FuturePerfect is a New York-based interdisciplinary production company with a focus on live performance, media, visual art and technology. Wayne Ashley, the former Director of Arts in Multimedia at Brooklyn Academy of Music (BAM), founded the company in 2008.
Working With Us
FuturePerfect develops works through close and often long-term relationships with some of today’s most interesting artists, scientists, researchers and organizations. Through ongoing collaborations FuturePerfect generates and supports new directions in performance and visual culture through commissions, touring, consulting, project management, residencies, presentations, and conferences.
While every organization, project and audience we work with entails unique challenges and opportunities, FuturePerfect’s ability to adapt quickly, maintain agility, scale up or down based on project requirements and solve problems creatively remains constant.
FuturePerfect’s collaborators include Performing Arts Hub Norway (Danse-og teatersentrum), Society for Arts and Technology (Société Des Arts Technologiques) in Quebec, Austin-based performance festival Fusebox, Danish music ensemble Between Music, French center for dramatic research Comédie de Caen, Bergen-based producing and touring company Winter Guests, the Oslo-based performance and art group Verdensteatret, Conseil Québécois des Arts Médiatiques – CQAM, and many others.
FuturePerfect also initiates and produces independent projects. Some of these have included the New York experimental theater company Elevator Repair Service’s performance installation Shuffle; Kurt Hentschlager’s fog, strobe and pulse-light installation ZEE; the New York premiere of NEXT LIFE, one of Norway’s important alternative metal bands; the Oslo-based art collective Verdensteatret’s And All the Question Marks Started to Sing, and Colin Gee’s online video series I, who am the chorus.
We Work With Artists and Organizations in a Variety of Ways
Connecting Artists With New Technological Possibilities: French center for dramatic research Comédie de Caen wanted to position itself within the American performing arts market and collaborate with US-based technologists. We facilitated and project managed a team of specialists in motion capturing and animation for their new production Me in Front of Me, an adaptation of Shakespeare’s Richard III. We initiated and coordinated a residency at the University of Texas, Austin and currently we are working on a North American tour of the production for 2017.
Bridging Cultures and Artistic Traditions: Performing Arts Hub Norway (PAHN) wanted to connect Norwegian performing artists and producers with American presenters, festival directors and curators during the annual Association of Arts Presenters meetings in New York. To date, we have organized five separate convenings under the title NORWAY NOW – PERFORMING ARTS FROM THE NORTHERN LATITUDES that featured Norwegian artists who work in and between dance, theater, visual art, film and music.
Building New Programs and Audiences: Austin’s Fusebox Festival wanted to build an art and technology platform as part of its new programming initiative. Working together with the festival’s artistic director, we developed a modest and flexible 3-year blueprint with mission statement, goals, objectives and timeline for accomplishing this new focus.
Creating Dynamic Collaborations: We commissioned the New York-based experimental theater company Elevator Repair Service to develop a new work with this question: What might a theater piece look like that was completely structured, and orchestrated by a computer database? Working together with statistician and UCLA professor Mark Hansen and artist Ben Rubin they created Shuffle, a performance installation that premiered in the New York Public Library’s Centennial celebration.
What People Are Saying
“…The information you shared about FuturePerfect projects and your experience as founder and artistic director were both interesting and inspiring. We especially appreciated the insight and energy you brought to the session around creativity, collaboration, and the intersection of the visual and performing arts, and technology. As we anticipated, you made the case for taking risks and working collaboratively to push beyond conventional boundaries…” – Scott D. Stoner, Director, Programs and Resources – Association of Performing Arts Presenters, 2/22/2011
“And All the Question Marks Started to Sing looks to be one of the more unusual and immersive presentations in recent memory. It may, in fact, manage the feat of putting Verdensteatret on the tip of your tongue.”– Mark Peikert – CityArts, 2/22/2011
“Hentschläger’s piece delivered literally on the hackneyed promise that art will refashion one’s way of seeing the world.”– Kenneth Baker – San Francisco Chronicle, 11/23/2008