Deborah asks Kasia
deborah responds in behalf of  Anapaula

Lilia asks  Anapaula 
Lilia answers in behalf of Magda

Quinsy asks Lucia e Piero
Quinsy responds in behalf  Kasia

Lucia e Piero ask Magda
Lucia and Piero responds in behalf of Musiln

Muslin asks Quinsy
Muslin responds in behalf of  Lucia e Piero

Magda asks Lilia
MAgda responds in behalf of  Deborah

Kasia asks  Deborah 
Kasis responds in behalf of Quinsy

Anapaula asks  Muslin 
Anapaula responds in behalf of Lilia


playgrounds > intimacy and shared space > game > metaphorical environment - Chance- accident allows the appearance of the borders creating the conditions for the accident to emerge- provisional institutions

to fast

annunciation multi-dimensionality > time and space


belonging - identity - memory (being) and having the right to (property - artistic practice , appropriation) > reconfiguration

appropriation = power > artistic power and state power - reflection on the usage - how do the appropriated materials speak back?

Atonement -make up for bad things one has done espiazione > artistic labour and asking for forgivness > look back at oneself = mirror(ing) (self mirroing) > things holding for what they have been > study case Can we atone something else then guilt? Personal reflection - memory - embeded in community Questioning ethics - Life into art Home - how memories build the present and are a reference to act

when do things start to speak back? what are the conditions for things to speak back? Things have to reflect things. How then are they a mirror? When they do mirror something?

Lilia asks Ana Paula To Ana Paula

A way from 2D to 3D. Your presentation seemed like an experiment on scientific observation using 2 cardboard squares held by 2 people on both sides. We positioned ourselves in two lines behind the two people holding the cardboard. The movement of the ‘holders’ was quite and steady which made the lines of people behind be constant and with small variation. I think the experiment had to do with the relation between rigid lines (cardboard) and soft lines and how they interact. I wonder how the relation between these two components could be more expressed. The lines of people having evident self will and the cardboard being of a slower nature. I have to think also about accident, trouble and deviation as the possibility of seeing otherwise. The other day I came across this video that departs from a line of separated points that evolve in fantastic patterns. I was mesmerised by the will of matter.

Muslin asks Quinsy Muslin responds in behalf of Lucia and Piero

Your instructive presentation was followed by an invitation for a collective engagement with a board game. Board gaming have long fascinated mirroring of intelligence, skill, cunning, and wisdom. And have been the topic of many scientific studies.

Regarding the board game itself; The surface was black and on top there were schematic white drawing of sci-fi-space themed figures, the graphic style was naive. You placed the stroll shaped surface in an asymmetrical composition and the players were given different flashlight and flashlight parts. This idea of working with children borderline adult’s game, attract us. Together with minimum instructions you let us start playing, interpret this in our perspective, which we did. it appears as everything is possible, but, was it? Then the collective aspect had changed, it became discursive and unsocial, And lead me to wonder about the relationship between the players, the objects of the game, and the rules. Were they all randomly assigned to this situation?

Our question is pointing and surfacing the urgency for intentions. A game usually have adjectives. One’s need the sensation of conquering another level, One is indulging their competitiveness and their acceleration of winning, One is for improving their skills, One is for being a teacher-opponent, One is for socializing, One’s sake of relaxing the mind and doing nothing. One is for the failure.

Something is fueling the player to keep trying over and over again, And our question would be, what is fueling us, the gamers spectators, in this experience of participance, and what are the players strategic ramifications of such a game?

Lucia e Piero asking Magda. Lilia answering in behalf of Magda.

Dear Magda,

looking at your presentation we were considering the idea of breaking a body in pieces in order to be able from these pieces to build another body. It seems legitimate to ask ourselves what body do we choose for a materialization and what follows from this choice. What is the body you choose? What are its properties? What do these properties do in relation with the context?

Quinsy asks Lucia & Piero, Muslin Brothers answer on behalf of Lucia & Piero I start thinking with the ears. In the video, there are conversations framing the voice. Colourful leggings move. Calves rub against each other. A faint sound. The whispering of cloth. Home is where sound is untranslated. Where language is. Shoes on cobblestones. A market. A woman. A recollection of hearing through sight. A site of collections. The house. The Purple Cloud. A fantasy dreading the end of North-Western European heterosexual dominance. A West-African warrior sculpture for sale at a European flea market. Science fictions centuries ago. When is it all real? Can we really enter the reality we hear? That is not the question I pose to you. It is a question in passing. Barely audible people of African descent appear one after the other. A hug. A gaze. A wander. The voice continues. Slowly. Deliberately. Focused. Poetry. Fragments of untranslated conversations interject. Intentional disruptions of the whisper. Sounds overlap and envelop one another. Is this the moment that the mirror listens instead of watches?

Anapaula asks Muslin Lucia and Piero answer in behalf of Muslin


Each time I see an exercise from you I have the feeling of being part of a spontaneous choreography that you are setting up in order to explore a specific idea. In your last experiment, I found very interesting this non-linear script that went through our hands weaving a situation. The little booklet brought me memories, some of them mine others don’t, some of them very distant in time, others the opposite. The exercise conect me with the idea of mirroring beetwen us. In this sense, I wonder how the relationship with this kind of text that work as a scrip for us (both performers and public at the same time) can be more powerful? Do you think that there must be some memories, actions, words that interpellate us more than others?


Magda asks Lilia Anapaula answers

The question:

Firstly my attention attached to and followed the sound of touching, then when performers started to talk my attention was navigated by the moments when texts were merging - this is when one performer picked up a word from another one or spoke as she would continue the sentence of the one previously speaking. After a while objects started to be used in unconventional ways (positions, ways of keeping them) and watching that together with hearing the words and time passing made the environment on the table transform and I started to look at it as on something I don't know. I didn't name what I saw but there was some fiction created. What, in the collective practice as such, can a conscious playing with fiction bring? What can it produce for the reality of the practice?

Deborah asks Kasia, Quinsy answers

Dear Kasia,

Two images. One moving, one still.

One religious, one navigational.

Both can be considered icons.

The religious icon, and the plane icon (X)

From the Greek eikôn, 'image.'

You framed both with your body. You kneeled in front of us and cradled the computer on your lap. We sat in front of your kneeling body and watched the images on the screen. The juxtaposition seems more pertinent by they way you framed them with your body.

The unmoving religious icon in mosaic. You told us where you saw it, and that you didn't want to know what was written on the scroll in his hand.

The moving navigational icon on a screen, on the back of a seat, in a plane. We can see the destination named on the map. The plane moves slowly in to land.

Just as we frame time by entering into ritual or spiritual spaces, you decide to frame ordinary duration via the plane in the sky, filming an icon that references you as a passenger. A self-portrait then? Of attention?