D O N ' T E A T T H E M I C R O P H O N E


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Don't Eat The Microphone (DETM) is an artistic project initiated by Veridiana Zurita and Petra Van Dyck in 2014 and since then happening in the garden of the Psychiatric Hospital Dr. Guislain (Ghent/BE). Since 2015 Stan Antheunis has been a part of the project while activating the work with sound and music improvisation. For this year's edition Lea Dietschmann comes in as a forth pillar of the project! Between 4th and 29th June 2018 DETM will be part of the Precarious Pavilions curated by Michiel Vandevelde. As the first pavilion in Ghent we question the relation between mental health, cure, artistic production, economy and the creation of space. Looking at how neoliberal discourse and the implementation of its policies manage to homogenize institutional structures into systematic machines of good management we ally forces towards the imagination of an heterotopic institution between the psychiatric and artistic fields of working.

In ‘Precarious Pavilions #1 - Don’t Eat The Microphone’ we propose some kind of anti-pavilion, an agonistic space, a place for cooking together, for twisting language, fictionalizing discourses and for suspending anesthetized social roles. On the meadow inside of the psychiatric institution we will open, for one month, a space consisting of loose objects – inspired by Lygia Clark’s artistic practice -, a setup of microphones, books, voice effect pedals, instruments, costumes and with a mobile kitchen as the motor for cooking the pathologized polarities between psychotics (insiders) and neurotics (outsiders). During this month we will build further upon our experiences of the past four years inviting many other people (researchers, activists, practitioners) to fuel our reflection around today’s economic precarity and the consequences for social segregation within and outside institutions. This year DETM is in conversation with Carolina Mendonça, Pierre Rubio, Vanja Smiljanic, Helena Dietrich, Steven Jouwersma, Senselab, a.pass, Lara Garcia Diaz, Elke van Campenhout & The Monastery, Christophe Meierhans, BAVO, Bart Capelle, Eli Noé, Christoph Moonen, among many others. This bunch of people will imagine, speculate, propose, brainstorm, sketch, scream, improvise, stutter, go mad and get silent about other economies of being together.

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You want to participate at Don't Eat The Microphone?
Mail: DontEatTheMicrophone@protonmail.com
The access is limited but everybody is welcome to join.
Between 4th and 29th June!
Everyday from 10h till 18th.
Come for the whole day,
come more than once,
come to spend time together!


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CHECK OUT THE PROGRAM 2018!


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IMPOSSIBLE PRACTICES 11th-17th
with Carolina Mendonça

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The idea of an impossible practice seeks to create actions that expand dominant ideas and project other forms of relation. It is informed by South Epistemology, proposed by Boaventura de Souza Santos, where normally non valued knowledge, that are easily not recognized as scientific, such as indigenous or lay, are investigated as tools to activate different stories. We will share non-hegemonic practices such as telepathic movement, remote viewing, deep listening, hypnoses among others. It is a practice in itself and it is also making visible a network of artist and researches that are dealing with these narratives. Having the body as the main matter, we will scape the idea of efficiency and linearity testing other logics of time and space. A collective adhesion to a fiction is a constituent part of the practice. Imaginary co-production results not only from openness to fictionality but also to a cooperative circuit in which all involved are responsible for the amplification of the signals emitted by the present bodies. Impossible Practices is not interested in reaching the impossible but in what happens when we try, it works in the limit of knowing and not knowing.
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Carolina Mendonçaworks between dance, theater and performance allowing contamination of knowledge and being vulnerable to other logics. Her latest works are. “We, the Undamaged others” 2017; “Falling” 2016; “Público” 2015; “Tragedy: a Tragedy” 2014 and “A Radically Condensed History of Post-Industrial Life” 2013. Carolina believes in the importance of collaboration to find possible perspectives to the world we live in and through a network of collaborators she is developing Impossible Practices.


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THE MONASTERY 11th-15th
with Elke Van Campenhout

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Elle is a monk in the contemporary transspiritual community The Monastery in Brussels. She began as art critic for the newspaper De Standaard and radio Klara, and then started collaborating with artists as a dramaturg and mentor in different constellations. As a house dramaturg she worked in places like workspace nadine, Kunstenfestivaldesarts, Gasthaus, TanzFabrik etc… Between 2007 and 2017 she led the international post-master program for artistic research a.pass in Brussels. She developed there a long-term research trajectory under the umbrella Bureau d’Espoir. A research that slowly unravelled her preconceptions and desires, and resulted into the life changing turn towards a monastic life and the start of The Monastery.  The Monastery will be landing in DETM for five days, practicing the monk’s life in the garden of the Psychiatric Center Dr. Guislain. To curve the plane of daily reality. To create holes in the surface of the everyday. So you can breathe a little more freely. To suspend judgment indefinitely. To vibrate in the paradox, without the need for a solution.
In the Monastery we practice queering up reality: to let go of the dichotomies and categorisations that hold our lives hostage. The daily rhythm is about creating space. About freeing up time from the confines of work, of accumulation, of identity building. To free up love from the confines of marriage or polyamory, the One or the Many.
We call it a transspiritual practice. There is no religious dogma ruling life. There is no Transcendence, only transendences, as Bruno Latour points out. Only things, big and small, that simultaneously reach out and escape us. Are available and resistant. And in that movement lies there grace. The redistribution of the Divine, or Space, of Life. No longer a capital possession of rules and truth, copyrighted by law or religion. But a free license to feel for all. To undo the confines of habit and prescription. Falling backwards into Original Intimacy. Or the Shit of Life.


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BODY LIBRARY / ELASTIC HABITAT 11th-13th
with Helena Dietrich

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During the sessions of DETM I will propose practices to create sensitivity and to reconfigure the perspectives from which we experience our ‘body’. With body I mean not only the physical body but a conglomerate of material and immaterial sensations defining our momentary presence. I will invite the participants to look for their imaginary or speculative bodies, by observing one’s internal environment. The practices are playful explorations, drawing from somatic practices, authentic movement, psycho-therapy, voice practices, drawing, writing and imagery interpretation. Then we will try to imagine how these (self-)perceptions could be actualized into material presences — and describe and draw them as bodies and in extend as habitats/environments. These body descriptions and drawings will become a small body library, which will leak into the vocabulary of ‘Don’t eat the microphone’.
If we perceive and share these ‘other’ body-experiences of fluid/hybrid bodies, can they inform us about the collective body we are living in? How can they become the motors of change, the parameters to design our environment? Can they inspire our imagination to create a fluid/hybrid wardrobe, interior, house, city, country, world?


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with a.pass



The graduate school a.pass (Advanced Performance and Scenography Studies) in the frame of its summer program Milieus, Associations, Sieves and other Matters visits Don’t Eat the Microphone for a.one-day study day dedicated to the critique of participatory art and ideas of participation in the context of a troubled moment to understand the problematic general intellect of contemporary society.
What is participatory art?
What does it mean to participate?
What are the relations between participatory art and utopia?
Which kind of public space and social fabric participatory practices do (and do not) produce?
What are the relations between participatory art and communicative capitalism?
What is participation-as-injunction the diagram of?
Is it still possible not to participate?
Is it still possible even to imagine non-participation?
How to foster (non) participatory arts and (un) communicative thus militantly collective aesthetic educations of possibilities?
After a phase of various reservations expressed about the optimistic rhetoric accompanying collaboration and participation, could we now be entering a new phase of a practical re-invention of participation?
This tentative list of problems and questions guide our study day displaced in the frame of Don’t Eat the Microphone. We might read some Hal Foster , Chat Rooms / some Claire Bishop, Artificial Hells / some Yves Citton, Ecology of Attention / some Derek R. Ford and Tyson E. Lewis, On the freedom to be opaque monsters, and discuss in various ways our transindividual debate.
Don’t Eat the Microphone represents for us a grey zone where we can think but also be challenged in our certainties about the nature and function of participation. Currently focused on the development of Collective Research Interfaces and exploring the value of several modes of participation, we want to problematise the issue(s) in a problematic environment. We want to be problematised by Don’t Eat the Microphone and thus contribute to its vitality. We want to participate!


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THE WASHING18th-20th
with Valentine Kempinck



Together we can deepen the morning ritual of washing, shaping and to carry out. This habit starts from our own care: the (daily) shower.


Within this, Valentine Kempynck examines how spaces can be created where the desire to care for each other takes shape. An area where the past, the present and the future intersect. A place where self-care and care for others overlaps and serves each other. A ritual becomes a ritual by repetition, hence we have the three encounters continue to build this wax ritual.


V.K. conducts research within the Academy of Fine Arts Antwerp with the title: 'The sacred space of the action'.

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THE KITCHEN TABLE 22nd
with BAVO



BAVO will put efforts together in the imagining a hybrid, third space that connects psychiatric and artistic institutions. Taking the DETM kitchen as point of departure, a kitchen table is the transitional object we will use to gather patients and staff and articulate the inherent critique lingering in institutional life. The kitchen table will provide coffee with cookies (hot chocolat is also fine), the local news paper (Gentenaar or Dag Allemaal) and some flower pots (Geraniums). The kitchen table is a  1:1 scale model that moves around from the one department to the other, initiating interactions between the presenting artists and the everyday life at the psychiatric clinic and addressing all sorts of difficult questions in a convivial way.hhhfjdhkkkkkkkkkkkkk

Gideon Boieis an architect-philosopher, a researcher at the KU Leuven Faculty of Architecture and co-founder of the BAVO collective. He currently lives and works in Brussels. His research focusses on the political dimension of art, architecture and urban planning. BAVO expands the critical function of research by actively engaging with practice and by intervening in public debates.


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DISARRANGED ELECTROCTOPUSES
IN A TRANSITIONAL COOKERY 24th
with Pierre Rubio & Vanja Smiljanic

Artists and cultural workers, Vanja Smiljanic and Pierre Rubio are currently busy writing and composing new performances. Both, but differently, use the octopus as a figure and a principle (des)organising the process. Both, but differently, are affected by conditions that they also use as (de)structuring methods. They come to share their process within the kitchen of Don’t Eat the Microphone. Not using linear timeline as carrier of their dialogical narratives, from multiple points of view and using different mediums, scores, practices and qualities of storytelling, they will embrace cyclical time where their words enfold episodically. Incorporating looping, multiple timelines, hidden agendas, fragmentary transmissions and encrypted messages, they will decentralise the narratives of the projected performances through tentacular but fractured methods of communication.
The octopus with a mind in each tentacle performs a decentralised self form of thinking. The octopus thus challenges the ways in which we equalise thinking with being conscious of something and in which the mind apparently centralises its control over the body. The octopus principle can be used as an agent to reconsider modes of imagining and re-inventing the self beyond human parameters and thus exploring other forms of agency. Thinking like an octopus means moving beyond our daily, limited and individualizing metaphysical practices to imagine/practice/think limitations otherwise. Thinking through a becoming-octopus is thinking the impossible. Bodies, things and objects are not understood out of their interactions - each tentacle creates an “intra-action” through which the conditions of possibility of these very bodies are re-set differently.

Vanja Smiljani? is a visual and performance artist. Smiljani?’s focus is in interdisciplinary projects and her research lies in cross methods within the fields of visual arts, video and performance. In her practice, she often utilizes the model of performance-lecture as a way to bridge fictitious and experiential universes, comprising technical apparatus, diagrams and sci-fi povera sculptures. Connecting otherwise unparalleled reality systems, Vanja’s work attests the foundation of ideologies as alienated regimes, recurring to her own body as a vessel for narration, often shifting between the position of oracle and storyteller. Her works have been featured in various exhibitions and festivals.
Pierre Rubioworks as a dramaturge and artist. His practice aims at re-negotiating habitual modes of individuation by using displacement and speculation as methodological principles to investigate cosmologies and ideologies of artistic and research practices. In his latest projects he works with speculative radio programming, pseudo healing practices, and constrained writing to challenge ideas of stability embedded within the norms of contemporary production of subjectivity and culture. Pierre Rubio is currently co-curator of the postgraduate artistic research institute a.pass.


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THE HOUSE MEETINGS
will be weekly conversations upon the dynamics of economy in times of governamental precarisation within psychiatric and artistic institutions. We would like to open a space for reflecting - in whatever form it might take - on the consequences of precarisation not only from the perspective of the economy of capital but also the economy of affects, subjectivities and relations. Moreover the discussion will also be stimulated towards the imagination of new economies to come. We are excited to be in conversation with:
UNTITLED 26th
with Christophe Meierhans


I work in, and with theatre, making mostly participatory performances. My pieces are attempts at questioning basic elements in our way of living together, such as elections, law, or our relationship to money. I am intrigued by the processes that DETM set in motion in terms of learning and knowledge and would be very glad to throw myself and the questions I carry around with me into the process…


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A MORE-THAN-HUMAN ECONOMY.
Anxiety,
precariousness
and
affective struggle. 17th-18th
with Lara Garcia Diaz


How do we struggle against precarious living conditions without destroying ourselves, our communities or other forms of life and knowledge? How do we keep each other going? What if we were to see economic activities -those that apparently keeps us going- as thoroughly social and ecological? What if we collectively question forms of hospitality –accommodation, asylum, reception, etc.– to envision more equitable lively-hood making? What if we reconfigure our notions of economy and ecology in ways that help us construct affective structures beyond systemic anxiety?


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ETHICAL SANDWICH 8th-29th
with Eli Noé and Christoph Moonen


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During the “Ethical Sandwich” weekly meetings we will be discussing the vicissitudes of the psychiatric institution in neoliberal times. Possible questions include: space, (un)homeliness, articulations between inside and outside, evaluation and measurability, the invention/inventivity of daily life (M. De Certeau).


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THE BUILDING UP OF
THIS PROGRAM
IS AN ONGOING PROCESS
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UPDATES HERE...

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Created by Veridiana Zurita, Petra Van Dyck and Lea Dietschmann | Curated by Michiel Vandevelde | Production by Disagree. vzw | Coproduction by Vooruit | Presented by Vooruit and centrum De Meander/Campus Dr. Guislain | With the support of The Flemish Government, VGC
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PROGRAM 2016

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SPELONK

with Michiel Reynaert
6th July

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Everybody knows someone who made their little world on the attic, playing with it from behind the scenes. But let's start simple. So many things you can start to build with just some cardboard boxes. What about building a cave? And what would you do, if from behind the scenes, you could make things happen in this cave? thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Michiel Reynaert is the name and container for a process of identity creation. It is not linked to one single identity, but to a network. It is the sign pointing to the meeting of contingent inspiration with consistent care. It hosts the stories of a variety of work relations and contexts, through which different physical persons have passed. By offering himself for adoption under this name, Michiel Reynaert explores the risks and benefits of authorship and interpretation, creation and translation, in formats that cross writing, performance, theory and an ambition towards activism, production and consumption, contemplation and immersion, real and fiction ... So many binaries for a foamy world where the center is everywhere and nowhere. Given the ease with which the usual list of facts given in a bio, are retrievable on the web, Michiel Reynaert is also a weight in the balance towards a more abstract structure driving the evolution of that web of facts.

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THE NEW NEWSPAPER with Lado Darakhvelidze 13th July thereisatabothereisatabothereisatabothereisatab

I'm coming with the project 'The new newspaper' for which I want to invite you to participate as newspaper editors or citizen journalists and make your own newspaper. We start with a clean slate; the larger content of the newspaper is erased, only headlines or images remain. The editors freely respond to the different words, subjects and empty spaces using their own opinions, reflections and stories. You can choose the subject and language, I will provide the erased newspapers and materials to edit with. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Lado Darakhvelidze, 1977, Kutaisi, Georgia, lives and works in Arnhem, the Netherlands. Lado Darakhvelidze’s artistic practice focuses primarily on the phenomena of information media and its sociopolitical impacts. In his work he deals with social and political changes and represents these in personal narratives. Darakhvelidze studied at the Dutch Art Institute (DAI), his work was shown at the 11th Istanbul Biennial, What Keeps Mankind Alive (2009), Biennale Cuvee, Linz (2010), The Kitchen / One Big City (2013) and Manifesta 10, St Petersburg (2014) among others. In 2012 Darakakhvelidze joined the Artist Pension Trust.

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ELASTIC HABITAT

with Helena Dietrich
13th July and 03rd August

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At the moment I'm experimenting with the use of materials that can materialize invisible internal processes. I use different methods to trigger speech and movement through external stimulation and how they can affect the body in a sensorial way. While spending time in the garden I will bring images, objects, clothes and fabrics and use them as transitional materials between what's internal and external in the body. During these sessions we will look for the stories of invisible presences, which appear when we give inter-subjective attention to life. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo The German designer and performance artist Helena Dietrich is since 4 years working and living in Brussels. After her Master’s in European Media at the University of Portsmouth, she conducted a research project at a.pass in Brussels, a postgraduate program for performance arts and scenography. In her work she lays out the significance of the symbolism that is embedded in esthetics (and by extension our identity). Her work has been exhibited amongst others at Staatstheater Stuttgart, Hebbel am Ufer Berlin, Beursschouwburg Brussels, and Cinema Galeries Brussels.

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THE STORY
INSIDE OF A STORY
INSIDE OF A STORY
INSIDE OF A STORY...

with Luanda Casella 10th August

I’m interested in how techniques of storytelling can be “tested” in the "real world" — the guiding question being how those who are typically considered “unreliable” — the child, the drunk, the institutionalized patient, the insomniac, the depressed, the compulsive liar, those suffering from any existential conflict — can confront our ideas of “normality” and help us investigate our own methods of self-deception. With the help of a few type-writers I’d like to propose open sessions of writing, individually and collective, that could create a panorama of Story that surpasses the idea of “resolution”. — What kinds of narrative-paths can be created with stories that don’t begin and never end, but are always in the middle, on the threshold of meaning?
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I'm a Brazilian writer and storyteller, living and working in Belgium since 2006. My research focuses on the ways individuals relate to narratives in order to create a sense of identity, to form their opinion of the world, and ultimately to protect themselves. As a writer I've always been interested in magic realism and in all forms of experimental prose where fictional elements are incorporated in the narratives with the same relevance as real facts — which, I believe, allow us to address the often phantasmagoric social realities of our history. In my performance work I'm concerned with finding techniques to produce hypertext fiction on stage. In other words, to expose the audience to an experience of co-authorship, where viewers are engaged in making intellectual and emotional associations to the completion of the stories.

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SOUND OBJECTS
FROM A DREAM


with Steven Jouwersma 20th/27th July and 17th August

I propose to create personal instruments which will be made out of our own desired design. We will find out together which are the sounds we like to hear and try to make them with our mouth or with any other part of our bodies and other material that can reproduce the sound we are searching for. The goal is to build instruments that can make the sounds we want to hear. It can be string instruments, bells, drums or instruments that play by themselves like wind instruments. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisataboth I am an artist, a builder, a musician and I like to paint sometimes. I work with sound, music, material and image as a tool for research and communication.
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FICTIONAL
INSTITUTION


with Daniel Blanga-Gubbay 20th July

In Lombard Street a 1873-book about the monetary system, the British journalist Walter Bagehot, wrote 'Every banker knows that if he has to prove that he is worthy of credit, however good may be his arguments, in fact, his credit is gone'. While speaking about it, the specter of fiction suddenly emerges as haunting the sentence and the idea of institution itself. Similarly, it is this same ghost that will circulate during the afternoon. While hearing the term fictional institution one might think about institutions that exist in the realm of fiction. Nevertheless – more then being confined to a clear demain – their simple existence exceed the imaginary to raise crucial questions: is there a non-fictional institution? With some readings and listening this afternoon reflects on the fictional institution as that which blurs the solidity of the existing one: they do not claim their realness, rather transport the same idea of institution in the realm of fiction. Nature, legal fiction and agency reappear as the lines through which to question the model, to eventually let emerge the idea of the institution as the character of a novel. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Daniel Blanga-Gubbay (1982) is a researcher in political philosophy of the arts based in Brussels. He is Professor at the Académie royale des Beaux Arts and collaborates with the Kunstenfestivaldesarts. He is the initiator of Aleppo, a research project in art and political theory organizing public programs in Brussels.

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CLOUDS


with Stan Antheunis
27th July

These days numbers seem to hold a privileged position in communicating information. They are concise and give a strong sense of mastery. Science inevitably means reduction, but might there be things we remain blind to if we focus too much on this quantitative way? What is there about us as a human being that resists this measurement? thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Stan Antheunis is a master student in clinical psychology at UGent. His thesis concerns qualitative and quantitative methods of psychotherapy research. In 2014-2015 he did a six-month internship at the P.C. Dr. Guislain.
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WHAT ARE YOU MADE OF?


with Pierre Rubio
24th and 31st of August

What are you made of? is a question that became a practice. I try and will try to answer it over and over again through the practice of writing different lists of possible and momentary responses always starting with: “I am made of…”, “I am made of…”, “I made of…”. Over writing, soon enough, the never-ending-list becomes a machine allowing time travel and space travel. Between a meditation on the conditions of production of consciousness at the very moment of writing, and an exploded portrait of the complex relations between different types of human/non-human entities, timelines, in-between spaces and agencies, blurring the frontiers between private and public, individual and social whether imagined or invented, fictionalised or actualised. What remains is a field of experience and representation of manifold intensities, or better, a theatre of intensities. I come to “Don’t eat the microphone” to share collectively this writing practice and to experiment live readings of our variable “intensities”. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Pierre Rubio is an artist researcher, performer, and dramaturgical adviser. For 25 years he has been active in the field of performance and choreography and has been collaborating continuously with a large number of artists and institutions. In 2011, he becomes mentor, leads workshops and is Associate Program Curator for a.pass (https://apass.be). In parallel Rubio experiments forms of performances, composing projects collectively or alone. Guided by a critical constructivism and a belief in the powers of imagination, he has developed an aesthetic, which operates between a conceptual and engaged approach of performance and a critical perspective on the production of contemporary subjectivity.



THE
GARDEN
SPEAKS
FOR
ITSELF


with Marc Matter
07th September

We want to record our Words, Speech, Mumbling, Humming and all sounds that we can do with our voice, mouth and body. We can as well record the sounds of the garden itself. We can then use turntable, mixing-desk and effect-pedal to manipulate these sounds. We will make a live-sound-collage where all this sounds come together and create a sonic mutation. Playing around with recordings of our spoken words and the garden sounds, something like a Text-Sound Piece will evolve, a mix of text and sounds which can have surprising effects how we understand language, speaking and sound. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisataboth I am an artist using sound and language. I studied at KHM artschool in Cologne and have been a member of the group “Institut für Feinmotorik”, playing with preparing turntables . Recently i started to manipulate voice- and speech-recordings with turntables and sound-effects. I do live-performances , recordings and radio-compositions.