Professor II at the Norwegian Theatre Academy in Frederikstad, Norway, working with the Leadership Team to develop postgraduate research in performance. She publishes widely across the spectrum of her interests in art, writing and performance, and on practice based research in the arts. She is a founding editor of the journalPerformance Research, a Contributing Editor to Performing Arts Journal, and a member of the AHRC Peer Review College.

Jay Scheib
Jay Scheib is a stage director, designer and author of plays, operas, ballets, and hybrid live art performance events. Winner of both the Guggenheim Fellowship and an Obie Award for the Direction of his stage adaptation, “World of Wires,” Scheib’s works have garnered rave reviews and accolades internationally. Having topped Time Out New York’s list of Top Ten New York City Theater Directors in 2009, Scheib’s recent staging of Thomas Adès’ opera “Powder her Face” for New York City Opera at BAM was called “dazzling,” by Anthony Tommasini of the New York Times.  Other recent works include a collaboration with choreographer Yin Mei on a hybrid live cinema dance performance titled “The Seven Sages of the Bamboo Grove,” with the Hong Kong Dance Company. In addition to ongoing collaborations in Europe and Asia, Scheib is Professor for Music and Theater Arts at Massachusetts Institute of Technology where his research focuses on the continued development of genre-defying interdisciplinary performances and the deep integration of new (and used) technologies for the stage. Working with a regular roster of collaborators Scheib’s ensemble, under the name Jay Scheib & Co. has garnered an international reputation for physically daring and emotionally charged adaptations of both classic and maverick texts. Recent works from Jay Scheib & Co. include a new live cinema performance based on Chekhov’s “Platonov, or the Disinherited” — which premiered in 2013 at La Jolla Playhouse, had its New York City premiere in January 2014 at The Kitchen. Again with “Platonov,” Scheib directed the action from the stage, broadcasting a single take feature film under the title “The Disinherited” to BAM Rose Cinema in Brooklyn and the AMC Empire 25 Cinema in Times Square. Scheib holds an MFA from Columbia University School of the Arts. Upcoming from Jay Scheib & Co. is a new live cinema adaptation of “Werther.” Scheib is the Director of the Program in Theater Arts at Massachusetts Institute of Technology.

Rebecca Schneider
Rebecca Schneider is a Performing Theorist and  Professor in the Department of Theatre Arts and Performance Studies. She is the author of The Explicit Body in Performance (Routledge 1997), Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge 2011), andTheatre And History (Palgrave 2014). She has authored numerous essays in journals and anthologies and edited collections on directing practice and the historical avant-garde as well as on performance and precarity.

Maria Magdalena Schwaegermann
Associate Professor at the Norwegian Theatre Academy Fredrikstad, as well as curator and dramaturg of the artistic research project INFINITE RECORD: Archive, Memory, Performance. Maria Magdalena Schwaegermann operates internationally as curator, lecturer and dramaturge in academic, semi-academic and purely artistic frameworks. She co-founded the Hebbel-Theater, Berlin (Germany), which produced and presented groundbreaking international work, and was for about 13 years its Deputy Artistic Director. In 1999 she was Program Co-Director of the Festival Theater der Welt, Berlin. 2001-2007, she was Artistic Director of the festival Zurcher Theater Spektakel. Since 2008 she has been associated with various art platforms, some of which gained international acclaim. As curator, co-curator and artistic advisor she designed and realized international art projects, e.g.the performance project ISTANPOLI in the frame of Istanbul Cultural Capital of Europe 2010 in Istanbul; the visionary and provocative exhibition TASWIR – Pictorial Mappings of Modernity and Islam in the Martin-Gropius-Bau, Berlin (2009-2010) and the exhibition Wagner 2013 Artist positions – Exhibition and events in the Academy of Arts, Berlin (2012-2013).

Julie Tolentino
Tolentino’s performance career over two decades of dance, installation, site-specific durational performance including diverse roles of host/producer/collaborator/performer, working with artists such as David Rousseve, Meg Stuart, Ron Athey, Madonna, Catherine Opie, Diamanda Galas, Stosh Fila, Robert Crouch, Mark So, Gran Fury, Rodarte, Vaginal Davis and Jonathan Berger, CANDIDATE, Lovett/Codagnone, Kadet Kuhne, Ryan Tacata and many others.  Her works have been commissioned (partial list) by The Kitchen, Participant Inc., Invisible Exports, Performa’05, Spill Festival UK, Tramway, DanceExchange and queerupnorth including extensive touring throughout Europe, Canada, Mexico, Myanmar, the Philippines and Singapore. Her work has been presented at Broad Art Space at UCLA, Los Angeles Contemporary Exhibitions, Perform! Now!, Move-In series at Honor Fraser Gallery, Commonwealth & Council, Cypress College, West of Rome, USC Curatorial Practices Cohort, Night Gallery/Volume, and the UCLA Performance Studies Queer Exhibition Series,  INSTALL Weho; Maloney Fine Art: FIRE IN HER BELLY, Sphaerae /Pasadena Arts Council, High Desert Test Sites, The Reanimation Library Project in Joshua Tree, New Museum, Performa’13, PSi19 Stanford, San Francisco Art Institute, Yerba Buena Center for the Arts In-Community Program with Larkin Youth Services, Luggage Store and Alter Space in San Francisco, Performatorium, Studio 303/Montreal and NYU Abu Dhabi. Tolentino’s practice involves installation and durational performance, improvisation, one-to-one encounters, score-making. She is deeply influenced by her experience as a practitioner of Eastern and aquatic bodywork, caregiver exchange and a somatic-based contemporary dance career as well as the organizer of NYC’s Clit Club (1990-2012). As an extension of her practice, she designed and built a solar-powered live-work space in the Mohave Desert: Feral House and Studio. She is currently a co-editor of the Provocations section of TDR – The Drama Review/MIT Press.
Serge von Arx
Serge von Arx, architect and professor of scenography, is the artistic director of the scenography department of the Norwegian Theatre Academy (of the Østfold University College). In 1997 Serge von Arx made his degree in architecture at the ETH Zurich (Swiss Federal Institute of Technology). In 1998 he began his long-term collaboration with Robert Wilson on numerous stage, exhibition and installation design projects all over the world and since 2003 he is a regular mentor and architectural consultant at the “Watermill Center” on Long Island, New York. In 2001 he opened his design studio in Berlin and since 2006 he is a resident in Oslo. Serge von Arx is lecturing and implementing workshops at various international universities and other institutions and works internationally as a scenographer, designer and architect, focusing on “performative architecture”, the encounter of architecture and theatre. His research includes various international publications and curatorial engagements. Serge von Arx currently curates the architecture section for the Prague Quadriennal 2015.

Gary Winters
Gary Winters is Co-artistic Director of performance company Lone Twin whose work is regularly shown across the world to popular and critical acclaim. Claire Hind is an Associate Professor at York St John University and course leader for the MA in Theatre and Performance. Gary and Claire collaborate on live performance pieces for the city, studio, gallery or museum; they make Super 8mm film shorts, printed artworks, neons and boxed archives that slip between performance documentation and artefact. Their work has toured internationally and has been regularly supported by the Arts Council England.



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