The Tea Party gathers newly discovered alien-fiction-beings. Their voices are enhanced through microphones, loop-machines, effect-paddles and speakers and recorded as a divergent radio-show. Supported by the sonic experience, the focus is on ‘invisible matters’ the modifications bring out.
The German designer and performance artist Helena Dietrich is since four years working and living in Brussels. After her Master 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. Both in her artistic and in her design approach she is interested in the analyzation of the impact of visual information on identity and therefore culture. In her artistic 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 Hebbel am Ufer Berlin, Beursschouwburg Brussels, and Cinema Galeries Brussels.
Performers : Ekaterina Kaplunova, Sebastien Hendrickx, Sven Dehens, Laura Pante, Pierre Rubio, Helena Dietrich, Christian Hansen
audio editing of a recorded collective performative practice, 25:04, 2019
In this workshop the proposed practices create sensitivity towards the relations one can build with images and aesthetics. The group was invited to encounter alternative forms of being-with-oneself through creating an auto-(science?)-fiction story through self-image-modifications. The practices were based on improvised physical explorations of physiognomic aspects of the body-image collected in several years of experimentation by Helena Dietrich.
“We will use surfaces, materials, clothes and props as entrances into parallel realities within ourselves. The clothes and accessories will become our vessels to travel into unknown (and unconscious?) parallel forms of being. Trying to establish a perspective from outer-space, the future or a parallel universe we will revisit common aesthetics with an outside eye. This approach can be understood as a ritualistic act of re-configuration of known aesthetics revealing another relation to them. We will use clothing like a pharmakon: what pollutes us can also clean us! By triggering the optical unconscious we can transform sensuously a commoditised visual world into a psychological cleansing process from cultural inherited aesthetics. Acknowledging the agency of three-dimensional images and materials as determinations of our perception of self is already an attempt to empower ourselves at changing our/the reality. Not only in words but also in materialising this reality into visible and tangible new object-beings. Which kind of voices and words will ‘the other’ image-beings create?”