Eilit Marom is a visual artist based in the Netherlands, working transdisciplinarily across visual art, performance, and participatory forms. Her task-based practice, Unforbidden Pleasures, centers on reclaiming overlooked freedoms through embodied experience. With direct, mindfulactions such as listening, touching, or shifting attention, she foregrounds natural bodily knowledge as both material and method.

Trained in dance at ArtEZ University of the Arts (NL), Marom creates embodied, collectively heldexperiences that move between movement, voice, text, and textile. Her work has been presented at venues including Het Nationale Theater, Korzo, SeeLab, iii, Helmhaus Zurich, and Unfair Amsterdam. She is a member of the artist-run initiative Helicopter in The Hague.

My practice, Unforbidden Pleasures, is an evolving collection of choreographic tasks and participatory encounters that seek to reclaim overlooked freedoms. Unforbiddening suggests reclaiming what has been implicitly or explicitly restricted—by social norms, political structures, or personal inhibitions. With simple, mindful actions such as listening, touching, or shifting attention, I bring natural bodily knowledge to the foreground as both method and material. Emerging from a long-standing movement practice, my work developed through sensorial investigations, body language, and storytelling, moving toward task-based embodiment. It is shaped by feminist pedagogies, embodied knowledge systems, and socially engaged art practices. I often work with communities and collaborators, treating participants as companions who expand the practice with their own interpretations and presence.

Recent works include Throwing and Catching, which explored cycles of material reuse at FestivalWasteland; Reenacting a Tradition, engaging with generational passage of lived heritage through textiles and gesture; I NEVER WANNA DANCE AGAIN, a performance embracing human imperfection through collective singing at Het Nationale Theater; and Slowly Letting Go of Something, a Quiet mirroring of farewell at Baanhof. Each work is context-responsive, unfolding in exhibition spaces, performance sites, or site-specific encounters. In recent years my practice has expanded into embroidery on domestic textiles and audio guides, where objects function as carriers of memory, resonance, and inscriptions of lived experience. Working with both professional and non-professional performers, I extend my practice into teaching, public programs, and long-term collaborations. Across these formats, I cultivate radically embodiedagency, sociability, and the political potential of deliberate action.