TBA:05 Guidebook

ON THE STAGE

STREB Kristy Edmunds Farewell Party Guy Dartnell Tiffany Mills Company Paul D. Miller aka DJ Spooky Daniel Bernard Roumain Ivana M端ller Faustin Linyekula/Les Studios Kabako Wally Cardona Quartet Meow Meow Aphids Kota Yamazaki/Fluid Hug Hug Lone Twin Sarah Rudinoff Carl Hancock Rux Rosanna Gamson/World Wide & Contradanza Northwest New Works: Allen Johnson locust

ON THE SCREEN

Bruce McClure Hans Weigand Sung Hwan Kim & Nina Yuen Alain Buffard How We Investigate

ON THE ROAD

Vaux's Swifts The M.O.S.T. PINKK/Laura Curry

INSTITUTE

Noontime Chats Workshops LINC Special Workshop Kamikaze Special Workshop Lectures Paul D. Miller aka DJ Spooky Kristy Edmunds

CORBERRY PRESS Graze Station White Rainbow

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002 FAUSTIN LINYEKULA PHOTO: FABRICE NGOP

THE WORKS

ripe Family Supper Cafeteria TBA Late Night Schedule W+K TokyoLab Slow Starlight Meet ‘n Greet Breakfast of Champions Lori Goldston Mirah with Spectratone International Kenny Mellman Neal Medlyn ?Fact or Fiction Tracy + the Plastics Victoria Hanna Miss Murgatroid Ladies of the Lake Antony and the Johnsons Meow Meow and Thomas M. Lauderdale DADA Ball Titán

INFORMATION

FAQs PICA Staff PICA Board of Trustees TBA Sponsors Venues Map Schedule TBA Central Passes Order Form

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KOTA YAMAZAKI PHOTO: TSUYOSHI NAKAZIMA

VICTORIA HANNA PHOTO: ADDIKA

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VICTORIA HANNA PHOTO PAWEL ANTONOW

ABOUT THIS GUIDE

In this guide, you will find information on artists, projects, venues, and special events. Each project is listed roughly in order of where it falls during the ten-day festival, with date, time, location, running time, and seating capacity. In the back of the guide you will find FAQs, a comprehensive schedule of performances and events and a map of TBA venues, followed by ticket and membership information.

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PICA supports artists’ freedom of speech, and audiences’ rights to choose what to see and hear. We have coded each performance to help you decide if it is right for you and your family.

ALL AGES:

Appropriate for all ages.

MATURE AUDIENCES:

Contains language, images or other content that some people may find offensive and/or inappropriate for children.

21+:

Over 21 only, in accordance with OLCC regulations.

Superhero Sponsor:

CITY OF PORTLAND

Lead Sponsors:

Major Sponsors:

Media Sponsors:

PHOTO: DANIEL PETERSON

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TBA ON THE STAGE

PHOTO: KIMBERLY GREMILLION

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STREB Wild Blue Yonder

“…As if the law of gravity had been repealed.” —Dance Magazine

The impossible dream of soaring and diving without machines or wires becomes fully realized in Wild Blue Yonder, the newest creation from Elizabeth Streb. With a thrilling 20-foot swan dive and breathtaking suspensions, this work pays homage to all who have defied gravity and realized that humans can, in fact, fly. This free outdoor performance is a gift to the city and people of Portland from PICA in honor of our 10th anniversary.

www.strebusa.org

Thurs . Sept 8 . 8 pm Running time: 60 min FREE All Ages

Sponsors:

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Wild Blue Yonder was made possible through a commission and generous assistance from the Wolf Trap Foundation for the Performing Arts: Face of America 2003. It premiered in September 2003. PICA’s presentation of Wild Blue Yonder received support from the Western States Arts Federation and the National Endowment for the Arts.

Pioneer Courthouse Square

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Elizabeth Streb’s many awards and fellowships include honors from the National Endowment for the Arts, the Pew Charitable Trust, the National Dance Project and the Guggenheim Foundation. In 1997, she was awarded a John D. and Catherine T. MacArthur Foundation “Genius Award.” She is currently the “Dean’s Special Scholar” at New York University at the Draper Program, working towards an M.A. in Time and Space, studying Physics, Philosophy and Architecture.

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Founded in 1979, STREB tours throughout the U.S. and abroad conducting year-round rehearsals, showings and workshops from the STREB Action Invention Lab in Williamsburg, Brooklyn. Committed to presenting work in traditional and non-traditional venues alike, the company has performed in public spaces across the country, including NY Grand Central Terminal, the World Financial Center, and during halftime at the Metrodome in Minneapolis.

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FAREWELL KRISTY EDMUNDS! Parting can be such a party! Celebration following the STREB Performance

Raise your glass and raise your voice and let's raise the “roof” of Portland’s living room.

Pioneer Courthouse Square

Sponsor:

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FREE All Ages

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Thurs . Sept 8 . 9 pm

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Let's start off the festival with a look toward the future for our friend, our organization, our fair city and a Festival like no other! Join PICA and the community of Portland after the close of STREB’s Wild Blue Yonder performance in Pioneer Square for our opening celebration.

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After 10 years of risk-taking, boundary-pushing, community traversing, hollering loudly, innovatively gathering, inspirationally leading, bravely introducing, smartly educating, intently listening, voraciously learning, boldly striding, standing tall, and, above all, simply being; the time has come for PICA’s beloved founder, Kristy Edmunds to move on to a life “down under.”

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GUY DARTNELL Travels With My Virginity - U.S. Premiere

"An extremely sophisticated performer...blessed with an extraordinary voice and latex features...his stage performances are the theatrical equivalent of a Gaudi cathedral...breathtaking.” —TIME OUT, London

Based upon a true story, Travels With My Virginity follows Guy Dartnell’s desperate attempt as a nineteen-year-old student to lose his virginity by hitchhiking across France. Along the way he is picked up by an increasingly strange series of people, ranging from a menacing nightclub barman who won’t let him out of his car, to the recent inmate of a sanatorium. Funny, moving and displaying Dartnell’s signature intimate, irreverent and conversational style, Travels is both an intriguing and bizarre road movie and a rather painful rite of passage.

Travels With My Virginity was commissioned in 2003 by The Future Factory, Nottingham and BAC, London. Venue generously provided by Portland Center for the Performing Arts.

Winningstad Theatre Portland Center for the Performing Arts

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Running time: 90 min Seating Capacity: 275 $10 members / $15 general Mature Audiences

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Fri . Sept 9 . 7:30 pm Sat . Sept 10 . 7:30 pm

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A discussion with the artist will follow Saturday's performance.

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Travels builds on the success of Dartnell’s previous solo shows: Bottle, Unsung and the Time Out Live Award-winning Would Say Something. Dartnell is currently developing the story into a film with the show’s director, Lee Simpson. In addition to his award-winning solo work, Dartnell is also a longtime collaborator with the London-based ensemble Improbable. His work with them includes Spirit, Lifegame and the international and Obie awardwinning 70 Hill Lane (presented by PICA in 1999). His other work spans the realms of music, dance, circus and film, including performing with Meredith Monk and instigating a number of collaborative interdisciplinary projects, most recently one for infants called Oogly Boogly with National Theatre director Tom Morris.

PHOTO: PAULA COURT

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TIFFANY MILLS COMPANY Elegy & Godard

“Mills cuts to the chase: Her work is about emotion evoked through charged movement, and she mobilizes large groups of dancers to tear at your heart.” —The Village Voice

Choreographer Tiffany Mills has joined forces with composer John Zorn and award-winning Cuban filmmaker Ela Troyano to create a trilogy that folds movement, music and video into a 3-D cinematic experience. Elegy and Godard, two sections of the trilogy, with music inspired by the writings of Jean Genet and the films of Jean Luc-Godard, are one part dark and surreal danse noir, one part urban fairy tale, weaving through worlds where innocence and purity go head to head with corruption and contempt.

www.tiffanymillscompany.org

Portland State University Lincoln Hall

Fri . Sept 9 . 7:30 pm Sat . Sept 10 . 7:30 pm

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Running time: 70 min Seating Capacity: 470 $15 members / $20 general All Ages

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Elegy was commissioned by Works & Process at the Guggenheim Museum and developed under HARP (Here’s Artist Residency Program). Godard was developed in part at Jacob’s Pillow through its Creative Development Residency Program, and given major support from the Evelyn Sharp Foundation.

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Mills has taught as a guest artist at Trisha Brown Studios, ADF/NYC, and serves as a faculty member at Trinity/LaMama. She received a Bates Dance Festival Emerging Choreographer Award in 1998, and was selected as a University of Oregon School of Music and Dance Distinguished Alum in 2005.

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Mills received a BA in Dance from the University of Oregon Honors College and an MFA in Choreography from Ohio State University. She formed Tiffany Mills Company in New York in 2000, earning praise from The Village Voice as “one of the real talents of the emerging generation.” Her work has been produced by the Guggenheim Museum Works & Process, Symphony Space, DTW, Danspace Project, PS122, the Wexner Center, Jacob’s Pillow Inside/Out Series and internationally in Canada and Mexico.

PHOTO: (C) MUSEUM OF CONTEMPORARY ART, CHICAGO : PHOTOGRAPHER: MICHAEL RAZ-RUSSO, USED BY PERMISSION

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PAUL D. MILLER AKA DJ SPOOKY THAT SUBLIMINAL KID

Rebirth of a Nation 11

“It wouldn’t much surprise me if DJ Spooky invigorates the intellectual world someday as Professor Spooky or even Chancellor Spooky.” —Bruce Sterling Tomorrow Now: Envisioning the Next Fifty Years

Remixing cinema, music and American history, DJ Spooky reconstructs D.W. Griffith’s racist 1915 silent film Birth of a Nation for three-screen digital video projection. Added digital and analog visual elements, including footage from the Bill T. Jones Dance Company and Miller's own original score, are mixed by the artist on the fly, making for a unique performance each night.

Paul D. Miller is a conceptual artist, writer, and musician. His writing has appeared in The Village Voice, ArtForum, Rap Pages and Paper Magazine, among others. His first collection of essays, Rhythm Science, was published by MIT Press in 2004, and his anthology of writings on sound art and multimedia, Sound Unbound, will be published this year.

www.djspooky.com

Newmark Theatre Portland Center for the Performing Arts 18

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Running time: 75 min Seating Capacity: 880 $15 members / $20 general Mature Audiences

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Fri . Sept 9 . 9 pm Sat . Sept 10 . 9 pm

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DJ Spooky’s Rebirth of A Nation was commissioned by The Lincoln Center Festival, Festival D’Automne à Paris, Spoleto Festival USA and Wiener Festwochen (Vienna). Additional support was provided by the American Center Foundation and Mass MOCA. Venue generously provided by Portland Center for the Performing Arts.

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Best known under the moniker of his “constructed persona” as “DJ Spooky That Subliminal Kid,” Miller has recorded a huge volume of music and has collaborated with such musicians and composers as Iannis Xenakis, Kool Keith a.k.a. Doctor Octagon, Killa Priest from Wu-Tang Clan, Steve Reich, Yoko Ono and Thurston Moore from Sonic Youth. Miller’s media work has appeared in contexts including The Whitney Biennial, The Venice Biennale for Architecture and The Andy Warhol Museum.

PHOTO: LESLIE LYONS

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DANIEL BERNARD ROUMAIN Vision Blinding

“About as omnivorous as a contemporary musician gets.” —The New York Times 12

After wooing audiences at TBA:03, Haitian-American composer and performer Daniel Bernard Roumain (DBR) returns to Portland with a new project developed in part during a residency with PICA, Caldera and Wieden + Kennedy. Vision Blinding, a series of musical and visual portraits created for violin and original video by Yuki Nakajima, examines at close range the intricate and delicate moments of human interaction.

www.dbrmusic.com

Northwest Neighborhood Cultural Center

Sponsor:

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Running time: 60 min Seating Capacity: 500 $15 members / $20 general Mature Audiences

Fri . Sept 9 . 9 pm Sat . Sept 10 . 9 pm

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Created in part through a residency with PICA, Caldera and Wieden+Kennedy. Venue generously provided by Northwest Neighborhood Cultural Center.

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DBR completed his masters and doctoral work at the University of Michigan. He is a Van Lier Fellow, a recipient of a Creative Capital Grant, and an Artistin-Residence at PACE University and the Bowery Poetry Club.

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Voted #3 Best Classical Moment of 2003 by The New York Times, DBR’s recent projects include conducting the Seattle Symphony Orchestra and Buffalo Philharmonic, performing with his 8-piece band DBR & The Mission at The Kennedy Center, collaborating with DJ Spooky at Lincoln Center, and composing for and performing in the European premiere of Another Evening at the RomaEuropa Festival in Italy. As Artist-in-Residence at Arizona State University (2003-2006), DBR premiered ROCKESTRA: A Hip Hop Music and Dance Party featuring DJ Radar in February 2004, and returned to ASU this year to collaborate and perform with Philip Glass.

PHOTO: NILS DE COSTER

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IVANA MÜLLER How Heavy are My Thoughts - U.S. Premiere

“If my thoughts are heavier than usual, is my head heavier than usual too?” —Ivana Müller

Is there a direction to our thoughts? Is it possible to trace or see them? Provoked by the literary expression “heavy thoughts,” Ivana Müller, with collaborators British performance artist Bill Aitchison and French video and filmmaker Nils De Coster, embarks on a journey to explore the relationship between thoughts and their weight, conducting a series of riveting experiments and interviews with a physicist, philosopher, psychiatrist and psychologist, who each approach the enigma from a philosophical and scientific perspective. Müller’s culminating lecture addresses the psychological, scientific and conceptual connotations of thoughts, where fact and fiction are married together in a captivating discourse. Light in tone with an undercurrent of complexity and intricacy, How Heavy Are My Thoughts is crafted with great clarity, honesty and brilliance.

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Running time: 60 min Seating Capacity: 275 $10 members / $15 general Mature Audiences

Mon . Sept 12 . 6 pm Tue . Sept 13 . 6 pm Wed . Sept 14 . 6 pm

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Winningstad Theatre Portland Center for the Performing Arts

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How Heavy Are My Thoughts is co-produced by Gasthuis Theater Amsterdam (The Netherlands) and Plateaux Festival/Mousonturm, Frankfurt (Germany). The TBA performance of How Heavy Are My Thoughts was made possible in part by support from the Consulate General of The Netherlands in New York. Venue generously provided by Portland Center for the Performing Arts.

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After receiving a degree in Comparative Literature and French Language from the University of Zagreb, Ivana Müller moved to Amsterdam to pursue dance and choreography at the School for New Dance Development. Müller has since been creating her own work, which blends the multiple art forms of dance, visual art, film and text. She has worked with a wide range of artists and companies, including Groupe Dunes and Christine De Smedt/Les Ballets C. de la B. She is also the founding member of the band The Moisturizers. A native of Croatia, Müller now resides in Amsterdam and Paris.

PHOTO: ANTOINE TEMPÉ

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FAUSTIN LINYEKULA/LES STUDIOS KABAKO Triptique sans Titre

“Far from empty appearances and stereotypes, Linyekula manages to express the complexity of a country with an attractive controlled energy.” —L’Harmattan

Recycling fragments of fading memories and trying to tell a story he can’t quite remember, Faustin Linyekula presents a provocative dancetheater piece set within the context of the political, social and economic realities of a turbulent and constantly changing nation (now the Democratic Republic of Congo, formerly Zaire, formerly Belgian Congo, formerly the independent state of Congo…). Triptyque sans Titre tackles with grace and subtle force the thoughts and sentiments behind living in a culture with collective amnesia.

www.kabako.org

Portland State University Lincoln Hall

Mon . Sept 12 . 7:30 pm Tue . Sept 13 . 7:30 pm

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Running time: 60 min Seating Capacity: 470 $15 members / $20 general Mature Audiences

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The Summer/Fall 2005 tour of Triptyque sans Titre is supported by AFAA (Association Français d’Action Artistique), and produced by MultiArts Projects and Productions through the Africa Consortium. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from National Endowment for the Arts and Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the Ford Foundation.

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Linyekula lives and works in Kinshasa, the capital of the Democratic Republic of Congo. From 19932001, he lived in exile, collaborating with Opiyo Okach and Afrah Tenambergen to form Kenya’s first contemporary dance company, The Gaara Company. After returning to Congo in 2001, he established Les Studios Kabako, the only space in Kinshasa dedicated to contemporary dance and visual theater. Linyekula has been recognized as one of the foremost choreographers to emerge and define contemporary African dance, participating in residencies throughout Europe and the U.S., and creating work for the Avignon Festival, the Tanzwochen Festival, and the Theatre de Suresnes and Centre National de la Danse in Paris.

PHOTO: JULIETA CERVANTES

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WALLY CARDONA QUARTET (WC4) WITH ETHEL

Everywhere - World Premiere 11

“Cardona’s dances shift, without warning yet never abruptly, between soft loops of luscious movement and brisk athletic thrusts into space.” —The New York Times

Contemplative at one juncture, raucous at the next, Everywhere, with a score by Phil Kline played on boomboxes and performed live by Ethel, transforms the rhythms of modern life. Using elements of surprise to explore relationships between movement, sound and time, WC4's dancers shape the soundscape with movement executed with refinement and skill.

www.wcvismorphing.org

Newmark Theatre Portland Center for the Performing Arts 18

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Running time: 60 min Seating Capacity: 880 $15 members / $20 general All Ages

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Mon . Sept 12 . 9 pm Tue . Sept 13 . 9 pm Wed . Sept 14 . 9 pm

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Everywhere was made possible with support from PICA, Brooklyn Academy of Music, Jacob’s Pillow, The MAP Fund, Altria Group, Inc. BUILD/NYFA, NY State Council on the Arts, National Endowment for the Arts, and the New York State Dance Force. The music is supported by the American Music Center Live Music for Dance Program. Venue generously provided by Portland Center for the Performing Arts.

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Kline is a musical artist whose work stretches from avant-garde classical music to ambient electronica. From boombox symphonies to song cycles and string quartets, Kline occupies a singular niche in the new music world.

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Cardona was raised in California and New Mexico and received his BFA at The Juilliard School. His early works were presented at the Festival International de Danse Cannes and Judson Church in 1992. His first suite of dances, Made in Voyage, was commissioned by Danspace Project in 1995. Its solo version was performed in seven countries and selected for the 1996 PlateauxBiennale Nationale de Danse du Val-de-Marne. As a choreographer, Cardona has received funding from the National Dance Project, The Jerome Foundation and National Endowment for the Arts.

PHOTO: MADDEN GRAY

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MEOW MEOW My mouth is a wonder/my mouth is a whore/my mouth is an open wound. Mein Mund ist eine offene Wunde(r)/Ceci n’est pas l’amour. World Premiere

“Meow Meow lets loose an explosive performance energy...(her) physical and vocal performance is acrobatic and virtuosic.” —Tages Anzieger (Zürich)

Le Monde’s “tawdry Underworld Eurydice,” Meow Meow, descends once again on TBA with her “voix inhumaine” in a spiraling journey of obsessional love songs, speed dating statistics, and minor multimedia in My mouth is a wonder... a piece for extreme voice, statistics and toy piano. An oldfashioned femme on the brink of modern disaster, Meow is stranded somewhere between the middle ages, post-punk thrash and the end of time in this scientific and sonic exploration of romantic love and idealism.

www.meowmeowrevolution.com

Sponsor:

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Running time: 60 min Seating Capacity: 500 $15 members / $20 general Mature Audiences

Wed . Sept 14 . 9 pm Thurs . Sept 15 . 9 pm Fri . Sept 16 . 9 pm Sat . Sept 17 . 9 pm

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Northwest Neighborhood Cultural Center

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Venue generously provided by the Northwest Neighborhood Cultural Center.

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From mainstage theater and film to contemporary Chinese opera, kamikaze cabaret and solo multimedia performance, Meow Meow has performed in venues as diverse as Berlin’s Philharmonic, The Hebbel Theatre, Paris Theatre de la Ville, Lincoln Center, Joe’s Pub, The Glamour Room Shanghai, Dublin Spiegeltent, Sydney Opera House, Tokyo Saitama, and numerous jet-set dungeons and international arts festivals. She has worked with, among others, Opera Factory (London), Robyn Orlin (Berlin/ Johannesburg/Paris), and John Cage Trust. She is the recipient of numerous awards, including two DAAD fellowships for theatre in Berlin, and most recently a Franklin Furnace Fund for Performance Art grant and an Asialink residency to work with Jin Xing’s controversial Dance Theatre Shanghai.

PHOTO: TAKESHI MIYAMOTO

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APHIDS Skin Quartet - U.S. Premiere

“An exquisite gem.” —The Age, Melbourne

Drawing from the United States CIA Factbook’s relentless lists of ethnicities, populations and life expectancies, visual artist Louisa Bufardeci and composer David Young compose a series of panoramic micro-landscapes of skin, bringing together digital video and an acoustic string quartet reading the scores from laptop computers. A video projection links over 500 images of skin to nationalities and values, in dialog with a score cued by the images on screen.

www.aphids.net

Wieden + Kennedy Atrium 17

Running time: 37 min Seating Capacity: 300 $10 members / $15 general All Ages

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Thurs . Sept 15 . 6 pm Fri . Sept 16 . 6 pm Sat . Sept 17 . 6 pm

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Skin Quartet was commissioned for the 2003 Melbourne International Arts Festival and first performed at the Anna Schwartz Gallery, Melbourne. The Skin Quartet world tour is supported by Arts Victoria, and the Australian Federal Government through the Australia Council for the Arts, its arts funding and advisory body. Additional support by MadFish Fine Wine. Venue generously donated by Wieden+Kennedy.

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Based in Melbourne, Australia, Aphids is a strange creature: independent, project-based and committed to artistic risk-taking behavior. Since 1994, Aphids’ cross-artform projects have involved contemporary music, fashion, film, food, installation, instrumentbuilding, paper, puppetry, text, theatre, video and visual art. Aphids has close ties in Japan and Europe, and frequently undertakes international collaborations, most recently with Belgium and Japan.

PHOTO: TSUYOSHI NAKAZIMA

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KOTA YAMAZAKI / FLUID HUG HUG Rise:Rose - World Premiere

“Yamazaki’s ability to represent and extinguish a new world is cutting-edge performance.” —Dance Magazine

“One might imagine afterlife by seeing this unique and sensitive world.” So begins the newest work from choreographer Kota Yamazaki. With seamless transitions between modern dance, Japanese butoh, and hip-hop, Rise:Rose explores unexpected, abstracted forms of the human persona.

Portland State University Lincoln Hall Thurs . Sept 15 . 7:30 pm Fri . Sept 16 . 7:30 pm Sat . Sept 17 . 7:30 pm Running time: 70 min Seating Capacity: 470 $15 members / $20 general Mature Audiences

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www.kotayamazaki.com

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PICA's presentation of Kota Yamazaki/Fluid Hug Hug is supported by The Japan Foundation through the Performing Arts JAPAN Program.

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Yamazaki founded Kota Yamazaki/Fluid Hug Hug in 2001, based on the tenets of “traveling, exchanging and exploring.” He has toured extensively throughout Asia, Europe and the U.S., stopping at The New National Theater (Tokyo), The Indonesian Dance Festival, The Place Theater (London), Bates Dance Festival, Jacob’s Pillow, and the Yerba Buena Center for the Arts, among many others. He has held residencies in Europe, Asia, Africa and the U.S. and has received funding from the England Foundation, the Japanese Agency for Cultural Affairs, the Japan Foundation, the Season Foundation, the Rockefeller Foundation, The National Dance Project and Arts International.

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Originally from Nigiita, Japan, Yamazaki studied under famed butoh artist Akira Kasai (TBA:04) during the 1970s and performed with Kasai’s company, Tenshikan, for three years. He studied classical ballet and modern dance and performed independently throughout the 1980s, receiving top honors from the prestigious Rencontres Choreographiques Internationales de Bagnolet in 1994, before forming one of Japan’s largest modern dance companies, Rosy Co., in 1996.

PHOTO: TEAM BROWN

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LONE TWIN Sledgehammer Songs: A Bother in Twenty-One Dramas

“Deceptively artless and freewheeling, absorbing and amusing, it’s easy to forget that Lone Twin are performers.” —The Irish Times

The celebrated duo returns to TBA with the resolving work in their internationally acclaimed series of walking projects. Built from four years of traveling across Europe and North America, Sledgehammer Songs is Lone Twin’s first full-scale touring work in six years.

Don't miss Lone Twin's Songs of All Night Love at TBA Late Night on Monday, Sept 12.

www.lonetwin.com

Corberry Press Thurs . Sept 15 . 8:30 pm Fri . Sept 16 . 8:30 pm Sun . Sept 18 . 8:30 pm

Sponsor:

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Running time: 120 min Seating Capacity: 100 $10 members / $15 general All Ages

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Sledgehammer Songs was commissioned by Kunstlerhaus Mousonturm, Frankfurt and supported by an Arts Council of England International Fellowship Award. The U.S. Tour of Lone Twin is supported by The British Council. Venue generously donated by Henry Hillman.

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Working across theatrical, live art and dance contexts, Lone Twin are committed to making entertaining and publicly accessible work. Active since 1997, Lone Twin have shown their performance works across Europe, North America and Australia.

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What place The Music in your heart? What place a Song in your legs? What purpose for The Blood if not to carry The Sorrows? What purpose The Ocean of Sweat released across The Forehead and what for The Bulrush, that which grows beside the water, if not to kiss behind? Sledgehammer Songs evokes the mystery of the Medicine Show, the poetry of Pub Rock, the loneliness of the European Busker and the drownings of The Great and The Cursed. Drawing on the Spectacular Social Practices of Crop Growing, Morris Dancing, Cloud Taming, Weather Becoming and Justin Timberlaking, the evening’s activities exhaust, exasperate and evaporate all those willing to dance to The Calling.

PHOTO: ALICE WHEELER

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SARAH RUDINOFF Go There

“You should officially put Sarah Rudinoff at the top of your Reasons to See Live Theater list…she gives a performance so entertaining you know everyone else will get a kick out of it, but so filled with singular pleasures you’ll swear you’re the only one who really knows what makes it work.” —The Seattle Weekly

Winningstad Theatre Portland Center for the Performing Arts

Fri . Sept 16 . 7 pm Sat . Sept 17 . 7 pm Sun . Sept 18 . 7 pm

Running time: 90 min Seating Capacity: 275 $10 members / $15 general Mature Audiences

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PICA is a member of the National Performance Network (NPN) comprised of arts organizations located throughout the United States. The NPN and this presentation of Sarah Rudinoff have been made possible with major funding from The Doris Duke Charitable Foundation, Ford Foundation, and the National Endowment for the Arts. Venue generously provided by Portland Center for the Performing Arts.

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Rudinoff is an acclaimed singer, writer and actress based in Seattle. The recipient of The Stranger’s Genius Award (“a cross between the Nobel Prize and Publisher’s Clearing House”- Dan Savage), she has been making spectacle and mayhem for over a decade. She has performed her solo work at Joe’s Pub in New York City, the HBO workspace in Los Angeles, The Second City in Chicago, and On the Boards in Seattle. She has written and collaborated on new work creating plays at Richard Foreman’s Ontological Hysteric in NYC, as well as with her own company Baba Yaga, whose latest show Memory Trace will open in 2006.

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Joined by composer Chris Jeffries on piano and Rick Miller on guitar, Rudinoff spins a dazzling mix of electric singing and storytelling. Raised on the island of Kauai, Rudinoff begins her tale on the 30x40 mile island. Restless from the beginning, she begins to live out her days in search of a life that feels big and important and real. She flocks to acting teachers in London, encounters megawatt celebrities and art house heroes in Los Angeles, and finally comes to a halt at a personal and very real Ground Zero in New York City.

PHOTO: FELICIA MEGGINSON

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CARL HANCOCK RUX Mycenaean

“Watching MYCENAEAN is like being submerged in a dense otherworldly swirl...surging into a nether region of dreams and wakefulness powered by the amorphous, intriguing vibe of Rux’s music and poetry...a brooding philosophical landscape – a show that delves far more in the funk of question than in the force of answer.” —The Washington Post

Mycenaean is a multi-disciplinary performance narrative—part opera oratorio, part Greek tragedy— that blurs the boundaries between tangible space and the reality of dreams, employing video installation, movement and original neo-classical electronica composition. Based on text from Rux’s recently released novel Asphalt (set in a postwar reconstruction era U.S.), and his epic poem, Mycenaean (based on the Bronze Age city of Mycenae), Rux parallels these two kingdoms – one felled after just two centuries, the other, struggling to survive after just two centuries. Via realms of technology, several disparate characters are pulled into a vortex of two apocryphal myths of urbanity, both ancient and contemporary, in which each is forced to examine their historical memory and their daily human will to survive.

www.carlhancockrux.com

Portland Opera Studio

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Running time: 90 min Seating Capacity: 120 $10 members / $15 general Mature Audiences

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Fri . Sept 16 . 7 pm Sat . Sept 17 . 7 pm Sun . Sept 18 . 7 pm

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Venue generously donated by Portland Opera Studio.

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Rux is a published poet, playwright, novelist and performing artist. He is a recipient of the New York Foundation for the Arts (NYFA) Prize; National Endowment for the Arts/Theater Communications Group Playwright in Residence Fellow; Bessie Award; and the CalArts/Herb Alpert Award in the Arts. His debut CD, Rux Revue, was voted one of the top ten alternative music CD’s of 1998 (New York Times). He is the author of the award-winning collection of poetry, Pagan Operetta, the Obie award-winning play, Talk, and a new novel, Asphalt.

PHOTO: SALLIE DIETTE MACKIE

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ROSANNA GAMSON/WORLD WIDE & CONTRADANZA

Aura “This choreographic provocateur collaborators should not be missed.”

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—L.A. Weekly

Aura, the 1960’s gothic novella by Mexican author Carlos Fuentes, is the starting point for this binational dance-theater collaboration between L.A.based Rosanna Gamson/World Wide, and Mexico City’s Cecilia Appleton/Contradanza. Swirling through Aura’s world of shadows is the striking duality of culture and language, as the story unfolds in two artists’ distinct voices. With a musical score by David Gamson and Alejandro Escuar, and performed by five dancers from each company, Aura is a richly visceral experience for Spanish and English-speaking audiences alike.

Newmark Theatre Portland Center for the Performing Arts 17

Fri . Sept 16. 9 pm Sat . Sept 17 . 9 pm Sun . Sept 18 . 9pm

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Running time: 85 min Seating Capacity: 880 $15 members / $20 general Mature Audiences

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Aura was made possible with support from Cultural Contact, the U.S.-Mexico Fund for Culture; REDCAT (Roy and Edna Disney/CalArts Theater); Arizona State University Public Events; Doris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts; National Endowment for the Arts; Western States Arts Federation and Arizona Commission on the Arts. The score for Aura was commissioned by Stanley Epstein for RG/WW. Venue generously provided by Portland Center for the Performing Arts.

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Cecilia Appleton founded Contradanza in Mexico City in 1983. The company has toured in Costa Rica, Europe, Canada and the U.S., and was recognized nationally by Palacio de Bellas Artes, one of the most revered venues in Mexico. Committed to the inclusive vision of her work, Appleton also performs at schools, shelters, barrios and prisons.

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Rosanna Gamson/World Wide is a L.A.-based ensemble of dancers, singers, and actors. Since 1997, Gamson and the company have created a multi-cultural, multi-lingual, multi-media repertoire of dance theater works all with original music. RG/ WW has performed throughout the U.S., in Mexico and Canada, and most recently, at the International Hispanic Theater Festival in Miami.

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NORTHWEST NEW WORKS: PDX Curated in association with On the Boards in Seattle, Northwest New Works: PDX supports innovative new projects by artists in the Pacific Northwest. This yearâ&#x20AC;&#x2122;s program features two full-length works, developed in part through residencies and development support from PICA and On the Boards. www.ontheboards.org

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PHOTO: TIM SUMMERS

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ALLEN JOHNSON Another You

“Hearing his work is like listening to somebody play pool. Like being in the same room with somebody who knows what he’s doing.” —Robert Creeley

Allen Johnson’s recent work moves within, and makes compelling use of, the space between monologue and solo performance.

www.npnweb.org

Fri . Sept 9 . 8:30 pm Sat . Sept 10 . 8:30 pm Sun . Sept 11 . 8:30 pm

Sponsor:

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Running time: 60 min Seating Capacity: 100 $10 members / $15 general Mature Audiences

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*TBA Pass-holder reservations required.

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Another You is a co-commissioning project by On the Boards, in partnership with PICA and the National Performance Network. The Creation Fund is sponsored by the Doris Duke Charitable Foundation, Ford Foundation and the National Endowment for the Arts. Developed in part through a residency with PICA and Caldera. Venue generously donated by Henry Hillman.

Corberry Press

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Johnson’s publications include Love Is The Last Taboo (Vendetta Books/Iniquity Press), Highland Park (Last Night Press), and American Sentences (Via Sophia Press). A collection of stories, The Ghost of Simone Weil, is in progress.

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While holding fast to first-person narrative and the lack of any theatrical “fourth wall,” Another You employs a kinetic method of storytelling that incorporates abstracted phrasing and incantatory speech, along with a healthy dose of profanity. The result is a brutally honest portrait of human recklessness and the vulnerability needed for an intimate encounter with God, a lover, or oneself.

PHOTO: SARA MURA

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locust convenience

“…textured, dynamic and full of wit, convenience succeeded at revealing our unconscious through a combination of humor and social critique...The piece may be comic in nature, but we only laugh because it is a compelling work of art.” —The Seattle Post-Intelligencer

With a distinct blend of dance, music and video, convenience examines imaginary products based on real concepts, things that may, or may not, make life easier. Equipped with velcro, wheels, a mini “dancefighting” warrior, a dart and cute underwear, the members of locust re-interpret the human desire to use the external as a vehicle to get what we want.

www.locustsucka.org

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Running time: 60 min Seating Capacity: 120 $10 members / $15 general All Ages

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Sat . Sept 10 . 6 pm Sun . Sept 11 . 6 pm Mon . Sept 12 . 6 pm

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PICA is a member of the National Performance Network (NPN) comprised of arts organizations located throughout the United States. The NPN and this presentation of locust have been made possible with major funding from The Doris Duke Charitable Foundation, Ford Foundation, and the National Endowment for the Arts (a federal agency). Venue generously donated by Portland Opera Studio.

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A brainchild of choreographer and video artist Amy O’Neal and composer Zeke Keeble, locust has created well over a dozen works and site-specific events throughout the Pacific Northwest. O’Neal is a dancer, choreographer, video artist, teacher and 2004 Artist Trust Fellow, based in Seattle. She was a member of the Pat Graney Co., Mary Sheldon Scott/Jarrad Powell Performance, and was the lead singer for the Seattle band Marrow. Keeble has been playing music since childhood and writing music for over fifteen years, playing with Julian Priester, Mark Seales, Reggie Watts, Om Fletcher, Brent Arnold, Eyvind Kang, Cake, Jeru the Damaja and members of the Roots, Soundgarden, Pearl Jam and Blind Melon. He has been co-director of locust with O'Neal since its inception in 2000 and writes and plays for his band, Marrow.

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TBAâ&#x20AC;&#x2C6;ON THE SCREEN In partnership with Cinema Project and Northwest Film Center, PICA presents this series of time-based media projects informed by visual art and performance practices.

Special thanks to Pablo de Ocampo, Cinema Project; Bill Foster, Northwest Film Center; and Morgan Currie. Venue generously donated by NW Film Center.

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www.cinemaproject.ccom www.nwfilm.org

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BRUCE MCCLURE Deliberate Obstructions & Calculated Aimlessness Curated by Cinema Project

“Often misconceived as abstract, these films insist on a tautological obsession with the thing and nothing other than the thing.” —Bruce McClure

Simultaneously using multiple 16mm projectors, Brooklyn-based filmmaker/architect Bruce McClure is re-envisioning the tradition of “expanded cinema.” Intervening in the trajectory of light from the source to the spectator, McClure creates on-screen cinematic projections that really only exist in the uniqueness of each individual performance. For TBA, McClure will present two programs of recent work, including the Crib and Sift series: a four-part project devoted to an original ink sneeze printed on four film strips and projected with four modified projectors using brass plates, colored gels, focus manipulations and sound effects pedals.

www.cinemaproject.org

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Running time: 60 min

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Program 1 Sat . Sept 10 . 4 pm

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Program 2 Sun . Sept 11 . 4 pm Running time: 80 min

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Program 2 Apparitions in Common Time: Christmas Tree Stand: Preamble & Parts I-III

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Program 1 Temporal Thresholds: Deliberate Obstructions & Calculated Aimlessness Crib and Sift Series [Parts 1-4]

Seating Capacity: 380 $6 members / $7 general All Ages

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McClure’s newest piece, Christmas Tree Stand, is for film loops using a combination of two and four 16mm projectors retro-fitted with punched metal plates and mesh grids installed at variable angles between the lens and gate. The use of obstructions to the light path, and filtering the sound with guitar effects pedals transforms the flicker loops of three black frames to one clear frame into an immersive atmosphere of color, motion and sound.

PHOTO: HANS WEIGAND

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HANS WEIGAND Jerry Cotton: The Portland Episodes

In Cotton 2001 Austrian artist Hans Weigand creates a cross cultural look into the pop genre of B movies. Weigand’s plot and format are based on a popular series of German dime store novels called Jerry Cotton (created in 1956 and still in weekly mass production today). The series reflects an European post-war perspective and perpetuates an invented American utopia guarded by the follies of 50’s era G-men.

Riffing off a traditional spy movie, Weigand creates a multi-episodic film with no end in sight. The film often eschews craft to reveal raw edges while poking at the sides of our perceptions. Filmed on location and on the fly via Wiegand's own travels, past “episodes” span the globe from Vienna to Los Angeles. For TBA Weigand screens his latest edit including a segment shot in Portland during a recent residency at PICA. Cotton stars a fast growing cast of friends and art world luminaries including Albert Mayer, Raymond Pettibon, Kembra Pfahler, Corey Lunn, Nina Erber, Marjorie Myers, Justin Oswald and Colin Deland. Intrigue and comedy exist simultaneously as the crime/sex/drug adventures of a modern day spy reveal the hilarity and contradiction of Jerry Cotton’s America.

Contains language, images or other content that some people may find offensive and/or inappropriate for children.

Running time: 55 min Seating Capacity: 380 $6 members / $7 general Mature Audiences

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Sat . Sept 10 . 6 pm Sun . Sept 11 . 6 pm

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NW Film Center's Guild Theatre

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Hans Weigand is an internationally acclaimed artist and punk rock hero represented by Gabrielle Senn Galerie, Vienna. His work has been exhibited at the Kunstraum Innsbruck, Innsbruck, MAK Center for Art and Architecture, Los Angeles, Museum Ludwig, Cologne and was most recently featured in PICA’s 10th-Anniversary exhibition LANDMARK.

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SUNG HWAN KIM & NINA YUEN An Imaginary Relationship with Ourselves Curated by Cinema Project

He had a background in mathematics, and came to the US from Seoul after winning on an academic TV quiz show. She grew up in Hawaii and made her way to Boston, where the two met under the wing of artists Isaac Julien, Alfred Guzzetti, and Joan Jonas. In a few short years, the two have amassed a stunningly original body of work that includes both video and performance. Focusing on themselves as the subjects/performers in their pieces, they address the complexities of identity and biography, questioning our notions of truth and fiction.

For TBA, Kim and Yuen will present recent videos that include, among others, a fictional video essay about an imaginary relationship and a war yet to take place; an inquiry into the notion of identity spurred by an elevator inspection certificate; and a mother/daughter relationship curiously dissected on camera. TBA also marks the World Premiere of their new works as the collaborative team Sung Hwan Kim and a Lady from the Sea.

www.cinemaproject.org

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Program 2 Thurs . Sept 15 . 7:30 pm Running Time: 60 min Seating Capacity: 380 $6 members / $7 general Mature Audiences

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Program 2 Flat White Rough Cut; Lecture Against White; 12 Minutes.

Program 1 Wed . Sept 14 . 7:30 pm

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Program 1 Have a Nice Day Paul F. Barrett; Her; So This is the Problem With My Mother; A-DA-DA

NW Film Center's Guild Theatre

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Yuen and Kim have exhibited extensively around the World. The two are currently Artists in Residence at The Rijksakademie van beeldende kunsten/The Dutch Ministry of Education, Culture, and Science in Amsterdam.

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ALAIN BUFFARD My Lunch With Anna

When French choreographer Alain Buffard set out to create a film about the legendary American choreographer Anna Halprin, the pair staged a series of lunches on sites that were used for her performances, including Washington Square in San Francisco, the Berkeley Art Museum and Stinson Beach. The result is a move away from the documentary form, nor merely a film about dance, but instead a dialogue between two artists of different generations and geographies. More than a performance or a film, the project became an extended interview with astonishing moments of exchange.

NW Film Center's Guild Theatre

Alain Bufard will discuss his work following the screenings.

Sat . Sept 17 . 2 pm Sun . Sept 18 . 2 pm

My Lunch With Anna was created with the support of Association Française d’Action Artistique, Villa Médicis-Hors les murs, the French Consulate in San Francisco and New York, and Le Fresnoy, National Studio of Contemporary Arts.

Running time: 52 min Seating Capacity: 380 $6 members / $7 general All Ages

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PHOTO: EVENTIDE BY CASSANDRA C. JONES

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HOW WE INVESTIGATE

Portlanders ponder perception, motion, and procreation Curated by Morgan Currie

In media that range from 3D PowerPoint to digital photos, microscopes, personal ads, celluloid, animation, timelapse, and night vision, these artists turn a deft eye to register our weirdly transformative world. Falling airplanes mutate into a fantasyland of human touch, porn magazine cutouts turn from titillating to taunting, and aliens grow cruelly alienated by their contact with Earth. Following the program of shorts, Mike Wilder, PowerPoint lecturer extraordinaire, presents his newest examination of how humans perceive the world. Hold on to your 3D glasses!

“At the dawn of the 21st Century, many humans feel lost in a frenzied world of scientific, military, commercial—and above all 'newsworthy'—images. In a live 3D multimedia presentation, I will briskly survey the history of visualization technologies, including a discussion of my own research on 3D imaging robots. Within this context, I locate the origin of this *disorientation* in the imaging technologies of the 17th century. Though the microscope and the telescope afforded radically new images, they also *generated* the vertiginous world with which we still contend.” —M. Wilder

Running time: 90 min Seating Capacity: 380 $6 members / $7 general Mature Audiences

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Sat . Sept 17 . 4 pm Sun . Sept 18 . 4 pm

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At the Bottom of Everything (a music video for Bright Eyes) - Cat Solen Home Sweet Lean-to - Shawna Ferreira Twenty-Six - Randall Wakerlin Going to the Ocean - Matt McCormick Where’s My Boyfriend - Gretchen Hogue Hello, Thanks - Andy Blubough Continuum - Ryan Jeffrey Where’s Eddie - Jalal Jemison Eventide - Cassandra C. Jones Special 3D PowerPoint Lecture: Sand, Fire, and the Empire of Images: Visualization Technologies from Leeuwenhoek to the Mars Probe – Mike Wilder

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TBA ON THE ROAD TBA On the Road takes performance out of the theatre and onto the streets of Portland. A collection of site-specific works that span the city, from park to chimney to portable kiosk, from land to sky and all in between, On the Road is mobile, fleeting and not to be missed.

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PHOTO: KRISTY EDMUNDS

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VAUX’S SWIFTS Migration

For more than a decade, Portland has been the temporary home to thousands upon thousands of very unique birds known as Vaux’s Swifts. Their annual visit has become a local tradition, and September is the month to take in an astonishing sight as they begin to congregate in large groups before continuing on their migratory path to Central America and Venezuela.

Vaux’s Swifts are truly amazing aerialists, and the Chapman School in Northwest Portland houses the largest known roost of migrating swifts in the world. Typically the migrating swifts will only stay for a couple of weeks, and this breathtaking spectacle coincides with TBA.

If you want to take in the beautiful sight of the swifts as they swirl in a giant cyclone-like pattern above the school’s chimney each evening, then head over to Chapman just before sunset. The giant convergence takes about 30 minutes to reach its pinnacle, and as the sun sets the birds, with unbelievable speed and precision, dive straight into the chimney for the night.

www.audubonportland.org

FREE All Ages

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Every evening, just before dusk.

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Chapman Elementary 1445 NW 26th Ave.

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Grab a picnic or some coffee and join the whole neighborhood in this once-a-year tradition. At the rear of the chimney there is a permanent Swift display, or you can hook up with the Audubon’s “Swift Watch” sessions. Like the convergence of artists and audiences that swirl around Portland during TBA, the swifts are a time-based spectacle you won’t want to miss.

PHOTO: RUDY SPEERSCHNEIDER

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THE M.O.S.T. The Mostlandian Embassy presents the M.O.S.T.

“As their name implies, the M.O.S.T. embraces the very fabric of Mostlandia. In a sense, they are the best ambassadors a land could have. The group’s basic tenets of fun, intimacy, documentation, and place incorporate the very ideals that our population holds dear.” —Franklin Wagnall, The Topophilia Trivialist

From the Hermit City to the Staticsphere, from the Rabbit Ears to the Flatirons, no group of artists encompasses what it is to be Mostlandian more than the quartet the M.O.S.T. Through sly humor, clever installations, and audience interaction, the M.O.S.T. creates a sense of wonder that reflects the core of the place where they live. Assuming roles in Mostlandian society, they magnify the oftenoverlooked elements of modern life, conveying a deep reverence and knowing nudge in one gesture.

Venue generously donated by Hoyt Stree Properties.

www.mostlandia.com

on NW 11th Ave. between Marshall & Northrup

Sept 8 - 16 Mon - Fri, 2 - 6 pm 17

Live anthem played daily at 5:53 pm

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Closed Holidays Sunday deliveries only

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The Mostlandian Embassy proudly supports The M.O.S.T.’s first officially sanctioned event in America. The M.O.S.T. has worked out of their hometown of Topophilia, Mostlandia, since 2003. Previous projects have included Who’s the M.O.S.T.? (Blackfish Gallery), The Spot Party (Yake Spot Portal), and The Misplaced Items Authority (Reed College). In addition to having dug a hole to China, the M.O.S.T. was the first arts group on the moon.

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Taking up the cultural tradition of gently poking fun at Mostlandia’s bureaucratic systems, The Mostlandian Embassy presents the M.O.S.T. focuses on the country’s governmental structure itself: the Mostlandian Anthem will be performed at the beginning of each day; various citizens will be elevated to official positions; the troop will fulfill various governmental duties; and official passports, travel visas, and ice cream will be offered.

PHOTO: TIM SUMMERS

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PINKK/LAURA CURRY portland stories

“Laura Curry manipulates the audience like a visual artist... you occasionally get moments of startling beauty...you also get moments of rather shocking intimacy.” —The Seattle Stranger

A new work born from the pinkk concept study, portland stories is one-part performance, one-part discovery, one-part installation, all parts framed in voyeurism.

www.pinkk.net

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After hours and late night event updates will be at www. pica.org, www.pinkk.net, or at TBA Central.

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To view in person, visit OFFICE, 2204 NE Alberta, during store hours:

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Curry’s related work, pinkk is: plastic fantastic/room was presented by On the Boards as a Special Event during the Northwest Performance Series, and toured through SCUBA’s National Touring Dance Alliance to The Southern Theatre (Minneapolis), ODC (San Francisco) and Velocity (Seattle).

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Curry is an interdisciplinary artist with a background in dance and choreography. Her work with architecture and its cultural impact helped plant the seeds for pinkk: voyeurism in contemporary culture, or the practice of observation, presented as performance and installation.

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During TBA, Seattle-based artist Laura Curry will collect stories and experiences via media kiosks, field recordings and written conversations near TBA locations. Beginning on the 9th and continuing through the festival, these collection sites will move every 18-24 hours. The stories are “re-purposed” into a living, growing walk-through environment at OFFICE (in the arts district of NE Alberta), bearing witness to the psyche and tellings of Portland’s DNA. Viewable in person or through store windows around the clock, the installed environment in OFFICE will grow in density and sensory overload while TBA counts down its days, finally ending its multi-media evolution on the 18th.

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Sponsor:

WESSINGER FOUNDATION

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TBA Institute Individual Ticket Prices: Noontime Chats: $5 general Workshops & Lectures: $10 members / $15 general unless otherwise noted.

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Admission to noontime chats, workshops and lectures is included in all levels of festival passes. Individual tickets may be purchased at the door if space is available.

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Go behind the scenes to find out how and why artists do what they do. Through a daily program of noontime chats, workshops and lectures, the TBA Institute provides a platform for connection and exchange between festival artists and audiences.

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Additional support provided by ProfiLe.

NOONTIME CHATS

A series of casual discussions with artists, creative thinkers and TBA audiences. Noontime Chats are included in all levels of TBA Passes, $5 general at the door. All Noontime Chats are held at the Pacific Northwest College of Art (PNCA), 1241 NW Johnson. Space generously donated by Pacific Northwest College of Art (PNCA). Also at PNCA, TROCA Brasil @ the Feldman Gallery+Project Space, every day from 9 am – 9 pm. This multimedia exhibition features the work of internationally renowned Brazilian artists Ernesto Neto and Laura Lima, Marcio Botner, Thiago Rocha Pitta and Marsarres.

TBA 05: In a Nutshell Friday Sept 09 12:30-1:30 pm, PNCA Kristy Edmunds, PICA’s Artistic Director, and Erin Boberg, co-Curator of the festival, talk about this year’s program of artists and events and how they came to be. 076

Hip Hop Strategies: The Art & Science of Rhythm & Collaboration Saturday Sept 10 12:30-1:30 pm, PNCA Reed College Anthropology professor Paul Silverstein speaks with TBA artists and occasional co-conspirators Daniel B. Roumain (DBR) and Paul D. Miller/DJ Spooky That Subliminal Kid.

Seeding the Field: Strengthening Regional Works and Networks Monday Sept 12 12:30-1:30 pm, PNCA Linda K. Johnson speaks with Jane Greenfield of NottDance (Nottingham, UK) and Pacific Northwest choreographers Amy O’Neal of locust, Minh Tran, and Tere Mathern on regional networks: who they are for, how they best function, what they are a result of, and when to let them die.

Rethinking Bodies (of work): Performing Artists & Contemporary Art Centers Tuesday Sept 13 12:30-1:30 pm, PNCA Dana Whitco, Project Director for the Contemporary Art Centers network project, with representatives from Diverseworks (Houston, TX), The Walker Art Center (Minneapolis, MN) and the Asia Society (New York, NY).

Coming Home: Chapman’s Vaux’s Swifts Wednesday Sept 14 12:30 – 1:30 pm, PNCA Kristy Edmunds with Khris Soden of the M.O.S.T. and Portland Audubon's Gary Slone on the Vaux’s Swifts of Chapman Elementary.

On the Road: Outdoor and Mobile Works Thursday Sept 15 12:30-1:30 pm, PNCA Reed College Cooley Gallery Director Stephanie Snyder with the artists of Lone Twin, the M.O.S.T., and PINKK/Laura Curry.

Being Here Now: Alternative Strategies for Documentation

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Saturday Sept 17 12:30-1:30 pm, PNCA Pablo de Ocampo of Cinema Project with David Young of Aphids, Sung Hwan Kim and Nina Yuen, PNCA Assistant Professor Linda Wysong, independent film curator Morgan Currie and TBA Late Night projection artists Philip Cooper, Cassandra C. Jones, and Vladimir.

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On the Screen: Moving Image as Performance

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Friday Sept 16 12:30-1:30 pm, PNCA Kristan Kennedy of PICA with Elizabeth Zimmer of The Village Voice, Jeff Jahn, Jennifer Armbrust and Katherine Bovee of PORT (portlandart.net), Mike Merrill of urbanhonking.com, and PICA Press Corps member Amanda Deutsch.

GETTING TECHNICAL: WORKSHOPS

Advance registration is required for all workshops, please call TBA Central Box Office at 503.224.PICA. Workshops are included in all levels of TBA Passes, $10 members, $15 general. Workshop spaces generously donated by Oregon Ballet Theater (OBT), Conduit, Ecotrust and Pacific Northwest College of Art (PNCA).

STREB: Pop Action Lab Wednesday, Sept 07, 9:30 am Intermediate/Advanced Movement OBT

Tiffany Mills: Moving in the Moment

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Saturday, Sept 10, 9:30 am Intermediate/Advanced Contemporary Dance Conduit

Daniel Bernard Roumain: ACOUSTic vs./with ELECTROnic Instruments Saturday, Sept 10, 9:30 am For acoustic/electronic instrumentalists, laptopists, turntablists, vocalists, and any other thing you can beat, bang or get a sound out of. Bring your instrument of choice. Corberry Press Guy Dartnell: Improvised Storytelling Saturday, Sept 10, 1 pm All Levels, Improvisation, Theater Corberry Press

Amy O'Neal/locust: Oppositional Forces (Contemporary Dance Technique) Sunday, Sept 11, 9:30 am Intermediate/Advanced Contemporary Dance OBT

Bruce McClure: The Phoenix and the Turtle (Projection Performance) Monday, Sept 12, 9:30 am Film Projection Artists, All Levels PNCA

Faustin Linyekula/Les Studios Kabako: Technique, Improvisation and the Creative Process Tuesday, Sept 13, 9:30 am Intermediate/Advanced Contemporary Dance Conduit Show + Tell: Dance to the Music Tuesday, Sept 13, 12 pm Kick presents a behind-the-scenes look at rigorous explorations in dance and music collaboration. This Show + Tell features the collaborations of Wally Cardona and Ethel, Linda Austin and Angelina Baldoz, and Amy O’Neal and Zeke Keeble of locust. Facilitated by Kara O’Toole and Crispin Spaeth of Kick, a Seattle-based dance organization which connects dance artists, organizations, and the public. All Welcome Conduit

Wally Cardona: Dancing not “Dancing” Wednesday, Sept 14, 9:30 am Intermediate/Advanced Contemporary Dance OBT

Rosanna Gamson/Contradanza: Dance Repertory Friday, Sept 16, 9:30 am Intermediate/Advanced OBT

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Saturday, Sept 17, 9:30 am Intermediate/Advanced Contemporary Dance Conduit

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Kota Yamazaki: Repertory & Composition

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Saturday, Sept 17, 9:30 am Theater, all levels Corberry Press

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Sarah Rudinoff & Sheila Daniels: Creating Gestural Vocabulary

PHOTO: MICHELLE MAJESKI

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LEVERAGING INVESTMENTS IN CREATIVITY (LINC)

Founded in 2003 in Boston, LINC (Leveraging Investments in Creativity) is a ten-year national campaign to improve conditions for artists in all disciplines, so that artists can more readily do their creative work and contribute to community life. With leadership support from the Ford Foundation, Paul G. Allen Family Foundation, John S. and James L. Knight Foundation, Nathan Cummings Foundation, and Rockefeller Foundation, LINC focuses on three strategic goals:

• Expanding financial supports for artists’ work; 16

• Improving artists’ access to essential material supports such as live/work space, insurance, equipment and professional development; and

• Bolstering knowledge, networks and public policies that enhance artists’ work and their contributions to communities. As a consortium of diverse funding and program partners, LINC works at both national and local levels.

www.lincnet.net

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Running time: 60 min Seating Capacity: 100 FREE All Audiences

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Tues . Sept 13 . 2 pm

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Meet with Sam Miller, President of LINC and founder of the National Dance Project, to hear about LINC’s current projects and regional efforts and how members of the Portland arts community can become involved.

PHOTO: MICHAEL C. PLYLER

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KAMIKAZE WRITING WORKSHOP With Elizabeth Zimmer of The Village Voice

The Kamikaze Writing Workshop is a three-day immersion in writing short dance reviews on very tight deadlines. Participants meet on Day 1 to share goals and begin to observe and write about movement. On the night of the 15th, participants attend a TBA dance performance and write a review, and on Day 2 students read the submitted work aloud and discuss it. On the evening of the 16th students attend another performance, and repeat the editing process on Day 3, when Zimmer will entertain questions about the field of dance journalism, and attempt to respond in useful ways.

If you would like to take this workshop, please submit a LETTER OF INTEREST to pica@pica.org by Sept 1. Venue generously donated by Ecotrust.

Ecotrust Conference Center

Day 2 Fri . Sept 16 . 9 am limit 12 participants

Running time: 120 min $15 for Day 1 only $40 complete workshop *This special workshop is not included in any level of Festival Pass.

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Day 3 Sat . Sept 17 . 9 am limit 12 participants

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Day 1 Thurs . Sept 15 . 1 pm limit 30 participants

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Zimmer's workshop has been a feature at Dance Critics Association conferences and other gatherings since 1993. A graduate of Bennington College, she holds a Masterâ&#x20AC;&#x2122;s Degree from SUNY at Stony Brook. She has taught at Stony Brook, Loyola Marymount University in L.A., the University of California at Riverside, the Nova Scotia College of Art and Design, and Capilano College in North Vancouver, British Columbia, as well as lecturing in Taiwan, Taormina, Miami, Berkeley, and other cities across the United States.

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Zimmer is a senior editor at The Village Voice, and writes for the Voice, Dance Magazine, and other publications. She is the editor of Body Against Body: The Dance and Other Collaborations of Bill T. Jones and Arnie Zane (Station Hill Press, 1989), and text editor of Envisioning Dance on Film and Video (Routledge, 2002). She has studied dance and performed in the work of Joshua Fried, Jamie Cunningham & Tina Croll, Christopher Williams and other downtown artists, as well as writing and performing her own show, North Wing.

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LECTURES

PHOTO: TOBIN POPPENBERG

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PAUL D. MILLER AKA DJ SPOOKY THAT SUBLIMINAL KID

Rhythm Science 11

Rhythm Science is a live multi-media presentation of the history of digital art and media from the viewpoint of an artist who uses “found objects” like a DJ, i.e. a subjective selection where old video material will be remixed and combined with new. History itself will be the material for the mix; the lecture presentation will focus on how DJ culture has evolved out of the same technologies that are used for digital media and art.

Paul D. Miller is a conceptual artist, writer, and musician. His writing has appeared in The Village Voice, Artforum, Rap Pages, and Paper Magazine, among other periodicals. Miller’s first collection of essays, Rhythm Science, was published by MIT Press in April 2004, and his new anthology of writings on sound art and multi-media, Sound Unbound, will be published later this year.

Venue generously donated by Wieden+Kennedy.

www.djspooky.com

Running time: 75 min Seating Capacity: 250 $10 members / $15 general All Ages

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Fri . Sept 09 . 11 am

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Best known under the moniker of his “constructed persona” as “DJ Spooky That Subliminal Kid,” Miller has recorded a huge volume of music and has collaborated with a wide variety of musicians and composers such as Iannis Xenakis, Ryuichi Sakamoto, Butch Morris, Kool Keith a.k.a. Doctor Octagon, Killa Priest from Wu-Tang Clan, Steve Reich, Yoko Ono and Thurston Moore from Sonic Youth. Miller’s media work has appeared in contexts including The Whitney Biennial, The Venice Biennial for Architecture, The Andy Warhol Museum and the Paula Cooper Gallery.

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KRISTY EDMUNDS 10-year Wrap Up

Venue generously donated by Wieden+Kennedy.

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Running time: 60 min Seating Capacity: 250 $10 members / $15 general All Ages

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Sun . Sept 11 . 2 pm

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Wieden+Kennedy Atrium

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Edmunds will present a host of behind the scenes glimpses into where PICA began, where it has evolved, and the challenges and opportunities of creating and sustaining a not-for-profit arts organization over the past decade.

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Join us as we host PICAâ&#x20AC;&#x2122;s Founding Artistic Director and curator of the first three TBA Festivals in a discussion reflecting on the making of PICA.

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CORBERRY PRESS

corner of NW 17th and Northrup

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Open 7:30 pm â&#x20AC;&#x201C; 12:30 am daily Free admission All ages

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This cozy brick building originally housed the Wells Fargo horses and carriages, and was most recently used as a printing press. In true TBA fashion, we have transformed this vacant building into a theatre, installation space and lounge. Come visit before one of the performances, or just enjoy the quiet hangout next door to our Late Night spot THE WORKS.

PHOTO: LINDA WYSONG

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GRAZE STATION Video art for instructive comfort Curated by Morgan Currie

Sit down, clutch the remote, and tune to your favorite works of video artistry (not to be found on your dial at home). Featuring new digital wonders by some of Portland’s best image-makers.

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Goat Chase Raccoon - Orland Nutt 3 Out of 4 - Stephen Slappe Beneath Our Feet - Linda Wysong and Pamela Chipman Pace - Melody Owen Cherry (a music video for Ratatat) - Eric Mast Rosemary’s Phone Booth - Hayley Barker Because They Fall - Melissa Tvetan I Love Paris - Gretchen Hogue Odyssey 03 - Gene Faulkner GoldFoxx - Liz Calderón Hot Shades - Tanya Smith

PHOTO: ADAM FORKNER

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WHITE RAINBOW Full-Spectrum Vibrational Healing Center

White Rainbow is the culmination in his interest in multi-media work. It’s about trying to help people attain a dream-like state of blissful, meditational well-being. The TBA Full-Spectrum Vibrational Healing Center installation coincides with the release of a 5cd/1dvd box set of White Rainbow music/ video to be released by Portland’s own Marriage Records www.yarnlazer.com/whiterainbow

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Forkner was a founding member of the loud, forward-thinking “space-rock” bands Yume Bitsu and Surface of Eceon, and part of the first full touring band for Devendra Banhart. He also recorded and engineered artists at the legendary K Records’ Dub Narcotic Studio in Olympia, WA. His first solo project, [[[VVRSSNN]]]], was highly acclaimed. He’s currently a member of World and Jackie-O Motherfucker.

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A Portland resident for the better part of a decade, 29-year-old Forkner has explored the realms of psychedelic, experimental, minimalist, ambient, “new age” and improvisational music (not to mention sound, video and installation art) remaining ahead of the curve and paying little regard for musical trends.

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You are invited to come in, relax on soft cushions, and be surrounded by an ever-changing world of beams, rays, colors and waves of soothing bliss. The piece will be “manned” and occupied by Forkner for the full ten days of the TBA Festival. The result? A remarkable and continuously evolving, minimalist, multimedia ambient environment.

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White Rainbow AKA Adam Forkner will install a version of his ambient audio/ visual sound/light/space/time vibrational healing center in the lobby of the Corberry Press. The installation will convert the shabby front office into a “temporary zome structure” housing a live, multi-speaker sound sculpture with walls of projected video/light.

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THE WORKS ©

corner of NW 18th and Northrup

HENRY HILLMAN

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21+ only

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$5 member s / $10 general Included in all levels of TBA Passes.

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Where to go after the show? Whether you’re up for drinks, dinner, dancing, or just not ready to call it a night, we’ve transformed this industrial warehouse into our TBA hangout for the week. Nightly acts on the Cabaret Stage, dancing to live music and great DJs, full service bars, a lounge for quiet conversations, a beer garden and a menu of late night bites will all be available every night of the festival.

PHOTO: BASIL CHILDERS

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RIPE FAMILY SUPPER 10

“[the Hebberoy’s are among] the 35 most fearsome talents in wine and food…2004 Tastemaker award winners” —Food and Wine Magazine

FAMILY SUPPER FIRST NIGHT – 7PM Friday, September 09

With TBA:05 having just launched with a stratospheric speed, take a moment to look forward to TBA:06. Join us for the first night of the illustrious special edition PICA Family Supper; a celebration of food, friends and community, and a chance to dine with a special guest, PICA’s new Guest Artistic Director for TBA:06, Mark Russell.

Seating is limited to 80 guests, with reservations taken by ripe at 503.235.2294 Cost: $75 per person, with proceeds to benefit PICA. Family Supper is not included in TBA Passes.

FAMILY SUPPER – 7PM September 10 and 12-16

Sponsors: Small Vineyards, R. Stuart & Co., Dalla Terra, Cameron Winery, Casa Bruno.

www.ripepdx.com

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Seating is limited to 50 guests per night, with reservations taken by ripe at 503.235.2294 Cost: $30 per person / $50 rock star patron, with proceeds to benefit PICA.

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Begin your TBA evenings with the PICA community for a prix fixe dinner served family style, prepared by chef Troy McLarty of ripe. This “sophisticated peasant food” is made from the freshest local ingredients and served straight from the kitchen in deep bowls passed from table to table. Hop on the Portland Streetcar to get to your next performance, then come back to THE WORKS for TBA Late Night!

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Family Supper is a unique community dining experience that began as an illegal underground restaurant, created by Michael and Naomi Hebberoy, founders of ripe and owners of family supper, clarklewis and the Gotham Bldg Tavern, three of Portland’s most popular and innovative restaurants.

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CAFETERIA September 9-16, 10 pm – 1 am

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The chefs that have agreed to play this game include but are not limited to: Philippe Boulot from The Heathman, Vitaly Paley from Paley’s Place, Morgan Brownlow from clarklewis, Pascal Sauton from Carafe, Michael Clancy from Giorgio’s, Kenny Giambalvo and Adam Kekahuna from Bluehour/Saucebox, Josh Blythe from ROUX, and Bob Lightman from Mio Gelato.

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Michael and Naomi Hebberoy have invited the region's top “white tablecloth” chefs to play a little game. The rules presented to these chosen few are simple: combine their haute cuisine ingenuity with the culinary muscle of an American icon – the cafeteria. Not only will there be fabulous cabaret performances, throbbing music, riotous dancing and cocktails galore, every night a different critically acclaimed chef will be making their own version of American institutional cooking. Expect it to be the best "slop" you have ever tasted.

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Every night at the WORKS we will be working a kind of alchemy. The TBA Cafeteria is a gathering place to eat, drink and be merry, while discussing your TBA favorites.

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“…there is something brave and almost reckless about this trend toward dining clubs, or occasional restaurants, or whatever conceit you attach to them. It suggests, in their intimacy and singularity a whiff of danger, a hunger for a more promiscuous kind of dinner party. It’s even a kind of sweet revenge against all of the snobbish inconveniences of dining under the glare of haute cuisine.” —New York Times Magazine

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LATE NIGHT AT THE WORKS - 21+ ONLY Fri, Sept 09 - Sat, Sept 17 Shows start at 10 pm, unless otherwise noted.

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W+K TokyoLab Slow Starlight Meet n' Greet Breakfast of Champions - 1 pm Lori Goldston, Mirah with Spectratone International Kenny Mellman and Friends, DJs Lone Twin ?Fact or Fiction, Tracy + the Plastics, DJ Outbox Victoria Hanna, Miss Murgatroid Ladies of the Lake Antony and the Johnsons, Meow Meow/Lauderdale DADA Ball, Titรกn

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Fri . Sept 09 Sat . Sept 10 Sun . Sept 11 Sun . Sept 11 Mon . Sept 12 Tue . Sept 13 Wed . Sept 14 Thur . Sept 15 Fri . Sept 16 Sat . Sept 17

PHOTO: W+K TOKYOLAB/HIFANA

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W+K TOKYOLAB - 10 PM Friday, September 09

Hifana (Tokyo) + special guests (Portland) 11

Please join Tokyo’s innovative music label, W+K TokyoLab, for an evening of extraordinary beats, visuals and live performances. Introducing Hifana and their U.S. debut of material from their second CD/DVD, Channel H. Hifana has electrified Tokyo audiences with a combination of creative beat making and visual elements. Channel H is a breakthrough CD/DVD, featuring a collaboration of Wieden+Kennedy Tokyo talent led by Executive Art Director, Eric Cruz, along with some of Japan’s most interesting animators and visual designers.

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Curated by Wieden+Kennedy Portland’s Eric David Johnson, this event promises to be filled with musical and visual surprises from Tokyo along with special guests from Portland.

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For more info: W+K TokyoLab: www.wktokyolab.com eric.johnson@wk.com

PHOTO: SLOW DANCE RECYTTAL PETER BURR

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SLOW STARLIGHT MEET ‘N GREET – 10 PM Saturday, September 10 Curated by Morgan Currie

Feel the friendly vibe with audio-visionary starlets under the glow of the big, white screen. Mountaintops opens the night with their silky electronica and a grab bag of nature films, followed by Vladimir’s “communal ViewMaster experience” of 200 hand-made ViewMasters plus live musical soundtrack. Slow Dance Recyttal’s music recital/video performance enfolds you in a glowing inflatable fantasy world of radiant crystals and tender creatures, and White Light plays a concoction of layered beats and original Super 8. INVISIBLE takes the stage with their tightly synchronized pop jams and imagery, while veteran filmmakers/musicians Matt McCormick and Chris Larson reincarnate as The Coast Starlight, an audio/visual presentation with sound-scape and projector manipulation. The evening concludes with Come Together, a must-see-it-to-believe-it, live music-video-in-the making of disparate sound, friends, and one hundred tiny audio chips sewn onto rainbow-colored t-shirts.

Mountaintops Colleen French & Howard Gillam 16

Actaeon at Home: a Vladmaster performance with introduction by Tim Nickodemus; musical accompaniment by the Apt Ensemble 17

Slow Dance Recyttal Christopher Doulgeris, Cassandra C. Jones, Peter Burr

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Come Together Honey Owens in collaboration with Jason Frank, Andy Brown and 100 of their friends

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The Coast Starlight Matt McCormick & Chris Larson

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INVISIBLE Chris Larson, Zach Okun, Delaney Kelly

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White Light Philip Cooper & Roy Kettler

PHOTO: CHRYSTAEI BRANCHAW

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BREAKFAST OF CHAMPIONS – 1 PM Sunday, September 11

Let’s face it. We can all get pretty serious. Why not blow off some steam at Breakfast of Champions? This DIY comedy show/dance party, which is native to Portland, was a monthly staple at Holocene for more than a year, and made its TBA festival debut last year. Drinking Bloody Marys and eating cereal while watching themed comedy skits interspliced with cartoons became the Sunday norm for many a Portlander. Join host Johnny Bigshot (think failed member of the rat pack) as he runs the show (think into the ground) and generally abuses the large ensemble cast known as the Breakfast of Champions players.

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And just when you can’t handle any more good clean fun, you can burn off all your pent up energy in the afternoon “dance church” as we work off our sugar highs on the dance floor. Try it out before it disappears forever.

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This is to be their last performance ever so expect them to pull out all the stops. The theme for the skits and the cartoons is “fame.” Think over the top costumes, musical numbers, ludicrous papier-mâché props, and 15 friends trying to make each other laugh on stage. If the last TBA performance was any indication, we can expect a tailor-made show which is huge in scope and lampoons the festival and performance art in the best possible ways. Think thinking, just not thinking too hard.

PHOTO: CARL DREYER

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LORI GOLDSTON - 10 PM The Passion of Joan of Arc Sunday, September 11

“No other film has so subtly linked eroticism with religious persecution.” —Pauline Kael

Lori Goldston’s live solo cello score for Carl Dreyer’s 1928 silent film masterpiece, The Passion of Joan of Arc, draws from medieval secular and liturgical music, free improvisation and electronics. The result is a dreamy and harrowing accompaniment to what Cocteau said “seems like an historical document from an era in which the cinema didn’t exist.”

www.blackcatorchestra.com

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Based in Seattle, Goldston has performed throughout the U.S. and Europe, including On the Boards, Joe’s Pub, All Tomorrow’s Parties, Romanische Sommer Köln, Instants Chavires, Zo, Seattle Art Museum, Henry Gallery, Northwest Film Forum, Bumbershoot, Aragon Ballroom, Roseland Ballroom, Galapagos, New Music Across America, Seattle International Film Festival, and the Fine Arts Cinema. As a cellist and collaborator she works across a broad range of idioms and circumstances, and has performed and/ or recorded with Nirvana, Mirah, Threnody Ensemble, Ellen Fullman, Cinerama, Degenerate Art Ensemble, Heather Duby, Dina Martina, Angelina Baldoz, Paul Hoskin, Yankl Falk, David Byrne and many other musicians, choreographers and film makers.

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Shot primarily in exquisitely composed close-ups, The Passion of Joan of Arc remains a startlingly original film. Renée Falconetti’s performance as Joan has been described as one of the finest ever recorded on film. The cast also includes the young Antonin Artaud as a monk who pleads with her to save her own life by retracting her confession.

PHOTO: JONA BECHTOLT

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MIRAH WITH SPECTRATONE INTERNATIONAL MIDNIGHT

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Made up in part of members of Seattleâ&#x20AC;&#x2122;s Black Cat Orchestra, Spectratone International is Lori Goldston, cello; Kyle Hanson, accordion; Jane Hall, percussion; Kane Mathis, oud; Darko Vukmanic, bass.

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Intricate and transparent, catchy and confounding, Spectratone International weaves chamber music, psychedelia, heavy metal, Turkish, Balkan and American folk and more. This debut of their set with Mirah includes an original narrative suite and far-flung pop standards.

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Mirah has been performing in the Northwest and intergalactically since 1999, mostly as a singer, once as a manatee and one especially memorable time as a duct-tape obsessed skunk. Mostly known for her solo records on the K record label she has also collaborated with The Microphones/Mt. Eerie, The Blow, Ginger Brooks Takahashi and The Black Cat Orchestra with whom she released a record in 2003 on the yo yo record label.

PHOTO: LIZ LIGUORI

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Kenny Mellman presents:

I'VE GOT A BULLETPROOF HEART

Monday, September 12 I’ve Got a Bulletproof Heart brings together two diverse New York Citybased acts in an evening of song and unicorns. Curated by impresario Kenny Mellman.

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ACT ONE of I've Got a Bulletproof Heart: Kenny Mellman, of the punk cabaret act Kiki and Herb, performs Kenny Mellman Is Grace Jones. Utilizing only a piano, a drum-machine, a pair of sunglasses and a hood, Mellman explores the connection between a gay Jewish piano-player and a black woman with a bad attitude who ruled the discofloors and the airwaves for many a year. Using Grace Jones’ own interviews as text, Kenny Mellman Is Grace Jones is a requiem for the loss of creativity in the nightlife world and a battlecry for a resurrection.

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"(Kenny Mellman is) Grace Jones continues the pianist/singer’s battle against all that is bland and conforming in contemporary American society. In his running narrative of Jones’ tumultuous career, Mellman doesn’t portray Jones as a campy gay caricature. Instead he makes the Jamaican diva’s persona uniquely his own. Using text drawn from interviews and TV appearances, Mellman punctuates the narrative with both lesserknown numbers from the Jones canon and mega-hits such as 'Pull up to the Bumper.'” —J. Cooper Robb

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KENNY MELLMAN IS GRACE JONES - 10 PM

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“Kenny Mellman has all the bent skewed awesome and instinctual performance genius necessary. I’ve seen Kenny play so hard there was blood on the keys and that has always impressed me.” —San Francisco Bay Times

PHOTO: ADA CALHOUN

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ACT TWO - I've Got a Bulletproof Heart

NEAL MEDLYN - 10:45 PM

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“daring, entertaining (and baffling)” —Time Out New York

ACT TWO of I've Got a Bulletproof Heart: Neal Medlyn performs his Lionel Richie Opera. Medlyn has crafted an opera of sorts that melds Richard Strauss, unicorns and his own perverse imagination. The show is composed entirely of songs from Mr. Richie’s seminal greatest-hits album Back to Front which come together to tell an epic and tragic tale involving love triangles, unicorns, mass murder, unwanted pregnancy and lust. Note: For this performance only, all animal characters will be played by stuffed animals.

Neal Medlyn, now residing in New York City, has performed in a variety of plays, played music in several bands, been a model, made films, written zines, books and for outstanding publications, been a go-go dancer and continues to do some of these things. But most importantly, he is a Performer who presents his programs in New York City, having at some time or another appeared in numerous U.S. cities and in Berlin, Germany. His work has appeared at PS122, Fez (Neal Medlyn, the Paris Hilton of Performance Art), Ars Nova (Neal Medlyn’s Lionel Richie Opera), the Knitting Factory, Galapagos Art Space, Here Arts Center, the Culture Project, the Apocalypse Lounge and so on. He was honored with the title of Mr. Lower East Side in 2004, and starred opposite Karen Finley in George and Martha in New York and various places across the U.S. He has been discussed in the Onion, NPR’s Here and Now, Gothamist, the Austin Chronicle, and the New York Times, in which he has appeared twice without his shirt on.

Songs of All Night Love

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DJS LONE TWIN - MIDNIGHT

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?FACT OR FICTION – 10 PM Tuesday, September 13

“throbbing electronic wizardry” —San Francisco Bay Guardian

www.evilmeter.com www.myspace.com/evilmeter

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Nicole J. Georges (self-proclaimed “National Treasure”) is responsible for Invincible Summer: An Anthology (Tugboat Press, 2004). She produces animal-centric art and is a driving force behind bitter acoustic pop-wizards The Sour Grapes.

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Radio Sloan is best known for her work with Olympia-based art punk band The Need, and has also had a hand in such works as Two Ton Boa, Mocket, The Circuit Side, and The Chelsea (with Courtney Love). She co-wrote and produced Olympia, Washington’s first and only rock opera, The Transfused.

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?Fact or Fiction is a two person operatic science metal band featuring Radio Sloan and Nicole J. Georges. Melodic vocals, electronic music and metal guitar are blended behind a darkened cityscape and clouds of fog and light to create their universe.

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TRACY + THE PLASTICS – 11 PM

www.tracyandtheplastics.com

End the night with:

DJ OUTBOX (SARAH DOUGHER) - MIDNIGHT

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Wynne’s other work includes single channel videos, video collaborations with K8 Hardy, and music collaborations with Sally Scardino. She went to the Milton Avery Graduate School for the Arts. Greenwood will begin a video series for TV called Huge Days in Spring 2005.

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Tracy + the Plastics were invited to perform in the 2004 Whitney Biennial, where they were asked to create three new performances for three different spaces. The band tours often, performing at a range of venues including Harvard University, the Plains Art Museum (Fargo, ND) queer discos and made up art spaces. Two full-length records, various other recordings, and a compilation video of live performances have been released on several record labels including Chainsaw Records and Troubleman Unlimited Records in the U.S., and Too Pure Records in Europe. Tracy + the Plastics recently completed a collaboration with Fawn Krieger on ROOM, an installation and performance at the Kitchen in New York.

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Greenwood began Tracy + the Plastics after playing with bands and making short videos whose stories were told through their soundtracks. After studying video production at Rutgers University she moved back to Washington State in 1998, and soon enough, Tracy + the Plastics started performing in basements, living rooms, and punk clubs in the Pacific Northwest.

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Video artist Wynne Greenwood joins herself three times over as Tracy, Nikki and Cola, her three alter egos who make up the band Tracy + The Plastics, live in person and from pre-recorded projections.

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“It’s a cyborg band: half video, half machine, half person, half plastic, half Wynne, half Wynne’s other halves. And all those halves add up to much more than a band – it’s a new wave of expression.” —Venus Magazine

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Tuesday, September 13

PHOTO: PAWEL ANTONOW

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VICTORIA HANNA – 10 PM Wednesday, September 14

“All you really need to know is that Victoria Hanna is something else... leaving jaws hanging agape...[Hanna] held the room rapt with her acrobatic voice, at turns lovely, haunting and frightening.” —Time Out, New York

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Victoria Hanna has toured internationally, including a special performance at the New Delhi Sacred Music Festival for His Holiness the Dalai Lama in 2003, and a recent tour in New York to present her play Signals at The Kitchen. Following TBA she will perform at the Melbourne International Festival in Australia. She has received support from the New York Foundation and the Lab, an Israeli-based think tank. She often collaborates with other musicians, including Ukrainian Singer, Marianna Sadovska and Eugene Hurtz of Gogol Bordello.

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Defying definition, the inspired work of Victoria Hanna depicts her ongoing experimentation with the vocal and conceptual boundaries of language. Hanna was born into a very spiritual religious community in Jerusalem, in which the language and elocution of prayer were valued above all other arts. Hanna draws on this rich verbal heritage in her work, weaving the ancient and the contemporary into sonic backgrounds creating electro Hebrew rap. Employing an astonishing vocal range, the artist describes her work as “creating energy through the electricity of the mouth.”

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MISS MURGATROID - 11:30 PM Wednesday, September 14

“Her instrument sounds modern and artistic as it crackles through her amplifier, but also channels magical mystery and musty witchery, as if the instrument itself has an historic memory.” —Portland Mercury

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Known for creating orphan soundtracks to films that have yet to exist, her music has skated on the edges of the mainstream for years, defying categorization and classification with its dense and lovely dreaminess. Utilizing a 1930’s Dallape “Anderson System” accordion as her main acoustic instrumentation as well as an arsenal of outboard effects and a small pile of mysterious accoutrements, Miss M crafts elaborate soundscapes that lead to a listener’s nefarious mental inspirations. For TBA, she comes out of a twelve-month reclusion to reveal a new work in progress.

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Miss Murgatroid (aka Alicia J. Rose) has spent many years berating innocent bystanders with her accordion and her acerbic wit, releasing four albums and charming the pants off of accordion nay-sayers everywhere. Recently she has taken to scoring films and writing avant-rock operas as well as finishing the long awaited follow-up to her 1999 duet with famed violinist/ vocalist Petra Haden.

PHOTO: SUSAN PLOETZ & KHAELA MARICICH

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LADIES OF THE LAKE – 10 PM An evening of performances from the North Thursday, September 15 Curated by Khaela Maricich

Featuring: Mirah Yom Tov Zeitlyn Pash (Susan Ploetz) Anna Oxygen Khaela Maricich (of the Blow) Jenn Kliese Dana Dart-Mclean and Liam Drain Melissa Torrente Ariana Jacob Amber Bell Kanako Kyle and White Buffalo

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The Ladies of the Lake is an evening of short collaborations, presented by artists drawing from a varied range of expertise. Recording artists share the stage with bookmakers, philosophers and visual artists. Expect crisscrosses between electronic dance pop, large-scale sculpture, songs of the balladeers, instructional lectures, animated drawings, and dance tutorials. The performers will include regionally and internationally known artists and musicians, all of whom have spent a formative period in the incubative environment of Olympia, Washington.

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Every city has its title, they call Portland “The City that Works.” In Olympia, Washington, the selling phrase for many years has been “It’s the Water!” The functionality of Portland has recently created a magnetic force, pulling a good number of thinkers and performers away from the moist hamlet of Olympia. The ladies have thus arrived, prepared to join forces with PDX, though still dripping with the charms and clear perceptions of creatures who have lived many years underwater.

PHOTO: DON FELIX CERVANTES

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ANTONY AND THE JOHNSONS – 10 PM Friday, September 16

Antony and the Johnsons’ first recordings were released by David Tibet on his label, Durtro in the UK. In Summer 2004, Antony signed to the label Secretly Canadian, who rereleased the debut album as well as the new Antony and the Johnsons album I Am a Bird Now in February 2005. www.antonyandthejohnsons.com

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Antony sang on Lou Reed’s albums The Raven and Animal Serenade and toured with Reed internationally in 2003. He appeared as an androgynous convict singing to a crowd of inmates in Steve Buscemi’s film Animal Factory and also appeared recently singing “I Fell in Love to a Dead Boy” to a crowd of empathetic Parisian transsexuals in Sebastien Lifshitz’s latest film Wild Side.

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Antony first presented his songs after-hours at the Pyramid Cocktail Lounge in New York City. After receiving a N.Y.F.A. fellowship for “performance art/emergent forms,” he assembled the Johnsons and recorded his first album. The group has since performed at venues including the Bloomsbury Theater, the Warhol Museum, the Wexner Center, Townhall, and Royce Hall. Antony was also featured in the 2004 Whitney Biennial.

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Mournful yet delicate, soothing and provocative, Antony and the Johnsons will captivate TBA’s Late Night audiences with their sound. Accompanied by a virtuosic band of musicians that includes Julia Kent, Todd Cohen, Jeff Langston, Joan Wasser, Maxim Moston and Rob Moose, Antony, who has been compared to Scott Walker, Nina Simone, Bryan Ferry and a medieval chorister, will seduce and break hearts in a single breath.

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“Listening to Antony’s voice is like hearing Elvis for the first time: two words and he has broken your heart... when he sings it is the most exquisite thing that you will hear in your life.” —The Times London

ORIGINAL PHOTO RICHARD DE CHAZAL : CUSTOMIZED ARTWORK KIRK RICHARD HOLZ AT SPLURBEN : COPYRIGHT MADDEN GRAY

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MEOW MEOW AND THOMAS M. LAUDERDALE – 11:30 PM

Shanghai Demise / Sing Song Girl at the Ends of the Earth - World Premiere Friday, September 16

www.meowmeowrevolution.com

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Meow and Lauderdale expose their orientalia, sampling Japanese love suicide texts from the 1600s, Chinese courtesan songs, 1930s Shanghai showtunes, Hong Kong 1950s kitsch and lost empire paradox chic. Join Chairwoman Meow and the leader of Anonymous Cantonese Orchestra in their carefree political palace of burlesque and bohemia.

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Exotic performance artist Meow Meow graces the late night stage with the formidable pianistic powers of Portland’s own Thomas M. Lauderdale. Join them on a dizzying ride through the detritus of demi-monde internationalism into the carcass of cultural clash.

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”Everywhere we sell our songs, we perform our dances all around, who doesn’t know that the nation’s on the brink of disaster?” —The Sing-Song Girl Under the Iron Hoof, 1935

PHOTO: LADY GODADA, DADA BALL 1997

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THE RETURN OF THE DADA BALL 7 PM - 2 AM

Saturday, September 17 “Dada; elegant and unprejudiced leap from a harmony to the other sphere; trajectory of a word tossed like a screeching phonograph record; to respect all individuals in their folly of the moment: whether it be serious, fearful, timid, ardent, vigorous, determined, enthusiastic;” —Tristan Tzara, Dada Manifesto, 1918

Surreal. Irrational. Spectacular. Beyond Belief. Beyond Reality. Have we all gone mad?

The DADA Ball is all these things and more. In honor of PICA’s 10th Anniversary, the Dada Ball makes a triumphant return, smashing all previous rumors that DADA est mort — don’t forget to dress for the spectacle!

DADA BALL PATRON DINNER – 7 PM $150 per person ($100 tax-deductible) PICA’s legendary dinner begins an elegant evening of mayhem and mischief amongst music, cocktails, and performance interruptions. Tickets include a gourmet dinner by Art of Catering, white tablecloth sophistication served with a DADAist twist, and admittance to the general party at 10 PM. DADA BALL, 10 PM – 2 AM $20 PICA member / $40 general Dress up, sum up and pump up 10 days of time-based experiences with food, drink, and an all-out frenzy of sound by Mexico City’s wildly energetic TITÁN of Nuevos Ricos followed by DJs and dancing until the break of dawn.

With additional support from: Art of Catering, Evolution Juice, SakeOne, Noah’s Bagels and Starbucks.

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MAYBELLE CLARK MACDONALD FUND

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Sponsors:

PHOTO: COURTESEY NUEVOS RICOS

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TITÁN - 10 PM Saturday, Sept 17

The explosive nature of music’s grand power! Is the world ready for the pleasure treasure that is Titán? Dazzling, beaming, and full of an energy that will make you shimmy but is impossible to fully encapsulate, Titán makes for a stunning and altogether wack-walled DADA Ball performance.

A member of the dynamic music collaborative, Nuevos Ricos, Titán is an electronic music trio sprung from the mythic Mexican industrial band Melamina Ponderosa. Nuevos Ricos is a project created by Julián Lede and Carlos Amorales in 2003 in which they combine notions of visual arts, performance and music in the form of a record label that functions as a platform for launching their ideas about art, spectacle and political engagement.

In 2005, after a long silence, Titán returns with a nuclear battery powered collection of music. This new music, recorded and produced by the band itself, joins diverse sonic sources of primitive rock to white blues and high energy to late progressive rock, resulting in a mix that will shake everyone’s booty, straight down to their skeleton.

www.nuevosricos.com

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Titán’s first record, Terrodisco, was released by BMG followed by an EP release entitled, C’mon Feel the Noise. Remixes and singles have been released by The Beastie Boys’ record label, Grand Royal, and Virgin Records UK.

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INFORMATION

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FAQs 10

How do I purchase Festival Passes or individual tickets?

Passes and tickets can be purchased by calling or stopping by the TBA Central Box Office (503.224.PICA, 1122 NW Glisan) or using the order form on page 157. Individual Tickets may also be purchased online by visiting the PICA website www.pica.org.

Why is there a service charge on individual tickets?

PICA's nominal $1 per ticket fee helps us offset box office staffing and administrative fees so more of your ticket purchase can go towards supporting the TBA programming and artists. Please be aware when ordering online, TicketWeb assesses their own standard service charge of 15%.

Can I share my Festival Pass?

Passes are non-transferable. Your name will be written on your pass and you will be required to show ID with your pass upon entering each venue.

If I am a Pass-holder, why do I need reservations?

PICA requires Pass-holder reservations for performances where either the venue has limited seating or where we're expecting a sold-out show. This is to ensure that everyone who wants to see the show can attend. Shows requiring Pass-holder reservations are noted in the guide on each description page.

What if I am late to the show?

All shows will start promptly as listed. You must check in no later than 15 minutes before curtain to ensure seating, even if you have a pass or a pre-purchased individual ticket. At 15 minutes prior to curtain, any unclaimed seats reserved for pass holders will be opened up for individual ticket sales.

Does my Festival Pass allow me entrance to festival parties?

Special events, such as the DADA Ball, are festival fundraisers and require an additional ticket, except for Patron Pass holders. Late Night events are free to all Festival Pass holders.

What if I forget my pass?

You will have to purchase a single ticket at the door.

What if I lose my pass?

Contact PICA immediately and we will assist you in re-issuing your pass.

How do I find each venue?

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Many performances are open to all ages. Please refer to the audience guide listed with each performance description.

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All venues are listed on page 146.

All venues are wheelchair accessible except Conduit. Please contact us to arrange use of elevator / ramp at this venue.

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Are venues accessible?

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Lost and found items from all venues will be collected and brought to the TBA Central Box Office. Please call 503.224.PICA to inquire about your item.

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PICA STAFF Kristy Edmunds Artistic Director, PICA Curator, TBA Festival Erin Boberg Assistant Curator of Performing Arts, PICA Co-curator, TBA Festival Victoria Frey Executive Director Leah Bobal Box Office / Reception 0140

Brian Costello Development Associate Sarah Farrell Box Office / Reception Melissa Hyp Development Associate Jennifer Jacobs Director of Development Jörg Jakoby Preparator/Technical Support Kristan Kennedy PR/Marketing Manager Shonna Spadt Marketing Coordinator Cynthia Williams Accounting

TBA FESTIVAL STAFF Liz Calderón Volunteer Coordinator Sarah Cline Transportation/Hospitality Morgan Currie Late Night Venue Coordinator Eugénie Frerichs Institute/Artist Services Malina Rodriguez TBA Technical Director Amy Scott Bar Manager Venue Technical Directors Bill Boese, Andrea Chiotti, Yalcin Erhan, Jeff Forbes, Thyra Hartshorn, Jason Hildner, Lyndsay Hogland, Pablo de Ocampo, Demetri Pavlotos, Mark La Pierre, Kayla Scrivner, TC Smith, Jean Margaret Thomas. Event Coordinators: Les Badden, Luisa Guyer. Interns Nonnie Wong, Alexis Blake, Melanie English, Patrick Leonard, Julie Hammond, Alexander Felton, Angela Larsen, Martha Kaufman, Kristin Wessel.

PICAâ&#x20AC;&#x2C6;Board of Trustees Ethan Seltzer, Board Chair Tiffany Sweitzer, Vice Chair Bill Hart, Secretary Jack Walsh, Treasurer Annie Bellman Amery Calvelli Bruce Carey Brad Cloepfil Leslie B. Durst Kristy Edmunds Francesca Gambetti Diana Gerding Steve Heady Linda Hutchins Peter Koehler, Jr. Sally Lawrence Brent Renison Suze Riley Jim Sampson Jayne Stamm Michael Tingley Dorie Vollum Bill Will

National Advisory Board 17

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Howard Shapiro, Founding Chair Gene d'Autremont Leslie B. Durst Pat Harrington Peter Koehler, Jr. Julie Mancini Joan Shipley Kathleen Stephenson-Kuhn

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Leadership Council

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Edward Albee Chris Bruce Ann Carlson Philip Glass Linda Brumbach Carol Hepper Robert Lyons Mark Murphy Melissa Schiff Soros Peter Sellars Robert Soros Rebecca Stewart Sally M. Stillman Elizabeth Streb John S. Weber Dan Wieden Paul Zumwalt

TBAâ&#x20AC;&#x2C6;SPONSORS Leslie B. Durst and Joan Shipley, 10th Anniversary Co-Chairs

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Superhero Sponsor City of Portland Lead Sponsors The Paul G. Allen Family Foundation Doris Duke Charitable Foundation Major Sponsors Gerding/Edlen Development Company Hoyt Street Properties Nike TriMet Major Media Sponsors Comcast OregonLive.com Portland Monthly Willamette Week Airline Sponsors Lufthansa German Airlines United Airlines

Underwriting Sponsors The Collins Foundation Leslie B. Durst Bob & Diana Gerding Lane Powell Spears Lubersky LLP The Maybelle Clark Macdonald Fund The National Dance Project of the New England Foundation for the Arts Otak Inc. Portland Oregon Visitors Association Al Solheim The Standard Charlie Swindells Visitor Development Fund Wieden + Kennedy

(listing as of July 8, 2005)

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Patron Sponsors Art of Catering Bluehour Carroll Investments, LLC Consulate General of The Netherlands, New York Debbie Thomas Real Estate Fleischman Hillard Flexcar Half/Drop Repeats New Deal Vodka PDX Gallery poof magazine

With Additional Support From Les Badden Creative Office Philip Cole Cameron Winery Casa Bruno Cinema Project Conduit Dalla Terra Domaine Meriwether Ecotrust Mad Fish Fine Wine The Mostlandian Embassy NW Neighborhood Cultural Center NW Film Center and The Guild Theater OFFICE Oregon Ballet Theatre Pacific Northwest College of Art Portland Opera Studios Powers Columbia Valley Wines R. Stuart & Company SakeOne Small Vineyards

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Champion Sponsors Annie Bellman & Michael Woods Arts Victoria Australia Council Association Française d’Action Artistique (AFAA) Bargreen Ellison The British Council BOORA Architects Full Sail Brewing The Heathman Hotel Henry Hillman The Japan Foundation’s Performing Arts Japan (PAJ) Program Medoyeff Vodka National Performance Network Portland Center for the Performing Arts Tonkon Torp LLP Union Bank of California Wessinger Foundation Western States Arts Federation (WESTAF)’s Tour West Program

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Sponsors Avenue A/Razorfish Colin & Rosine Evans Gallery 500 Linda Hutchins & John Montague Eric Johnson Evolution Juice Kathleen & Leigh Stephenson-Kuhn The Mark Spencer Hotel Noah’s Bagels North Country Productions ProfiLe pushdot studios Starbucks Ken Unkeles & David Gold

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Patron Sponsors (cont'd) Pop Art ripe Saucebox Joan & John Shipley and Dennis Uniform Bob Sweeney & Cate Millar

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TBA Public Partners Mayor Tom Potter, City of Portland Former Mayor Vera Katz, City of Portland Office of Commissioner Sam Adams Office of Commissioner Eric Sten Chris Dâ&#x20AC;&#x2122;Arcy, Oregon Arts Commission/Oregon Cultural Trust Marty Brantley, Oregon Economic & Community Development Department Todd Davidson, Oregon Tourism Commission Don Mazziotti, Portland Development Commission Joe Dâ&#x20AC;&#x2122;Allesandro and Barbara Steinfeld, Portland Oregon Visitors Association John Carroll, Portland Streetcar Inc. Eloise Damrosch, Regional Arts & Culture Council Fred Hansen, TriMet

PICA’s 2005 TBA Festival is also supported in part by grants from:

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PICA also thanks our members, volunteers and interns for their invaluable donations of money, time and energy.

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TBA Supporters receive special benefits designed to enhance the TBA experience, including VIP access, invitations to previews, tickets to Festival performances and events, and sponsorship recognition at certain levels. For information on becoming a TBA Supporter, contact PICA’s Development Office at 503.242.1419 x224 or email pica@pica.org.

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Become a TBA Supporter!

VENUES

Conduit

Corberry Press

Ecotrust Conference Center

Northwest Film Center's Guild Theatre

Portland Center for the Performing Arts: Newmark and Winningstad Theatre

918 SW Yamhill, Suite 401 NW 17th & Northrup 721 NW 9th Ave. (between Irving and Johnson) 829 SW 9th Ave. (between Taylor and Yamhill)

1111 SW Broadway (at Main) 0146

Northwest Neighborhood Cultural Center

Oregon Ballet Theatre (OBT)

PICA (Portland Institute for Contemporary Art)

PNCA (Pacific Northwest College of Art)

10 11 12 13 2 8

1819 NW Everett

818 SE 6th Ave. (please check mapquest.com for directions) 224 NW 13th Ave. (between Davis and Everett) 1241 NW Johnson

Portland State University: Lincoln Hall 1620 SW Park (between Clay and Market)

Portland Opera Studio

211 SE Caruthers St. (please check mapquest.com for directions)

Pioneer Courthouse Square SW Broadway & Yamhill

TBA CENTRAL BOX OFFICE 1122 NW Glisan, 503.224.PICA

THE WORKS

NW 18th & Northrup

Wieden+Kennedy

224 NW 13th Ave. (between Davis and Everett)

TRAVELING TO PORTLAND? TBA Festival attendees receive special discounts on airfare and hotel rates. For domestic and international flight discounts, call official TBA airline sponsors United or Lufthansa German Airlines. (mention meeting code 531CK)

TBA Hotel Partners:

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Special thanks to the Visitor Development Fund, Portland, Oregon for their generous support.

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For special deals for visiting artists and arts professionals, contact PICA at 503.242.1419 x225 or jacobs@pica.org

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For hotel deals and visitor information, go to the official TBA travel site www.travelportland.com or call toll-free 1.87. PORTLAND

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The light grey area indicates Fareless Square, a 330-block area NK EASTBA in which all rides on TriMet buses, 5 Max Light Rail trains and Portland Streetcars are always free.

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SCHEDULE

ON THE STAGE 0150

PAGE EVENT VENUE FRI 09 SAT 10 020 Guy Dartnell Winningstad : PCPA 7:30 pm 7:30 pm 022 Tiffany Mills Company PSU, Lincoln Hall 7:30 pm 7:30 pm 024 DJ Spooky aka That Subliminal Kid Newmark : PCPA 9:00 pm 9:00 pm 026 Daniel Bernard Roumain NWNCC 9:00 pm 9:00 pm 028 Ivana M端ller Winningstad : PCPA 030 Faustin Linyekula/Kabako PSU, Lincoln Hall 032 Wally Cardona Quartet with Ethel Newmark : PCPA 034 Meow Meow NWNCC 036 Aphids Wieden+Kennedy 038 Kota Yamazaki/Fluid Hug Hug PSU, Lincoln Hall 040 Lone Twin Corberry Press 042 Sarah Rudinoff Winningstad : PCPA 044 Carl Hancock Rux Portland Opera Studio 046 Rosanna Gamson & Contradanza Newmark : PCPA 050 NWNW: Allen Johnson Corberry Press 8:30 pm 8:30 pm 052 NWNW: locust Portland Opera Studio 6:00 pm

ON THE SCREEN

PAGE EVENT VENUE Fri 09 Sat 10 056 Bruce McClure Guild Theatre 4:00 pm 058 Hans Weigand Guild Theatre 6:00 pm 060 Kim/Yuen Guild Theatre 062 Alain Buffard Guild Theatre 064 How We Investigate Guild Theatre

JOIN US FOR THREE SPECIAL PRE-FESTIVAL EVENTS!

On Thurs, Sept 8, at 8 pm, In honor of PICA's 10th Anniversary, STREB (pg 016) performs free in Pioneer Courthouse Square. 11

After the STREB performance, stick around for a fond farewell party for our fearless leader Kristy Edmunds (pg 018). On Wed, Sept 7, 9:30 am at OBT, STREB will also teach a Pop Action Lab (page 078).

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NOONTIME CHATS

PAGE EVENT VENUE Fri 09 Sat 10 076 TBA 05: In a Nutshell PNCA 12:30 pm 076 Hip Hop Strategies PNCA 12:30 pm 076 Seeding the Field PNCA 076 Rethinking Bodies (of work) PNCA 076 Coming Home PNCA 076 On the Road PNCA 076 Being Here Now PNCA 076 On the Screen PNCA

WORKSHOPS

Special pre-festival workshop: STREB Pop Action Lab, Wed, Sept 07, 9:30 am at OBT

PAGE EVENT VENUE Fri 09 Sat 10 9:30 am 078 Tiffany Mills Conduit

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9:30 am 078 DBR Corberry Press 1:00 pm 078 Guy Dartnell Corberry Press 078 Amy O'Neal/locust OBT 078 Bruce McClure PNCA 078 Faustin Linyekula / Kabako Conduit 078 Show + Tell Conduit 080 Leveraging Investments Creativity PNCA 078 Wally Cardona OBT 082 Kamikaze Writing Workshop Ecotrust 078 Rosanna Gamson & Contradanza OBT 078 Rudinoff & Daniels Corberry Press 078 Kota Yamazaki Conduit

LECTURES

PAGE EVENT VENUE Fri 09 Sat 10 11:00 am 086 Paul D. Miller aka DJ Spooky Wieden+Kennedy 088 Kristy Edmunds Wieden+Kennedy

LATE NIGHT at THE WORKS

PAGE EVENT VENUE Fri 09 Sat 10 098 ripe Family Supper THE WORKS 7:00 pm 7:00 pm 104 W+K TokyoLab THE WORKS 10:00 pm 106 Slow Starlight Meet n’ Greet THE WORKS 10:00 pm 108 Breakfast of Champions THE WORKS 110 Lori Goldston THE WORKS 112 Mirah with Specratone Intl. THE WORKS 114 Kenny Mellman and Friends THE WORKS 118 ?Fact or Fiction THE WORKS 120 Tracy + the Plastics THE WORKS 122 Victoria Hanna THE WORKS 124 Miss Murgatroid THE WORKS 126 Ladies of the Lake THE WORKS 128 Antony and the Johnsons THE WORKS 130 Meow Meow/Thomas M. Lauderdale THE WORKS 132 DADA Ball THE WORKS 134 Titán THE WORKS

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TBA CENTRAL

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Do you need to find out more about a TBA:05 artist that has piqued your interest in the Guide? Do you want to buy your tickets or passes in person? Are you a citizen of Mostlandia that needs to feel at home? Then TBA Central is the place to go. It is your TBA one-stop shopping destination, centrally located mere blocks from PICA on NW Glisan (at 12th) in the Pearl. At TBA Central you can get all the information you need on performances and the artists that create them, buy your passes or tickets to shows and the DADA Ball, register for workshops, make performance reservations, become a member, get a PICA T-shirt and find out where to go to visit the Mostlandian Embassy. TBA Central will open August 3 and will be there for all your TBA needs through the final day of the festival. Canâ&#x20AC;&#x2122;t get to TBA Central but still want to order tickets? Call 503.224.PICA to order by phone (Monday-Saturday), mail in the order form on page 157, or order online by visiting PICAâ&#x20AC;&#x2122;s website www.pica.org or visit www.ticketweb.com (search keywords PICA TBA 05, or by performance name). www.pica.org/tba2005

1122 NW Glisan 503.224.PICA Aug 3-Sept 8 Wed-Sat, 12-6 pm During TBA Daily, 10 am - 7 pm Sponsors:

PASSES 10

Passes are the way to get the most out of TBA by giving you the freedom to enjoy as many of the festival programs as you can, while offering considerable savings off of the individual ticket price. Buy a Festival Pass and experience the most courageous artists working in contemporary performance today. Advance pass purchase is recommended as quantities are limited, and PICA Members receive a generous discount.

Flex Pass

$100 PICAâ&#x20AC;&#x2C6;Members/$125 General Attend eight performances or lectures of your choosing, Institute programming and nightly admission to THE WORKS. *Note: does not include admission to the DADA Ball.

Immersion Pass

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$500 ($300 tax-deductible) VIP treatment, unlimited access to all performances, Institute programming and THE WORKS. Patron ticket to the DADA Ball, invitations to special VIPonly events, guaranteed seating and priority concierge service.

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Patron Pass

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$175 PICAâ&#x20AC;&#x2C6;Members/$200 General Unlimited access to TBA main-stage performances, Institute programming, nightly admission to THE WORKS, guaranteed seating, and priority concierge service. *Note: does not include admission to the DADA Ball.

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Note: Festival Passes are non-transferable.

ORDER FORM

How to Order TBA Festival Passes and Individual Tickets Tickets on sale August 3 By Mail: Please send completed order form to PICA by September 1. 224 NW 13th Ave., Suite 305, Portland, OR 97209 By Phone: Call the TBA Central Box Office at 503.224.PICA Monday - Saturday, 12 - 6 pm. 0156

Online: Visit www.pica.org and click on "Buy TBA tickets" to purchase individual tickets to performances, films and lectures. TBA Passes and DADA Ball tickets are only available through the TBA Central Box Office. *Please note increased service charges assessed by TicketWeb will apply. In Person: Visit the TBA Central Box Office. 1122 NW Glisan, Portland Open 12 – 6 pm, Wednesday – Saturday through Sept 8. Open every day during the Festival, 10 am - 7 pm.

Methods of Payment: Credit Card: Visa/Mastercard Check: Please make checks payable to PICA when ordering by mail. Cash: In person at the TBA Central Box Office.

INDIVIDUAL TICKETS # TIX PERFORMANCE

DATE & TIME

PRICE

SUB

# of tix:

x $1.00 per ticket service charge:

+ Individual tix subtotal:

15 = INDIVIDUAL

TICKET TOTAL:

PASSES & EVENTS # Flex Pass $100 member/$125 general (8 mainstage performances)

$175 member/$200 general $500 ($200 tax-deductible) (includes DADA Patron ticket) $20 member / $40 general $150 ($100 tax-deductible)

PICA MEMBERSHIP LEVEL - Become a PICA member NOW and save on TBA passes, tickets, events and more! Artist / Student Individual Dual Contributor Other

COST $25 $35 $50 $100 $

SUB

+ Individual tix total:

= GRAND

TOTAL: INF O

Passes, events and membership total:

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WO RKS

UTE

Immersion Pass Patron Pass Dada Ball Dada Ball Patron Dinner

INS TIT

SUB

TBA

0158

Name: Address: City:

State:

Phone:

Email:

Payment Method:

check enclosed

Zip:

Visa/Mastercard

Account #: Expiration Date: Signature: Please make checks payable to PICA and send completed order form by September 1. PICA: 224 NW 13th Ave., #305, Portland, OR 97209

INF O

THE

WO RKS

TBA

UTE

INS TIT