Category Archives: Residents

THE UNCONSCIOUS MOVE | Residency Sebastian Pickering Pedersen

10-21 June 2019

PRESENTATION : 21 June at 5 pm

Open Morning Labs : 11/13/15/18/20 June from 9:30 till 11:00

Sebastian Pickering Pedersen

Danish/Canadian dancer, dance-maker and musician, b. 1994, Aarhus, Denmark. He has a varied background as a dancer, classical guitarist, fencer and white water canoeist.

As a choreographer he was recently artist in Residency at Performing Arts Platform in Denmark researching photography vs. movement/choreography with his collective aNorange, with whom he is currently working towards the premiere of their first longer piece. As a dancer he will be working with Icelandic Dance Company in January and Nicole Beutler (NB Projects) later in spring.

He is currently working on his movement research concerning involuntary/unconscious movement and has a flair for floor work and physical theatre.

During 2 weeks of exploration and creation at CLOUD, I will be working with different physical, theatrical and visual aspects of unconsciousness. Building on previous research concerning “Involuntary/unconscious movement” I will be continuing to work with physical tasks aiming to provoke the body to move without the performer consciously choosing to do so. The includes working with balance (loss), manipulation of the body and provoking physical reactions. I wish to combine this with a more theatrical approach by imitating states of consciousness – how can we theatrically express being conscious or unconscious? Can we create or imitate a state of in between – eg. sleep walking, being drunk, constantly switching between loosing and gaining consciousness?

The aim of this residency is to start transforming material and tasks from a practical movement research into a more artistic direction by finding out what images and associations appear from the exploration of physical and theatrical consciousness. By working with the theme and its tasks, what references might appear? What scenes can be built? What aesthetic does it have – does it have an aesthetic at all? Does it bring a context of its own, or does it need to be put in a certain “staged” context to have a meaning?

OPEN CLASSES

To prepare ourselves for working physically throughout the day, the warm ups will be working our stamina through floor work, partnering and improvisation, but also focus on more intricate exercises in balance and adding subtle theatricality to our ways of moving.

LAYER BY LAYER | Residency Una Wiplinger

1 – 8 June 2019

Una Minou Wiplinger

BA in Eurhythmics/Music and Movement Pedagogy at the University of Music and Performing Arts, Vienna (mdw). A piano and voice pedagogue, she is also active as artist and educator in the fields of dance and theatre for children and adults. She is working as a freelance dancer, musician and eurhythmics practitioner and is a member of the Austrian dance and performance company schallundrauch agency

See the world as a mystery.

An onion with many layers.

Look beneath the surface.

Peel things to it ́s core.

Follow the threads of life.

LAYER BY LAYER is an interdisciplinary performance project. Dance, textile art and live music will fuse together. Therefore, I am collaborating with Claire Chatel, a French-Austrian textile artist and designer, as well as with two Austrian musicians.

Theme: “MULTIPLE LAYERS “

Universe- Worlds- Body- Society- Movement- Living beings- Thoughts- Materials- Emotions- Stories- Relations- Life- Textiles- Systems- Perception- Dreams- Sounds- People… are complex.

They consist of many elements, of different layers. Their structure is being shaped by time, by life. Each experience leaves marks, shaping and changing the story. Sounds, textiles and movements can be broken down into their finest fragments. They can condense and dissolve themselves. They influence and communicate, connect, separate or envelop each other. The performer plunges into different layers, atmospheres of different surroundings, and into her own inner universe.

Fields of Research & Questions:

Textiles, sounds and the anatomy of the body consist of layers, waves, and structures. We see and hear, but usually we only perceive “the whole” or rather the uppermost layers.

To what extent can a human being perceive deeper layers and differentiate between them? In more concrete terms: To what extent can we feel the structure of a fabric on our skin, feel our fascias, make out the different voices of a sound carpet or perceive the feeling that lies hidden beneath another?

FALLING IN: body, space, fragmentation | Residency Marta Worner

Marta Worner’s research exposition (13-26 May 2019)

Showing the outcome of the residency on 26 May

1st Show : 14:30 – 15:30

2nd Show : 16:30 – 17:30

Open attending sessions between 20 – 22 May

( see section “participation” for more info)

While space becomes fragmented, Marta researches around the ability of the body to become, through the simple act of falling into the unknown.

About the research

After two years of practice-led research framed within the Choreography Master program of Codarts and Fontys Universities, Marta finds herself in the final phase of her inquiry in which she will bring together her two lines of inquiry, the destructuration of the space through scenographic tools and its relation with the kinetics of the body. Below the inspirational umbrella of the idea of performing the Deleuzian concept of “becoming”, Marta addresses the dichotomy structure-destructure and its application and affections to the body.

Inspired by the Deleuzian concept of “becoming” (coming from the Latin verb “devenire” which means “coming down, falling in, arriving to”) Marta Wörner proposes the inquire of the act of “fall in” as a tool for de-patterning, a physical door to the unknown. The research will be presented one the one hand by an exposition of her documentation and on the other hand by an interdisciplinary movement work. The resulting interdisciplinary piece is a playful physical and spatial dialogue between controlling and “falling in”, or between balance and uncertainty that happens in a fragmented and multidimensional space. Starting from the destructuration of the space through the scenographic practice Marta uses an interactive steel construction with video projections together with sound and light design tools to build a fragmented universe that challenges the body to find its place inside that fluent setting through a process of becoming or falling in. The research has been led by an always changing, falling research question: How the fragmentation and destructuration of the space relate to the kinetic action of falling knowledge of my findings?

During the residency at CLOUD/DANSLAB

In this artistic residency at Cloud/Danslab, Marta Wörner will be experimenting on how to present her research documentation through the exposition model. Rather than create an academic paper to share her research, Marta has the aim to facilitate an experience that allows the audience to enter into the research universe she has been diving in during these years and to generate new knowledge together with the viewer’s experience and presence. For that, Marta will design an interactive space that, in coherence with her performative work, allows a nomadic experience in which the audience can access her documentation freely but guided and informed. During the residency, Marta will invite artists from different fields to allow their experiences and comments to influence her design.

Participation

If you are interested in participating, experiencing or questioning Marta’s research during the residency period, please, write an email to mwornersarabia@gmail.com with a short text explaining why would you like to attend to one of the research sessions and your availability between the 20th and 22nd of May. Moreover, there will be a showing of the outcome of the residency period during the 26th of May. If you would like to attend, please, send an email to mwornersarabia@gamail.com .The participation in both activities is free of charge, as it is thought of as an exchange. However, the inscription is necessary and the commitment to the appointment is appreciated.

About Marta Wörner

Marta Wörner is a motivated and enthusiastic interdisciplinary artist trained in modern dance in different countries and a Bachelor’s Degree in Audiovisual Communication. Throughout her career, she combines contemporary dance and audiovisual work such as projections and soundscapes for her performances. As a choreographer, she is seeking for expressive and artistic languages that can evolve from the interaction and mixture of different art fields and formats. She aims to create vocabularies that entail a transdisciplinary language.

FALLING IN | Marta Wörner

pre- Residency Workshop: 

26 & 28 Feb 16:30 – 19:30 / 2 & 9 March 10:30 – 13:30/ 3&10 March 13:00 – 16:00

Fee​: 15 euros* for the whole workshop.
*The symbolic fee of the workshop is meant to cover the cost of the space. However, if any participant has a firm wish to attend but an honest economical impediment, the participant can communicate the situation to the organization and not be charged

In this workshop, we will explore the physical, psychical and sensorial implications of the action of “falling in”.
Inspired by the Deleuzian concept of “becoming” (coming from the Latin verb “devenire” which means “coming down, falling in, arriving to”) Marta Wörner proposes the inquire of the fall as a physical door to the unknown. Understanding “falling in” as an uncontrolled abandoning the body to the force of gravity and embracing its implication on the mental state of the performer, we will focus in the re-organization of the body in between moments of physical balance.
It is a play between controlling and “falling in” in which the participants will inquire the potential of their articulated movement, the openness of the body worked through the relaxation and conscious use of the core, and the awareness of the space.

The kinetics of the human body and its ability to reorganize itself to become another thrives me. As a maker, Marta is interested in exploring its interaction with other structures that do not change or move that way, as the established structures in the city or fundamental building blocks of our thoughts and beliefs.

The workshop also has the aim to invite a selection of participants to the following artistic residency of Marta Wörner at CLOUD DansLab, in which she will continue developing her artistic research.

Defining the body as a natural structure, she always wanted to learn from it. With the firm thought that the body has an inherent valuable knowledge that I can not name yet, but intuit it, I always moved.
Her other fascination is the deconstruction of the space through the scenographic tools and the dramaturgical possibilities of it.
The goal with this research is to build a space between the theatre and the street through the deconstruction of space and scenographic dramaturgy as tools, which allowed me to explore the dichotomy solid-fluent/structure-destructure and its application and affections to the body, all below the inspirational umbrella of the idea of performing the concept of “becoming” and reflecting on it.

RESEARCH QUESTION FOR THE ARTISTIC RESIDENCY AT DANSLAB.

The artistic residency at CLOUD DansLab will start with the workshop FALLING between 26 Feb- 10 March , the reserach stage of the residency will be carried out between the 13th and 26th of May.
In this two weeks residency at CLOUD DansLab, Marta wants to explore the implications of transferring my findings on the embodiment of the Deleuzian concept of becoming as a tool for material creation to other dancers/performers..

RESIDENCY LO BIL

18 – 24 March 2019

workshop & presentation | 23 March 19:00 -21:00

lo bil is a York University Interdisciplinary Masters student creating body-based performance art using cross-disciplinary methodologies to correlate research into process, pleasure, vulnerability, an aesthetics of feeling, and the impacts of a social location on identity. Through non-repeated performance gestures, lo generates intuitive research into academic concepts by using physical improvisation, spontaneous utterance, impulse- based scores, object manipulation, and inter relational proposals with audience. Her work has been called “raw”, “amusing”, “transparent”, and often involves creating a feedback loop with the audience.

I am developing a performance-research practice of “dropping” questions into the body, aiming for “non-repeatability” and moving on intuition as a method for understanding philosophical texts.

Encouraging myself to move into states of intoxication through movement provides an entry-point into my unconscious image life, connecting abstract physical impulses to sublimated content by letting speech effect movements and movements affect speech. Making this physical practice into a performative one, layers on an interrelational complication, to notice how the body responds to itself while being seen by others – in this state of hyper-awareness and “felt knowing” – thoughts surface differently.

I become aware of “habits” or psycho-physical patterns of movement and related thought sequences from memory. I try to identify, deconstruct and reorder these habitual patterns into non-repeatable forms, disrupting psychic material that surfaces. I want to interrogate habits that are blocking my ability to create new ways of thinking. I will prepare with texts by Butler, Nancy, Deleuze and Guttari, Ranciere and Agamben.

ARTIST STATEMENT:

I am a Performance Artist. I write with images – sourcing my work from my own identity transparently and investigating my philosophical problems with improvisatory actions and object relationships. I offer audience situations and provocations to dream around. I offer a context for people to think of their own questions and notice their own desires.

I practice for months, but in the moment before the performance, I let go of what I want to happen or expect to do. I ask, “How can I be in front of this audience in an attentive and receptive way and what is moving to me about the topic at hand right now?” I do this action. This first mark on the canvas is an offer that I follow through to the end of the composition. I use body memory as a generative source of possible exchange and inquiry. In this way, I am researching my knowledge and lack of knowledge; I am accepting the reality of my body, the reality of my economic state, the reality of my class, my gender and all unknown aspects of my history.

This performance style is a DIY strategy where in body and thought I am ready to perform at any moment in alignment with my own integrity and the nature and energy of the people present. The “currency” of this methodology is the responsiveness to context – information can be immediately incorporated into the texture, movement, and conversation with the audience – thus the work allows us to unpack questions in a collective way.

I am also researching what it is that elevates my consciousness in the moment of performance – that energetic flow that allows meaning to emerge that I could not have realized if I had not made the performance. This question has come from my constant radical doubt around: why perform at all? I keep performing because actually it is in the moment of performance that I don’t know where I’m going, that I can look back at and say: I know where I am going now, thanks to this performance. As crazy or wild as the performative state can be, it leads me into knowledge.

I would love to have conversations with local artists to help generate more context for the performance proposals and for my thesis writing.
If you are interested please contact me : lbil@rogers.com

The workshop presentation of 23 March

“I propose an open studio performance and workshop.  I will show you what I have been working on in the intersection between movement and philosophy and then I will make some proposals for audience to engage in. No pressure to participate but I hope you will be curious enough to join us for this mini workshop that aims to generate pleasure, connection and interesting things to think about. “

Blog : http://lo-bil.tumblr.com/ 

RESIDENCY ELIEN, DASHA & JUDITH

25 Feb – 10 March 2019

1st workshop / sharing 1 March 19:30

2nd presentation & workshop 8 March 19:30

About the residents

Elien Hanselaer (Belgium) works as an actor and theatre-maker in Belgium and United Kingdom. She has worked with international companies such as Dash Theatre and Odin Teatret. Elien focusses in her work on the feminine aspect of theatre, seeking spirituality and community in her work. The actors create from communal work in an empathic methodology setting, which is radically changing. Elien started an artistic, practise-based research on actor-actor connection in September 2018.

Dasha : My research is focused on communication through touch. I am gathering tools that enrich human tactile sensuality, drawing from all possible sources ranging from academic research to Argentinian Tango dancing. The more fine-tuned our senses are, the richer our tactile communication can be, and the more pleasure and knowledge we can derive from this experience. Skin is out biggest organ. Touch is the first language all of us have used to communicate before we learned to talk. Whether we are aware of it or not, much of our information exchange still flows through our skin. I think it is a language worth mastering.

Judith is an interdisciplinary artist and movement researcher. The body, in its whole existence, is her biggest fascination. Her research focuses on our movement patterns / habits and how we can learn to recognize them and therefore have the possibility to bend /change them . As an artist she has been busy with this with her theater collective of mutli disciplinary artists and friends LUDIC COLLECTIV. As a scholar she is in her 2nd year of Feldenkrais teacher training, where she is learning  about Awareness Through Movement & Functional Integration.

In the last twenty years, the performing arts have spend a great deal of time researching ‘how the artist can get into total interconnectedness (comparable to the psychological concept ‘flow’), seen as the ideal state for an actor or musician to perform. The core concept leading to total interconnectedness is, according to theatre theoreticians, the interconnectedness between the actor and co-actor. In contemporary a acting (training), which has become more and more based on the individual, actors today struggle to connect to the co-actor or practise on-stage empathic listening. In a culture whose already classical dilemma is het hypertrophy of the intellect at the expense of energy and sensual capability, Western theatre today is shaped by theoretical paradigms such as semiotics, deconstruction, psychology, and post-structuralism instead of the empathy, connection and coming together it so desperately needs.
The experiment we are proposing is to look at how performers connect and how they can connect better. We will be researching this through a mixture of theatre, Argentinian Tango and Feldenkrais technique. The experiment functions as an inspiration for the development of dialogical and trans-individual theatre and approach of theatre making that reflects the many dimensions of our humanity, society and potential back to us.



call for participatory audience | Tatiana Kolganova

Please choose one or more days in which you will like to join

May 24, 28, 29, 31 | From 12.00-14.00.

(presentation: Thursday 5 Juli  19:00)

contact Tatiana via: tanianak@gmail.com

Tatiana Kolganova is a multimedia artist and researcher. She explores human relationships with a natural environment. Mostly her art practice focuses on the intersection of language, imagination and human senses. Working with different media Tatiana is interested in creation of an art experience with active participation of an audience.

Currently she studies master program of Fine Art at HKU, University of Art, Utrecht NL.

During her residency at Cloud, artist Tatiana Kolganova will develop a participatory performance about imaginary contact with a natural landscape.

Everyone is welcome to join in the process of work and explore the different aspects of collective and personal imagination.

We will experiment with:

-Representative elements of a landscape.

-The power of a ceremonial process

-Different layers of personal imagination.

-Collective creation of an imaginary natural environment

and others prepared and unexpected elements.

After each session we will have a short discussion about the process.

Art lab: your collective movement (work in progress)

What: a sensorial exercise for a small group of people in complete darkness
For who: open call for test audience, free entry
By who: Aisha Pagnes 


“The defensive and unfocused gaze of our time, burdened by sensory overload, may eventually open up new realms of vision and thought, freed of the implicit desire of the eye for control and power.” Juhani Pallasmaa
And perhaps by relying on our sensorial capacity and perceptual ability we can fertilise the grounds of these new realms through artistic experiences, so that we may reclaim the gaze of our whole being.

How does a darkened safe space influence the way we perceive ourselves, our environment and one another?
Over the course of one week, CLOUD/Danslab will become a completely darkened environment.

During this period, I will gently guide you through daily sessions that work toward our sense of presence, sensorial awareness and felt connection.

What does it look like:
We will move delicately in the dark through a sequence of simple movements. Each person is equipped with two light dots* for visual reference.
*(Light-dot: a 6mm magnetised dot that clips on clothing. In darkness it glows white. The glow dims naturally over time).

What will be practically explored:
– When our senses of proprioception, hearing and vision are fully activated in a darkened space, how is our perception of self and of the other influenced?

– How emergent movement is experienced meaningfully in an unconventional environment.

– How verbal variations of the same instructions influence audience participation.

– How can we effectively compose such experience? (one that is repeatable, has a clear beginning, entry, exit and quality).

What can you expect:
– To be an active part of the creative collective process, aimed at finalising a time-based perceptual composition that lends itself to a broader audience as a participatory experience.

We will brainstorm together, go through iterations of movement and sensorial exercises to improve concentration and a sense of togetherness. Your input and feedback as a creative being will shape the week’s progress.

– A warm and friendly environment, with tea, coffee and snacks. In this, a chance to experience this same environment in an expanded and evocative way.

When:
based on your availability, open from Monday 7th to Sunday 13th of May. Times to be decided.

This practice week is part of a work in progress which focuses on audience participation and interaction, whereby simple means such as absence of light and basic movements are the elements driving the poetic experience. Below an excerpt of the sequence:

Situation Body: Participants wear a light-dot on the chest (above clothing) and on the back. The room is completely dark.

Begin by standing upright and still.
As if you were a singly entity,
arrive in unison with the others to a comfortable walking pace.

[…]

Profile: Currently studying at the ArtScience Interfaculty, I set up interactive installations where audience participation is the primary concern, as a result, test audiences are key influences in the various stages of development. Non-verbal communication and sensory awareness is a recurrent theme in what I look for. http://cargocollective.com/arp

If you would like to participate or want to know more please get in touch: ryannon.aisha@gmail.com

Presentation | Residency of Alegia P.

Residency : 12- 25 march 2018
Presentation : 14 april 2018  | 7:30pm until 9:00pm
I am an emerging media scenographer and visual artist. I am based in The Hague (Netherlands) but working between The Netherlands, London, Athens as well as other cities in Europe. My background is in Design (BA Interior design / Vakalo College of Arts & Design Athens, University of Derby UK) and I hold a master’s degree (MA Scenography from the Royal Central School of Speech and Drama, University of London). Currently I am undertaking my second master’s degree MA ArtScience in The Artscience Interfaculty (Royal Academy of Arts – Royal Conservatory – The Hague NL).
I work mainly in set and costume design for performance, theatre and installations. My work involves video, photography, lighting, projection mapping, sound editing, electronics hacking, scenic art, sculpture and any other technical support suiting the project.

In March 2018, I had a two weeks residency in The Cloud DansLab, in The Hague. During this residency, I started working with the idea of perception, body, movement and vision.

Key words: perceiving, touch, smell, see, feel, movement, formless.

People perceive differently the world around them due to many factors such as nationality, age, gender etc. According to Freud, the infant starts to perceive the world through his/ hers body.

Perception allows behaviour to be generally appropriate to non-sensed object characteristics. For example, we respond to certain objects as though they are doors even though we can only see a long narrow rectangle as the door is ajar.

I am using the vision (present or absent) to change (the condition) of people’s perspectives. I whilst to question the visible via sensations (hear, touch, smell, movement). And to “force” someone to experience simple very basic actions such as walking (with the eyes shut) by feeling not thinking.

The basic questions that need to be answered are:
What do you see?
How do you feel?
What do you hear?

(I can hear a smell or the silence. There is a sense of touch in seeing and a sense of seeing in touch etc.)

Someone needs to lose control in order to perceive differently.

Residence | Luis Odriozola | 16-29 July

Movement labs | 20 & 27 July 10:00 till 11:30 ( doors open 9:45) |5€

Presentation | 29 July | 20:30 ( doors open 20:15)

‘Johnny Horne’

Is a work that touches the Man’s smallness in the middle of the immensity, in the middle of the infinite possibilities of this world. It is solitude. It is an attempt to communicate and searching for answers that never come. It’s the need/impossibility to understand the world and make the world understand “you”. It’s the “pre” and “post” of the sonority. The before, the between and the after of the expression.

Using limits, impotence and frustration as generators of energy and starting points towards states. Thinking What a body and a voice are and what happens in them before they can articulate movements or words.

Asking what makes people unable to communicate normally? What are the facts that block our body and voice and don’t allow us to express ourselves freely.

How can we ensure that our education, culture, society and religion don’t influence any more our expressive and communicative barriers?

This performative/dance work has another layer that I am explaining below:

“Johnny Horne” is a solo creation in process emerged in the context of PEPCC 2015/16 (Forum Dança), Lisbon.

It has been assisted for now by Loic Touze, Vania Rovisco, Miguel Pereira, Paula Caspão and Britta Pudelko among others. But is in a new phase of restructuring and opening up new visions of inclusion of other elements (other artists, choreographic elements, etc.).

“So for me the project is at a new beginning where time becomes relative regarding to the date and place of premiere. It is in a moment of focus more in the process so as not to lose it due to the idea of show, as it happened before.”

“There is an interest for me in the process of understanding the questions explained in the previous short description of the project, and looking for answers through work/training and physical and vocal research. A process of removing layers and negations to find essences (authentic and natural movements and sounds), to work with them in the composition and transmission through performance or performative presence. It is a process in which working with the subconscious can become very important.”

About the artist:

Luis Odriozola graduated in Dramatic Art in the specialty of textual interpretation in the Higher School of Dramatic Art (ESAD) of Cordoba, having also studied Social Education at the University of Granada.

During 2015 he assisted as an external student to the technique classes in the CAD (Andalusian Center of Dance) in classical, modern and contemporary dance.
He completed the formation of PEPCC, Forum Dança in 2015-2016 and currently participates in the formation of PEPCC-C 2017.

With experience in folk dances of Europe and traditional dances of the world, he learns as well clown techniques, improvisation and African and corporal percussion. He has an interest in photography.

Movement Labs: 

A warming up focussed on the physical and voice practice Luis uses as a base in  ‘Johnny Horne’ . It will be lead according to the necessities of the rehearsal  of that day and the interest of the participants.

Klein technique, yoga, contemporary dance and traditional songs of different peoples of the world are part of the easy going training that searches to awake the body and place it in a different state of presence to work in creation and composition.

Residence | Performance artist Ronald Bal | 2 – 9 July

From 2 – 9 July at CLOUD Danslab

Ronald Bal graduated as a visual artist at ArtEZ Zwolle (the Netherlands) and was awarded with the ‘Best of graduates 2010’ exhibition at Gallery Ron Mandos in Amsterdam. His work is shown at diverse museums and project spaces, including museum CODA in Apeldoorn (2104-2015) 21 Rozendaal in Enschede  (2010), National Palace of Culture in Sofia (2016) and the Grimmuseum in Berlin (2013). In addition, Ronald Bal participated in various festivals and academic conferences, such as PAO 2015 in Oslo, Creature Live Art in Kaunas (2014), Venice International Performance Art Week in Venice (2016) and the academic conference ‘The politics of Performance and Play. Feminist Matters (Leiden University, 2016). From 2010 – 2016 Gallery Zerp in Rotterdam represented his work and showed his work in various exhibitions and art fairs. Ronald Bal also taught performance art at Willem de Kooning Academy Rotterdam and during PAS 2014 (Performance Art Studies) in Kaunas, Lithuania.

Characteristic for Ronald Bal is a multidisciplinary practice that integrates visual- and performance art through various methods of translation, such as choreography, sculpture, video and storytelling. In doing so he explores the language of movement, creates spaces to expose and elude systems of representation and mechanisms of subjectification, and aims to reformulate the relationship between the object and the subject.

www.ronaldbal.com

Residency|Secret Fiction Lab| Aron Birtalan

aron

Secret Fiction Lab | Winter 2017

a series of 2-3 hours sessions

between 27th Jan and 4th Feb 2017 – CLOUD/Danslab, Den Haag

info, schedule and signup – secretfiction.eu

Starting from 2017, Secret Fiction Lab is inviting participants to engage in sessions, where get to explore different realities, fictional scenarios and situations in a safe and playful environment, that is created by us and exists only for us.
Elements of performing arts, movement practices, games and role playing are implemented in the everyday, and through that, transforming its reality.
We play games, try out exercises, play out small rituals. After the session we collect, and share our experiences with each other.
Each session is tailored to accommodate newcomers, so you can join anytime you like!

If you like playing, moving around in a room with others, and/or interested in a largely unexplored territory between rituals, art and the everyday, this is the place for you!

Schedule, Sign Up an F.A.Q. on secretfiction.eu
RSVP via: www.facebook.com/events/112511509247583