Showroom | Aruba

Ludic Body by Natusha Croes

EL PRAN Projecten. Curatorial accompaniment

Untitled 2018

Natusha Croes: ludic touch

Family heritage has marked the creative development of Natusha Croes, a multidisciplinary artist coming from a family of musicians. In her artistic practice, she combines poetry, performance, drawing, installation, and readymade, to which she adds the musical tradition that runs through her veins, mainly transmitted through her father. The video art in which Natusha appears to be trying to revive the heart of a pig (extremely similar to that of a human being) was inspired by her father’s death.  The material records her manifest intention to resurrect that rhythmically beating heart, through which she maintained a connection with her father.

The concept of playful touch stems from that first video, which reveals itself as a hallmark in the development of other projects by the artist.

Natusha finds in the landscape of Aruba, her native country, an exquisite raw material to exploit through her artistic experiences. As a paradisiacal tourist destination, Aruba functions for Natusha as the genesis of professional practice to explore the body-landscape relationship through the multimediality of art. Tactus was the title of her multimedia performance project with video mapping and sound and poetic resources. She put her body in dialogue with the arid landscape of Aruba, where cacti grow and, through the sound stimulation of the thorns, generating rhythmic landscapes that invite a musical involvement. This sort of poetic transmission also stimulated a state of bodily listening, silence, and individual reunion. It doesn’t only reaffirm Natusha’s performative action; but also a work that expands multi-directionally, projecting more than a happening, a sound piece, where the body acts as a playful resource par excellence. 

TACTUS derived in a performative state in a continuum, a chain action based on touch as a central and recurrent element of her subsequent interventions. She explores everything related to touch from the reflexive dimension and in the relational sense of body-landscape, sound-landscape, sound-body: a triangulation of elements that derive towards sensorial experimentation. 

Touch indicates to feel. To feel provokes a tendency to caress, to rapport and to reflect through the felt-sense. On this basis, she developed “CARICIA”. An artistic exploration where she experimented with the relationship between the body and the residual elements of the landscape of Daimari, Aruba. She made the stone, the leaf, the thorn, and other resources of that site converge through touch with the body. That generated the production of a variety of talismans conceived as readymades. They are symbolic and material compounds that comprise all those natural elements of the region in their composition. She compliments this proposal with sound interventions, allowing her to establish a sort of reconnection with mother nature and her country’s heritage. She resorts to her musical heritage, body, and landscape as instrumentation of the performative action. She thus generates a sense of identity through the intervention. Not only that, but she develops a sense of belonging through the power of caressing, of touch.

Natusha’s trajectory articulates a path where the body becomes the mediation of touch. This is the form of interaction with the landscape, the sonorous, the visual, the sensorial. At first, she started attempting to revive the heart of a pig. That was followed by generating soundscapes through the primary elements of the Aruban geography, simultaneously deriving in CARICIA; obtaining readymades conceived in the form of talismans. These artistic operations resulted in animated mini-loops showing the poetic narrative that highlights the island’s ecological richness.

Natusha changes the relational discourse of touch between landscape and body to approach another dimension. In this case, a performative practice where she explores touch from interpersonal relationships with unknown subjects. In the same way that she does not know a stone, a leaf, the sounds of that natural environment in which she unfolded with previous projects, Natusha explores touch from the artistic operation of serving two strangers in a restaurant. The dialogic proportion now derives from a body-body relationship, where social touch and communicational touch become the axis of connection in this praxis and, in turn, the umbilical cord that links this action with her previous projects.  

Curaduria Malandra, Sept 2021

TACTUS. Work In Progress 2016-2021

TACTUS. Work In Progress 2018

ACTUS is the Latin word for touch, specifically the sense of touch, in musical terms it refers to the ancient practice of using the heartbeat as the rhythmic pulse. TACTUS is an attempt to create new methods of producing music, transmuting organic elements such as “bushi, cadushi,zinc” into perscusive instruments TACTUS is an intimate dialogue with that feeling of nostalgia you grow into when you come from Aruba, an amplification of the appreciation for the fountain of authentic imagery and poetry that manifests from our island. TACTUS is an audio-visual experience combining video mapping, music, self-made instruments, sound sensors, poetic narrative and movement to provide a cinematic experience. TACTUS is nursing an appreciation for the well established roots that ties us to Aruba

CARICIA. Work In Progress 2018-2021

Is the alias and artistic methodology of multi-disciplinary artist Natusha Croes. Through the act of a gentle caress an array of contemporary artistic products are created with an affinity for honoring the natural heritage one location at the time. A site-specific
multi-disciplinary project that starts at Daimari. Thus far it has been presented in musical performances, short poetics films and sensorial experiences ritualising and presenting what a deep connection with Daimari’s landscape permits. Daimari establishes the first chapter that will continue developing into a myriad of other locations which creates its own route; a cartographic manifestation. CARICIA’s message evokes a state of remembrance and sense of empowerment through cultivating our sensitivities.  


About Natusha Croes Infographic

Artistic operation: Faith of life, spontaneous algorithms. TIKTOK Platform

“Is a response to the frivolous need of online presence and affirmation. A day to day documentation of the manifestations, sights and reflection of my immediate surrounding and social interactions”.

BIO Natusha Croes

Natusha Croes is a plethora of beings; artist, producer and storyteller. Using the medium of film, performative experiences and music to create a state of reverence towards Aruba’s natural and cultural heritage.

TACTUS, their first artistic attempt to establish a connection with the landscape was a musical and poetic transmission. That manifested from the engagement with the cacti organisms that grow on Aruba.  Activating sonically it’s thorns and creating rhythms upon which we can musically engage, invite a state of remembrance and mode of being.

From there on the curiosity grew. A performative state of reflection and chain reaction that a touch-based sensibility induces. From touch a caressing tendency is provoked, a need to unfold into more. Subjects such as decolonisation, the fluidity of identity, site-specific transmission, the prehistoric myth-making body, unraveling a state of deep listening, somatic embodiment, caribbean multiculturalism, inform the realm of their artistic narrative.

Natusha participated in the following exhibitions and residencies; Relational Undercurrents: Contemporary Art of the Caribbean Archipelago at MOLAA (Museum of Latin American Art) 2017, Caribisch Liaison at CBK Zuidoost, Amsterdam 2016, Stay At Home Residency of CATAPULT. In 2018 she was admitted to Goldsmiths University of London with a scholarship from Prins Bernhard CultuurFonds and Muller Fonds to be able to fulfil her Masters in Performance Making. Ever since Natusha is based on Aruba, to deepen her ties to the island and the Caribbean as a whole.

Curator: Nelson Gonzalez & Gerardo Zavarce
Production: Zurishaddai Tremus

ELPRANProjecten 2020-2021
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EL PRAN Project thanks Prins Bernhard Cultuurfonds Caribisch Gebied And PINCHOS Aruba for their unconditional support and for making this Virtual Showroom possible.