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Sponsored residency at Lake Studios Berlin with support from Troikatronix/Mark Coniglio & the Berlin Senat Residenz Pilotprogram


We invited dance makers and artists invested in the field of technology and performance to apply for this special residency hosted at Lake Studios Berlin from 05.10.2020 to 21.11.2020

            'As a response to the global pandemic and civil unrest this year, we will invite an artist and a remote collaborator to explore and expand the notion of "remote performance" as it relates to dance. We recognize that creating for this virtual space has little in common with the established practices of live presence and performance in the physical realm. Because of this we are seeking collaborators ready to radically reconsider the form, structure, and dramaturgy of an online dance performance. In our view, everything is "up for grabs" – starting with the way in which you will conduct rehearsals/research and going all the way to how the online viewer will experience the final work. The proposal we choose this year will be selected because it demonstrates that the artist is ready to dig deep into the topic and offer an innovative vision of what an online dance performance could be.'


The residency includes:

A stipend for the primary artist a living space for the primary artist at Lake Studios, and a minimum of 25 hours of studio time per week divided between our 2 studios. 


The primary artist must be based in Berlin because the funding we received from the Berlin Senat requires this. The remote collaborator may be based anywhere in the world (including Berlin).

We will provide the following to the selected artist:

  • A private room and access to a shared kitchen, and bathroom in the Lake Studios Complex for one person.

  • 125 hours of studio space divided between our small and large studios

  • Technical equipment: two video projectors, stage lights, lighting console, sound system, an audio mixer, a range of microphones, sound recorder, and a professional video camera to stream/record rehearsals.  For a complete list of technical equipment please check our website under ‘Studios/Rentals’

  • A presentation of the first stage of the work (maximum 15 – 20 minutes) for feedback in our performance series Unfinished Fridays on 30.10.2020

  • Technical assistance for a final presentation of the work on 14.11.2020.

  • Two coaching sessions (two hours each) with composer, multimedia artist and creator of Isadora, Mark Coniglio – the co-sponsor of this residency.

  • A free perpetual license for Coniglio's software Isadora – a wide-ranging multimedia software tool that can also facilitate remote performance.

  • A 3000€ stipend for the artist in residence. Remote collaborator must be paid by the artist in residence.

Lake Studios would like to thank TroikaTronix/Mark Coniglio and Berlin Senat for their support of this residency.

SELECTED ARTISTS for 2020 are: Emily Ranford & David Pallant. Congratulations!


Paula Monticenos Performing.jpg

  A R C H I V E   :   2016 - 2019 





Lake Studios Berlin / Troikatronix –

 “Technology, the Body, and Choreography”

2018 sponsored residency recipients:


Teoma Naccarato & John MacCallum


Teoma's Artist Statement:

In my choreography for stage and installation I probe the implicit values that inform interaction

with and appropriation of technology in artistic contexts. From surveillance cameras, to heart

rate monitors, to hand-held mirrors, I use technology to de-familiarize sensory encounters,

inviting non-normative ways of looking, listening and touching. The role of sensor technologies

in my work is not to extend or represent bodies and movement, but rather, to shape a context for

emergent encounters in which conceptions of bodies and movement are co-constituted. By using

technology to bring awareness to the act of awareness itself, the implicit perceptual priorities of

each participant in a live event become an integral aspect of the event itself. I approach

choreography with mixed media as deconstructive yet generative process, in which the

re-contextualization of technologies into an aesthetic arena raises questions about the perception

and representation of bodies and movement across disciplines.

Project Proposal:
In this residency I will continue research and development for performance experiments in which biosensors are used as an intervention in ways of looking, listening, and touching between performers, and with the public. These performance experiments may span minutes to hours, and traverse traditional to one-on-one performance, sonic/haptic/visual installation, and guided breath and listening practice. During the initial weeks of the residency I will work in the studio to devise structures for sharing, with an emphasis on tactile, sonic, and kinaesthetic encounters between performers and visitors. I am excited to engage with other residents and local artists at this stage of developing the work, so the community within the working/living quarters at Lake Studios Berlin is an ideal setting. Outside of studio hours, I will focus on the development of patches in Isadora for the live event. I have been using Isadora in my projects for the past ten years. On a choreographic and technical level, the coaching session with Mark Coniglio will be invaluable to the long-term development of my research and creation. In the later part of the residency my collaborator composer John MacCallum will join me to refine a performance experiment for sharing at Unfinished Fridays. In our ongoing collaboration, we are interested in how ‘the work’ of creation spills in and out of the studio in unexpected ways, especially when given opportunities to work close to where we live and live closely in our work. Throughout the residency I will document the process with video and audio recording, as well as photographs and writing, to share on my blog and on dance-tech.net.

My work in this residency will build on my past four years of collaborative research and creation with composer John MacCallum in our project III. III involves numerous performances, installations, workshops, residencies, and publications, in which we examine the critical appropriation of biosensors in artistic practice. Through the de- and re-contextualization of technologies such as stethoscopes and
electrocardiograms from medicine to athletics to choreography and composition, each iteration of III acts to destabilize disciplinary understandings of bodies and temporalities. This residency will be an opportunity to focus on my role within the collaboration, and to investigate emergent relationships within our interdisciplinary body of work. III began in 2014 through an Artistic Research Residency at IRCAM, and has continued through partnerships with independent and academic institutions internationally such as C-DaRE (UK), CLOUD/DansLab (NL), CNMAT (USA), Djerassi (USA), Ex-Situ (FR), Synthesis Centre/AME (USA), and Tangente Danse (CA).

Links to past work:

III: Tangente: https://iii-iii-iii.org/portfolio/iii-performance-at-tangente/
III: Synchronism: https://iii-iii-iii.org/portfolio/synchronism/
Experience #1167: https://teomanaccarato.com/portfolio/experience-1167-2/




Lake Studios Berlin / Troikatronix –

 “Technology, the Body, and Choreography”

2019 sponsored residency recipients:


Elena Tilli



Ex Matrice Corpora is the performance born during the solo residency that Elena Tilli received at Lake Studio Berlin (Sept-2019) sponsored by Troikatronix, Isadora. During this time, she collaborated with the performer Kate Slezak, with the aim to study particularly the connection between the Body and the Outside. The piece focuses on the journey of the body into the world beginning with the conceiving. How the body is slowly introduced to what will always be a presence perceived at different levels of consciousness throughout the overall experience of life. The relationship between the inside and the outside investigated from the deepest level of intimacy up to the formal relationship that funds the 'solid' basis of the world's structure: the moral, the language, the image. Ex Matrice Corpora wants to take the audience into the gravitational dualism of the relationship between the inside and the outside of ourselves, of us, of the community, of the society, of the world. To do so the two characters the audience can see on stage play two very different roles within the piece. They will interact and experience one another while using their peculiarity: the body vs the technology. Technology will be part of the piece as an extension of the body, used by one of the characters, to increase the magnitude of its action and surround the body that will be immersed into 'the outside' forced to swim to not drawn. Like at the origin, birth represents the very first step of the struggle to survive. The beginning of the body's journey.


Use of technology within the performative arts

One of the questions I always kept well in mind while working on the performance was - Why do we need technology? Why do I need to make use of this or that device? Is it useful to convey the message? the feeling? to create the environment, the action, the narrative? This time I really wanted to focus on making technology a character inside a performance, to personify it. Allowing me to clearly define the positions of the characters with respect to space as the whole of the world we are in, technology represents a door in a 4th dimension that allows the characters to connect and begin a relationship, very similar the way it happens now. At the same time, it is well clear how technology does not subsist without human action. It can't substitute the body and its experience. But it can serve it in a very 'unique' way. Why researching, I observed how many of the machines the humans invented are clones of part of the body. A camera can be easily seen as the reproduction of the eye. A speaker as a big opened mouth, with its shape of a circle. But taking it further, to articulated and more complex machines, like an engine, for example, you can see how the concept and the way it functions, it is so similar to the way a human body works. It needs air and fuel to generate energy from a chemical reaction, to be able to create motion. The way we use technology to affect our bodies, to create interactions and new forms of connectivity, start from what we know and experience mostly at an unconscious level, which is the way our body functions. It is nothing outside ourselves.


Elena creates visual experiences combining elements of video, sound, and light for a variety of applications while exploring the research of new elemental environments for the narrative and the non-narrative to unfold. Her practice merges the research of the surrounding space combined with the ephemeral elements to find new possibilities throughout the process. Her investigations throughout performance have 'humanity' as the main subject while incorporating elements of anthropology, philosophy, pedagogy to investigate the evolution to dig into the mechanism of the evolution of the human body at an unconscious level.  

Her background in engineering, allows her to research, study and use technology to develop new connections among the space, sounds, lights, and images empowering the performer, the performance and the audience with a unique form of freedom - to connect with the unexpected and create a new connected configuration among all parts - backstage, on stage and beyond the stage. Loving versatility, Elena also serves as a technologist, scenographer, technical designer, and cinematographer.  



Video Reel of the piece



Other links






Lake Studios Berlin / Troikatronix –

 “Technology, the Body, and Choreography”

July 2017 sponsored residency recipients:


Rodrigo Zárate Marfil – Mexico

Collaborator: Areli Moran Mayoral – Mexico



With generous support of Mark Coniglio/Troikatronix we were again able to offer a sponsored residency in July 2017.

We invited dance makers invested in the field of technology to apply. From 40 proposals we selected one collective to work at Lake Studios this summer. They were given studio time to rehearse as well as be involved in a continuous process of exchange with other artists and mentors about their work. They shared  works-in-progress at the July 21th Unfinished Fridays as well as presented the final outcome of their work in the  frame of the Isadora Werkstatt Uferstudios Berlin (August 12, 2017).



We are searching for artists who consciously use elements of technology to affect the choreographic process and performance. We look for work that uses technology to expand or intervene in the body’s performative and

choreographic possibilities while keeping the human body in the foreground of the work. The role of the technology should be integral to the choreographic expression: it should connect, organize or disrupt the body or bodies aesthetically, socially, or politically.

Project:  Unfolded Light

Rodrigo Zárate Marfil: Concept/Sound

Collaborator: Areli Morán - Performer


Unfolded Light is a project about movement, sound, plasticity and the relation with digital control interfaces. It combines live music and dance performance with an scenographic element, inspired by Origami tessellation patterns, that can be mechanically manipulated through the performer movement, using a motor and micro controller based system.


Biography Rodrigo Zárate Marfil:

Mexican percussionist and electronic music composer. He studied Classical Percussion in Escuela Superior de Música y Danza de Monterrey in Mexico, and graduated in 2015. He has made original music for a number of dancers and performers. He has been part of "Expectante",

the company directed by Areli Moran, with whom has performed in many forums inside Mexico and recently in Europe. Currently he is currently completing a Masters in Electroacoustic Composition in Centro Superior Katarina Gurska in Madrid, Spain. He releases experimental electronic music under the name Recycled Robots, since 2015.


Biography Areli Moran Mayoral:

was born in 1985 in Mexico. She refers to herself as a scenic artist and cultural manager, based in Monterrey, Mexico. Her formal education includes the Royal Academy of Dance, the Escuela Superior de Musica y Danza de Monterrey in Mexico, and Modus Operandi in Vancouver, Canada.

In 2015 Moran formally started her company Expectante for the creation of her own dance work, as well as working for dance, theatre production, cultural management, and organizing tours for international companies such as Tentacle Tribe (Canada), Toula Limnaios (Germany) and Mestizos Crew (Monterrey).  Since 2013 Areli has been an dancer for Daina Ashbee (Montreal), touring in Canadá, Mexico and Europe. Areli also develops her own work in contemporary dance and collaborates with a variety of artists in Mexico, Canada, and Europe. Her work in the form of contemporary dance, film and installations, focuses mostly on the experimentation with images to question and research identity, monstrosity, sensuality and sexuality.


Lake Studios Berlin / Troikatronix –

 “Technology, the Body, and Choreography”

July 2016 sponsored residency recipients:


Jacob Niedzwiecki – Toronto, Canada

StratoFyzika Collective  - Berlin

With generous support of Mark Coniglio/Troikatronix we were able to offer two sponsored residencies in July 2016.

We invited dance makers invested in the field of technology to apply. From 48 proposals we selected two artists to work at Lake Studios this summer. They were given studio time to rehearse as well as be involved in a continuous process of exchange with other artists and mentors about their work. They shared works-in-progress at the July 15th Unfinished Fridays as well as presented the final outcome of their work in the  frame of the Isadora Werkstatt 2016 Media &  Performance Festival at Uferstudios Berlin (July 27 – 33).


We are searching for artists who consciously use elements of technology to expand

and deepen the choreographic process. We look for work that uses technology to push

and transform the body’s performative and choreographic possibilities yet still place the

performing body into the foreground of the work.  The technological components can,

but are not required to be, visible in the finished work.

Project:  Jaqueries

Jacob Niedzwiecki  - Choreography / Coding

Luke Garwood – Dancer

John Gzowski - Music


“I describe myself by roles as a choreographer, filmmaker, and programmer. My works orbit in an unstable three­body system of movement, media, and code. Every work has a slightly different flight path. I’ve explored algorithmically assisted composition, using code tools to create and coordinate intricate fugal movement; I’ve made interactive smartphone­based installations and performance works; I’ve made experimental short films using generative compositing. The main drive of my work over the last few years has been to push this three­body problem to an extreme: finding a synthesis of each of these disciplines at every stage of the process, from conception through development and into production.

My main work of the last few years has been the multi­part performance “Jacqueries”. Part 1 takes the narrative format of a heist (think Ocean’s 11, or Topkapi), with audiences following characters through scenes in indoor and outdoor urban locations — rooftops, back alleys, safe houses. Our custom iPhone app plays an original score (over headphones) in sync for audience and performers, and onscreen videos allow audience members to see scenes happening elsewhere.  Part 1 also includes an augmented reality solo inspired by 80s and 90s hacker movies, in which contemporary dancer Luke Garwood engages physically with animated data systems and virtual antagonists. We will be spending the residency developing a pipeline / workflow from 3D capture and 3D creation (After Effects, Maya) > translation of point data to animated mesh > display within the Vuforia AR framework to develop the full version of this  AR solo for Jaqueries.”

 www.jacob-n.com/  - Personal website       www.jqrs.org - Project website

Project: Phi


Hen Lovely Bird, Daria Kaufman : Choreography / Movement

Alessandra Leone : Light Design

Lenka Kocisova : Sound Design

Thomas VanTa, Maximilian Weber : Creative Coding

“We want to explore the dichotomy between visibility and darkness, orbital motion and phasing, as a visual and audial aesthetic, as well as an organizing structure.”


StratoFyzika has been working till now with digital projection, generative visuals and sound linked to the body ́s movement with the use of wearable technology.  In this case, we take another direction creating a kinetic environment based on responsiveness that will give audience the impression of a dynamically shifting space . As MoonFase is based on the phases of the moon and its relationship with sun, and earth, we seek a similar relationship between lights, bodies and sound.  In order to demonstrate this idea more clearly, we research the use of sensor technology to trigger each element.  Which sensors and how they are built into the performance will be determined based on research findings during our upcoming residency in May at Cultivamus Cultura and at Lake Studios in July.



Some keywords and structure ideas we will use for the

  creation of each component:

  • 28 Phrases (recognizable patterns, looped and varied) based on specific body parts.

  • Variation, employing speed, levels, retrograding, phasing and polyrhythm.

  • Under two light sources a Phrase is begun by one mover and finished by the other.

  • The phrases presented with flashing lights
    (so the viewer only catching glimpses of phrases)


  Team Members:

                 www.stratofyzika.com - Company website


TroikaTronix sponsored  Lake Studio Residents for July 2016 performed their work @ Uferstudios Studio 1 as part of the Isadora Werkstatt 2016:

July 28 @ 19:30: Jacob Niedwziecki  - "Jaqueries (excerpts)"

July 28 @ 19:30  & July 29 @ 20h: StratoFyzika Collective - "Phi"

also on the program:

July 29 & 30 @ 20h: "Left I - Right I"by Marcela Giesche & Sonya Levin