House Music | June 12 | CARPA4, Helsinki


No Collective is presenting HOUSE MUSIC, in collaboration with Lindsey Drury and Johanna Gilje, at the fourth Colloquium on Artistic Research in Performing Arts (On “The Non-Human and the Inhuman in Performing -Arts-Bodies, Organisms and Objects in Conflict”) held at the Theatre Academy of the University of the Arts, in Helsinki. The performance will start at 11:15AM, and last about an hour. This will be the second performance of the piece we presented last year in Berlin, and we’re also expected to say something smart-ish about the piece before or after or during the piece. So if you are anywhere near it would be great to see you there.

House Music
by No Collective and Lindsey Drury
June 12, 2015, 11:15-12:15
Theatre Academy of the University of the Arts, Helsinki
[Part of Colloquium on Artistic Research in Performing Arts 4]
Performed by Johanna Gilje, Lindsey Drury, Kay Festa, and You Nakai

Vesna’s Fall | April 26 | Queens Museum


No Collective and Lindsey Drury, along with dancers Kaia Gilje, Paige Fredlund, Molly Schaffner, Laura Bartczak, and Katelyn Hales, are going to present the final version of Vesna’s Fall at the Queens Museum on April 26, 2015. The performance starts from 4pm, but there is also going to be a workshop for a limited number of people from 2 to 3:30pm. We’ve always thought that those remnant towers from the NY World’s Fair 50 years ago look like massive versions of the contraptions the dancers wear, and so I wanted to somehow have people+contraptions jump from the top and dance while falling down (which partially accounts for the ‘Fall’ in the title). That was impossible to do, but the Queens Museum is right nearby, so the location is perfect, and so is the space. We’ve presented the piece several times last year, but we are going to recreate most things from scratch, so it is going to be very different and much better.


Vesna’s Fall
by No Collective and Lindsey Drury

April 26, 2015, 4-5pm
Queens Museum

It is always difficult to know the dancer from the dance. By physically separating the two, Vesna’s Fall seeks to reinvent the problem. Each dancer wears a 14-foot movable curtained room that isolates her, extends her body, amplifies her movement, and blocks her view. Unable to see one another, the dancers attempt to coordinate the work using whatever means available, starting with their voices. Each audience member can choose what to see and from where. But watching one dancer always precludes seeing everybody and everything else. In this way, the work seeks to reveal the underlying condition of bodies that cuts across the division between performers and viewers, impeding them both from seeing the whole.

Performed by Lindsey Drury, Paige Fredlund, Kaia Gilje, Molly Schaffner, and perhaps You Nakai. Assisted by Laura Bartczak and Katelyn Hales.


WORKSHOP taught by Paige Fredlund with Kaia Gilje and Lindsey Drury, prior to performance from 2-3:30pm

*registration required

Max Number of Participants: 20.

Workshop is free but registration required through the above eventbrite page or by emailing:


This performance is made possible by the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

House Music: Two Stories | December 15 | Kurturraum (Neukölln, Berlin)


We are showing a new version of HOUSE MUSIC, made in collaboration with the choreographer Lindsey Drury, and performed by Johanna Gilje, Keith Hennessy, IthaK Katartika, You Nakai, Meg Stuart, Sasha Waltz (and probably one flamenco dancer and one tap dancer), on Monday, December 15 from 8:30pm at the Kulturraum on Mainzer Straße 7. We hope whoever is in Berlin can come!

House Music: Two Stories 
Constructed by No Collective and Lindsey Drury

One need not be a chamber to be haunted;
One need not be a house;
The brain has corridors surpassing
Material place.
– Emily Dickinson

(Keith Hennessy, together with Meg Stuart and Sasha Waltz, were conceived during the 2014 IMAR summer residency in Connecticut)

Ellen C. Covito in Berlin | November 18 | 18m Gallerie (Schöneberg, Berlin)

Screen Shot 2014-11-16 at 3.45.08 PM

No Collective is presenting the first concert of Argentine composer/choreographer Ellen C. Covito in Berlin, under the curation of Dafne Narvaez. Covito’s highly inventive and often times humorous approach to the problem of composition and improvisation has been gaining wide attention in the recent years. Her works have been performed all over the world, with three major concerts in New York and Tokyo. A full catalog compiling most of her major works, as well as essays on her approach and an exclusive interview with the composer, was published this summer from Already Not Yet Press (Brooklyn) to a critical acclaim (the PDF can be downloaded for free from: With its particular ties to Argentine artist network in Berlin, 18m Salon serves as a perfect venue to introduce Covito’s radical works to Berlin. On the evening of November 18, expect to see a score written in the form of an eye chart, a percussion instrument that runs away from the performer, a blindfolded performer who plays a piece written by a blindfolded composer, and a group of composers racing to compose in real-time.

Die Komponistin Ellen C. Covito nimmt eine sehr innovative und oft humorvolle Haltung zur Frage ein, was Komposition und was Improvisation sei. In den letzen Jahren fand ihr Werk große Beachtung und wurde weltweit aufgeführt, unter anderem in New York und Tokyo. Ein komplettes Verzeichnis ihrer Arbeiten wurde diesen Sommer bei “Already Not Yet Press” (Brooklyn) publiziert.

18m Salon versteht sich als offener Ort für kulturelle Experimente, mit einem Schwerpunkt auf Kulturaustausch mit Argentinien. Wir freuen uns besonders, dieser radikalen Komponistin ein Forum bieten zu können und laden euch/Sie und eure Freunde sehr herzlich zum Konzert am 18ten November ein:

–Eine Partitur in Form eines Sehtests

–Ein Perkussion-Instrument,

das vor seinem Performer davonläuft

–Ein Musiker mit Augenbinde, der das Stück eines –Komponisten mit Augenbinde interpretiert

–Eine Gruppe von Komponisten, die in real-time zu komponieren versucht

Performers: Tomomi Adachi, Lindsey Drury, You Nakai, Saara Wallraf, Knifeloop, IthaK, Gonzalo Marinuci, Jonas Alexander Duus, and others.

18m Gallerie | Akazienstraße 30 10823 Berlin | 18.11.2014 18:00-

House Music No.3: Two Stories | August 17 | IMAR residency


No Collective is going to present a new piece called “House Music No.3: Two Stories,” made in collaboration with Dreary Somebody and Matthew Gantt, at the IMAR residency in Lakeville, Connecticut (187 Indian Mountain Rd) this coming Sunday August 17, from around 7pm. It will be a part of a daily event that starts from around 2:30pm, and there will be other performances throughout the day as well as visual art exhibited throughout the residency. Transportation is offered from Wassaic station for the people arriving on the 2:08pm Metro North train, so let us know if you need that. It’s a bit far out from NY, but the site is beautiful so if you feel like taking a weekend retreat (and bring an umbrella and layers, in case it rains and is cold)!

House Music No.3: Two Stories

A project built by No Collective & Dreary Somebody in collaboration with Matthew Gantt, and performed by Lindsey Drury, Matthew Gantt, & You Nakai

Sunday, August 17th, from around 7pm at the IMAR residency (Lakeville, CT)


1 : One need not be a chamber to be haunted; / One need not be a house; / The brain has corridors surpassing / Material place. (Emily Dickinson)

2 : “Ever since my personal involvement in the investigation of a rapping poltergeist at Andover, Hampshire, in which it was absolutely clear that no normal explanation could account for the observed phenomena, I wondered whether the recorded raps were in any way different to those produced by normal methods. It is now clear that they are indeed different.” (Barrie Colvin, ‘The Acoustic Properties of Unexplained Rapping Sounds’ in the Journal of the Society for Psychical Research [2010] Vol 73.2 Number 899 pp 65-93.)


Dreary Somebody is totally temporal, totally permeable, and constantly in flux. It rearranges itself around each new project, redefining itself and its mission in relation to the work at hand. At the moment, Dreary Somebody is the creative entity by which Lindsey Drury has orchestrated a number of dance works. These projects (2012-2014) include the collaborative opera Any Size Mirror is a Dictator with Panoply Lab and the large-scale work Vesna’s Fall created with No Collective. Previous works include Run Little Girl (2012), in which the progression, intention and interaction of the eight performers and 20 dance modules were choreographed live, and I am My Shitty Little Box (2011), a solo performed both for and as one audience member by first exchanging clothing with them. Curatorial project include Post-Dance for the Brooklyn International Performance Art Festival (2013), and Ellen C. Covito’s Percussions/Repercussions at The Woods Cooperative for the new performance series The Room with No Collective.


Matthew Gantt is a composer, improviser and graduate student at CUNY Brooklyn College. Originally a jazz performance major, he now focuses on the compositional possibilities of live drum sequencing, sampling and synthesis. Matthew Gantt harmonizes with car alarms.

Vesna’s Fall | April 23 & 24 | Performatica Festival & Procession to the Zocalo, Cholula, Mexico


No Collective is presenting Vesna’s Fall for the third time in Puebla, Mexico. There will be two performances, one on April 23 (tomorrow) at the campus of Universidad de las Americas from 2pm, as part of the Performatica Festival, and a second one on April 24 in the form of an uncanny procession throughout the streets of the town of Cholula that will arrive to the Zocalo (main plaza) around 7pm. For this rendition, Our formidable dancers Laura Bartczak, Paige Fredlund, Kaia Gilje, Katelyn Hales, and Molly Schaffner will be joined by Banda Flor de Capomo

Ellen C. Covito: Percussions/Repercussions [The (First) Room] | April 12 | The Woods Cooperative

room_1_front (1)

No Collective is co-hosting with Dreary Somebody the second concert of the Argentinian Composer Ellen C. Covito in New York this coming Saturday, April 12, from 8pm at the Woods Cooperative in Ridgewood, Queens. This will also be the first event of our curatorial series “The Room” which we are organizing.


Ellen C. Covito: Percussions/Repercussions
by Luis Tabuenca and Devika Wickremesinghe

April 12th, 8pm
The Woods Cooperative
1826 Palmetto Street #1 Ridgewood NY
(M train to Seneca or L train to Myrtle/Wykoff)
$10 suggested donation

Ellen C. Covito returns to New York with an evening of entirely new works for percussion and other sounding bodies. Coupling two virtuosos, percussionist Luis Tabuenca and dance artist Devika Wickremesinghe, this concert focuses on the available percussions and repercussions between two (or more) sounding bodies under the influence of seen and unseen forces. Covito’s new works take cues from Pierre Schaeffer’s notion of ‘acousmatic’ (the separation of sound from the sounding body), and the mediational effect of magnetic forces (tape, microphone and loudspeaker) that was crucial to the acousmatic disembodiment of sound. To these references, Covito adds idiosyncratic twists to formulate highly inventive, lucid and humorous ways that expand the celebrated approach of her ‘Composed Improvisations.’ This evening will present an exciting new phase not only for Covito, but for all art forms that entail composition and improvisation of sounding bodies–from music to dance, and beyond.



Vesna’s Fall | April 5 | {Re}HAPPENING Festival, Black Mountain College

No Collective is presenting Vesna’s Fall made in collaboration with choreographer Lindsey Drury, at the former Black Mountain College site this coming Saturday April 5 (from 6pm), as a part of the {Re}HAPPENING Festival. This is the second instantiation of our work, following the first performance at Judson Church in February, but we have completely reconstructed the piece to fit the 587 acres outdoor space with a big lake in the middle and 500 expected audience roaming around. It will also go on for 2 hours or so. Hope you can come to North Carolina!
Vesna’s Fall
by No Collective and Lindsey Drury
Dancers:  Laura Bartczak, Paige Fredlund, Kaia Gilje, Katelyn Hales, and Molly Schaffner
This work explores new ways to relate movement and sound within and against a highly-charged problematics of history and historization. We acknowledge the importance of the first Happening at BMC, but also question its basic premises: the setting of a singular time (clocked time brackets) and space (the Dining Hall) as the common denominator of the various happenstances. Our work will instead present a distribution of diverse events that relies neither on a singular time nor space, but rather on the inflections of velocities (time-space) accorded to each dancer through her proximity (‘gravity’) to the other dancers who count her move in her stead. Gravity of numbers is only put to an end by the number of gravities.

Vesna’s Fall | February 3 | Judson Memorial Church (Movement Research at Judson Church)

No Collective’s will premiere ‘Vesna’s Fall,’ a peculiar dance piece created in collaboration with choreographer Lindsey Drury, at Judson Memorial Church. Dancers are Laura Bartczak, Paige Fredlund, Kaia Gilje, Katelyn Hales, Molly Schaffner. In April we are touring the piece to Black Mountain College in North Carolina and to Performatica in Puebla, Mexico.
Reapers in fall must first calibrate and celebrate their spring. In 1972, Vesna Vulovic fell from the height of 33,330 ft in an exploding airplane onto a frozen mountain side and lived to tell the story. This (mis)fortune, registered as the highest free fall a human being has survived, was brought by a nominal coincidence: Vesna was not scheduled to be on the flight, but had been mixed up with another flight attendant of the same name. Every Vesna shares her name with the springtime goddesses of Slavic mythology who lived in palaces atop mountains enwrapped in magic circles where they discussed the fate of crops and of human beings. Objects and humans fall because of gravity’s pull. Free falling enclosed rooms, however, will preclude the local observer inside it from differentiating between gravitational pull and floating in non-gravity. Singing and springing Vesnas, descending down each February from their palaces to the valley, could only be heard by certain people. Perception is absolutely local (like death). Rituals, names, or numbers may serve to secure the recurrence of common universal units–seasons and whatnot. In return they must obliterate particularities and forget the fact that they did so. No spring is devoid of sacrifices and the sacrificed must not survive (or return as ghosts). Gravity of numbers is only put to an end by the number of gravities.