category /0

    • post-graduate program project
    • Block 20/ I
    • Zone Public 20 December 2019
      posted by: Pierre Rubio
    • curated by Femke Snelting & Peggy Pierrot & Pierre Rubio
    • a.pass Brussels
    • 16 January 2020
    • 27 March 2020
    • Zone Public



      Zone Public contributes to an ongoing conversation on the dynamics of publishing generated by technologies of artistic research. From January 2020 onwards, within the a.pass platform for artistic research practices -where its agents continuously re-examine and re-imagine this special form of knowledge production, specifying over and over again its generative nature and deploying its potential-  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.


      In the context of a.pass, the field of artistic research is one to be embodied but also to be explored, discussed and ultimately transversally invented. Instead of a discipline, a.pass considers artistic research as an inclusive library of heterogeneous, impermanent, precarious yet rigorous constructions and affirms that only as a non-discipline, un-discipline or de-discipline can artistic research create the conditions for multiple sites of intersection between society, academia and art. Methodological conflicts, critical discursive inventiveness and continuous experimentation with tentative sub-categories, all are generatively interconnected through hybrid artistic and research practices. Thus, Zone Public wants to closely observe and document the sources, contexts, dynamics, compositions and especially the modes of publicness of the multiple and diverse art and research projects conducted in the post graduate program. The different participatory dispositifs initiated by Zone Public are situated in this specific context, where artistic research is modulated as a topological object to articulate the ways in which artistic practice, theory, history and other disciplines intersect and combine in unique ways in each artistic research projects and trajects. 


      Nevertheless, to consider these diverse artistic researches as singular assemblages, as effects but also as proposals for new combinations implies navigating a space where the separation between what is discrete and continuous is reduced. Thinking/doing, writing/publishing, researching/performing, speculating/archiving, containing/executing, exploring/presenting, disagreeing/collaborating, emancipating/determining… Zone Public wants to question these polarities and tries to articulate a relational material that supports, binds and maintains both the discrete and the continuous scales of a non-uniform zone of artistic research in tension with its publicness.


      Especially, 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.


      What happens to research when it is made public? How to deal with the apparent dichotomy between research and publicness? What are the ways to manage the (im)possible task of (re)presenting something as hybrid and liquid as a research process? How to produce legible forms out of unformed research matters? How to understand publishing beyond legitimisation and validation? What relations emerge from the determining norms of institutional or academic forms of publication? What to expect from the transfer of research to audiences and what would be, for both agents, useful to know? What could be the definitions and practices of spectatorship for artistic research? What could a public for artistic research be?


      Tuned through an ensemble of co-curated proposals designed and coordinated by Femke Snelting, Peggy Pierrot and Pierre Rubio in discussion with the a.pass actors, Zone Public is set up as a collective situation to reflect upon the conditions for making research public, as a space, and time, for together reconsidering academic and/or artistic (internalised) standards of communication and to get to terms with their implications. Therefore, Zone Public is also an occasion to share, invent and consider experimental, performative and/or speculative forms of publishing and exhibiting.


      Zone Public is co-curated by three cultural workers. Each of them arrive with distinct but related practices and approaches to the problems of publishing and they assume each of the participants will arrive with theirs. Pierre is interested in modes of knowing, forms of culture and processes of collective individuation specific to artistic research; Femke brings tools from new-materialist feminisms to the tensions between publicness and ongoingness; Peggy questions how publishing can be defined in other ways than by utilitarianism or fetishisation of the legitimacy ideology and dominant modes of (re)presentation and recognition.



      Zone Public is organised around four dispositifs. Each of them allows another entry into 'the problems of publishing' and is proposed as an invitation to be appropriated and developed.


      1. Multipolar Book Club (Researching / Reading / Discussing)
      Every Thursday morning, a time to read and discuss together. The texts to work with are reflecting upon questions of concretisation and individuation, around intersectional relations between cybernetic control systems and structures of knowledge oppression, on the problems of the public, on entanglements and how to cut, and on usefulness and anti-utilitarianism. 
      When: Thursdays 10h00-14h00


      2. A Becoming Library (Researching / Contributing / Compiling)
      On Friday afternoon, time to work on concrete experiments of research-publishing. On the program: making on-line publications, editing photocopied fanzines, reprinting materials and programing small radio-capsules. What knowledge would be really useful to publish, and for whom? This collection of publishing experiments will form a growing 'library' of content and forms that matter. The group will contextualise and reflect upon this 'becoming library' through the practice of 'compilation'. Compiling is a term borrowed from collective software-development and it is used to describe a practice of iteratively and temporarily bringing together of resources and references to form a running program. Rather than formatting itself according to preformatted templates of art-publishing, artist books, or academic publishing, can one think the infrastructure of referencing and distribution in ways that work performatively with and not against the intricacies of artistic research? 
      When: Fridays 14h00-18h00


      3. The Bermuda Radio Show (Researching / Questioning / Positioning)
      The Bermuda Radio Show is a series of triangular audio recorded conversations. They are occasions to reflect on the issues with ‘making-public’ in relation to artistic research projects conducted at the moment in a.pass. Each project producing possibly its specific form of and matter for interviews.
      When: flexible between Thursday afternoons and Friday mornings or at other possible times.


      4. Close Encounters (Researching / Curating / Hosting)
      On some Thursday evenings, a series of presentations and public conversations that was proposed in the context of the a.pass research center in 2018. (See: https:/// ). Close Encounters are light and irregular events to take time to meet, listen and evaluate an idea, a project, a research, or a specific point in a research trajectory. The events are free-formed and singularly appropriated by its protagonists, but the format is always a dialog with one or more guests; all are invited to expand on their research or the problem posed through the lens of their expertise, experience or concern. For Zone Public, the Close Encounters series will invite guests that have relevant practices with regards to (infrastructures of) publishing and/or making-public and/or art and research publicness. 
      When: most of the time on Thursdays 18h00-21h00



      here more information about the block of which "Zone Public" is a part


      Femke Snelting - Zone Public co-curator
      Femke Snelting works as artist and designer, developing projects at the intersection of design, feminisms and free software. In various constellations she has been exploring how digital tools and practices might co-construct each other. She is member of Constant, a non-profit, artist-run association for art and media based in Brussels. With Jara Rocha she currently activates Possible Bodies, a collective research project that interrogates the concrete and at the same time fictional entities of "bodies" in the context of 3D tracking, modelling and scanning. She co-initiated the design/research team Open Source Publishing (OSP) and formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring. Apart from mentoring at a.pass, Femke teaches at the Piet Zwart Institute (experimental publishing, Rotterdam).



      Peggy Pierrot - Zone Public co-curator
      Peggy Pierrot lives and works in Brussels. She works mainly with different associations and educational or research structures. Her most favourite tools are human sciences and free softwares. Since there are "profound links between gesture and speech, between expressible thought and the creative activity of the hand ", she is currently working at the Ecole of Recherche Graphique (ERG) both as a technical and logistical assistant and as a teacher in Media and Communication Theory. She is also involved in the master's program Récits et expérimentation - Narration spéculative. (Storytelling and experimentation - Speculative Fabulation) She gives lectures and workshops on Afro-Atlantic cultures and literatures, science fiction, media and technology and has an active practice in radio.



      Pierre Rubio - Zone Public co-curator
      Pierre Rubio works as artist, independent researcher and dramaturge. At large and through different forms, his work questions modes of individuation to explore contemporary production of subjectivity in/through the arts. What is real for an artist? is his main research question. Pierre was a dancer and choreographer for a long time, holds a master degree in the arts combining theatre & communication at the campus of Aix-Marseille University (France) and dance & choreography at the campus of Centre National de Danse Contemporaine in Angers (France). Pierre is currently a core member, co-curator and mentor in a.pass - a platform for artistic research practices.

    • Recent Past
    • Research Center
    • Research Center Cycle 1
    • RESEARCH CENTER Cycle 18/19 - Block III Co-Curated by Isabel Burr Raty / Antye Guenther / Adrijana Gvozdenović / Sara Manente / Rob Ritzen / Pierre Rubio / Sina Seifee
      29 April 2019
      posted by: Lilia Mestre
    • a.pass/ ZSenne ArtLab
    • 29 April 2019
    • 28 July 2019
    • case of: Pierre Rubio
    • RESEARCH CENTER Cycle 18/19 - Block III

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

      This summer block marks the end of the first cycle of the a.pass Research Center. After being initiated as a platform for individual research trajectories, the Research Center shifted to welcoming a group of advanced researchers for a period of one year. The last block of the cycle 2018/2019  is co-curated by the group of Associated Researchers. For a three week period - June 24 / July 14 - the work will be developed at Zsenne ArtLab.

      We are happy to work with the following Associate Researchers:

      Adrijana Gvozdenović is an artist who notes, talks, writes, and collects. She is interested in anecdotal and peripheral art, the conventions of exhibition making, artists’ motivations, and responsibility in the general context of art and art-related politics.

      Sina Seifee researches as an artist in the fields of narrative, performance and knowledge production. He has been working on the question of technology and storytelling in the arts and sciences of the middle ages and the past-present of material reading practices in collective life. He studied Applied Mathematics in Tehran, received his master in Media Arts in KHM Cologne and in 2017 finished an advanced research program in performance studies in a.pass.

      Rob Ritzen works as a curator with a background in philosophy, museum studies, art and architectural history. His curatorial practice is focused on self-organised and co-operative formats in close association with cultural practitioners — consciously positioned on the margin of established institutions and outside of market oriented spaces, but in the middle of communities of cultural practitioners. Most recently he co-initiated That Might Be Right, an attempt to reconfigure the politics of making art and alternative forms of production and presentation.

      Isabel Burr Raty is a performance artist based in Brussels interested in the ontological crack between the organic and the artificially engineered, between the unlicensed knowledge of minority groups and the official facts. Her research interweaves new media, body art, lectures, installations and participatory performance to propose hybrid narratives and bio-autonomy practices that play with synthetic magic and compose in situ Sci-Fi.

      Sara Manente lives in Brussels and works as a choreographer and performance artist.
      Her projects start from an understanding of dance as a performative language and exist at the limit of the choreographic: texts, dance pieces, films, workshops, experimental performances, artistic researches and collaborations.
      At the a.pass Research Center she is gathering knowledge on fermentation techniques in order to consider her research from a perspective of bacterial/interspecies ethics and aesthetics.

      Antye Guenther, born in former East Germany, has a theory based visual art practice dealing with epistemological questions within the realms of technology, post-humanism, science fiction and fictionality of science. Since her fellowship at the Jan van Eyck Academy in 2015-2016, Guenther, who has a background in medicine, is investigating neuroscientific research and imaging, particularly in its entanglement with neoliberal corporate structures and ideologies.

      For this co-curated current block the Associate Researchers will be supported by Pierre Rubio as the Research Center curator.

      Pierre Rubio (France, 1962) works as an artist, dramaturge, and independent researcher. His practice at large aims at re-negotiating habitual modes of individuation by using displacement and speculation as a methodological principle. He often uses ‘as if’s’ processes -alone or in collaboration- to investigate technologies, cosmologies and ideologies of artistic and research practices in relation to the production of subjectivity. Rubio is currently co-curator of the postgraduate artistic research institute a.pass (Advanced Performance and Scenography Studies_a platform for artistic research)

    • Workshop
    • a.pass Basics
    • Block 13/II
      posted by: Pierre Rubio
    • 24 June 2013
    • 28 June 2013
    • case of: Pierre Rubio


      Every block, a.pass organizes ‘b-workshops’ that focus on the basic principles of a.pass as a working environment. ‘How about Critique, Criticality, Crisis?’ ties in on a field already explored by ‘Feedback and Critique’ in July 2012. Whereas the previous workshop focused on several feedback techniques to clarify the nature(s) and function(s) of feedback within a collaborative and self-organized artistic research environment, this one will focus on the challenging issue of ‘critique’.

      What does critique aim at, and how does it epistemologically operate? How can we deal with its problematic relation to judgment and truth? What’s the relevance of critique within a system of criticality to overcome the vicious circle of belief and denunciation? What’s the role of discourse and theory in one’s research and practice in order to go beyond backing up one’s work but rather challenging it, eroding it, posing problems to it? Is discourse solving the crisis of practice or should it rather impose a crisis on practice?

      From critical readings of several texts on critique and criticality to film and performance analysis, from case studies to role-playing, we will come up with refreshed definitions of critique and renewed objectives of uncompromising aesthetic.



    • Workshop
    • ARTIFICIAL REALITIES #2 Magical Materialism
      05 November 2016
      posted by: Pierre Rubio
    • Pierre Rubio
    • 10 October 2011
    • 23 October 2011
    • case of: Pierre Rubio



      Let’s sit in a circle to talk about magic.

      And then, let’s practice alchemy…

      This workshop is the continuation of a series. A “first episode” happened during last spring, a new one happens this fall. They both seek to detach our research projects from an essentialist and naturalistic approach. Their common aim is at (re)problematising for (re)capturing the strategies of construction and thus the theories of knowledge which our singular researches investigate and produce. If the Spring workshop’s keyword was ‘attachments’, the second step will be entirely contaminated by the notion of ‘magic’. We will take a trip into the wonderland of in-differentiation between cultural and natural, object and subject, figure and background, and more important, theory and practice.

      At first, during three days, we will re-consider our research projects under the influence of two singular analysis of magic : respectively Gilbert Simondon’s and Isabelle Stengers’.

      Far from considering magic as an obsolete historical object, Simondon’s notion of the magical is that of a world structured by a network of privileged places and privileged moments. Let’s compare this magical structure of the world to our projects, as if they were worlds in themselves.

      With the help of Stengers, our ‘favourite witch’, we will track the evil spells of capitalism as well as “the thoughtlessness encouraged by the theme of progress” and any kind of prescriptive power discourses. Logically we will then question the potential of politics’ re-invention through our artistic researches, the level of “empowerment” they produce and the possibility of “reclaim” they generate.

      During a second period of an entire week, we will turn a former shop (turned recently into an art gallery) into an alchemy laboratory to transmute our projects into something other. The basic idea is that if one takes distance from one’s own project by moving it into unexpected contexts, this allows the discovery of ‘attachments’ and “othernesses” to enrich the ‘original’ project. Taking seriously what practice means and is capable of, let’s engage in a risky path from familiar individuals to unfamiliar singularities, from experiments to experiences, from “matter of facts to matter of concerns”.

      The magical world is not a fascinating ethnographic object but “a mode of existence” to which individuals, as well as collectives, (and also artistic research projects...) can come back, if they endure the ordeal of disindividuation. “Disindividuation is a lack in structure” that happens when organisations that make us see, think and act break up, making us paradoxically available to invent other ways of seeing, thinking and acting. Welcome to the post-rational shamanistic academia!


    • Workshop
    • ARTIFICIAL REALITIES #1 Displacements and Attachments
      05 November 2016
      posted by: Pierre Rubio
    • Pierre Rubio
    • 30 May 2011
    • 03 June 2011
    • case of: Pierre Rubio


      Often artists and researchers still hold on to the illusory idea of their material having a ‘natural’ ‘essence’. Let us for a moment take some distance from this essentialist and naturalistic approach, let us consider our research projects as artificial constructions, which thus can be problematized and turned into stimulating and productive networks. Artificial Realities aims at a rediscovery of our projects by a momentary over-artificialization: first by re-mapping our projects and by doing so understand/capture the strategies of ‘assemblage’ and thus the theories of knowledge which they formulate; and secondly by opening up horizons of possibilities for further developments and speculations. The basic idea is that if one takes distance from one’s own project by ‘moving’ it in unexpected contexts or by ‘translating’ it in non familiar languages, this will allow the discovery of new components and new ‘attachments’ that will enrich and stimulate the ‘original’ project. Or in other words: developing an otherness by experiencing and exploring “as if's” to get out of the over-territorial and locked perception of “our” projects. Let's re-construct, re-imagine, re-invent “our” substrata. Let's science-fictionalize “our” “problems” and speculate ... cartoons... models for societies... newspapers... fictions... messages for eventual extraterrestrial forms of life... social practices... TV programs... religions... and more. Artificial Realities will develop through different steps: from identification of central issues in the practice, problematization, to several experiences of transfers, translations, displacements, parallax shifts, etc. The workshop includes reading sessions (Bruno Latour's On the modern cult of the factish gods and Factures/Fractures), individual work, group presentations and discussions.

    • a.pass Basics
    • Block 15/II
    • ECOLOGY OF AFFECTS 28 March 2015
      posted by: Pierre Rubio
    • Pierre Rubio / Geert Opsomer / Pierre Joachim
    • 25 May 2015
    • 29 May 2015
    • case of: Pierre Rubio



      “The supreme mystery of despotism, its prop and stay, is to keep men in a state of deception, and with the specious title of religion to cloak the fear by which they must be held in check, so that they will fight for their servitude as if for salvation.”
      Spinoza, ‘Tractatus Theologicopoliticus’, 1670


      “There is an ecology of bad ideas, just as there is an ecology of weeds”
      Gregory Bateson, ‘Steps to an ecology of mind’, 1972


      “There is only desire and the social, and nothing else.”
      Gilles Deleuze-Felix Guattari, ‘Anti-Oedipus’, 1972


      “The question of subjectivity is now returning as a leitmotiv. It’s not a natural given any more than air or water. How do we produce it, capture it, enrich it, and permanently reinvent it in a way that renders it compatible with universes of mutant value? How do we work for its liberation that is for its resingularization?
      Felix Guattari, ‘Chaosmosis’, 1992


      “A revolution is as much a reorientation of our affective relations as it is of social relations and cannot be one without the other.“
      Jason Read, ‘Economies of Affect / Affective Economies’, 2013



      Every block, a.pass organizes ‘b-workshops’ that focus on the basic principles of a.pass as a collaborative artistic research environment.

      This B-workshop ‘Ecology of Affects’ wants to address critically the production of subjectivity. We will put into discussion Spinoza’s theory of Affect in the ‘Ethics’ and Guattari’s critique of Capitalism's exploitation of Desire by reading closely a series of texts from the 17th up to the 21st century. With the help of two guests, Pierre Joachim and Geert Opsomer, we will study these philosophical and critical key notions but also discover how Pierre and Geert put them into practice and consequently how we can do so as well.

      Can we associate sadness with the outcomes of our capitalist world?
      Are we affected so much by capitalism that we can only sadly survive in what seems to have become its ‘nature’?
      Can we still affect the world?
      What could a joyful passion mean today?
      Is a joyful passion subversive?
      How can we create the conditions for joy to be possible?
      Is it by re-allocating desire that new joys can emerge?
      Can artistic researches produce a change?
      How can agency be created with aesthetic means?
      Could we critically re-combine ethics and aesthetics to reclaim the transformative power of our researches?
      What could be the nature of an ecology of affects that has the potential to produce a change?

      The workshop will make use of an elaborate reader that will be shared with the participants well in time for the workshop.


      The workshop is curated by Pierre Rubio




      Geert Opsomer

      Geert Opsomer is a German philologist, theatre scientist and dramaturg, teacher at the director’s department of the RITS and artistic collaborator of the arts centre CAMPO. Between 2001 and 2007 he was the artistic director of Nieuwpoorttheater in Ghent, which in 2008 fused with the theatre company Victoria to become CAMPO. Within CAMPO Geert Opsomer organizes the Plateau/Platform for Artistic Nomads, which is the artistic research department of CAMPO.

      An extension of this research platform turned into the celebrated CAMPO production ‘A l’attente du Livre d’Or’, selected for the Dutch Theaterfestival in 2010. Together with Johan Dehollander and a strong Belgian-Congolese cast, Opsomer made a joyful-anarchistic assemblage piece about Congolese comedy and Western tragedy. The jury praised the piece as a pioneer in the construction of connections between local and international practices, allowing them to strengthen one another.


      Pierre Joachim

      Pierre Joachim studied architecture (la Cambre, Belgium) and philosophy (ULB, Belgium). He has been exploring interactions between ‘theory’ and various practices, from architecture to pedagogy, social work, or dramaturgy. Rather driven by collaborations born from joyful encounters than any specific field of expertise, his main recent activities are writing and research collaborations with psychoanalyst Kathleen Rochlenko, performance and installation creation with Alexandre Le Petit (Verso Natura) and architectural conception. He is actually working on a blog and inquiry project. Spinoza’s Ethics have often offered him a precious tool for thought and collaboration.

    • a.pass Basics
    • Performance / Performativity / Objects / Subjects 24 November 2014
      posted by: Nicolas Galeazzi
    • Pierre Rubio, Elke Van Campenhout
    • 19 January 2015
    • 23 January 2015
    • case of: Pierre Rubio
    • Performance / Performativity / Objects / Subjects



      ‘Performance / Performativity / Objects / Subjects’ is an a.pass basics-workshop covering some of the basic knowledges we share on an (almost) daily basis in a.pass, and that need some in-depth attention.

      In this workshop we will read texts and discuss the problematics from the point of view of objects and subjects: how does an object perform its objectness and how does it perform us. In other words: how does the object perform our subject-ness. And how does the subject perform the object. Or: how can we replace our subjectness by objectness and what does that entail?

      In other words, although the basic performativity texts like the ones of Judith Butler and the speech act theory of Austin will certainly play a role in the backseat, in these reading sessions we will concentrate more specifically on Object Oriented Ontologies like the ones of Timothy Morton, the extended concept of ‘the democracy of objects’, go deeper into the concept of ‘compositionism’ as coined by Bruno Latour, revisiting phenomenology with Sara Ahmed through her (queer) concept of 'orientation' and mobilizing metaphorically the notion of 'ventriloquism' by reading some pages of François Cooren's ‘Action and Agency in dialogue’ . 

      What if human interactants were not the only ones to be considered, paraphrasing Austin, as “doing things with words”? That is, what if other “things” could also be granted the status of agents in dialogical situations?

    • a.pass Basics
    • "general intellect ? - it's not about you, stupid !" 01 July 2014
      posted by: Guido
    • Pierre Rubio / Elke van campenhout
    • 03 March 2014
    • 07 March 2014
    • case of: Pierre Rubio
    • ‘General Intellect? - it's not about you, stupid !’ will explore and question a basic parameter of the apass environment : the relation between the individual and the collective. What is this relation, how does it function? Is it the individual that creates the collective? Or is the collective the base structure on which individuals can work and organize themselves? Specifically within an artistic research environment where the institution is constantly reformulating itself out of a multitude of individual inputs and where the individuals, in a state of crisis, are constantly self-constructing, confronted and challenged by a collective project.

      Can there be a mutual constitutive relation? A relational machine we can call ‘General Intellect’ or ‘Transindividual Space’ operating between and through the individuals, creating an 'ensemble' through their practice?

      From reading sessions to diverse practice formats, we will come up possibly with refreshed perspectives on what collective working and thinking can do.


post-master program
pre phd-program
to be discussed

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