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:

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



public service | 2016-2017 | private residence in new york


1. public service is a series of (pseudo) secret events organized (almost) every month by No Collective (you nakai, et al) and zner (dp) at a private residence in new york.

2. each event is hosted by a different creature (artist choreographer film maker scientist writer philosopher engineer etc) and attended only by 10 (or so) people carefully selected and cordially invited by the host(s) and the organizer(s) for the specific occasion.

3. together the series explores the thin line(s) between legal and illegal public and private performance and attendance substance and subjecthood theory and method real-time and documentation.

4. public service will go on forever (=twelve months) at the end of which we are planning to publish the documentation of the events to make them publicly accessible in retrospect.

5. february will be hosted by no collective at the end of the month.

Immaculate Conception | January 22 | Mise-en_PLACE (Brooklyn)


For Ensemble Mise-en’s ACOUSTIC+ #8, No Collective is presenting the world premiere of IMMACULATE CONCEPTION, a play of revelational music in two halves, six acts, and one intermission, which intends to reverse causalities (remove all stains) through the miraculous workings of uncanny resemblances, or at least give a fleeting impression thereof. Through three rehearsals each, No Collective and ensemble mise-en, both comprised of exactly the same instrumentation (flute, violin, piano, bass clarinet, contrabass, trombone, and conductor) and gender/race distribution, worked to become precise doppelgangers of each other without ever actually meeting one another. In the process, each group derived its own music through imitated gestures and (re-)imagined sounds of the other. The effect of doubling (between a type and an antitype, so to speak) further proliferates at the concert, where the three-times-two rehearsals are unfolded in the three-times-two acts, the first half enfolded in the second, and each act is explained by the next while containing the one before. The resulting sequence stages performative faith to something that never existed, something that appears as foreshadowing the events but only in retrospect. The hope is for such perturbation of causes to save us all from our original sins (which is of course that of conceiving and being conceived), not through expiation, but through some sleight of hand. To see is to believe, to hear is to doubt, to concert is to bind.

Composed and Performed by
A) Ensemble Mise-en as No Collective:
Maria Johnson as Lindsey Drury (flute)
Sabina Torosjan as Siv Lie (violin)
Yumi Suehiro as Masami Tomihisa (piano)
Evan Runyon as Matthew Gantt (contrabass)
Mark Broschinsky as Brian McCorkle (trombone)
Carlos Cordeiro as Davindar Singh (bass clarinet)
Moon Young Ha as You Nakai (conductor)
B) No Collective as Ensemble Mise-en:
Lindsey Drury as Maria Johnson (flute)
Siv Lie as Sabina Torosjan (violin)
Masami Tomihisa as Yumi Suehiro (piano)
Matthew Gantt as Evan Runyon (contrabass)
Brian McCorkle as Mark Broschinsky (trombone)
Davindar Singh as Carlos Cordeiro (bass clarinet)
You Nakai as Moon Young Ha (conductor)

January 22, 2016 | 8pm
678 Hart St #1B
Brooklyn, NY 11221

Tickets will be available at the door and can be purchased for $20 general admission or $15 for students and seniors. Your ticket will also include a complimentary drink. Space is extremely limited (probably around 20 people max) so if you are worried, please reserve your place by contacting:

p.m at a.m | December 18 | a.m (London)


No Collective is premiering “p.m at a.m,” a misleading musical fable about the world in general and you in particular, at a.m in London from 8 p.m this coming Friday, December 18. Performers may include You Nakai, Dee Ali, and Ai Chinen among others. a.m is a gallery built inside the remains of the famous Blackwing Studios where bands like Depeche Mode or The Pixies used to record their music back in the days. The space is subtly abandoned and nicely soundproofed and so is the work so please join us if you are in town!

All Hallows Church
1 Pepper Street Entrance

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.