Krishni Anandarajan is an accomplished Carnatic vocalist, coming from a lineage of well-respected musicians led by her mother Kala Bhooshanam Smt. She had her Vocal Arangetram at the age of 15 and has since performed in many concerts along with her mother in Sri Lanka, India, Canada, U.K. and USA. Anandarajan also had the great privilege of learning from Sangeetha Kalanidhi Dr. T.M. Thyagarajan. She is a recipient of many awards for vocal performances in the school district and national level competitions in Sri Lanka. She has successfully completed the Teacher’s Grade both in vocal and Veena conducted by the North Ceylon Oriental Music Society. She had her advanced training in Veena from Vidushi Smt. Kalpagam Swaminathan.
Robert Paci Dalò is a pioneer in the use of digital technologies and telecommunication systems in art, with a particular interest in their use in the performing arts. Since 1985 he has written, composed and directed over 30 border-breaking music-theater works presented worldwide. He composed music for acoustical ensembles, electronics, voices and a large number of innovative hörspiele and radioworks produced by the main European broadcasting corporations. Additionally, he has made films & videos that have been regularly presented in international festivals. His dramaturgical materials are frequently re-composed in sound and video installations – often site specific and interactive – presented in museums, galleries, and public space. giardini.sm
Trained as an actor at the Dell’Arte School of Physical Theater and the Jacques Lecoq School in Paris, Colin Gee was the founding Whitney Live artist-in-residence at the Whitney Museum of American Art and the 2009 visiting artist-in-residence at the Cathedral Church of St John the Divine. Recent works have been commissioned by the Whitney Museum, San Francisco Museum of Modern Art, Belfast Exposed Photography Archive, and the French Institute Alliance Française. Frequently collaborating with Erin Gee (FAAR ’08), he provided the libretto for her opera SLEEP (2009), premiered at the Zurich Opera House, and the story, performance, filmmaking, and direction for her concert/opera Mouthpiece XII, Mathilde of Loci, Part I (2009), presented by the American Composer’s Orchestra at Zankel Hall in Carnegie Hall. His live performance work has been seen internationally, including Whitney Museum, PS122, The Chocolate Factory, Wexford Arts Center, 4020 Festival in Linz, SPIELART in Munich, and the Dublin Fringe Festival where he received the award as Best Male Performer. From 2001 to 2004, Gee was a clown for Cirque du Soleil’s touring production Dralion. In 2011 Gee was awarded a Rome Prize from the American Academy in Rome for the solo performance Frontier, with other residencies including NYU / Gallatin, Watermill Center, New York Theater Workshop, Laguardia Performing Arts Center, and the Whitney Museum. Harboring (2012), a seventeen-part video series was created through a residency at the Brooklyn Navy Yard. Current projects include the film installation In the first place…, a DANCE MOViES COMMISSION from EMPAC, and, True Pete, a solo performance work based on Petrushka created with composer Martin Brody in residence at Wellesley College.
Mark Hansen joined Columbia Journalism School in July of 2012, after a decade of shuttling between the west and east coasts. In Los Angeles, he held appointments in the Department of Statistics, the Department of Design Media Arts and the Department of Electrical Engineering at UCLA — literally forming a triangulation of data, art and technology — and was a Co-PI for the Center for Embedded Networked Sensing, an NSF Science and Technology Center devoted to the study of sensor networks. While in New York, Hansen was a long-standing visiting researcher at the New York Times R&D Lab and a consultant with HBO Sports. Hansen works with data in an essentially journalistic practice, crafting stories through algorithm, computation and visualization. In addition to his technical work, Hansen also has an active art practice involving the presentation of data for the public. His work with Ben Rubin at EAR Studio has been exhibited at the Museum of Modern Art in New York, the Whitney Museum, the Centro de Arte Reina Sofia, the London Science Museum, the Cartier Foundation in Paris, and the lobby of the New York Times building (permanent display) in Manhattan. Hansen holds a PhD and MA in Statistics from the University of California, Berkeley and a BS in Applied Math from the University of California, Davis. journalism.columbia.edu/
Next Life‘s seed was planted when songwriter Hai Nguyen Dinh as a six-year old played “Exploding Fist”on his Commondore64 and blew the speakers of the family TV. Years later Hai met future Next Life partner Tormod Christensen on a pre-internet copy-party, where young people challenged the force of primitive processors in the same way previous generations went kiting or cliff-diving. This love for transistor culture and digital storytelling is still very present in Next Life’s sound. At the time Next Life did their first show in 1999, everyone present knew that it was a band destined for cult worship. An unidentified mixture of chip-sounds and extremely violent music, presented by fast-moving, almost cartoon-like characters, made the Next Life shows become an instant classic. It was quite describing that Next Life’s debut album from 2006 was named Electic Violence. Since then, Next Life has been a band of ultra-slow evolution. From the more electronic output of their Red End 7″ (2000) and their debut, to the synth/guitar hybrid of The Lost Age (2009), to The Resurrection EP (2010) which marked the 10th anniversary of the band by adding a drummer to the line-up. Next Life’s distinct sound and self-imposed limitations has created expectiations that Next Life has a grand plan – a goal to their evolution that lies far beyond the present state of music. And while other bands change their styles and sound dated after a couple of years, Next Life’s output keep sounding more futuristic for each year that passes. electricdungeon.org
Alan Lucien Øyen is one of the most exciting up-and coming artists in Norway today, whose work as writer, director and choreographer has been highly acclaimed in his home country and abroad. Alan graduated as a dancer from the State school of Art in Oslo in 2001, but quickly turned to choreographing and staging his own works. By 2006 he’d already established his own company winter guests, an ensemble of highly skilled performers, writing, staging and touring theatrical works in English for the international stage. Alan has won several awards, both for his choreographic works as well as his theatre productions. Most recently, “Coelacanth” – a six hour long play, co-written by British playwright and director Andrew Wale, won him the prestigious HEDDA Award,(Norwegian Theatre Awards), for Best Original Play, as well as three other nominations including Best Director and Best Play. As Artist in Residence with the Norwegian National Opera and Ballet, Alan is given the space and freedom for himself and his company winter guests, to make groundbreaking theatre and dance performances in the stunning new Norwegian Opera House. Besides his work for winter guests, Alan is also commissioned to create work for companies in Norway and abroad. His most recent production “if we shadows have offended” for the Gothenburg Opera received great critical acclaim when it premiered March 2015. Alan and Winter Guests has been generously supported by the Norwegian Arts Council since 2004.
Ben Rubin is a media artist based in New York City. Mr. Rubin’s work is in the collections of the Art Institute of Chicago, the San Jose Museum of Art, and the Science Museum, London, and his work has been shown at the Whitney Museum in New York, the Reina Sofia Museum in Madrid, the Fondation Cartier pour l’art contemporain in Paris, and the ZKM Center for Art and Media in Karlsruhe. Rubin has created large-scale public artworks for the New York Times, the city of San José, and the Minneapolis Public Library. He is currently developing a site-specific sculpture called Shakespeare Machine for the Public Theater in New York, and just completed a luminous rooftop beacon for the National Museum of American Jewish History in Philadelphia. Mr. Rubin is on the faculty of the Interactive Telecommunications Program at NYU.
Elevator Repair Service is a New York City-based ensemble that creates original theater pieces. ERS was founded by director John Collins in 1991 and has since created an extensive body of work that includes full-length productions and short dramatic pieces. These have been seen all over the world and have garnered awards and accolades in Europe, Australia, and the United States. The company builds its work from a variety of sources that include found text, video, film, literature, and ensemble-generated choreography. Finished productions clash hi-tech and low-tech design and mix disparate texts and forms to create live performances that are propelled by narrative, humor, pathos, and controlled chaos. Since its inception in the early 1990′s, ERS has cultivated a large following in New York, around the U.S., and abroad. Its award-winning shows have influenced a generation of theater-makers. ERS is a Company-in-Residence at New York Theatre Workshop. For more information: elevator.org/
Gianluca Fellini is the co-founder of Blue Dream Escape, a creative movement shaping brands and their campaigns through art and photography. Fellini was born in Rimini, Italy, in 1981. During a surfing trip in California in 2004, he discovered his love and talent for photography. Without hesitation, he quit his professional basketball player position, his law studies in Italy, and moved to New York City to pursue his passion. Since then, he has photographed for many editorials and campaigns internationally. His passion for photography has also translated the last couple of years into film. He has shot various music and fashion videos, short films and is currently working on his first feature length movie. He has also participated in a few art shows with his video art installation This Might Be the End, shown at the Chelsea Museum and White Box in New York, as well as a large projection for HOLY BOS festival. He had is first solo show Can’t find my way home in Barcelona Dec 2012, in collaboration with Global Art Advisory Oblyon. He also participate at the 2012 Miami Art Basel. bluedreamescape.com
Kirsten Dehlholm is an internationally renowned visual performance artist, director and artistic director of the Danish performance group Hotel Pro Forma. Since 1985 she has enriched the Danish and international performing arts scene with works in the borderland between visual art, design, architecture and theatre. Dehlholm has created more than 50 multidisciplinary works with a distinctive use of space, composition, visual principles and performative staging. Kirsten Dehlholm has received a vast number of awards and prizes, including the Eckersberg Medal and, in 2013, the prestigious Danish Thorvaldsen Medal for her strong foundation in the visual arts, for her visual composition and sensory spaces, her consistently innovative and investigative approach to artistic expression and for her unique sense of creating
highly confrontational scenic spaces. hotelproforma.dk
Robert Karlsson works with the Danish music ensemble Between Music as the general manager, co-artistic director and performer. He received his Diploma Degree in viola and violin at theRoyal Academy of Music, Denmark in 2004. Working in genres ranging from classical music to avant-garde rock and minimalist theater music, Robert Karlsson has created his very own sound and niche as multi-viola player on the Danish music and theater scene. As general manager, artistic co-creator and technical developer, Robert Karlsson has an infectious sense of play, invention and discovery. This creative spark is combined with a steadfast commitment to collaborating with other experts – scientists, artists, instrument makers and others – to develop solid projects while meeting budget and timeline requirements. In addition to his work with Between Music, Karlsson is an integral part of the avant-garde group Laila & Symfobia and the rock trio SheppardKarlsson as a musician and manager. As a freelancer Karlsson plays with theaters, symphony orchestras and other ensembles and is often used in studio recordings, appearing on more than 25 albums. With the internationally acclaimed Danish dance company Granhøj Dans, he has toured in Europe, China, Peru and Canada with three different productions, giving more than 500 performances in total, including 32 performances of Dance me to the end on / off love in Montreal, Canada in 2013. Karlsson has also composed music for Granhøj Dans’s W [Doubleyou] UNDERTOW with Laila Skovmand and arranged the music for 2men2mahler.
Kurt Hentschläger is a constant innovator and an influential figure in the field of contemporary art and technology. He merges conceptual art, sound, video, performance,and technology in his large-scale installations and performances. Since launching his career in 1983, his work has been commissioned worldwide, including: NoiseGate 2000 for Creative Time’s Art in the Anchorage as part of the Austrian duo Granular-Synthesis, representing Austria at the 2001 Venice Biennale, and his most recent installations ZEE, RANGE andKARMA/X are currently touring. www.kurthentschlager.com
Davide Montecchi graduated from Dams University (artistic, musical and performing arts’ institute) in Bologna, with a thesis on the director Peter Greenaway. He has attended courses and workshops with Peter Greenaway, Tonino Guerra, Alexandr Sokurov. Since 2008, he has lived both in Rimini and New York, where he worked as director at Vicar Entertainment Production Company. He has directed shorts films and music promos which have been projected and rewarded during several Italian and international film shows.
Vivek Rudrapatna is a seasoned Indian Classical violinist who has played a central role in the Indian Classical music circles of the tristate area and New England for over 10 years. He began study of the violin under Jennifer Curran, who taught him Western Classical technique and guided him from elementary through high school. Around the same time, he discovered the Carnatic violin under the guidance of Mysore Sateesh, an inspired violinist from the prized MSG lineage. Since 2001, he has performed as both a soloist and in collaboration with many talented local and international artists in a variety of prestigious venues including the New Jersey Performing Arts Center, The Egg in Albany, and the Sanders Theatre at Harvard University. Over the years, Rudrapatna has honed his skills under the guidance of renowned artists such as Anantha Krishnan, the Mysore Brothers, and Dr. L. Subramaniam. Rudrapatna’s long standing interest in world fusion led to the creation of his successful college group Saptaswara, a melting pot of Gypsy, Bluegrass, Western, and Indian music. Currently, he is an MD/PhD candidate at The Mount Sinai School of Medicine in New York.
Verdensteatret was founded in 1986 – over 25 years ago. The group is recognized as one of the leading Norwegian art collectives, known for surprising uses of new and old technologies in the making of contemporary theater, performance and art. Verdensteatret’s works are presented internationally in a variety of contexts, including galleries, music festivals and theaters. Based in Oslo and led by Lisbeth J. Bodd and Asle Nilsen, Verdensteatret has long had strong ties to the European, especially German, theatrical tradition that includes Brecht, Walter Benjamin and Heiner Müller. Following experiments in fields such as visual performance, environmental theater and text-based theater, the group has recently tended toward the ambitiously interdisciplinary. Today, Verdensteatret consists of video artists, computer animators, sound engineers, musicians, artists and a painter, among others. They collaborate in what they call a “flat structure” where “everyone has a hand in with everything.”
Verdensteatret’s members are: Lisbeth J.Bodd, Asle Nilsen, Håkon Lindbäck, Piotr Pajchel, Kristine R. Sandøy, Christian Blom, Eirik Blekesaune, Espen Sommer Eide, Hai Nguyen Dinh, Øyvind B. Lyse, Thorolf Thuestad, Ali Djabbary, Hans J. Skogen, and Gjertrud Jynge. For more information: http://www.verdensteatret.com
Preston Wilson is an Associate Professor in the Acoustics and Dynamic Systems & Control programs of the Mechanical Engineering Department, holds a joint appointment as Associate Research Professor at Applied Research Laboratories, The University of Texas at Austin and is the Fluor Centennial Teaching Fellow in Engineering. Work conducted in the Wilson group has been reported in Scientific American, National Geographic, The Alcalde, The Austin Business Journal, and via radio reports on KUT and NPR. Wilson co-founded AdBm Technologies, LLC, to commercialize underwater noise abatement technolgoy and currently serves as a science advisor to the company, which provides underwater noise abatement solutions for the domestic oil and gas market and the international marine wind and offshore construction markets. Wilson currently holds one US patent, with three additional patent applications filed.
Matt Nolan has been playing drums since the age of 13 and has performed in the Kennedy Center, Barbican and the Royal Festival Hall. He holds a degree in Electronic Engineering, but in 2008 he left that career to start Matt Nolan Custom, a new business specializing in hand-crafted metal percussion instruments — cymbals, gongs, triangles, tuned bells and sculptural instruments. Some of his clients have included Bjork, Dame Evelyn Glennie, Massive Attack, Danny Elfman, King Crimson, Finnish National Opera, Orchestra of the Royal Opera House, Covent Garden, Boston Symphony Orchestra, Hungarian National Philharmonic, Stella Artois (the “Chalice Symphony” as part of a team led by Andy Cavatorta) and Forma Arts & Media (for composer Ed Carter – electromagnetically “bowed” bell plates). Nolan currently lives in Bath, UK. http://www.mattnolancustom.com/
Andy Cavatorta is a software developer, inventor, artist and composer based in Brooklyn, New York. After receiving his Masters Degree from the MIT Media Lab, he started on a yearlong collaboration with Icelandic singer Björk. This produced instruments known as the Gravity Harps, which featured in her Biophilia album and tour. He was selected by TED to receive a Lincoln prize in 2013. He used the prize to create a new instrument for TED’s TEDActive event. He also received commissions from Science Gallery in Dublin and MU Gallery in the Netherlands. Recently, he worked with Matthew Herbert on his new opera at the Royal Opera House, London. He has also received commercial commissions from Stella Artois and from electronic musician J.Views. He currently teaches design at Cooper Union University and creates new works in his Brooklyn workshop. http://andycavatorta.com
Jean Lambert-wild is a writer, director and scenographer. From 1998 to 2006, he was artistic director of the Coopérative 326 and, at the same time, from 2000 to 2006, associate artist at the Granit-Scène Nationale de Belfort. He wrote and directed his own texts some of which include Grande Lessive de printemps (1990), V versus W (1997), Splendeur et Lassitude du Capitaine Marion Déperrier – Épopée en deux Époques et une Rupture (1999), and Drumlike (1999), a commission for a musical composition by Jean-Luc Therminarias. From 1999 to 2005 he has directed numerous plays by Sénèque, Gombrowicz, Bond, Kafka, and Blangero. He designed the scenography of Vater Land by Wenzel, directed by Philippe Goyard (1997), and of Combat de Nègre et de Chiens by B.M. Koltès directed by Philippe Goyard (1998). He also directed numerous Calentures, such as Paradis (1998), Noyades (1999), Walk-Don’t Walk, and several others. In 2001, Lambert-wild and Therminarias broadened their artistic collaborations by staging Orgia de Pier Paolo Pasolini (2001), Spaghetti’s Club (2002), Mue – Première Mélopée in 2005, Le Malheur de Job (2008). Since January 1, 2007, Jean Lambert-wild has been director of the Comédie de Caen-Centre Dramatique National de Normandie.
Ryan Janzen’s compositions have been performed internationally in New York, Las Vegas, San Francisco, Copenhagen and Shanghai. Featured on CBC, Danish radio, and at the World Expo, Ryan Janzen’s compositions have been sought after for art music, film, and esoteric concerts. As experience-designer/music director of 23 live concerts and producer of 3 albums, he has collaborated extensively with musicians, orchestras, and interdisciplinary researchers. Janzen’s work embodies a fusion between art and science that comes naturally: Janzen’s scientific research has led to advances in acoustics, aerospace engineering, and electric vehicle propulsion, and was awarded a federal grant from the Natural Sciences and Engineering Research Council. His music research is published in eight international music publications. After founding a technology consulting company in elementary school, Janzen worked on the award-winning film Commedia Fantasia (winner of the 2002 Houston International Film Festival Gold Medal Award in performing arts), and has since produced an array of art music, film music, orchestral and choral compositions, performance art, and high-tech performances that push the limits of art and science. Janzen in 2006 was the world’s first composer to create music for hydraulophone, an exotic new instrument Janzen worked on with Steve Mann and Chris Aimone, which is played by touching jets of water. Seismic waves were heard through a pipe organ in Janzen’s piece, “Stray”. Fusion between music and science has been featured in Janzen’s talk at the Metropolitan Museum of Art (New York) and 25 international conferences. He is featured in 32 newspaper, magazine and TV news programs on art, science and technology. http://ryanjanzen.ca
Laila Skovmand is the artistic director of the Danish music ensemble Between Music. The backbone of Laila Skovmand’s artistic work is a boundless curiosity and open-mindedness giving impetus for vocal and compositional inventions. As a performance artist, singer and composer Laila Skovmand deliberately places herself in the gap between genres and media. From here she investigates the liminal states of human experience in order to question and challenge assumptions and narrowed perspectives. As a singer and live performer in her band Laila & Symfobia, critics have described her as “a powerhouse performer with leather lungs and the ferocity of an avenging muse” and a sensuously poetic performer “unfolding like peaks of Himalayan longing.” Laila Skovmand has a huge breadth of style and technique, but is far less concerned with genre than with exploring and expressing the energy, power and dynamics inherent in different kinds of music. Her artistic process derives from an intuitive method, combined with the skills of a craftsman and an almost scientific search for new sound and expressive possibilities; constantly creating, molding, experimenting and testing until the work is done. Laila Skovmand graduated as a singer from the Royal Academy of Music Aarhus (Denmark) and Centre Artistique International Roy Hart (France). She is currently finishing her Advanced Postgraduate Soloist Diploma program as a performative composer at the Royal Academy of Music Aarhus, passing her auditions with the highest possible grade. In addition to her own work, Laila Skovmand has also composed for Danish theatre companies Cantabile2 and Granhøj Dans including composing the music for W [Doubleyou] UNDERTOW and Obstrucsong – both critically acclaimed performances that have toured worldwide with more than 350 and 100 shows respectively. Over the years Laila Skovmand has received numerous grants and funding by the Danish Art Council, Aarhus Municipality Arts Council, DJBFA among others. aquasonic.dk
Herman Kolgen is a multidisciplinary artist who lives and works in Montreal. A true audiocinetic sculptor, he draws his primary material from the intimate relationship between sound and image. Kolgen works to create objects that assume the form of installations, video and film works, performances and sound sculptures. Constantly exploring, he works at the junctures of different media, as well as elaborating a new technical language and singular aesthetic. kolgen.net
Nicolas Bernier is one of the most interesting Montreal-based artists working today. He describes his own work as electronic music made with objects of the past and manipulated by modern means (including Live and Max for Live). But beyond the sophistication of his means, Bernier manages to elegantly balance the cerebral and the sensual, as is apparent in his piece frequencies (a), which was recently awarded the prestigious Ars Electronica Golden Nica prize for digital musics and sound art. http://nicolasbernier.com