How can a text be presented so that it keeps its integrity as text and at the same time is a material that performs on multiple senses? 

Working with this question brings far-cry-perspectives and offbeat tactics from my practices into relation, creating a space for myself to take stock of my intentions. Materiality, movement, performative writing, translationality; by tenting with these practices, a space is proposed for these tryings and doings to be explored and to interact with one another. A space to hand over, or even find and formulate, a question not yet known. 

The project’s aim is to direct attention to impulses, memories, temporalities, dreams. And to explore what (kind of) language game the text camp site sparks. Gräv där du står (dig where you stand) is the method; pointing towards individual realities, hoping to evoke responses in others. Reading, listening, relating every day events. Joining eye, hand and thought. 

Sol Le Witt encourages Eva Hesse to stop fearing and just do, also Sol tells Eva make your own world. Perhaps disobedient to Don’t produce anything, but loyal to Don’t try to please, as Paul B. Preciado puts it in ‘Pack up your things’. ‘Spring numerus’ is a very different kind of camping than Tracey Emin’s, but still, it also has to do with intimacy and attentiveness. 

To be attentif, attentive, is to have a wait-and-see-attitude to what one’s looking at, and: Above all our thought should be empty, waiting, not seeking anything, but ready to receive in its naked truth the object that is to penetrate it, Simone Weil writes. Existing in a time of distractions, building a tent is a think-with-the-hands attempt, an action that responds to (that) reality.