12-12 February 2016


Luiza, Robin, Bredan, Lilia, Mala, Juan, Christian, Sofia, Arianna, Sana


Luiza > Robin > Brendan

Lilia > Brendan > Robin

Mala > Arianna > Luiza

Juan > Lilia > Sanna

Robin > Sana > Lilia

Christian >  Christian > Sofia

Brendan > Juan > Arianna

Sofia > Luiza > Christian

Arianna > Mala > Mala

Sanna > Sofia > Juan



  1. Luiza>Robin>Brendan

“I had a dream of you. I talked and you listened, very attentive. And the way you listened made whatever I was saying very personal to you. And it made us become more intimate. I hope you can think what it was that I said”.

I had to re-read this text as I had forgotten the exact wording so I was glad to have it in my phone. I also sent it to myself by email and then cut and paste it into  a document. So what started in a dream was sent out into the world in the form of a text, was read, became a mail, was cut, became a document, is going to be cut and paste and mailed again and posted in a google doc. Does any of this change it, make it less intimate, less personal. Originally in the text you address me personally. Did you dream of us as a group and send it to us all as a group text. Did you dream about us all individually then ponder each person’s role in the dream and send different texts. These questions come up as a response to the word personal and intimate and the apparent contradiction between the content and the medium. This contradiction sets up an interesting tension and triggers the question:  ‘what is the conversation going on between technology and the content it carries in your work’?

Louiza if you’re reading this, these are the words I heard you saying in the dream, “ when you hear my voice, you hear or see or feel the sound of my mind collaborating with the medium within which its embedded when it meets your ear, your eyes, your skin”


2)  Lilia > Brendan > Robin

Dear Lilia and Robin

Eating the flowers, of following your text from the inside,  closing my eyes, concentrating, focusing, listening, etc, I then took a step out and watched or read the reading of it. And from here i found my question, now,  i became interested in seeing how you experienced the reading of your personal letter, the letter, a conversational tone, that enters a deep monologue.

Writing to another in the process of discovering what’s contained in you, listening to another speak your words, touched by yourself through the two others, the reader and the dear receiver.  Touching yourself in a conceptual threesome. I watch.

Imagine a house that contains no windows.

Long did i build you, oh house! With each memory i carried stones.

Outside of the walls of this house without windows, are windows.

These windows look in at us through the walls.

my question is, how can we see the windows?

How do we know they are there?


3) Mala > Arianna > Luiza

I have just experienced a work situation of this kind:

The passage between phase A of the work and phase B wasn’t regulated by the transformation (distillation) of the concepts formulated in one phase in order to bring this distilled material to the other.

The passage was a jump. But not one that forgets what has left behind; rather, a jump full of the joy of discovery and of the wonder of surprise. To let yourself be surprised by the unusual, unexpected way a translation can take form.

This way, leaving things behind keeps a lot of trust in the things themselves: the trust that those things can have their way to arrange themselves without me choosing a direction for them.

I wonder about dream being the translation machine between one phase of a situation to another.

I imagine sort of a magic box: what happens when we put our concepts inside and leave them becoming something else through the dream machine?

4) Juan > Lilia > Sana

Dear Juan and dear Sana,

The performance of Juan made me think about your background in architecture. In the sense that there is the desire to transform landscape. In this case a temporary architecture that doesn’t add another piece of material to the environment but works as the creation of a story in that environment. The mountains made of clothes on the window horizon changed the view, the place, the dream. An autonomous entity passed by and left a trace in the viewers eye creating the possibility of change but also of an utopic change, or ephemeral change. I had to think about the work of Francis Alys, more specifically the one where a group of people try to move a mountain of some centimeters. Alys was also an architect.

Can you develop on Juan concepts of immediacy and trace in relation to the environment and the possibility of change?

5) Robin/ Sana/ Lilia

Dear Robin

I felt a space was oscillating between the voice describing a flower and your action constantly challenging the forms, frames and limits. This space inherits a lot from the violence hidden in both actions. Since the violence in your action is more constructive in the sense of transformation and suggestion, I find it as an active response to the idea of confinement.

On the other hand, in a very prototypical view wooden board reminds me of housewives working in the kitchen. I started thinking about ‘domestic confinement’.

My question is how the confinement ( as a general notion, nothing to do with feminism or domestic confinement or any subject in that field ) can be questioned and interpreted ? How the body can encounter confinement through it’s desires?

Dear Lilia  

I have noticed that you talk about politic, love and touch ( even in the text that you read in last bubble score). I am curious if you see any connection between my question and that in a performative way.


7)Brendan > Juan > Arianna

To contribute to Brendan’s questioning about parallel realities, here there is a link to a recent news…


8) Sofia > Luiza > Christian

Hi Sofi, Hi X-tian

Here goes my question, sorry for the delay!!!!!!!

The chain of dance that we made in your performance felt really good. It was fun and up lifting. I enjoyed appropriating your body moves with body, and seeing Brendan moves behind me. And as we danced I thought on how everyone else in the chain would be dancing and that with all these different nuances we were creating this dancing landscape.

And so, my question is: what happens to the landscape when my feet touches the ground?

9) Arianna > Mala > Mala

dear Arianna,

i guess this is my question to me about yr proposition?!

i’m interested in the language machine u are building and its potential.

so, there is a text to be performed, about the common, about the response-ability. this text is “voiced” as “sounds of letters” but also as “movements of the body”. in yr case the body and the voice are saying the same. same text. in a way it is a literal translation or say, transcription of the text into another medium. but there is a feeling, as if u are trying to build something like a new language that can potentially serve as a “new common” through a new “common use”, as u explicitly address us with offering it to be tried out and used by us. for now we still stay with 26 letters as yr translation is a translation of the 26 letters of the english alphabet. i begin to wander, if the language is to truly be response-able, able of response-iveness, through the act of use, what kind of language, would that be, would it still be a a fixed language, a language fixed as an (endlessly) permutable series of 26 units? could language as a “new” common used be more “responsive” to “life”, to the emergent reality singular situations? what kind of language would that be? still a fixed set? or would there be gaps? yes, u are right, the question I’m asking is, how to create the space in language, where the contingency directs the course of an emergent structure and the subjectivity does not direct but participates in the course of events. and then there is a space for the movement of “response”. perhaps the question is not about the invention of a “new (common) language” but rather about the creation of “space-s” within language, held open, for the impossible, unpredictable, provisional “movement’s” of life, its intentionality and its logic wanting to be brought about. how then the machine “cracks open” to be permeable for the forever singular unfolding interventions of immanence?

thank u! xm

Dear Arianna how do you integrate resonance in your practice?


10) Sanna > Sofia > Juan

Dear Sana,



Slippery; Elsewhere; Magic; multitask; re-religion; ambiguous staging; dream sequence; dimensions; layers; empathy/sympathy.




1) Luiza > Robin > Brendan

conversation between content and technology

there are two people

one delivering a message and the other receiving.

there is a simple remark, greeting, question, etc, that is delivered via text message.

there is a blind fold.

when the message arrives, the receiver puts on the blindfold and then begins to (try to) read the message and discover and respond to the content.

they discuss the message for 4 minutes

in the 5th minute the blindfold can be removed and the written content can be read, shared and briefly discussed.



Garou Garou le passe muraille 1951





20-20 January 2016


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27-27 January 2016



Nicolas, Sofia, Brendan, Nicolas, Christian, Sana, Arianna, Esteban, Thiago, Agnes, Juan, Seba, Anouk, Luiza, Pierre, Robin, Yaari, Aela, Lili, Lilia

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3-3 February 2016

dark bubbles

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12-12 February 2016


Isabel, Arianna, Lilia, Agnes, Sebastian, Sofia, Aela, Mala, Esteban, Robin

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24 February 2016



Sofia, Christian, Aela, Gerald, Lilia, Lili, Sana, Nicolas, Luiza, Varínia, Robin, Brendan, Mala

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2-2 March 2016



Sana, Mala, Sofia, Christian,  Agnes

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9 March 2016



Sofia, Sana, Chris, Agnes, Mala, Aela, Varinia, Arianna, Isabel, Lili, Robin, Lilia

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23-23 March 2016














performative publishing, research center

lilia mestre ScoreScapes

31 December 2016

As associate program curator for the first four months of 2014, 2015 and 2016 my focus was and is on how systems of interaction in the arts contribute to the production (process? creation?) of knowledge, first of all in the educational context and consequently, in my belief, in other social environments. I take these systems as scores that, when followed rigorously, demand the implication of individual engagement and resources in a much needed share-ability within a system of production and observation. In the act of giving attention to one’s own work, to the other’s work but also to the group and its context, the ecological and social aspects of art making are reflected and expanded. The inter-subjective bound takes place beyond the art works and practices themselves but in the act of paying attention, of observing and being observed.
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Postgraduate program
Research Center program
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