DON’T EAT THE MICROPHONE VERIDIANA ZURITA

“From the beginning it became clear that in order to HOST the other’s logic we had to UNDO our own and vice versa. The mutuality of effects in the work became clear when pathologizing them (patients) as the psychotics meant to auto-pathologize us (artist and psychoanalyst) as the neurotics. Normality became a matter of perspective.”

 

Pharmakon3

 

Pharmakon3

 

 

 

 

 

Since March 2014 Veridiana Zurita has been working in collaboration with the psychoanalyst Petra Van Dyck to create a space that hosts the logics of people living in the psychiatric hospital Dr. Guislain in Ghent.

DON’T EAT THE MICROPHONE is a practice where proposition, interaction, participation, composition, gathering, conversation, translation, voicing, mimicry, representation and pathology are in constant process of creation and collapse. During the sessions there is no activity guided by a theme or by the accomplishment of a goal. What happens are moments of spontaneous, irregular and discontinuous appearances where positions in relation to normality and madness are re-visited.

Between 10th October and 5th December DON’T EAT THE MICROPHONE opens its sessions for outsiders. It is not an invitation to watch a performance but an invitation to join the sessions as a participant.

See invitation: http://www.veridianazurita.com/index.php?/projects/

It is not an invitation for exotifying the psychotic but instead for experimenting the collapse of significations when neurotics and psychotics meet and share the same tools for activating a space. These tools are a mixture of clothes, textile, drinks, cigarrets, paper, pens, cardboard, camera, sound recorder, vinyl records, texts, sand, elastic, microphone, plastic, effect pedal, conversations, music instrument, movements, sensorial objects, chairs…

Between the sensorial experience of the space and the verbal translation of it there is a very unstable path. This path is what hunts the practice and what the practice hunts. What is the urgency to materialize this path? What is the production-mode of this translation? How do we translate, transcribe, mime, reproduce, copy, appropriate, recreate, associate, project, identify, disagree and compose with each other’s voicing of experiences and perceptions? What do we channel in a space where pathologies cross each other? What happens with our experience of belonging when pathologies are softened as a choreography between normalities and abnormalities?

 

 

 

 

 

 

 

 

 

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