Isaac Silber

 
silberis1@gmail.com

Recording//Mixing//Mastering Engineer



Swerve FatiguePerformance by Jonathan González at The KitchenApril 2026
         
 Swerve Fatigue explores ensemble practices of swerving—abrupt shifts in direction to avoid collision—as a choreography of collective power within accelerating fields of crisis. Referencing accelerationism, atmosphere, entanglement, coordination, and intimacy, the work tests the illusion of individuality through the embodied negotiations of the group. Within a theatrical ecology of intensifying sound and ambient light, the performers move as deindividuated matter, forming and reforming in response to one another. In this processual field, Swerve Fatigue proposes relation itself as a mode of resistance and collective becoming.

Performers include Ananda Naima González, India Lena González, Marguerite Hemmings, Kingsley Ibeneche, and AJ Wilmore, with sound design by Alexis de la Rosa and GENG PTP.

Jonathan González: Swerve Fatigue is organized by Angelique Rosales Salgado, Assistant Curator. Production by David Riley, Production & Exhibitions Manager, and Tassja Walker, Production Supervisor.

I am contributing live sound mixing for this performance.
Internal AuditPerformance by Days (Ned Risely and Ethan Philbrick) at The KitchenMarch 2026
         
 Internal Audit is a surreal workplace musical — a play inside a concert inside a company — by the band DAYS (Ned Riseley and Ethan Philbrick). It follows employees of a post-wellness brand called The Kitchen as they try to make sense of their alienated intimacies. Performed by Riseley and Philbrick alongside an ensemble of actors, Internal Audit splits musical theater into its constitutive parts. Songs score actions, actions overwhelm songs, and professional banality is rendered mystical and uncanny.

Featuring performances by Francesca D'Uva, Ashley Pérez Flanagan, Gus Heagerty, Sunita Mani, Erin Markey, Ethan Philbrick, Ned Riseley, and Madeline Wise. Directed by Tara Ahmadinejad, lighting design by Kristen Paige, choreography by Tess Dworman, and stage management by Rachel Rice.

DAYS: Internal Audit is organized by Robyn Farrell, Director of Curatorial Affairs & Senior Curator. Production by David Riley, Production & Exhibitions Manager, and Tassja Walker, Production Supervisor.

I contributed sound system design and live sound mixing for this performance. 
Offerings SeriesPerformances by This Time’s Quartet, Fred Moten and Brandon Lopez, and Jordal Deal at Church of Saint Mary the VirginFebruary 2026
         
 “Offerings” is a monthly performance series curated by Ethan Philbrick, Alessandra Gómez, Leonor Mendes, and Ro Miller.

Photos to the left are of Fred Moten and Brandon Lopez (left), and Kris Lee performing in Jordan Deal’s work (right).  

I set up the sound system and sound mixed for this night of performances.  

We Exist in the Ambivalence of Those MotherfuckersPerformance Residency at Performance Space New YorkFebruary 2026
                                                                                                                                                                             

We Exist in the Ambivalence of Those Motherfuckers departs from the mainstream commemoration and reflection by Vietnam and the United States of the 50th anniversary of the end of the Vietnam War in 1975. While the injuries of the past remain present decades later and have been well-examined by Vietnamese-American artists, the history of experimental performance in Vietnam has emerged amidst a negotiation of ambivalence and resistance to government interference. To instigate a global conversation around art-making and censorship, the program provides self-determined Vietnamese-centered environments and contexts within which audiences may engage with contemporary Vietnamese practitioners. Supported by long-term residencies, conversations, and provocations in Performance Space New York’s theaters over the course of a month, the program will culminate in debut performances by four intergenerational artists, and conversations with the program’s instigators and co-organizers Anh Vo, maura nguyễn donohue, and Lumi Tan.

The title of the project comes from unreleased lyrics by Ngoc Dai, a former soldier turned avant-garde composer, inferring that a radical existence can be both a refusal of the ambivalence of those in power, and enabled by that same ambivalence. 

We Exist in the Ambivalence of Those Motherfuckers is a part of a broader series of events featuring talks, screenings, publications, and more, collaboratively organized between organizations during the fall and winter seasons. Movement Research Performance Journal Issue #62 will be entirely dedicated to experimental Vietnamese performance, featuring reflections from 21 Vietnamese artists and curators including Tuong Linh Do, Vu Duc Toan, Viet Le, Phuong Linh Nguyen, Nhung Dinh, and Tra Nguyen. Public programs include a virtual engagement with artists ahead of their residency as presented in partnership with the Center for the Arts at Wesleyan University; a conversation between Lumi Tan, maura nguyễn donohue, Anh Vo, and Do Tuong Linh around the origins of the project at Asia Art Archive in America; a screening and discussion exploring early video of experimental performance in Vietnam including work by Truong Tan and Vu Dan Tan at CARA (Center for Art, Research, and Alliances); and a conversation between Lai Dieu Ha and Nhi Le at New York University’s Institute of Fine Art.

We Exist in the Ambivalence of Those Motherfuckers is co-produced by Performance Space New York and the Center for the Arts, Wesleyan University.

I contributed sound design and live sound mixing to this residency. 
Street Dance(Re)Performance by Lucinda Childs for PERFORMANovember 2025





   
On July 23, 1964, Lucinda Childs premiered Street Dance, a site-specific piece now widely recognized as a seminal work of American postmodern dance. Created as an assignment from Robert Ellis Dunn to the dancers of the Judson Dance Theater, the six-minute piece marked a pivotal moment in experimentation between dance and new media. Street Dance (1964–2025) is a reenactment of the original piece to be staged just a few blocks from the initial performance location.

The piece originally opened at Judith Dunn’s studio on East Broadway and later, at Robert Rauschenberg’s request, from his studio at 812 Broadway in Manhattan. Childs played an audio recording instructing the audience to look out the window, while she descended to the street below to meet James Lee Byars. On the sidewalk across the street, performers gestured toward architectural details, street furniture, and shop windows. These movements were precisely synchronized with the audio playing in the loft above. The choreographer explains that “the result was that the spectator was called upon to envision, in an imagined sort of way, information that in fact existed beyond the range of actual perception”, creating “a perceptual bond.” Unaware of the performance, passersby continued with their routines, allowing the choreography to seamlessly merge with the city’s everyday gestural landscape.

Street Dance significantly influenced members of the Judson. Steve Paxton cited the work in developing his exploration of pedestrian movement in Satisfyin Lover (1967) and State (1968). Yvonne Rainer used recorded sound to synchronized action in Parts of Some Sextets (1965). For Childs, the piece marked a milestone in the development of her approach to scoring and questioning the relationship between sound, image, and live performance, which would become central to her proscenium works such as Dance (1979).

This reperformance featured Childs herself and David Thomson. An accompanying archival exhibition contextualized the work, and was on display at the performance site. The film documentation created during the performance will join the touring exhibition Lucinda Childs — Between Prediction and Speculation (2026).

Curated by Lou Forster and produced by The Blanket, the project is co-produced and co-commissioned by The Kitchen, Frac Bretagne, Frac Franche-Comté, and the Centre d’art Le Lait, with the support from the Robert Rauschenberg Foundation and the Villa Albertine. A film of the performance will be included in the upcoming touring exhibition Lucinda Childs — Between Prediction and Speculation.

I recorded, mixed and mastered the audio for this performance with Lucinda Childs, and worked as the A1 sound engineer for the performances.  
High and ScaredWIP Feedback Front Performance by MTHR TRSA at PSNYNovember 2025
“High and Scared” is a movement based play unfolding inside a shared, unraveling reality – where nightlife bleeds into work, where grief hums beneath club lights, and where bodies keep moving even as the mind slips. Built on endurance choreography and physical therapy-inspired movement, the piece traces the tension between survival and surrender. Breakups echo in green rooms. The aftermath of assault lingers in silent corners. Sadness flickers in and out, like bad lighting in a bathroom stall. Still, the train runs. The beat drops. The play holds all of it in one breath—absurd, darkly funny, tender. A collapsing ecosystem where pleasure and paranoia coexist, and even in the noise, something soft insists on being held. Have you seen Molly?

I worked as A1 sound engineer for this performance.  
SXXTXCH LIVEPodcast Recording and Performances at PSNY by Mindy SeuOctober 2025
Mindy Seu presents SXXTXCH LIVE, in collaboration with Deem Journal, a weekend of live podcast recordings, a guest performance, and a reception that delves into sexual technologies. Over two days, Seu and invited guests will discuss the impact of sexuality on technology, innovating online, queering biotech, transforming markets, and more.

Podcast episodes included guests such as Ani Liu, Gabriella M Garcia, Navild Acosta, Mistress Harley, Ayanna Dozier, SHAWNÉ MICHAELAIN HOLLOWAY, Sam Cole, and Noelle Perdue. 

Performances included TERMS OF SERVICE by Shawné Michaelain Holloway with A. J. McClenon, and A SEXUAL HISTORY OF THE INTERNET by Mindy Seu. 

I worked as A1 sound engineer throughout this weekend of events. 
Photos (left) were taken from the sound booth during Holloway/McClenon and Seu’s performances. 
  
The School for Temporary Liveness Vol. 4Performance Assembly at The KitchenJuly 2025
The School for Temporary Liveness is an assembly of artists and organizations reimagining performance through the frame of a school, organized by Lauren Bakst and Niall Jones. For its fourth iteration, it was hosted at The Kitchen. 

I worked as an A1 sound engineer throughout the program, collaborating with artists Julie Tolentino, Juliana Huxtable and Via App, Nora Chipaumire, Bilna’es, Denise Ferreira da Silva, Wendy’s Subway, and more.    
Moor Mother: Closing PerformancePerformance by Black Quantum Futurism at Performance Space New York June 2025
This was the closing performance of Black Quantum Futurism’s Open Room residency at Performance Space New York. For this residency, Black Quantum Futurism installed the Memory Vortex Inn, an interactive exhibition, from September 20th, 2024 to June 30th, 2025, which they activated with a series of performances throughout the residency. The closing performance involved an improvised collaboration beween Moor Mother (Camae Ayewa), Tcheser Holmes, Joy Guidry, Kyle Kidd, and Vitche-Boul Ra.  

I worked as A1 sound engineer for this performance. 
A. Garden Performance Program at Performance Space New York June 2025
A. Garden was organized by Tara-Jo Tashna, and held at Performance Space New York on June 12th, 2025. 

Inspired by the idea of a forest bath or nature walk, A. Garden, or “Anthrophony (human made sound) Garden” encouraged us to blur the distinctions between human and nature. Featuring Lake Dorn, YATTA and Keith N’Dong, with a live installation by Neda Mouzayanni, the audience was invited to take a moment of reprieve in this auditory garden. Under the prompt of regeneration and rebirth, each artist’s interpretation was enlivened through sonic based interventions. 

I worked as A2 sound engineer for this night of performances.