Nothing Here is Entirely Foreign is a performance of ceremony, movement and sound centered on the persimmon. Drawing from matrilineal stories and inherited gestures, the piece traces the quiet transmissions of culture through food, language, and care. Rooted in Korean and Japanese familial histories, it explores how ancestral memory lives in the body, what ripens across generations, and the sensual, corporeal rituals of everyday life. The performance weaves personal and collective memory, offering a tender meditation on diaspora, intimacy, and the sensory imprint of love passed down.

Hyper Terrains is a multi sensory experience revealing the artist’s connection between the vastness of the glacial Nunavut landscape, their transitioning journey, and its accompanying suicidal ideations. This hybrid performance/installation environment uncovers the brutality of both states while offering methods to cope and eventually bloom in a new way. Incorporating scientific data, field recordings, voice-memo diary entries, and a fragrance installation, these physical and emotional landscapes are expressed as a collection of chamber ensemble pieces. Together, we contemplate sonic expansiveness, glacial endlessness, material insufficiency, and physical transformation.

If you’re in crisis or need someone to talk to, the 988 Lifeline is available 24/7. You can call or text 988, or chat with a trained crisis counselor at 988lifeline.org ♡

Fluxmata is an installation opera moving through birth, growth, end of life, decomposition, and rebirth; reclaiming dirt and grime, rejecting shame, and returning otherness outwards. Fluxmata will feed itself and watch it grow, hold it and feel it die, and ultimately ooze back into the womb from which it came.

Oracle Egg presents Mattie Barbier in residency and concert with new works for trombone and prepared bass trumpet ~ exploring the acoustic irrationality of instruments and their shifting relationships to acoustic space through alternative playing methodologies and psychoacoustic phenomenon.

Student and Faculty members form the CalArts school of music and dance come together in a project researching the connection between movement and sound. During the one week residency at Oracle Egg in Los Angeles the team of artists will indulge in exploring and experimenting with the spatial possibilities of the venue, and how to decentralize the performance space, and the relation of the performers to the audience. The media of sound and movement will meet through improvisatory practices, informing, and deconstructing each other's acquired patterns. The week-long exploration will culminate in a performance on Saturday, May 10th.

Starlight Suite is a collection of short compositions employing custom hand tracking and wearable technology. Through gestural motion and piano performance, Celes navigates through a complex harmonic landscape. Condensed microtonal clusters open up to wide consonances as starlight falls to earth.

Theatre of Only Possible Haecceities is a textile-driven installation that creates an immersive, decorative environment for inextricably sonic-visual events. Maximally stretchy, synthetic fabric transforms the venue into a parabolically warped room, functioning simultaneously as a monochromatic stage, a curtain, and a lens. Theatre of Only Possible Haecceities marries live performances of micro chamber compositions & solo improvisations with discrete material events– modulating fabric layers, traveling clusters of color, large cascading paint streams, and unfurling plastic wraps. Choreographed manipulations of brightly-colored and found objects will animate melodic passages, noise, shifts in instrumentation, and game-like performance.

𝘛𝘩𝘦 𝘕𝘰𝘳𝘮𝘢𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘋𝘦𝘷𝘪𝘢𝘯𝘤𝘦 𝘪𝘴 𝘢 𝘴𝘰𝘤𝘪𝘰𝘭𝘰𝘨𝘪𝘤𝘢𝘭 𝘵𝘩𝘦𝘰𝘳𝘺 𝘥𝘦𝘷𝘦𝘭𝘰𝘱𝘦𝘥 𝘣𝘺 𝘋𝘪𝘢𝘯𝘦 𝘝𝘢𝘶𝘨𝘩𝘢𝘯 𝘵𝘩𝘢𝘵 𝘦𝘹𝘢𝘮𝘪𝘯𝘦𝘴 𝘤𝘰𝘮𝘱𝘭𝘦𝘹 𝘴𝘺𝘴𝘵𝘦𝘮𝘴 𝘧𝘢𝘪𝘭𝘶𝘳𝘦. 𝘞𝘩𝘦𝘯 𝘶𝘯𝘴𝘢𝘧𝘦 𝘰𝘳 𝘶𝘯𝘸𝘢𝘯𝘵𝘦𝘥 𝘱𝘳𝘢𝘤𝘵𝘪𝘤𝘦𝘴 𝘢𝘳𝘦 𝘢𝘭𝘭𝘰𝘸𝘦𝘥 𝘵𝘰 𝘤𝘰𝘯𝘵𝘪𝘯𝘶𝘦 𝘸𝘪𝘵𝘩𝘰𝘶𝘵 𝘳𝘦𝘱𝘦𝘳𝘤𝘶𝘴𝘴𝘪𝘰𝘯𝘴 𝘰𝘳 𝘤𝘰𝘯𝘴𝘦𝘲𝘶𝘦𝘯𝘤𝘦𝘴, 𝘵𝘩𝘰𝘴𝘦 𝘣𝘦𝘩𝘢𝘷𝘪𝘰𝘳𝘴 𝘣𝘦𝘤𝘰𝘮𝘦 𝘴𝘵𝘢𝘯𝘥𝘢𝘳𝘥𝘪𝘻𝘦𝘥. 𝘔𝘢𝘴𝘰𝘯’𝘴 𝘱𝘪𝘦𝘤𝘦 𝘦𝘯𝘤𝘰𝘶𝘳𝘢𝘨𝘦𝘴 𝘵𝘩𝘪𝘴 𝘤𝘰𝘮𝘱𝘭𝘦𝘹 𝘴𝘺𝘴𝘵𝘦𝘮 𝘧𝘢𝘪𝘭𝘶𝘳𝘦 𝘢𝘴 𝘢𝘯 𝘰𝘤𝘵𝘦𝘵 𝘱𝘭𝘢𝘺𝘴 𝘩𝘪𝘴 𝘮𝘰𝘥𝘶𝘭𝘢𝘳 𝘮𝘶𝘴𝘪𝘤 𝘢𝘯𝘥 𝘴𝘭𝘰𝘸𝘭𝘺 𝘧𝘢𝘭𝘭𝘴 𝘢𝘱𝘢𝘳𝘵.

Featuring:

Matt LeVeque - percussion

Nicki Chen - viola

Grace Dashnaw - cello

Ivan Cunningham - saxophone

Brody Scott - saxophone / clarinet

Jo Bagay - trumpet / flugelhorn

Nev Wendell - trumpet

Violinist Shannon Reilly presents two dramatic multimedia works, exploring her identity through simultaneous live performance, filmed media, singing, and acting. Reilly’s career launched with Anna Heflin’s 2019 solo opera The Wonderland Series, a “viscerally expressive fever dream” (ROC City News) which she’s performed in her professorship at UB SUNY, for Rochester’s Fringe Festival, and at NYC’s Blackbox at Power Station. In this west-coast premiere, Shannon examines the mysterious background and Biblical obsessions of its author and how they manifest in Wonderland. Shannon will also premiere Shaking, her most recent commission from Erich Barganier, examining how growing up in modern American Christianity impacted her own identity and demanding she reimmerse herself in the inherently performative and mentally taxing environment of a pentecostal church service. In performing these pieces, Shannon confronts her own identity, exploring the possibilities of being a ‘violinist’ while wrestling with her own religious upbringing.

Diapason is a Los Angeles based quartet focused on perceptual phenomenon in long form drone music for brass instruments. Diapason is Nev Wendell (trumpet), Nicholas Ginsburg (french horn), Mattie Barbier (trombone),  and Mason Moy (tuba). 

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Mason Moy is a tubist and composer currently based out of Los Angeles. He has commissioned solo pieces by Wolfgang von Schweinitz and Jack Herscowitz, performed with Wild Up, Monday Evening Concerts, and played the music of Ellen Arkbro at new music festival Other Minds. His music has been performed nationwide by the James Madison University Wind Ensemble, Kevin Stees (tuba), Matt LeVeque (percussion), and the Los Angeles Brass Alliance.

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Nev Wendell is an interdisciplinary artist and educator based in Los Angeles. They have performed with LA based groups such as ECHOI of Monday Evening Concerts, Wild Up, and Laós Chamber Music. Nev is an active faculty member with Kadima Conservatory of Music, and regularly guests as a tutor at Scripps College and Global Arts.

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mattie barbier is a sound maker and sonic researcher focused on experimental intonation, noise, and the physical processes of their instruments . they are a member of RAGE Thormbones, WasteLAnd, echoi,  wildUp, and are an active soloist on low brass instruments. they primarily work with trombone, as well as euphonium, bass trumpet, electronics, and bagpipes.

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Nick Ginsburg is a multi-instrumentalist, composer, sound artist & teacher living in Los Angeles. Trained primarily as a French hornist & urban planner, they now work fluidly between concert music, gallery installation, and site-specific engagements. Nick attended Vassar College, is a double-degree graduate of Oberlin College-Conservatory of Music, and recently received an MFA from California Institute of the Arts.

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Margo Harms is a Los Angeles based composer and performer who is currently exploring the intersections between grief, gender, and sex through a combination of text and sound. They are a firm believer that sound and visual aesthetic are equally significant within performance, and because of this, performance art is rapidly becoming a major component of their work. Margo’s focus is on navigating literal stories and personal life events via sound practice, obscuring them to the point that they begin to bridge the gap between individual and “universal” experiences.