je_zelf als experiment zien

CHAOS IS EEN BELANGRIJK ONDERDEEL VAN ONS BESTAAN

ITS (ABOUT) THE SEARCH

IK ZOU MN LEVEN GRAAG OVERDOEN.

LIVING A ECLECTIC LIFE

''Visual and performance artist Jessica van Deursen, designs lifestyles. With which she(/they) researches and shares through her art and blogs, how both the philosophical traditions of the art of living, and practicing ritual and experimental daily routines in her own daily life, can draw out durable solutions for present-day challenges such as climate change, and the world wide attenuation of social cohesion and knowledge about nature.''

The works presented below are part of a wider practice in which I utilize apparatuses, mechanisms, or systems beyond my control to introduce chance into the production of my art. The pieces here are from a series produced by trees, most of which are located in the Borrowdale and Buttermere areas of England’s Lake District. I attach artists’ sketching pens to their branches and then place sheets of paper in such a way that the trees’ natural motions—as well as their moments of stillness—are recorded. Like signatures, each drawing reveals something about the different qualities and characteristics of the various trees as they sway in the breeze: the relaxed, fluid line of an oak; the delicate, tentative touch of a larch; a hawthorn’s stiff, slightly neurotic scratches. Process is key to my work, so each Tree Drawing is accompanied by a photograph or video documenting the location and manner of its creation.

when things are beings

Klára Hosnedlová’s corporeal, immersive installations address utopian visions and imagine our future, post-nature selves. Interweaving architectural elements with performance, sculpture and also embroidery, her site-specific works are choreographed to develop fictional narratives that pose ‘what-if’ open-ended scenarios.
https://whitecube.com/artists/artist/Klara_Hosnedlova

maybe all bodies are already being choreographed, even if you never think of it

maybe yo make is to think. perhaps to make thinking. perhaps to think making.

maybe complexity

the architecture of our own interior; she makes us aware of the body we inhabit.

Rainbow Soulclub is an artistic collective composed of different kinds of makers and thinkers with different kinds of backgrounds. Meeting regularly at the collective studio in the Blaka Watra centre, as well as Janssen and Korsmit’s studio, the collective is a melting pot of people that learn from one another and work together to realise artistic projects. The collective is ever-expanding and connecting people from different walks of life, with stories of adversity, overcoming, and well-being. The collective enriches their network not only with hardship in common, but also through collaborations with other forms of collectivities, like art students across the Netherlands. 

an intimate space

collectively private

you can touch it

you can smell it

you can read it

you can feel it

you can hold it

you can rub it

you can open it

you can close it

The human voice as instrument

For over five decades Meredith Monk pushed the envelope of vocal music. Her highly unique approach to the voice has inspired many generations of musicians and sound artists and earned her numerous prestigious awards. Monk transforms the church space into a singing body and immerses the audience in an audio-visual experience especially created for the Oude Kerk. The exhibition translates her live performances and concerts into encounters with immersive video and sound installations in the 700-year-old church.  https://www.meredithmonk.org/

to share

to land

to write

and to receive

not judging importance

drawings / texts / images

a way to see ideas / thoughts

recognize emerging subject

Encompassing the curatorial underpinnings of The Spell of the Sensuous, the 2024 Biennial exhibition illuminates the fluid, porous boundaries between the human and more-than-human, embracing a multiplicity of ways of sensing and engaging with the thresholds of the body.  

zooming in - growing - loud - discovering - kids we were - movement - anger - comfort - mine or yours

Deze webdocu is gemaakt door Amsterdam Alternative om collectief eigendom (zonder winstoogmerk) als bruikbaar model onder de aandacht te brengen. Het is een inspiratie document maar zeer zeker ook een archief en handleiding. We hebben met opzet gekozen voor een uitbreidbaar systeem (modulaire webdocumentaire) zodat we nieuwe, interessante ontwikkelingen en initiatieven kunnen blijven toevoegen.

visual poetry

poetic materiality

Katarina Jazbec is a visual artist working in film and photography, using interdisciplinary and collaborative artistic strategies. In her work, which is based on long-standing participatory research, she builds heterotopias exploring the current questions of ethics, agency, and vulnerability of human and non-human critters in the current economic system. Responding to our complex times she searches for new forms of storytelling that can carry a plurality of perspectives and worlds yet still feel accessible to different audiences

>>> SPOKEN WORD, TALEN, INTERCONNECTIVITY, VROUW MENS ZIJN, NATUUR,

SYTSE SOUNDSCAPE EN NATUURFLUITEN

STRIJKERS

BEWEGING

STEMGEBRUIK AAAAAAAAAAAAAAAA

Text, sound and body

http://plaza.ufl.edu/kgladdys/ART6933/articles/brown1.pdf

https://www.frieze.com/article/search-stanley-brouwn

I started drawing and painting at a young age as a way to help my anxiety and also express the plethora of feelings I always had - I quickly found out the messier the artwork better (the same goes for humans!) I created Bekindbella in 2019 mostly as a reminder to be kind to myself always - but also as a way to connect with others and their mental health struggles. My main goal for my art is to help others feel seen in their everyday thoughts and hardships, through my simple and inviting artwork. I love messily drawn things, feelings, and flowers. 

My project is to read the world. My paintings, drawings and textworks – drawn interventions in newspapers, magazines and books – are the result of open working processes in which new and self-inflicted rules mix with anarchy. New meanings are revealed and constructed upon known surfaces. Some of the pieces undergo a (second) translation into music, performance or video.

https://allumbra.weebly.com/

https://www.artgallery.nsw.gov.au/artboards/hilma/the-five/

Spiritual Drawings of the Five

spiritual exploration and female empowerment within the context of the restrictive social norms of the time.

automatic drawings of the subconscious and other spirits

pionering abstract art

https://www.guggenheim.org/audio/track/spiritual-drawings-of-the-five-ca-1903-04

ES, 1989

my studio based practice departs from a sculptural way of building  installations
as a relational space, 
a system where unpredicted dialogues happen in interdependency between

architecture
objects
and bodies
creating layers of meaning
where everything alters and interrelates with each other
                                being the instability of narratives
                                             the structure of it.

leading workshops and text based exercises allow me to reach a horizontal and collaborative way of  sharing, questioning  and experimenting with language within a particular group as a methodology.

I am particularly intrigued by questions related to emotional aspects of human interactions in the intimate sphere, 
love and desire. I use experiences in an auto-ethnographical way as a raw material to explore the personal and the collective with wider cultural, political and social meanings.

I depart unexpectedly from
a life event
a love letter
a fetish
an intuition 
a desire

I develop the work through its materiality and form,  
                      trying to reach its own autonomy,
following the process and embracing the accident, 
even if the narrative emerges later or in parallel. 

I often choose objects related to the body, or with the absence of it,
looking for tension and balance between hard, quotidian building materials and delicate, intimate ones 

       concrete and velvet fabric
       dried flowers on rusty metal

linguistic, material and relational aspects force encounters and / or mismatches between the experiential and emotional  and the physical and the objectual

an inner tension emerges in this process

        a thing that is still being born and is only recognisable
by an active listening of the making

counter mapping

disarming design

Bron via Brussel

My practice moves in between: between mediums, fields, contexts, and countries.

Amid this in-betweenness, I embody the role of thetranslator, who observes and interprets, a figure in constant motion. In this fluidity, translation serves as both a guiding principle and a method, acting as a compass in my practice; it allows me to navigate these diverse landscapes and discourses, and to facilitate dialogue between them.

Writing is essential in my artistic practice. I use free association and poetic language to create textual works that are spoken during live performances or recorded as visual poetry on paper. By prioritizing rhythm, sound, and syntax, I aim to trigger a kinesthetic reaction in the reader/listener. I find this way of working to bring forth curiosity, playfulness, and subtle humor, all extremely important traits of my work.

Getting lost and coming home

I start my work from an embodied experience, deeply engaged with the present moment. I play seriously and inclusively, listening to my impulses and honoring my urges for colors and shapes while constantly staying in dialogue with my work. I use chance, instinctive gestures with sometimes figurative imagery, creating a deeply personal dialogue on freedom, intimacy, and connection themes. My process begins with an unplanned mark—an intuitive gesture that gradually reveals its potential as I respond to it. This organic evolution mirrors my emotional and psychological landscape, inviting viewers to engage in a shared experience of rawness and authenticity.

Anna Pakosz entered a daily ritual of meditative craft, experimenting with intuition and touch to overcome a creative block that hindered her painting practice. Undertaking a large-scale needlework project, entirely blindfolded, she let her hands guide needle and thread across canvas, creating without a clear vision of the outcome – exhibiting the final embroidery in 2023 at DOXA Project Space in Budapest.

Turato investigates our collective relationship to language, exposing the ideologies, failures and pleasures that characterise communication today.

he breadth of Turato’s work encompasses text-based installations, prints, books and performances, placing language as the central anchor of her practice. Turato’s work often weaves in collected language, as well as original text, channelling the constant stream of material into an original narrative she deconstructs and shapes through her multifaceted practice. Working within periodic cycles referred to as ‘pools’,  Turato reflects on particular current cultural and societal tendencies, specifically, the language and zeitgeist that define these shifts. Turato’s series of artist books – also titled pools – accompany each cycle, with Turato likening them to ‘annual reports’ of the compiled text and language of that year.    

https://www.instagram.com/p/DIWQf6wzlHs/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

https://www.stedelijk.nl/en/exhibitions/in-situ-1-en

https://www.kunstinstituutmelly.nl/en/people/4495-nora-turato

Ghost Flower Ritual brings together visual art, music and performance in a sensuous ritual that explores transience and the power of transformation in the face of today’s biodiversity crisis. The work is inspired by an alchemical myth of a flower that burns and rises from its own ashes.

Soundwalk Collective’s founder, Stephan Crasneanscki, has explored, captured and collected the world’s remotest places in sound to awaken a sonic memory within the landscape, uncovering traces of past and current histories of the world we are living in. The resulting compositions are made of sound that reflect our relation to this world, the environment, the soul of our existence, and the creative process of the artist.

weerklank

https://www.cvanherwaarden.nl/nl/home/

https://www.instagram.com/p/DN7tbr-Db34/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

Hun werk leent zichzelf tot de grey space, de schemerzone tussen de black box en de white cube, waar ze zowel theatrale- als museale regels en conventies oprekken. Het duo creëert tussenruimtes waarin de homo digitalis haar lichamelijke gewaarwording kan trainen en handvatten krijgt om zich met haar off-line body te verbinden tot allerlei nieuwe (virtuele) werelden. Door een gender-bewuste lens onderzoeken ze hoe verschillende realiteiten, of het nu virtuele- of droomwerelden zijn, interfacen met de menselijke gebruiker. Boogaerdt/VanderSchoot stelt de vraag wie of wat het apparaat van het (menselijke) lichaam bestuurt, hoe dat de aard van het bewustzijn beïnvloed, en bijgevolg de totstandkoming van verschillende realiteiten. Het duo exploreert lichamelijkheid in al zijn verschijningsvormen en speelt met het idee van een lichaam als object. Daaruit volgt dat de menselijke performer niet als vanzelfsprekend centraal staat. Ze spelen met het vervreemdingseffect van o.a. gemaskerde figuren, cybors, poppen, avatars, en semi-gemechaniseerde karakters. Zo oppert Boogaerdt/VanderSchoot de vraag ‘Wat maakt ons menselijk?’ en faciliteren ze een herverbinding met de creatieve kracht van het leven zelf.

https://bvds.nl/over/

Through workshops, choreographies and performances, films, installations and festivals we create participatory spaces for collective imaginings for diverse publics, often beyond the usual institutional frameworks and spaces of dance production. 

Je kunt me vinden in broedplaats Nieuw & Meer, op de fiets door Amsterdam of in de Fryske Wâlden. Ik probeer dagelijkse ontmoetingen en observaties te transformeren tot poëtische statements en ik vraag me af hoe we de werkelijkheid om ons heen ervaren.

i,while counting the i's, am working with perception and consequences thereof. I give to you what I wish to return to myself one day, and think of ways to make clear we are one, through contrasts that lie, saying we are two.
where two opposites meet is where I'd like to be.

As a painter and craftsman, Vincent de Boer seeks for poetry and nuances in the calligraphic line. He explores the limits of language by asking the question: can you tell a complete story in a single letter? A universe that opens up in one line? Driven by a fascination for the traces left after making a movement, Vincent explores his self-imposed technical challenges. While calligraphy is primarily known as a textual tool, Vincent is more interested in the mystical contradictions hidden within it, such as the depth of a flat surface, transcendental time and elusive tactility.

In addition to her drawings, costumes also form a significant part of her artistic practice. These costumes can be seen as drawings or installations. They can be draped in space, creating the suggestion of a body without one actually being present.

Her artistic practice could be seen as a preparation for a theater piece that will never actually take place

contacteren hoe pakt zij dit soort projecten aan :)

Onze maatschappij is vol meningen en standpunten. Voor twijfel lijkt steeds minder ruimte. Met Ode aan de Twijfel breken we met de gedachte dat twijfel geen plek mag hebben. Twijfel is een kracht die ons dwingt tot het stellen van vragen en daarmee aan de slag te gaan. Even wachten in plaats van snel naar het antwoord rennen. Dat vergt oefening in stilstaan, aarzelen, vragen stellen, nadenken, reflecteren en overwegen.

We — Juliana Acero, Stefano Cattani, Carmen Draxler, Laura Flethe and Rita Gaspar — are an research-based artistic collective driven by the need of resisting the individualization and alienation of the current society. Through collaborative practice, we create spaces for counter narratives that spark hope in a paranoiac world.

Our work unfolds through embodied experiences, learning with the body, sharing stories, and building meaningful encounters for repairing social fabrics of care.

We protest otherwise, always TogetherTogether.

unplanned connections

discovering possible relations

collage is alwats in relation

makes us reflect on the process of making and knowledge, finding relations, connections and entanglements.

the mysterious in the process

fragmentation and rearrangement

no seperation between the writing and visual making process

The Companion brings together a set of practices, including exercises, formats, prompts, scores, and group experiments, developed collaboratively by members of the SIT-PLU network. Each practice proposes different ways of activating relationships between people, things, and places, exploring how research and artistic practice can unfold collectively.
The collection is intended for those engaged in collective processes, artists, educators, researchers, students, hosts, and guests, as well as for anyone interested in how relationships themselves can operate as a form of knowledge. Across the contributions, the practices attend to the bonds that shape work, between artist and host, teacher and student, researcher and place, and individual and collective.

exercise

The world feels like a divide - a crossroads of rupture and longing. My work opens windows into both paths: one shaped by feminist rage, despair, and the aching grief for our earth, for each other, and for all who are marginalized. The other path carries a soft resistance: tenderness, longing, and a quiet magic. Like harbingers from another realm, my objects, paintings and gestures appear - fragments of a world trying to mend.

I resist singularity.

Their meetings function as dynamic and open spaces in which each participant contributes her knowledge, background, and artistic identity, experimenting collectively with sound, technology, improvisation, and embodied practices. Their sound emerges from the interplay of processes, moments, emotions, thoughts, and relationships that develop within these encounters.

They envision the collective as fluid and evolving: new members may join, constellations may shift, and the group continues to be shaped by those who participate and what they bring.

Do you know that cows have a language? Or that a female judge in 14th-century Sardinia drafted one of the first constitutions for a sustainable and equal society? Much of the knowledge we need is already there; we just need to learn to listen to it.

At the School of Silent Voices, you discover forgotten perspectives and hidden knowledge, and develop new ways of perceiving. Listen to our podcasts, take a course, or invite us to give silent voices a platform in your own environment.

These are some of the questions we will address through a series of improvisations, games and simple scores, from solo to group, that explore vision, listening and touch. Then, we’ll practice performing the essential keys of Real Time Composition: the question of choice, intuitive and voluntary states, simultaneous time, letting go, the relationship between the performer and the witness. Moments of analysis accompany the atelier.

   Mark Tompkins

Practitioner, educator, DJ, and researcher, Femke Dekker (also known as Loma Doom) has long been immersed in both sound and education. Across lecture halls, archives, festivals, art galleries, independent radio stations, and dance floors, she orbits a central question: What if listening itself were an artistic practice? What might unfold when listening becomes method, medium, and material?

Drawing on the work of scholars and artists—most notably Pauline Oliveros—Dekker approaches listening as a call to action: a way of tuning into one’s surroundings, one’s body, and the urgencies that contour our political and social worlds. She emphasizes the radical potential of reorienting knowledge toward collective attunement: the we rather than the I (or the eye). Inspired by Oliveros’s concept of Deep Listening—a way of expanding awareness through focused, embodied perception—Dekker acknowledges the composer as a foundational feminist figure whose insights continue to reverberate through the classroom, the studio, and beyond.

We wanted to learn about the role of listening and the sonic in Femke's research and teaching. Punctuated by sonic samples from Femke's vinyl collection, the conversation touched on topics such as different ways of listening, embodiment of sound, how to teach listening and the appreciation of the sonic as a discipline in art education.