bewegen - schrijven

DUCTUS is the latest solo project by Paul Abbott, featuring 51 minutes of audio, across 12 tracks, and a 42 page booklet featuring new writing. DUCTUS was written and recorded in Edinburgh and Porto in 2019. 

DUCTUS presents a playful weave of collapsing time through a number of speculative elements and fictional characters. Abbott feels his way through learning drums, rhythm and writing as fleshy research technologies. DUCTUS is the latest stage in a process considering sound, the body, imagination, and language through music. This features as part of ongoing investigations using real and imaginary drums, synthetic sounds, performance and writing.

‘Kamer I - Oesters’ is een kort verhaal geschreven in het kader van het kunstproject Beste Anna,. Hierin fungeert de figuur van de openlijk lesbische Rotterdamse schrijfster Anna Blaman als motor voor vragen, gesprekken en correspondenties rondom feminisme, schrijvende vrouwen en de canon, anders zijn, eenzaamheid en vriendschap.

Ook verkent Katinka met dit onderzoek Anna Blaman als personage voor een toekomstige roman. In ‘Kamer I - Oesters’ betreedt de hoofdpersoon Anna’s met een rolkoffer vol boeken van andere schrijvers, fluistert ze hun woorden in de kieren in Anna’s muren en verleidt ze Anna met een pauwendans.

Anna Blaman (1905-1960) was openlijk lesbisch, in die tijd een groot taboe, maar zag zichzelf niet als voorvechter van een beweging. Een belangrijk thema in haar werk is de vraag of we een ander werkelijk kunnen kennen. De personages in haar romans zijn vaak alleen en verlangen naar een ander, die altijd onbereikbaar blijft. In 1948 publiceerde Blaman de roman Eenzaam Avontuur, die erg veel stof op deed waaien vanwege enkele (homo-)erotische personages die in het boek voorkomen. 

fanta for the ghosts by Elisabeth Molin

120mm x 210mm
edition of 500

Co-published with OneThousandBooks and Elisabeth Molin

First edition of the Engagement Arts Zine.

Published May 2019

STILL LIFE is an online and printed zine about relationships and configurations in which one person is still while others are not. Or where one person is passive and others are active. It’s about how we put ourselves in other people’s hands. Or how we are put in other people’s hands. It’s about care and power and vulnerability and agency. And other things not so clearly named. It’s about the different kinds of knowledge that people have about their own and other people’s bodies. And the kind of philosophical and political understandings woven into that knowledge.

A collection of brief descriptions of Toine's movement performances- and installations since 1979. The book, that started four years ago as a possible form in which Toine's ephemeral works could live on, gradually developed into a writing project about movement and the imaginative power of language.

Each of the 120 selected works has been translated in the most concise way into words and sentences.

Because of the possible role that the book could play in the discussion about conserving and documenting volatile works of art, Toine included related texts by other writers who directly or indirectly responded  to my writing: Marcus Bergner  Hannes Böhringer  Florian Cramer  Jan Van Den  Dobbelsteen  Nell Donkers  Tim Etchells  Ger Groot  Geert Koevoets Thomas Körtvelyessy  Dom H. van der Laan  Dick Raaijmakers  Jan Laurens Siesling  Sandra Smets  Hans Stevens  ieke Trinks  Samuel Vriezen  Ciel Werts - Emilie Gallier 
Editing and text advice   Kathrin Wolkowicz  Dick van Teylingen

translations:  Simon Benson  Maaike Trimbach  Samuel Vriezen  Helen Adkins  Vincent W.J. van Gerven Oei

graphic design: Koos Siep 
Edition: 2 x 250 copies

Edited by Astrid Kaminski, Jeroen Versteele, Julie De Meester. A personal and intimate look behind the scenes of Meg Stuart's creative process over more than a decade. 

Since the early nineties, Meg Stuart, and her dance company Damaged Goods, based in Brussels, have produced a remarkable and audacious body of choreographic work. In 2010, Damaged Goods published Are we here yet?, which spans the first twenty years of Meg Stuart's career. In the follow-up book Let's not get used to this place, the choreographer looks back on more than a decade of works through reflections, interviews, scores, and notes on the practice of creating, performing, teaching and living dance. These are mixed with reports, essays and poetry by collaborators and other observers, photos, performance texts and archive material. The book's title, gleaned from one of Stuart's recent video works, ties together these multifarious sources in a desire to discard tried and tested strategies, explore new contexts, and transgress the edge of what we (do not) know. 
Let's not get used to this place gives a sense of the plentitude of motions, inspirations and personalities that energize Meg Stuart's creative cosmos. It offers a personal and intimate look behind the scenes of the creative process, and expands this to include the world around it. As a journey through her more recent career, an inspiring manual and a work of art in its own right, it has a wide appeal to an international base of artists, students and peers, and to anyone who is interested in performance.

Contributions by Jean-Marc Adolphe, Preethi Athreya, Mariana Tengner Barros, Sandra Blatterer, Esther Boldt, Márcio Kerber Canabarro, Varinia Canto Vila, Descha Daemgen, Jorge De Hoyos, Igor Dobricic, Brendan Dougherty, Doris Dziersk, Tim Etchells, Moriah Evans, Thomas F. DeFrantz, Jule Flierl, Alain Franco, Davis Freeman, Ami Garmon, Philipp Gehmacher, Jared Gradinger, Ezra Green, Claudia Hill, Maija Hirvanen, Elise Misao Hunchuck, Astrid Kaminski, Kiraṇ Kumār, Göksu Kunak, André Lepecki & Eleonora Fabiano, Jean-Paul Lespagnard, Marc Lohr, Matthias Mohr, Anne-Françoise Moyson, Anja Müller, Kotomi Nishiwaki, Jeroen Peeters, Alejandro Penagos, Léa Poiré, Leyla Postalcıoğlu, Ana Rocha, Tian Rotteveel, Hahn Rowe, Isabela Fernandes Santana, Maria F. Scaroni, Bernd M. Scherer, Kerstin Schroth, Gerald Siegmund, Charlotte Simon, Mieko Suzuki, Claire Vivianne Sobottke, Poorna Swami, Meg Stuart, Margarita Tsomou, Kristof Van Boven, Elke Van Campenhout, Myriam Van Imschoot, Jeroen Versteele, Doug Weiss, Stefanie Wenner, Jozef Wouters, John Zwaenepoel.

A take away cup and a cloud is an essay written alongside the dance performance Seems to be by Denise Lim and Stina Ehn. It plays with a variety of containers–the list form being one. By mixing a personal with a historical gaze it traces the trajectory of mundane commodities and  the replacement of material with imaterial objects brought about to the everyday by technical progress.