Fa/ce Fe/ar (2025),
Affair, Berlin, 01/11
documentation by Lena Breitenborn
Develina (2025 - ongoing)
live performance, presented by life is beautiful, The Horse Hospital, London, UK
poster by Basia Strzeżek
The braid and the bow (2025)
Language-Gap (2025)
dis/play (2025)
TENT, Rotterdam, 26/06 - 06/07
documentation by Ieva Maslinskaitė
Disclosure* (2025)
designed by Urtina Hoxha,
published by Sessssion
Disclosure*, (2025)foldable series of poems,
designed and published by Sessssion
‘Webmaking, Mapmeaning’ (2024)
diagrammatic workshop, Piet Zwart Institute, Rotterdam, NL
How Can We Live Together?* (2024)
convivial lunch and workshop, B32, Maastricht
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*How Can We Live Together? was part of the public program for yellow brick, blue brick, perpetually, curated by Sjoerd Beijers at B32 in Maastricht.
Documentation by Johan Poezevara
Counter-Class (2024)language-based workshop, Piet Zwart Institute, Rotterdam, NL
poster by Basia Strzeżek
The Heel And The Egg (2023)
mixed media installation, live performance,
Default*, The Grey Space In The Middle, The Hague, NL
Episodic storytelling juxtaposing live reading, prerecorded sound material and text-based installation.
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*Default is series for contemporary experimental music and sound art performances curated by artist and friend Cis De Gendt.
Transpiring Correspondences (2023)self-published, ed. of 5, Royal Academy of Arts, The Hague, NL
How does my body know?
Rooting knowledge back to my body, grounding my body back to its environment, this open, unfinished research explores how knowing-through (embodied experience) can operate as a form of epistemological orientation.
Speculating on the idea that creative practices which originates and make use of receptive methodologies have the ability to reinforce ecological sensibility, ‘Transpiring correspondences’ investigates the experience of inhabiting the body through a language-in-transition.
Shifting among different registers and writing methods (auto-theory, poetry, speculations) it attempts to re-create dynamism and friction, and blurry the boundaries between saying-implying, thinking-feeling, memory-experience.
Graphic design help and support of: Szymon Eda Hernik, Lê Quynh Trang, Elisa Piazzi.
Becoming Circular* (2023)transmedia installation, live performance, with Cis De Gendt
Circularity has different forms.
It communicates in many languages. It can speak about a rhythmical notion of time, the perception of non-linear experience, the need for sustainable frameworks when moving in-between disciplines.
All these elements form an ecology of understanding, where meaning is not contained in fixed forms but built and regenerated through dialogue and reciprocity.
Becoming Circular is an open, living-question that moves through different platforms (transmedia installation, live performance) and methods (from receptive to performative), where media relate to each other non-linearly, following a logic of difference, responding to each other states and qualities.
When put in relation, they start to rhyme. They create affective atmospheres, where linearity is flipped and turned into loops, associations and new reconfigurations of meaning. Images start to sound, sounds start to image. Texts weave contexts, objects carry feelings, they spill affect.The multiplicity of forms (photography, text, sound, performance) in which this living-research unfolds doesn’t allow for a fixed answer, rather it provides space for a generative experience of the initial question.
________*performed at KABK, Royal Academy of Arts, The Hague, NL
open:source space, Amsterdam, NL
documentation by Charlotte Brand and christopher tym
‘dot, dot, dot’ (2023)
box presentation and co-curated exhibition with Benni Ciappini and scott van kampen, boox.space, Haarlem, NL
This collaborative project explores elliptical thinking - how meaning forms through gaps, pauses, and unfinished gestures - across linguistic, visual, material, and theoretical registers.
Presented as a non-linear publication, the work gathers and materializes the trio’s collective research. In the space, it unfolds as a subtle conversation between spoken and written words, drawings, and sculptural objects - each element gesturing toward, but never fully completing, the other.
With the care, support and collaboration of Bas and Florence at boox.space, Haarlem, NL
In My Language (after MB) (2023)
What does it mean for a sign to exseed its meaning? Is drawing an open form of writing ? How does my language carry affective information?
(a sign is drawn by a hand which feels)
Asemic drawings are gestural acts which explore the aesthetic nature of signification. Materialised through the dynamic conversation between hand, drawing tool and paper, these drawings function as open, choreographic, calligraphic forms.
Can writing be free to move beyond the mere execution of language, towards the felt, expanding and yet-to-be-read registers of meaning?
flyer/score for how does C know?
how does C know? (2023)