INDEX

~~~ Cathalijne Smulders completed her artistic education at Sandberg Institute, Amsterdam, where she participated in the Cure Master program.
In her performances she makes people with different identities interact through smell, sound, touch, gesture, and movement. She created performances together with people suffering from schizophrenia, with contemporary dancers and people with spasticity and with people with aphasia, a speech impediment, and a choir. Her performative way of working often results in porous and poetic interactions and the experience of alternative, sensuous ways to relate to the other and our environment.

NEWS, PERFORMANCE WORKS

CONTACT

PARFUM VARKEN
A sensory exploration of the smell of pigs in the landscape of Northern Limburg (2018)

~~~ Spring, summer and autumn 2018, I will work on a collective and sensory research on the perception of the smell of pigs. In collaboration with pig farmers we explore how the smell of pigs manifests itself in the landscape of Northern Limburg and the feelings and sensations that are evoked by pig smell. The outcomes become visible and tangible in a video installation and a solid perfume. In collaboration Museum Bommel van Dam / Circular Art Lab Limburg and smell designer Tanja Schell.

'WOOD, THE SYLLABLE IS MADE OF WOOD'
performance reading (2018)

~~~ 'WOOD, THE SYLLABLE IS MADE OF WOOD' is a sentence spoken by Tamara, a woman with aphasia. I made a performance reading together with her. Before her stroke, Tamara was a champion in rhytmic gymnastics. In this performance she speaks about rhytmic gymnastics. She forgets words, falters and substitutes letters, syllables or words. This reading explores our perception of speech in a situation where spoken language is affected by a nervous disturbance of the body. Tamara speaks together with a choir that echoes or dissolves the qualities of her fragile and absent voice.

LANGUAGE OF PLAY / SPEELTAAL
performance / research arts education (2013 - now)

~~~ From 2014 I direct an educational art performance project for young children indicated with a speech-language deficit at 60 pre-school groups in Amsterdam Zuidoost, together with welfare foundation Swazoom and a collective of performance artists. Our approach is based on the idea that young children learn (about art) in a self-discovering way through the acquisition of sensory experiences involving their entire body, in interaction with their environment. In our programs, we emphasize learning through the body. Our method is aimed at non-verbal knowledge transfer, children learn through experiences, by moving, by feeling and expressing themselves in movement, sound, rhythm or form. In this way, attention shifts to physical and non-verbal forms of learning.

BADEN
performance & study of the laguage of the spastic body (2017)

~~~ For Curepark, I worked together with people who have difficulties with speech or gesture as a result of brain damage. At a small sandy beach, performers with spasm, dancers, and a choir practice new forms of exchange when a nervous disturbance of the body affects speech and gesture. The relations and forms that emerge when performers engage with the language of the spastic body are made visible in a performance and video. (read more)

READINGS WITH APHASIC SPEAKERS
performance readings (2016-2017)

~~~ For this performance I work together with speakers with a (= no) phasia (= speech), a speaking disorder. The readings explore how perception takes shape in situations where existing forms of language are affected by speechlessness, the inability to form words. A woman with aphasia reads. She speaks together with a choir that echoes the qualities of her fragile and absent voice. (read more)

COLOR (BEING),
performance / research (2014 - 2017)

~~~ In this performance workshop, participants backgrounds, embody colours. The workshop activates and encounter between different (dance) vocabularies and evokes a negotiation about the different perceptions and interpretations of color and their affects on the body.

'I PROPOSE, WITHOUT EMOTION TO DECLAIM THE BIZARRE AND FANTASTIC SCENE WHICH YOU ARE ABOUT TO ENCOUNTER. YOU, PAY ATTENTION TO ITS CONTENTS AND BEWARE OF THE UNUSUAL IMPRESSION, WHICH IT WILL NOT FAIL TO LEAVE, LIKE A BRAND ON YOUR PERPLEX IMAGINATIONS',
text and performance (2015)

~~~ Fall 2015, I did artistic reasearch in the psychiatric institution GGZ Altrecht, Den Dolder, where I engaged myself in relations with people that suffer from a psychotic syndrome. These people see shapes that I did not see, hear voices that I did not hear and wear heavy wools in the midst of summer. I wrote a text that mirrors the diagnostic vocabulary that is used to observe and analyse a psychotic syndrome and performed this text as a reading.

(SHE),
text, (2016)

~~~ This text is written after several encounters with a woman (She) who's speech was affected by hallucinations. (She) is about the word and how words affect our perception of the other. (She) is a collection of existing texts that describe an identity (She). But through the use of strategies that mirror, invert, repeat or interrupt these texts, existing interpretations dissolve in favor of more porous propositions of what a (She), can be.

GEOGRAPHY OF AFFECTION
thesis (2016)

~~~ This thesis is written in 2016 for the Cure Master, a temporary master program (MA Fine Arts) at the Sandberg Institute. I wrote my thesis on an art practice that is characterized by the process based evocation of new (social) relations that take shape through porous, complex, physical and affectionate means of exchange. My research focuses on the performativity of the gestures, words and behaviour that the artist exchanges with her surroundings and the affects and relationships that these actions evoke.

RAZORBLADE / TOOTHBRUSH
collective reading sessions, (2015)

~~~ I initiated collective readings of interpretations written by social researchers, who interviewed persons with the speaking disorder aphasia. The purpose of these readings is to challenge interpretations, descriptions and forms of notation in the texts, through the lens of embodied reading.

GROUP PHOTO
performance (2015)

~~~ We initiated a series of instructions for a collective pose for a group photo of artists participating in the group show Does not Equal. Whilst shaping the artists into a soft and intimate kissing pose, a negotiation about representation aroused. This negotiation is represented in the selection of 4 group photos that are selected by the group.


A lecture about the behavior of objects in a museum for cats (2014)

~~~ The text of the lecture consists of a selection of texts on cats, found on the internet, but the word 'cat' is replaced with the word (art) object. The lecture is a playful and poetic speculation about our relation with art objects as if it were living beings (cats).

ORANGE,
performance, (2014)

~~~ This performance is the outcome of a research into the perceptible qualities of color (orange) and how to translate those qualities in audible and physical forms. This research was shown in a private garden during Open Garden during an ongoing performance that lasted 5 hours.


A circle dance on a football field (2014)

~~~ In this performance gestures, mirroring, movement and repetition are practiced to activate an interaction with the participants of a sports day organised by a homeless shelter in Amsterdam.

ALPHABET,
(2014)

~~~ Based on imitation of a video found on Youtube that represents a visible alphabet, a series of gestures that relate to the the sounds and rhythms of speech, 4 performers explore new ways of speaking with gestures in a performance that lasted 2 hours.

WORKING TOGETHER
performance & video (2012)

~~~ Working Together is made in collaboration with a social workplace that provides daytime activities for people with psychiatric disorders. In a period of two months a choreography was developed by mirroring various gestures from the production process of the social workplace. But instead of producing physical products, the 'workers' where asked to produce air, what leaded to a fictional assembly line that did not produce anything and leaves space open for imagination. The choreography was filmed and performed live. The workers reflect on their participation afterwards during video conversations.