In this collaborative work, designer Gabriel A. Maher, designer and social worker  Roberto Perez Gayo  and multidisciplinary artist  Carly Rose Bedford  elaborate on the relationship of feminism to the collective regimes of enunciation that produce it.  How do you orient yourself within this word? How do you orient yourself in a language that precedes you?  If we look from this perspective to the word feminism we understand how, as a word, it can transform its own conditions, function as a disruptive agent and incite analysis of any condition or context it is placed within. Recognising it as a composite term, means to embrace its complexity. It houses a multiplicity of positions, approaches, interpretations, histories and subjectivities. All of these positions are there within the word.  Once I cross into that space,  how do/can/must/may/ought 'I'  move/relate/think/interact/feel?  And how would I describe it?  In order to achieve this, Maher, Perez and Rose speculate on how setting the listening conditions prior to the act of speech can generate new forms of community and collectivity. By approaching the word Feminism as a technology, they look towards how this process can generate self-reflection and invite the word feminism to listen to itself in a queer and intersectional feminist framework.  As much as a physical exhibition, this work exists as a methodology that attempts to reflect and act upon the collectivity that feminism as a word connotes. It contemplates collectivity, the act of listening and knowledge production. This process and outcome reflects dialogues of urgency or irreverence, analysis and reflection that cycled within a collective of people each unified by an investment in feminism.  “___________ ” is an invitation to explore how our individual positions and actions relate to the collective arrangements we belong to through the technology of the word and consequently, through the act of listening.  A network of 26 feminist voices transmit  Installation & performative action(s),  Onomatopee  150.2 / NEST Project 2017, Eindhoven.  production design by  Isabel Mager   Images:  Kyle Tryhorn  &  Daantje Bons
 Exhibition for Örebro läns museum, Sweden  Official opening in 2019  Collaboration with designer,  Isabel Mager  and political scientist, Daniel Urey
 Concepts of occupancy and intrusion are activated through performance and explored in body language and gesture.  A specific architectural arena is articulated for this work. An isolated section of a standard Dutch row house is interpreted as stage and crime scene; The Theatre Box. The space is deconstructed into a sequence of architectural elements: Door, threshold, boundary, stair and window. The psychology of these elements is emphasied within the performance through narration. The space is written; A ‘play’ of intimacy and control is scripted and choreographed (Occupant Vs Intruder). Spatial props and line-work are used to describe the dynamics of the space through drawing convention and scale. Props and line-work are set at scale 1:2 to increase spatial tension and place emphasis on theatricality in relation to the body.
 Based on fragments from the  Salone Internazionale del Mobile di Milano  website, Empty Orchestra is an absurd script composed of object lists and object names from Salone product libraries: adjectives, nouns, verbs and chronological word use, with, words, phrases and loaded expressions associated with design. With a backing track of ‘easy listening’ sound used on the Salone website (2016), Empty Orchestra is performed through spoken word, concrete poetry and karaoke, live within the context of the fair.  The offcial Salone del Mobile website hosts all promotional material and facilitative communication for the fair. The website is an archive charting both technical and emotional information relating to the ‘design fair’, including press releases, interactive maps, brand catalogues, product libraries, inspirations, advertisements, interviews as well as exhibition, visitor, exhibitor and media information. Its extensive display of materials mediates a kaleidoscope of consumer goods through design ideologies and “novel concepts for living”. The website demonstrates a dichotomy between design ideologies and its general output as consumer products. Endless scenographies showcase props for living (table, bed, container) surrounded by linguistic value beyond their form, such as “ethical and social commitment,” “design of the future,” “improve people’s quality of life” and “the most meaningful and profound issues of contemporary.”  By using fragmentary and incomplete material clippings the existence of mutually incompatible and antithetical meanings can occur. It creates a skewed, slightly mocking narrative of the Salone’s marketing ideology. A satirical comment on the rhetoric and disinformation of commodity culture and consumption.  Note: This was performed live and in a participatory way with an audience / consumers / journalists etc. This text/soundscape is to be performed live, using the tools of the tools of a DJ, dual vocals and large-scale visuals; a hybrid between performance lecture and DJ set. This work was developed for  Fictional Journal   Propaganda Issue 02 . It specifically relates to the Salone Del Mobile context and mediation.  In collaboration with designer  Isabel Mager
 Graphic deconstructions for  Shared History ,  Fägfabrieken,  Stockholm, Sweden     The designers Gabriel Maher and Isabel Mager stand for a graphic deconstruction of the project application. By dissecting the bureaucratic graphical interface, the idea of measurable culture and its instrumental purpose is clarified.   Shared History is an EU-funded project that brings together newly arrived and established artists in the Baltic Sea Region. The artists' views do not necessarily need to correspond to each other, but they must be able to relate to each other when they explore critical methods of narrative and co-creation in a time of polarized discussions of history and identity.  Shared History is a cross-disciplinary project with the goal of critically connecting and artistically interpreting the different reactions on the refugee situation that are strongly affecting, shaping and dividing the European Union, on both a political and domestic level. With a Baltic scope, the project's creative research process will approach issues such as policy making, judicial and geographical borders, statistics, identity, public opinion and post-truth information related to migration and integration in Sweden, Poland and Latvia.
Amplified Body Works