WHAT STRATEGIES DO I USE OR CRAVE TO USE WITHIN MY RESEARCH?

practice and documentation

Dr. Cell (they/them) Our name is Cell. We are the smallest unit that can live on their own and that makes up all living organisms and the tissues of the body. We are present in the complicated xenorhizomatic web of non-linear time-space constellations. We are here and yet gone somewhere else. We arrive and dissolve and re-appear in circular motion of feedback loop raising the question if we were even really gone. We play with visibility, sensibility, “attentionality”. We are other and always multiple. The ones always fluid. The ones always in motion. The ones worlding. The question about how we can deal with all these divergent stimuli occurs. There is this possibility to outsource them to various times while making connections between them. The intersections within linearities of our contemporaneity are present - they are many and happen at the same time in different tenses.


So we navigate ourselves by chance (a dice), we have the ability to embody different beings, become them, understand them, move with their bodies, mimic their curiosities, expressions, hear their thoughts. Learn with them and after a while leave them be.

Celestína Minichová (she/they) I am an artist in (re)search, nonviolence activist and thinker with the environment from Slovakia based in The Netherlands. My practice finds its roots in the visual arts, specifically intermedia arts. At the moment my curiosity focuses on performativity, site-specificity and various positions of the poetics of language and thinking in relation to them who surrounds us.

WHO AM I?

A visual representation of music/experience/idea/performing material/movement that uses images, symbols, colors, and words instead of or in addition to traditional musical notation.


These emerged and can continue to emerge in individual or collective "tuning in sessions". They have double use - they serve as a way of documentation as well as inspiration for further creation. I would like to use them later on as an inspiration for sound and movement expressions within my scenogrpahic practice.

That Which Waters The Curiosity is an idea based processual “rooting” workshop. This means that the more times the workshop takes place in various forms, the more informed it becomes. It offers options for re-articulation(s) while creating a web of relations in various parts of the world.


They consists of various exercises as: being still, meditation, deep listening, automatic writing, collective worlding, embodiment of certain "glocal" and others.


The workshop has already taken place in Enschede, Zagreb and Bratislava in collaboration with Puck Verras, Klára Kusá and Viktória Arvayová.

V. CREATION OF INTERACTIVE SCENOGRAPHIC OBJECTS

II. HOLDING WORKSHOPS/TUNING IN SESSIONS

IV. WRITING/STORYTELLING/REFLECTING

I. EMBODIMENT OF MY SF PERSONA

III. VISUAL SCORES/NOTATION

THE ONE THAT LASTS AND NEVER ENDS

THE WHOLE - COLLECTIVE BODY OF ONE

CONTRADICTORY BEING - SCHIZOPHRENIC BEING

ANNOYANCE

ON HOW TO EXPLORE THE MULTI-LAYEREDNESS OF THE GRAIN OF SAND

 & the poetics of lasting with them who surrounds us

FROM MANY INTERESTS IN VARIOUS MATERIALS/ENVIRONMENTS/SCULPTURAL WORK


TO A GRAIN OF SAND

ON HOW TO EXPLORE THE MULTI-LAYEREDNESS OF THE GRAIN OF SAND

 & the poetics of lasting with them who surrounds us

EXPERIMENTS WITH CLOSE ENCOUNTERS WITH THE GRAINS OF SAND (location Den Haag)

POETIC BEING

HOW CAN WE REARTICULATE OUR PERCEPTION OF THE ENVIRONMENT TO BE ABLE TO (UNDER)STAND IT AND (UNDER)STAND WITH IT?

FRAGMENT

WHAT KIND OF ACTOR IS A GRAIN OF SAND?

POTENTIAL TOOL OF RESISTANCE AGAINST VIOLENCE OF RADICAL RIGHT

HOW CAN ONE EXPERIENCE THIS BEING?

WHAT IS MY RESEARCH QUESTION?

TIME-TRAVELLER

COMODITY OF CAPITALISM

A POLITICAL BEING

GENDER WE ALL SHARE

MATERIAL

STORY-TELLER

QUEER ENTITY

THAT WHICH WATERS THE CURIOSITY - THAT WHICH SOUNDS THE SCAPES (in collaboration with Viktória Arvayová, June 2025 - ongoing)

I. PRACTICE OF DEEP GRIEFING (the embodiment of climate grief)

II. RE-ARTICULATION OF CLIMATE GRIEF TO CLIMATE JOY

III. EXPLORATION OF "GLOCALS" ("glocal" - global actors who are otherly local, wind, sand, soil, water, ...)

IV. VARIOUS WAYS OF EXPERIENCING TIME AND SPACE THROUGH BEING PRESENT (shifting perceptions)

V. STAYING WITH THE TROUBLE

VI. FUTURE BUILDING THROUGH NARRATION

VII. THE USE OF POETICS AS A TOOL OF RESISTANCE

VIII. GENDER AND FEMINISM (ECOSEXUALITY)

IX. BECOMING WITH THE EARTH

 

 

coming from the site-specific / site-(in)dependant environment where the embodied research takes place to creation of controlled scenographic environment (white-cube/black-box) where the gained ideas are translated to the audience through installation - sound - movement and participation

WHAT ARE MY URGENCIES?

SMALL SHIFTINGS AT THE EDGE OF THE WORLDS (in collaboration with Lukáš Karaba, June - October 2025)

EXPERIMENTS WHICH TOOK ME WHERE I AM AT THE MOMENT

WORKSHOP for students THAT WHICH SENSE THE SURROUNDINGS - THAT WHICH SURROUNDS THE SENSING (15.th of October 2025)

EXPERIMENTS WITH CLOSE ENCOUNTERS WITH THE GRAINS OF SAND staged at PASTOE

EXPERIMENTS WITH CLOSE ENCOUNTERS WITH THE GRAINS OF SAND (location Terschelling)

SCHOLARS

WHO INSPIRES ME?

VIBRANT LAKES OF LOOSE STRINGS (in collaboration with Martin Kosorín, July - August 2025)

MAKERS

Banská štiavnica (SK) with Richard Hronský

FURTHER EXPERIMENTATION AT VARIOUS LOCATIONS

Trenčín (SK) with Richard Hronský

Den Haag (NL) with Martin Kosorín and Romana Klementis