Kinsscore will be practiced every Thursday of block 2022 II titled “Scoring intimacy with discursive others” (see block post)
The proposal for this score follows on previous iterations of Scorescapes as a tool to practice intersubjective formats for exchange in artistic research. ScoreScapes is an investigation of how scores can facilitate the relation between artistic research, documentation and knowledge processing in collective settings.
If artistic research is an active and methodological search for ways to keep the viability of one’s knowledge in relation with others’, then how can this search be mediated by scores? If artistic research engages in processes of awaking unseen relations with what surrounds us, then 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? What does that do to our individual practices and to the collective itself?
The specificity of Kin(s)score is on the fact that we will participate in the score with our research kinships. We will speak with them, through them and us about the questions that our research make apparent. We will discuss and practice what are the political implications of authorship, collectivity and the other.
This public presentation of Vera Sofia Mota and Chloë Janssens marks the end of the researchers’ trajectory at a.pass (advanced performance and scenography studies). After following the year-long postgraduate program they will share their modes of doing, seeing and making artistic research public.
The Block II 2022 proposes to exercise a personal, immediate and performative relation with discourse – through autotheory, speculative history, conversation and collectivity – embodied in a weekly Score. It feeds upon the tension between one’s practice and the other, often absent other who is yet unescapable like one’s ancestor, lover, kin or friend. In other words, we are interested in how discursive beings – those that we encounter only through language – can guide us through our practices?
A longing for togetherness is inherent to the a.pass community. To ensure this togetherness it is necessary to have different strenghtening intra-structures within the larger institutional structure. Especially in disruptive times as we are living in right now – on a micro and a macro scale – the participants of a.pass asked themselves how also they can contribute one of those intra-structures in which we can provide and reflect on care.
CARE is an invitation to five days of five brunches and five talks. Together we want to find out what does care mean under the scope of a.pass as an institution focusing on artistic research. Where or what is care within and around artistic research? How is the act of caring resonating within participants’ practices? What and who needs (more) care? Is care (somewhere) missing?
Arquivo Atlântico is a multi-chpater research project by Beatriz Cantinho and Túlio Rosa, in collaboration with Jose Capela and Nuno Torres. Arquivo Atlântico is an investigation on the notion of memory, on the possibility of re-membering differently places, peoples and knowledges.
This is a non-exhaustive account of Ana Paula Camargo’s trajectory through a.pass, where she developed a big part of her PhD research. This is also a laboratory to experiment the boundaries where theory and practice finally blur each other. It is a celebration of collaboration (wanted and unwanted), of encounters, differences, misunderstandings and bonds.
The first block of 2022 will focus on politics of space and on care practices. It is build around the framework of ‘Poliset’ facilitated by Vladimir Miller with focus on collective building processes within institutional environments to shift the relationship between practice, space and authorship towards commoning and self-organization. The framework of the Participants Assembly will bring curatorial input on CARE on the second part of the block.
Ronny Heiremans and Katleen Vermeir take us for two walks in SPA in the context of their research ‘7 WALKS (resolution)’. The context of SPA offers the unique opportunity for a series of itinerant reflections on water and art. Drawing inspiration from the intangible legacy of historical walkers — kings and czars, political refugees, artists and philosophers — and, strongly anchored in a local context, Heiremans and Vermeir propose to explore a balance between private property of and access to resources that we hold in common as a society. Can SPA inspire to unbundle the proprietary rights that have been stacked around authorship and (land) ownership, i.e. two paramount features of Western subjectivity?
During Bleed is inevitable, Agency invokes Thing 000923 (Bleed is Inevitable)), a copyright controversy related to a pedagogical program in prison and the oscar nominated documentary Scared Straight!. During the court case, the judge had to decide if the pedagogical program was a dramatization of prison life and whether it could qualify for the protection of copyright as a work of performance art. At a.pass we will revisit the moment of hesitation during the court case and dwell on the problem discussed in the case as a way to fabulate different outcomes. What happens if ‘facts’ become included in a reciprocal way within artistic practices?
Identities is a science-fiction LARP in which aliens of humanoid appearance from various planets are gathered for a very special experiment.
If you could become the person you dreamt to be, or at least someone who would function in harmony with the world around you instead of bumping into it, would you be tempted?
Whether it’s a dream or a necessity for you, the people of Cori, a type IV planet in the Omega 9 galaxy, can help you. Indeed, the Coriphes have psychic powers that allow them to durably modify one’s spirit and personality.
This day is organised around a para-legal document, ‘Collective Conditions for Re-Use’ (cc4r). Cc4r is an authorship license in-the-making, a reluctant contract that tries to make space for collective care around authorial practice.
The block “Bleed is inevitable” starts from the premise that we are inhabited by several voices – be them spiritual, psychological, political, juridical, institutional, identitarian, non-human, culture-historical, assigned or acquired, short or long term,… – and that we are subject to environments that bring these voices into dialogue or conflict, or muffle them. During the block, the a.pass researchers are invited to think their interactions from the perspective of role play, and to create artificial environments in which to experiment with and dis-equilibrate an individual or collective constitution of voices. It is a guided exercise in letting go of what one knows or thinks to know and a prodding for delineated and contrived spaces to speculate on different modes of being together in the world.
History will always be in the room though. In LARP (Live Action Role Play)-vocabulary ‘bleed’ refers to the experience of transferral between real-life and game-world. In-game experience inevitably spills back into life, and vice versa, one’s game character and world is inevitably inspired by real-life experiences and self-perception. LARPers have developed techniques to halt or hold this zone of oscillation, between what is and what could be. While closure of play might be a necessary tool to keep up with ‘real-life’, we could also question the ‘right to a proper end’ as particular to Western storytelling tradition, with consequences for what we think a proper life or story is. ’Bleed is inevitable’ invites the a.pass participants to question and reinvent assigned roles, investigate the ideological space of ‘bleed’, as well as experiment with techniques of game-design within artistic research.
“Bleed is inevitable” is an assemblage of different curatorial proposals that have been in conversation for a longer period of time. Not seamless, but definitely more than tangentially connected, therefore with the ongoing challenge to superimpose and retrace how they spill into each other.
June 11th 16-18h and June 12th 19-22h at De Markten
Dragon Love (?) gathers the research outcomes of Andrea Zavala Folache, performer, choreographer, visual artist and Federico Vladimir Strate Pezdirc, performer, choreographer and film maker. After attending to the one year postgraduate program at a.pass.
Both artists address and investigate construction paradigms of the self. Their work studies auto-fiction in different ways, with the desire to develop tools to resist predefined categorisations of identity that bind us to expect certain formats of art production and ways of living.
Cracks and Containers is a small gathering organised by Amy Pickles, Chloe Janssens and Túlio Rosa, it will take place on the 15th of May at a.pass from 12h to 18:30h. More than a place for presentations, it is thought about as a space to engage in dialogues and conversations, to allow thoughts and questions to emerge, to cross, combine, to be put in tension or to be desintegrated for a little while.
Cracks and Containers proposes to address questions around the notion of coloniality in relation to artistic practices, trying to understand what it might mean, what are the processes it includes, what images it produces or evokes, what dynamics it sustains. The desire being to understand how artistic practices, looking both to the past and to the future, can help us to navigate the present; how can we acknowledge our present with the urgency and criticality it demands. They want to do this together, by being inspired, challenged, contradicted, embraced, transformed.
Cracks and Containers hosts: Quinsy Gario, Saddie Choua, Sami Hammana, Sophie Deckers and Kristien Van den Brande , Amy Pickles, Choe Janssens and Túlio Rosa.
a.pass Block 2021 II curated by Isabel Burr Raty, Adrijana Gvozdenović, Antye Guenther, Sara Manente, Rob Ritzen, Sina Seifee –
participants: Inga Nielsen, Anantha Krishnan, Jimena Perez Salerno, Carolina Mendonça Ferreira, Gary Farrelly, Aleksandra Borys, Amy Pickles, Chloe Janssens, Ana Paula Camargo, and Vera Sofia Mota.
Having completed a cycle of a.pass Research Center in 2019, the six of us proposed to co-curate the block of 2021/II as a group. We aim to collectively curate an a.pass block where we redistribute and redefine the roles of curator, mentor, guest and workshop facilitator. This implies putting our knowledges, our differences and kinships into (re)productive promiscuous interactions. Each of us thinks of a.pass as an ecology of sensitivities, sentiments, rhythms and styles of knowing, but also as apparatuses, technologies and infrastructures. We do a block curation that pays specific attention to the affective and emotional dimensions of research and knowledge production, which we call here “mood”. Not only do humans have their moods and mood swings, but more-than-human, eco-synth-tech systems, and also climates and markets have it, too. By thinking and proposing practices with and about mood, we are navigating with and within affective interactions, imperfections, subjectivities and sensations of making oneself orient in the research environment and the world.
I feel like leaving the room is the title of the postgraduate End Presentations of researchers Rui Calvo (film maker), Quinsy Gario (poet, visual and performance artist), Adriano Wilfert Jensen (choreographer), Magdalena Ptasznik, (choreographer) and Kasia Tórz (dramaturg and writer).
After attending to the extended one year program at a.pass, the five researchers finish their trajectory with an online presentation of a collective website. Covid 19 and the restrictions of the confinement have framed the space of these public presentations in an uncanny entanglement between the private and the public. I feel like leaving the room is more than anything the (liminal) desire to come together. The form of this coming together takes shape around an ad-hoc TV show that will be streamed the 29th of January from the a.pass studio as an attempt to still intertwine thoughts and experiences.
In the beginning, the space for this public moment was imagined as a living room, as a place where the borders of the informal and the formal are blurred. Not as a real physical living-room but by using the conditions implied in such well known private (though public) environment, with the aim of engaging the audience in a different way. What happens when research becomes public as a workshop, a power point presentation, a film, a dance or a walk that steers from such a hangout surrounding?
As a consequence of the pandemic that determines the conditions of coming together – the living room became the desired ‘leaving room’ – a place, as well, between the private and the public but enclosing the publicness in separated private spaces with only one window – a window to the virtual. The artists researchers addressed that liminal space in various ways in accordance with the medium they mainly work with. Inevitably, the translations that will take place, address the current situation of the confinement, while trying to reach out to the world.
An asylum is a place of refuge. Of taking leave of the world for a limited period of time. It is a place out of the world. Where rules function differently. Where people without a place of belonging are temporarily ‘parked’ in order to mend their ways. It is a place for the ones that don’t fit the grid: mental patients, refugees, people suffering from ailments of all kinds. Desiring bodies, in search of papers, legitimacy, acceptance, health, reconnection to the outside world.
In that sense it is also a place of hope, a world-in-a-world where difference can live and be accepted. Maybe even celebrated. Where the norms are temporarily suspended, and common sense rules no longer apply. In this gap, in this suspension, wild thoughts can go unchecked. Dubious behaviour flies under the radar.
At the end of the every block the curator writes a documentation of what happened in the block. The reason to do it, is to pass on pass on some information to the other curators and also to develop on and add to the archive of methodologies at work at a.pass.
I will be writing this report as I am the designated block curator. It would be great to have a conversation about the work(shop) that you proposed. I suggested this interview format so that you don’t have to write a report. I have the Intuition that reporting would be strange in connection with your workshop and your work in general.
A talk and a conversation on the soul. This talk took place on November 19th.
The talk was proposed by Adriano Wilfert Jensen and supported by the a.pass participants assembly as part of a new modality of participants curated content at a.pass.
The talk addresses to some episodes in the history of philosophy from antiquity to the present, where the soul is considered, fist, in its corporeal aspects, i.e. in its immediate or mediated connection to the body, and second, in the context of the question of the passages between the human and the nonhuman, as well as between individual and collective experiences.
Oxana Timofeeva is a Professor at “Stasis” Center for Philosophy at the European University at St. Petersburg, member of the artistic collective “Chto Delat?” (“What is to be done?”), deputy editor of the journal “Stasis”, and the author of books History of Animals(London: Bloomsbury Academic, 2018; Maastricht: Jan van Eyck, 2012; trans. into Russian, Turkish, Slovenian, and Persian), Introduction to the Erotic Philosophy of Georges Bataille (Moscow: New Literary Observer, 2009), How to Love a Homeland (Cairo: Kayfa ta, 2020; trans. into Arabic), and other writings.
For Dismantle Space, a website has been created in collaboration between the researchers and web designer and editor Sven Dehens in order to compile the works that have been developed in the frame of the artistic research environment of a.pass. This website hosts the complicities and differences of the four researches and it will address the infrastructural concerns each of them entails Read more..
To be a contemporary artist comes with a lot of prerequisites these days: unspoken discourse rules, critical norms, and a general salonfähig consensus about values like fluidity, horizontality, collaboration, etcetera… Often these values are taken for granted while a strong discourse is ruling the artist’s world, zooming in on any hint of postcolonial insensitivity, patriarchal blindness, gender observations, and faintly non-consensual power use. This attitude stems from the bountiful history of feminist and queer studies, cultural studies insights, and a general growing awareness of her-stories and the damage done by biased educations and cultural misgivings. But at the same time there are also a lot of other untouched territories underlying these value markers: 19th century romanticism, liberalism, humanism, … Each one carrying within it a very specific view of what it means to be a human being in this world, how we are connected and what we are able to convey.
As a performer you provide your audience with something that cannot be measured in material terms. As regards the activity that produces the cultural content of the commodity, your labour involves a series of activities that are not normally recognised as work – activities involved in defining and determining cultural and artistic standards, fashions, tastes, consumer norms and, on a strategic level, public opinion. As a performer you are primarily a producer of subjectivity. Typically, an artist’s value does not lie in what they “do” but in what they “are”. Now, remember, for example, how Richard Florida described the processes of gentrification caused by the migration of artists and creative workers – the artists may or may not be aware of the value of their mere presence but on a larger scale they produce “results” simply by existing. Survival in the (performing) arts requires creativity that goes beyond the artworks one creates. In fact, a typical performing artist spends about 99 percent of their time off stage – as an audience member, a critic, an administrator, a networker, friend, mentor, student, teacher and so on. Inventing and re-inventing oneself on and offstage, adjusting to various situations, restrictions, moving from project to project, one residency to the next, brimming with creative energy, training and forever educating oneself is the way forward.
During the days of Sept 14th – Oct 3rd 2020 a.pass will come together and host an open workspace called Settlement. In the course of these three weeks we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.pass Settlement and sharing some of your ideas, practices or works with others. The materials and structures available at the a.pass main space will be a common resource for all who join to create whatever is needed to facilitate this process. The schedule for these three weeks will be developed on site by its participants and shared online on the a.pass website.
please let us know if you want to join this workshop by subscribing a week before you come. covid measures will be followed in the shared environment to ensure it safety.
2020 has so far been a turbulent year: of course, the global background we are all aware of, but also for a.pass and all involved, as a community, as a group of colleagues and as a place of politics and organisation. We need time to meet despite all difficulties, and we need time to think together. We think of this block primarily as a meeting of ideas and practices of the researchers and the block contributors, in order to make space for an emergent support structure shared between all involved. Our desire is to ground the support structure of a.pass in a close relationship with the necessities and practices of the researchers. Curating here refers again more to care, than to an overarching trajectory. The core of what we do, practice artistic research, is what needs input and support. Starting from the question of what we need and how to organise it we want to create transitory and sustainable modes of organising and sharing research. The block practice, starting with the Settlement gathering, is focused on organisational and structural awareness and feedback: which spatial and temporal structures do we propose, how is it working with us and our research, and is it something we should keep for the future?
performative publishing, postgraduate program
Maurice Meewisse, Caterina Mora, Laura Pante Peach Baskets
Sven Dehens Zoumana Meite If a question could lie it’d be somewhere else
25 January 2018
if a question
Block 2020/II: The In-Between Block
4 May-31 July 2020 / home
The current In-Between Block is a simple infrastructure of extended mentoring that supports the a.pass researchers in the development of their work during the Coronavirus measures.
a.pass supports the researchers in using the current situation to reflect on the resonance of their practices within the contemporary social, ecological, artistic, political and economical discourses. A series of scores are being developed and practiced to keep the contact and the exchange going between the researchers . This shared practice over distance allows us to reflect on the crisis and support each other through it.
The mentors for the In-Between Block are Elke Van Campenhout, Philippine Hoegen, Krõõt Juurak and Sara Manente.
We are looking forward to the moment when we can come together again!
end presentation, performative publishing, postgraduate program
End-Communications of Deborah Birch, Diego Echegoyen and Lucia Palladino&Piero Ramella
The a.pass End-Communications of Deborah Birch, Diego Echegoyen and the duo Lucia Palladino & Piero Ramella will take place on the 24th and 25th of January 2020 at MILL / Needcompany. End-Communications invite the a.pass researchers to share their subject matters, modes of seeing, articulating and making artist research public after following the year-long program. Read more..
a.pass postgraduate program invites artists, researchers, cultural workers to challenge the limits of their practice through developing artistic research methodologies that bring to the forefront the performative, spatial and collaborative aspects of their projects.
The program opens a space for experimental modes of practice and critical thinking. Artists and researchers are invited to follow their self-organised research as a trajectory within an environment of collaboration and participation. They engage in a series of presentations and feedback practices, workshops, seminars, individual/collective mentoring, and modular interactions with curators and the other artists and researchers participating in the program.
Zone Public contributes to an ongoing conversation on the dynamics of publishing generated by technologies of artistic research. From January 2020 onwards, within a.pass platform for artistic research practices, a three month series of readings, mediations and compilations is oriented by the postgraduate program and its participants to (re)consider the forms and conditions for disseminating artistic research. Zone Public invites to (re)consider the conditions for dissemination of the specific forms of knowledge that artistic research does produce/process/practice. It activates the interrelation between research-as-process versus the crystallisation that publishing requires, and wants to open up the exhibitionary regimes which seem to articulate current artistic research practices and the infrastructures of knowledge production that its agents are both using and possibly used by. Read more..
Funambulism is a "staying with the trouble" concept (in Donna Haraway´s words), that intertwines the a.pass End-Communications of Caterina Mora, Laura Pante and Maurice Meewisse. It all started with the idea of balancing oppositions, no matter which: theory and practice, high and low cultures, language and body, feminism and heteronormativity, bad and good, horizontal and vertical, north and south, truth and fake, here and there, real and virtual, peach baskets and shoes - What the hell?!
The projects of Cate, Laura and Maurice, embody the crossings between antonymous positionalities and work with strategies that include negotiations, side effects, mistakes, shadows, confusion, plural views and overlapings as co-inhabitors of a research context attempting to think complex phenomena. Read more..
The duo [SNDNG STTNS] Milena Kipfmüller & Klaus Janek, seeks for the reciprocity of the auditive and its staging. Semantics, appearing sounds and music elements form musical gestures and meaning, the composition is in tight correspondence with its staging. Challenging the line between discourse and aesthetics, the focus on conflicting situations animates interpretation and questions in a subtil and humble way.
M.M.: A brief introduction into my practice: I see performance as a practice of inhabiting a specific ecosystem. Currently, I am focusing on the oceanic ecosystem, one that can only in part be inhabited by human beings.
... Read more..
This is a score for a multiple day boat trip for two or more people. It should last a minimum of two days. It can take place on any body of water large enough to sail on for a number of days: a lake, a canal, a river, a sea or an ocean. The boat you use, its size and form, can differ accordingly. This score invites you to spend time on this body of water and to see how it affects/ can affect your body, your thoughts and your work. It proposes some tasks that you can try while sailing. It also suggests different texts that you can read during the trip. Each task can take as long as you need it to take, from a few minutes to several days. Take your time. Read more..
12-12 July 2019 / Square des Libérateurs, 1080 Molenbeek-Saint-Jean
Taking a distinctive look at the divergent attitudes towards the environment and the social struggles in these different locations, we will learn about the prototypical difficulties and potentials of such culturally dense urban areas. For this I'm inviting you into my neighbourhood, to discover the "Quartier Liberateurs ". Read more..
ECOLE MONDIALE experiments and experiences walking in and with the Zenne Valley while researching an alternative political model for the Brussels region, - capital of Europe, as a metropolitan landscape. It's ambitions is to transform the dominant 19th-century political model of the Brussels-Capital Region into a 21st-century vision / version based on its specific hydrographic structure. The secondary river valleys of the Zenne can provide this metropolitan landscape specific characteristic features. Read more..
postgraduate program, workshop
Marialena Marouda Waterways
1-2 July 2019
As an additional tool of investigation for the troubled gardens, I propose to float on water. By exchanging the usual surface of this block – soil – for water, I would like to explore how this element and it’s set of conditions can leak into artistic researche(r)s – or even flood them? What does it mean to understand water as a workshop? How can this experience influence our practice in the workshops of this block?
Asking these questions, we will spend at least 48h at the water and walk along the idea of ‘canal’. Will we accompany the water or is the water our companion? How does the current of the rivers enter the streams of our communication? How do we approach this hyper-object that finally floats in the ocean?
One way to connect to other then humans is the horror genre. By thinking the unthinkable, we explore the limits of our ability to understand the world. But does the world lends itself to a meaningful relationship? Does increased access lead to decreased strangeness? In thinking about our relationship to the “other than humans”, what is the status of the notion of obscurity and darkness? What lingers at the edges of our experience? The Horror Garden is a tool that explores the idea of our profound dark relation to the World through our relationship with plants.
BXL WILD LIFE and BUITEN/DEHORS is a collective of research and experimentation which proposes to consider the urban as the natural environment of man. This year BUITEN / DEHORS decided to start on a piece of land located between Digue du Canal and rue des Goujons in Anderlecht, the establishment of what is called an adventure playground. Read more..
This is an elaborate permaculture garden with many small experiments from water cleaning plants to interspecies labour. Kobe, who will also be one of the dedicated mentors – is working in this garden for 12 years together with a collective of various artists and activists. It is quite a sensitive ecosystem.
For the cultural program of the blueFactory in Fribourg Martin Schick is developing a concept for an Unlearning Center - an open sphere for re-practice learning in times of climate change. The blueFactory is a new economic zone for circular and environmental business. The Unlearning Center aims to give space for a fundamental rethinking of the knowledge needed to face different and difficult visions of building for the future with all its personal, economic, political, technical and aesthetic implications. Read more..
information, postgraduate program
Workshops and Companions
The workshops of this block will be ‘gardens’ – and therefore for once of spacial nature. I propose to ask these gardens to be our teachers, to learn from them, to let them put us at work, to ask them to suggest a practice to us, to make them structure our time and our collective research attempts etc. The gardens are the ‘education’ framework and the ‘atelier.’
For this, we need interpreters and people who have tools, figures or behaviours to engage, read and work within the workshops. These interpreters – probably we will call them ‚companions’ – will build a network, a web of knowledge, together with us and amongst themselves. I would like to invite quite some of them to accompany us – sometimes alone sometimes in couples or groups.
For further details watch out for following posts.