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<p>
Marialena Marouda (GR/DE/B) works in the intersections between
performance, sound art and oral poetry. She studied philosophy and
visual arts at Columbia University in New York, USA and continued her
studies at the Institute for Applied Theatre Studies at the University
of Giessen, Germany. In May 2018 she initiated The Oceanographies
Institute (TOI), as part of her research at the Advanced Performance and
Scenography Studies Program (a.pass) in Brussels.
</p>
<p>
TOI focuses essentially on the relation between two bodies of water: the
human body and the world ocean(s). It gives particular attention to
affectual and sensual encounters between the two bodies. The Institute
therefore explores the relations of hands to mud, ears to the breaking
waves, feet to the feeling of sinking, rather than the ocean “in
itself”, as if devoid of the human presence. It collects, analyzes and
reenacts people's personal stories about their encounters with the
ocean. In 2019, composer Charlie Usher and performance maker Elpida
Orfanidou joined TOI, letting their practices of song-making and voicing
flow into the institute‘s work.
</p>
<p>
<a href="www.poetryexercises.de"> www.poetryexercises.de </a>
</p>
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<h3>Esther Kokmeijer</h3>
<p>
Esther Kokmeijer (NL), born in Dokkum, is an artist, explorer, designer
and photographer, currently residing in Rotterdam and working around the
globe. In her work as an artist, she mainly focuses on the ‘Global
Commons’. A term typically used to describe international,
supranational, and global resource domains. Global commons include the
earth’s shared natural resources, such as the high oceans, the
atmosphere and outer space and the Antarctic in particular.
</p>
<p>
Recurring motifs and questions in her work are; How do myths and sagas
express and shape mankind’s relationship with nature? How do we relate
to and work with the elements and our environment? How do they exert
influence on us? What are humanity’s effects on geological and
biological processes? What can we learn from indigenous knowledge
systems, can it deepen or induce a more sustainable relationship to our
natural environment, and will it bring more solidarity with the
landscape?
</p>
<p>
Seasonally she works as an expedition photographer and polar guide, in
the Arctic and Antarctic. She is the founder of ANTARKTIKOS, a magazine
that is solely dedicated to Antarctica, co founder of Cosmic Water
Foundation and part of the art collective If Paradise Is Half As Nice.
</p>
<p>
<a href="http://http://www.estherkokmeijer.nl/"
>http://www.estherkokmeijer.nl/</a
>
</p>
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<h3>Marialena Marouda</h3>
<p>
Marialena Marouda (GR/DE/B) works in the intersections between
performance, sound art and oral poetry. She studied philosophy and
visual arts at Columbia University in New York, USA and continued her
studies at the Institute for Applied Theatre Studies at the University
of Giessen, Germany. In May 2018 she initiated The Oceanographies
Institute (TOI), as part of her research at the Advanced Performance and
Scenography Studies Program (a.pass) in Brussels.
</p>
<p>
TOI focuses essentially on the relation between two bodies of water: the
human body and the world ocean(s). It gives particular attention to
affectual and sensual encounters between the two bodies. The Institute
therefore explores the relations of hands to mud, ears to the breaking
waves, feet to the feeling of sinking, rather than the ocean “in
itself”, as if devoid of the human presence. It collects, analyzes and
reenacts people's personal stories about their encounters with the
ocean. In 2019, composer Charlie Usher and performance maker Elpida
Orfanidou joined TOI, letting their practices of song-making and voicing
flow into the institute‘s work.
</p>
<p>
<a href="http://www.poetryexercises.de"> www.poetryexercises.de </a>
</p>
</div>
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<h3>Stijn Demeulenaere</h3>
<p>
Stijn Demeulenaere (BE) is a sound artist, searching musician, and field
recordist. He holds degrees in sociology, cultural studies and studied
radio at the RITCS, Royal Institute for Theatre, Cinema and Sound.
</p>
<p>
Stijn is attracted to sound because of its directness, its malleability,
and its mystery. In sound he tries to unravel social structures,
personal history and the unconscious imagination of people.
</p>
<p>
He is currently working around the themes of the phenomenology of
listening and the personal experience of sound. Stijn researches how
people give meaning to sound, and the relationships between identity,
sound and listening. Apart from creating his own work, Stijn also
creates the sound design for other makers. Among others, he created
soundtracks for choreographers, theatre makers and he works with
directors and video artists like Jan Locus and Visual Kitchen. Recently
he also started collaborating with several musicians.
</p>
<p>
Stijn has been artist in residence at among others, Overtoon (BE),
Cimatics (BE), and Imagine2020 (UK). He is currently artist in residence
at the Kunstenwerkplaats VZW in Brussels. His work won prizes at the
2019 Engine Room International Sound Art competition (UK), the 2014
soundscape composition prize of Musica (BE) and won the Grand Prix at
the 2020 Split Videoart Festival.
</p>
<p>
In 2017, he released his first album Latitudes – September 2016 on the
Silken Tofu Label. Stijn lives and works in Brussels.
</p>
<p>
<a href="http://www.stijndemeulenaere.be">www.stijndemeulenaere.be</a>
</p>
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<h3>Theun Karelse</h3>
<p>
Theun Karelse (NL) studied fine-arts at the Sandberg Institute in
Amsterdam before joining FoAM, a transdisciplinary laboratory at the
interstices of art, science, nature and everyday life. His interests and
experimental practice explore edges between art, environment, technology
and archaeology. Lately he has been creating research programmes that
consist of fieldwork as a means of critical reflection. For this diverse
teams are established to address specific topics in specific locations
by in-situ prototyping, experimentation and direct perception.To not
talk about nature, but be in conversation with nature.
</p>
<p>
Thuen Karelse is from Zeeland. Raised in Borssele, so was his father,
his grandfather, etc. Less than 100m from the family home is a 9m flood
mount. The previous village of Monster (and two others close by) was
wiped away in the floods November of 1530. Borssele was rebuild there in
1616 as a planned village.
</p>
<p>
The Embassy of the Northsea invited him to be part of the fieldwork team
for the future of the Delta, with Darko Lagunas (anthropology) and
Maarten Kleinhans (geoscience). The first phase of the research focused
on listening. How can we listen to other beings? What can be heard? They
interviewed people who have a special, long-term or deep connection with
non- human actors in the region. Based on this, Theun Karelse conducted
a number of physical experiments. Not to be like a non-human, but to try
to penetrate their world. He assumes that non-humans have been vital and
highly valued guides and messengers for most of human history. Far
beyond the notions of 'indicator species' as we now know them in
ecological science. Given our current situation, in a rapidly changing
world, the large number of intelligences around us may be more important
than ever to inform and guide us.
</p>
<p>
<a href="http://theunkarelse.net/fieldwork.html"
>http://theunkarelse.net/fieldwork.html
</a>
</p>
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