Performance Fake and Extinct, by Klara Kofen and Cameron Graham

In this intermedia performance, artists and opera-maker Klara Kofen joins composer Cameron Graham to weave percussion, song, digital puppetry, simulated worlds, and spoken word into a sensorial exploration of infrastructural ghosts.

Departing from the discovery of a broken rainwater pipe in the Dolomites, Fake & Extinct unfolds across chimeric landscapes —hydroelectric castles, colonial maritories, Chinese data centers, roadside vending machines—where multiple temporal regimes overlap and collide. 
Drawing on the notion of chronocenosis (Natasha Wheatley), the piece conjures the spectral sovereignties embedded in water systems, colonial extraction, and digital infrastructures, exposing how power persists through habits of forgetting and remembering, and rendering palpable the volatile temporal hybridity that shapes our present.

Desarrollado en Centrale Fies como parte de la beca Live Works Fellowship 2025
Sonido/música/percusiones sensoriales en vivo: Cameron Graham
Con la participación del Coro Waste Paper Opera (coro voluntario)

Developed at Centrale Fies as part of the Live Works Fellowship 2025 
Sound/music/live sensory percussion by Cameron Graham 
Featuring the Waste Paper Opera Chorus (volunteer chorus) In a performance of a new arrangement of Li Xian Lang’s ‘Moonlight on the water’ (李香蘭 - 河上的月色) by James Oldham and Cameron Graham. With words from George Bataille’s ‘Accursed Share Vol III’ 
Also featuring the voices of Meili Li (countertenor) Günseli Yalcinkaya (speaker ‘The Bird’) Gary Zhexi Zhang (speaker ‘Hans Kelsen, the Cat’)

The Artists:
Klara Kofen is an artist, opera maker, writer, and researcher whose work explores speculative and counterfactual histories, and the ways technological interfaces shape our relationship to time and affect. She is the artistic director of Waste Paper Opera, a hybrid collective creating multimodal performances at the intersection of opera, technology, and research since 2015. Recent projects include Admiror, or Revolutionary Sentiments (Guggenheim Museum, New York, 2024), Dead Cat Bounce (UK Tour, 2024), and 110 Fathoms (Matt’s Gallery, London). 
Cameron Graham is an artist, composer, and sensory percussionist whose work reorients sonic experience through intermedia, parafiction, and simulation. Moving across installation, electronic music, and hybrid performance, his projects investigate the entanglements of psychoacoustics, automation, and the cultural histories of technology. Recent works include Abat-Voix (BEK, Bergen), Admiror, or Revolutionary Sentiments (Guggenheim Museum, New York, 2024), J’ai Attrapé (Le Lieu Unique), and 110 Fathoms (Matt’s Gallery, London).