tumbling wor(l)ds: 22h reading the body through the body (in collaboration with Catalina Insignares, Carolina Mendonça, Thomas Proksch and Lili M. Rampre)

This project takes place during 22 hours from Tuesday Oct 9 at 11am until Wednesday Oct 10 at 9am. A maximum of 20 participants can participate. To subscribe, visit the Kaaitheater website.

11:00—18:00 Transtexting, Lili M. Rampre
13:30—14:30 Lunch
16:30—17:00 afternoon break
19:00—20:30 Dinner
20:30—22:30 Critical techno, Helena Dietrich with Thomas Proksch
23:00 — 07:30 Useless land, Carolina Mendonca and Catalina Insignares
07:30 — 09:00 Breakfast/Closure


How does the (non-)definition of what a body is impact its relationship with the environment?

It is through a body that we experience our locality most directly; a body is the starting point to engage with and even shape the spaces around and in between us. Public places such as the Muntplein, where social relations are reduced to consumerism, reinforce a neoliberal model of the body, socially trained as one that is constantly in need of the newest commodity. (How) can we resist the body politics that a space, a building, an interior, or a square force on us? Is it possible to create a renewed relationship with our locality through a renewed perception of our own bodies? What spaces can bodies that are not concerned with definition create?

In Tumbling wor(l)ds Helena Dietrich invites artists Lili M. Rampre, Thomas Proksch, Carolina Mendonca, and Catalina Insignares to create temporary spaces at the Muntplein that challenge its prevalent body politics.

Over a period of 22 hours, they will guide their guests to investigate texts about the relationship between body definitions and environments through their bodies. By reading, listening, moving, dancing, and sleeping to feminist, queer, and occult voices, our bodies create a heterotopian space, a parallel reality at the Muntplein.

The event dissolves the usual space and time frame of relating to text into a collective, embodied reading and listening experience. Movement, dance, exhaustion, and sleeping can become an opening to perceive words through the skin, the organs, inside the skeleton, within the cells. Queer and feminist voices become the energetic architecture that we can align to with the energetic structure of our bodies. The dynamics of these thoughts become our choreographer, moving the body from within an unconscious dream space.

If our bodies are digestive systems, transforming information into sensorial memory and sending it back into the environment as a movement, they can create empowering collective formations in space and create momentum, even if only temporarily.


Transtexting, Lili M. Rampre
Transtexting is a method of relating to a text, recorded or read live, where movement is considered to be the listening device. The dancing body becomes a listening aid, capturing words, syntax, and sounds, capturing text as a net.
The workshop will focus on how proposed queer and feminist voices help deconstruct bodies that inhabit strictly designed, representationalist, and rigid consumerist spaces, like Muntplein. Instead of new ways of inhabiting a space, we will concentrate on inhabiting the body in a new way, where texts we will listen to through movement can be understood as a blueprint for a body that might carry new orientations within itself, influenced and imprinted by selected texts.

Transtexting allows us to spend time differently with texts and voices that are currently strong or long gone, thinkers, poets, and authors from the past who are nevertheless pertinent to our time. The method consists of moving/dancing a mode of listening, encountering the voice and the text, which is followed by a collective writing process, where we get to rewrite, revise, confront, absorb, and entangle different authors’ voices with our own. Poetry, theory, fiction, and essays will all be hosted in our listening, as we look into how movement anchors different languages into writing.
The group work will enable a rich examination of (im)possible conceptions of movement-listening-writing relations, the production of a collective voice, and the body’s implication in that process.
Listening/moving sessions will happen both inside and outside in different locations at the Muntplein.
Participants should bring comfortable clothes, a writing device (tablet/computer), and smartphone + headphones.

Transtexting is a node conjoining many diverse interests in the body-to-text realm. Conceived in a.pass, it has been further developed through several working groups, which have each found and contributed their own approach and use of the basic proposition of the method, moving/listening to read texts. Currently the liveliest and most fruitful collective practice, Transtexting is a collaboration between Lili M. Rampre and Chloe Chignell (publication of poetry available from September 28 on), as well as group research together with Thomas Bîrzan.

Lili M. Rampre (Slovenia, 1981) gained her BS in Physics. She pursued her dance education and moved to Germany, where she obtained her MA diploma at HfMDK, Frankfurt. In the past her artistic engagements as a choreographer and performer have been supported by various venues and institutions: Mousonturm, Modul-dance, Hessische Theaterakademie, Pact Zollverein, tanzrecherche NRW, Akademie der Künste der Welt Köln, Tanzhaus NRW, where she is still active. After finishing a.pass, an artistic research program in Brussels, Lili has continued with her choreographic practice in Research Cycle at P.A.R.T.S., where she recently developed a trio Structure of a Feeling as a conclusion to the program.

Critical techno #1: imaginary bodies, Helena Dietrich with Thomas Proksch
Let’s bring theory onto the dance floor. Let’s dance with the ghosts of words, let’s manifest theories through dancing and celebrate critique together. Can theory be embedded in joyful collective experiences, can critical thought become a celebration, a party? Could dance parties become places where we dance with critical thoughts and transform them via dancing into our bodies, as a political act?

Critical techno is a collective text party and a theory remix. Thomas Proksch and Helena Dietrich will combine hypnotic beats with theoretical and fictional texts about decolonizing body politics and open the mic for collective digestions/reformulations. It’s an experiment in its first stages.

For this edition of critical techno, questions will unfold around imaginary bodies, otherworldly body experiences, and unstable spaces, raising (dance) energy with the hope of opening a hole to another dimension right at the Muntplein in Brussels!

The recorded result of this collective text remix will be shared in an online critical techno archive.

Thomas Proksch (A)
His choreographic interest lies at the intersection of artistic disciplines such as performance, installation, improvisation, music (sound generation / DJing), and voice. His recent solo piece LE_GO was shown in the exhibition Immersions: Welt ohne Aussen at Martin-Gropius-Bau Berlin in June 2018, produced in residency at Villa Empain Brussels. Other works by the artist include the vocal stereo-sound treatment PLEASURE DISCO (2014) and the strobe solo KARL LEHR (2012). Since 2013 he has interpreted and remixed numerous works by the artist Tino Sehgal, often working with scores for movement and singing—e.g., at Palais de Tokyo, Paris (2016), the Venice Art Biennale (2013), Documenta13 Kassel, Jemaa el-Fna Square Marrakesh (2016), “Prelude to the Shed,” New York (2017). Those experiences also took shape in the happenings of the vocal beat collective BOYZ IN THE WOODS, which was founded in 2014 with the artists Balz Isler, Justin F. Kennedy, and Gael Cleinow (Auawirleben Bern, Tanztage Berlin 2015, Art Basel, etc.). Further collaborations were done, for example, with Mesut Arslan, BETRAYAL (Toonelhuis Antwerp) or Rita Vilhena, EMERGENCY PLAN (Impulstanz Vienna 2014).

useless land, Carolina Mendonca and Catalina Insignares
The night will give us some hours. Portals take time, they ask us to linger. useless land is a compilation of fictional and theoretical texts that speak about a world predating the Industrial Revolution. These are texts that draw a cognitive map of other possible relations and perspectives on the human relationship with the environment, animals, ghosts, plants, etc. Benedict Anderson wrote about the cultural roots of nations in terms of imaginary communities conceived through language rather than blood. If the nation is a textual production, we want to shuffle the languages and the stories to erode narratives and broaden imagination. People will lay down to listen through the night.

Shuffling the limits between imagination, divination, and empirical knowledge, we ask a club of remote viewers (Sursignal) to send us textual descriptions of Muntplein. Remote viewing is the practice of seeking impressions about a distant or unseen target, using extrasensory perception or “sensing” with the mind. Members of Sursignal will “see” the place we will be in, and their descriptions will provide a thematic thread through the night, merging with the other descriptions and stories, opening up new relations not only to the space that we are in but also to the history of the place, since we ask them to see and describe the space at different points in time. The dialogue between visions, theory, and literature, proposes a link between the bodies gathered to listen and the invisible presences that dialogue with them through text and sleep. The global of the collective unconscious, of the globalized vulnerability, and the local of the flesh, the ghosts present in these walls and not others.

We invite the public to spend the night with us. The texts will be read out loud until sunrise. The night will give us time to digest through our ears. A large soft-surfaced island invites guests to lie down and enter a space where sleeping is a way of understanding the world. Voices pouring into the ears, weaving stories. A wasteland. A sea of people lying down, listening. A need to trust the community of people we sleep with. A vigil state where we can be together in dissension, with different languages and dreams, between alert and asleep.
With contributions by Sursignal, remote viewing club.

Participants should bring a sleeping bag and mat to sleep on. There will also be blankets and cushions.

This proposal was first conceived with Christopher Weickenmeir for the exhibition the dead are losing or how to ruin an exhibition in Berlin.

Carolina Mendonça (1984, São Paulo, Brazil) works with dance, theater, and visual arts allowing the contamination of knowledge and being vulnerable to other logics. A graduate in performing arts at ECA-USP, she has a master’s in choreography and performance at Giessen University in Germany with a DAAD Scholarship. Her latest productions are We, the Undamaged Others at Oswald de Andrade (2017) and MIT (2018); Falling at Mousonturm, Frankfurt (2016); Tragedy: a Tragedy at SESC Pompéia São Paulo (2014) and Caixa Cultural at Curitiba, Brasilia, and Rio de Janeiro (2016); A Radically Condensed History of Post-Industrial Life, which won CCJ First Works Prize and the Myrian Muniz Award for a national tour in 2013.

Carolina collaborates with artists such as Catalina Insignares, Dudu Quintanilha, Volmir Cordeiro, and Marcelo Evelin, showing in festivals such as Kyoto Experiment, Festival d’Automnne, Tanz in August, Kunstenfestivaldesarts, and Impulztanz, among others.

Catalina Insignares (1987, Bogotà, Colombia) is a dancer and choreographer based in Paris. Having studied dance in Canada and France, she gained a master’s in choreography and performance at Giessen University in Germany. As a choreographer, she is interested in pieces that question production systems in art and society. She’s looking for that moment when dance, touch, and movement escape their disciplinary regimes and generate unintelligible, unapologetic, what-ever-like subjectivities and collectivities. Her work is mainly built through collaborations (Carolina Mendonça, Else Tunemyr, Miriam Schulte, Caroline Creutzburg, Rodrigo Andreolli, Zuzana Zabkova, and Myriam Lefkowitz) and a continuous long-term practice titled “us as a useless duet,” presented in Giessen, Tallinn, St-Erme, and Paris.

Helena Dietrich

The German performance artist Helena Dietrich has been living and working in Brussels for six years. After gaining her master’s in visual communication at the Merz Academy Stuttgart, she conducted a research project at a.pass in Brussels. Her artistic approach is often process based and involves the audience as participants at different stages. She is interested in creating situations where, through atmospheric installations, objects, images, and costumes transformative experiences can take place. Her work has been exhibited at a variety of venues including Hebbel am Ufer Berlin, Beursschouwburg Brussels, WoWmen festival, Playground Festival, Buda Kortrijk, Something Raw Festival, Hors Pistes / Cinema Galeries Brussels. She is currently involved in a research project at Kask Hogeschool and teaches at Luca School of Arts.