Dmitry Morozov for iii

::vtol:: is the alias of Moscow-based media artist and musician Dmitry Morozov who implements his ideas in technological art: robotics, sound art, science art. He also develops and creates experimental musical instruments and modular synthesizers. He regularly holds workshops and lectures dedicated to technological practices in art.
::vtol:: took part in 4th Moscow Biennale of Contemporary Art, festivals Archstoyanie and CTM (Germany), exhibitions at such prominent venues as: NCCA (Moscow), MMOMA (Moscow), Central Exhibition Hall Manege (Moscow), Laboratoria Art&Science Space (Moscow), Electromuseum (Moscow), Garage museum of contemporary art (Moscow), ZKM (Germany), and Boulder Museum of Contemporary Art (USA). He is a laureate of the Sergei Kuryokhin Prize (2013), Prix Cube (France, 2014), and has honorary mentions in the VIDA 16.0 (Spain, 2014) andArs Electronica (Austria, 2015).

Teoma Naccarato and John MacCallum

Residency at Cloud/Danslab | Relational Listening, with the Heart

In this long-term artistic research and creation project, we employ biosensors as a means to intervene in our collaborative practice, with regards to understandings of bodies and time in performance. We are developing installations, performances, and workshops, each of which acts as micro-event in which to actualize and examine our approach to interaction design, based on relational awareness and contextual exchange between performers, media, and audience. During our residency at Cloud/Danslab our focus will be dual: firstly, we will elaborate our techniques for relational listening between dancers and musicians; secondly, we will work on the choreography and composition of III, a live performance to premiere at Tangente Danse in Montreal, Canada in April 2017. We will share aspects of our project with through a public workshop for dancers and musicians on Sunday February 26 from 2-5pm .

Teoma J. Naccarato (Montréal, Canada / London, UK) is a choreographer and interdisciplinary arts researcher. Through her collaborative creations for stage and installation, she explores the appropriation of surveillance and biomedical technologies in contemporary dance and performance. Her work proposes promiscuous encounters between participants, human and nonhuman, to provoke intimacy, vulnerability, and uncertainty. She has shared choreography internationally, with recent presentations of Experience #1167Synchronism, and X.  Naccarato has an MFA in Dance from the Ohio State University, and is presently pursuing a practice-based PhD at the Centre for Dance Research (C-DaRE) at Coventry University.

John MacCallum (Oakland, USA / Paris, France) is a composer based, since 2004, in Oakland, California. His work is heavily reliant on technology both as a compositional tool and as an integral aspect of performance. His works often employ carefully constrained algorithms that are allowed to evolve differently and yet predictably each time they are performed. MacCallum studied at the University of the Pacific (B.M.), McGill University (M.M.), and UC Berkeley (Ph.D., Music Composition), following which he was awarded a postdoc for several years at the Center for New Music and Audio Technologies (CNMAT). Currently, MacCallum is a postdoctoral researcher with the Extreme Interaction (EX-SITU) research team at Inria Saclay/Université Paris-Sud/CNRS.

Cocky Eek

In Collaboration with Satellietgroep, Cocky Eek will start her research at the Zandmotor in February for a new project called 'Landing Sites'

The Zandmotor is a man-made landscape that will dissolve in about 15 years into sea, beach and dunes. Right now, how can we sense its wide-open space and the movement it contains in all its intensity? The body is always located in relation to the space that contains it. Space is something that is experienced in motion that first makes it appearance through movement. During this research period body and space are the materials that are set into relation to each other. At the Zandmotor we will explore and develop wearable interfaces to create new sensory relationships in which our inner landscape will converge with the landscape that surrounds us. The interfaces will stage us in a contemporary drama in which we are part of and and separate from our environment. We invite our passengers to a open dialogue with space and time and we like to expand the totality of how they are physically perceived.

Landing Sites is a project by Cocky Eek in collaboration with Matthijs Munnik, assisted by Geartsje van der Zee. 
 During this artist-in-residency there are a two public presentation moments at the Zandmotor; Friday 17 February at 13:00h and Friday 3 March at 13:00h. The process of Landing Sites can be followed at the blog 
The outcomes of the artist-in-residence at the Zandmotor will be presented at the Oerol Festival 2017 and in September at the Zandmotor itself.

Landing Sites is a coproduction of Schweigman& and Satellietgroep  Stroom - Den Haag, generously supports Landing Sites.

Sharon Stewart and Bettina Neuhaus

Stewart & Neuhaus aim to investigate how the body – with its tangible, palpable matter and its immaterial facets – responds and relates to sound on the level of vibration, vibrational rhythmicity and rhythms generated by natural patterns (see below) and how rhythms of the body inspire the generation of sound and sonic vibrations.

● How do sound vibrations alter the rhythmicity of the permeable physical body – vibrating bones, tissues and organs – and stimulate movement? This raises the question: what is inner (response to) rhythmicity as revealed in movement?
● How do external sound vibrations travel through the body and influence it in terms of directionality?
● What is the role of space as a connecting and transmitting medium between body and

Bettina Neuhaus is an Amsterdam-based dance artist and researcher who has been working in the field of performance internationally for more than 25 years, collaborating with dancers, musicians, visual artists, poets and philosophers. In addition to her work as prominent improviser, she creates performative installations, site-specific performances and lecture-demonstrations. Propelled by her ongoing fascination with the body in motion – its intelligence, imagination and transformative nature – her work emphasizes the fluid use of the entire spectrum of expression: moving, sounding and speaking.

Sharon Stewart studied piano at the Utrecht School of the Arts, Faculty of Music, and later completed a Masters in Music Pedagogy at the Royal Conservatoire, The Hague, where she focused on feminisms, improvisation and technology in a music pedagogical practice. Works with dancers have been performed at festivals and other venues in Arnhem, Nijmegen, Amsterdam, The Hague (NL), Copenhagen (DE) and Marseilles (FR). Field recordings form an inspirational basis for many of her compositions. Sharon became certified in Deep Listening, with Pauline Oliveros, IONE and Heloise Gold in 2011 and is now a teacher for the online Deep Listening program at RPI.

Angela Fegers

A Florida native, Angela Fegers received her formative training from Florida Dance Theatre, under the direction of Carol Erkes and Ferdinand DeJesus. She continued her studies at New World School of the Arts working to earn her Bachelor in Fine Arts in Miami, Florida. While in Miami, Fegers co- founded DalioArts with Monica Sharon, and began presenting work in Miami Fringe, Miami Dance Festival, and Art Basel. Fegers then moved on to continue presenting work in Iceland, The Netherlands, New York City, and Connecticut. Fegers has also had the pleasure to perform works by Bill T. Jones, Merce Cunningham, Peter London, Earl Mosley, Marianne Goldberg, Kevin Wynn, Daryll Moultrie and Lindy Fines.