price: 8 euro
More information here.
price: 8 euro
More information here.
Landings (definition by the M-Webster dictionary): an act of returning to the ground or another surface after a flight. This is 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.
Their research engaged in varied practices and tackled different concerns that are inherent to the relationship between the rules of a given habitat and the experiencing of being in it. The 7 trajectories were explored individually and collectively within the a.pass environment for the past year and crossed paths on several occasions. They all share the sense of place as a meeting point where their research questions are practiced through singular interactions with the viewers. The affinities that these encounters propose can be seen as points of reflection for this end presentations, and can be the guidelines for you, dear visitor, to join in.
"THE BREATHING ARCHIVE"
The breathing archive sends us back to the basic life’s movement that is an oscillation between concentration and expansion, like the movement of cells breathing and heart beating. The practice invites visitors to edit collectively a poetic and ephemeral document.
"A ROOM FROM HIS CONCEPTUAL HOUSE: THE CABINET OF PSYCHOSCULPTURE"
A quick artist-guided tour through a single room from The House of the Wandering Joyce.
In seeing laws and norms as a matrix that creates divisions and borders –physical and existential – this work attempts to map a territory through choreography. In this legal territory, gesture and movement become the cartographers, making visible how the legal and the normative are preset frames for our paths.
Possible Landscapes -
is a performative setting to play with the intersection between care-taking gestures and the outcome of a Radical Cleaning session. Radical Cleaning is a practice that addresses the circulation of affects involved in the relations we establish with spaces, things, and other people. This time the outcome of the session takes the form of texts. They are performed in the Regular Cleaning, triggering the experience of the affective layer of an environment.
"LONG WE AHEAD & WORLD HAS GONE KOOKOO"
A performative erasing practice investigates the rest: the resting body that lies down horizontally, and also the rest that we leave behind as a trace.
"I AM WELTON SANTOS, 2016"
Visitors enter the backstage of an interview set. In between cameras, sound equipment, and lights, they find books. These contain texts based on transcripts and descriptions of an interview with geo-bio-architect Welton Santos.
By collectively reading the books, the visitors are invited to a generative reconstruction of the interview, a space for rewriting the operation of documentary and narrativity and its tools, tropes, and methods.
I am the wall - waterfalls. I actually want to be distant from the walls. I don't know where I originate, but I know where I finish. I directly fall onto the ground. I spread a bit, but not too much - not to disturb the center of the space.
I am clear, and I don't want to touch the dirty walls.
I am the margins. I am hidden, and I need to be so to be able to blossom afterwards. I am there, I am invisible. I am a thin long continuous line - like a snake. I can be dangerous, but I am necessary.
I am the nail polish sculpture. I am open enough to receive, but not too much. I am disgusting for the outside. Repulsive. I gather the waters that spill from the ceiling. The unwanted, unwelcome waters come to me, to be contained. They are actually clear waters then.
(following is best to be read form the back: word by word; 'I'm' and 'I'll' are to be taken as one word)
I’m the Dancing:
I’m nervous but I don’t move. I want to get out here but I’m everywhere. I’m in everything, watching myself from millions of perspectives. I’m the potential. I see myself lying sitting standing. there is things to change! I’m just there, immobile. I’m nervous.
I’m the black hole:
I’m the black hole that is still black. I’m in front, I’m dark, I’m the source of curiosity, and I’m entropy. I’m at service of your imagination and I’m all those un-captured memories that got lost in the space. Black hole, whole of stuff that can inspire your imagination. I eat everything.
I’m the horizon of the possible:
do you hear me, I’m explosive!
Do you like me, I’m in love
do you think of me, I’m never there where you think
do you want me, you’ll never catch me.
do you kill me, I’ll dance!
Written translations of videos capturing the body movements and gestures of my mum taking care of the domestic environment.
These written translations take the form of poems/scores - set of instructions, sequences of movements.
23 September 2016
I start the translation of the written translation into a dance choreography.
I invent the movements and I try to remember them during the same session. For that I practice what I invented right afterwards, repeating small bits of movements time after time, while trying to add something each time I repeat the sequence. I test the memory of my body in sparkles of joy. I try to build up fluidity and spontaneity of the body starting from a condition of constraint and given instruction.
During the act of translation, I notice how high is the normative strength of choreography.
In the practice both of the care taking gestures that I can reconstruct in my memory through the reading, and in the dance movements I am doing now, the wrists play an important role. I sense how they could be considered the site for tuning (regulating, adjusting) the degree of care one applies through the gesture.
30 September 2016
This second time I enter the resource, I am transforming my first experience and experiment into a commitment.. into a sustained practice.
While addressing this resource, I in fact realize I am also working on the gap `practice`.
It is very difficult at first to cross the threshold of the space of the body, the space of the practice, trusting the letting go of the thought-processes where I am immersed.
After a week passed, I want to test my memory of the choreography by directly diving into it, without reading the written score of instructions.
As during the first time of this try out, there is a video camera as an external device to record my movements and verify my memory from an outside source of documentation. It is also a tool through which I aim at observing my body position, the orientation of it in the space, and how to work on composition.
Hi, look through me. See how it looks like to be seeing yourself doing it.
Use me as a camera to view the commons. See how time slows down and reverses when you take the time to stop doing and start observing.
Use me to see time in reverse: clean dishes gotten dirty reverse into cleanness, cups spread out on the table gather again in one container, dishes pile up inside the sink.
Use me to catch the making of coffee and tee, the arranging and cleaning of the commons, the taking care and the maintenance.
The economic mind-set and mode of production sets in motion a cycle that needs re-production work to sustain it. Care-work is a space-time making which often has the traits of being repetitive and cyclical itself. It often consists of laying the grounds for, of preparing for something, and in so doing it takes place before, after or around the `main` event.
For the economic mode of production, care-work is both marginal and necessary.
It is by shifting the camera to the margins that something starts to vibrate.
By embodying the camera and taking the position of the observation, the body-camera also becomes a focus of attention, teasing the violence embedded in the acts of `capturing` and `releasing`.
The spaces of production and re-production, of activity and receptivity, get expanded and welcome other modes of work and existence.
The tool has got company.
Based on a discussion between Zoumana and Nicolas about the mode of existence of a radicaly Open Space we developed an other frame that shuts light on a specific action or set.
Report from the discussion:
What is the mode of existence of an open space?
How concrete can the Open be? Open to what? Open from where? Open to whom? How is it possible to understand a mode of existence if you you can not / don’t want to answer these parameters?
Can we talk about a 'mode' in the open space or is that already too closing? What kind of specifications does an open space need in order to be openly accessible?
Entering the open space you always will bring an other habitat with you. That habitat will be in communication with the habitat of the open space. Potential, or unavoidable misunderstandings will appear.
If you don’t feel what the habitat is you become careful. A habitat can be exclusive if you don’t understand it. If you then don’t feel the ground it will be difficult to develop a practice. It always will feel alien to practice within your old habitat.
In the open, the open you do not understand yet, everything appears magic!
Magic is improvisation and speculation,
Improvisation as a corporal speculation.
How to let the “angle pass”?
What is the potential of that magic? The stage has a lot of this magic! It is a speculative alteration of the habitat ...
What are the conditions that I allow myself to enter the open?
The stage gives those conditions.
Transformation of the tool:
In the discussion it appeared, that we need a simple framing stage for magic alterations of the proposed habitat.
1) a girl is sitting on a green sofa. She feels cosy,
surrounded by a huge woolen blanket and a white one.
Slowly, the white blanket swallows her.
2) the white blanket is now animated. It crawls from the
sofa onto the floor. It spreads out.
The white blanket makes love with the floor.
3) the white blanket slowly stands up. We can see now that
it is a body covered in white sheet. The form of a ghost.
The ghost moves a few steps away from the sofa.
A little hanky is left on the floor, where the intercourse happened.
Ghost + Floor = Handkerchief