Silent Spills I approaches the body as a “leaking” system in the broadest sense. Initially conceived as a live exhibition at Kunstraum Niederösterreich, choreographer and performance artist Deva Schubert turns to gossip as both a communicative and social phenomenon. Gossip emerges where the social fabric becomes permeable—where clandestine information seeps through and circulates.

Choreographically, gossip manifests in three live performances as well as in a multi-channel sound installation at the center of the exhibition. Through whispers and choral singing, Schubert continues her long-standing exploration of the voice and poses the question: *what remains when the body does not perform?* With the image of the leaking body and the appropriation of gossip as an alternative mode of communication, she proposes an artistic vision of the public sphere. At a time when social media increasingly structures social exchange, Silent Spills I celebrates what becomes porous, ambiguous, and unruly.

In an act of organized overflow, the work “spills” beyond the exhibition space at its conclusion, extending to the donaufestival in Krems, where it continues as *Silent Spills II*. This site-specific sound installation expands the performance into an intimate sonic landscape in which memories, noises, and bodily fluids merge. Voices and sounds seep into the space from speakers, intertwining with the presence of visitors. Silenced screams and their dissonances condense into a pressing question: who or what remains unheard?

With Silent Spills III, presented as part of the SHE WAILERS*program at Pickle Bar Berlin, Deva Schubert, dancer Camilla Schielin, and sound artist Davide Luciani continue their exploration of the “permeable” body as a metaphor for porous boundaries in the circulation of information within society. Set in a former hospital in Moabit, the performance asks which bodies are allowed to speak for themselves and which are spoken about, who is believed, and how understanding, awareness, knowledge, and intelligence intertwine, shift, and substitute one another.

Silent Spills III draws on the everyday force of gossip, a fleeting, polyphonic form of communication that unfolds through intimate encounters within architectures of power. At the threshold of audibility, bodies and live sound interact with cracks in the architecture, setting them into motion.

As sound theorist Brandon LaBelle suggests, whispering can be understood as a medium that traverses and exceeds the field of reason and capitalist logic. It points to that which has been suppressed by dominant regimes of speech and raises the question: at what point did we begin to whisper?