postgraduate program, research center

2014 BLOCK I

1 January-31 March 2014

Researchers Participants in the Postgraduate Program

Anna Sörenson
Camila Aschner Restrepo
Carolina Goradesky
Damla Ekin Tokel
Daniel Kok
Gabriela Karolczak
Gosie Vervloessem
Hans Van Wambeke
Julia Clever
Philippine Charlotte Hoegen
Rareş Crăiuţ
Samah Hijawi
Sara Santos
Silvia Ramos Pereira

Research End Presentations

Chris Dupuis
Karl Philips

Research Centre Researchers

Cecilia Molano
Lucia Rainer
Mala Kline
Veridiana Zurita

Partners

Les Bains
PAF Performance Arts Forum

Contributors for workshops

Elke van Campenhout
Lilia Mestre
Lisa Nelson
Nicolas Galeazzi
Nikolaus Gansterer
Pierre Rubio
Veridiana Zurita

Coordinators a.pass

Elke van Campenhout
Nicolas Galeazzi

Mentors

Ana Hoffner
Kristien Van den Brande
Peter Stamer
Pierre Rubio

‘SCORES’
curated by Lilia Mestre (Associate Program Curator) and Nicolas Galeazzi (Program Coordinator)

13-17 / 01 / 2014

‘SCORES GENERATOR’
workshop by Lilia Mestre

In this workshop, I’ll introduce a writing score, which was tested already in the research residency Thematics: Author/Authority that I curated in Les Bains last year. This score is based on question&answer dialogues between the participants and will be continued in a regular basis, after this one week workshop, in open weekly meetings during the block. With this writing score, we’ll produce a documentation booklet at the end of the block. As an example, you can find here the booklet that was made for Author / Authority.
The aim is to discuss and write as a regular practice and to use encounter, dialogue, each others knowledge in the elaboration of the discourse about one’s own researches.
I will introduce two performance scores I worked with: one on sounding objects /affective spaces from performance ‘ Moving You’; and another: from gesture to utterance to language that comes from my latest performance with Marcos Simões: ‘Ai! a choreographic project’.

27 / 01 – 07 / 02 / 2014

‘LABORATORY: TUNING SCORES’
(composition, communication, and the sense of imagination)
workshop by Lisa Nelson

The Tuning Score -a performance research format- asks what do we see when we’re looking at dance. How does composition arise in the body and its environment? The research focuses on the physical base of the imagination. By altering the way we use our senses while moving and watching movement, we can begin to tease apart the genetic and acquired patterns our senses use to construct our experience. We will look at ways these patterns influence how and why we move, shape our interaction with our inner and outer environments, and inform both our desire for action and what we “see” when we are attending to anything.
Two aspects of practice are described by the name Tuning Scores: a solo warm up, and interpersonal composition games. The solo practices are a kind of pre-technique––a physical-attentional warm up to one’s inner composition, and provide an inner score for the ensemble games. Focusing on vision, touch, and hearing, the scores provoke spontaneous compositions that make evident our opinions about who/where we are, how each of us senses and makes sense of movement, initiating a dialogue between inner and outer organization, about space, time, movement, and the desire to compose (a satisfying) experience.
The Tuning Score is an improvisational composition practice that is a performance in itself. It offers tools and a framework for communication and model of collaboration that is constructed by the players in the act of doing. As a practice of real-time editing and instant replay, Tuning is an aesthetic game and a self-balancing system that uncovers its intention each time anew.

17 – 21 / 02 / 2014

‘ARTISTIC RESEARCH’
a.pass Basics workshop by Nicolas Galeazzi, Lilia Mestre, Veridiana Zurita, Elke van Campenhout

It comes in waves, sometimes it’s a fever, sometimes a dispute and sometimes energy boost: the discussion around artistic research is a core issue at a.pass. Its notions go in various directions, follow diverse protocols and curl around manifold practices. In order to keep this controversy discussion alive we would like to design a workshop with four different approaches and definitions of artistic research provided by four people in the a.pass surrounding : Elke Van Campenhout, Veridiana Zurita, Lilia Mestre and Nicolas Galeazzi. Following a score, all four try to communicate their thought lines of artistic research practices. The score not only asks for their proper view, but also for supportive foreign material and for its antonyms.

3 – 7 / 03 / 2014

‘GENERAL INTELLECT ?’
a.pass Basics workshop by Pierre Rubio and Elke van Campenhout

‘General Intellect?’ will explore and question a basic parameter of the a.pass environment : the relation between the individual and the collective. What is this relation, how does it function? Is it the individual that creates the collective? Or is the collective the base structure on which individuals can work and organize themselves? Specifically within an artistic research environment where the institution is constantly reformulating itself out of a multitude of individual inputs and where the individuals, in a state of ‘crisis’, are constantly self-constructing, confronted and challenged by a collective project.
Can there be a mutual constitutive relation? A relational machine we can call ‘General Intellect’ or ‘Transindividual Space’ operating between and through the individuals, creating an ‘ensemble’ through their practice?
From reading sessions to diverse practice formats, we will come up with refreshed perspectives on what collective working and thinking can do.

10 – 14 / 03 / 2014

‘NOTATIONS BETWEEN THOUGHT AND MATTER”
workshop by Nikolaus Gansterer

Scores are translations. They transform one thought into another. They are also invitations to understand and interpret one reality through another. In a five day workshop led by the artist Nikolaus Gansterer, we will collaboratively explore the complex relationship between drawing, writing and movement.
What is exactly happening when a thought and/or movement becomes a score? What
kind of translation process is taking place between thought and matter? And again what is happening when a notation is being read, interpreted and performed by others? What kind of movements, transcriptions and acts of inscribing take place when we project a cartography of the body? What kind of tool set can we develop to map this intertextual language? What else can become a score?
Within the workshop, drawing scores is to be extended along the categories of time, space and movement. So to speak a line of thought becomes a line on the paper, can turn into a line in space, a line verbalized, a line drawn with the whole body.
The workshop will interrogate these interstitial processes, practices and knowledges produced by scores, from page to performance, from word to mark, from line to action, from modes of flat image making towards transformational embodied encounters.