FACULTY / STAFF
Ancient Technologies, Dramaturgy and Game
July 11-29, 2005
DEAN MOSS, choreographer and
media artist, creates multidisciplinary works blending performance
and video.
MADHU MARGI, collaborator and performer, researches the connections
between contemporary practice and an ancient form of ritualized
theatre in India, kudiyattum, of which he is a master
ONG KENG SEN is the
Artistic Director of Theatreworks (Singapore), a founder of The
Flying Circus Project, and an independent
performance
director/curator of multidisciplinary, cross -cultural encounters.
NAVIN RAWANCHAIKUL is
known for his collaborative projects involving local communities
and sources from daily
life and
which have often taken the form of public art installations,
comic books, and questionnaires.
KATIE SALEN is
a game designer, director of the Parsons School of Design Graduate
Design and Technology Program, and
co-author
(with Eric Zimmerman) of Rules of Play: Game Design Fundamentals
(MIT Press, 2004).
CHRISTINA YANG has
been Summer Institute Director since 2003 and is an independent
art historian, curator and writer.
YASUKO YOKOSHI imaginatively
entwines cultures and personal insights to create radical performance
works.
Ong Keng Sen is the Artistic Director of Theatreworks Singapore,
a founder of The Flying Circus Project, and an independent performance
director/curator of multidisciplinary, cross-cultural encounters. Keng
Sen has engaged in cross-cultural work with fellow Asian artists
for 6 years. He is known for his rejection of authenticity
and his embracing of multiple realities and hybridity within
Asia. Although his training is in contemporary performance
from New York University,
he often brings the strength of traditional concepts into his
work.
In 1994, Keng Sen conceptualised The Flying Circus Project,
a creative strategy laboratory which is a robust encounter
between contemporary arts and traditional performance. This
is an intercultural workshop amongst
Asian artists which explores the fields of theatre, music,
dance, visual arts and finally at the end of 2000, documentary
film.
100 artists from
countries such as India, Indonesia, Korea, Myanmar, Malaysia,
Thailand, Singapore, Vietnam have taken part thus far in
1996 and 1998. In December
2000, the most ambitious laboratory so far plans to explore
religious
performance and the urban artist with artists and ritualists
from China, Japan, Philippines, Taiwan and Tibet. The key
elements of The Flying Circus
Project are reinvention, juxtaposition and cultural negotiation.
keng Sen's philosophy of making work with an international
dimension and relevance has seen his productions being
presented in major
arts festivals and cultural institutions in Asia, Australia,
Europe and the United States
of America. He created, in collaboration with performers
and artists, epic site-specific, interdisciplinary productions
that included Destinies
of Flowers in the Mirror which brought 300 audience members
every night inside a mammoth fountain.
He has also developed
a genre which he calls docu-performance. These docu-performances
explore the identity of today's
Asia through the excavation of history and a confrontation
of self and the other. They
include Broken Birds a piece about Japanese prostitutes
in Singapore at the turn of the century and Workhorse
Afloat which explores the consumption
of the foreign construction worker from India by the
Singaporean middle class. He is presently a member of an Asian-Europe
network to look at
exchange between new Asia and new Europe. He holds
several foundation fellowships including the Japan Foundation,
British Council, Asian Cultural Council (New York)
and is also a Fulbright
Scholar.
He has also directed
film and television as well. For more information go
to www.theatreworks.com.sg
Dean Moss, choreographer, media artist, creates multidisciplinary
works blending performance and video. He arrived
in NYC, from Tacoma Washington, in 1979 on scholarship to
the Dance Theater of Harlem. He went on to study
under Martha Graham, then to perform with the American
Dancemachine, the Broadway revival company of West
Side Story, the Louis
Falco Dance Theater
and for ten years [1983-93] with the David Gordon/Pick-up
Performance
Company.
In 1992 Moss began creating his own
movement media concoctions, which have been presented,
internationally. Locally they have been
shown by P.S. 122, The Danspace Project, Dance Theater Workshop,
The Kitchen, The
Brooklyn Arts Exchange, and P.S. 1. The video works have been
screened at Anthology Film Archives, The New York Expo of Short
Film and Video,
Festival Danse Visions [France], cablecast on Kunst Kanaal [Holland]
and are included in the video collections of Third World Newsreel
and The
Kitchen.
Additionally works have been exhibited as part of academic conferences
and museum exhibitions including: Performative Sites: Art, Technology
and the Body at Penn State University; Current Undercurrent:
Working in Brooklyn at The Brooklyn Museum of Art; African
Diaspora in the Ancient and New World: consciousness and imagination at
The Sorbonne/Paris University; and at The Whitney Museum of American
Art in an exhibition titled, By Any Means Necessary: new experiments
in interdisciplinary performance.
Moss has received a 2003 Asian Cultural Council Fellowship; a 2001 Artist
Grant from the Foundation for Contemporary Performance Arts,
a 1999 New York Dance and Performance [Bessie] Award, a 1998
New York Foundation
for the Arts Choreography Fellowship, and 1993 Finishing and
Presenting Fund Awards from The Experimental Television Center.
From 1997-2003 Moss also collaborated on the works of Yasuko Yokoshi:
performing, co-directing, creating the visual and video design
for her 2003 “Bessie” awarded work Shuffle.
Together with Yokoshi, he conceived and developed the Dialogue
Workshop: an experimental
composition workshop for emerging choreographers.
Moss served as the Curator of Dance and Performance at The Kitchen from
1999-2004. On “sabatical” from April ‘03 to ‘04,
he lectured on “Visual Media and Performance Integration” at
the Tokyo National University of Fine Arts and Music. He is currently
developing a performance project with visual artist Laylah Ali,
based on her “Greenhead” paintings and is also in the early
planning stage of a performance work tentatively titled, “porous”.
Navin Rawanchaikul (Born in Chiang Mai, Thailand, 1971) has been
living in Fukuoka, Kyushu, for several years. He has developed
a practice which not only betrays his Thai origins, but also
is characteristic of a local
tendency towards collaboration in the production of artwork.
The involvement of other individuals, or communities in his projects,
which in turn encourages
audience participation, reflects an unusual generosity and an
assumed social role for art. For Shakespeare’s Taxi, a work
recently commissioned by the Ikon Gallery, Birmingham, a black
taxi-cab was transformed into
a comic strip. Professional Thai sign painters copied one of
Rawanchaikul’s
designs onto the vehicle, which is parked close to the Hayward
Gallery for the duration of the exhibition. “The idea behind inventing
the mobile gallery, Taxi Gallery, is to overcome the gap between
contemporary art and our daily life.’ Rawanchailkul has also produced
a new Taxi-Comic, which will be distributed free in the back
of London taxis. Selected
Solo projects include Asking for Nothingness, Satani Gallery,
Tokyo, Japan (1999); Taximan, About Studio / About Café,
Bangkok, Thailand; Fly with me to Another World, Le Consortium,
Dijon, France (2000); I Love Taxi, a Public Art Fund project in
collaboration with
P.S.1 Contemporary
Art Center, New York, USA (2001). Selected Group Exhibitions
include:
I Love Art 5, Watari Museum of Contemporary Art, Tokyo, Japan
(1999), The 5th Lyon Biennale, Lyon, France (2001), 2nd Berlin
Biennale, Berlin,
Germany (2001), Target Art in the Park, Madison Square Park,
New York, USA (2001); Yokohama 2001: International Triennale
of Contemporary Art,
Yokohama, Japan.
Katie Salen is a game designer and Director of the graduate Design
and Technology program at Parsons School of Design. She has
done game design work for clients such as Microsoft, SIGGRAPH,
the Hewlett Foundation, XMediaLab, the Design Institute, gameLab,
and mememe Productions. Co-author
(with Eric Zimmerman) of Rules of Play: Game Design Fundamentals (MIT
Press 2004), as well as the forthcoming Rules of Play Reader (MIT
Press 2005), she is also member of Playground, design team focused
on large-scale,experimental, real-world games and a former
core-team member
of gameLab. Katie recently partnered with screenwriter and director
Hampton Fancher (Minus Man; Bladerunner) on a project for
the XEN division of
Microsoft to develop an animated storytelling
experience distributed through Xbox Live, and has helped curate
programs at the Lincoln Center, Cinematexas, ZKM, Exploding Cinema,
and the Walker Art Center on machinima, the practice of creating
animated films using game engines. She has lectured and published
extensively on
game design and game culture both nationally and internationally.
Christina Yang has been Summer Institute Director since 2003 and
is an independent art historian, curator and writer. As The Kitchen’s
Curator of Visual Art and New Media (1999-2004), Ms. Yang’s curatorial
practice focuses on the commissioning, presentation, and contextualization
of multidisciplinary works of art particularly in new forms blending
video, performance, new media, sound, and installation. Prior
to The Kitchen, Ms. Yang was on the curatorial staffs of the
Guggenheim Museum
and the
Queens Museum of Art. She also worked on numerous exhibition
projects with the Whitney Museum of American Art. She has been
an adjunct lecturer
in art history at the School of Visual Arts, Hunter College,
York College, and the California College of Arts and Crafts.
Ms. Yang frequently serves
on contemporary art and project grant panels for agencies such
as Philadelphia Exhibitions Initiative, The Rockefeller Foundation,
Harvestworks, Creative
Capital, NYC Department of Cultural Affairs, the NYC Percent
for Art program and the NYC Metropolitan Transit Authority. Ms.
Yang holds a BA in History
and Art History from UC Berkeley (1985). She completed the Williams
College Graduate Program in Art History (MA 1989) and is ABD
(all but dissertation)
in art history at the CUNY Graduate Center, New York.
Yasuko Yokoshi imaginatively entwines cultures and personal insights
to create radical performance works. Born in Hiroshima, Japan,
Yokoshi arrived in the United States in 1981 with an extensive
background in the
martial art Kendo and classical ballet. Yokoshi’s first autobiographical
book Once in A Life Time received Ogai Mori Literary Award
in 1991. Her documentary video Last Sokoshi received Grand
Prize at the Luminous Video
Competition in 1990. Yokoshi's works - which reflect her interests
in combining disciplines and mediums - have been presented
at festivals and theaters
nationally and internationally including Whitney Museum of
American Art at Philip Morris, MASS MoCA, PICA, Performance
Space 122, The Kitchen, Dance Theater Workshop, Japan Society,
Brooklyn Academy of Music
produced
by An Arts Center 651, Festival A/D Werf (Holland), Festival
Sommer SZENE (Austria), Frascati Theater (Holland), and Korea-Japan
Dance Festival
in Seoul and Tokyo. Yokoshi is a receipent of 2003 New York
Dance
Performance (Bessie) Award and the Artist Fellow from the New
York Foundation for
the Arts.
The Kitchen’s 7th Annual Sidney Kahn Summer
Institute is made possible with public funds from the National Endowment
for the Arts and with the generosity of its founding sponsor, Elizabeth
Kahn Ingleby. Additional support has been provided by the Asian
Cultural Council and the Sidney Kahn Family Foundation. Special
thanks to Technology Sponsor, TEKSERVE, and to Media Lab Sponsor,
Parsons School of Design, Graduate Department of Design and Technology.
  
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