Lopi LaRoe is a multi-media artist currently living in Brooklyn, NYC. Her Performance Work originated in improvisational dance and is rooted in theatrical performance. She activates constructed environments with kinetic compositions using props, projections and soundscapes to fabricate site specific installations. She explores themes of survival and disaster, evolution and the human condition through levity and gravitas. LaRoe was the founding director of a small performance venue in Santa Cruz, California called "What is Art?" The popular space had a 6 year run before it was shut down by the changing economic environment in that town in 2000. She migrated east to NYC in September of 2001, where she returned to her visual art roots and earned her BFA in Painting and Printmaking in 2005. Her most recent endeavor was a totally DIY humanitarian relief effort called Domes for Haiti.
She is currently juggling painting, performance and urban gardening.

Dukes stages multi-sensory situations between humanity, nature and industry by integrating sculpture, live and pre-recorded sound installations and occasionally video projection. Past actions have included siphoning and expelling liquids, sorting through thousands of mono-filament strands entangled within sapling roots or regurgitating the contents of oranges retracted from the Hudson River for hours. Shorter performance works investigate personal histories through narrative progression. She is an active advocate for higher education, human equality, environmental sustainability and preservation.
Dukes was born in Ohio and raised in the suburbs/forests of Tennessee. She completed her BFA in Fine Art at Watkins College of Art & Design with a focus in performance, sculpture and installation.
Dukes currently works at the School of Visual Arts and lives in Brooklyn, New York.

For nijah performance is something like a paracritical hinge, or a mosquito in his ear with a story to tell. A doctoral candidate in the department of English and Comparative Literature at Columbia University, he works with literatures of the African diaspora and his field of interest orbits around the black avant-garde as a centrifugal line for thinking about dispossession, performativity, and black social life. He is also the editorial assistant for Small Axe: A Caribbean Journal of Criticism. Yet, performance holds a promise to do what these other things can't and won't do. He is currently shifting away from comedy and poetry to explore new idioms of expression held in relics, dead objects, and sounds as a way of rethinking the idea of animation.
duppy know who fi fright'n:"the-body-as-an-open-secret" i'm trying to take advantage of the precarious position of performativity b/t repertoire and archive by working through the idiom of my grandma's brasserie. in this way, "the-body-as-an-open-secret" at once marks what her undergarment was meant to maintain--something similar to the unruliness that her daughter indirectly indexes when she requests "the first hook please; only the young ones use the last"--and also echoes nate mackey's task of accommodating for & taking solace in what remains. It is this simultaneous compliance and comfort in her flesh enacted by the tension and suspense of her bra-straps that drives this recital-ritual-performance of the senses. as the first installation in theduppy know who fi fright'n series, this is a preliminary reading of "hieroglyphics of the flesh"/some secret writings on the body's symbolic surface, boundary, stain, object, artifact, opening, medium for moving into the darkness�hers, mine, yours, ours.

After studies of bio-engineering, Porsperger has began an artistical work about a precise subject : classical music. Since his childhood, he is passionated about classical music. He listens a lot and has now a collection of thousands of classical recordings. He has studied the history of music and like to speak about, make it alive in different artistical approaches, far from the traditional ways of listening classical music.
Porsperger likes to play in unusual places and multiply formats. In 2006, he organised, in collaboration with Alexander Weiss, a parade in Brussels with tuned cars : "Cars and Composers". All the colorful and sound-systemized cars were playing together classical music mixed in live by me in the first car and transmitted in all cars by radio-waves.
The same year, he organised an exhibition called "Neurotic music sounds great" in a galery of Brussels : a space full of covers of classical records submerged by a sonorous band mixing of all these musics.