A green front door covered in a spider web leads to a small space, both interior and exterior, with the purpose of protection; many beguines were women hiding from their wealthy families, fleeing arranged marriages. Somewhere inside this house, there is a clock ticking; it drives you back to childhood. Some sort of anthropology of traces, of leftovers, of emptiness? Anthropology of ghosts

A monumental dark figure with a white hood positioned in history between church and herecy, at times condemned and burned on stakes as witch, at other times respected and protected, medieval and baroque beguine, had no equivalent. The beguine movement might have been the first organised feminist movement in Europe: a women’s community, sort of religious but without vows, serving society but without external rules, singing love praises for God but not allowing churchmen to govern them, moving freely, economically independent, and spiritually creative. It flourished in the thirteenth and fourteenth centuries – a time when the society had defined two legitimate roles for women: cloistered nun and housewife. Women’s community in ecstasy, in erotic union with god – early beguinages were also sites for experimental practices in mysticism and egalitarian anarchism. Inspired by research and personal experience of artists, this guided performance levitates in-between interior and exterior, private and communal, dream and history.