Meet the Oracle, a reciprocity of your own physical presence, a moment in the company of a stranger, anyone and everyone.
Through vibration and energy, the Oracle connects with your life at present. A song, a dance, all there ever was, all there ever will be. Your session with the Oracle is only for you, and lasts perhaps 5 minutes. Small gift for the Oracle is welcome.
In the waiting room you can drink tea, meditate, relax.
‘Strangers Oracle’ is an investigation into our ability and
willingness to spontaneously connect with others. Not knowing what to
expect, can be a game changer in making an energetic and physical
The Oracle may be your dance partner, your therapist, your lover,
your singer, someone to laugh with, or simply someone with whom to spend
a moment in time. Whether meeting the Oracle leads you to towards
healing, self discovery, a metaphysical
experience, or something completely different, is an open question.
The artist (the Oracle) wishes to test her ability to meet anyone who steps through the door, with an open mind, a spontaneous and tender response. Applying dance, meditative touch and music. As the experience is secret, no one, except you and the Oracle, will know what may reveal it self in the encounter.
Hallager Andersen is a freelance dance artist with an MA Creative Practice from
Trinity Laban in London. Through her diverse work with movement, especially in
the context of somatic practices, she has developed a broad interest in the body.
Her work spans performing dance improvisation, filmmaking and collaboration
with other artists and with academics.
Høybye is an interdisciplinary researcher with a dual background in
anthropology and health sciences. She is associate professor at IMC, Department
of Clinical Medicin, Aarhus University and Silkeborg Regional Hospital. She has
a keen interest in the role of the body and movement in knowledge making and
explores how to engage the potential of sensory and body knowledge in research
and practice in health settings.
Itay Yatuv is the Artistic Director of the Hakvutza Dance School,
and has been practising and teaching contact improvisation (CI)
worldwide for the last 17 years. Itay trained as a contemporary dancer
in New York, U.S; Italy, and Israel; then went on to independently
choreographing and leading several international projects of
improvisational performances. Itay has been training in Aikido for the
past ten years, a practice he integrates into his CI research.
Contakids has been developed in the last ten years.
Workshop: A Precarious Crossing: Touching Fascial Relations
In this workshop we will touch into and explore the bio-tensegrity model of the body in relation to fascia research through a movement score. A score can be thought of as open-ended rules to a game that people play within. We will examine how the score might orient our touch, and by extension the sociality of those participating in new ways. We ask, how might our touching in this score always be collectively made?
Fascia can be thought of as the viscous goop that connects, divides, and slides between muscles, organs, skin, and cells. It has also been found to be active, intelligent, communicative, and a sensory organ, liquid, solid and mucus. Fascia research stretches between communities of biologists, massage therapists, clinicians, anatomists and pathologists, yoga and pilates teachers, embryologists, pharmaceutical researchers and doctors, and dancers, where each is partially connected to each other. This practice-as-research workshop thinks with the performance method of scoring to track the emerging science studies on fascia as this 21st century biological-cultural material comes to form. Through scoring, we touch into a tensegrity model of the body and attend to attention to track the political and social assumptions within fascia research.
Bio: Kevin O’Connor is a multidisciplinary artist working as a choreographer, dancer, improviser, circus artist and installation artist from Ontario, Canada and now based in the Bay area. He is involved in a decade-long artistic collective exploring participatory de-colonizing performances within polluted watersheds in Ontario. Over the last few years, he has worked with NAKA dance in Oakland, Shakiri and Skywatchers in the Bay Area, Oncogrrrls feminist art collective in Spain, and collaborated with Inuit hunter and designer Paulette Metuq on a project in Nunavut in the Canadian Arctic. He has been learning with the Axis Syllabus community for over a decade and is a biodynamic CranioSacral practitioner. He completed an MFA in choreography and is currently finishing a Ph.D. in performance studies at UC Davis. He is working at the intersection of arts, sciences, practice-as-research and improvisation theory and practice. His research examines anatomies, body performance capacities, interventions and imaginations in relation to science studies, including the material-bio-cultural tissue called fascia.
Mary Margaret is an
artist from Tennessee, now based in Los Angeles, California. Her works
consist of paintings, installations and video art, gaining material
from interpersonal research in the form of interviews
and questionnaires. She is interested in what we learn when science and
Her work focuses on connections between people, connections between microscopic and macroscopic worlds, and playful exploration of gender boundaries. She asks the viewer to toss aside conventional understanding of gender and sexuality, in order to play with genitalia in a gender fluid way.
SUPERJECTS: haptics, posture, and individuation
In Ancient Greek, the verb for touch is haptomai. Contrary to
the way it is said in English and other Indo-European languages,
haptomai is neither active (touching) nor passive (being
touched), but medial (touching-and-being-touched, inseparably). The
medial is a verbal diathesis that can only be found in Ancient
languages, such as Greek, Latin and Sanskrit. In the medial, the
agent is at the same time the origin and the site of their action
(Benvéniste 1966). In the medial, what I do is simultaneously what
makes and affects me. Being born, dying, touching, dancing,
pondering… all those verbs, in Greek, can only be said in the
medial, pointing to activities or events that we participate in, and
that reciprocally, we emerge from.
this lecture weaving
phenomenology (Straus 1935), process philosophy (Manning 2013) and
somatic practices (Godard 1995),
we’ll trouble our grammar with touch.
We’ll envisage how haptics and the ways we are held
contributes to the way we hold and support ourselves on the Earth’s
surface. We’ll think of the touching subject as a touching
superject: an emerging feature of relations in an affective
Bigé, PhD, digs, writes about, curates, and improvises dance and
philosophy. Lives and teaches nomadically in and out
of Paris, France. Currently is Philosophy and Epistemology Professor
at Aix-en-Provence Fine Arts School (ESAAix). Fell in dance in North
America and Western Europe with Steve Paxton, Lisa Nelson, Nancy
Stark Smith, Matthieu Gaudeau, and many others. And now investigates
the somatopolitical potentials of dance for mobilizing sensitivities
to other critters.
TOUCH Reflecting on the matter of body memory with my new textile material. Touch is a delicate merge of fragile Icelandic wool fibers & solid carpet knots, transformed into subtle layers of fur-like shades of poetry, reflecting human body energy layers and body memory from touchy experiences.
ON SHOW NOW My soft piece is currently on public view in a group show called: IS THIS COLOUR, may 11th – june 23th in Copenhagen centre: THE ROUND TOWER.
“A living human skin is not just a surface. A living skin is the direct transition to a humans inner life. The heart. Before you get to touch your lovers skin, you travel through layers of invisible fur. This may take time. It may take a while before you get to touch the actual skin material. When you finally get there, you enter the actual merging fase. The more you touch, the more you will merge. After a while, your touch will be visible and you changed your lovers blueprint forever. Let it be a gentle touch. Like approaching an animal for the first time. Humble. Slow. With presence and respect ”
– Signe Emdal COVER magazine writes, may 2019 :The subject of touch and physical contact is very important in the current digital communication world we live in, as designer Signe Emdal agrees. We have been following Danish textile artist and designer Signe Emdal´s creations in COVER since 2016. Her impressive weaving skills combine with highly original concepts, making the resulting pieces remarkable in more ways than one.Her latest work My Little Icelandic Pony will be part of an exhibition curated by Kontempo- an association of Nordic textile designers“Is this colour?”is at the Round Tower in Copenhagen, from 11 may – 22 june 2019. “I usually work with industrial making of fabrics”, says Emdal. “Especially jacquard techniques, knitted and woven. But in august 2018 I created a new adventure with an analogue knot-tec. I named the technique “touch”. Its a hybrid of a few things.. READ MORE
Relational Intelligence: An issue of tactile embodiment
This introductory workshop will explore functional aspects of embodiment, allowing attendants to experience ways that spatial touch influences their relations with other people and the physical world. Through exercises that investigate the physicality of attention we will influence how we behave as a body that is inseparably a mind. We will come to understand that all embodiments are not equal in their relational potentials, and how language, imagination, time, and spatial practices change what we believe is possible and what we can do together.
ALASKA – Studio for Feelings investigates emotions as bodily, sensuous phenomena. We understand humans as participant in their experiential evolutions and the development of what they can feel. Feelings are trained, habituated, and valorized, incorporated into our bodies and thus enacting the normative regimes of our societies. Therefore we ask: How and to what end are we moved and touched? Our work takes the shape of environments, workshops, performances and interactive installations.
ALASKA – Studio for Feelings are Anne-Sophie Reichert and Esther Vorwerk.
ALASKA’s latest project is a PREASURE LAB [pressure, pleasure]. Inspired by the work of the US-American autism activist and animal scientist Temple Grandin, the lab investigates the effects and affects of physical pressure on the human body. Grandin built herself a hug machine when she was in college: she desired the feeling of being held yet felt overstimulated by human touch. The lab provides a number of newly designed hug machines that put pressure on different parts of the body. Visitors interact with these devices and experience the sensuous and affective changes of being cared for by a machine. The PREASURE LAB, including somatic pressure workshops for adults and hug machine building for children has been set up in Berkeley, CA in 2018 and at Kunstpunkt gallery in Berlin in 2019.