Working on Travel aka Trains and Boats and Planes

During 2019, I’ve been busy with an interview project about life and travels of artists. I’ve interviewed no less than eighteen bright and generous and smart people. The interviews will be posted on during the autumn. Very much worth a read! The interviews are also published in a book with the same name, that is distributed by Skogen. The book will be available online as a pdf within a near future.TBT_liten
Moa Schulman made the visual material.

The project is coproduced by Skogen and supported by Helge Ax:son Johnsons stiftelse.

Summary from Someone You Trust

Another project that came to an end and continuation this year was Someone You Trust, that premiered in Skogen in Gothenburg 23-25 november 2018, continued to develop at Cirkör Lab in Alby 18-19 January 2019, and will tour during 2019: 11-12 May to Skogen again via Textival’s festival Intimate Acts, 10-11 August to Gylleboverket‘s performance festival and 29 November-1 of December at Inkonst in Malmö.

Here is a trailer for The Watching Act:

Someone You Trust – The Watching Act, trailer from Tova G on Vimeo.

Someone You Trust uses the practice of rope bondage to explore time, trust and consent. The performance is divided into two acts. The audience can choose to come to both of the acts or just one of them (whichever they prefer). If they come to The Participatory Act, they bring someone they trust, and follow recorded voice instructions for tying and being tied. If they come to The Watching Act, they come to a performance alone or in company /whichever they prefer) and watch  Tova Gerge and Britta Kiessling follow instructions that are both similar to and very different from the instructions in the first act.

Both acts with and by:
text: Tova Gerge and Britta Kiessling
performers: Tova Gerge and Britta Kiessling
text eye and rope research: Christian Nilsson
sound: Elize Arvefjord
light, room, costume and mask: Josefina Björk
artistic support: Gabriel Widing och Ebba Petrén

Thanks to:
Everyone in the performing arts collective Nyxxx.
Everyone who helped us to develop the participatory act.

With the support of:
Japanstiftelsen, Längmanska kulturfonden, The Swedish Art’s Grant Committee, Cirkör LAB, and Stockholm County Council

The performance is a result of long preparation. Already in 2015, Nyxxx, Tova Gerge and Christian Nilsson invited the Berlin-based choreographers Dasniya Sommer and Frances D’Ath for a research week on performance and rope bondage. Nyxxx made a podcast in connection to that encounter.

Then in 2016, me and Christian Nilsson were given a traveling grant from Japanstiftelsen to study questions of intimacy in relation to the subculture of rope bondage established in Nagoya, Tokyo and Hamamatsu. We interviewed fourteen professional rope artists active in Japan, practicing what is known as shibari or kinbaku. It has a long, complex and international history connected to both art and pornography. The purpose of the interviews were to gather material for both theoretical and artistic writing. Because the interview material was so extensive, we got another grant from Längmanska kulturfonden to spread the results in different ways. This process is still ongoing.

There is also an even longer back story in mine and Britta Kiessling’s relation to shibari which is fairly long and diverse. Though we tie improvised patterns, we have studied with many teachers to be able to do what we do. Thus, a special thanks to Bergborg, Dasniya Sommer, Naka Akira, Hourai Kasumi, Kanna & Kagura, Gorgone, Pilar Aldea, Gestalta, Hedwig, Pedro and others, not least the ones who tied us or got tied by us.


Summary from the times of the novel

Last year in the autumn, I published a novel, Pojken. You can read a bit more about it in English here, and here, and in Swedish in the press section of this home page ).

It took ten years to write, and it was partly a very tricky process involving many questions of both construction and life. What to tell and what to leave out, for who one writes and why.

Now that it is seemingly over – when also the most intense encounters with press, the author presentations, the facebook discussions and all these things are seemingly over – it has just sunken into the background. It has become self-evident and see-through.

I just want to leave myself a couple of words on it at this point, rediscovering that something transgressive happened for me through the appearance of that book and that it somehow echoes still. I don’t know exactly where it will go from here, but I also see in it an invitation to write again.

This is the cover of the book, Moa Schulman made it.


Where Were We, documentation

This year, I’ve established a project together with Israeli choreographer Uri Turkenich. The project went through different forms. First, we played games with Inana, then we had a Derridian episode at Skogen, after that we danced with the cool kids in Berlin at 3AM and now in October we went physical in Weld. The project deals with intimate conversations as a performative practice. During the coming year we will tour a bit and we would like to tour more (so ask us to come by writing to me!).

Here is a documentation of the performance – a part of me learning to video edit, by the way. Above is an image from the performance (snapped by Marika Troili or Sofie Anderson; unsure) and here is a link to the festival we were part of at Weld. The project was supported by The Swedish Arts Grant Committee, but also by, who made an interview with us here.

Documentation, There Is No Outside-Text

As I have posted about before, me and Uri Turkenich made our first artistic cooperation this spring, with the support of coproducer Skogen (Gothenburg) and The Swedish Arts Grants Committee. Here is a video documentation of show 3. Slowly learning to edit…

Me and Uri really liked this project, and it seems we are going to continue working on the practices and themes that developed through it in a new show during 2016-2017. More on that later…

Photo: Anna Lamberg, 29/3 2016, Skogen, Gothenburg.

Realizing the Unready

In the last post and the one before that, I’ve done some process reports on an ongoing work with choreographer Uri Turkenich. In the end of March 2016, we did a series of presentations at Skogen in Gothenburg with the support of Konstnärsnämnden, also sharing the space with some other artists. A long and complex conversation about the necessities of sharing spaces and processes led us to that conclusion. In our program folder for these evenings, this is how we explained it:

Uri Turkenich: This text introduces Tova Gerge’s and my thoughts about the curatorial aspects of the three evenings we organize in Skogen in the end of March. We invited three other artists to share these evenings with us and show unready work. We want to explain why we did that.

Tova Gerge: We did it because we will also be unready, and we think unreadiness can be a beautiful condition to be in, for both audience and artists. For audience because unreadiness gives access to a certain kind of vulnerability, and maybe also a power to influence. For artists – well, it’s too lonely a condition to be in a process of artistic production where the end result is our first encounter with others. And for us specifically, to meet the audience at an early stage makes even more sense. Our whole project is about differences and getting to know the other as separate from the own identity. This means for us to explore the vulnerability of being together as we are – audience and performers alike – with all our fragilities.

U: We also enjoy thinking about conditions of production of art, and wanted to try producing under different conditions than what we are used to. Producing art alone is a precarious condition. If we do it together, it can become more sustainable. So we are very happy that the author Khashayar Naderehvandi, the choreographer Svarta fåret and the visual artist Anna Ehrlemark agreed to participate. It’s not so obvious to be willing to expose artistic processes to an audience and present work before it’s ready. It takes a certain kind of courage to do it.

T: I agree, but also it makes total sense to do it. To me, art is about being in dialogue, with friends and strangers. When we invite audience to a traditional, finished stage product, the dialogue sometimes only happens on the level of fantasy. Me and the audience are in the same room during the time of the performance, but we never meet.

U: For me every time I perform for people it is a kind of meeting. I hear how they breathe, I perceive their expressions and reactions. And they see me too. So this dialogue can also happen with the traditional finished stage product.

T: Maybe what I’m trying to say is that when it’s a finished product, we tend to give up on the conversation – including the breathing and the expressions and all that – because we know not much can change anyway. If we don’t have the means to continue working, the opinion of the audience becomes our potential adversary. It’s like when you have a conversation in your head with your lover, and you think it’s pointless to have it for real because you know what they are going to say. We hope that this format of presenting unready work would make it possible to have the real conversation with the audience.

U: Last month, I organized a similar event in Tel Aviv and my mother came there. In this event, I showed a video work about being lost, and this scared her. Maybe she was afraid that I wasn’t doing well. And when we spoke, I understood that for me, being lost can be fun. Maybe more than that – I see a value in getting lost, because it means I took risk in doing something I didn’t already know how to do. And I put myself in a vulnerable position, which means for me that I am more open to others. I couldn’t see it before talking to my mother; I didn’t realize it was in the video before talking with her.

T: I like this story, because some kind of ideology of getting lost is also part of why one would like to present unready work. When we don’t know exactly where we are or where we are going, there is the possibility of allowing ourselves to share the space differently with the audience; not always taking them for a ride but also asking them for directions, being inside a question with them.

U: Yes, we are sort of asking people – Where are we? Either in words, or just by seeing their reactions.

T: Sometimes the mere fact of sharing something can make me realize how much I actually know about my position, even though I might not want to admit it to myself before sharing. It could be that I have a darling that I don’t want to kill, or I have a problem that seems unsolvable before I show it to someone else. While it’s a horror having people commenting on this if in the bitter aftermaths of something, I become grateful if I’m allowed to see it with the help of others before the crisis, fight, publication, premiere, release… So to show things that are not ready can reverse my approach to criticism.

U: So we show something that is not ready yet, but at the same time it needs to be ready in some way. I think there are different phases of unreadiness. I show it when I know there’s something to it, but I don’t know what it is yet. In a way, it’s the point in the process of production when the performance needs the audience to realize itself. I also think that at this point it’s more enjoyable for the audience to see it. I wouldn’t like to show it before that phase, there’s no reason to show it yet.

T: It is also a question of why one would like to show it. To “realize” it as you say – or to just get better tools for working, using a test audience as your motor. As I usually work with audience participatory work, to try things out in practice has been absolutely crucial for me also really early on in my processes. But I would call it testing, not showing. Maybe that’s why it was you – usually doing a stricter separation of the performers vs the audience than me – who from the beginning insisted on the importance to meet the audience mid-process also for this work. Together, we had to reconceptualize what showing to someone then means. I think now what we are doing here in Gothenburg is not testing something; it’s sharing something.

There Is No Outside-Text 2

As I mentionned in the previous post, me and the choreographer Uri Turkenich have spent one week preparing working methods for a common project. Among many other things, we started learning the first verses of Inana’s Descent by heart. Being one of the oldest texts known to mankind (approximately 6000 years old, from Mesopotamian times), it might actually predate writing, as it has the characteristics of a song learnt by heart and passed on from mouth to mouth. Here, I’m sharing one of our first Inana improvisations, where we sort of summoned the goddess:



There Is No Outside-Text 1

During December 2015, Swedish Arts Grant Committee supported one week of method development between me and the choreographer Uri Turkenich.
Screen Shot 2016-01-02 at 12.07.10
Preparing for a production residency at Skogen in March 2015, we researched different ways of creating states of vulnerability in speech and action. Many of the things we did – like meditating, singing songs we didn’t know and learning ancient texts by heart – doesn’t translate so well to the blog format, or are somehow too vulnerable to be shared just like that. We did however invent a sort of game that we were practicing continuously during the week, and that we also transcribed to some degree. The rules were that we could only use the personal pronoun ”you” (not I, she, he, they and the other forms belonging to them). We were also to limit how much we repeat and mirror each other. If we broke a rule, we had to do a small dance, here symbolized by [ACTION]. Here, we share some fragments of the conversations for inspiration and memory:

T: It’s recording. You’re making a recording too?
U: Yes. I thought it could be nice to have.
T: You said “I”.
U: Ah. Did I?
T: Yes. So basically it’s you. But maybe we do it both. Or?
U: Or me? As you said it it’s me.
T: Yes.
U: So. Do you think we should choose a subject?
T: So. You thought a subject would be good. Fuck.
U: Why do you…?
T: Because I mirrored you. I repeated what you said. And sort or reconnected to it instead of just acting.
T: You told me once that you have a secret.
U: No abstractions.
T: It was in the middle of March and you were sitting under a maple tree.
U: What year?
T: 2006!
U: 2006, 2006, is that mirroring? No, it’s thinking.
T: You’re right.
U: 2006 – what happened in 2006?
T: There were some some massive urban uprisings in Paris?
U: Sounds sad.
T: But I think your secret had nothing to do with that.
U: You think?
U: What do you think about punishment?
T: Like voluntary or more that someone puts it on you against your will?
U: Voluntary.
T: It can be great!
U: Why?
T: It’s a way to challenge your perception of punishment when it’s not voluntary. And also it’s simply a source of enjoyment and pleasure. Why do you ask the question?
U: It’s a self-reflection on what you’re doing.
T: No abstraction.
U: Well. When you set up the rules about the game maybe you thought it’s a sort of punishment to go and do the action and come back. It’s a self-beating, maybe.

T: As an ancient person, the first thing you have to do…
U: is to deal with death. To find a solution for it. How to live with it.
T: But already when you’re a baby, do you have a clear idea of death then?
U: That’s unclear. There might be studies that suggests that no.
T: Maybe survival, the urge for survival, is there already in the small new born baby.
U: Yes.
T: Like a biological impulse.
U: Yes. The baby feels hungry. But the baby doesn’t know death.
T: Do you?
U: Expressions of it, yes. Encounters with death, yes.
T: Other people’s encounters.
U: Other people dying. The possibility of death. The possibility that life stops at some point. I know that can happen.
U: So, at some point you are born and then you discover you can die.
T: No abstraction.
U: When the baby is born, the baby doesn’t know it can die. All babies. They don’t know it yet.
T: They.
T: The question was really: when do you discover it? When is this passage from not knowing to knowing? Not like a general point, but when did you discover it?
U: It’s unclear. There is no memory of this. Do you remember?
T: Maybe more like rediscovering. No original moment but instead many different occasions. Like when a friend died, when a father had a cancer…
U: But when you were really young?
T: There was a constant fear of death, which is not necessarily to say that death was understood.
U: But you knew about it? I think you knew about it.
T: For sure. A hobby was to look up psalms that would be played during different people’s funerals.
U: Psalms?
T: Psalms… Holy songs.
U: It reminds me, there’s a lot of death on television. So young people probably get to know about it pretty soon.

U: Are you alive?
T: Yeah, so far.
U: So far, you see the sky, you cry…
T: The rest of that song is not here anymore. Maybe you could say it’s dead.
U: It is not dead. It’s alive. You could hear it in the radio.
T: There’s no radio now.
U: I can hear it in my mind.
T: Were you dancing to it?
U: No. But do you think there is something about repetition and rituals?
T: No abstraction.
U: There is something about repeating the same movement that can help to connect to some kind of energy of… I don’t know.
U: Maybe not.
T: There was this thought while you were speaking that that is actually what the universe is busy with. Like repeating the same patterns over and over in order to come to a specific state. Like the flower that bursts into bloom and then it goes away and comes back… like the universe is beating its drum.
U: Maybe it’s pleasant.
T: For the universe? I hope it is, especially when it can entail suffering for us.
T: The subject is very heavy. I think you should change it.
U: I’m not sure that we’re… that we’re speaking about a subject.




The Intimacy Records

The Institute of Political Therapy (home page in Swedish), a project that I run together with Lisa Färnström at Skogen, did not only offer political therapy but also hosted a program where related themes were discussed and examined. One of our guests was Valentina Desideri. She is a wonderful thinker and artist. We have also had a number of interesting conversations, and this text (that will also be published in Skogen’s yearly documentation book) is the result of one of them.

6th of September 2014
Valentina Desideri and Tova Gerge


Recording N° 1.

T: We have a starting point: we are holding hands on a bench. And we’re on an expedition to look for intimacy as if it was a drug.

V: No, to look for intimacy the way one would look for drugs.
So looking around, following trails and sequences of events, but also looking for it as in looking for something that one wants to know about. One might also not find anything but that doesn’t diminish the experience.
What is the interest that you have in intimacy? What is the assumption you have about intimacy?

T: I think I’ve been busy with it from different perspectives. In terms of performance, I’ve been interested in this way of handling precarity that is a part of working with intimacy in performance. To be a performer working with intimacy is to meet people under very ephemeral conditions. And for some reason I desire that ephemeral quality. I wonder why and I wonder how that is connected to the precarious conditions of performance workers in general. Also, for me personally, intimacy is connected to questions of when I feel that I let something close in a way that is meaningful to me. How much closeness can I handle, why/not? Things like this. I mean then closeness in quite a broad sense, not only physical.

V: I wonder if we can extend – when we think that intimacy, it’s not only between people. You can also be intimate with an idea or with a certain way of living. It is also a form of knowledge. You know the other person when you can be intimate. So for example holding hands produces an intimacy because it produces another knowledge. So I can feel the temperature of your hand, if it is sweaty, how you hold, if you release. There is a lot of information we’re dealing with. I don’t remember, I think it is from Isabelle Stengers, but there was something about hesitating together, it was the definition of something…

T: What was it?

V: Hesitating together. I’m not sure. I think it was about practice, that to practice is to hesitate together. But whatever, the formulation “hesitating together” has a lot to do with intimacy to me…

[Someone passes by]

What are they talking about?

T: I heard a few sentences. It was like: ”It just becomes more empty. There was this hysterical man running at me, and I just…” And then I missed the rest.

V: Let’s follow them.

Recording N° 2.

T: I think we lost track of the people we were originally following.

V: We were incidentally walking behind two women begging for a while, so we started to think of the intimacy of begging. We speculated that a situation may be intimate when it puts power relations or power into hesitation. When it makes power hesitate. The question “Do you have some spare change” between two strangers is not only a question about the change, it is also a question about how the people involved should and could relate to each other: will there be any other exchange than money and so on…

T: If intimacy can make power hesitate, it is also constitutional for how we perceive the world. What I mean is that the hesitation that the request for some coins can put in motion usually ends in a specific situation, something that no longer vibrates, and that “end product” is easily  understood as representative. So both the active parts in this interaction, and other people witnessing it, might think that they get to know something about society as a whole from what happens in the singular situation. And whether they are so to say “right” or not, what people think they know about this situation constitutes certain dynamics in our shared lives.

V: This is also one example of how intimacy is not that fuzzy little cute sense of connectedness with somebody you love. Rather, it is about the moments that open up vulnerabilities in the people involved. And sometimes of course you are willing to share this so you go for an intimate moment, but sometimes it comes whether you want it or not. These are also the moments when you can be very embarrassed or ashamed…

T: Totally. To be ashamed is to be at the hands of something bigger than you; an imagined and real society that points finger at you, reveals you in a way that you don’t want to be revealed. And that is intimate if intimacy is about getting to know something that you didn’t know before.

V: Intimacy makes something known, reveals something, but maybe what it reveals is power, the power relations at play. It gives a picture of how power is distributed, how it is operating. Not as a fixed picture, but as a picture that is twitching, hesitating.

T: One more thing. I think intimacy is always something happening in between: in between people, objects, words. It is not belonging to one or the other even though it happens also inside the people involved. Like a position that becomes available for a while, something that allows us to acknowledge that we exist not only in and by ourselves, but also through the perception of something radically other than us. Us consists of you and me, and you are always radically different from me.

Recording N° 3.

T: We started to speak about the intimacy of the masses, like when you’re a part of a crowd and you lose your face in that crowd, no longer knowing who you are outside of it. Like being in a party, dancing and sweating and sharing other people’s sweat, and also going in the metro and feeling the pressure of other bodies against your own. And then I also thought about Järntorget, a square that we were walking over. In 2001 in Gothenburg when there were big political protests, a lot of my friends were held there for several hours. They couldn’t go out from the blockades of the police and they were just sitting around. So there was this forced intimacy with others where thirst and hunger became a part eventually. When you are hungry and thirsty and don’t have water and food yourself, you are at the hands of whoever has the decency to share. That kind of collective experience was deeply radicalizing for many, also because of the aspect of being forced into it I think.

V: So what you say is that violence can produce intimacy? Also right now, we are sitting close to the hunger strike of Palestinian men. These 25 men are sharing their living space in this occupation of public space because they got caught in this situation. They can’t return to Palestine and they are not allowed to stay here. In a way this specific collectivity, and the intimacy it comes with, is being produced by this violence: Both the intimacy within themselves and the hesitation they produce in any passers-by. The hunger strike is both a result of, and show, the absurdity, racism, violence of the situation. It confronts everybody with it.  And rightly so, because we are all involved.
Of course it’s not a matter of glorifying violence, it’s not that you suffer and then from that, don’t worry, great things come out, beautiful collectivities etcetera. But we have to take it into consideration because we are all subjects to some form of violence and we do perform various degrees of violence every day. It’s not something we can just avoid because it’s “bad”. This hunger strike is just a more clear example because they aren’t just activists in the classical sense of people who decided that this is a good action to make the conflict visible. They are the conflict. It’s happening in and on their bodies and lives.
And this also has to do what we talked about earlier today concerning the recurring question of how to become a ”better” ethical subject, what organisation to join with so many problems in the world…  like we could pick and choose between other people’s problems. For me the starting point is another one: Even if you think you’re some privileged Swedish middle class white person, you have enough problems of your own, because you are a very active part in making this world what it is. So there is no extra organisation or charity to join if it is not something that allows you to really understand the violence that is done to you as well and how you reproduce certain patterns of it. From there I see a real possibility to recognize the political consequences and value of what you are already doing and how that can/should/could reorganize. And not because “Ok now I got it, I have a plan and if I do that then I will be fine and the world is gonna be a better place” but because you try to associate differently, to assemble differently, to produce yourself and the world you live in differently, already now. I mean it simply, like in the way you live or love or pay the rent or not pay the rent…
I also then think a lot of intimate relationships like lovers or friends, how they are organised and reorganised and how we take risks with them, what we want to know with them. I consider it an interesting field of experimentation because those relationships have the capacity to unleash very strange forces! Certain close relationships can bring us to such impasses that we feel we can potentially be destroyed. And for me that space of intimacy with myself and the other is a great rehearsal space. It’s a place where we can prove ourselves wrong, when we can perceive ourselves in contradictory positions that do not exclude each other. There I can sometimes have a sense of knowing, feeling, being A and not A at the same time without it destroying the world, the relationship or myself – it’s an amazingly empowering feeling.

T: I’m thinking that the A and not A can be both empowering and alienating, and that it is symptomatic for the urban condition in general, or maybe even the human condition in general. Like we sit around in the closeness of this hunger strike and also we are somewhere else, in our own bubble. Thrown in and out of it.

V: I really like now, this is the best moment.

T: With the people jumping on the springboard?

V: The guy was jumping on the springboard alone listening to music in his headphones but just by his ways I almost could feel the music. And I also felt like I felt yesterday walking back home at night listening to music and having a great time on my own.

T: One guy there was more like passing through. Taking one jump at the springboard and then continuing.

V: It’s funny how intimacy works through distance too. How the gaze in this case brought together not only us but also different moments in time, and songs and people who are not actually here now.

T: There is a kind of tactility in the gaze.

V: Yes, maybe intimacy could be understood as touch…

T: I feel that the air is touching me in a way that makes me a bit cold.

V: You’re just being intimate with cold.

T: There is this play… No, now I’ve forgotten the title of a play that I haven’t read. It’s a nice combination of words.

V: Oh, now he is there with a joint too…

T: Do you feel tempted?

V: I feel connected. And these three guys hugging. So nice. It is also how being cold prompts physical proximity or movement. The have to get closer, cosier…

T: Oh, I remember this thing from Paris… You know on the ground, on the streets sometimes there are these grids where hot air is streaming up. One winter night when it was at least five degrees below zero – kind of cold in Paris – I walked past three quite young guys sleeping on this grid, completely cuddled up. I don’t know who they were, but obviously in some kind of precarious situation. And it was such a beautiful and odd image somehow. Like you would like to join almost, because there is this bunch of sleeping…

V:…bodies on warm air…

T: Yes. But then at the same time it is a completely bad situation to be in.

V: Imagine that intimacy would be administered, organised or felt differently, that it could be possible to join because it wouldn’t be such an inappropriate thing that I can’t also lie there.

T: But it’s a question of trust also, I think. For both them and me. To get close to someone sleeping… that’s very violent.

V: True. But when I was in China everybody was sleeping in the street, it’s normal. You know, people are working and then they just snooze. You can always take a nap anywhere. And I thought it is good because you are so vulnerable when you sleep and yet you practice this in public. I think there are all sorts of things that must affect us on some level. You can’t sleep here, you can’t eat here, you can’t pee there… Is it possible to imagine a system of power that allows body function to be self-regulated?

T: I don’t know. I think our bodies are always social and depending on each other. But how we approach that aspect of the body can of course change, also from context to context, time to time. Sometimes I have the feeling that before I started to work with movement professionally, there were different kinds of touch that felt more intimate to me.

V: I think becoming aware of what I do as i do it is a way to get more intimate with it. Looking for example. The more I practice looking, the more looking at anything feels closer, more intimate. And I realize there is no natural look, nothing more than what is agreed upon. You know the thing they says that you only look into the eyes of someone for a certain amount of time before it gets weird? It doesn’t work like that. There is no natural way of looking. It’s just like with words, the more you are aware of them the more words you have to express what you want to say. I never think there is a risk of exhausting the words because they are made of the world and the world is always in excess. I don’t think we will ever know too much.

T: It is a question of how we use it, I think. With something that I incorporate as a technique; a goal more than an awareness or process, I could maybe be possible to know “too much”. But this also leads me back to what we said about not confusing connection with intimacy. A technique can get under my social and actual skin and get to know me in a way that is not necessarily fuzzy and sweet. But I could also find more tools to relate, to be aware of how I am relating and be empowered through the technique, let it become my tool rather than the opposite. It’s a throw of dice, again.

Language is also an interesting parallel I think. When I learn a new language or fragments of a new language, sometimes I get so touched by the fact that a stone is called a stone, or a pierre or a pietra. I’m getting dizzy thinking about the fact that something has a name, sort of. With Swedish, this only happens for me when I have been away from the language for a long time. It’s like I forget how intimate that language is to me, how it is constantly shaping me. It doesn’t mean it isn’t, just that I can’t always be in the discovery of it.

V: Yes for me too, language is never a knowledge that pins down; like ”stone” is ”stone” and that’s it. It is also pietra, pierre, ah Pierre like my friend and so on, you know there is always more to the things than…

T: Sten. That’s what we call it. Which is also a name.

V: Sten. And Stina also?

T: No that comes from another name, and I learnt that yesterday because one of my hosts is called Stina. It was short for Kristina which is ”the Christian”. What’s the meaning of your name?

V: Valentina is ”valente”, something with value.

T: That’s an interesting name, I think. For someone who is into philosophy and movement…

V: Well, the surname is Desire…

T: Value and Desire. A wonderful name. Let’s not close it down. Maybe we walk a bit.

Recording N° 4.

V: We are holding on, holding hands again. That is our ending point. We are sitting on, well, not a bench, but something else. Holding hands until we let go, and then it’s over.

T: We sneaked away from this party and we are in a yard with a barking dog.

V: Also stone dogs. Statues.

T: Very big ears.

V: The dog that barks we can only hear.

T: Do you think the bark is real or recorded?

V: It’s real. That would be too much of a conceptual turn for this messy backyard.

T: I’m also sure that it’s real. I wonder why, but I really strongly hear that…

V: Yes, you can feel it.

T: There is someone there.

V: And about tonight, during our mission, did you see any intimacy? I mean in the way we defined it. I could see people hugging and screaming and dancing together, couples holding hands, but…

T: But you mean this hesitation, ondulation, vibration of power?

V:  Maybe unless you are involved in an intimacy you are not going to be able to know that it is there. That is also the nice thing, that you may not be able to see it from the outside. So maybe it is the wrong question to ask if you have seen it. Maybe if you sensed it?

T: I think we were in a kind of intimate bubble, though if we put something at risk, I don’t know yet what the outcome was or where we are heading with that. I also think we observed people and some people observed us and wondered what was going on when we took out the mic. Couldn’t that be something that vibrates?

V: I’m gonna take a picture of ourselves. If someone would walk into the scene… they would see this.

T: It’s like ghosts. Very pale light. Beautiful.

V: It’s over. We unleashed the hands.