With Fieldworks, we explored questions around non-visual witnessing, their choreographic resistance as I call it, and how the works choreograph perception itself. Touching on everything from the thickness of space between bodies to sound as a form of non-contact touch.
The discussion moves through their practice in depth, examining how folding becomes a way of structuring knowledge, how objects generate their own tactile choreographies, and whether the body functions as an archive of touch across performances.
It's an exchange about how their work makes space for alternative forms of attention and encounter.
Running time: 1:10:57
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Fieldworks (Heine Avdal & Yukiko Shinozaki) is a Brussels based artistic organization founded by Heine Avdal and Yukiko Shinozaki. Their collaborative practice integrates dance, visual arts, sound, and technology, creating immersive experiences that often unfold in unconventional spaces. Known for works like Field Works-hotel and nothing’s for something, Fieldworks engages audiences in participatory environments that challenge traditional boundaries between performer and spectator. Their productions have been presented internationally, reflecting a commitment to exploring the performative potential of everyday settings.
With Vera Tussing, we trace the tactile logic through her practice: from the mechanics of Un-staging Tactility and The Palm of Your Hand to the larger questions of how movement is shown and translated when vision isn’t the main generative sense.
The discussion moves through touch as medium and method, how it reshapes attention, social relations, and the ethical scaffolding of consent, and on the concrete strategies Vera uses to make choreography communicable through tactile means.
Examining everything from the insights of adapting work for diverse audiences to the tacit, communal understanding that evolves between performers and participants, it’s an exchange on how her work makes space for alternative forms of perceptual encounter and learning.
Running time: 1:25:06
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Vera Tussing is a German-born choreographer and performer based in Brussels. A graduate of the London Contemporary Dance School, she has developed a body of work that interrogates the relationship between audience and performer, often incorporating tactile and participatory elements. Her notable pieces include The Palm of Your Hand, You Ain’t Heard Nothing Yet, and Trilogy. Tussing's practice emphasizes the corporeal and relational aspects of performance, fostering encounters that extend beyond traditional viewing experiences.
(Audio recording)
With Fayen d'Evie and Katie West, we explored questions around touch as method, examining how tactile engagement becomes a form of relational knowledge that connects us to ancestral memory, community making, and institutional intervention. Touching on everything from weaving as kinship practice to the politics of touch within institutional spaces.
The discussion moves through their collaborative practice in depth, examining how embodied knowledge functions as both inheritance and invitation, how objects themselves choreograph particular ways of being held, and whether touch can carry choreography across time without need for inscription.
Running time: 00:34:10
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Katie West is a Yindjibarndi artist from the Pilbara tablelands in Western Australia whose practice integrates traditional cultural methods with contemporary art, exploring transmission of embodied knowledge across generations. Fayen d'Evie is an artist, writer and publisher born in Malaysia, now based in rural Victoria, whose practice spans sensory encounters, critical writing, and independent publishing, exploring how different forms of attention and engagement can reshape artistic and institutional encounters.