In 2014, in the midst of a lasting period where institutions seem to have become ever more alienated from each other in the effort of scientifically proving the success of their services, DON’T EAT THE MICROPHONE starts. An artist, a ex-car-mechanic, a geologist and a psychoanalyst joined forces to create a space for gathering where neurotics and psychotics could spend time together beyond the paradigm therapist-patient.
DON'T EAT THE MICROPHONE is a practice, a dispositive and a machine where voicing is in a constant process of emergence and dissolution. We meet in a garden. We meet in a particular garden. If it's sunny we find rest in the shade of the trees or lay in the sun. If rain is coming we hide the wires and avoid electrocution. Either way we settle there, in the garden of the psychiatric hospital Dr. Guislain. And who are we? And are we? And we are. And. Who? We are microphones, wires, coffee, birds, vinyls, cigarettes, tunes, keyboards, sometimes a dog, voice-effects, patients, trees, text, outsiders, wind, artist, therapist, dust, a rusty guitar, psychotics, wanderers, neurotics, non-sense, acceleration, plastic, pause, echoes, interruptions, overlaps... We are a bunch played by different voices.
The invitation is to meet and share time outside of our private echo chambers. Every week we meet and create a space in a space outside. People are welcome to come and go, enter and exit the sessions. Once inside, one can enter a mode of listening and enunciation. Enunciation is understood here as the passage from language to speech, as the appropriation of language by an individual act. It’s the mediation between language and speech.
When desire is triggered, as we hunt the cadence of collective enunciation, a certain kind of attention is evoked. It's not the hunter with guns chasing its prey with barking dogs, but rather the hunter who listens to the movements of what s_he wants to catch and silently positions her_himself in the place of what s_he hears.
This cadence of collective enunciation is a pace, a movement of searching, finding and losing a harmonious tone.
The invitation is to let oneself be driven by the outside of a familiar language. To stretch the measurements and agreements of one’s behaviour and speech in the contact with others. And bring people from different contexts together. During the sessions one might realise that outside her_his own language there is a mumbling field of others.
For this year's edition DON'T EAT THE MICROPHONE uses the format of a podcast radio channel. There is no show or linear program. The channel transmits a sound-scape. A situation. An atmosphere. It transmits what happens in the garden to different spaces. It transmits voices — not only as a force emanating from the body but as well a force that reaches out to affect other bodies and spaces.
Visitors of the Museum Dr. Guislain or passersby, might be affected by the voices of those in the garden. But such soundscapes can also be heard now inside the permanent exhibition The History of Psychiatry. Between the psychiatric and the artistic, the private and the public territories, the sound of our sessions attempts to occupy the role of a transitional space among different institutions.
You are welcome to join us in the garden every Wednesday between 14h and 17h until the 7th of September or to visit the permanent exhibition where you can hear us!
With the support of Vooruit, Psychiatric Centre Dr. Guislain and Dr. Guislain Museum .
Until the beginning of November there will be repair and renovation works on tramways 1 and 4. On Line 1 (the tram to the Dr. Guislain Museum) there is no traffic between Korenmarkt and Gravensteen. This part can only be reached on foot.
Yoginis Mounira Bazzi and Katherine Walker bring yoga to the Dr. Guislain Museum. They will teach a 45 minute yoga class, followed by a presentation on yoga psychology. Sign up by sending an e-mail to email@example.com. Price: 10 euro (including a ticket to the museum, open from 13h till 17h).
For one summer the Dr. Guislain Museum becomes the Dirk De Wachter Museum. In Borderline Times psychiatrist Dirk De Wachter establishes a sharp diagnosis of today’s society: we live in borderline times. Impulsiveness, affective lability, emptiness … are not only individual symptoms, but also features of a broader, collective evolution. In his diagnosis Dirk De Wachter assigns great value to literature, philosophy and art. Dirk De Wachter Museum examines the way contemporary art represents today’s society and the current time, and reveals the shortcomings and possibilities in its own language.
The book Borderline Times and its author have been receiving a great deal of attention. That says a lot about the difficulties to which the psychiatrist’s work refers, but also about his own place in society. Dirk De Wachter Museum zooms in on the phenomenon of Dirk De Wachter and sheds light on other famous psychiatrists throughout history, who have entered the public stage, adopted a critical attitude towards society and considered art as an indispensable link.
The exhibition Dirk De Wachter Museum is a collaboration between psychiatrists Dirk De Wachter and Erik Thys and the curators at the Museum Dr. Guislain.
A richly illustrated catalogue accompanies the exhibition (D, 144 p., Uitgeverij Lannoo).