Nino Cais
Maiastra, 2007

“Jeroen Eisinga, was covered with 150,000 bees for his project ‘Springtime’. As he tells us, he was stung thirty times but did not feel any pain. Except towards the end, when he was stung in his eyelids. The artist himself states: ‘I felt resistance up to a certain moment, but after a while I let it go and surrendered to the experience. I think I must have entered a state of trance at some point. I started to feel completely empty inside and entered a state of complete freedom. Towards the end I only heard the beating of my heart and my own breathing.’ You can take a look behind the scenes and see Jeroen after the bees were removed when you click here.” (Ignant.de)

“Jeroen Eisinga, was covered with 150,000 bees for his project ‘Springtime’. As he tells us, he was stung thirty times but did not feel any pain. Except towards the end, when he was stung in his eyelids. The artist himself states: ‘I felt resistance up to a certain moment, but after a while I let it go and surrendered to the experience. I think I must have entered a state of trance at some point. I started to feel completely empty inside and entered a state of complete freedom. Towards the end I only heard the beating of my heart and my own breathing.’ You can take a look behind the scenes and see Jeroen after the bees were removed when you click here.” (Ignant.de)

Jade Yumang

Jade Yumang

Jess Dobkin, Ear piece, 2007. The artist’s ear pokes through a gallery wall. She communincates with the audience by writing notes which are projected onto the opposite gallery wall.

Jess Dobkin, Ear piece, 2007.

The artist’s ear pokes through a gallery wall. She communincates with the audience by writing notes which are projected onto the opposite gallery wall.

Adam Putnam, Stilts, 2000

Adam Putnam, Stilts, 2000

Gonzaga Manso

Marina Abramović and Ulay, Nightsea Crossing, 1981-87

etour to Higher SubFidelity by Mauricio Kagel

Mauricio Kagel was a German-Argentine composer who was most interested in the theatrical side of musical performance. Deploying a critical interrogation to the position(s) of music within a cultural matrix, Kagel’s practice was sutured between and strengthened by other disciplines; mainly cinema and photography.

Plush, Coral Short 2013

Photos by Charlotte Prieur


My new piece, Plush, is an interactive kinetic soft sculpture. This performance is a roving participatory project with the people of Paris which atttempts to disrupt daily life with playful intervention.  I enjoy creating art that casts ephemeral spells on my audiences.  My social practice is about rejoicing in the present moment - just enjoying the simplicity of a warm and cozy hug from a fantastical creature!

This piece touches on furry culture and toy sculptural drag, but also reminds us of our childhood innocence and our strong emotional attachment to our own special stuffed animal. I am also interested in questioning the comfortable trappings of my North American consumerist culture with this fresh new mascot-like work.

This winter I am doing a residency at L’Entreprise Culturelle in France.