Phantom Scores is a temporary master programme at @sandberginstituut with @ificantdance_ and since last year we’ve been working hard on shaping it as a nourishing space to explore performance as a research methodology.
‼️Applications to the program are open until April 1‼️
A space to talk through the phantoms that live in and outside us. Phantom Scores addresses the impalpable and yet present set of suggestions, actions and knowledge inscribed within bodies, their families and relations.
The first semester, it’s an honor to have Noor Abed, Lynnée Denise, Venuri Perera, Yin Yin Wong, and Amy Suo Wu as part of the tutors. Their work is so inspiring and powerful, so exciting to get to hear them closely!
With @sara.selvaggia.giannini and Anik Fournier from If I Can’t Dance, we’ve been discussing, dreaming, feeling-thinking what performance might mean as an artistic tool, hopefully even as a tool for life. With @d_orczyk at Sandberg we’ve got to know what the Instituut is. Extremely grateful and delighted to be working with If I Can’t and Sandberg. For all the heart, brain, work; all the excels, emails, zooms, numbers, writing, applications, meetings, whatsapps, posts, communications…I salute you and humbly thank you. That is also (in)visible labor we should acknowledge harder and stronger.
‼️Applications to the program are open until April 1!‼️ (on repeat)
We still have two online info sessions:
Monday 23 at 8 PM dutch time, 1 PM hora México y Centroamérica
Wednesday 25, 11 AM dutch time.
More about the program and zoom links in bio 🔗
or throw a line to [email protected]
Very very happy to be in touch and hopefully have some phantom conversations!!
👻
Applications to our upcoming MA 𝗣𝗵𝗮𝗻𝘁𝗼𝗺 𝗦𝗰𝗼𝗿𝗲𝘀 are open until April 1!
Led by curator and writer Eva Posas, 𝗣𝗵𝗮𝗻𝘁𝗼𝗺 𝗦𝗰𝗼𝗿𝗲𝘀 is a two-year temporary MA offered by If I Can’t Dance in collaboration with the Sandberg Instituut. The programme intersects Eva's research ‘Phantom Languages’ within the context of Nations Without State with the work done by If I Can’t Dance over the past 20 years in the field of performance and performativity.
The programme aims to explore the rich and interdisciplinary field of performance not as an outcome but as a research methodology. The entry point to this field is the phantoms that live in and outside us, bringing forth experiences of repression and erasure, either on an individual or collective level. Embodying the interplay between body and environment, these phantoms function like scores; they create a threshold, a lifeline between the verbal and the nonverbal, the material and the immaterial.
The MA aims to equip participants with tools to engage with the unseen, unacknowledged, and erased, yet still here, addressing the impalpable and yet present set of actions and knowledge inscribed within bodies, their genealogies, behaviours and relations. In doing so, they will be supported by an outstanding group of artists, thinkers, and practitioners, working at the undisciplined, de-genred intersections of performance studies, heart epistemologies, anti-colonial, and anti-racist thinking, lived experience, situated knowledge, critical theories, and DIY technologies.
Next to Eva Posas and If I Can’t Dance curators Anik Fournier & Sara Giannini, we are thrilled to announce that Noor Abed, Lynnée Denise, Venuri Perera, Yin Yin Wong, and Amy Suo Wu have joined the programme.
➝Visit the programme page via the link in bio.
➝Online info sessions with Eva Posas on Monday 23 March 8PM and Wednesday 25 March 11 AM (links in bio).
📷 #1 Yin Yin Wong, ‘Psalm for a Hungry Ghost’, ph. Bart Treuren, 2025, #2 Portrait Noor Abed, ph. Miquel Munoz, #3 Portrait Lynée Denise, #4 Portrait Venuri Perera, ph. Luka Alagiyawanna, #5 Portrait Amy Suo Wu, ph. Roel van Tour.
Con mucha emoción les compartimos que Xigagueta @xigagueta_ , programa de arte y pensamiento desde el Istmo de Tehuantepec, tendrá su primer momento público este 25 y 26 de enero en la querida Galería Gubidxa🌞
Xigagueta es un programa híbrido experimental que acompaña procesos de reflexión, escritura y producción estética desde el territorio cognitivo Binnizá e Ikoots. Desde ahí hemos imaginado y trazado manifestaciones de sublevación cultural que alimenten el fuego de nuestras culturas. A lo largo de varios meses nos hemos reunido para pensar y discutir desde nuestros idiomas diidxazá y ombeayiüts. Con ese punto de partida, queremos compartir una suerte de exhibición y programa público; una celebración del hacer y crear primordialmente desde nuestras lenguas maternas.
Ana Palacios @ana.ikoots , Dell Alvarado @dell.yaga , Diego Matus @portalvegetal , Fernando Magariño @_magarinho y Paulina Amador @paulina.amador_ han trabajado en ensayos, escritos y obras visuales sobre la construcción de la identidad, el territorio, la migración, la romantización de los pueblos originarios, la violencia, extractivismo, la justicia textil; las enfermedades, los colores, la traducción como transgresión y forma de sublevación. Son personas creadoras llenas de fuego, con reflexiones poderosísimas y prácticas sumamente sensibles, agudas; desde las entrañas, la lengua y el corazón.
Nos vemos el sábado 25 y domingo 26 de enero de 2025 en Galería Gubidxa, espacio del querido Víctor Fuentes y quien también nos ha acompañado muy cerquita 🫶.
Diidxa’ rului’ neza,
La palabra nos guía.
🌱
Xigagueta es realizada con el apoyo de Fundación Jumex Arte Contemporáneo @museojumex y previamente ha contado con el apoyo del @nieuweinstituut para su desarrollo 💌
On one of the walls in the waiting room at Aalborg Midwifery Centre, The Great Clotheslines by the Netherlands-based Mexican curator and editor Eva Posas and the Mexican visual artist and writer Alan Sierra, spreads across the surface in dotted lines resembling clotheslines strung from a tree – forming a poetic and sensory backdrop. The tree’s trunk twists into a shape reminiscent of a DNA strand, while its branches and clotheslines carry small baby socks, kitchen utensils, a bird’s nest with eggs, and other symbols of motherhood, lineage, and belonging.
The work is executed in blood-red sanguine pigment using a spolvero technique from the Renaissance, which Mexican modernists employed during the 1910s muralist movement when transferring a drawing onto a larger wall surface.It is created on the basis of collaboration between the two. Eva Posas’ engagement with writing and the politics of care meets Alan Sierra’s embodied drawing practice, and the piece functions both as a document or archive and as an open gesture. The intention is that the work can serve as a wordless companion in a waiting situation—a way of communicating without words and opening up an inner dialogue for those present in the space.
It is part of the exhibition Society of Molecules, which is a collaboration between ARIEL - Feminisms in the Aesthetics, the Aalborg-based artist run platform Lím Collective, Aalborg Midwife Center at Aalborg University Hospital, and the hospital task force “Patientnær Kunst og Kultur”.
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Generously funded by the Danish Arts Council, Augustinus Fonden, and Aalborg Municipality.
〰️ Photos by Simon Bendix Borregaard
MBUCHI House#2 : 𝗻𝗲𝘀𝘁𝗶𝗻𝗴
Sunday, 26th April, 16:30 - 20:00
👉🏾𝙋𝙡𝙯 𝙛𝙞𝙡𝙡 𝙩𝙝𝙚 𝙛𝙤𝙧𝙢 𝙩𝙤 𝙘𝙤𝙣𝙛𝙞𝙧𝙢 𝙞𝙛 𝙮𝙤𝙪’𝙧𝙚 𝙟𝙤𝙞𝙣𝙞𝙣𝙜 - 𝙇𝙞𝙣𝙠 𝙞𝙣 𝙗𝙞𝙤🪺
Mbuchi is the first word of Bigu. It is world(s), it is anything you want to express, it is mutual understanding. It is also a gezin collective. 𝗠𝗯𝘂𝗰𝗵𝗶 𝗛𝗼𝘂𝘀𝗲 is the complicity of an intimate encounter by sharing a hallway, a kitchen and a garden. It is gathering in the fortunate moments we can.
For the #2 session, we’re absolutely thrilled to present 𝗻𝗲𝘀𝘁𝗶𝗻𝗴, with 𝗔𝗺𝗮𝘂𝘁𝗮 𝗚𝗮𝗿𝗰í𝗮 𝗮𝗻𝗱 𝗗𝗮𝘃𝗶𝗱 𝗖𝗮𝗺𝗮𝗿𝗴𝗼. 𝗻𝗲𝘀𝘁𝗶𝗻𝗴 is a performative reading that brings together stories shaped by the desire to find a place to nest. Through a children’s story and shadow play, Amauta and David will share their search for housing, something that has been followed throughout their family histories. Now in the Netherlands, the search for a house has become especially intense, revealing itself as a global, intimate, and generational point of reflection on what it means to have a home.
Amauta García and David Camargo are Mexican artists based in the Netherlands. They work with action-research and collaborative methods at the intersection of architecture, sculpture, moving image, and storytelling. Their projects focus on untold narratives of urban extractivism and environmental affectivity, in territories where the land is overexploited to sustain cities, from real estate speculation to underwater natural gas extraction.
𝗠𝗯𝘂𝗰𝗵𝗶 𝗛𝗼𝘂𝘀𝗲 happens in Scheveningen🌊, very close to the beach. You can have a day in the dunes and later, around 16:30, ring the bell to join us for some storytelling about nests.The performance will start at 17:00 followed by a meal prepared by David and David.
👉🏾𝙋𝙡𝙯 𝙛𝙞𝙡𝙡 𝙩𝙝𝙚 𝙛𝙤𝙧𝙢 𝙩𝙤 𝙘𝙤𝙣𝙛𝙞𝙧𝙢 𝙞𝙛 𝙮𝙤𝙪’𝙧𝙚 𝙟𝙤𝙞𝙣𝙞𝙣𝙜 𝙩𝙝𝙚 𝙚𝙫𝙚𝙣𝙩 - 𝙇𝙞𝙣𝙠 𝙞𝙣 𝙗𝙞𝙤🪺
The drawing for this flyer was made by Bigu☁️🐢
The third part of the exhibition program “Society of Molecules” at Aalborg Midwifery Centre presents works by artists Kamilla Mez and Eva Posas in collaboration with Alan Sierra.
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Eva Posas (b. 1985, Mexico) is a curator, writer, and editor working at the intersection of curatorial and editorial practices. Her work engages the immateriality and politics of language, non-Western imaginaries, and intergenerational memory as forms of resistance and reflection, grounded in Binnizá (Zapotec) culture.
Through exhibitions, publications, pedagogical programs, and public art projects, she explores publishing and storytelling as curatorial methodologies, as well as the politics of subtlety and the shifting boundaries between public and private space.
She is the initiator of Xiagagueta, a program of art, writing, and thought from Binnizá land, and the author of Mbuchi: Turtle Words. On Forbidden Mother Tongues (PrintRoom, 2024). Since 2024, she has been curator of Resquicio at Casa del Lago, UNAM. She holds a background in German literary and language studies and conducts ongoing research and dissemination activities related to Binnizá culture.
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It is generously funded by the Danish Arts Council, Augustinus Fonden, and Aalborg Municipality.
Graphic designer: Kamilla Mez
A Q&A with Phantom Scores, the new temporary master’s programme starting in September 2026, is available to read at sandberg.nl
The MA, produced in partnership with If I Can’t Dance (@ificantdance_ ), approaches performance as a research methodology and explores the “phantoms” that inhabit our daily lives. It is closely connected to rituals, community engagement, and experiments with the idea of scores as frameworks for action.
The MA aims to equip participants with tools to engage with the unseen, unacknowledged, erased, disappeared, and yet still here. The programme brings together research and art practices of the undisciplined, de-genred intersections of performance studies, heart epistemologies, anti-colonial and anti-racist thinking, lived experience, situated knowledge, critical theories and DIY technologies.
Read our Q&A with course director Eva Posas, and If I Can’t Dance’s Sara Giannini and Anik Fournier, at sandberg.nl/qa-temp-programme-phantom-scores
You can also watch the full Phantom Scores presentation at open day and learn more about the course at sandberg.nl
Applications are accepted until April 1, 2026. For information about the application procedure and to apply, visit sandberg.nl/apply-now
Photos from Open Day 2026 by Sander van Wettum
We are pleased to announce the new, two-year Temporary Programme titled Phantom Scores, starting in September 2026 in collaboration with If I Can’t Dance I Don’t Want To Be Part Of Your Revolution (@ificantdance_ ) and led by curator and researcher Eva Posas (@evaposas ). The programme intersects and builds on Eva's research "Phantom Languages" within the context of Nations Without State, and the work done by If I Can’t Dance over the past 20 years in the field of performance and performativity.
The programme aims to explore the rich and interdisciplinary field of performance as a research methodology through the phantoms that live in and outside us. These phantoms bring forth experiences of repression, either on an individual or collective level, at moments of feeling caught in a world that rejects their forms of knowing and expression. Between the visible and the invisible, scores register, carry and instigate manifestations. Phantom Scores addresses the impalpable and yet present set of suggestions, actions and knowledge inscribed within bodies, their genealogies, behaviours and relations.
Read further about the course at: https://sandberg.nl/temporary-programme-phantom-scores
Applications for the forthcoming academic year open tomorrow, January 6, 2026, with a submission deadline of April 1, 2026.
Image: Rituals for the new moon, by Aliki van der Kruijs & Aldo Ramos, 2021. Registration by Savas Boyraz
Image ID: A group of people wearing rain jackets crouch in a large circle on grass, each holding long pieces of fabric to connect them.
We are delighted to announce Eva Posas as the Department Head of the forthcoming Temporary Master’s Programme in Performance (beginning September 2026), a collaboration between Sandberg Instituut and If I Can't Dance, I Don't Want To Be Part Of Your Revolution (@ificantdance_ ).
Eva Posas (@evaposas ) is a curator, writer, and editor, currently based in The Hague. Her work has evolved at the intersection of curatorial and editorial practices, the politics of language, the power of subtlety, identity, and intergenerational memory as a form of resistance and reflection.
The forthcoming two-year Temporary Programme at Sandberg Instituut will unfold within If I Can’t Dance’s current field of inquiry, Body as Memory. Eva’s commitment and research into the persistence and resistance of disappeared (embodied) languages was deemed key in providing a guiding line for the Temporary Master’s Programme.
In Eva’s words: “One of my primary research interests is language, I believe that language is ground; language is body. Language vibrates through bodies, as the threshold between verbal and nonverbal communication. That will be our entry point to embodied knowledge, corporeal encounters, and calling to actions beyond the written and spoken word. In constant and deep collaboration with If I Can’t Dance and Sandberg Instituut, I’m thrilled to lead a programme that encourages us to incarnate questions, to get vulnerable with other bodies, and to understand the political and symbolic power of being alive.”
The Temporary Programme will be presented during the Rietveld/Sandberg Open Day on January 30, 2026 and student applications to participate in the Temporary Programme will open from January–April 2026.
Read Eva’s full statement over at sandberg.nl/eva-posas-appointed-head-temporary-masters-programme
Photo by Aàdesokan
Photo ID: Eva Posas stands in a sunlit room wearing a white blouse with green embroidery. Her arms are crossed behind her back, and she smiles gently at the camera with red lipstick. Behind her, the wall is covered with handwritten notes, papers, and two black ribbons hanging from above.
La querida y admirada Cinthya García Leyva @cinthya_gl me invitó a participar en La Materia del sonido, una antología que ella editó y reúne ideas donde se amplifican las relaciones entre la escritura y el sonido, entre la escritura literaria, la sonora y todos los gestos que las hacen coincidir. El libro insiste en modos de pensamiento e imaginación que atraviesan el sonido y lo entienden como materia viva.
Desde el sonido, los lenguajes visibles e invisibles pueden construir y cuidar comunidades. Un ejemplo claro es a través de las lenguas maternas, en mi caso, el diidxazá o zapoteco del istmo, y cuya sonoridad es el punto de partida de mi aportación. Esta es una pequeña ventana a temas como el desplazamiento, la cultura binnizá, la palabra oral y el cariño que vive en nuestro idioma.
Hoy más que nunca son necesarias las lecturas críticas que nos lleven de vuelta a la escucha profunda. Ojalá que esa escucha nos guiara hacía un co-existir dignamente en cualquier rincón de esta enorme orbe que nos hospeda.
Agradecimientos llenos de cariño a Cinthya por el espacio, la escucha, la lectura atenta y la fortuna de dialogar entre otras voces que también (re)suenan en este libro publicado por @gristormenta 🌬️🐚
💡 We received a very special publication by dear @evaposas . “Mbuchi: Turtle Words. On Forbidden Mother Tongues” delves into the artist’s long-term research on language, mother tongues, and decolonial modes of transmission across generations and geographies.
The book explores the figure of the human as turtle, the turtle as human, and the environments that weave together Binnizá cosmologies with poetry, dreams, lullabies, migration policies, children’s literature, family histories, food, language resistance, and its ongoing forms of becoming: all through an epistolary narrative.
The project treats the text itself as a curatorial space, created in collaboration with vjgrrr, who approaches translation as an artistic practice, and @alansierra , whose illustrations offer a lyrical interpretation of the reading. The book is designed by @dongyoungleee and published and printed by @printroom_rtm .
Page Not Found is a Centre for Artistic Publishing in The Hague. We are open Wednesday – Sunday, 13:00–18:00.
MBUCHI#1 : a tear, drowning a river, drowning an ocean
Saturday, 26th July, 16:30 - 20:00
Since we moved here, it has been a dream of ours to share our home for performative gatherings and to share a meal in intimacy. And now, finally, we decided to start, just the way life flows.
𝘔𝘣𝘶𝘤𝘩𝘪 is the way we call our family as a collective: David, Eva and Bigu, our turtle love, who also invented the word. It was the first one that Bigu used frequently to name the world, to claim it his own. It didn't have a specific meaning. It could be anything and yet, we understood it well. That’s why this word is so dear to us, it implies a mutual understanding beyond any official language. Here, 𝘔𝘣𝘶𝘤𝘩𝘪, signifies the complicity of an intimate encounter by sharing a hallway, a garden and a table. Just like we do with our (chosen) families, in the fortunate moments we can.
We have the honor to start 𝗠𝗯𝘂𝗰𝗵𝗶 #𝟭 with 𝗮 𝘁𝗲𝗮𝗿, 𝗱𝗿𝗼𝘄𝗻𝗶𝗻𝗴 𝗮 𝗿𝗶𝘃𝗲𝗿, 𝗱𝗿𝗼𝘄𝗻𝗶𝗻𝗴 𝗮𝗻 𝗼𝗰𝗲𝗮𝗻 by 𝗙𝗮𝘇𝗮𝗹 𝗥𝗶𝘇𝘃𝗶. He will be thinking and working through tears, the notions of tearing up and tearing down. Fazal will be turning to shia rituals of mourning and remembering, in an attempt to turn and return to the body – and to the earth body. Mourning here would be seen as a form of flooding and witnessing, and would simultaneously also serve as a means of cleansing, repair and renewal.
Fazal’s lecture performance will be centered and structured around the traditions of marsiya and soz khwani, which are poetic and performative traditions that have developed within South Asia, archiving stories of resistance from the battle of Karbala. He will activate and think through the element of water as it journeys across time and place, from its molecular form to more oceanic and emotional state/s.
You could have a day on the beach and later around 16:30, ring the bell to join us, to listen, to shed and collect tears. The lecture performance will start at 17:00 followed by a meal prepared by Fazal and David. 💧
𝙋𝙡𝙯 𝘿𝙈 𝙩𝙤 𝙘𝙤𝙣𝙛𝙞𝙧𝙢 𝙞𝙛 𝙮𝙤𝙪'𝙧𝙚 𝙟𝙤𝙞𝙣𝙞𝙣𝙜 𝙩𝙝𝙖𝙩 𝙚𝙫𝙚𝙣𝙞𝙣𝙜 .
The drawing for this flyer was also made in collab with Biguzaa ❤️🐢
