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    • SELF / Throughout the block each participant develops a self-interviewing practice. The self-interview develops through the individual 'journeys of practices and researches'. During opening week we will introduce possible strategies for self-interviewing and start up the process. During the End Week we will share our results or work in progress. (for inspiration (and fun)... https://youtu.be/o51RdZBsv0w)

      PEER / On top of the dedicated mentoring and the self-interview practice you will also mentor - and be mentored by -a peer participant who will follow you throughout the whole block. You meet with each mentor (at least) twice throughout the block.

      This list shows the chains of  mebtorings: A mentors B, mentors C ...

       Mentored byMentoring
      Isabel Burr RatyThiagoVanja
      Thiago AntunesKleoniIsabel
      Ricardo Santana (PhD)VeronicaEsteban
      Esteban DonosoRicardoKleoni
      Tinna OttesenHektorMavi
      Mavi VelosoTinnaYaari
      Yaari ShalemMaviHektor
      Hektor MametYaariTinna
      Audrey CottinVanjaAdriana
      Kleoni ManousakisEstebanTiago
      Vanja SmiljanicIsabelAudrey
      Marta Verónica Cruz CamposAdrianaRicardo
      Adriana La SelvaAudreyVeronica

    • Event
    • Block 15/II
    • MAGIC NIGHT 25 July 2015
      posted by: Pierre Rubio
    • 24 July 2015
    • MAGIC NIGHT

       

       

      This is the time to come together.

      To celebrate what we worked on.

      To transform our preconceptions

      of rituals, of magic, of transformation itself.

      A pilgrimage of the self into the common

      and back again.

       

      This is a transformational journey

      that displaces our relation to our bodies, to nature, to objects

      by recognising the recuperation and commodification

      of these relations by capitalism.

       

      We come together

      To inspire different ways for counteracting

      oppressive operative systems

      of knowledge, love, work, and metaphysics.

       

      We come together

      To create a counter-spell for colonising forces

      that suppress, limit, undermine our natural virtual powers

      to resist, to perform, to be part of the world.

      To create a shared awareness of the recuperation of magic,

      of ritual commodification, of the reduction of everyday life

      by machines of correction,

      perverting our desires,

      crushing our potential selves.

       

      The world is full of magic unaccounted for

      We need to acknowledge its power

      and share it with others to empower their lives and dreams.

      We invite you as helpers, as energetic vessels

      to play with, to discover new ways of being together

       

      The artist can be the poetic warrior

      fighting for power and courage

      awakening the sense of self

      to write his alternative myths on the surface of reality

       

      Tonight we have the opportunity to experience and experiment the no-difference

      between the I that performs, and the you that undergoes

      Not as a closure but as a beginning

      A nudge to push us over the edge

      to allow us to spill over, grow wings

      and launch into transformation.

       

      We celebrate our schizophrenic adaptations

      of foregone cultural debris

      of ritual rumours and phantasies

      into operative practices for today’s crises.

      No exotic imitation

      but inventive re-draftings

      of what it is to be:

      a hybrid magic body

      that reinvents itself and all there is

      every day anew.

       

      We are virtual bodies,

      filled to the brim with knowledge

      we can not grasp through lack of words,

      we can not operate through lack of awareness

      we can not read through lack of skill.

       

      We are virtual bodies

      that have the power to overcome

      the limits of fear, guilt and physicality.

       

      We are beings on the edge of awakening

      generous souls that want to share their transgression

      expanding it over the edges of the precious circle

      into the heart of the matter

      into the matter that matters.

    • block information
    • Block 15/II
    • UNTOUCHABLE / UNACCEPTABLE / INTANGIBLE- about the imaginative aesthetics of change 31 March 2015
      posted by: Nicolas Y Galeazzi
    • BLOCK 15/II
    • 01 May 2015
    • 29 August 2015
    • CURATED BY PIERRE RUBIO
    • case of: Pierre Rubio
    • UNTOUCHABLE / UNACCEPTABLE / INTANGIBLE_ about the imaginative aesthetics of change

       

       

      What is the possible relationship between art and social change? When forced into the corner of economic demands on the one hand and the need for aesthetic subversion on the other, a lot of artist workers feel the need to defend their ‘right to be’ through critical strategies and political transparency. In defence of the power of aesthetics this block tries to pry open the difficult paradox between criticality and imagination, between the power of the subject and the passive resistance of the object, between political critique and artistic re-imagineering strategies.

      In a famous essay, Isabelle Stengers borrows from Dostoevski, through Deleuze, a conceptual character : the Idiot. Stubbornly believing that “there is always something more important”, the Idiot slows everybody down and consequently opens ‘interstices in the soil of good reasons’. During this block, we will use this Idiot figure as a conceptual totem, ‘in the presence of which’ we might challenge our aesthetic certainties and ethical values.

      Over the past decade a renewed interest occurred in the arts in practices that have been labelled as ‘neo-animism’, ‘neo-shamanism’, ‘object oriented performance art’, ‘speculative’, etc.... These movements seem inseparable from the general crisis of modernist avant-garde forms of art that, one way or another, based their authority on the exclusive reference to progress, universality, authoritarian formalism, self-referentiality, critical conceptualism and so on and so on.... In that sense they announce a large and deep unfolding crisis, because one does not get rid so easily of the Modernist agenda of aesthetic and political concerns that has served as a compass for the Euro-American art scene since its unfolding at the beginning of the 20th century. Nevertheless, a necessary crisis, because the aesthetic mind frames of the current arts scene are blind to the actual novelty of the current era, marked by a reevaluation, through practice, of the models of production of aesthetics and subjectivity.  New models that pose a threat to the accepted contemporary artist identity and its well-defined role within society. "New Age fabulation!, Idiotic!, Superficial!, Overly therapeutical!, Dangerously spiritual!, Fuzzy dreams!, Pseudo-Metaphysical!, Not serious enough!…", a whole bunch of despising critiques erupt regularly. Mocking what produces discomfort and what demands a redefinition of the ways one reads art and ultimately of who one is.

      Here in a.pass, when we practice and discuss the outcomes of aesthetic speculations, of magical practices and of spiritual performativity, it is because these practices/modes of thought are too often defined as purely utopian, ineffable, abstract or just disconnected imaginations unable to get a grip on reality. In response, we want to consider them as forms of agency, concerns, as localized potentialities. The sense we can make out of such unacceptable, untouchable, intangible proposals are linked to their consequences, to the modifications in the understanding of the present they perform.

      Animating objects to animate our agencies.
      Fictionalising  the real as a critique to produce alternatives to ideology.
      Speculating on the impossible to construct a possible.
      Considering imagination not as escapism but as an operative vehicle for change.

      The unacceptable reveals the limitations of the acceptable.
      The untouchable foreshadows the adventurous discovery of difference.
      The intangible offers a speculative sense towards the radically other.

       

      Pierre Rubio, March 2015

    • block information
    • Research
    • Block 15/II
    • The House of Spirits 31 March 2015
      posted by: Nicolas Y Galeazzi
    • a.pass research centre
    • 10 May 2015
    • 24 July 2015
    • The House of Spirits

      The House of Spirits is a common space for the (re)collection, digestion and transformation of the traces of the individual researches and workshops. The House opens up a space for the shamans/conservators of the Research Centre, as well as some of the participants. Every week another shaman practices in the House of Spirits, working with the case objects of the participants or with left-overs of the workshop, developing a shared ritual for the a.pass group. The strategies of the shaman include reordering, cataloguing, magical transformations, ritual alchemy, displacement and fictionalisation.

      Every shaman puts the individual case traces in another context, allowing them to resonate and breed new meanings and connections. The shamans together develop the Book, which documents the changing protocols regulating the workings of the House.

      The beginning of every week (Monday evenings) is marked by a shared ritual with the participants, in which the reading of the shaman/conservator is revealed and the new shaman takes possession of the House. After the ritual the group engages in the weekly reading session (the Reading Circle).

      At the end of the block (just before end week), the House of Spirits opens its doors to the public. In the form of a weeklong celebration, a curated exhibition, a mini-festival, a performative conference, or whatever at that point seems to be the most relevant to the group, the House functions in that week as a kind of temporal 3D publications that offers guests an insight in the work developed throughout the block.

       

    • Workshop
    • Block 15/II
    • TOWARDS A COLLECTIVE RITUAL 29 March 2015
      posted by: Nicolas Y Galeazzi
    • Oscar Parada
    • a.pass
    • 22 June 2015
    • 26 June 2015
    • TOWARDS A COLLECTIVE RITUAL

      In this workshop Medicine Man Oscar Parada proposes hologenic breathing techniques, re-birthing, sound evocation, Zen Buddhism and ritualistic elements from the Amerindian cosmogony as ways to explore the sacred. The workshop has as objective to engage and reproduce the sacred in connection to the performative ritual space. Which means: to perform a transformation. It is this transformation we can call 'medicine'.  Medicine is understood here as everything that transforms us.  

      In the first place this workshop proposes techniques and practices to open the body not only as an artistic tool but also as a medicinal one. Secondly, the workshop is also a research into creating individual and collective rituals in different ways. We will question and challenge the limits of what ‘self’, ‘presence’ and ‘relation’ mean. We will open different space dimensions to find in ourselves ways to discover, recreate and relearn our personal ritualistic spaces connected to our memory. The different sessions will produce a possible catharsis for the participants to create a collective healing ceremony.

      The last day of the workshop will be directed at questioning and clarifying the individual and collective experiences. We will take time to hear Oscar Parada talking about his concerns, the way his practices make sense to him and how he perceives their possible consequences.

      Some questions that will be addressed throughout the workshop:

      What is a ritual and how can we use our bodies as tools to access a ritualistic space? Could rituals be keys to enter the invisible world and render it perceptible to us? Are ritualistic practices ways to open a specific space inside us but connecting us as well with the outside? How to navigate the body for it to become an instrument that can reveal those spaces?

      What is the epistemology supporting the ritualistic practices? What are the tools and symbols at work to create a healing ceremony? How to realise that a mere procedure can escape the mechanical, become a ritual and perform power?

      What is a sacred space? What could be a pre-religious sacred space? Why would we need rituals, ceremonies and sacred spaces? What can they do?

       

      Subscription for this workshop is unfortunately no longer possible. All available places are taken. 

       

       


      Biography

      Medicine Man Oscar Parada

      Master in Traditional Chinese Medicine

      Healer master in Reiki, Acupressure, Jin Shin Do, Shiatsu and Do In


      Taoist Yoga instructor: Chi Kung, Dao jin and Ba Dua Jing

      Received his ordination as a Bodhisattva Monk in Zen Buddhism more than 20 years ago, receiving the name of Do Sei.


      Zen- Za-Zen meditation instructor

      Martial artist: Aikido, Wing Chun, Tai sword and Katana

      Music therapist

      Professional Rebirther and healer in the art of the breath



      Coordinates a self-healing school in Bogota, Colombia: El Centro de la Respiración Conciente


      Director of the Tierra Humana Foundation.



       

      He has been training actors for more than 15 years, from a perspective that defines the actor as a social healer and the origins of theater as collective cathartic rituals.

      Medical anthropologist and researcher of different healing systems from different cultures, he has specialized in the Tibetan Buddhist system, the Greek catharsis techniques and the Sotai from Japan.


      In order to integrate his knowledge as a Medicine Man he has embraced the ways of the Native American Wisdom and works and learns with other medicine men of North and South America.
 He has been walking and learning with traditional indian medicine for more than 15 years.
 At the moment he prays and prepares the medicine with the master Don Segundo Navia Mutbajoy of the Inga tribe of the Putumayo jungle. He also works and learns with Hilario Chiriap, Shaman of the Shuar tribe of the Ecuador Amazon, participating in the cutting, preparation and praying for the ancestral ceremony of the initiation of the NateMamo. In the year 2000 he began his formation as a Spiritual Leader and Medicine Man in the Native American Tradition of the Sacred Fire of Itzachilatlan. He received the blessing as Fire Man, the water blessing of the Temascal and the Sun Dance Drum blessing, 13 days Vision Searcher, Carrier of the Channupa (sacred pipe), Carrier of the Moon Prayer. He has guided for the last 4 years vision quest processes in Colombia and since last year in Greece.


      Walker of the Medicine Circle of the Hicuri grandfather, he is initiated in this way with Emerson Jackson, medicine man and spiritual leader of the Navajo People. For several years he accompanies Uncle Fred Vasquez, Medicine Man of the Teocalli Tlanezi branch of Mexico, of whom he receives the instruction of the ceremony of the the 4 tobaccos. He presently collaborates and learns with Tomas Adriano Perez, carrier of the Medicine of the Huichol tradition of North Mexico, with whom he opened the ceremony of the 4 Inipis to support the Sun Dance prayer in Colombia.

    • Workshop
    • Block 15/II
    • THE UNSEEN WORKSHOP 29 March 2015
      posted by: Nicolas Y Galeazzi
    • Abu Ali * Toni Serra
    • 08 June 2015
    • 12 June 2015
    • THE UNSEEN WORKSHOP

      Abu Ali * Toni Serra is researcher through video. He hosts and programs the Observatori de Video No Identificat based in Barcelona - an Observatory Archive, that is structured around particular themes, which encourage a critique of contemporary culture and society,

      Using strategies of video art, independent documentary, and mass media archaeology embedded in this archive as source and tool to engaging with some of the dreams and nightmares of our times, he organizes frameworks for practicing and discussing perspectives beyond the visible.

      For the workshop at a.pass he offers a selection of footage, which directly deals with the ‘Unseen’. Based on these projections he will experiment with us on practices of not seeing. Challenging the relation between the gaze and action, vision and perception, the imaginary and the experienced, we will cruise through a network of text, video, and physical practices that open the vision for the unseen and the un-seeing.

      Normally we associate image with vision. But in a society of the spectacle images have become a form of blindness - an increasing veil, that prevents us from viewing. Our visions remains a prisoners of the images constructed by the entertainment, media and network apparatus, which not only tries to shape our vision but to colonized our dreams.

      We need to experiment and to experience the Unseen as a way to live the plenty of a reality, that finally can not be appropriate, represented or de-fined by any means. The Unseen is the source of the limitless ‘all’, and can not be confined in a narrow horizon.

      Here, closing your eyes means open them to another dimension, and not only disrupt the hypnotic flow of objective images, but "stops the world" around it to see. It is in this reality where a non return trip starts, beyond or before dualism: interior - exterior, to compose a world without borders between wakefulness and dreams, real and unreal, life and death.

      Find more information and content on this blog: 

       


       

      Biography

      Toni Serra * Abu Ali Barcelona 1960

      www.al-barzaj.com

      Lives in between Duar Msuar (Morocco) and Barcelona (Spain). videos, mass-media archaeology,texts and other submedia

      Member of OVNI Archives, he is also working in the research  projects: Ru'a [visions] , disReality, The Colonial Dream, and Babylon Archives,..

      His videos explore different visions between the essay and the poetry, with an evocation of trance and the realities of dream. His first works in New York and Tangiers were questioning the beauty and mystery of the ephemeral and marginal. In 1998 he finishes the TV Codes series: a critical immersion into the mass media mechanisms of alienation, a deconstruction and its hypnotical creation of social and identitary models. His last videos immerse into the relationship with the visionary, into the inner experience, the no man’s land between real and unreal, dream and awakeness, poetry and prophecy.,..as a way to deepen the criticism of reality.

      As a founding member of OVNI Archives - Observatorio de Video No Identificado (www.desorg.org), he was doing research and programming around Exodus, The Margins of the Empire - Colonial Dream and Autononous Zones,  Resistances, Rhizomes, disReality, Oblivion etc.

      He is also founder of the research project Ru'a [visions] www.ru-a.org: An intersection between western criticism and the islamic rhizome. To deconstruct the media monotype imposed on islamic realities. A reflection on the image in its relationship with the dream and visionary and on the images ability to project reality.

       

    • a.pass Basics workshop
    • 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
    • ECOLOGY OF AFFECTS

       

       

      “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

       

       

      Biographies

      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.

    • Workshop
    • Block 15/II
    • SIX DEGREES OF SEPARATION 23 March 2015
      posted by: Nicolas Y Galeazzi
    • Peter Stamer / Luanda Casella
    • 29 June 2015
    • 03 July 2015
    • SIX DEGREES OF SEPARATION

      In 1969, the American psychologist Stanley Milgram designed a study to explore if two randomly selected individuals, strangers to each other coming from different American states, are nevertheless connected by acquaintances in between. Starting the test in Kansas/Nebraska, linking people to one individual in Massachusetts, the experiment suggested that an individual knows of any target person only by six degrees of connecting steps: Mr X from Kansas knows someone who knows someone who knows someone who knows someone who knows someone who knows Mrs Z, living in Massachusetts. Even though this experiment showed some flaws in its methodological design, it seemed to prove a fascinating idea which the Hungarian author Frigyes Karinthy had already carried out in his fictional essay ‘Chains’ in 1929. In this text the writer even suggested that the population of the whole planet, not just from a region in the United States, was closer together than it had ever been before: “We should select any person from the 1.5 billion inhabitants of the Earth - anyone, anywhere at all - and, using no more than five individuals, one of whom is a personal acquaintance, one could contact the selected individual using nothing except the network of personal acquaintances.”

      What Karinthy and Milgram were dealing with is now known as „The Small World Problem“, a popular research method, especially in times of immaterial communication or social networks like facebook, trying to merge mathematical parameters of statistics with marketing tools to improve accessibility to one’s consumer behaviour. And yet, the thought is fascinating: that everyone of us is connected with anyone on this planet of now 7.5 billion inhabitants, regardless of race, cultural background, continent, religion, age. Next to the political implication of such a thought this idea provides us with a resourceful generator for stories, narratives, fictions about human beings and their lives.

      Six Degrees of Separation is based upon the desire to create contemporary storytelling formats in which we explore fiction in shared narrative practices - narratives without a centre plot, but composed of biographical fragments, travel experiences, random encounters, figments of imagination - and maybe very little resolution. We believe that the world is full of stories, told ones and concealed ones, voiced ones and mute ones. Stories that we fantasize are not less true; digging them out and rendering them audible creates a multiplicity of narratives which form a large tapestry of events, a patchwork of textures, interwoven in such a fashion that they somehow may exist on the verge of being. Using a mixed media apparatus (Google Earth; Skype; Google Docs, Facebook, Twitter, etc), we will go through different storytelling exercises focusing on the construction of evasive, critical, imaginative narratives in order to create a common imaginary in the end. So what is it that holds the world(s) together?

      References/Literature: Sophie Calle: Exquisite Pain and other writings; George Perec: “Life – A User’s Manual”; “Species of Spaces and other pieces”, Alfred Hitchcock: “Rear Window”; ‘The Phantom of Liberty’, film by Luis Bunuel, 1974; ‘Street Scene’ by Bertolt Brecht; ‘Theatre of the Oppressed’ by Augusto Boal; ‘Phone Booth’ (film) by Joel Schumacher.

       

       

      Biographies:

       

      Peter Stamer works as director, dramaturg, mentor and curator in the field of contemporary theatre and performance. In his projects he is mainly interested in the potency of bodies and their potential for language. His performance and theatre projects, realized all over Europe, also led him to China, Egypt, USA, or Israel. His recent works include a.o. The Path Of Money, a documentary/theatre/installation on a travelling banknote through China; the performance For Your Eyes Only on story telling and blindness; or The Big Event 1 – 3, a documentary theatre play on the assassination of John F. Kennedy (with toxic dreams). Lately he has been working on the international building-performance-project A Future Archeology within which spatial structures in Berlin, Vienna, and Cairo were to be built during five months in 2013. He just finished the New York phase of the project 26 Letters to Deleuze on the Abcédaire of Gilles Deleuze for EMPAC in Troy/New York.

      (www.peterstamer.com)

       

      Luanda Casella is a Brazilian writer and storyteller, living and working in Belgium since 2006. Her research focuses on the ways individuals relate to narratives in order to create a sense of identity, to form their opinion of the world, and ultimately to protect themselves. As a writer she's interested in magic realism and in all forms of prose where fictional elements are incorporated in the narratives with the same relevance as real facts — strongly believing that fantastic attributes given to characters and settings give us the freedom we need to address the often phantasmagoric social realities of our history. In her performance work she's concerned with finding techniques to produce hypertext fiction on stage. In other words, to expose the audience to an experience of co-authorship, where viewers are engaged in making intellectual and emotional associations to the completion of the story. In the context of the storytelling format "live-book" — an interaction of spoken word and live jazz music — she connects the experiences of 'reading' to that of 'watching a jazz concert' and builds (with prose) a space for free interpretation. Extremely influenced by plastic theatre, her stage narratives are enhanced by the use of paratextual material — in the form of video projections of written content, maps, objects, costumes and props — suggesting purely poetic truths.

      (www.luandacasella.com)

       

    • Workshop
    • Block 15/II
    • THIS PLACE 23 March 2015
      posted by: Nicolas Y Galeazzi
    • Sara Manente / Marcos Simoes
    • a.pass
    • 01 June 2015
    • 05 June 2015
    • THIS PLACE

       The workshop unfolds a series of extra-sensorial practices as tools for collaboration in groups, couples or with objects. The dispositives, for example the telepathic approach, offer the possibility to create a third existence which is ‘a self’, an entity other than us, with its own qualities and ability to perform in an attempt to include chance and other contingencies in the work, to destabilize power relations based on linear logics and to questions the effect of belief and make-belief in a performative environment. Can we create magic by creating the rules for magic to happen? Like an ‘experimental magic’ without magicians? Is it possible to empower an object, a person, a situation through speculation and prediction?

      The workshop will start with a daily practice of writing questions for a tarot reader. What would you like to ask the cards? What do you need to know? How will the formulation of doubts affect you? We will offer three different performative tools to be explored and then appropriated into your own project. These practices were the starting point for the one year project called “This place”, during which we collaborated with 8 artistic couples to make and present 8 performances inspired by ‘paranormal’ experiences between people who know each other in an extra-ordinary way.

      For the workshop “Place this”, we want to discover the transformational powers of this knowledge in different constellations: individually, with objects, in couples, trios, groups. With the stubbornness of ‘the idiot’, we will practice and question again and again opening up the creative process to the material and the immaterial.

       

      this place, Sara Manente, Marcos Simoes : photograph Marcello Mardones


       

       

      Biographies

      Sara Manente

      °1978, lives and works in Brussels.

      Born close to Venice in 1978, she began practising ballet at an early age. In 2003, she completed a degree in Communication Sciences at the University of Bologna with a graduate thesis on Semiotics and Dance before moving to Belgium with a research scholarship at the Univer- sity of Antwerp. In 2007 she attended the Royal Academy of Fine Arts of Antwerp (In Situ department) for a year. In 2008 she completed the post-master’s programme of a.pass at deSingel (advanced performance and scenography studies, previously A.P.T).

      Sara Manente works as a choreographer and performer.

      Since 2004 she has made performances, videos and research projects of her own and in collaboration, namely with Marcos Simoes, Ondine Cloez, Michiel Reynaert, Alessandra Bergamaschi, Constanze Schellow, Hwang Kim and the members of Cabra. Some of her works: Democratic forest (research project and workshops, 2008-2009), To park (per- formance installation, 2008-2010), Some performances (video, 2008), Lawaai means Hawaai (trio after two previous projects on noise and dance, 2009), Grand Tourists (experimental in-situ project, 2010), Not not a lecture (lecture performance and publication, 2011), Faire un four (quartet on the making of 4 similar and 4 different, 2011), x: I liked B better/ y: I am 29 too (telepathic experiment between North and South Korea, 2013), This place (a series of performances based on ESP and tarot reading made in two weeks with seven differ- ent artistic couples, 2012-2014) and Rita (video and performance of a joint Cabra project, 2014). As a performer, since 2009 she has been working for Juan Dominguez, Kate McIntosh, Aitana Cordero Vico, Marcos Simoes, Jaime Llopis, Nada Gambier and Gaëtan Bulourde.

      Sara is one of the founding members of the association CABRA vzw facilitating the work of seven artists: Sara Manente, Marcos Simoes, Norberto Llopis, Jaime Llopis, Santiago Ribelles Zorita, Kyung Ae Ro and Varinia Canto Vila

      www.cabra.weebly.com

       

      Marcos Simoes

      °1975, Portugal, lives and works in Brussels.

      Marcos studied civil engineering at Instituto Superior Técnico in Lisbon. He attended the intensive course of SNDO and the contemporary dance programme at the University Miguel Hernandez in Altea (Spain) where he started to create his own work. He created and performed

      three pieces in collaboration with Sara Manente: Palyndrome, Eye in the Sky and Instructions. He completed the post-master a.p.t/A. pass in Performing Arts in Antwerp where he presented several works around his concept: The LaughingBody. In 2010 he presents ‘Eskimo’ a piece for 6 performers in Monty and Working Title Platform. In 2011/2012 together with Hwang Kim and Sara Manente they presented ‘‘x: I liked B better / y: I’m 29 too ” at the Festival Bom in Seoul (Korea), and together with the Portuguese choreographic art- ist Lilia Mestre they present ‘Ai! a choreographic project’.

      In 2013/14 he works in different collaboration projects, ‘Proces- sionism’ with the visual artist Marcelo Mardones; ‘This Place’ with Sara Manente and invited guests; and a 2 weeks collaboration Project between CABRA VZW and ETT in Seoul (South Korea).

      As a performer he has worked for Sara Manente, Kyung Ae Ro, Nada Gambier and others. Currently he is working as a performer for Nada Gambier and in a collaboration Project with Artur Castro Freire.

      He’s one of the founding members of the association CABRA vzw fa- cilitating the work of seven artists: Sara Manente, MarcosSimoes, Norberto Llopis, Jaime Llopis, Santiago Ribelles Zorita, Kyung Ae Ro and Varinia Canto Vila.

       

    • Workshop
    • Block 15/II
    • BRICOLAGE a tool for opening the block
      17 March 2015
      posted by: Nicolas Y Galeazzi
    • Nicolas Galeazzi
    • a.pass
    • 04 May 2015
    • 08 May 2015
    • case of: Nicolas Y Galeazzi
    • BRICOLAGE

      To open this block we start with bricolage. The bricoleur never starts - he is continuously working on 'whatever is at hand'.

      Diving into this concept, described in Claude Levi-Strauss' 'The Savage Mind', we develop a practice to present, discuss and discover the momentary objectives of our researches. With the help of found and constructed objects, objects of personal importance and desire, daily objects and precious ones, or objects of thought and discourse, we will try to define the actual quality of each one's research model and methodology.   

      The bricolage technique may be very close to many of our practices. The artist researcher is commonly acknowledge, as the bricoleur-scientist. He crafts the object of knowledge. Levi-Strauss describes the the bricoleur in opposition to the engineer: the bricoleur’s tools and materials are heterogeneous but - working only with what is there - his/her universe of instruments is finite. The understanding of the world is assembled and constructed on the go. The material "is the contingent result of all the occasions there have been to renew or enrich the stock or to maintain it with the remains of previous constructions or destructions."

      The engineer instead, tries - in the most rational manner - to overcome the constraints of his current reality and works under the basic assumption of infinite possibilities. The engineer as much as the scientist creates events (changing the world) by means of structures and the 'bricoleur' creating structures by means of events.

      Living and acting as an artist researcher in-between these two methodologies is a choice of political dimension, which we want to discuss at the beginning of the block.

      In the course of this week we will present the current state of our research case from various perspectives. ‘Bricolaging’ the 'objects' of your research, turning them upside down, looking at them through the other's eyes and assembling the elements in play, we want to understand the complex horizon of your research target.

      For this we will use a variety of objects (and their relations, materials and relations to those materials, tools and relation to them.) Fixing and recycling will be as much part of the practice of understanding as destroying, dismantling and dissecting.

      As a preparation to this opening workshop we would like you to search for three objects with different characteristics:

      • one precious object, relevant to your research in a personal, ev. emotional sense,
      • one broken object, to be fixed, even if in this case fixing might be hopeless,
      • and finally one object with an open structure - something not yet finished, in the middle of its becoming.

      All of these objects should have a more or less tight connection to the research discourse or field you’re working on.

       





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