During our residencies at Nadine Laboratory for Contemporary Arts in Brussels in 2012, Madaleine and I subjected each other to a series of performative experiments. We inhabited the awkward space of a cupboard under a sink or the uncomfortable square centimetres around a toilet. We gave each other a camera, a time frame and improbable props to perform with. All of which to exercise in preparing of an apocalyptic arte povera, studio-less, gallery-less future. And soon enough we were joined by the sound composer Loup Mormont who added a constraint of oppressive soundscape to our experimentations.
We presented the taped results of our research at Nadine that same year,
