Good Girl
Installation & performance (±20 min.) Metal pipes, resin charms, sound tubes, glass plateaus, thorn twigs

For a long time, a goat was associated with the devil. At least adult goats. After all, how can the evil or the devil live in a cute lamb? Through their cuteness, fluffy baby goats lure passers-by towards them. They seduce them to come closer such as sirens did lured seamen with their singings. The people arrive disarmed and then get impaled on the baby horns - stay here.
I want you to have your period on the same time as I have
Installation & performance (± 12 min.) Playhouse, transparent tie wraps, wrought iron panels, withered thistles and leaves

In digital contact you can choose the moment in which you receive and respond to a message. How can you maintain this control in communication when you live with someone?
You can have it since you are with me
Installation & performance (± 6 min.) Metal sculpture of a tongue, little ladder made of metal and hard plastic spray paint, grey foam, grey textile, wooden buttons

hello, my little pinky tiny tongue, i bring you wherever i come, i show you when i want, my little pinky tiny tongue, i pet you and i pet animals like you, you are not fluffy, im loving you, bald animals are mad cute, we can have a chat sometimes, not too often since i am more the silent type, i will tell you when to move, please don't ask me i will tell, fuck you I'm your tongue not your ears, fuck you I'm your tongue not your ears, oopsy, sorry, of course i know, never meant to hurt you, when you are sad my tears are here for you, wanna taste another soul? lets suck out the pinkyness, fed up with your company, means no romance for some time, you are the small pinky one, and ill be the biggie, i made this up for you, we can share it, control you, loyalty you, empathy you, tasty you, thank you, bye
Watch and Charge together
Site specific presentation concept (4 hours)

Presentation concept of video art in a basement of an abandoned building that would be demolished. In this basement/cave, there were eight places available to watch a video by Lara Joy Evans and charge the accu of your mobile device at the same time.
Each place had a corresponding number.
At the times a place became available for the next person, I announce it via loudspeakers, just like at Primark cash registers.
Behind a metal chain, people wait in queue until it's their turn.
Each one was escorted from queue to place by me, as well I escorted each one from place to exit.
No self service.
Buddy Treatment
Installation & interactive performance (± 20 min.) 4 table tops with white semi-gloss paint, 20 stones, 4 tube pillows, a maid apron

Since most contact moments nowadays take place digitally, it is becoming more and more uncommon and uncomfortable to touch each other's bodies. During the short period that I worked as a hairdresser's assistant, I experienced the strange sensation of giving a head massage, just after a first meeting. With Buddy Treatment I offer the public the opportunity to have a similar experience. I lead the audience with an absurdistic mantra that they will interpret as instruction.
Bit Bossy

In a strongly connected world, where (digital) communication is possible at any time or location, we still can’t seem to shake our lonely feelings.
In her artwork, visual artist Mireille Tap invites spectators to open up throughout universal expressions such as ‘welcome’ or the communal fulfillment of a task which is led by Tap. Since every form of communication is essentially uncertain, insecure and unstable, Tap creates installations and performances in which she oscillates between a deep universal desire for connection, and the inherent inadequacy of language in its broadest sense, to fulfill this. During performances, Tap tends to exploit the qualities of the given space. She speaks with an automated, slightly heightened, overtly feminine voice. On one hand her speaking is somewhat reminiscent of the jigglypuff lullaby, on the other hand she shocks the audience at certain moments by using the unexpected coercive and disruptive qualities of her raised (female) voice. By imposing her presence vocally, she seeks to dismantle the gendered dynamics of speaking and lis­tening.
Tone and physical actions allow for more direct forms of communication, partially avoiding the inherent linguistic fluidity of words. The performance requires intimate contact when she invites the audience to engage in interactions of a ‘caring’ nature, or she poses her body in an installation, taking a form that addresses both subservient as sexual connotations, offering herself to less controlled forms of interaction with the audience. Sculptures and installations carry out a clash between the materiality of the man-made and given, natural objects. Some are created especially for our consumption needs, others we take without consideration.
In her appearances and actions there is a suggestion of docility and modesty, which at the same time is troubled by the appropriation of space, materials and the enforcement of unspontaneous or scripted interactions. By studiously composing these signifying elements, Mireille Tap explores to what extent our appropriation of space and objects but also affection by pets or children in our pursuit for security, love and deep-felt connections can be justified.

Mireille Tap is currently based in The Netherlands.
thank you