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elastic habitat

  • imaginary body
  • The trailer
  • the installation
  • Wearable Bodies
  • the research
  • sensitization
  • A playground for the encounter of one's body as an-other

imaginary body

In collaboration with Janneke Raaphorst

‘It appears more and more to me that all forms of corporeal violence (racism, misogyny, transphobia, homophobia, etc.) can be said to be built upon a complete knowledge of what a body is. In other words, essentializing a race or a gender, whether to value it or denigrating it — it is ultimately the same thing — would constitute in saying “I know what a body is.” ’ Leopold Lambert, ARAKAWA/GINS /// Towards an Architecture that Does Not Know What a Body Is, the Funambulist.

Elastic Habitat explores the body as an imaginary, invisible and speculative organism and environment. Elastic Habitat is a playground, in which you are invited to wear an Elastic Habitat—a wearable body, made from collected descriptions of the multi-layered metaphysical perceptions of a body.

How are we inhabiting our own body? We were wondering: Is this an experience we could share with someone else? As part of the research for this project, a select group of guests were invited to explore the perception of their own bodies. Their descriptions were turned into wearable textile bodies, each being the material trace of a guest’s momentary habitat.

These wearable bodies can be explored by the visitors in the installation in small groups, through touching, wearing and thereby activating them. Like a mise-en-abyme, these ‘relational objects’ open a perpetual cycle of translation between self and other, inside and outside, looping from feeling to movement, to language, to form and material, and back to sensation. The invitation to play with and through these textile bodies offers a space of childlike pleasure and intuitive exploration within oneself, to think and perceive oneself through the senses.

‘If, as Serge Daney writes, “all form is a face looking at us”, what does a form become when it is plunged into the dimension of dialogue? What is a form that is essentially relational? ... As forms are looking at us, how are we to look at them?’ Nicolas Bourriaud, Relational Aesthetics.

Elastic Habitat premiered in November 2017 in Stuk, Leuven, Playground festival.

2018

February, End of Winter Festival, Buda, Kortrijk.
March, WoWmen festival, Kaaistudios, Brussels.
April, Something Raw, Brakkegrond, Amsterdam.
May, Eau&Gaz, Lanser Haus, Appiano (Italy).
Elastic Scores, April, Something Raw, Frascati, Amsterdam.

2019

November, Jonge Harten Festival, Groningen, Netherlands.
March, Stormopkomst, Warande, Turnhout.

Concept: Helena Dietrich in collaboration with Janneke Raaphorst. Hosts/performers: Julien Bruneau, Esta Matkovic, Irina Lavrinovic, Janneke Raaphorst, Helena Dietrich. Research and one-to-one sessions with guests Helena Dietrich with David Liver, Isabel Burr-Raty, Julien Bruneau, Katharina Smets, Lili M. Rampre, Lynn Suemitsu, Miriam Rohde, Veridiana Zurita. Textile bodies: Janneke Raaphorst with Carly Rose Bedford, Dieneke Hol, Marija Sujica, Nevin Uzun, ruralurban. Set creation: Leila Boukhalfa. Sound design: Lynn Suemitsu. Voices: Julien Bruneau, Justine Maxelon, Irina Lavrinovic, Thomas Proksch, Varinia Canto Vila, Freek Willems. Sound technics: Kenny Martens. Light design: Michaël Janssens. Printed matter, text and design: Helena Dietrich. Redaction: Elke van Campenhout. Proof reading: Patrick Lennon. Dramaturgical advice: Heike Langsdorf, Marialena Marouda, Julien Bruneau. Scenographic and artistic advice: Miriam Rohde, Veridiana Zurita. Co-production: Buda, EauGaz, Kunstenwerkplaats Pianofabriek, nadine vzw, WP Zimmer. With the support of Kaaitheater, Campo. Supported by the Flemish Government and the Flemish Community Commission.

elastic-habitat

The trailer

The soundtrack

Concept: Helena Dietrich, Camera and Editing: Mathieu Hendrickx, Sound Design: Lynn Rin Suemitsu, Textile Bodies: Janneke Raaphorst, Performed by: Dolores Hulan, Jaime Llopis and Lili Mihaijlovic.

the installation

Video Credits: Camera: Ivo Neefjes, Editing: Alex Zakkas, Sound Design: Lynn Rin Suemitsu, Performers: Helena Dietrich, Janneke Raaphorst, Haike Langsdorf, Julien Bruneau, Siene Hollemans, Louise Verveat, Esta Matkovic, Thanks to Stuk Leuven and Joeri Thiry. Photography: Quentin de Wispelaere, Playground Festival 2017.

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Wearable Bodies

Costume Design: Janneke Raaphorst, Photography: Quentin de Wispelaere 2018, In the Pictures: Irina Lavrinovic, Asher Lev, Jaime Llopis, Laila Boukhalfa, Kinga Jaczewska, Thiago Antunes.

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the research

Elastic Habitat is an archive of materialised body perceptions. This archive gathers excerpts and traces from several individual sessions with guests during 2016–2017. In one-on-one sessions, selected guests were asked to contemplate their present state and to explore the perception of their own bodies, their invisble habitat. A habitat consists of material and immaterial phenomena. It is an assemblage of subjective momentary perceptions, sensations, feelings, thoughts and physical processes that form the body’s ever-changing environment.

During these intimate ‘self-contemplations’ the guests were invited into processes in which inside and outside are active dynamics. Internal perceptions of a body and its habitat were stimulated through sensitisation and then explored through movement, voice, drawing and reading exercises. To make their perceptions accessable to others, they tried to translate them into 3-dimensional material forms. Each session resulted in the description of one individual’s momentary perception of their body habitat.

These descriptions were then created into textile sculptures, or better ‘wearable bodies’. These wearable bodies bring the invisible imaginary habitat we live in, or that lives ‘with’ us into focus and make it visible and touchable for others.

The process of describing the form of something which is being perceived internally and which is in constant motion is a paradoxical one. How, through description, can one give form to something which is immaterial? Hence the aim was and is not to perfectly achieve the form of that internal perception but rather to channel all the possible translations implicated in such a process, including the translation through which the artist and the designer materialised the description of the participant. The unavoidable misunderstandings in this process of translation, like in the children‘s game whisper down the lane, create an accidental poetry, which continues in the individual perception of wearing the textile sculptures.

(auto)fiction as a possibility to alter reality.

The steps (guided in individual sessions) 1) arrive, be present, sit in silence with closed eyes (10 min) 2) sensing into the body with closed eyes (20 min) you can sit, lay and move. What wants my awareness now? what is here? 3) vocalise your sensations in breath out with closed eyes (20 min) discover sounds in relation to body-posture and body-parts. 4) draw your body as you experienced it (5 min) 5) write down 3 concepts or words (5 min) which are or have been present, which you want to explore further. 6) draw 3 cards for your 3 words from the image oracle (20 min) 7) sensitisation (20 min) guided body-scan + heightening of the senses. Bringing the words from the previous writing and reading into the body sensing where they resonate, into which sensation they manifest. 8) embodiment/ manifestation (20 min) listen to small movements following your sensations, slowly allow your body to explore movements manifest the sensations and presences you felt into 3-dimensional expressions. 9) What’s the physicality of this presence that you’re discovering? Describe the body you are experiencing as a material form, then draw this form and describe it’s materiality and substance as detailed as possible. Your descriptions will be the basis for the creation of your Elastic Habitat.

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sensitization

The textile bodies can also be used in individual sessions, where the participant is stimulated with the materials. (Inspired by Lygia Clark)

elastic-habitat elastic-habitat elastic-habitat elastic-habitat

A playground for the encounter of one's body as an-other

“If your momentary presence would unfold into a material form, how would it look? What would be its form, colour? What would be its texture, materiality? How would it feel to wear it?“

In Helena Dietrich’s and Janneke Raaphorst’s piece of the same title, “Elastic Habitat” is used as a synonym for body. The work is concerned with the different ways in which bodies are perceived and inhabited by selves. “Elastic Habitat” is a participatory work that challenges its “guests” to think the body as the habitat that it is. If the body is a home, can words be found to describe how it feels to live with/in it?

One can describe the work as having mainly two parts. In its non-public form, “Elastic Habitat” takes place as a series of one-to-one sessions whose aim is to increase awareness and sensitivity towards individual bodily perceptions in all their complexity and multiplicity. Participants are invited to produce detailed descriptions of what it feels like to be in their bodies. As a next step, their accounts become materialized as “textile sculptures” that can be worn and explored.

At the moment of public presentation, visitors are invited to enter a space similar to a playground. In this protected and sensitized space, they enter another’s “materialized body perception”. In other words, visitors are invited to momentarily inhabit the body of another, previous participant and to interact with it. In the dialogue between one’s own body and the other, strange body, there is the potential to encounter, even fleetingly, the form, weight, colour or elasticity of one’s body in an unforeseen and unknown way. To become aware of the alien within oneself, and to learn to love this alien, could be what this work is about in its last consequence.

On the narration of bodies and their material(s)

“Elastic Habitat” is essentially based on the narrations of participants regarding how they experience their own body. The verbalization of those bodily perceptions is powerful and of great political potential. It takes place during the individual sessions of approximately three hours that include multiple steps. Participants, or guests, enter a rather empty space in which they can find different materials. They are asked to make themselves comfortable in the space by defining which materials they want to have in their proximity and which not. The perception of one’s body is subsequently sensitized by means of movement, touch and the use of the voice. One is invited to draw one’s body in the way that one perceives it and to make a movement improvisation according to how this body would move. Guests are also given a questionnaire in which they are asked to describe, among other things, the form, texture, colour and character of their perceived body. Finally those body perceptions are given names such as “The Light Traveller Future Animal”, “2D” or the “Cocoon”. Each bodily perception becomes a book, in which the text is a combination of the oral bodily descriptions during the private sessions, and the answers in the questionnaire.

Those texts are very intricate, complex and full of metaphors. The body is often described as a “shell” that the self inhabits. This shell is at the same time familiar and alien to the self. The narrations share a sense of alienation towards the own body; indeed the very act of being able to describe the body in which one resides in such detail implies this alienation. What is more, the bodies are mostly described as “it” or “she” and very seldom as “I”. The shell is primarily described in relation to movement, but also in terms of its colour, texture or even sound. “Cocoon”, for example, is a perceived body resistant to movement, opaque and “thick” as a trap, preventing the inhabitant from exiting or even interacting with the outside world. But a body can also be light and comfortable to carry around, with bags, so that the hands have something to “hold on to”. Such is the case in “The Light Traveller” or the “Diagonal”.

When reading the books, it becomes clear that those bodies are in a state of constant flux and transformation. There seems to be no stable “I”, separated from the world. On the contrary. The body can constantly transform from human to animal and back, as in “Eagle”, for example:

[T]here is something strange about her ankles and feet: one moment it is as though her legs are turning into goat’s legs with fur, and another time it is as though they are eagle’s feet.

The body further oscillates between being the positive space that grounds or holds the self, and the negative space between one-self and another. This instability is described as an exploration of ones body and its capabilities. As, in the “Diagonal”, where the narrator and her body seem to almost dance:

Now we’re leaning on each other. But it’s a negotiation, because if I lean too much on it, on her, I don’t give her support. It’s a tension between resting and being active. There is a feeling of being in between things.

On the level of their rich and varied materialities, the body descriptions of the “Elastic Habitat” form sensitive narratives on how one relates to one’s surrounding shell(s). They manage to increase awareness and sensibility about relations towards habitats that surround us on different levels of intimacy—from body to home to city to world—realizing the complex ways in which they can affect us.

On the level of definitions of selves, however, those accounts reveal something even more radical: an insistence on instability and becoming-other as the core of bodily experience. The body is presented above all as a site of constant transformation. The gender of the bodies is as fluid as is their age or species. Not only borders between human and animal but also between the animate and inanimate seem to blur. Placing indeterminacy in the centre of bodily experience is what makes those texts inherently political. Almost every bodily description defies the ideology of the “individual” body as a stable unity, separated from the world.

This property of instability is not a source of fear or anxiety. On the contrary, those bodies induce curiosity and pleasure in the selves that narrate them; they are as strange as they are friendly. There is even a certain advantage or opportunism to be found in the body’s multiple forms. Since they are described as constantly transforming, bodies can serve different purposes according to different needs. Those alien bodies are mostly providing support and help to the self that resides in them. Almost as if preparing for a future attack on their indeterminacy, they appear to be training their different skills and functions to ensure the survival of the self. The narrator of “The Light Traveller Future Animal” for example, describes her body as something that…

might have a secret pocket. [...] If circumstances get even weirder, you might need this.

Text by Marialena Marouda

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