4 Launch Acts | March 27-April 9 | Berlin & Cyprus


No Collective/Already Not Yet is putting on a series of 4 Acts to launch our new periodical MATTERS OF ACT and a new philosophical Question-and-Answer-and-Picture book ARE WE HERE YET? written by a four-and-a-half-year-old.

Deviating from the usual (boring) meet-the-author, appreciate-her-reading type of book release gatherings, these Acts will stage literal theatrics that reflect and deflect the myriad exploration into “matters of act” engaged in our new journal. Together they grapple with the core problematics of literature and theatre: the enactment of text and the consequent fracturing of time.

The first Act at  Grüntaler9 takes the form of a Panel Discussion about ARE WE HERE YET? and MATTERS OF ACT with You Nakai, Lindsey Drury, Johanna Gilje, Teena Lange, Natália da Silva Perez, & Joël Verwimp, and moderated by two Already Not Yet authors: a very impatient six-year-old Aevi, and a very patient sexagenarian Roland Albrecht from the Museum der Unerhoerten Dinge. Conversation will center on the problems of “Act” (both as action and pretense) and “Past Future Perfect” (the featured topic of the next issue).

The second Act will be an After-The-Fact Rehearsal of the first act at the same venue with the same members (absentees replaced by effigies–stuffed animals, LEGO figures, etc), which aims to achieve through contrivance and pretense what the first Act realized so naturally.

The third Act will reinstate these anti-causal proceedings into a genuinely classical context, by staging a revelatory Denouement at the Ancient Greek Theater of Kourion in Cyprus on April Fool’s day.

The final Act will return to Berlin for a much needed Q&A Session (or the efforts thereof) at the Museum der Unerhoerten Dinge (Museum of Unheard (of) Things), led by the author of the speculative Question-and-Answer book ARE WE HERE YET? The then-four/now-six-years-old Aevi, who is currently learning to read, will attempt to read his own book for the first time in public.

Entrance is free to all 4 Acts. Limited copies of MATTERS OF ACT, ARE WE HERE YET? and other Already Not Yet books will be sold at a special discount price at each Act.

March 27 (Monday) 7:30 PM
moderated by Aevi & Roland Albrecht
with Johanna Gilje, Teena Lange, Jöel Verwimp, Natália da Silva Perez, Lindsey Drury, You Nakai
grüntaler 9
Grüntaler Straße 9 13357 Berlin
[This Act is reservation-only and limited space is already starting to fill up so please reserve your spot by emailing: info@alreadynotyet.org]

March 31 (Friday) 7:30 PM
moderated by Aevi & Roland Albrecht
with Johanna Gilje, Teena Lange, Jöel Verwimp, Natália da Silva Perez, Lindsey Drury, You Nakai (absentees replaced with effigies)
grüntaler 9
Grüntaler Straße 9 13357 Berlin

April 1 (Saturday) 3 PM
ACT 3: DENOUEMENT (for ACTS 1 and 2)
with Lindsey Drury, You Nakai, Aevi, etc
Kourion Ancient Greek Theatre
9 Km west of Episkopi village, Lemesos-Limassol, 4620 Cyprus

April 9 (Sunday) 3 PM
with Aevi & Roland Albrecht, and others
Museum der unerhörten Dinge
Crellestraße 5, 10827 Berlin


Der in New York ansässige Verlag ALREADY NOT YET (alreadynotyet.org), geleitet von Mitgliedern des No Collective (nocollective.com), präsentiert eine Reihe an „Acts“, um ihre neue Zeitschrift MATTERS OF ACT sowie ein neues philosophisches Frage-und-Antwort-und-Bilderbuch ARE WE HERE YET?, geschrieben von einem vier-und-ein-halb-jährigen Autor zu bewerben.

Abweichend von dem gewöhnlichen Triff-den-Autor- und Hör-dir-die-Lesung-an-Stil werden die Acts wörtlichen Theatraliken auf die Bühne bringen, welche die unzähligen Erkundungen in MATTERS OF ACT (Angelegenheiten der Akt) reflektieren und bespielen werden, mit welchen sich die neue Zeitschrift auseinandersetzt. Dabei entfalten sie Kernfragen des Literarischen und des Theatralen: Die Inszenierung eines Textes und das konsequente Aufbrechen der Zeit.

Der erste Akt im grüntaler 9 (Nur mit Reservierung) hat die Form einer Podiumsdiskussion über ARE WE HERE YET? und MATTERS OF ACT mit Johanna Gilje, Teena Lange, Jöel Verwimp, Natália da Silva Perez, Lindsey Drury & You Nakai, moderiert von zwei Already Not Yet Autoren: einem sehr ungeduldigen sechsjährigen Aevi und einem sehr geduldigen sechzigjährigen Roland Albrecht (Museum der unerhörten Dinge). Übersetzung von Alexander Booth. Die Diskussion beschäftigt sich mit den Fragen von „Act“ (sowohl als Aktion und Schein) und „Past Future Perfect“ (das Thema der nächsten Ausgabe).

Der zweite Akt wird ein nach-den-Fakten „rehearsal“ des ersten Aktes am selben Ort mit den gleichen Teilnehmern sein (die Abwesende durch Puppen ersetzt), welcher durch Erfindungen und Schein zu erreichen sucht, was der erste Akt so natürlich realisierte.

Der dritte Akt wird diese anti-kausalen Vorgänge in einen klassischen Kontext einflechten, indem er dessen Auflösung in dem antiken griechischen Theater von Kourion auf Zypern am ersten April (Aprilscherztag) auf der Bühne präsentiert.

Der letzte Akt wird für eine vermutlich sehr notwendige Frage-und-Antwort Runde in das Museum der unerhörten Dinge nach Berlin zurückkehren, präsentiert von dem Autor des philosophische Frage-und-Antwort Buch ARE WE HERE YET? Der damals-vier-/jetzt-sechs-jährige Autor, der gerade dabei ist, Lesen zu lernen, wird versuchen, aus seinem eigenen Buch vorzulesen zum ersten Mal vor Publikum.

Alle 4 Akte sind kostenlos. Eine limitierte Selektion der Bücher MATTERS OF ACT, ARE WE HERE YET? und weitere Already Not Yet Bücher werden zu Sonderpreisen während jedes einzelnen Akts verkauft.

“Music and Its Double: The Immaculate (And Not-So-Immaculate) Conceptions of No Collective” | TDR (61-1, Spring 2017), MIT Press


The new issue of  TDR (MIT Press) has a fairly complex review/analysis of Immaculate Conception we staged last year with ensemble mise-en. Written by Cody Eikman, the piece is entitled “Music and Its Double,” and in addition to precisely articulating the mechanism of the work, it also launches a necessary critique of the relationship between experimental music and the so-called new music (namely the exploitation of the former by the latter). This is the second review of Immaculate Conception following “Double Act” in The Brooklyn Rail last year (http://brooklynrail.org/2016/09/music/immaculate-conception-by-no-collective), and mostly we are very happy abou the fact that there are appropriately two double reviews for our doppengänger piece. Thank you very much to everyone who spent time on this concert in one way or another (especially Dee Ali, our rehearsal director).

The video of the entire piece is here:

“The problem of the double has explicitly haunted music since John Cage declared music to be part of theatre. In Immaculate Conception, No Collective explored this doubling by creating a doppelgänger ensemble that acted as a copy of the musicians of the group ensemble mise-en. This tactic foregrounded the theatrical dimensions of music, while the context surrounding the performance itself highlighted the problematic entanglement of original and double (between “experimental” and “contemporary”) in the social sphere of new music.”

“‘Contemporary music’ and ‘experimental music’ form an uneasy double in the world of new music today. The tendency is for the former to capitalize on the latter, while discrediting it as derivative (and therefore free) resource. Ensemble mise-en does not ‘examine’ as much as ‘exploit’ the ‘unusual corners of the composition world.’ But the perception of an apparent hierarchy between the polished and professional music and its unusual and amateurish double must be reversed. In most cases, the repertoire of a ‘contemporary music’ ensemble comprises none other than the ‘experimental music’ of yesteryear — ridiculed in the past, but accepted and institutionalized over time. Until the moment of acceptance from its double, experimental music remains a peripheral origin of what is generally regarded as ‘contemporary’ in music. That the refined copy can retroactively author the primitive original is no secret in the social sphere of new music. The fear of double persists therein.”


Review of “Concertos” | TDR (61-1 Spring, 2017), MIT Press


The new TDR issue contains a belated book review of Concertos (+ other books from the Emergency Playscript series) we published from Ugly Ducking Press 6 years ago back in 2011 (http://www.uglyducklingpresse.org/catalog/browse/item/?pubID=140). We have our reservations about the review (it contains several factual errors), although some parts of it sound nice and it sure is great to have, finally, a review for that complex playscript we put so much energy into.

“The No Collective piece, Concertos, was first performed in Tokyo in 2008, by the Japanese participants of that prominent international collective — founded by the artist You Nakai — who have presented work at the borders of music composition and performance art at such venues as Tokyo’s Museum of Modern Art. Concertos was then reworked as a transcript by other members of the Collective. The performance piece appears to have an ongoing existence in the Collective’s repertoire, extending beyond the published volume of 2011, and has been performed with variations on at least four occasions, most recently in 2012. The original performance, consisting of 3 “movements,” each 18 minutes in duration, entailed animal as well as human participants, including interventions by a dog and a bird (the dog having been obtained from a “rental pet shop” [15], and the pigeon caught with a net, according to the transcript). The account of the performance on the Collective’s website records: “Feedback is produced between the contact microphone attached to the pigeon and the mobile speaker attached to the dog” (http://nocollective.com/c1.html).

The published volume of Concertos experiments with the duplicities and multiplicities of transcription [...]. Concertos works both as a performance record, in its transcription of the participants discussing their memories of the performance, and also as an imaginative reflection on the performance itself: “People say ears don’t have lids, unlike eyes. But ears will open and close selectively, unlike eyes which seem incapable of selection” (9). The Collective’s participants appear keen to reinforce the elements of malfunction and disarray integral to their performance, recasting its ending as an extended suspension: “Then, after packing all the equipments, drinking, lamenting everything that went wrong, you have an INTERMISSION of eighteen months” (33).”

MATTERS OF ACT: Pre-launch event & rehearsal | December 20 & 23 | milkyeast, Tokyo


No Collective/Already Not Yet is organizing a pre-launch event for their new periodical MATTERS OF ACT: A Journal of Ideas. This event in Tokyo assembles artists Takuma Ishikawa, Shinichi Takashima, and members of Art User Conference (Satoshi Hashimoto and Katsumasa Matsui) who participated in the inaugural issue, and will be held at the gallery space milkyeast, where the exhibition “Unconditional Restoration,” also featured in the journal, took place. Aside from discussing the content and form and performativity of MATTERS OF ACT, we will hand out Japanese translations of some of the texts, exhibit related documents, and also speculate about the future since that’s what Japanese people do at the end of the year. Also, there will be a “rehearsal” of the panel discussion on December 20, at the same venue. Space is very limited so please reserve your spot by emailing: info@alreadynotyet.org

MATTERS OF ACT: Pre-launch Event | December 23, 2016 | 6-9PM | milkyeast, 2-22-15 Shinkawa

MATTERS OF ACT: Pre-launch Event Rehearsal of Panel Discussion | December 20, 2016 | 6-9PM | milkyeast, 2-22-15 Shinkawa



Ellen C. Covito’s Homebodies | November 22 | Private residence in Bed-Stuy (Brooklyn)


No Collective and composer/pianist Teodora Stepancic (with generous help from Panoply Performance Laboratory) are co-organizing a house concert of the Argentinian composer/choreographer Ellen C. Covito’s music at an untouched, arcane brownstone somewhere in Bed-Stuy, Brooklyn. Covito’s Composed Improvisations and Improvised Compositions will be performed in an extremely intimate setting by Masami Tomihisa, Teodora Stepancic, Assaf Gidron, Lindsey Drury, Brian McCorkle, Esther Neff, Kaia Gilje, and You Nakai.

Acclaimed recently in TDR (MIT Press) as “a rising star in the radical musical traditions (…) [who] continues the necessary investigation of the conditions of art,” Ellen C. Covito is widely known for her idiosyncratic approach to music and dance which deconstructs the binary of composition and improvisation with humorous rigor. Her recent endeavors in choreography continues her distinct focus on the uniqueness of each performer’s bodies which both conditions and belies the abstract symbols of written notation and score. Covito’s works have been performed in New York, Berlin, and Tokyo, and taught in various conservatories/workshops around the world.

Some works in the program include:

The location is a private residence so please send us an email (you@nocollective.com) if you would like to come. Spacing is very limited.

Post-Dance: A Primer | November 20 | Post-Dance Symposium, Panoply Performance Laboratory (Brooklyn)


No Collective is co-presenting with Lindsey Drury a peculiar theory about this thing called “(Post-)Dance” during a four-day symposium at Panoply Performance Laboratory on that thing called Post-Dance. We’ve been babbling bits and pieces of our erratic idea to friends in the last couple of months but this presentation will coalesce the primary theoretical components and many nice examples for the first time. So we hope you can come, if you are in New York or nearby. Our presentation is on Sunday, November 20, from 4pm.

Here’s a list of preliminary questions we’ve posited in lieu of an abstract:

Post-Dance: A Primer
Is the term “post” a mere prefix to indicate we are over it? What is this “it” we are supposed to be over with? If we are over dance, why do we still cling to that old name? Wouldn’t “post-it” be a better name? And even if we stick to dance, can’t we do better than resorting yet again to the facile formula of [dance + x (e.g. performance art, discourse, theory, etc)] and/or [dance - x (e.g. choreography, dancer, etc)]? Do we even know what we seek to leave behind? What is a body? What is movement? What if “post” was a verb or a noun? Where do we go from here, where have we been, and who is this “we” that we all talk about?


“A Double Act: Immaculate Conception by No Collective” | Brooklyn Rail


A very nice review of Immaculate Conception we did earlier this year with ensemble mise-en has been published on Brooklyn Rail. It’s entitled “A Double Act” and was written by Cody Eichman. It contextualizes our efforts in the history of theatre and its discontents, including John Cage’s adoption of the term which placed it in a dialectical tension with the domain of “music.”

It starts like this: “I once heard a performance-studies scholar explain the difference between performance art and theater as that between presentation and representation. She was wrong. For the essence of theater lies not in representation, but in the duality between presentation and representation, as well as in the indeterminacy infiltrating this dichotomy. A play takes place in between action and act—and, as Gregory Bateson observed, the line separating one from the other always remains vague. Theater plays with this double identity (performance art often pretends it doesn’t exist).”


“HOUSE MUSIC: A PERFORMANCE” | CARPA 4 Proceedings | Theatre Academy Helsinki


The proceedings of CARPA 4 (Colloquium on Artistic Research in Performing Arts) held in Helsinki a year ago on the topic of “The Non-human and the Inhuman in Performing Arts” has been published online. We were invited to perform HOUSE MUSIC (C) with Lindsey Drury and Johanna Gilje, and you can see/read a text (abstract) describing what we aimed to do, a video documenting what we actually did, and an image depicting what happened as a result, here:


The abstract went something like this:

“No Collective [You Nakai, Kay Festa, Earl Lipski, Jay Barnacle, et al] and Lindsey Drury (Dreary Somebody) present a performance of music and dance involving multiple inhuman dancer/musicians and human performers [Johanna Gilje, Lindsey Drury, You Nakai]. Within the work, the inhuman dancers move in seemingly random trajectories through a performance space without programmed pathways or the manipulation of a controller. Through their interaction with the human dancers, the work reframes “improvisation with objects,” as one cannot fully predict the movement of the objects, or their response to contact with human bodies and other objects. Regardless as to the internal mechanism that drives the objects, the experience on the outside is that they are “making choices.” The focus of this work is to create a situation which challenges the performer’s ability to enact her will over the objects with which she performs, along with the tendency of audiences to identify human performers as enactors and objects as receptors of action. The resulting work reveals how the ability to move unpredictably can assert an object its own will. The question of agency traditionally oriented toward the bodies of human movers (“Why does she move like that?”) is thus expanded. Despite the necessity in this description to differentiate between the inhuman and human performers, the point of the piece is to explore and problematize common notions of what constitutes a body. The work was developed through the concept that the delineation of body is based in the perception of a certain agency that controls a given movement. All the moving objects in the piece, whether inhuman performers, human performers, or human (and inhuman) audience, appear to have agency because the source of their movements is instilled within themselves. The most important thing accomplished in the piece is not that the inhuman performers “become human,” but instead that the humans present in the room face the fact that they are also objects. Therefore, the work does not reinforce the difference between human and inhuman, but instead dissolves that very distinction through an expanded definition of body and its basis in movement.”

()all | June 26 | JACK (Brooklyn)


No Collective is going to premiere an installation-performance called “()all” this Sunday at JACK in Brooklyn, as part of GROUP WORK IV: Room Sounds, an evening assembling “Composition and installation dealing with sonic and social space in the concert environment” (which was supposed to take place back in January but got postponed due to that idiotic snow storm). Assisted by Matthew Gantt, we are determined to finally reveal the grand mystery of JACK (which everybody who knows the space has wondered about all these years): its aluminum-foiled walls. Tonight we provide the reason behind the enigma. This revelation is meant to overlap, underscore, and infiltrate all the other works in the evening and people in the space without offending them too much. Sorry in advance if we did.