Lilia Mestre & Bruno De Wachter “An image says more than a thousand words, so why writing?”

1-5 February 2016 / a.pass

touch photo

“An image says more than a thousand words, so why writing?” There are a thousand objections possible to that cliché. “Tell that to the blind man” is the one we would like to pick. What words start to echo in your mind when you close the visual input? And which words would you choose to replace an image being taken away? Ah, you might object, ah, but writing is not about describing images, it is all about sharing thoughts. If somebody is making movements, the spectator will make the same movements but without moving. If someone has written down a line of thoughts, the reader will walk the same line of thoughts but without writing. “Writing is what you do to share your inner self with the outside world” is the romantic version of that vision. This can be a good reason indeed, but you can only write about your inner world through the detour of the outside, otherwise nobody would understand a word. Otherwise, you would not even have a word. And can the opposite not be just as good a motivation? Writing to assimilate the outside world – the unknown, the impersonal – and make it your own?




Lilia Mestre (1968) is a Portuguese performing artist living and working in Brussels. In her work she uses choreographic tools to research the social body. She gives special attention to the agency of all things and has been working in assemblages, scores and inter-subjective set ups.
Actually she’s involved in two research projects: ‘And what about Virtuosity?’ with Edurne Rubio, Shila Anaraki and Frederik Croene supported by the Flemish government which developed in the art project “The container” 2016/17 in the Academy Kunstbrug in Gent. And ‘Choreographic figures -deviation from the line’ initiated by Nikolaus Gansterer and supported by the University of Vienna and Peek.
Since 2006 she is dramaturge and/or curator for projects in Bains Connective Art Laboratory in Brussels. Currently she is program co-curator at a.pass (advanced performance and scenography studies in Brussels).

Bruno De Wachter (° Antwerp, 1972)  Lives in Brussels. Works half-time as a technical copywriter and half-time on his own writing and walking projects. Published essays, translation and prose in the Flemish literature magazine Yang and its successor nY. Started to write prose inspired by long distance walking and is gradually evolving towards fiction. Has a special interest in the combinations of text and photography, in the crossroad between fiction writing at science, and in writing as a way to relate to the landscape.

post-graduate program project, research center project

2016 BLOCK I

1 January-31 March 2016

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block information

Lilia Mestre Block Focus: Sub -(e)ject

4 January-31 March 2016 / a.pass

The relation between writing and performance

The proposal for this block follows up on scores as a tool to organize dialogical or intersubjective formats for exchange in artistic practice and research. In the past two years I developed in the frame of a.pass a score for writing practice, ‘Writing Scores’ and a score for performance ‘Perform Back Score’, both as discursive tools. Both scores created a platform for the different researches to co-habitate and to reflect back the methods and strategies each of us use in the making and thinking of our practices. The main questions are: How do we compose materials and thoughts? What is the performativity at stake on the sharing of those? What’s the relation between subjectivity and collectivity in a collaborative environment? What does that do to our individual practices and to the collective itself?
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Elke Van Campenhout Who’s Afraid of the Subject?

18-22 January 2016 / a.pass


In this theoretical and discussion workshop, we reconsider the notion of the subject today:

why, after all the turn-arounds of becomings, vibrant objects and a decentralisation of the human perspective, do we need to reconsider the subject as an important player in our discourses and practice?

well, to start with, because there is no personal agency or ethics without it. and also because there is a need for a consciousness of what it is that subjects us, what it is that turns us into speaking, experiencing and affecting human beings. but even more so, when and why these powers are denied to us, and why?

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Jack Hauser & Sabina Holzer VAN

15-19 February 2016 / a.pass

VAN is a spacetime machine in which all medias and materials become speakers to question common dichotomies: subject / object, observers / observed, nature / culture, male / female, materiality / discourse, matter / meaning, past / future, space / time, something / nothing.
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Myriam Van Imschoot VOCAL CIRCUITS

7-11 March 2016 / a.pass

(working title for a workshop at Apass)

In this one-week workshop we will use various forms of voicing and singing to co-write thoughts, ideas and presence in the multiple spaces of social interaction, communication and their architectural and acoustic envelopes.
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Anne Juren Denuding

14-18 March 2016

Following the notion of the division and the multiplicity of the subject, the workshops will deal with different choreographic strategies and body practices related to text present in the method Feldenkrais and will experiment within the relation between poetry and writing in examining the text of authors from the Ecriture Féminine.
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post-master program
pre phd-program
to be discussed

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