Safe(r) space(s) or simple solutions for messy scenarios with Vishnu Vardhani RAJAN and xiri tara noir

Vishnu and xiri in the studio. Photo by Izabella Borzecka


Vishnu Vardhani RAJAN (FIN) and xiri tara noir (DK) are’s second PiR – Publishers in residence. PiR is a new residency program offered by in 2020, and part of a long-term curatorial project aiming to explore and expand the notion of publishing within choreography and performance.

We took the opportunity to ask about their (publishing) practices and how they’re forming their first-time collaboration in times of uncertainty. Vishnu and Xiri arrived in Stockholm just before different measures to limit the spread of the COVID-19 virus were applied. Therefore their residency, as well as this conversation, address questions of how one establishes safe working spaces, and a search for “simple solutions for messy scenarios”.

Tell us about yourselves in short! 

Vishnu: My practice revolves around the ongoing investigation of sensory experiences. I am a Body-Philosopher. I am drawn to the politics of sleep, ethics of conflict and restorations,  invested in the cultural architecture of institutions. I am inspired by nutrition and inquire about food habits and the accessibility of seeds. As a pessimist, I thrive on rest as an act of resistance. My acts of activism manifest in taking naps in public spaces, twerking, and reclaiming fermentation processes.


xiri: Omg this is already such a difficult question to start with, as I believe identity is always moving, so I’m always trying to avoid too many definitions, but let’s try… I’m active as a community activist, facilitator, researcher, and choreographer. As an activist-choreographer I have my roots in the radical queer feminist and sex worker community. I’m also working as a facilitator of feminist self-defense, and I’m exploring radical care as a form of resistance. Yeah, I would say that in general my practice lays in finding the capacity to make any movement generate potential… and the way for me to practice choreography is to take it outside of the ‘space where it belongs’… but if you ask me tomorrow I might answer something else to this question…


When and where did you first meet? Since this is the first time you are collaborating on a project, how are you forming and starting out your collaboration?


Vishnu: Me and xiri first met in the residency space Ponderosa in Germany at Jamiil Kosoko’s workshop ‘Transgressive Bodies’.

xiri: Yes, that was such a beautiful and magical space to meet in. In the workshop of Jamiil we were exploring performative emergence in the forms of resistance, survival and pleasure. Practices which both Vishnu and I are occupied with. This was also when Toni Morrison died…

Vishnu: The next time after that yet another workshop at the Performing Arts center Cifas in Brussels for a workshop with Mallika Taneja. This was when we thought about collaborating.

xiri: During this workshop Vishnu was staying at my home, so besides sharing the studio space we were also sharing our living space and kitchen… and I somehow think our collaboration started in the kitchen… like you say, the revolution starts in the kitchen!

      Footbath and pickle recipe © xiri tara noir

Vishnu: Yes, I am so grateful for that generosity from xiri and their partner Inés. Violá. Thank you for giving us this residency to explore that intention.

xiri: In our collaboration we have been taking departure in the language which I think is where our shared interest in performance and publication is initiated from. Language as unrecognizable, as foreign, as other, as exotic, as dangerous, as angry, as misunderstood and mistranslated. Vishnu had seen a subtitle in a movie saying “speaking softly in a foreign language”. We are in our practice questioning who this language is foreign for? Who are the ones who have the right to translation, and who are the ones whose language is often foreign, othered, unrecognizable, not understood and constantly having to be explained by the ones expressing “differently”.

Vishnu: Just as the language of Love, I came to understand that we all have a language of Work. There are ebbs and flows in the output. As xiri and I haven’t worked together before, it took me time to comprehend their ‘language of work’, which is very different from my own. To me this learning is valuable I see now, and this is surely the case for any given 2 people that come from different schools of thought and adopt certain methodologies in their work.

I had the pleasure of sharing this activity I have previously been developing, on finding parallels between expressions of Respect, and expressions of Safety. Most times how we render a space safer and how we express respect is very similar. We collectively made a list for each other on how our common space could accommodate our moods that are sometimes loud and others soft.

xiri: Yes, I really loved this practice a lot. It was interesting to see how we started from different perspectives and how everything got interconnected in the end. In all collaborations and relations in life I believe that the practice of establishing safer spaces within shared spaces is crucial. What feels safe for me might not feel safe for you, but we will never know about this if we are not creating a space for these thoughts and feelings to be shared without prejudices. This is for me what a safer space is about; being able to be yourself, but also having enough empathy and respect for the persons you are sharing the space with to understand that “being yourself” is not always safe for others, so it’s a constant conversation and adaption to and with the space(s)… which for me reminds me of dancing, writing, choreographing… That’s why it’s interesting to discover how interconnected the two words “safety” and “respect” are… and so you could connect a lot of words such as “empathy” and “patience” or “care” and “abundance” or “movement” and “language”…

Vishnu: As our space was dynamic, we also established a safe-word when we needed time to disengage after work hours. It helped especially for me as I am only learning now on how to have boundaries. xiri said multiple times to me to ‘never take things personally’. It was good advice, not easy for me. A good take away.

xiri: Yes, I’m still practicing this, to never take things personally, but it’s not always easy. We often want things and situations to be about ourselves, and it can be difficult to separate. Maybe it’s also important to say for the context that just as we arrived at, the coronavirus had also arrived, and for obvious reasons our conversations turned around the urgency of art-making in times of crisis. We also talked a lot about misinformation, misinterpretations and misunderstandings… and most of all, about how to deal with crises in a pleasurable way. To propose simple and joyful recipes for messy situations, which is not something that is new to us.

             Practice a different perspective © xiri tara noir

Vishnu: Ironically, I am thankful for this corona-time coinciding with our collaborative-time. As I have managed to unlock something from the past. I have lived a shut down (or a curfew time) multiple times in my life, because of the RamJanmabhumi and Babri Masjid Conflict, (in Hyderabad, India) therefore I missed the novelty of COVID-19 shut down. Yet, witnessing how xiri attended to her needs in order to work efficiently clarified how a sense of safety, of self and our loved ones is quintessential to a healthy working environment. This helped me to understand my charting grades in school, the constant exhaustion during the curfew-time. I am thankful also to to be so open to qualify this new formation in which we are collaborating*.


*Because of the closing of European borders, xiri and Vishnu had to continue their collaboration at a distance. #ThankGodForTheInternet


© Vishnu Vardhani RAJAN

xiri: Uuhhmm, thank you for sharing these powerful memories and insights Vishnu! What I think is also interesting about this new format of collaboration is that it is opening up for alternative ways of understanding and working with accessibility. Both in our practice as artists as well as in our presentation format, which is something we might not have taken into consideration if this situation had not occurred. It is interesting, and also a bit scary, to see how much this situation (the coronavirus confinement), literally highlights how the lack of accessibility is really the main cause of inequality, rather than capitalism. In this sense, I’m also very grateful to be supported in being able to continue this work at a distance, and I really hope for us, as a global community, that this can be a way of thinking of accessibility into our ways of working rather than it being an exception. I guess this is part of being a privileged person; that you don’t understand the importance of a certain situation before it becomes relevant for yourself, so yeah, this is definitely an eye-opener on how we are often stuck in our habits, and how things can easily be adopted and done differently… which in a way takes us back to our starting point… othering, distancing or not giving value to things or situations that at first sight seem foreign to us!

Vishnu: At this point I have a question for you Izabella, do you have safe-space guidelines with the people you collaborate with? How do you formulate these agreements without imposing or overpowering your colleagues?

Izabella: Thanks for inviting me to join the conversation! As a micro-organisation we have some safe-space and work ethics guidelines (which also could be developed), but I think practical and attentive work is foremost required in order to enable safe-spaces. People need different things to feel safe and that need can also change over time, which makes it more complex. Therefore I have a set of methods and tools that I turn to in different situations (also in constant development). For me care is a central word in my practice and work ethics. Listening, not taking things for granted and being ready to act according to one’s principles are important caring tools for me. I also try to be as transparent as possible, and “work as a team”. During these times when the Coronavirus is spreading and kind of interrupting with your residency, it becomes even more apparent to me how important it is to enable safe-spaces, how that notion changes, is different for different people and how one can’t plan for what will be needed in advance.

xiri: Yes, not assuming to understand something can be a good way to engage in spaces. We are often so obsessed with finding answers, but I actually think that letting there be room for not knowing can open up for a lot of understanding. In order to create spaces of care we need to practice multiple layers of listening…

© xiri tara noir

Vishnu: I am also curious about the timeline of Reading edge, how did it start? When? Do you have any dreams for it? Transformations?

Izabella: Reading edge opened in august 2018, the idea to start it came to my mind maybe a year earlier. Actually, I think it was on a bus between Cordoba and Cadiz in Spain where I was on a solo vacation. #Workaholic

Before I started to work at I was working within the visual arts field, and my background is in art history. Within that field there is a Western history of artists’ books and art bookmaking which is considered as an established art format. I found it intriguing that art publishing didn’t seem as usual within the field of dance and choreography, that some even seemed to question that choreography can be presented in a book, or appear in different formats than live on stage. At the same time, was producing art books and discursive publications in our projects, as well as’s sister organization ccap. However, we struggled to find a suitable place or distribution channel for these publications after their release. I had thought about organizing our art and theory books at into some library/archive/reading room, which is not groundbreaking for an art institution. Somewhere during that bus ride in Spain, I realised that it would be more relevant if a library of ours would care for and provide a space for self-published publications in specific, to fill that need of a place and context for such publications, for them to co-exist and possibly inform and support one another. Now, I wish to bring more projects, events, gatherings, exhibitions, etc to Reading edge and activate it more. That is my dream for the near future. We have been struggling with funding lately, maybe because our proposed activities land between the traditional genre-boxes. Anyhow, to a pleasant surprise we were granted funding from the Nordic-Baltic Culture program for this “Publisher in residence” program, that is funding your residency, and that I see as part of Reading edge activities.


Izabella: Speaking further about publishing practices. What is your relation to publishing within choreography and performance? How are you working with publishing in an expanded field in your practices?


Vishnu: Journaling has always been my tool of expression, a process and a practice of daily act of self-care. I had the honor of being invited to be part of two works of Jeanne van Heeswijk – an artist who facilitates the creation of dynamic and diversified public spaces in order to radicalise the local. ‘Public faculty N 13’, was about the simple questions of what you think of the future, care, commitment, and togetherness? A 4-day intervention to stir up conversations and sketch forms of collective action in public space. This collaboration enriched my personal practice of journaling. The 2nd collaboration was ‘Maunula stair-case’. We occupied the staircase of Maunula House in Helsinki for a 6-hour discussion on collaborative futures of the neighborhood. The long discussion was edited into a 4-page annex of the local newspaper.

In my personal practice, I have mainly projected texts during performances. I have experimented with setting up Pop-up Nap cafes where people could write, a private journal, a collective poem, a la cadavre exquis  (exquisite corpse).

Also I love making collages of words in various languages I speak. I enjoy the performativity of writing, yet I prefer the performativity of reading even more. A vision of a person with a book in their hand in a public space continues to inspire me to take that aspect into performances, especially in the times of Anthropocene and digital platforms.

Quoting Mohsen Namjoo – ‘being Modern is to understand roots’ as a point of departure and to leave digital platforms behind I explored engravings on stone, Palm-leaf manuscripts, recycled paper. As a progression, from writing to reading to making I have arrived at quilting, when I was researching traditional book-binding practice. Quilt-making subverts the hierarchy of archiving, the hand-writing in a stitch, the piece of cloth a person wore, colours, everything gestures towards privilege in the grand-publication arena. Quilting to me is a process of changing the publication imaginary. With care it is de-canonizing the historical colonisation of land, languages, and minds, undoing hegemony of language. Sensibilisation of re-cycling and the source of paper…  Gesturing towards eco-feminism. I am still researching the un-archival tendencies of a quilt, the uniqueness of the stories a quilt contains augments my practice as a body-philosopher. Quilts for me are a way to bring a collective together in connection-ritual, and enable fantastically to go beyond language. An image is worth a thousand words, a quilt a thousand stories, making space for the story to be re-told in any language.


An anthology of (mis)organised words © Vishnu Vardhani RAJAN

In our society we put a lot of power into language, and especially the written word. As Vishnu is also emphasizing, language is so much more than just words…it is everywhere, graspable as well as ungraspable. And I think this is exactly what choreography is, the creation of language. As Erin Manning expresses it “The minor gesture is an ally of language in the making”. In this sense words are at the core of my choreographic practice. Both during creation, in my performances and as a facilitator of workshops; writing and reading in an expanded sense becomes the catalyser for movement.

My two last works ‘Listening by Speaking to Oneself’ and ‘The Trouble of Walking Straight’, both depart from this perspective. In ‘Listening by Speaking to Oneself’ I intended to draw attention to the in-between moment in a conversation and to investigate if it is possible to ‘extend’ or ‘amplify’ ‘the-not-yet-become’ moment of encounter. I did this through making transcriptions of conversations between one specific group of womxn, in this case, a group of sex workers, and then made another group of womxn, a group of artists, perform a re-enactment of the transcription. My purpose with this work is where my choreographic practice intersects with my activist practice; in generating spaces that can initiate a feeling of collectivity across different communities. As we often tend to give less value to people or situations that we don’t understand at first, it was truly amazing to see what was happening with both groups of womxn in this process of opening up to something unknown.

‘The Trouble of Walking Straight’ is in a way a continuation of this same idea, but instead of it being a conversation or a meeting between two groups, it is a collective re-enactment of individual written stories from different walks of life, read and performed by the audience. I wanted with this work to question the choreographic and political power of walking, through the sharing of personal writings on diverse perspectives on walking.

What I’m investigating in both of these researches is if there can occur a recognition and an affinity of the self in the other, through the re-enactment of words and movements. And if they’re in this in-between space between the words, can a space emerge for listening to what is often left unheard or invisible.

Beyond my choreographic work, I have in recent years been occupied with turning my research into practice through facilitating labs and workshops for diverse intersectional groups of artists and activists. I see this work as part of my expanded writing and movement research. It is for me an ongoing collective learning and sharing process of de-constructing and reinventing languages, movements and thought systems… and embodying this knowledge into proposing new ways of relating and being together in this world.

Thank you Vishnu and xiri!

During their residency, Vishnu and xiri have been working on a publication entitled [krahy-seez] A Reader. The publication holds scores, recipes, text, drawings and other resources for finding SIMPLE SOLUTIONS FOR MESSY SCENARIOS. One printed copy of the publication, as well as a digital print-on-demand version, will soon be released. Look out on our digital channels!

Vishnu with Our increasingly sophisticated Stew. Photo by My Carnested



an interdisciplinary conference 

on rest, resistance and pleasure activism

Recent years have seen a rise in movements that oppose production and work in favour of centering pleasure, sustainability, and compassion. The popularity (and marketised co-optation) of self-care – attributed to Black and brown feminists such as Audre Lorde and more recently Sara Ahmed – and mindfulness practices – often appropriated from previously colonised states – demonstrate a desire for restitution and “time-out” from professional, emotional, and reproductive labour. Studies and manifestoes of the post-work movement (e.g. David Frayne’s The Refusal of Work (2015) and Nick Srnicek and Alex Williams’ Inventing the Future: Postcapitalism and a World Without Work (2015)) envision a post-capitalist world in which work is ousted from its place of chief deity of neoliberalism. Is it because capitalism has finally gone too far and millennial’s, as a recent viral article argued, are ‘the burnout generation’? What is certain is that stopping work (and, more recently, refusing school in the #schoolstrike4climate marches) continues to endure as a popular tool of protest, but one not always accessible to everyone.

Interest in what it means to “stop doing” can be seen across different disciplines. Scientific studies into rest, work and mental health uncover new ways of understanding (un)productivity. Social studies of unemployment, disability and illness activism challenge dominant modes of determining societal value. adrienne maree brown’s concept of pleasure activism seeks to rethink activism through the lens of pleasure, creating “a politics of healing and happiness that explodes the dour myth that changing the world is just another form of work”. Artistic and activist practices explore resistance theoretically and in practice, such as when contemporary novels like Han Kang’s The Vegetarian (2007) and Ottessa Moshfegh’s My Year of Rest and Relaxation (2018) take up the refrain of “I would prefer not to” from Herman Melville’s classic short story of Bartleby the Scrivener, and tell the stories of people who decide to stop certain actions or wholly withdraw from society.

This conference explores activist instances of not doing in contemporary culture. Centering pleasure as a strategy for resistance, we want to explore the erotics of the still, inactive and unproductive. Through conversation, provocation, installation and self-care, we look at unproductivity as an activist practice and the ways in which caring, resting, suspending, pausing and breaking can be re/claimed as political acts by and for everyone, particularly those marginalised by the racial and gender inequalities of neo-liberal capitalism.

October 17, 2019 10AM – 8PM   Birkbeck University, London



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Tea, coffee, water and pastries provided
‣ Zine station (the Wellcome Library) LIBRARY

Loesja Vigour and Rob Bidder

Moderator: Lise GrønvoldOfficial welcome‣ Prof Felicity Callard, ‘The use – and misuse – of daydreaming and fantasy’ KEYNOTEQ&A
Chair: Dr Christine Okoth‣ Amanda Diserholt, ‘‘Doing Nothing’ – Fatigue as Resistance to the Ideologies of Late Capitalism’ PAPER‣ Janine Francois, ‘Reparations for Black People Should Include Rest’ PAPER‣ James Rakoczi, ‘The neuro-politics of sleep: narcolepsy activism, work, life, and death’ PAPER
PUBLICNESSChair: Rita Gayle

‣ George Townsend, ‘Landlocked: an exploration of river bathing, pleasure and sociality in the UK’ PAPER

‣ Heather McKnight, ‘Forever Strike! Estrangement and Utopian Temporality on Sussex Campus’ PAPER

‣ Miloš Kosec, ‘Architecture of Passivism’ PAPER

MAL B35RUS 101
12:30 LUNCH (not provided, but there is a market outside with many options)
‣ Zine station (the Wellcome Library) LIBRARYLoesja Vigour and Rob Bidder
WORK/LEISUREChair: Dr Margarita Palacios‣ Sophie Bullock and Sophie Huckfield, ‘Ambience Factory’ PERFORMANCE‣ Stephanie Grace Anderson, ‘(Un)Dead Time: Spatial Confinement and Non-Productive Labor in Contemporary Art’ PAPER
‣ Valeria Graziano, ‘Figures of Unwork’ PAPER
‣ Dr Shoniqua Roach, ‘Theorizing Black Domesticity’ PAPERSELF-CARE
‣ LiLi Kathleen Bright, ‘Practical self care and community care: How to recover from burnout & get our energy back ✊🏿’ WORKSHOP

‣ Dr Holly Pester and Dr Ed Luker, ‘Dreaming, Non Sensing and Means’ WORKSHOP


RUS 101


Tea, coffee and water provided

PLEASUREChair: Ama Jospehine Budge‣ Louisa Harvey, ‘Un-writing’ (10 mins) INTERVENTION‣ Niamh Vlahakis, ‘Xenogenesis: An Exploration of Skin & Touch’ PAPER
‣ Victoria Okoye, ‘Producing knowledge, in pleasure, together’ PAPER‣ Dr. Christine “Xine” Yao, ‘I Don’t Care: The Practice of Unfeeling as Feminist, Queer of Colour Theory in the Flesh’ PAPER

‣ Farzana Khan, ‘Inside My Darkest and Deepest Everything: The Politics of Pain and Bodies of Counter Creativity’ READING

‣ Xiri Noir, ‘Your Worth Is Not Measured By Your Productivity: A Radical Self Care Workshop for Queer Activists And Allies’ WORKSHOP

MAL B35RUS 101
(dinner not provided)
Moderator: Ama Josephine Budge‣ Alberta Whittle, between a whisper and a cry (2019) SHORT FILM‣ KEYNOTE: Prof Saidiya Hartman, ‘Beautiful Experiments’ KEYNOTE‣ IN CONVERSATION and Q&A: Dr Gail Lewis and Prof Saidiya Hartman‣ Closing remarks on behalf of the organisers, Ama Josephine Budge and Lise Grønvold

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Xiri Tara Noir (EN/ES) & Boaz Barkan (IL)
Part of the program CHOREOGRAPHY IN ACTION

Choreography is the capacity to make any activity generate potential.
How do we as choreographers activate movement, and can choreography be another way of thinking in terms of political actions.

Meet the choreographers Xiri Tara Noir and Boaz Barkan in an open debate about what choreography is today, and about how their practices aims to activate the engagement of all participants with the work in question.

Xiri Tara Noir 
Independent activist, performance artist and choreographer.
In her choreographic practice she examines the edges that separates academic research from
our everyday gestures and practices. Within a variation and exchange of social roles her work explores the boundaries and hierarchies between “artist” and “audience”, and between what it
means to be observing or participating in an event.

Boaz Barkan
Choreographer, performer and practitioner in the fields of dance, performance
and somatic practice. His focus is on movement and embodiment as mediums for performers,
audience, and communities.

A weekly event throughout the season. Every Monday at 7-9 pm Dansehallerne presents meetings between affiliated artists and guests from other programs and performances presented by Dansehallerne. The artists share their thoughts about artistic work through conversations, installations, performances or films. The program is in English.
The meetings are primarily addressed to the artists in the field but open to all with an interest. It will take place at Charlottenborg Art Cinema, there is free entrance.

Kunsthal Charlottenborg
CHOREOGRPAHY IN ACTION takes place at Charlottenborg Art Cinema. The distinctive art institution Kunsthal Charlottenborg ia a close collaborator of Dansehallerne.

When / 7-9 pm

Where / Kunsthal Charlotternborg, Nyhavn 2, Cph K

Free entrance

“When I think about the way we use the term ‘study,’ I think we are committed to the idea that study is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible convergence of all three, held under the name of speculative practice. The notion of a rehearsal – being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory – there are these various modes of activity. The point of calling it ‘study’ is to mark that the incessant and irreversible intellectuality of these activities is already present. These activities aren’t ennobled by the fact that we now say, “oh, if you did these things in a certain way, you could be said to be have been studying.” To do these things is to be involved in a kind of common intellectual practice. What’s important is to recognize that that has been the case – because that recognition allows you to access a whole, varied, alternative history of thought”

The Undercommons: Fugitive Planning & Black Study
Stefano Harney and Fred Moten
(2013: 110).

The trouble of walking straight, Teatro Pradillo 01.12.2017 y 02.12.2017


Presentado como un “Walk in progress” , este trabajo aborda el acto de caminar. Caminar es algo que hacemos todxs. Así es como nos movemos por el mundo y por nuestras vidas. Caminando. Caminar es sencillo, tan pronto como consigas hacerlo, ya no tienes que pensarlo, simplemente lo haces … pones un pie delante del otro y caminas … “The trouble of walking straight” examina cómo diferentes cuerpos caminan y llevan sus cuerpos por el mundo, y sobre cómo caminar también puede ser algo peligroso y precario, dependiendo de cómo muevas tu cuerpo a través de este mundo. Esta propuesta es una continuación del proyecto “Pas de Chat” creado en 2015 en colaboración con David Valero Yuste.


Programación     Espacio para Compartir     Temporada 2017 2018






Xiri Tara Noir, Sina Seifee, Esta Matkovic, Maarten Van den Bussche, Lili Rampre

curated by Laura Herman


21-23 September 2017 / a.pass 4th floor


“Mistakes, wavy lines, confusion, obscurity are part of knowledge;
noise is part of communication, part of the house.”

(Michel Serres)


No Communication Without Noise is a three-day insight in five ongoing a.pass researches that share an affinity with the ambivalences of writing and reading. Interested in communication, or the lack thereof, Esta Matkovic, Lili M. Rampre, Sina Seifee, Xiri Tara Noir and Maarten Van den Bussche address the limitations and untapped potentials of text in proposing new modes of attention.

How can we engage with the information that somehow gets filtered out, or which exists at the margins of the circuit? How does one convey, communicate, or translate embodied text or flesh-memory? How does a feeling or thought travel through time and space if not through written scripts? Adopting different channels and strategies, including voice, auto-fiction, re-enactments and technological interfaces, the researchers bring wonder and awareness of other forms of conductive relations, like the chemistry between lovers or the force fields that exist in between the lines.




17:00 doors open
ongoing installations until 22:00

performances at
18:00, 19:30 and 21:00


Thursday 21st & Saturday 23rd


Sina Seifee
Maarten Van den Bussche



18:00 Lili M. Rampre

19:30 Xiri Tara Noir

21:00 Esta Matkovic

Friday 22nd


Sina Seifee
Maarten Van den Bussche



18:00 Xiri Tara Noir

19:30 Lili M. Rampre

21:00 Esta Matkovic




In “Out of the Blue”, Lili Rampre moves from water to land. Although the transition would seem at first sight to be a safe one, rejoining the shore after swimming in tumultuous waters, it is not: Rampre’s world hails from The Little Mermaid, and much is lost for Ariel when she leaves the ocean waves. What, she asks, would be other ways of constituting ourselves? How can we be made anew? How can we break free from the imperatives of balance, health, and harmony, and still remain subjects? She must find out how movement and voice, the oft-forgotten tools of subjective elaboration, can disrupt the laws of propriety and open the floor for unpredictable selves.





My research became a thing about how the intimate and the political might fuel and propel each other, onwards into interwoven subjective en social change! Though, when it becomes a fixed thing, I feel compelled; forced even – with the intensity of an addict longing for a hit – to change it into something else.





I am presenting a book and i would like to think of it as performative act, a substitute for my process, an aesthetic experience. I am working on our everyday performativity, making a format for Intimacy, Care and Love to be observed, a contract as a meeting space of our borders in an agreed space. The assemblage of documented material consists of messages, email exchanges and meetings with my artist Lovers, through my daily reflects upon the ‘project’.





Departing from an activist purview Xiri’s research centers on how particular gestures are captured and interpreted by different groups of women. Across different groups, however, misunderstandings are likely to emerge due to factors of circumstance and prejudice. Xiri uses transcriptions not as a tool to translate what has been said exactly, but how it has been said by returning what gets lost into the realm of the perceptible through amplification. Through a legend of cues – an emotional map of sorts – a reenactment of conversations becomes possible, reconfiguring the field of relations and enabling the appreciation of value systems that are not ours.





Ajayeb ‌ is a site of heritage and research on histories of standards in knowledge production, stories of the inseparability of affect and episteme, passing of obligations from something ghost-like to something felt-with-certainty, from site to parasite. And work on ajayeb is an infrastructural concern about zones of encounter, about the politics of rememberance: the politics and philosophy of classifying certain textual/material activities that constitute what is „past.“



Visiting the (un)safe

The Excursion-workshop Visiting the (un)safe is an individual travel through some specific spaces of Brussels. The excursion will ask of its participants to question how our identity(ies) are constantly formed and transformed by our physical surroundings and environment.
You can learn more about it in this link:



Safe space is a term used for an area or forum where either a marginalized group are not supposed to face standard mainstream stereotypes and marginalization, or in which a shared political or social viewpoint is required to participate in the space. For example, a feminist safe space would not allow free expression of anti-feminist viewpoints. Physical safe spaces are often reserved only for members of the oppressed group.

This excursion wants to question what places in the city can be considered as safe- and un-safe-spaces, and if our interpretation of our own identity(ies) affect this definition. Does age, race, gender, national origin, religion, physical or mental ability, sexual orientation, class etc apply to our connotation of a safe-space. Do we sometimes reconstruct our own identity(ies) in different spaces in order to be safe, or in order to keep the space safe for others. What makes a space safe for some while un-safe for others. Do we unconscious search or attract these safe spaces and avoid the un-safe spaces. What uninvited situations would occur if we consciously turned this around for a day.

Practical information: The excursion is an individual travel through some specific spaces of Brussels.

Participation and time schedule:  Participants outside of the A.pass program is very welcome to join this excursion, but as its an individual route (you can not walk with other people), you will have to subscribe individually on this email:

To subscribe for the excursion please write to the above mentioned email with the time and day you wish to make the excursion (around 1-2 hours any day between 9-18).

When you subscribe for the excursion you will receive your own individual time schedule If you have a specific wish for the time schedule please mention it in your subscription and it will be taken into account.

All participants will receive a personal letter by email containing the map of your route and some personal instructions during the route.


Check out by beloved partner in crime Sarah Armstrong’s WORKWORK

more info on Sarah Armstrong’s artistic practice at;

People/ Spaces involved in the work presented above are;

Rebekka Elisabeth
Inga Gerner Nielsen
Madeleine Kate
CoolCunt Tattoo
Dalin Waldo
Klara Utke Acs
My Grönholdt
Nordlys Festival
Kris Reichen Hjorth
Antonio Onio
Copenhagen Queer Festival
Jøregen Callesen
Burlesque Hypnotique
Rita Christina
Esben Weile Kjær
Stella Malfilatre
Baijie Curdt-Christiansen
Karolin Kent
Tami Tamaki
Valeriya Olkhova
Club De La Faye
Yaa Lioness
Michael Rexen Buchholst
Gry Worre Hallberg
Dome of Visions
Byens Lys Christania
Xiri Tara Noir
Teater Øen
Frie Felts Festival
Muffe Vulnuz
Body Extremes
Elena Biner
Nikolaj Emil Gottlieb
Tina Damgaard
Emilie Kilkowska


Thanks all of you.


Sábado 11/07 2015 Teatro Pradillo Con: David Valero Yuste y Xiri Tara Noir


Pas de Chat

Conversación entre dos cuerpos


-¿Has bailado en frente de un público antes?
No, pero tampoco me importa si estás conmigo y yo contigo.
Si la cagamos, la cagamos los dos.
-¡Genial David!
¡¡¡Espero que no la caguemos!!!

A veces, el exceso de posibilidades es también un límite.
Morfología de un cuerpo; prejuicios, complejos y privilegios.
Investiga sobre el contraste entre los cuerpos y los diferentes modos de habitar entre los límites del movimiento.


David Valero Yuste es entrenador de natación, monitor de defensa personal y Tai Chi Asociación Sporta Ejemplo de Superación. Tiene una parálisis cerebral de nacimiento y forma parte del colectivo “Pares Sueltos”, un grupo estable de investigación y creación en artes escénicas cuyos componentes son personas sin y con diversidad funcional (física, intelectual o sensorial). Es un espacio creativo donde, a través de herramientas de las artes escénicas, confluyen cuerpos y mentes diversos, calidades de movimiento y formas de comunicación variadas, donde la diversidad es vista como una oportunidad y no como un límite.

Xiri Tara Noir es activista, artista y coreógrafa afincada en Europa. Formada en las artes visuales y la danza. Recientemente, el eje central de su trabajo con la coreografía ha sido intentar romper los límites que separan la investigación académica y las investigaciones o prácticas creativas. Su intención es motivar al espectador a participar activamente y así explorar los límites y jerarquías entre artista y público y, de esa manera, proponer una plataforma para el diálogo y el intercambio. Le interesa jugar con la variación y el intercambio de los roles sociales, algo que le permite crear y re-descubrir espacios arquitectónicos, así como verse inspirada por los movimientos y las historias que existen y viven en los espacios que le rodean.

The RAPP 2015 Experiments

This time around, we received a stunning 52 applications from about 20 different countries for RAPP 2015. We are very grateful for all your fascinating, original and crazy ideas, and we sincerely wish that we could have selected more than 3 experiments.

But we are very happy to present the RAPP 2015 experiments that we find both intriguing, touching and highly qualified. All 3 of them include a form of audience involvement – so we’ll be needing YOU this year to participate in the experiments, as test audience or in a workshop concept. Follow our facebook page for more info about participation.

RAPP Experiments at Godsbanen, Aarhus, March 12-19, 2015.
RAPP Conference at Svalegangen, Aarhus, March 20, 2015.
RAPP student workshop at Godsbanen, Aarhus, March 21, 2015.


‘Contact Improvisation as Self-Observation’ by Ana Jordão & Xiri Tara Noir             An exploration of how contact improvisation mirrors the way we relate to each other, and what bodies communicate.

“It has always been very obvious for me that the ‘form’ of contact improvisation enables a very honest and spontaneous expression of people’s personal and relational tendencies and desires.
We want to gather information about how contact improvisation naturally mirrors our personalities, and we aim to further this awareness into discovering how much of this is influenced by social and political factors. In a sense, one can imagine a contact jam as a microcosmos of social life; where we meet, share a moment of togetherness, search for understanding, and then leave again.

This observation first occurred to me as I was teaching in the Palestinian Circus School. There it was obvious that the condition in which Palestinian people live was written in their bodies, and that the religious, political and social conflicts were reflected in the way they engage in physical contact. This was what originally made me want to use the tool of contact improvisation and body work, in order to explore the consciousness of the body, develop trust, explore intention and impulses, develop non-verbal communication and a supporting and uplifting dialogue through movement.”

Ana Jordão (PT/DE) is an multidisciplinary artist working in the fields of contemporary circus and dance. After completing a BA in Media and Cultural Studies (Edinburgh) and a degree in Circus Arts (Berlin), Ana is currently working on her first solo piece as well as conducting independent research regarding the connection between mind, body and social environment through improvisation practices.

Xiri Tara Noir (DK/ES) is an independent activist, performance artist and choreographer with a background in visual arts and dance. The main interest and artistic concern in her work is to break the limits between academic research and creative investigations and practice. Her intention is to encourage the present audience to actively participate and thus explore the boundaries and hierarchies between performer and audience, and in that way propose an artistic platform for dialogue and exchange.

Xiri and Ana met in an arts residency in Brussels, and later worked collaboratively in the Barcelona International Dance Exchange. The aim of repeating the contact improvisation experiment in conflict zones such as Palestine brought them together, and was the first driving force behind the creation of this research project.