Performative publishing” opens other forms of doing that reflect the speculative attitudes of artistic research.
a.pass Research Center hosts associate researchers in one-year cycles. Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens were part of “Cycle II 2020/21”. Their research topics range from cultural discourse analysis in the dance field, institutional critique and immaterial art production, architectural encounter dispositifs, decolonial dance history and politics of listening. Throughout the year, they contributed with concerns, concepts and “ways of doing” inherent to their practice. They share their research trajectory and their entanglements in singular performative publications, as well as a collective digital publication on madewitholga.be. Excerpts of their collaborative work are published in The Annex, which functions as a printed index to the online collective publication, as well as to the multiform performative publications of the individual researchers.
What your research did to me is a collective online publication by a.pass “Research Center Cycle II,” with excerpts printed in The Annex. In response to a self-defined score, the associated researchers produced an online assemblage of conversations, film clips, letters, auto-theoretical writings and a storytelling/feedback game.
In a collaborative research environment like a.pass, a lot of creative and critical energy is devoted to developing modes of sharing. These modes range from spontaneous and informal, to highly orchestrated, artificial, constrained and designed. Whether called hosting, adopting, participating, initiating, presenting, borrowing, testing, or what have you – they all come with a different distribution of entanglements with each other, and eventually with a wider public.
The publication What your research did to me takes as a point of departure the fact that modes of sharing already happened, and that along the way, the initial projects lost their clear contours. They crossbred into each other and made (un)traceable lines and knots, without losing definition. When deliberating the making of a publication to impart something of the collective process, the first impulse was to find a common denominator in research subject (e.g. listening), if not in research method (e.g. note-taking). This strategy yielded a somewhat pernicious effect in that it tended to fade the singularities and intricacies of the approaches, how one inclined to another – but not necessarily to all. Sharing wasn’t the same as amalgamating into uniformity. Proximity engendered centrifuge as much as centripetal forces.
The solution adopted was to list each for oneself, moments where one’s research was inspired by someone else’s, and to readdress that moment of implicit borrowing or appropriating back into collective work, either with the proprietor of the question or with the entire group, and in any case, witnessed by all.
madewitholga.be or in print.
PDF OF ANNEX II here > a.pass_annex_2021
The Annex is 5 euro.
You get the Annex for free if you order one of the publications.
Price of Annex + the 3 printed publications = 30 euro
Diary excerpt from Live Archive,
by Breg Horemans
Siting Discourse is a dialogical diary that explores the protocols, politics and accessibility of a digital architecture-as-archive (www.taat-projects.com). Horemans shares the writing process through a recorded sequence of screen captures. Siting Discourse exposes the Live Archive´s digital spatiality and the implicit gestures, attitudes and coincidences of discourse making that it aims to facilitate. The title is a reference to the Live Archive as a (web-)site for discursive documentation and it addresses the academic citing mechanism as a form of “structural misquoting.” Siting Discourse is a collaboration between Siebren Nachtergaele (Social Sciences HOGENT, Theatre Studies UGENT, BE) and Andrew Filmer (Theatre Studies, Aberystwyth University, WA). Their first encounter was shaped by means of a drift.
PDF FREE DOWNLOAD > archive 10-6-2021_final
Breg Horemans is co-founder of TAAT, a liquid collective of artists working on the verge of performance, research and installation art. Since 2011, he renegotiates his relation to the architecture discipline through transdisciplinary collaborations. The desire of his research lies in shaping the spatial conditions for ‘sites of encounter’ that invite human and non-human entities to co-constitute each other. The projects initiated by TAAT generate spaces for co-activity and instigate fluid prototyping processes as ‘becoming spaces’. In the last two years, Breg is co-developing an online environment that enhance processes of open source writing, archiving and publishing.
I’M NOT SAD, THE WORLD IS SAD
Artistic research novel,
by Pia Louwerens
I’m Not Sad, The World Is Sad is an autotheoretical, semi-fictional account of a performance artist who lands a part-time job as an Embedded Artistic Researcher in an art institution. Invested in queer theory and institutional critique, she sets out to perform the artist “differently” through a process of negation and passivity, inadvertently causing her relationship with the institution’s curator to grow increasingly speculative and paranoid. Louwerens’ labor as tour guide, security guard, artist, hostess and researcher at different institutions begins to overlap and blend under the name of “performance.” I’m Not Sad, The World Is Sad is a fragmented story of paranoid and reparative reading, script and utterance, exposure and vulnerability.
Pia Louwerens is a performance artist and researcher from the Netherlands, living in Brussels. Her research revolves around the becoming of the artistic subject, the I who writes, speaks and makes, in relation to the (institutional) context. From 2019 - 2020 Louwerens was working as embedded artistic researcher at a big research project, for which she was embedded in an art institution. Through this research she attempted to perform or practice the artist, and thereby the institution, differently. Her work usually takes the shape of a performance in which she speaks, switching between registers of the actual, the possible, the professional and the anxious artist.
price 15 euro
ORDER HERE + preview PDF (coming soon)
by Lili M. Rampre
Pop-Fi poster is a “choose your own adventure” game developed by Lili M. Rampre in collaboration with Júlia Rúbies Subirós. The game traces pre-public discourse, a semi-private collection of thoughts that, once shared and circulated, can shift a wider agenda on what matters to artists the most. The game aims to popularize common fictions and pop the bubble of others. Collectivizing half-digested thoughts potentially means bridging between personal and structural to effectuate change. Pop-Fi poster is part of Pop-Fi: a multifaceted project that entails a performative workshop ventriloquizing popular movie icons, video installations and script-readings. Pop-Fi foregrounds concerns of an artistic community through a variety of formats that act as a discourse prism. Pop-Fi poster is both a visual aid for the workshop and an autonomous object. Pop-Fi’s next step is developing strategies to funnel from anecdotal to factual and think about data and its visualization techniques informed by direct experience, commitment to action and intersectionality.
Lili M. Rampre is researching strategies to highlight “off stage”; processes, practices and actors behind, off, under or above the stage. Her focus lies on power relationships and the dynamics of disparities in cultural capital (audience-performer, fan-star, producer-artist). Her work has often a role-reversal in its core proposal, ventriloquism of a kind, or unreliable narration. Most recently Lili is looking into fandom and fandom civic practices authorising fiction to affect political action as an artistic methodology, to re-articulate essential parts of artistic production and circulation as fictional or factual aspects.
Price 3 Euro
ORDER HERE (coming)
WHERE DO YOU DRAW THE LINE
BETWEEN ART AND POLITICS
by Davide Tidoni
Where Do You Draw the Line Between Art and Politics consists of a series of interviews with individuals who have been active in various capacities at the intersection of art and politics. Between historical documentation, political memory, dialogic reflection, and motivational support, the publication examines the experiences, commitments and feelings that operate and inform aesthetic priorities in social spaces outside of art institutions; it’s a repository designed to inspire and encourage the politicization of aesthetics, as opposed to the aestheticization of politics.
Davide Tidoni is an artist and researcher working with sound and listening. With a particular focus on direct experience, observation, and action, he creates works of different formats that include live performance, intervention, walk, video, audio recording, and text scores. He is interested in the use of sound and music in counter-culture and political struggles and has published a sound based field research on the northern italian ultras group Brescia 1911 (The Sound of Normalisation, 2018). Davide’s work can be accessed at: davidetidoni.name
price: 15 Euro
ORDER HERE + preview PDF (soon)