audio-play, 6 voices over 4 channels,
English, 40 minutes
DVD projection, 35 minutes

This work is based on a one-off performance that took place in May, 2009.
The audio-play installation is designed for a room of 15 sqm or more, including seating accommodation of 2 x 2 m. The video is projected onto an adjoining wall in a separate room from the audio.


Derek Brunen (CA), Rachel Carey (US), Alessandro Guida (IT), Cornelia Heusser (CH), Marnie Slater (NZ), Joshua Thies (US)

About this work:

Being a private experience, bodily sensation generally remains silent. According to Wittgenstein, what is essential about the private experience is not "that everyone holds their own exemplar, but, that no one knows, if the other also holds this or an other."  (Philosophical Investigations)
            In this project, a group of six participants followed a set of conceptual rules, limiting each of them to their own private languages. Using previously designated images or words, all participants spoke uncompromisingly from a basic level of perception, while inhabiting their bodies. A conversation was established between these specific languages in which this was consistently addressed. As a consequence, language became a group play, leading to an exchange that went beyond understanding and misunderstanding.

Working method:

In the beginning phase of the project, I worked individually with participants to prepare them to speak from a bodily sense. All preparatory conversations were recorded, as at that point it was still undecided which parts of the project would be included in the final presentation.
            The actual performance may be regarded as a closed session, in the sense that all participants were simultaneously performers and audience members. The conversation that unfolded was not in any way scripted. Rather, it was improvised based around the prepared 'roles' of each participant.
             On the other hand, the spatial movements within the audio-play installation were purposefully choreographed. Thus, the voices do not correspond to the actual physical movements of the performers in the original space. Instead, they are allocated to a pattern of movements based on the concepts developed in the initial conversations.


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Image: Still from DVD To Speak From a Place




24:40 – 26:42

VOICE 6   How many surfaces do you have?

VOICE 1   None. One. Infinite.

VOICE 3   You are in the back of my feet.

VOICE 6   I don’t know if I am glowing really
                  intensively or not at all now.

VOICE 1   What do you mean by glowing?

VOICE 6   I can be perceived through vision.
                  Can you understand what vision is?

VOICE 1   No.

VOICE 3   I am the first possibility.

VOICE 1   Are you organic?

VOICE 6   What is organic?
                   I don’t know what organic is.

VOICE 1   Made by chance.

VOICE 6   If something perceives me than it is
                  not by my chance but by the chance
                  of the perceiver.
                  I have a predictable way of glowing –

VOICE 3   You are in my left ear.

VOICE 6   Which is not by chance.

VOICE 1   So you don’t exist if you’re not
                  perceived, is that right?

VOICE 6   I do exist if I am not perceived.

VOICE 3   Do you want to come along with me?

VOICE 6   But to know my existence I must be

VOICE 3   You are pink and light green
                  and you are in my shoulder.

VOICE 1   And … change? Does it mutate, shift?

VOICE 6   The intensity of the glowing light
                  of my surface changes.

VOICE 1   Does it grow? Does it die?

VOICE 6   My understanding of death
                  doesn’t inform my existence.


34:10 – 37:10

VOICE 3   You’re in my nose.

VOICE 1   Who are you?

VOICE 2   She is the first position.

VOICE 1   What is a position?

VOICE 3   What is a position? I am in my back.

VOICE 1   Can you hold it?

VOICE 3   Can you hold it?

VOICE 1   What is a position?

VOICE 3   What is a position?
                   I am the second possibility.

VOICE 1   Is it alive?

VOICE 3   Is it alive?

VOICE 1   Can you control it?

VOICE 3   Can you control it?

VOICE 1   No.

VOICE 3   Come closer.

VOICE 1   Can you feel it?

VOICE 3   You are green and in my elbow.
                   It’s vibrating and it is cold.
                   I’m between my eyes.

VOICE 1   Where am I?

VOICE 3   Where am I.

VOICE 1   Me?

VOICE 3   Me?

VOICE 1   Something is just outside.

VOICE 3   I’m in my left foot.

VOICE 6   Can you say where is outside?

VOICE 2   It just passed through me.

VOICE 6   Where is it now?

VOICE 2   It left but it will come back.

VOICE 6   Can you indicate me the next time?

VOICE 2   It comes back every single time I fall.

VOICE 6   Can you tell me when you fall?

VOICE 2   I am falling.

VOICE 6   Then I missed it.

VOICE 2   I am falling.

VOICE 6   It’s here.

VOICE 2   I fall, I fell and I am falling.

VOICE 6   Is it just outside?

VOICE 2   It is just outside.

VOICE 1   I am just outside.

VOICE 3   You are in the side part of my nose.

VOICE 6   What is a nose?

VOICE 3   What is a nose?

VOICE 6   What is a nose?

VOICE 3   What is a nose?

VOICE 6   What is a nose?

VOICE 3   What is a nose? You’re in my head.

VOICE 6   Ouh, I am vibrating. Glowing green!
                   I am vibrating and glowing green,
                   I am vibrating and glowing green,
                   I am vibrating and glowing green
                   a lot, even more now.

VOICE 1   Is that good?

VOICE 6   I don’t know what is good.

VOICE 1   What do you know?

VOICE 6   I want to know how to get outside,
                  how to be just outside.
                  Can you explain to me how to get
                  just outside?



My gaze in my inner and outer body in the meteorology of the space

In Snow


To Speak From a Place

The Cup

Request for Suspense


Cup on the Wall

White View

Nature Lyric Video Improvisations