Worktape 1999 – by Andrea Kleine [full piece] from Andrea Kleine on Vimeo.

WORKTAPE excerpts from a work-in-progress from Andrea Kleine on Vimeo.

you MUST make a reservation and bring photo ID to get into the building
email: andrea AT andreakleine DOT com to RSVP

WORKTAPE 1999 is a re-creation of a 10-year-old performance VHS tape with the original artists attempting to perform their parts from memory live via web video-chat. The performance videotape is from Kleine’s 1999 piece MEMOIR NEVER WAS (SECRET TALES FROM THE ANNEX), inspired by the diary of Anne Frank and the fall from fame of film noir star Veronica Lake and originally presented by PS122. The nexus of these imperfect transmissions, re-enactments and replications is a piece about our relationship to technology-enhanced memory, the slipperiness of shared experience, and an examination of the process of ensemble performance creation.

Video design by Benton-C Bainbridge. featuring Raquel Cion, Philip G. Kain, Rohana Kenin, Andrea Kleine, Jeremy Laverdure, Carmelita Naval, Tania Varela-Ibarra. Audio installation by Bobby Previte. Music by Jeremy Bernstein.

LMCC Swing Space @ 14 Wall Street, 31st floor.
you MUST make a reservation and bring photo ID to get into the building.
email: andrea AT andreakleine DOT com to RSVP.
more info

Andrea Kleine + Bobby Previte's The Separation

4 stars from All About Jazz Italia

and it is available in The Shop

“Buio in sala, sei fantasmagorici punti luce distribuiti sul palco, il suono sinistro di un organo e una breve frase pronunciata da una voce maschile, che sembra risuonare da un evo distante mille anni. Poi, improvvisa, inattesa, una sventagliata di chitarra accompagnata da un lampo accecante, che si dissolve introducendo le polifonie latineggianti di un coro, salmodiate tra bordate marziali di distorsioni e improvvisi sussulti della batteria.”

which Google translates as:

“Dark in the room, six phantasmagoric light points distributed on the stage, the sound left a body and a short sentence uttered by a male voice, which seems to echo from a distant ages a thousand years. Then, suddenly, unexpectedly, a hail of guitar accompanied by a blinding flash, which dissolves introducing polyphony latin a choir chanted trips between martial and sudden jolts of distortion in the battery.”

Aaron Landsman's Appointment. 2009 Prelude Festival

Now on NYFA Current

My second “appointment” at the CUNY offices is with Landsman himself. He chats me up in the hallway, casually waving hello to other audience members and colleagues as they arrive in the waiting room. Unlike the dysfunctional staffers from my first appointment, Landsman’s character appears to be an affable professor, enjoying the social environment of a college, though something is slightly off about him. “Are you married?” he asks. “Are you partnered up?” I dodge the question. He playfully punches me in the arm. “You totally are,” he says and proceeds to tell me a few too many details about his infant son’s nipple preferences.

At long last…the DVD of CLAUDE, based on the life and work of Claude Cahun, is now available. Written, directed, and choreographed by Andrea Kleine. Original score by Jeremy Bernstein. Visual Design by Anna Kiraly. Costumes by Alice Wu. Lighting design by Dave Overcamp. Starring Willa Carroll, James “Tigger!” Ferguson, Christine Holt, Carmelita Naval, and Andrea Kleine. Audio post-production and technical wizardry by Bobby Previte.

We exist. Forgive our existence.

It’s beautiful. Check it out in the SHOP.

Clarinda Mac Low/CYBORG NATION

AK: How do you feel cyborg technology enhances presence or that “charged moment”?

CML: I don’t know if it does. In some ways I think that it doesn’t, except that it amplifies presence. These devices extend our senses—they extend our hearing, they extend our sight, they extend our sense of presence. In that sense, even amplifying a private conversation creates a charged moment because it literally amplifies it, making it available to a wider group. There is also a question I have about inner life—how do you build an inner life when you’re always reaching out? I don’t mean that rhetorically; I mean that actually, as a real question.