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-, reading session, research center

Lili Rampre Reading Session

16 July 2020 / ZSenne Art Lab

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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:

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.

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-, block information

The In-Between Block 2020 II

4 May-31 July 2020 / home

in confinement

cat 04.05.2020

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!


Marialena Marouda, Christina Stadlbauer and Nicolas Geleazzi Writing into becoming water

an instant conversation

IMG_20190615_145950
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. ...
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Marialena Marouda Exercises in Becoming Water

Score for a boat trip

no-boat
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.
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STEVNE MAKES A POST AGAIN

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-, recent past

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.

 

 

-, recent past

Three Days a Week

ö.
One day of relating to the environmental ecology by 'gardening'; one day of engaging giving seeds to the social ecology; and one day of diving into the mental ecology by composting the urgent knowledge.
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-, recent past

Nicolas Y Galeazzi Making Kin

6 May-28 July 2019 / Zenne Garden et al.

the adoption project

regenwuermer
Experiencing us as and in ecosystems lays the basic ground for our investigations in the a.pass block 2019/II. To follow this incentive, Donna Haraway proposes to make kin with multiple things, species and ideas. We try it by adopting each other's dearest - or expelled - aspects of research and make it part of our sphere of respons-ability.
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a.past


PPP

SSS


Settlement 14 schedule

7-26 January 2019

 

MON 7th

14:00 meeting

17:00 cleaning, emptying the collective space

19:00 dinner

 

TUE 8th

10:00 Materials and Tools

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-, recent past

RESEARCH CENTER CYCLE 18/19 BLOCK II

7 January-31 March 2019 / a.pass

CURATED BY ALEX ARTEAGA

screen-shoot from disclosing an architectural object. MUA (an essay on planes). Alex Arteaga

The a.pass Research Center is dedicated to supporting advanced artistic research and to collecting and making public methodologies of artistic research developed at a.pass. 

The block II in the cycle 18/19 is focused on two intertwined fields of inquiry: aesthetic research practices in the medium of written language and architecture understood as intervention in the emergence of environments through construction and related practices.

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-, event, research center

NICO DOCKS: Parallel Parasite news Sad to announce the the encounter with Nico Dockx: Every Archive Hides Another Archive is cancelled tonight

21-21 June 2018


-, block information, gathering, research center

Lilia Mestre Fragile Community Score + Score for entering a place / Lilia Mestre

11 June-15 May 2018 / Zsenne ArtLab

IMG_4131
SCORESCAPES: Thinking Scores as Pedagogical Tool is an ongoing research in the context of a.pass.For this occasion the score will serve the question of 'being in an (other) place' which is not home, which is semi-public, which will constitute a composite body and which will be in the 'here' of the public space and of the a.pass Research Center. Which tender social formation will take place? What will appear from the rubbing between institutional paradigms and the discourses that resist? The score wants to make appear narratives localized in that time/place frame work. We will work with writing and physical forms of presence and we'll go in between inside and outside, the individual and the group, in between the here and there, between being part of and being other.
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Agenda

atelier, gathering, workshop

14 September-3 October 2020

Location a.pass

Vladimir Miller
Settlement 16




workshop

27-31 October 2020

Location a.pass

Krõõt Juurak
AUTODOMESTICATION




workshop

9-13 November 2020

Location a.pass

Elke van Campenhout
Debunking the Myth





lalalala

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newsletter

21-23 September 2017

An invitation to us visitors to temporarily observe and intentionally touch that ground we continuously step on. Landings brings together 7 a.pass researchers that started and finished their Post Master program at the same time.
Read more..

newsletter2

21-23 September 2017

An invitation to us visitors to temporarily observe and intentionally touch that ground we continuously step on. Landings brings together 7 a.pass researchers that started and finished their Post Master program at the same time.
Read more..

MENTORING STRATEGIES Block II/2016

5 September-4 December 2016

The dedicated mentors for this block are Femke Snelting, Kate Rich, Geert Opsomer and Philippine Hoegen.

According to your needs, you can choose for either 2 or 3 mentors.

In order to challenge you with a specific context and language of mentoring we would like to suggest for this block, that the team of mentors proposes one of those 2 or 3 mentors to you. We would like to experiment with this possibly confronting, contrasting, or specific support to your research.  With each of the 2 or 3 mentors you will have 4 hours of mentoring throughout the block.

Since the dedicated mentors will present themselves in the opening week and will attend all your presentations you will be able to decide on your mentors at the end of the first week.

To subscribe read more:

Read more..

Veridiana Zurita invitation research sharing

24-24 October 2015

Los Angeles, Kinderreiche Familie

don’t eat the microphone / televizinho / mommy, daddy, me Veridiana zurita

24/10/2015, 7-10pm, a.pass studio, de bottelarij

In 2014 I started working as an artistic researcher in a.pass. Since then I developed three different projects. ‘Don’t Eat the Microphone’: a weekly session developed together with the residents of the psychiatric hospital Dr. Guislain in Ghent, ‘Televizinho’: a series of re-enactments of Brazilian soap-operas with no-actors of a river community in the Amazon and ‘Mommy, Daddy, Me’: a letter trialogue about love relationships between me and my parents. Through these experimental set-ups I gathered a lot of materials of various kinds. Now I would like to share these video’s, texts, experiences and set-ups with you. I would be happy to host you during an evening-long sharing of materials from the research, and offer an idea of the contexts and imaginations that brought these ongoing projects to life.

More information here


call

for artistic research PROPOSALS


post-Graduate level

&

Associate Researchers


DEADLINE: 27/09/2020
TO START IN May 2021 for the Post Graduate program and  May 2021 for Associated Researcher

SELECTION TALKS :   14,15,16/10/2020
(PLEASE KEEP THESE DAYS FREE!)

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a.pass space

way_from_home

a.pass_settlement

 

 

apply 

here!

 


Ariane Loze Môwn (movies on my own)

DVD and booklet; research publication

1 January 2009


application
procedures and requirements!




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Bio Kristien Van den Brande

An ongoing interest in the (im)materiality, the image and performativity of writing has led me to work in between the disciplines of urbanism, literature, performance, art criticism and expanded publishing. After a Masters Philosophy of Pedagogy, Theatre Studies, and one year research at Jan Van Eyck Academy, my main anchor became Brussels and performing arts, where I feel most stimulated by the question of the audience and how to give space, rhythm, light, form… to (the production and the transmission of) knowledge. Recurrent focal points are archives, scores and improvisation, indirect speech, performative writing and counter-signing, appropriation and inscription, expanded publishing and memorizing. I alternate between writing, editing and web design, curating, performing, dramaturgy and mentoring at A.pass. I have collaborated with Myriam Van Imschoot, Mette Edvardsen, Christine De Smedt, Sarah Vanhee, Wim Cuyvers. Currently doing research on ‘support de fortune’.


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a.pass in context

Position of a.pass in the educational and artistic field

conditions for something to happen

 

The a.pass program and research centre are positioned within a larger context of the arts and education, and develops its working out of a questioning of the current organization of artistic and educational (institutional) practices. In its trajectory, a.pass has on all levels of its organization critically reflected upon the economy of knowledge as it is being employed today in higher education and the media, the logics of the arts market, the recuperation of institutional critique by the institutions themselves, the capitalist drive for the new, the seductive and the quickly consumable, and the role and responsibility of the artist researcher in all of this.

In a.pass the relevance of the research is measured by the degree in which researchers, out of their different backgrounds and knowledge horizons, manage to formulate innovative perspectives on potential knowledge production, as well as on the development of tools to share and experiment this knowledge on the public scene. It is clear that this kind of research environment also resonates with other institutions for art education on an (inter)national scale. Artistic research in a.pass can be seen as a third way, wedged in between the artistic practice as such and the more academic understanding of knowledge production. Different from the artistic practice the research is not limited to the individual trajectory, the personal questioning and aesthetics of the artist. But at the same time the artistic practice does take on a central role in the development of new perspectives and methodologies, a way of working that relates to, but doesn’t coincide with, and even explicitly questions an academic AND an artistic framework. Artistic research in a.pass is not limited to the development of arts-practice-related knowledge, but also involves the creation and testing of formats, methodologies, communication strategies and shared practices, ‘tools for collaboration and communication’, that broaden up the understanding of artistic research from an art work with paper validation form to a more critical investigation into the statute, the circulation and the valuation of divergent forms of knowledge.

This means that a.pass is an environment that reflects and practices knowledge and artistic strategies with the windows open to an outside reality. In that sense a.pass is not so much a preparation for the ‘professional life’, as it is a putting-into-question of what these professional sectors (both the artistic and educational organizations of institutes, values and work) are symptoms of. Throughout the years, a.pass has used its own institutional status – and the opportunities offered by being an artistic educational program embedded in a larger network of schools, art centres, research places, workspaces, etc… – to seriously reconsider its role, and the role of the artist researchers within the current ethical, political, economic and social context of knowledge production and sharing.

On the level of ethics this means that we consider both the institute as the institute’s participants to be part of a larger network of relations, that give them their value and meaning. In a.pass the relation between the ‘I’ of the researcher and the provisional construction of the ‘We’ of the research practice within the institute, is a recurring, and politically charged, topic. The institute here is considered as an experimental playground to try out strategies for the now and the future within a larger society. a.pass gives a lot of attention to the transindividual character of practice and knowledge, and how the collective environment can be both a source of frustration and feedback, as of nourishment and challenge to the individual researcher’s trajectory. Also, a.pass in that sense always takes the ‘ethical’ concreteness, the situational reality of research seriously: artistic research is always already embedded in the relations that produce it, and these relations encompass elements of discourse, social and economic factors and spatial settings, as well as institutional givens, societal demands and resources at hand. Therefore an artistic research strategy or outcome is not transparently reproducible without changing in the process. The ethical (here understood as relational and situational) character of the research, makes it resistant to commodification on a larger scale. But this doesn’t mean that the research can not be communicated or shared, using strategies that differ from the promise of serial reproduction.

This interest in the transindividual character of learning and research, however, does not exclude a strong focus and interest in the development of the individual’s trajectories. Since the institute can not function without the invested interest and contributions to the common environment of the researchers, a.pass strives towards creating an environment in which the aesthetic and artistic idiosyncratic qualities of each practice can be challenged into being. a.pass considers the artist researcher in the year of participation not so much as an artist-producer of work, but as an artist-researcher, reflecting self-critically on the trajectory already accomplished, and reconsidering the notions of work, value, the market, responsiveness and responsibility through the practicing of the research. a.pass encourages the exploration of ‘risky’ practices that do not directly correspond to the current demands of the arts market or academic understandings of research, in order to create an experimental environment in which certainties can be subverted, undermined, or simply reappraised from another point of view.


researcher’s profile

In the selection of PhD candidates a.pass uses largely the same criteria as for the post-master researchers. In the PhD environment however more emphasis is put on the willingness to open up the research, both to fellow researchers and to a wider audience outside of the limits of the a.pass environment. If we deal with researchers with an academic background we strongly encourage them to develop a practice-based artistic research during their participation in a.pass and to profit as much as possible from the opportunities to commonly share and exchange knowledge practices.

We also expect from the PhD researchers a solid grip on both the theoretical and artistic frameworks and discourses they relate to, and a thorough self-critical and sector-critical attitude in developing their research boldly and radically within the framework of their university setting, and in relation to a larger societal reality.


COLLABORATION

Participants develop the project they submitted, not only by working on their own projects but also by actively investing in the group, in the sharing of research results with other participants and at times with a broader audience. Another part of the research culture that a.pass wants to bring about, is the sharing of ‘tools’ in the artistic practice – in all possible forms, including  …read more

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