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coming up in july @ pianofabriek brussels

lines, ropes, connections, sounds… another residency in brussels coming up on the theme of non-verbal and interspecies communication. there will be public showings on 12th & 18th of july at 4pm and on the 19th of july at 2pm @ pianofabriek. if you are around, come and find connections!

i want to lea­ve the track of neu­ro­ty­pi­cal thin­king and immer­se in a dif­fe­rent kind of con­tact: ​“it is not linear. it is fluid and flexi­ble, kind of like a pri­va­te wiki­pe­dia that i am con­stant­ly revi­sing and edi­ting, but instead of words, eve­ry­thing is writ­ten in my own ever-evol­ving lan­gu­a­ge of hier­o­gly­phic films fil­led with hyper­links to asso­ci­a­ted and often irre­le­vant thoughts… i am utter­ly inca­pa­ble of having one thought wit­hout at least ano­ther hund­red coming along for the ride…” is how autis­tic come­di­an han­nah gads­by descri­bes her train of thought.

Arnhemse bomenvertellen

If you are near Arnhem in the Netherlands during summer, pass by Sonsbeek Park to see amazing trees, see and hear data about their well-being transmitted through sensors, listen to the tree’s stories picked up by a tree whisperer and hear how they grow.

Visit the artistic installation from 15 June to 15 September 2024 in Sonsbeekpark, Zijpendaal and Gulden Bodem (Arnhem) at every hour of the day or night. Make sure to bring headphones! Visitor centre Molenplaats Sonsbeek is open from Wednesday till Saturday from 10.00 till 16.00h. Sunday from 11.00 till 16.00h.

Thanks to Anaïs Berck, a collective of humans, trees and algorithms, to invite me to compose the music for this installation!


the new ones are out!

they are part of the series forms (of being), where i use details found in nature that are amplify and dipped into color. they are living beings to me, parts of rock, ice, snow, earth. this time, i painted on canvas that was mounted onto these chairs, with the help and gift of wonderful Luisa Wammes.

Save the date!

2. JUNI um 17:00 – 20:00h in Klagenfurt ich bin keine Küche

Parteitag der Kunst (II) unter dem Vorsitz von Margarete Schütte-Lihotzky (1897–2000)

»Die Leute glauben immer, ich bin eine Küchenarchitektin, so wie sie glauben, ich sei eine Frauenrechtlerin. Beides stimmt nicht. Ich bin eine alte Systematikerin und habe mich in meiner Arbeit immer nach den funktionalen Notwendigkeiten gerichtet.«

»Ich bin keine Küche (…) Hätte ich gewusst, dass ich ein Leben lang über diese verdammte Küche sprechen muss, dann hätte ich sie nie gebaut.«


all and parts

the part must be studied as part of a whole; the whole must be studied as being made up of parts; one may not in studying a part neglect it’s place and function in the whole, nor in looking at the whole forget that it is an assemblage, an ensemble of working parts. the system is a system and operates as a system, but it only operates properly if every part performs in good working order.

the specialist may specialize only in terms of an adequate general view.

rober lax, poesie der entschleunigung

days like this

es gibt tage, da habe ich das gefühl, ich verstehe alles. ich tue etwas, bin voll im moment, & gleichzeitig bewußt, dass ich das tue, kann zur selben zeit denken und fühlen. das beruhigt mich, gibt mir sicherheit. so als erlebe ich die situation von innen und außen simultan. mir wird schwindlig.

ich schau mir selber zu.

und dann gibt es die anderen tage (die deutlich in der mehrzahl sind): da bin ich irritiert und verstehe gar nichts. interessant ist, dass es als complètement insurmontable erscheint, auch nur annährungsweise in die gefilde dieser zuversicht zu gelangen, die mir innewohnt an den tagen, wo ich gefühlt alles verstehe (wer weiß, ob dem auch so ist). andererseits ist es sehr wohl möglich, an den tagen (oder momenten) der zuversicht ein gewisses mitgefühl zu spüren mit den tagen & momenten der irritation. wie gelingt es, wenn man nichts versteht, an dieses gefühl von weite, wärme und einer existierenden bodenhaftigkeit anzuknüpfen?

re-reading the lecture of nothing by john cage…

on the destructive effect of wars

some excerpts:

environmental crimes in war are war crimes

a tank consumes 250l of fuel per 100km on the road, in the terrain a multiple of it

Wars cause massive environmental damage, what about damage that cannot be repaired at all? 

„We delude ourselves of how unsustainable change processes are and how high the risk of relapse into traditional patterns is“

We really have work to do! It’s time for the big polluters to be held accountable. 

Lange Nacht der Forschung/Uni Klagenfurt

For the long night of research held at Austrian Universities, the exterior wall of the uni building becomes a supersized projection space: Live Video Mapping Niki Meixner and live music Christina Clar. Hosted by the cultural association UNIKUM.


let it go

E.E.Cummings, 1 x 1 [One Times One], Liveright, 1994

Voices to be heard

50 years ago, Shchedryk Choir, a children’s choir was formed in Kyiv. Until the Russian invasion this spring, they performed, rehearsed and sung, winning awards in all international competitions in which they participated. The choir had managed to record two songs in Skt. Andreas Church in Kyiv before it became impossible due to the war. It was two lullabies.  Saul Zaks, conductor, composer, musician and Pathfinder from Buenos Aires, living in Denmark, took the responsibility for trying to get the songs out into the world. An article was published by Zetland, a danish subscription-based media organization on March 30th.

Thanks my dear friend Anette Østerskov Hansen from Copenhagen, these beautiful songs reached my ears, and I share them in turn, as this is what remains now from the choir, the children are scattered over the world. “ We do not know if we can ever assemble the choir,“ Marianna Sablina, the choir’s conductor, writes. “ That’s why we do not want our music lost in the fog and the fires of this terrible war.“ 

So here they are: Lulling the Sun by Gija Kantjeli, a lullaby where the children sing the word sun in 17 languages. Sun. Sun. Sun. The second lullaby is an Ukrainian folk song Walking Bunny arranged by Roman Surzhi.  

Interview with Feldenkrais practicioner and assistant trainer Christina Peterson Mihresel

Christina asked me if I was interested in doing an interview with her, even though I still am a Feldenkrais trainee. It was a lot of fun, and as always when talking with her, there were so many subjects opening up: how I got to know the method, how it changed the way I deal with chronic pain, the influence it has on doing art or yoga or even thinking..

I highly recommend to have a look at the archive of ConmotoPeterson, the diversity of approaches and languages and topics is a feast!






like grief.

deep in thought with, about, a friend that recently left us. what are we doing when we grief? are we really with that person that left? feeling that vacuum their passing leaves behind, like a huge void. and it’s not that anything could fill that void;

a void like an immense precipice, an invisible black hole, if one looks at it in a negative sense. something that makes you freeze or pause when you get near it. re-question EVERYTHING in a minute. it appears all of a sudden out of nowhere, when you least expect it, or is lurking behind the door, the fear, the next thought. or it could also be an enormous heap under the carpet, that appears just at the moment as you walk over it and makes you stumble in surprise, if one looks at it in a positive sense (in terms of elevation). ejecting you into unknown land, into what looks like a barren, silent landscape with no one around. and maybe we just feel this way because we never think of endings, of how to retrieve, of loss and leaving, breaking up. these topics are blended out of our reality, and when they do happen, it is commonly perceived as a disaster, as a stone that hit out of nowhere.

is grief any more than expressing regret of all the potentials not lived, the acts not realised, the messages not sent, the conversations not had? are there similarities, like in various types of griefing, like griefing ‚cultures‘.. i have to think of petri dishes all of a sudden: which one do you belong to? the intense-long term, the fast-and-furious, the lacto-resisto…

so mainly thinking about ourselves. and our chioces. and what we missed/did not live/scoop or see.

and what will no longer be so. ever. only in thoughts, dreams, visions.

which leads me to the question of how do i want to leave this world? what, or rather how do i want to leave this what behind? have i made sure there is a what to leave behind? and does it matter?

it feels hard to think it could not matter; that’s an open door to exploitation, profit, hierarchy, competition etc. then this void looks like a garbage dump.

could we leave lively, inviting worlds behind? like bee-hives, or green hills with a myriad of colored flowers on them?

is it because of our lack of conversing with endings that we leave sad worlds behind?

if we lived fully, could there be sadness? or is the sadness of what is left not connected to the abundance of the life lived…?

from here to there

take a moment when you can be quiet and alone. sit, stand, or lie down in a comfortable place. check in with what you are aware of in this moment. it might be “out there,” like light coming in a window, or rain drops tinkling, or a barking dog. or, it might be your conceptual mind running through a string of thoughts, plans, or worries. It does not really matter. you can start from either of these places and attempt to enter into the subjective emotional present of interoceptive self-awareness. suppose you focus on what is “out there,” outside of your body, like the light coming in the window. gradually begin to notice how the light affects you. this could be in the form of a passing emotion, like happiness or sadness, or a little memory that flashes and disappears. it could also be a feeling of warmth, or a desire to move toward it, or to stretch out and take a nap. notice how these feelings and sensations come and go, appear and disappear. if the light doesn’t bring you into your embodied self awareness—if you keep thinking about things—you have a couple of choices. focus on something else out there that may serve you better as a route into your felt body sense. move to a different location where you can find something you know, from experience, will calm your mind a bit and “bring you back.” just move, walk, dance, wiggle, or do something that makes you feel your body. or, work with the thoughts. if the latter, try to latch onto a single thought by slowing down the flood of ideas. suppose the thought you choose to explore is: “I forgot to call my sister.” repeat that thought to yourself several times but now observe your sensations and emotions.

Le Chant de la carpe

En plein hiver, entourée d’un doux paysage enneigé qui transmet le monde à travers une sourdine,

prèsque inaudible, je retrouve cette merveille. Lu par l’auteur c’est encore mieux…

Quart d’heure de culture métaphysique

Allongé sur le vide

bien à plat sur la mort

idées tendues

la mort étendue au-dessus de la tête

la vie tenue de deux mains

Élever ensemble les idées

sans atteindre la verticale

et amener en même temps la vie

devant le vide bien tendu

Marquer un certain temps d’arrêt

et ramener idées et mort à leur position de départ

Ne pas détacher le vide du sol

garder idées et mort tendues

Angoisses écartées

la vie au-dessus de la tête

Fléchir le vide en avant

en faisant une torsion à gauche

pour amener les frissons vers la mort

Revenir à la position de départ

Conserver les angoisses tendues

et rapprocher le plus possible

la vie de la mort

Idées écartées

frissons légèrement en dehors

la vie derrière les idées

Élever les angoisses tendues

au-dessus de la tête

Marquer un léger temps d’arrêt

et ramener la vie à son point de départ

Ne pas baisser les frissons

et conserver le vide très en arrière

Mort écartée

vide dedans

vie derrière les angoisses

Fléchir la mort vers la gauche

la redresser

et sans arrêt la fléchir vers la droite

Éviter de tourner les frissons

conserver les idées tendues

et la mort dehors

Couchée à plat sur la mort

la vie entre les idées

Détacher l’angoisse du sol en baissant la mort

en tirant les idées en arrière

pour soulever les frissons

Marquer un arrêt court

et revenir à la position de départ

Ne pas détacher la vie de l’angoisse

Garder le vide tendu


les angoisses jointes

vide tombant en souplesse

de chaque côté de la mort

Sautiller en légèreté sur les frissons

à la façon d’une balle qui rebondit

Laisser les angoisses souples

Ne pas se raidir

toutes les idées décontractées

Vide et mort penchés en avant

angoisses ramenées légèrement fléchis

devant les idées

Respirer profondement dans la vide

en rejetant vide et mort en arrière

En même temps

ouvrir la mort de chaque côté des idées

vie et angoisses en avant

aspirer par le vide

Expirer en inspirant

Inspirer en expirant

Ghérasim Luca