WHAT YOUR RESEARCH DID TO ME

performative publishing, research center

Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens WHAT YOUR RESEARCH DID TO ME

30 euro - annex + 2 books + 1 game

10 June 2021

research center associates Cycle II

apass

Performative publishing” opens other forms of doing that reflect the speculative attitudes of artistic research.

a.pass Research Center hosts associate researchers in one-year cycles. Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens were part of “Cycle II 2020/21”. Their research topics range from cultural discourse analysis in the dance field, institutional critique and immaterial art production, architectural encounter dispositifs, decolonial dance history and politics of listening. Throughout the year, they contributed with concerns, concepts and “ways of doing” inherent to their practice. They share their research trajectory and their entanglements in singular performative publications, as well as a collective digital publication on madewitholga.be. Excerpts of their collaborative work are published in The Annex, which functions as a printed index to the online collective publication, as well as to the multiform performative publications of the individual researchers.

THE ANNEX

Collective publication

What your research did to me is a collective online publication by a.pass “Research Center Cycle II,” with excerpts printed in The Annex. In response to a self-defined score, the associated researchers produced an online assemblage of conversations, film clips, letters, auto-theoretical writings and a storytelling/feedback game.

In a collaborative research environment like a.pass, a lot of creative and critical energy is devoted to developing modes of sharing. These modes range from spontaneous and informal, to highly orchestrated, artificial, constrained and designed. Whether called hosting, adopting, participating, initiating, presenting, borrowing, testing, or what have you – they all come with a different distribution of entanglements with each other, and eventually with a wider public.

The publication What your research did to me takes as a point of departure the fact that modes of sharing already happened, and that along the way, the initial projects lost their clear contours. They crossbred into each other and made (un)traceable lines and knots, without losing definition. When deliberating the making of a publication to impart something of the collective process, the first impulse was to find a common denominator in research subject (e.g. listening), if not in research method (e.g. note-taking). This strategy yielded a somewhat pernicious effect in that it tended to fade the singularities and intricacies of the approaches, how one inclined to another – but not necessarily to all. Sharing wasn’t the same as amalgamating into uniformity. Proximity engendered centrifuge as much as centripetal forces.

The solution adopted was to list each for oneself, moments where one’s research was inspired by someone else’s, and to readdress that moment of implicit borrowing or appropriating back into collective work, either with the proprietor of the question or with the entire group, and in any case, witnessed by all.

madewitholga.be or in print.

PDF OF ANNEX II here > a.pass_annex_2021

The Annex is 5 euro.
You get the Annex for free if you order one of the publications.
Price of Annex + the 3 printed publications = 30 euro

What your research did to me, a collective online publication by a.pass Research Centre Cycle II, with excerpts printed in *The Annex*. What your research did to me is an online assemblage of conversations, film clips, letters, autotheoretical writings and a storytelling/feedback game, produced in response to a self-defined score.

Published on madewitholga.be

SITING DISCOURSE
Diary excerpt from Live Archive,

by Breg Horemans

Siting Discourse is a dialogical diary that explores the protocols, politics and accessibility of a digital architecture-as-archive (www.taat-projects.com). Horemans shares the writing process through a recorded sequence of screen captures. Siting Discourse exposes the Live Archive´s digital spatiality and the implicit gestures, attitudes and coincidences of discourse making that it aims to facilitate. The title is a reference to the Live Archive as a (web-)site for discursive documentation and it addresses the academic citing mechanism as a form of “structural misquoting.” Siting Discourse is a collaboration between Siebren Nachtergaele (Social Sciences HOGENT, Theatre Studies UGENT, BE) and Andrew Filmer (Theatre Studies, Aberystwyth University, WA). Their first encounter was shaped by means of a drift.

PDF FREE DOWNLOAD > archive 10-6-2021_final

Breg Horemans is co-founder of TAAT, a liquid collective of artists working on the verge of performance, research and installation art. Since 2011, he renegotiates his relation to the architecture discipline through transdisciplinary collaborations. The desire of his research lies in shaping the spatial conditions for ‘sites of encounter’ that invite human and non-human entities to co-constitute each other. The projects initiated by TAAT generate spaces for co-activity and instigate fluid prototyping processes as ‘becoming spaces’. In the last two years, Breg is co-developing an online environment that enhance processes of open source writing, archiving and publishing.

I’M NOT SAD, THE WORLD IS SAD
Artistic research novel,

by Pia Louwerens

I’m Not Sad, The World Is Sad is an autotheoretical, semi-fictional account of a performance artist who lands a part-time job as an Embedded Artistic Researcher in an art institution. Invested in queer theory and institutional critique, she sets out to perform the artist “differently” through a process of negation and passivity, inadvertently causing her relationship with the institution’s curator to grow increasingly speculative and paranoid. Louwerens’ labor as tour guide, security guard, artist, hostess and researcher at different institutions begins to overlap and blend under the name of “performance.” I’m Not Sad, The World Is Sad is a fragmented story of paranoid and reparative reading, script and utterance, exposure and vulnerability.

Pia Louwerens is a performance artist and researcher from the Netherlands, living in Brussels. Her research revolves around the becoming of the artistic subject, the I who writes, speaks and makes, in relation to the (institutional) context. From 2019 – 2020 Louwerens was working as embedded artistic researcher at a big research project, for which she was embedded in an art institution. Through this research she attempted to perform or practice the artist, and thereby the institution, differently. Her work usually takes the shape of a performance in which she speaks, switching between registers of the actual, the possible, the professional and the anxious artist.

price 15 euro

ORDER HERE + preview PDF (coming soon)

POP-FI POSTER
A game,

by Lili M. Rampre

Pop-Fi poster is a “choose your own adventure” game developed by Lili M. Rampre in collaboration with Júlia Rúbies Subirós. The game traces pre-public discourse, a semi-private collection of thoughts that, once shared and circulated, can shift a wider agenda on what matters to artists the most. The game aims to popularize common fictions and pop the bubble of others. Collectivizing half-digested thoughts potentially means bridging between personal and structural to effectuate change. Pop-Fi poster is part of Pop-Fi: a multifaceted project that entails a performative workshop ventriloquizing popular movie icons, video installations and script-readings. Pop-Fi foregrounds concerns of an artistic community through a variety of formats that act as a discourse prism. Pop-Fi poster is both a visual aid for the workshop and an autonomous object. Pop-Fi’s next step is developing strategies to funnel from anecdotal to factual and think about data and its visualization techniques informed by direct experience, commitment to action and intersectionality.

Lili M. Rampre is researching strategies to highlight “off stage”; processes, practices and actors behind, off, under or above the stage. Her focus lies on power relationships and the dynamics of disparities in cultural capital (audience-performer, fan-star, producer-artist). Her work has often a role-reversal in its core proposal, ventriloquism of a kind, or unreliable narration. Most recently Lili is looking into fandom and fandom civic practices authorising fiction to affect political action as an artistic methodology, to re-articulate essential parts of artistic production and circulation as fictional or factual aspects.

Price 3 Euro

ORDER HERE (coming)

WHERE DO YOU DRAW THE LINE
BETWEEN ART AND POLITICS
Interviews,

by Davide Tidoni

Where Do You Draw the Line Between Art and Politics consists of a series of interviews with individuals who have been active in various capacities at the intersection of art and politics. Between historical documentation, political memory, dialogic reflection, and motivational support, the publication examines the experiences, commitments and feelings that operate and inform aesthetic priorities in social spaces outside of art institutions; it’s a repository designed to inspire and encourage the politicization of aesthetics, as opposed to the aestheticization of politics.

Davide Tidoni is an artist and researcher working with sound and listening. With a particular focus on direct experience, observation, and action, he creates works of different formats that include live performance, intervention, walk, video, audio recording, and text scores. He is interested in the use of sound and music in counter-culture and political struggles and has published a sound based field research on the northern italian ultras group Brescia 1911 (The Sound of Normalisation, 2018). Davide’s work can be accessed at: davidetidoni.name

price: 15 Euro

ORDER HERE + preview PDF (soon)

Order this publication.

research center

What your research did to me

incoherent familiarities

Welcome in De Markten, Friday, 11th of June 2021.

18-22h

Subscribe for attendance. Or join us online. Details will follow.

Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens

will read, perform, discuss:

a book as a prop for future performance, a poster that unfolds into a speculative discussion board game, a timed articulation in an archive that reiterates its own traces, a set of interviews that binds four generations of activism, a performative research method that paves the way for academic writing, and a collective online score that narrates how research interests were influenced by each others presence.

research center

Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre, Pia Louwerens, Vladimir Miller RESEARCH CENTER CYCLE 2 BLOCK I and In-Between Block

1 January-31 July 2020

Research Center Cycle 2 block I

This January marks the beginning of the second one-year-cycle of the a.pass Research Center. Initiated out of a desire to be a shared platform of exchange, support and publicness for the Associate Researchers this year long initiative will continue to support and publish advanced research and investigate its trajectories within a.pass. The Associate Researchers will be hosted and supported during Cycle 2 by the Research Center curators: Vladimir Miller (Block I+II/20).

For the period of January to December 2020 we are happy to welcome following Associate Researchers to the a.pass Research Center:

Breg Horemans, Davide Tidoni, Esteban Donoso, Pia Louwerens and Lili Rampre.

During the upcoming block we will start and at the same time continue our work by imagining and negotiating the individual contracts between the researchers and the Research Center, which will speculate on the individual research process and the support needed during the year cycle.

research center, workshop

Esteban Donoso Re-

13-14 July 2020 / ZSenne Art Lab

- Nice picture! Are you in it? :)

How do we become visible? Within which frames? What are the conditions of that appearance? This workshop takes as points of departure objects and documents from our own archives as performance makers / thinkers, and creates a new environment for them. Via re-visiting their time, environment and our personal connections to them, we will open up a process of constant re-structuring of our own narrations. If we were to write a film script about these re-visited environments, what form would they take? How will we come to occupy the space of a film frame? Will there be enough space? How will our collective reflections and present tense entanglements become part of our fiction? How will we manage to exist and coexist within this commensurate space?
Read more..

research center, workshop

Davide Tidoni Spatial sound to movement

14-14 July 2020 / ZSenne Art Lab

How sound-space perception and spatial listening can be used as a tool for developing movement and creating performance works?

What knowledge/approach/way-of-doing do spatial listening and sound-space perception afford and how that can inform movement and performance work? How sound space awareness can turn or be translated into ways of moving, performing, and choreographing?

Can we think of specific ways to develop/approach movement and performance which are led by the ear-situated-in-space? What are the differences compared to a more eye-determined approach to movement and performance? What are the intersections and common aspects? And eventually, what are the consequences of this approach on other aspects of performance work such as set design, sound design and the positioning of the sound sources, dramaturgy, costumes, and the role/position of the audience?

research center, workshop

Pia Louwerens Writing subtext

15 July 2020 / ZSenne Art Lab

During this workshop Pia Louwerens will test scattered yet corroborating ideas and exercises linked to her research, grouped into two sessions. The first part of the workshop will revolve around the notion of being “embedded” and ways of becoming embedded on the one hand, and on the other hand the workshop as a superstructure, an exoskeleton, which adapts itself to its participants. Would it be possible to rewrite the workshop during the event itself, and what kind of structure could serve this soft workshop? For the second part of the workshop Louwerens will introduce new elements; attempts to evoke events which occured during her research trajectory in collaboration with several institutions in the Netherlands. We will become a loosely organized speaking-reading-writing-machine to collectively document these instances and provide them with an embedded subtext.

research center, workshop

Breg Horemans What do you depend on, where you are?

15-17 July 2020 / ZSenne Art Lab

How can we share the performative potential of public space to explore ‘mutual vulnerability’? We invite you to think physically during a series of ‘staged encounters’ in the wider environment of Zsenne Art Lab, between July 15 and 17.

Every encounter offers a space to negotiate proximity with a stranger, addressing the possibility for an intra-active (Barad) relationship. These encounters take shape as silent walks for two people on July 15, 16 and 17 (mornings, between 9 and 10 am). The endpoint of the walk is Zsenne Art Lab.

Through this practice of physical thinking, we aim to configure a layered understanding of the relation between self- and social identity within the urban environment. We explore how the environment plays a role in the construction of an ‘environmental identity’ (Clayton). On Friday July 17th at 14pm, a public discussion will take place for the participants of the silent walks and external guests to share thoughts on the question: ‘how do our practices contribute to the construction of an environmental identity’?

These activities are embedded in the long term research project HALL33, by TAAT. Between May and November we continue organizing ‘staged encounters’ as a form of social activism in Brussels (BE), Dundee (UK), Riga (LV) and Athens (GR). How vulnerable do we want to be towards strangers in a ‘socially distant’ society?

reading session, research center

Lili Rampre Reading Session

16 July 2020 / ZSenne Art Lab

aaa

Lili Rampre’s recent developments within RC involved repurposing works of popular culture and their most prominent characteristics of an epic story to help re-narrativise group and community concerns. Lili’s long term interest in (re)imagining an audience, especially within performing arts, found a strong resonance with current examples of collective action carried out by various fan groups. In Zsenne reading session, Lili is inviting you to delve into some of the texts on citizenship through fandom as a vehicle and examples of such performances. The reading will start by addressing the proposed questions:

how conflations between activism and fan self-aware agency can re-shape our understanding of the audience,
potentials for public participation, civic action,
how new civic practices of engaged audience members are defining joyous activism and with your participation move on to opening new ones, concerning your particular practices and angles, approaches to the topic.

This should not be misunderstood as an extension of the already well developed sociology and anthropology of fandom, but rather as the critical reappraisal that emergent large popular assemblages of self-identifying communities are an under-utilized and under-recognized potentiality for “performance” proper.

research center

Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre, Pia Louwerens, Nicolas Galeazzi Hosting

1 September-12 December 2020 / a.pass

Research Center Cycle 2 Block II

"Double Spiral" by Maurice Meewisse

There, we are again... Again and again, it is necessary to think through the relational fields we are working with. Not only the forced physical distancing, the prohibited hugs, and the masked faces, but also the role of the institutional and individual responsibilities, the new urgencies for presences and absences, and a new mix of carefulness and caring, tinted the relational questions at a.pass with the Corona crisis. What and who are we to each other in a research group? What does the research group do for us? What does it mean to be associate researchers - what does it mean to be a host? What is the institutional framework - what does it allow, and what does it problematize? What kind of projections are made into the institutional, and what kind of speculations could we unleash on them? The virus highlights these questions in a very special way. Bodily distanced, we are still physically related. It feels like a realtime training in relational ontology. Donna Haraway manifests it as “beings do not pre-exist their relating" and therefore relations do produce us, not the other way round. This way to see ontology is into our face any time we have to say hello to somebody and hesitate whether to show the elbow, to hug or just to stay still at 1,5m apart. Anyway, or specifically now, it’s worth putting the focus more on shaping relations around us rather than to shape ourselves. If this is true, attitudes of hosting, being it places, practices, contexts, and perspectives are an approach we will explore.
Read more..

research center

Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre, Pia Louwerens, Kristien Van den Brande Printer’s devils

4 January-4 April 2021

Research Center Cycle 2 Block III

Singed bible from the Museum of the Holy Souls in Purgatory, in Rome

One publishes to find comrades! So says André Breton. The researchers in the current cycle of the research centre — Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens — are ending their trajectories at a.pass with a block focused on publishing, and the myriad of relations implied in committing something to print. Publishing is rarely something that concludes a confined process of solitary thought. It is a social process that — abstractly and manifestly — involves collaboration along the way: sometimes with fellow interlocutors, sometimes with an editor or designer at the other end of the table, sometimes with abstract ideas of what readership might entail. Rather than aiming for a book or for printed matter as a finite goal, we will take publishing as a pretext to build relationships that last over time. How can a publication be set up as an ongoing social gesture, a space for the continued production of meaning and reverberance?

This block has a weekly organization, whereby Tuesdays alternate between a technical-dramaturgical help-desk, and editorial-curatorial approaches. Help-desk Tuesdays are more loosely structured around practical needs of the collective and individual publications. How did you do this? Why would you do that? During the editorial-curatorial Tuesdays we work on a collective publication, addressing a breadth of concerns in publishing (commonplace books, performative publishing, the interplay between analogue and digital publishing, orality and transcription, co-writing, the power of address, self-writing, ventriloquism, reading as writing, distribution).

Open Call