THERE IS A TABOO. SOMETHING YOU CAN’T DO. I AM BORN FROM AN APPLE. I AM A CEMENT MAKER. I AM BORN LIKE THAT, AS A CEMENT MAKER. WE ARE JOKING. THE ATOMIC BOMBS ARE A



D O N ' T E A T T H E M I C R O P H O N E


THERE IS A TABOO. SOMETHING YOU CAN’T DO. I AM BORN FROM AN APPLE. I AM A CEMENT MAKER. I AM BORN LIKE THAT, AS A CEMENT MAKER. WE ARE JOKING. THE ATOMIC BOMBS ARE A
MAKER. I AM BORN LIKE THAT, AS A CEMENT MAKER. WE ARE JOKING. THE ATOMIC BOMBS ARE A


THERE IS A TABOO. SOMETHING YOU CAN’T DO. I AM BORN FROM AN APPLE. I AM A CEMENT


a project by Veridiana Zurita
in collaboration with Petra Van Dyck


THERE IS A TABOO. SOMETHING YOU CAN’T DO. I AM BORN FROM AN APPLE. I AM A CEMENT

DON'T EAT THE MICROPHONE is a practice where voicing is in a constant process of emergence and dissolution. We meet in a garden. We meet in a particular garden. If it's sunny we find rest in the shade of the trees or lay in the sun. If rain is coming we hide the wires and avoid electrocution. Either way we settle there, in the garden of the Psychiatric Center Dr. Guislain. And who are we? And are we? And we are. And. Who? We are microphones, wires, coffee, birds, vinyls, cigarettes, tunes, keyboards, sometimes a dog, effects, patients, trees, text, outsiders, wind, artist, therapist, dust, a rusty guitar, psychotics, wanderers, neurotics, non-sense, acceleration, plastic, pause, echoes, interruptions, overlaps... We are a bunch played by different voices.

The invitation is to meet and share time. Every Wednesday between 14h and 17h we meet and create a space in a space outside. People are welcome to come and go, enter and exit the session. While in it one can hang around in a mode of listening and enunciation.

For this year's edition DON'T EAT THE MICROPHONE uses the format of a podcast radio channel. There is NO SHOW or linear program. The channel transmits a sound-landscape. A situation. An atmosphere. It transmits what happens in the garden to different spaces. It transmits voices. Such voices can be heard HERE inside the room from where you are reading this text. Between the psychiatric and the artistic, the private and the public territories, the sound of our sessions attempts to occupy the role of a transitional space among different institutions.

Between 6th July to 7th September DON'T EAT THE MICROPHONE hosts different guests such as thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo
Michiel REYNAERT, THERE IS A Lado DARAKHVELiDZE, THERE IS A TABO Daniel BLANGA-GUBBAY, THERE IS Helena DIETRICH,THERE IS A Luanda CASELLA,THERE IS TA Steven JOUWERSMA, THERE IS AT Stan ANTHEUNIS THERE IS A TABO Marc MATTER !
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The guests are invited to stimulate the session with a practice which they can leave behind so the group can activate it even when its author is away.

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PROGRAM


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SPELONK

with Michiel Reynaert
6th July

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Everybody knows someone who made their little world on the attic, playing with it from behind the scenes. But let's start simple. So many things you can start to build with just some cardboard boxes. What about building a cave? And what would you do, if from behind the scenes, you could make things happen in this cave? thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Michiel Reynaert is the name and container for a process of identity creation. It is not linked to one single identity, but to a network. It is the sign pointing to the meeting of contingent inspiration with consistent care. It hosts the stories of a variety of work relations and contexts, through which different physical persons have passed. By offering himself for adoption under this name, Michiel Reynaert explores the risks and benefits of authorship and interpretation, creation and translation, in formats that cross writing, performance, theory and an ambition towards activism, production and consumption, contemplation and immersion, real and fiction ... So many binaries for a foamy world where the center is everywhere and nowhere. Given the ease with which the usual list of facts given in a bio, are retrievable on the web, Michiel Reynaert is also a weight in the balance towards a more abstract structure driving the evolution of that web of facts.

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THE NEW NEWSPAPER with Lado Darakhvelidze 13th July thereisatabothereisatabothereisatabothereisatab

I'm coming with the project 'The new newspaper' for which I want to invite you to participate as newspaper editors or citizen journalists and make your own newspaper. We start with a clean slate; the larger content of the newspaper is erased, only headlines or images remain. The editors freely respond to the different words, subjects and empty spaces using their own opinions, reflections and stories. You can choose the subject and language, I will provide the erased newspapers and materials to edit with. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Lado Darakhvelidze, 1977, Kutaisi, Georgia, lives and works in Arnhem, the Netherlands. Lado Darakhvelidze’s artistic practice focuses primarily on the phenomena of information media and its sociopolitical impacts. In his work he deals with social and political changes and represents these in personal narratives. Darakhvelidze studied at the Dutch Art Institute (DAI), his work was shown at the 11th Istanbul Biennial, What Keeps Mankind Alive (2009), Biennale Cuvee, Linz (2010), The Kitchen / One Big City (2013) and Manifesta 10, St Petersburg (2014) among others. In 2012 Darakakhvelidze joined the Artist Pension Trust.

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ELASTIC HABITAT

with Helena Dietrich
13th July and 03rd August

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At the moment I'm experimenting with the use of materials that can materialize invisible internal processes. I use different methods to trigger speech and movement through external stimulation and how they can affect the body in a sensorial way. While spending time in the garden I will bring images, objects, clothes and fabrics and use them as transitional materials between what's internal and external in the body. During these sessions we will look for the stories of invisible presences, which appear when we give inter-subjective attention to life. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo The German designer and performance artist Helena Dietrich is since 4 years working and living in Brussels. After her Master’s in European Media at the University of Portsmouth, she conducted a research project at a.pass in Brussels, a postgraduate program for performance arts and scenography. In her work she lays out the significance of the symbolism that is embedded in esthetics (and by extension our identity). Her work has been exhibited amongst others at Staatstheater Stuttgart, Hebbel am Ufer Berlin, Beursschouwburg Brussels, and Cinema Galeries Brussels.

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THE STORY
INSIDE OF A STORY
INSIDE OF A STORY
INSIDE OF A STORY...

with Luanda Casella 10th August

I’m interested in how techniques of storytelling can be “tested” in the "real world" — the guiding question being how those who are typically considered “unreliable” — the child, the drunk, the institutionalized patient, the insomniac, the depressed, the compulsive liar, those suffering from any existential conflict — can confront our ideas of “normality” and help us investigate our own methods of self-deception. With the help of a few type-writers I’d like to propose open sessions of writing, individually and collective, that could create a panorama of Story that surpasses the idea of “resolution”. — What kinds of narrative-paths can be created with stories that don’t begin and never end, but are always in the middle, on the threshold of meaning?
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I'm a Brazilian writer and storyteller, living and working in Belgium since 2006. My research focuses on the ways individuals relate to narratives in order to create a sense of identity, to form their opinion of the world, and ultimately to protect themselves. As a writer I've always been interested in magic realism and in all forms of experimental prose where fictional elements are incorporated in the narratives with the same relevance as real facts — which, I believe, allow us to address the often phantasmagoric social realities of our history. In my performance work I'm concerned with finding techniques to produce hypertext fiction on stage. In other words, to expose the audience to an experience of co-authorship, where viewers are engaged in making intellectual and emotional associations to the completion of the stories.

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SOUND OBJECTS
FROM A DREAM


with Steven Jouwersma 20th/27th July and 17th August

I propose to create personal instruments which will be made out of our own desired design. We will find out together which are the sounds we like to hear and try to make them with our mouth or with any other part of our bodies and other material that can reproduce the sound we are searching for. The goal is to build instruments that can make the sounds we want to hear. It can be string instruments, bells, drums or instruments that play by themselves like wind instruments. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisataboth I am an artist, a builder, a musician and I like to paint sometimes. I work with sound, music, material and image as a tool for research and communication.
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FICTIONAL
INSTITUTION


with Daniel Blanga-Gubbay 20th July

In Lombard Street a 1873-book about the monetary system, the British journalist Walter Bagehot, wrote 'Every banker knows that if he has to prove that he is worthy of credit, however good may be his arguments, in fact, his credit is gone'. While speaking about it, the specter of fiction suddenly emerges as haunting the sentence and the idea of institution itself. Similarly, it is this same ghost that will circulate during the afternoon. While hearing the term fictional institution one might think about institutions that exist in the realm of fiction. Nevertheless – more then being confined to a clear demain – their simple existence exceed the imaginary to raise crucial questions: is there a non-fictional institution? With some readings and listening this afternoon reflects on the fictional institution as that which blurs the solidity of the existing one: they do not claim their realness, rather transport the same idea of institution in the realm of fiction. Nature, legal fiction and agency reappear as the lines through which to question the model, to eventually let emerge the idea of the institution as the character of a novel. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Daniel Blanga-Gubbay (1982) is a researcher in political philosophy of the arts based in Brussels. He is Professor at the Académie royale des Beaux Arts and collaborates with the Kunstenfestivaldesarts. He is the initiator of Aleppo, a research project in art and political theory organizing public programs in Brussels.

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CLOUDS


with Stan Antheunis
27th July

These days numbers seem to hold a privileged position in communicating information. They are concise and give a strong sense of mastery. Science inevitably means reduction, but might there be things we remain blind to if we focus too much on this quantitative way? What is there about us as a human being that resists this measurement? thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Stan Antheunis is a master student in clinical psychology at UGent. His thesis concerns qualitative and quantitative methods of psychotherapy research. In 2014-2015 he did a six-month internship at the P.C. Dr. Guislain.
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WHAT ARE YOU MADE OF?


with Pierre Rubio
24th and 31st of August

What are you made of? is a question that became a practice. I try and will try to answer it over and over again through the practice of writing different lists of possible and momentary responses always starting with: “I am made of…”, “I am made of…”, “I made of…”. Over writing, soon enough, the never-ending-list becomes a machine allowing time travel and space travel. Between a meditation on the conditions of production of consciousness at the very moment of writing, and an exploded portrait of the complex relations between different types of human/non-human entities, timelines, in-between spaces and agencies, blurring the frontiers between private and public, individual and social whether imagined or invented, fictionalised or actualised. What remains is a field of experience and representation of manifold intensities, or better, a theatre of intensities. I come to “Don’t eat the microphone” to share collectively this writing practice and to experiment live readings of our variable “intensities”. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo Pierre Rubio is an artist researcher, performer, and dramaturgical adviser. For 25 years he has been active in the field of performance and choreography and has been collaborating continuously with a large number of artists and institutions. In 2011, he becomes mentor, leads workshops and is Associate Program Curator for a.pass (https://apass.be). In parallel Rubio experiments forms of performances, composing projects collectively or alone. Guided by a critical constructivism and a belief in the powers of imagination, he has developed an aesthetic, which operates between a conceptual and engaged approach of performance and a critical perspective on the production of contemporary subjectivity.



THE
GARDEN
SPEAKS
FOR
ITSELF


with Marc Matter
07th September

We want to record our Words, Speech, Mumbling, Humming and all sounds that we can do with our voice, mouth and body. We can as well record the sounds of the garden itself. We can then use turntable, mixing-desk and effect-pedal to manipulate these sounds. We will make a live-sound-collage where all this sounds come together and create a sonic mutation. Playing around with recordings of our spoken words and the garden sounds, something like a Text-Sound Piece will evolve, a mix of text and sounds which can have surprising effects how we understand language, speaking and sound. thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabo thereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisatabothereisataboth I am an artist using sound and language. I studied at KHM artschool in Cologne and have been a member of the group “Institut für Feinmotorik”, playing with preparing turntables . Recently i started to manipulate voice- and speech-recordings with turntables and sound-effects. I do live-performances , recordings and radio-compositions.
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If you are interested in receiving the
WEEKLY UPDATE
of the coming sessions
and in joining one of the sessions
please send an email to
veridianazurita@gmail.com
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