SUBSCRIBE TO OUR MAILING LIST



index




    • end presentation
    • postgraduate program
    • Dragon Love (?) a.pass End Presentations
      19 May 2021
      posted by: Lilia Mestre
    • De Markten
    • 11 June 2021
    • 12 June 2021
    • yes
    • Dragon Love (?)


      June 11th 16-18h and June 12th 19-22h at De Markten

       

      Dragon Love (?) gathers the research outcomes of Andrea Zavala Folache, performer, choreographer, visual artist and Federico Vladimir Strate Pezdirc, performer, choreographer and film maker. After attending to the one year postgraduate program at a.pass.

      Both artists address and investigate construction paradigms of the self. Their work studies auto-fiction in different ways, with the desire to develop tools to resist predefined categorisations of identity that bind us to expect certain formats of art production and ways of living.

      They invite the audience, the reader or the performer to welcome the alterity we have in us, in order to revisit the fundamental archetypes of love, games, work models and cultural inheritance. They create interstices that can open up to another view of the self and social configurations.

      In both cases, autobiography is used as a ground from which to start playing. As the material that one has at hand to transform, craft, dissolve, rebuild, paint, glitch, narrate personal histories and identity building.

      What happens if the line between the self and other dissolves? Or between art and love?

      Federico Vladimir Strate Pezdirc created Draconis Lacrimae, an instruction handbook that invites the reader to play a Role Playing Game that is set in the guts of The Dragon where the adventurers meet after being swallowed/eaten/devoured/tele-transported/etc. by their own dragons. The players find themselves in a world they want to escape from, whatever escape might mean. This game is an invitation for the readers to play themselves otherwise and encounter otherness as an accomplice without a game master.

      Lilith, Losing, Lavender: A love letter to love is a collection of texts written throughout the research trajectory of Andrea Zavala Folache. With different narrative styles as diary, love letters, score instructions, this collection imbricates ideas of love, art and life as an essay about conditions of attachment.
      In the interstice of several practices as dance, writing and drawing and different spaces as the dance studio, the atelier, the classroom, the theatre and the white cube, Andrea’s research focuses on non chronological dramaturgies for the emergence of surprise or unexpectedness.

      Both publications encompass the research trajectory of the artists. Due to Covid 19, writing become a research tool for sharing and engaging from isolated environments with the collective. They are accompanied by research portfolios that inform about their methodologies, work companions and ways of thinking art production and research. These portfolios can be consulted at the a.pass website. www.apass.com from the 2nd of June.

      For the End Presentations, a.pass invites two Visitors for a feedback conversation with the participants. The visitors of *Dragon Love* are writer, editor, and dramaturge Caroline Godart, performance curator Agnes Quackles.

      This public event is co-curated by the participants with the support of a.pass.


      *


      
Andrea Zavala Folache

      Andrea entered the program researching on choreographic methodologies, symptoms and resources emerging at the interstice between performance and personal relationships; with an urge to merge alternative modes of producing work with healing techniques.Taking a series of one-to-one appointments about love with different local communities as a starting point, Andrea explores the format of the performance portrait in which the role of performer/lover and audience/lover are ambiguous. For the a.pass End Presentation Andrea is presenting Lilith, Losing, Lavender: A love letter to love, a book publication based on stretching the subjectivities in love from the formulation I love You, as a way of seeing what is under the gaze of western romantic ideas and heteropatriarchal structures that may reveal problems in language about love.

      BIO

      Given birth in Madrid, Spain. Gave away my adult life studying bachelors. Fine Arts in Complutense University of Madrid, Film and Digital Production in AI Miami University of Art and Design, Mixed Media department at AKI School of Art and Design Enschede, Cultural Anthropology at UNED Madrid, School for New Dance Development Amsterdam, Ma Multimedia Xiamen Art School China and now a.pass (advanced performance and scenography research) in Brussels. Recently, sharpening the artistic focus in a research about Love, from the image of I Love You, in order to place community and collaboration as the practice of studying together. From the formulation of love I am looking for tools to un-pack the transferring of experiences and expressions that have to do with modes of seeing, exchanging energy and resources in the production of cultural objects. The work space of live arts, visual arts and teaching has been a great place to test this and wonder, are there tools that love and work can learn from each other and, can we listen to the process of making relationships from those tools?. Since 2016 giving workshops on Concept development, Choreography, Improvisation and Experiments with SNDO, SIS (Sandberg Institute), ISAC Brussels, MovLab Madrid students; recently working in the medium of choreography solo and in collaborations with Adriano Wilfert Jensen, Simon Asencio, Paula Almirón, Jija Sohn, Laura Ramírez, Lucy Wilke, Oneka Von Schrader, Sabine Cmelniski and Julia Reist, with the support of Dansbrabant, BUDA, Vooruit, :ARP, La Casa Encendida, Ca2m, Projection Room, Blue Project Foundation, Brakke Grond, Jacuzzi Amsterdam and a.pass.


      Thanks to: Adriano Wilfert Jensen, Kristien Van den Brande, Lilia Mestre, Julia Reist, Andrea Rodrigo, Sabine Cmelniski, Laura Ramírez, a.pass.

      Mentors: Persis Bekkering, Stefan Govaart, Kristien Van den Brande, Vladimir Miller, Sara Manente, Myriam Van Imschoot, Julien Bruneau, Mijke van den Drift, Maciej Sado, Tom Engels and Krõõt Juurak.

       

      Federico Vladimir Strate Pezdirc

      Federico entered the program researching on fantasy tabletop role-playing games as tools for creating collective stories and figures. Taking the detailed rules systems from these games as a starting point, he has been exploring how to saturate identity with categories and speculation. Tabletop role-playing games function as textual and pre-digital tools of identity exploration and world-building, as they invite participants to occupy a liminal role located at the boundaries of player, character and performer. For the a.pass End Presentation Federico is presenting Draconis Lacrimae: The Player's Handbook, a publication that contains the rules and instructions of a fantasy role-playing game that he developed alongside Pablo.

       

      BIO
Federico Vladimir Strate Pezdirc is an Argentinian/Spanish filmmaker and performance artist. He holds a degree in Audiovisual Communication from the Universidad Complutense de Madrid and an MA in Visual Communication from the Royal College of Arts in London. Since 2014 he works with his partner, musician and choreographer Pablo Esbert Lilienfeld. Their work uses speculative fiction within dance, performance, film and installation to interrupt normative narratives that have been naturalized by historical discourses. Federico and Pablo are currently working on the Dragon Pieces, a series of works that fluctuate between monstrosity and transindividual fantasy. Through practices as diverse as artistic swimming or role-playing games the Dragon Pieces aim to find playful representations of collectivity that question hegemonic ways of belonging and narrating ourselves. Federico has received the Gas Natural Fenosa Art Grant, the first prize at Auditorio de Galicia Young Artists Award and Creación INJUVE. His work has been shown in museums and festivals such as Cinéma du Réel (France); Santarcangelo Festival (Italy); Festival Salmon (Spain); Kasseler Dokfest (Germany); Queer Lisboa (Portugal); NAVE (Chile); MARCO Vigo (Spain), Kunstraum (London), La Casa Encendida; CA2M (Spain) or Zeimiai Manor House (Lithuania). 

      Thanks to: Pablo Esbert Lilienfeld; Camilo Mejía; Joshua Serafin; Anaël Snoek; Julia Rubies; Nathaniel Moore.

      Mentors: Vladimir Miller; Kristien Van den Brande; Krõõt Juurak; Elke Van Campenhout; Myriam Van Imschoot; Tom Engels; Sara Manente; Sabina Urraca; Olivier Stein; Pedro Pina.

       

       
    • a.pass post-graduate program portfolio in the form of a self-interview

      +

      appendix: polish website/archive of the research project (the website is in Polish, but references and content materials are in English)

       

       

      ---

      Self-interview

       

      What brought you to the research that you have been engaged with at a.pass?

       

      First, I want to talk about movement practice; it is my base and the operational system. The movement practice has always been experiential and collaborative. It has grown through learning from and with others, listening to words, moving, formulating instructions, exploring their potentials, or teaching. It has always been working with the space in which it was happening and the materiality of the body and those beyond it. I have been exploring this practice as a practitioner– a mover. As such, a performer is always an agent and an observer of the performative. To perform one needs to be aware of the performativity that is already happening both within and beyond them. I’m interested in making the experience of the ‘performer’ available, for the audience; that is, to become an agent on the inside. Through the audience/performer’s relation to the textual material they are invited to activate the words through their participation. 

       

      Second, I will tell you a story:

      We sit together on a blanket. We are seven, but I say we are five. We are on the lawn in front of a 19th century gallery building that hosts the performance that you imagine you are taking part in. I say all five characters' names and indicate, with each, to a specific person sitting on the blanket (I don't know your real names). I say: we are at the beach, we are wearing bathing suits, one of us is topless. I say: there is a birthday cake in the middle of the blanket.  I describe how it looks with appetite: it has three layers, covered with whipped cream, and decorated with a few strawberries. I say: suddenly, we hear the noise. I say: we turn towards it. I say: we see a dog, a big one, hairy. I say: it is running towards us, fast. I say: it is very close. I say: it is hitting the cake, eating it, destroying it, and making a mess. I say: pieces of cake and drops of whipped cream are landing on our bodies. I say: we are looking at each other, we see our bathing suits and skin are filthy. I say: we are leaving to take a bath in the sea, to rinse the remains of the cake. I get up and leave the place. You follow. (A performative walk in summer 2018)

       

      What were the questions you entered a.pass with, and what was their trajectory? 

       

      My a.pass research proposal had three questions[*] which I was busy with throughout. But, from the very beginning, there was also an underlying inquiry that I’ve only recently named 'the undercover project’. I find it more important than the questions posed in the application. 'The undercover project’, though not proposed directly in my application, was the real motive to enter the a.pass research environment. I unfolded the project in the following questions: How can I engage in research questions not by building a construction (a product) based on elements that are accessible to me in the moment of posing the question, but by continually digging into the problems they evoke? Can I, through practice, dig into implicit relations and assumptions within my research? Can I at least for a while, or sometimes, suspend the connection of my practice to the product it might bring? Can I, instead, turn around to the field I want to explore and experiment within it? Not to repeat the representations but go into interactions with them? Exploring these possibilities is important for me for further functioning within the arts, for refreshing the sense of it, for negotiating with its demands. It was necessary to ask how I want to cultivate my base of the practice beyond, or better to say, under different the manifestations that it may take. 

      Through the research process, I realized that my initial questions were attached to a particular imagination of a product and the context in which it could circulate. I wanted to reformulate my approach to working, to look for other possible openings of my practice. At the very end of a.pass, I realized I was unconsciously repeating the logic of production; using research as a means to produce something. Whilst, I don't see it as necessarily wrong to use research outcomes for further production, in my case, the logic of production was keeping my research in a very narrow frame, thinking towards the future in terms of production was haunting me. Therefore, through a.pass I was able to build skills of resistance. The skills to make a space in which I could engage with research questions and share them in new ways. The booklet I am sharing through the end-presentations is the unperfect footprint of risking entering a different mode of questioning. It is the beginning.

       

      What is your current research? 

       

      The research materializes as written texts, which experiment with the form of the score—a choreographic tool. These scores are to be read by a reader on their own. They are written as scores (in its broadest sense), as tools that produce a specific situation, but rather than thinking of them as instructions, I propose to think of them as a literary form. A score as an instruction assumes a particular mode of attending and a set of abilities to enact it; to focus, to imagine, to act. As an instruction a score attributes value to doing. Here, I counter that attribution of value by opening possibilities of various ways of attending and propose to look at the performativity taking place in an intimate sphere activated through reading. I understand it as an interobjective[†] space created by a reader, a score, and an environment. The participant is invited to explore different ways of engaging with and interpreting the score. The reading of a text is a way of following this proposition and observing one's attendance.  I called this kind of attendance 'speculative doing'—observing, sensing, perceiving, and maybe imagining a further action, physical doing. 

       

      A score is a structure for participation. What do you propose to participate in through these scores? 

       

      The score directs its readers’ attention towards the relations within an environment of which they are part. In particular, I explore how we take part in the materiality of the environment as well as the relations we are already engaged in and have potential to engage with. Building upon observation and somatic experience, I explore environmental relations through navigating attention and developing fictions. This begins with observing our own perceptual and imaginative patterns  by turning our attention towards our embodiment and our surroundings. Exploring the relationality through one's sensual nature puts subjectivity in the network of dynamic relations where human and non-human materiality cannot be sharply separated. It engages the images, beliefs, and scores of 'being a person' and asks how, as such, do we understand our participation in the environment[MOU1]. Fiction is implemented here as a speculative tool for practicing relationality, a tool to create affects—fictional spaces can, and often do, influence patterns of perception.

       

      How do you use text to explore these modes of participation? 

       

      The way of attending I am exploring and proposing demands effort. As William James said: 'Only those items which I notice shape my mind—without selective interest, experience is an utter chaos.'[‡] To open up towards an experience of the material environment, I am looking for ways of giving attention to the possible mergers or dependencies between the bodies of participants and different materialities. An observation is an entry point, a practice to create attention. The research plays out in the area where we observe the grounds that we stand on; to give attention, 'to excavate' relations, processes, and influences we take part in, cause, or are submitted to.

       

      If observation is a tool, what does it serve? Is observation a mindfulness meditation or an awareness exercise? Is your practice a form of human meditation within the earthy matter?

       

      Observation is a tool for exploring the fantasmic minds—real or, at times, fictional sets of relationships that we are part of. It is a method to get acquainted with the unstable nature of fantasmic relations; their changeability, or even the transformation of the worlds known to us. To live with this transformation is to enter into collaboration with a process of decay, overcoming and transforming our own perceptual and existential limits or habits. The observation here (as opposed to how it functions in mindfulness) is not to experience 'myself in the present' but to direct the attention beyond the borders of my body, towards the other, our relation, dynamic of it, and the self, understood as being part of a bigger mind. Observation assumes the unknown (what is yet to come, what is excluded from perception) as potential and invites it to influence the known. 

       

      As a presentation, you propose a booklet, an object to keep in hand, to read in your own space and timing. What kind of encounder do you propose?

       

      Bridging the idea of reading with the participation implied in a score, entangles the readers body with the text in an intimate way. Attending to a conscious observation is a very personal and intimate engagement. I propose the exploration at this level to let this 'close to yourself' experience—the intimate—be influenced. To engage with observation is to explore how you, on this intimate level, are in, and develop, relations with others (human and non-human). How do you perceive and perform your participation within structures? What do you attend to? and what do you exclude yourself from? I was interested and inspired by the precarity of the proposed format and situation. Will the reader try to engage with the imagination within the text? or read across it briefly? Will they engage with the choreographic aspect and relate the text to the body?

      On the other hand, I thought of it as the choreography of precarious times—'poor choreography' or 'poor people choreography'[§]. To create or participate in it, one doesn't need any production machine, theater, scenography, or performers. One doesn't need to buy tickets or even to go out. You can participate in it while being in lockdown, it is accessible wherever you need to be. These ‘poor’ conditions are interesting exactly because they activate a private space and a sense of public-ness within.

      Observation and further speculation are ways to explore our position in the world's material organization; in its systems and structures of power and control. A poet, Forrest Gander, talks about the 'anti-spectacular' potential of poetry which, using just words can focus attention for long hours and cause profound influence even in the context of the “resplendent visual world which often cannot focus attention on anything at all”[**]. I am looking for this kind of anti-spectacular potential of 'written choreography' operating on perceptions, senses, and imagination.

       

      Attention and observation happen in time. Is time a theme in the research?

       

      With this research, I reconsider what it means for a work to be time-based. The environment and the processes happening within it confront us with the passing of time. Different matters have different temporalities, temporal scales, and different dynamic registers of action. The ultimate reference and a tool to think with is, for me, geology, which brings us to the earth as the basic structure of our material being. Geological time teaches us about the constant movement of any and all matter, and it gives us a more-than-human perspective to time. 

       

      I become troubled by thinking of the ‘nowness’ seemingly implicit in performance. 'Being here and now' is often the main category of performative practices. This ‘nowness’ is central to the somatic and improvisation practices that were formative for me and my work. Whilst I appreciate their methodologies—the ways in which they teach us how to give attention and how to be affected—they tend to give attention to an individual experience and place importance on what a subjective 'I' goes through. I have the impression that this approach to practices builds a community whose members develop a  sensibility for their own experience isolated in time and space. It creates a bubble of nowness that celebrates itself, that is, celebrates the individual, and does not create an idea of community with what is not immediately accessible, here and now. I try to work with elements of the somatic within an open-ended environment, in order to revisit individual or collective memories, create and share fiction, and re-observe the environment close to the body. Can we, with somatics, think of a body as something which is not determined by an 'I' and not limited to our materiality, but as an expanding entity in time and space? Can the performative act activate an embodied experience to explore an entity’s sensorial community of different matter and temporalities?

       

      What would be the next step for this research?

       

      I will keep on exploring writing. I want to work on a performative space where the intimacy of silent reading can perform in a public, social and collective space. I am thinking to collaborate with a visual artist to create a performative space where fiction-speculation is co-created by text, matter, words, and participants' bodies.

       

      ---

       

      [*] The central questions of the research proposal "Immersive speculation: choreography activating potentials" are: 

      How can choreography be a form of speculation on environmental transformations?

      How can this speculation address the actual environment in which it is happening?

      How can the viewer with his/her presence be placed inside this speculation?

      [†] Timothy Morton, Hyperobjects; as explained in chapter Interobjectivity; University of Minnesota Press; 2013; s.81-95

      [‡] William James, 'Attention'; in: F.R. David, AUTUMN 2020; uh books with KW Institute for Contemporary Art Berlin; s.39

      [§] When I talk about precarity I'd like to refer to two artists who help me think about it. First of them is Ligia Clark and her Relational Object, second Lisa Nelson with her precarious composition scores, eg. one named 'Poor people yoga'. 

      [**] Usłyszeć ciszę, interview with Forrest Gander; in Julia Fiedorczuk, Inne Możliwości. O poezji, ekologii i polityce. Rozmowy z amerykańskimi poetami (Other possibilities. On poetry, ecology and politics. Talks with american poets); Katedra Scientific Publisher; Gdańsk 2019; s. 113.

       

      Selected references:

       

      María Puig de la Bellacasa, Matters of Care; University of Minnesota Press, Minneapolis; 2017

      Julia Fiedorczuk, Inne Możliwości. O poezji, ekologii i polityce. Rozmowy z amerykańskimi poetami (Other possibilities. On poetry, ecology and politics. Talks with american poets); Katedra Scientific Publisher; Gdańsk 2019

      Forrest Gander BĄDŹ BLLISKO (BE WITH), translation Julia Fiedorczuk; LOKATOR; Kraków 2020.

      Peter Handke, The Jukebox and Other Essays on Storytelling; Picador; USA; 2020

      Philippine Hoegen ANOTHER VERSIONThinking through performance’; Onomantopee; Brussels 20202

      Toine Horvers, moving-writing; Toine Horvers and stichting Suburban; Rotterdam 2020

      William James, 'Attention'; in: F.R. David, AUTUMN 2020; uh books with KW Institute for Contemporary Art Berlin

      Timothy Morton, Hyperobjects; University of Minnesota Press; 2013

      Georges Perec, PRZESTRZENIE (ESPACE), LOKATOR, Kraków 2019

      Ana Vujanović, Landscape dramaturgy: “Space after perspective”; Ana Vujanović’s website (2018)

      Kathryn Yusoff, "Epochal Aesthetics: Affectual Infrastructures of the Anthropocene, https://www.e-flux.com/architecture/accumulation/121847/epochal-aesthetics-affectual-infrastructures-of-the-anthropocene/

       

      Anne Juren, Fantasmical Anatomy research

      Ligia Clark Relational objects

      Ilana Halperin, Geologic Intimacy

       

      Blocks in which I participated:

       

      2 September-1 December 2019

      BLOCK 2019/III 

      A LOOMING SCORE – WE SHARE YOUR POLITICS OF DAMAGE

      CURATORS LILIA MESTRE AND SINA SEIFEE

       

      16 January-27 March 2020 (block closed)

      BLOCK 20/I ZONE PUBLIC

      CO-CURATED BY FEMKE SNELTING / PEGGY PIERROT / PIERRE RUBIO

       

      4 May-31 July 2020 / home (partial participation)

      IN CONFINEMENT

      THE IN-BETWEEN BLOCK 2020 II

       

      14 September-3 October 2020 

      SETTLEMENT 16/ THE UNCONDITIONAL INSTITUTION

      VLADIMIR MILLER

       

      Thanks for...

      The always generous support: Lilia Mestre
      Mentoring of the end project:  Myriam Van Imschoot
      Mentoring throughout the research process: Kristien Van den Brande, Elke Van Campenhout, Valentina Desideri, Nicolas Galeazzi, Philipine Hoegen, Myriam Van Imschoot, Krõõt Juurak, Anne Juren, Sara Manente, Anna Nowicka, Jeroen Peeters, and Femke Snelting
      Facilitating the a.pass program through curating blocks: Lilia Mestre, Vladimir Miller, Peggy Pierrot, Pierre Rubio, Sina Seifee, and Female Snelting. The companionship, support, and challenges: the a.pass researchers with whom I crossed (Deborah Birch, Rui Calvo, Ana Paula Camargo, Chloe Chignell, Diego Echegoyen, Signe Frederiksen, Quinsy Gario, Stefan Govaart, Adriano Wilfert Jensen, Mathilde Maillard, Muslin Brothers, Nathaniel Moore, Vera Sofia Mota, Flavio Rodrigo Orzari, Ferreira Lucia Palladino, Federico Protto, Piero Ramella,, Túlio Rosa Christina Stadlbauer, Federico Vladimir Strate Pezdirc, Kasia Tórz, Katrine Turner, Amélie van Elmbt, Andrea Zavala Folache)
      English proofreading and editing of my texts: Chloe Chignell
      Making all this possible: the team of a.pass (Lilia Mestre Steven Jouwersma Joke Liberge Michèle Meesen)
      Facilitating shifts of perspectives: Jakub Szymanik



      My participation in a.pass and the realization of this research would not have been possible without the support of Grażyna Kulczyk’s Research Scholarship in the field of choreography granted by Art Stations Foundation.

    • end presentation
    • performative publishing
    • postgraduate program
    • block 2021/I
    • I feel like leaving the room End Presentations 2021 I
      16 January 2021
      posted by: Lilia Mestre
    • online: https://ifeellikeleavingtheroom.online
    • 28 January 2021
    • 29 January 2021
    • I feel like leaving the room

      a.pass welcomes you the:
      29th January 2021 – 19:30 – TV show -Collective presentation – 2h30 hours

      Join Zoom Meeting
      is finished.... 

      Check out :  https://ifeellikeleavingtheroom.online/

      I feel like leaving the room  is the title of the postgraduate End Presentations of researchers Rui Calvo (film maker), Quinsy Gario (poet, visual and performance artist), Adriano Wilfert Jensen (choreographer), Magdalena Ptasznik, (choreographer) and Kasia Tórz (dramaturg and writer).

      After attending to the extended one year program at a.pass, the five researchers finish their trajectory with an online presentation of a collective website. Covid 19 and the restrictions of the confinement have framed the space of these public presentations in an uncanny entanglement between the private and the public. I feel like leaving the room  is more than anything the (liminal) desire to come together. The form of this coming together takes shape around an ad-hoc TV show that will be streamed the 29th of January from the a.pass studio as an attempt to still intertwine thoughts and experiences.

      In the beginning, the space for this public moment was imagined as a living room, as a place where the borders of the informal and the formal are blurred.  Not as a real physical living-room but by using the conditions implied in such well known private (though public) environment, with the aim of engaging the audience in a different way. What happens when research becomes public as a workshop, a power point presentation, a film, a dance or a walk that steers from such a hangout surrounding?

      As a consequence of the pandemic that determines the conditions of coming together – the living room became the desired ‘leaving room’ – a place, as well, between the private and the public but enclosing the publicness in separated private spaces with only one window – a window to the virtual. The artists researchers addressed that liminal space in various ways in accordance with the medium they mainly work with. Inevitably, the translations that will take place, address the current situation of the confinement, while trying to reach out to the world.

      Rui Calvo's research on non-linear narratives in cinema, has worked  with a group of performers in closed environments, claustrophobic settings, directive instructions that constrain the performers, as much as the audience, in a enclosed space of angst. In his films, no-one knows what, where and how these characters got together and which forces bind them to the situation they find themselves in. Like in a ‘chamber piece’ a small number of characters interacting over a short period of time in a limited environment create an awkward intimacy caught by the camera, from which they (maybe) want to leave. There is always the promise of an outside world created by a window, a curtain or the staircase, a promise that is never fulfilled. Cinema (audiovisual setting) is the medium by excellence we can access during the times we live. The medium that allows us to escape from the living room. But to where?

      with Andrea Zavala Folache, Caterina Mora, Diego Echegoyen, Federico Vladimir, Flávio Rodrigo, Lilia Mestre, Lucia Palladino, Nathaniel Moore and Sara Manente.

      Quinsy Gario's research focuses on de-colonial practices by revisiting archival material, institutional protocols and historical facts questioning the politics behind who gets to speak, when and how. By re-using existing materials, his work re-calls systems of oppression and proposes strategies and tactics of epistemic disobedience and fugitivity. For his End Presentation, Quinsy thinks through the Fragile sticker, used in the transport, and the imagery of travel, migration and seeking refuge elsewhere. The proposition gives attention to the precarious status quo of mobility and the destitution of private space of diaspora and fragile groups, specially threatened in time of forced confinement.

      Adriano Wilfert Jensen ’s research followed three interrelated paths:  spectatorship as practice, dance as a labor of depersonalizing the self and politics of collaboration. Through collaborative processes Adriano, developed dances that sought to cultivate response -ability in spectatorial practice. For his End Presentation he will present a letter on practice based spectactorship along with commented dance scores on the webpage of the group.

      Magdalena Ptasznik, worked on several scores to introduce, instigate, and reflect upon the network of relations with other- than- human existences. She approaches choreography as a generative practice to speculate about future fictions for a world in environmental crisis. By using somatic practices, site-specific materials, storytelling in workshop settings, Magda seeks to empower change through activating collective imaginaries with the audience. For her End Presentation, a publication will be launched with a collection of writings that circulate around the idea of the score as a form of activating self-choreographic agencies.

      Kasia Tórz's, research on the notion of dissolving boundaries (smarginatura) engages in the liminal space between the private and the public, the textual and the image, reality and imagination, the conscious and the unconscious. Smarginatura makes reference to the writer Elena Ferrante and the main character of her Neapolitan Novels, Lila Cerullo, who experiences losing her solid outlines and melting into her surroundings. Kasia experimented with expanded forms of storytelling by engaging with image, voice, body practices and performance in her writing, by blurring the lines between reality and fiction in a daily life basis. For her End Presentation she will invite the audience to a nocturnal session.

      This introduction took the flavour of a weather report. As times change in unforeseen ways, as complex forces conduct the environment, as the temperature is warmer than normal, as violence is unrated, as the soul is disoriented, as politics are going ashtray, the weather, here in Brussels, is grey and symptomatic of great confusion.
      Stay home for now, imagine spring is coming soon and we all feel like leaving the room. 

       

      *

       

      BIOS ad extra content

      Rui Calvo is a Brazilian filmmaker who works as screenwriter, director and editor. He graduated from the University of São Paulo with a degree in Audiovisual Arts. Among his short films are “Whole Man” and “Quito”, which were screened at festivals in different countries, as Canada, England, South Africa and Argentina. “The Death of Helena”, his first feature film as a director and screenwriter, was recipient of a grant for film project development in Brazil. Now he is looking for opportunities to produce the movie in a country governed by the far-right and which has been destroying, among other things, the cultural sector.


      In most of Rui's previous short-films, the discomfort regarding one’s own body and the non-belonging feeling (or the lack of identity) are part of the content. Formerly, these concerns were built in the script in a linear narrative way and then translated into images. Coming to a.pass was a way of take a distance from the cinema field and think of audiovisual narrative otherwise. Through out the program, Rui addresses his initial question, on how to film bodies and not imprison them in rational discourse by taking “real life” as much as a product of convention as acting, by giving instructions ( that do not build a character) to the performers to play with in front of the camera and by creating filming settings that don't reassure a fictional background where the performers can situate themselves. In this way, the production of fiction is unstable and influenced by the shooting process itself, in which the performers hover between being characters and themselves, creating subjectivity through filming. The alchemy of these elements produces encounters filled with tension, vulnerability and exposure to the other and also to the camera, which is left with an undergoing process of rupture, misunderstanding and indeterminacy, creating this way conditions for under-narratives to appear.

      *

      Quinsy Gario is a performance poet and artist from Curaçao and St. Maarten, two island that share continued Dutch colonial occupation. His work centers on decolonial remembering and unsettling institutional and interpersonal normalizations of colonial practices. Gario's most well-known work is Zwarte Piet Is Racisme (2011–2012). As a member of the collective Family Connection established in 2005 by Glenda Martinus and Gala Martinus, respectively his mother and aunt, his current research is attempting to institute another way of archiving. He is a Utrecht University media studies, gender studies and postcolonial studies alumnus and a graduate of the Master Artistic Research program of the Royal Academy of Art The Hague. He is a 2017 Humanity in Action Detroit Fellow, 2017/2018 BAK Fellow, 2019/2020 APASS participant and a 2020/2021 Sandberg Institute Critical Studies Fellow. Gario received the Royal Academy Master Thesis Prize 2017, the Black Excellence Award 2016, the Amsterdam Fringe Festival Silver Award 2015, The Kerwin Award 2014 and the Hollandse Nieuwe 12 Theatermakers Prize 2011. His work has been shown in among other places Van Abbemuseum (Eindhoven), MACBA (Barcelona), Latvian National Museum of Art (Riga), Stedelijk Museum (Amsterdam), MHKA (Antwerp), TENT (Rotterdam) and Göteborgs Konsthall (Gothenburg). Gario is also currently running for Dutch parliament as a candidate for the political party BIJ1.

      Quinsy entered the program studying practices of refusal as found within Caribbean performance practices and his research trajectory brought him to the Baltics thinking through postsocialism and postcolonialism. For the a.pass End Presentation Quinsy is presenting #FragileRoots which is a companion piece to #FragileRoutes, a work presented at the Bâtard Festival 2021 and part of a larger series of work and research. At the center of the proposition is the suitcase bought in Hong Kong by the Estonian artist Kristina Norman and gifted to Quinsy during his research residency at the Estonian Art Academy. The residency was to further research into the depiction and usage of the depictions of St. Maurice in the Baltic region. The Sudanese Catholic saint had been adopted as the patron saint of the Blackheads Brotherhood, a merchant guild of unwed men in at the end of the 14th Century. After the end of the Soviet occupation of the Baltic region the various countries of the Baltic became nations again and started to further develop national narratives which included or excluded the remnants of this guild. Through the series of works Quinsy is reflecting on Blackness, migration, improvisation and practices of refusal. This particular piece consists of the remnants of the aforementioned suitcase, stickers bought at the lowbudget department store Daily Style and slides that were bought at a second hand store in Estonia.The stickers are used for precious cargo and contain the word 'Fragile' and the slides depict images from the Apollo 4 and Apollo 6 missions and a vacation by an unnamed group of white individuals to Cuba in the 1960's. Together with toys depicting underwater sea life, extendable mirrors and coasters with black glitter #FragileRoots pushes for epistemic disobedience and fugitive approaches to our collective presents, pasts and futures.

      *

      Magdalena Ptasznik has been exploring choreography and dance through creating performances, dancing in the work of other makers, creating choreography for drama theater, and teaching. Through the last years, she focused on contexts of practice that turn towards creating shared spaces and experiences – teaching, collaborating, and creating performances for the limited public (Microclimates I and II, Zachęta National Gallery 2018-2019, Cli-Fi at BWA Gallery Wrocław 2019). Magdalena is a member of a collective of choreographers Centrum w Ruchu (Warsaw), graduate of School for New Dance Development (SNDO), and sociology at Warsaw University. Since 2015 together with Maria Stokłosa and Renata Piotrowska she has been developing in Warsaw an educational project Choreography in Motion: Experimental Choreography Course. She lives in Amsterdam and Warsaw.

      “My research materializes as written texts, which experiment with the form of the score—a choreographic tool. I started this journey with the idea of creating scores for collective participatory performances. Throughout the process, and the period of confinement we found ourselves in, the research transformed into an exploration of writing. I’m looking into what kind of performance these texts can produce with a reader. I propose to look at the performativity taking place in an intimate sphere activated through reading. I understand it as an interobjective space created by a reader, a score, and an environment.  Scores direct its readers’ attention towards the relations within an environment of which they are part. In particular, I explore how we take part in the materiality of the environment as well as the relations we are already engaged in and have potential to engage with. Building upon observation and somatic experience, I investigate environmental relations through navigating attention and developing fictions. The ultimate reference and a tool to think with is, for me, geology, which brings us to the earth as the basic structure of our material being. Geological time teaches us about the constant movement of any and all matter, and it gives us a more-than-human perspective to time.”

      *

      Adriano Wilfert Jensen works with dance and choreography to analyse and produce conditions of relations. His practice manifests in making, performing, writing about, curating, representing and dealing choreography, dancing for other artists, as well as other occupations like a series of cocktail hang outs, publications, research projects, teaching etc.

      Together with Simon Asencio he is since 2014 running Galerie – an immaterial gallery for immaterial artworks. And with Emma Daniel he is dancing for the dinosaurs in Spending Time With Dinosaurs. Together with Linda Blomqvist, Anna Gaïotti and Emma Daniel he organized Indigo Dance Festival, Magazine and Tink Thanks at Performing Arts Forum. In 2017 he initiated the research project analysis of which his a.pass research was part. In 2019 he premiered the group piece feelings as part of the research analysis, and in the summer 2021 he will premiere a new group piece informed by his research at a.pass.

      Adriano, has been researching on what he calls practice-based spectatorship and dance as a labour dispositif for depersonalizing the self. He wrote a letter developing the notion of practice-based spectatorship as a tool to study how different dance works, which have shaped his own practice, condition spectatorship conventions. Through this letter, a contextualization of how his practice is situated by and indebted to the work of others, takes place. In addition, Adriano also developed a series of dances by analyzing and intervening in existing historical dance protocols. Working on these dances together with the research of spectatorship he questioned how to re-relate to the self beyond individualism, in dance and its spectatorship.

       

      *

      Kasia Tórz. Writer, dramaturg, researcher, is seeking for other than language-based ways of writing, i.a. working with images or body practices focused on internal movement. In that framework, she is interested in the melting points of the poetic, existential and political. Graduate from Philosophy at the University of Warsaw, participant of doctoral studies at the Institute of Art of the Polish Academy of Science in Warsaw. Between 2007-2011 she collaborated with Twożywo – a no longer existing Polish urban art group – at projects like: Zaciemnienie / Twilight and several wall paintings. Between 2008-2019 she has programmed a thematic section of the Malta Festival Poznań (PL) called ‘Idioms’. Since 2019 she has worked with Needcompany – a Brussels based theatre collective, as artistic & programme developer.

      Smarginatura {this is a demo}
      How are we touched by and through the live act – the act of seeing? What goes through the porous surface of our skin? What kinds of experiences expand our sensitivity? Who sets the scale of the image? The contour of the skyline? When do we break upon the pressure of impulses, when do we freeze, and when do we burn? What are the politics of seeing that we adapt to and how to alter them? Smarginatura {this is a demo} is a radio- broadcast, a live-like transmission of words, images and sounds. It invites the audience to explore the depth of the surface.

       

      *

       

    • end presentation
    • postgraduate program
    • Dismantle Space 30 October 2020
      posted by: Lilia Mestre
    • Chloe Chignell / Muslin Brothers / Flávio Rodrigo / Christina Stadlbauer
    • online: http://dismantle.space
    • 11 November 2020
    • 14 November 2020
    • Dismantle Space

      With Chloe Chignell, Muslin Brothers – Tamar Levit and Yaen Levi , Flávio Rodrigo and Christina Stadlbauer

      NOT at ZSenne ArtLab and NOT at Rosa Library, downtown Brussels


       

      Website: dismantle.space

       


       

      Dismantle Space gathers the research outcomes of Chloe Chignell, choreographer, editor and writer; Muslin Brothers – Tamar Levit and Yaen Levi – fashion practitioners and visual/performing artists; Flávio Rodrigo, theatre maker and teacher; and Christina Stadlbauer, visual artist and scientist.

      A practice of dismantling directs the conceptual and experiential nature of all their works. More than ever it is necessary to disassemble the mechanisms that form our relationships with the worlds around us in order to rebuild perspectives on those same worlds.

      Using very different tools and methods the presented research insists on making visible the cultural constructions that knit our perceptions of history, language, science and fashion to their instituting frameworks. They dismantle the structural attachments we have to those institutional machines and re-tell other possible relations to them by opening up the capacity of bodies to their collective and personal resilience.

       

      The capability of bodies to create spaces to nurture, find out and experience muted or unseen connections, may they be social, personal, economic, environmental, racial... Through performative virtual installations, readings and conversations, these research projects unfold space to engage differently in ecosystems of relations that permit perspectives affirming something other than the status quo.

       

      For Dismantle Space, a website has been created in collaboration between the researchers and web designer and editor Sven Dehens in order to compile the works that have been developed in the frame of the artistic research environment of a.pass. This website hosts the complicities and differences of the four researches and it will address the infrastructural concerns each of them entails.

       

      For the End Presentations, a.pass invites three Visitors for a feedback conversation with the participants. The visitors of *Dismantle Space* are writer, editor, and dramaturge Caroline Godart, performance curator Guy Gypens and artistic research director Hicham Khalidi.

       

      This public event is co-curated by the participants with the support of a.pass. In response to the Covid-19 imperative of not being able to gather and to accommodate the different natures of the works, the presentations will take place online. The construction of the website was a way to keep the works connected and conversing with each other.

       

      Many thanks to ZSenne ArtLab and Rosa Library for their support, Sven Dehens for the website and Deborah Birch for text editing.

       

      *

      Dismantle

      Space


      *

       

      The research and work of Chloe Chignell is situated between choreography and literary practice. Throughout her a.pass trajectory Chloe worked with several performative dispositifs which use scores as mediators between body and language. With much precision her work performs the intra-dependencies between them in ways that facilitate and provoke in the viewer another understanding of how the body writes and reads itself.

      Dismantle
      Her work Poems and Other Emergencies dismantles the preconception that language can decipher and translate the body in an absolute and unidirectional manner. The prevailing cultural supremacy of language holds back other forms of knowledge and understanding of the body as a complex entity.

      Space
      While working at a.pass the processes Chloe created in physical space or on the space of the page triggers in the audience unforeseen attachments to cultural, social paradigms and relations between languages and mediums. For her End Presentation, the book becomes an object that expands the dimensions of the page, with the essays Language as Prosthesis and The Complete Text Would be Insufferable asking questions of the reading body, your body.

       

      *

       

      During their trajectory at a.pass, the research project of fashion practitioners Muslin Brothers - Tamar Levit and Yaen Levi -had focused on the uniform in correctional facilities. Their involvement with prisons and prisoners’ statements opened up a complex questioning of the garment-as-uniform and the process of uniformization. Using installation-performance as a research tool the artist duo created participatory situations that repositioned the role of the garment in its social, political, and economic functions. From staging the tailor’s atelier in several formats, the prayer book as a scored assembly, or audio files for confined self-appraisal they created critical environments that work to de-gender, de-class, and de-colonise clothing in contemporary society.

      Dismantle
      Their research dismantles the production chain and the economy behind the garment. Their work looks at fashion through the economy of belonging, establishing the strong relation between who-wears-what and the creation of harsh social segregation.

      Space
      Their research is manifested in performative installations that delay an easy identification with the garment by softening a space in which the participants can elaborate a collective and participatory questioning about this often ignored terrain.

       

      *

       

      Flávio Rodrigo’s research is a continual overlapping and unfolding of autobiographical writing, storytelling, and ritual. His work continues an oral tradition of recounting and holding to account that can re-tell history from the place of the minority. His research creates intersections between stories of racism and homophobia, auto-fiction, and ritual in order to claim power against normative politics in a non-normative way.

      Dismantle
      Flávio's research investigates the body by shedding light on the scars we all have. Working with scars as relational objects from which narratives unfold, he creates the possibility for an understanding of the self as relation between physiological trace and mythical, political, and personal time.

      Space
      Flávio crafts rituals and participatory performances as a collective investigation into both the trauma and the many forms of healing that scars represent. These storytellings open up a space for the personal to be continuously woven into collective, political history, and affirm that the possibility of transformation is embedded in each of us, and in all of us collectively. For his End Presentation Flávio worked on a performance series The ghost scar solo that will be streamed in three episodes.
      11th - 20:30 - Episode 1 - the ghost and the milk
      12th - 20:30 - Episode 2 - the tent and the mirror
      13th - 20:30 - Episode 3 - the body and the plate

       

      *

       

      The research of Christina Stadlbauer addresses the relationship between humans and other-than-human companions in the environment *we* share with *them*. Her approach tackles the ethical implications of the loss of habitat and the collapse of diversity. Christina engages with multiple actors in the fields of science and art, as well as with inhabitants of urban and non-urban environments, animal, vegetable, and mineral beings. She uses interviews, video footage, and performative installations to shine a light upon muted or undervalued situations of imbalance between human and other-than-human existences.

      Dismantle
      The recent focus of her work has been on the Museum as a public display of knowledge. Christina questions and deconstructs the infrastructure of the museum as a colonial institution which acquires, catalogues, and communicates knowledge in a human-centered manner, neglecting other life forms. Even though at this point in history, with an attempt to reformulate the definition of the Museum, lead by ICOM – the International Council of Museums – she maintains there is a persistent neglect of other species´ knowledge.

      Space
      Christina’s research engages in a re-imagining of the museum. A museum which explores through practice-based experiments and explorations how humans relate to other species, and dedicates itself to different forms of communication in search of a language between all parties.
      For her End Presentation, Christina set a series of conversations with Agata Siniarska, choreographer, dramaturge and author; Lesley Kadish, anthropologist and specialist of disabled people in museums; and Maria Ptqk, curator and director of Museum Cabinet Sycorax. These conversations will be presented as podcasts and transcribed in text.

       

      *


      BIOGRAPHIES

      Chloe Chignell
      Chloe Chignell (Australia) is a dancer and choreographer based in Brussels working across text, choreography and publishing. In 2019 she opened rile* a bookshop and project space for practices moving between publication and performance, with Sven Dehens. Her most recent work Poems and Other Emergencies premiered at Batard Festival Brussels 2020, and was supported by WorkspaceBrussels, BUDA Kortrijk, Lucy Geurin Inc and La Balsamine. She graduated from the research cycle at P.A.R.T.S (Brussels, 2018),  She has a Bachelor in Dance from Victorian College of the Arts, (Melbourne, 2013) and studied a writing and residency program at DOCH (Stockholm, 2017). As a choreographer Chloe has been commissioned by the Keir Choreographic Award for the creation of Deep Shine (Melbourne) touring to Japan for The Awaji Art Festival. She presented a short work forever in both directions for the Venice Biennale’s Biennale of Dance (2017). As a dancer Chloe has worked for Adriano Wilfert Jensen, Ingrid Berger Myhre, Anna Gaiotti, Gry Tingskog, Atlanta Eke, Ellen Söderhult, Phoebe Berglund and James Bachelor performing in Australia and across Europe. Chloe is co-editor of This Container magazine, currently in its 8th edition based between Stockholm, Brussels and Melbourne. Her writing has been published by This Container, Koreografi, Indigo Dance Magazine (PAF) and Realtime (Australia). She has developed choreographic writing and reading formats hosted by Kottinspektionen (Stockholm), PraxisFestivalen (Oslo), PAF (France) Scene:Bluss (Norway). She is co-initiator of PO$$E a dance and reading group .
      www.chloechignell.com / www.rile.space / www.thiscontainer.com

      *

      Muslin Brothers - Tamar Levit and Yaen Levi
      Muslin Brothers (Tamar Levit and Yaen Levi) acts as both a fashion brand and research studio speculating on the way personal, social, and political systems shape and are shaped through clothing. It is named after the muslin fabric widely used to make veils, men shirts, and clothing prototypes prior to production.
      The duo’s work overlaps between wearables, spatial, performance, image-making, and exchange of information, using the technologies of clothes-wearing and clothing production lines for a poetic investigation into the biography of non-designer design.
      They hold a B.A in fashion design, from Shenkar, college of engineering, design and art, Israel.
      Their work has been shown in platforms such as the Kanal centre Pompidou Brussels, Parsons New York, Stockholm Art university, Israeli Museum,  the Tel Aviv Museum of Art, Jerusalem design week, and London and Tel Aviv fashion weeks. They were designers in residency at Arad contemporary art center (2020) Artez Academie Arnhem (2018) and London's college CFE (2016). Winners of design award from the Israeli culture ministry (2018), and the pais grant for fashion design (2016).
      www.muslinbrothers.com

      *
      Flávio Rodrigo
      Flávio Rodrigo Orzari Ferreira, 37, gay, brazilian, artist, lives in Brussels. He is a performer. He holds a Bachelor’s Degree in Scenic Arts from State University of Campinas – UNICAMP (2004), a Specialization Degree in Psychopedagogy from FHO – UNIARARAS (2012), a Specialization Degree from UCB (2013) and a post-master degree in Performing Arts in a.pass (Advanced Performing and Scenography Studies – 2020). He is now undergoing a Master's programme in Speculative Narration and Videography at the ERG (École de Recherche et Graphisme) de l'Université Saint Luc.

      *

      Christina Stadlbauer
      Christina is an artist and researcher. She works at the cracks of arts and sciences, and develops her research around non human agencies - collective intelligence, interspecies communication and the relation between culture and nature. Christina obtained a PhD in Natural Sciences and her practice is informed and influenced by her scientific understanding. She has launched several artistic long term initiatives: like Melliferopolis, an artistic platform to engage with honeybees and their worlds, the Institute for Relocation of Biodiversity – an artistic container to explore the ethical implications of issues related with loss of habitat and the collapse of diversity, and Kin Tsugi Transformations, a work strand with bacteria that reflects on the ethics implied with microbiological lab work and our strive for control and imperfection.

       

    • research portfolio
    • Caterina Mora / The thing called "Portfolio" "why" this is "what" it is?
      04 September 2019
      posted by: Caterina Mora
    • case of: Caterina Mora
    •   p o r t a f o l i o     --> qui porte les folios, que pliega la research, that pretends question the vertical format  

      September 2019

       


      El "pensamiento" que pliega la research

      The thing [THINK] called "Portfolio"

      An essay, 

      Portfolios are mandatory published from January 2019 (there are just six others Portfolios in a.pass web before us). 

      I am in the "thanks" of others´s Portfolios, that´s why I start with the "thanks". 

      I am Caterina Mora and  I am listening this argentinian cumbia ( come closer please, click here).

      I invite you to listen it. 

      Welcome

      This Portfolio refuses to be in a PDF format because it refuses to being seen as something vertical and fixed.

      This Portfolio has a lot of HIPERLINKS.

      It might have grammar mistakes. I am not sorry, but I don´t have budget to ask for Proof reading. 

      This Portfolio doesn´t have pre-fixed order. You can look at it as you want (it is up to you). It is conceived as a transtructure determined by how apass has been transforming/changing/modifying me.

      That´s why there are evident thing and evidence. 

      You can enter through three options:

      chronological order block by block-CLICK HERE

      or the filter body practice-CLICK HERE

      or the filter "TRT" - CLICK HERE

      Gracias. 

      C

       

       

      ------

      THANKS

      apass team: Lilia, Nicolas, Pierre, Vladimir, Michele, Joke.

      Special thanks to our technical support, incredible artist of time and resolution: Steven.

      The participants: Leo Kay, Elen Braga, Eszter Némethi, Geert Vaes, Hoda Siahtiri, Adrijana Gvozdenović, Pia Louwerens, Eleanor Ivory Weber,  Katinka Van Gorkum, Nassia Fourtouni, Goda Palekaitė, Christina Stadlbauer, Deborah Birch, Diego Echegoyen, Flavio Rodrigo, Amelie van Elmbt, Lucia Palladino, Mathilde Maillard, Muslin Brothers, Piero Ramella, Rui Calvo, Signe Frederiksen, Ana Paula Camargo.

      The companions of the End-Communications adventure: Laura Pante, Maurice Meewisse. 

      The helpers: Stefanía Assandri, Alexandre Ismail, Lucas Trouillard, Marina Pessino.

      People around me: Susana Paponi, Bernardo, Juan Carlos, Aphra Behn, Elvira Lopez, my family, Ana G., Angeli, María Martha, Ferchu, Josefina. Adela. Y Norbert.  

      Thanks to this specific places: apass 4th floor, apass 3rd floor, PAF (Saint-Erme, FR) rooms 167, 105, 117 and the garden, the Swamp School (Venice, IT), Unlearning Center (Fribourg, CH). 

      The mentors: Femke Snelting, Adva Zakai, Kristien Van den Brande, Vladimir Miller, Esteban Donoso, Juan Carlos Toth, Susana Tambutti, Kobe Matthys, Philipp Gehmacher, Philippine Hoegen, Timmy De Laet, Petra Van Brabandt, Sébastien Hendricks, Marie Bardet. 

       


       

      (you can start diretcly from here or coming back to the previous page)

      gracias

    • project
    • Becoming Water 16 July 2019
      posted by: Nicolas Galeazzi
    • 09 July 2019
    • 10 July 2019
    • case of: Nicolas Galeazzi
    • Becoming Water

      Some workshops remain a fiction – yet a fiction can be embodied. For several reasons, the proposition of Marialena Marouda couldn’t take place at the intended ‘workshop’ – the Buratinas boat of Nadine, laboratory for contemporary art. However, her proposal to encounter water as a companion and to spend for that min. 24h on that boat let us float into the imagination of how to fundamentally shift our relation to that essential element of life.

      Never the less, the score for Marialena’s proposal can act as a companion for any circumstances where some meet water and has a bit of time. Therefore we decided to provide this score as a suggestion for everyone who wants to do this exercise – and, if possible, wants to feed back her/his experiences.

      Besides this, Christina Stadlbauer, Marialena Marouda and Nicolas Galeazzi dove into a written conversation based on Marialena’s proposal and asked themselves why water is seen as an object while it is at the same time intrinsic part of our self.

       
    • Newsletter May 2019 21 May 2019
      posted by: Steven Jouwersma

      newscaption
      NEWLETTER MAY 2019

       

       

      Troubled Gardens
      Block 2019/II
      29 April-28 July 2019

      curated by Nicolas Y Galeazzi

      After having curated two blocks at a.pass with regards to the conditions which, and in which we create – the block 2017/II about the commons, as an alternative economy, and the block 2018/I about the making of conditions and Institutional Critique –
      Nicolas Y Galeazzi sees the need to look beyond our cultural boundaries and understand the meshwork of diverse conditions we are living in together with other species, elements and time zones.

      Taking this ‚ecosystem-perspective‘ as the main tool for the participants investigations, this block shall give the possibility to reflect their researches as a relational field within a ‚terrestrial‘ landscape. On the other side, it will unavoidably put the works in relation to the ecological crisis and catastrophes surrounding us and will help us to develop tools and understanding for a post-anthropocentric, post-atopocenic, probably post-artropocentric relational practice.

      The workshops of this block will be 'gardens' - and therefore for once of spacial nature. Nicolas Y Galeazzi proposes 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.’

      In this framework he invited several ‘companions’ - Kobe Mathys, Martin Schik, Gosie Vervlossem, Marialena Marouda, Vicent Alexis, Filip Van Dingenen, Einat Tuchman, Philippine Hoegen- to build a network, a web of knowledge, together with us and amongst themselves.

      For more information:
      www.apass.be

      Research Centre

      Cycle 18/19 - Block III
      29 April-28 July 2019

      Co-Curated by Isabel Burr Raty / Antye Guenther / Adrijana Gvozdenović /
      Sara Manente / Rob Ritzen / Pierre Rubio / Sina Seifee

      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 one-year-cycle of the a.pass Research Center 2018/2019. After being initiated as a platform for individual research trajectories, the Research Center shifted to welcoming a group of advanced researchers for an one-year period. This last block of the first cycle 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.

      More information

       


      @ Hacktiris 31 May and June 1, 2019
      Starts at 18h

      Rue Paul Devauxstraat 5
      1000 Brussel
      6th floor

      You are invited to join:

      a.pass End-Communications of
      Katinka Van Gorkum, Nassia Fourtouni and Goda Palekaitė.

      Virtual Body Institution is the coming together of the 3 concepts that intertwine in the End-Communications of Katinka Van Gorkum, Nassia Fourtouni and Goda Palekaitė.
      Their practices are very distinct from each other, in form as in content though they all engage with forms of sociability that enhance, propose and reveal the relation of the individual with the societal. Tackling this position from discursive, technological or body practices they invite the visitor to engage in thinking and embody modes of construction of the self.

      All researchers work with performance and with the performativity of the event as a field of exploration that deconstructs the world as a given. The making public of these concerns in a transdisciplinary manner, mainly wants to politicise the individual as being an actant in the public sphere enacted by the event itself. The participatory is here seen as the moment of inquiry, experiencing and sharing that crosses through the individual to the communal and vice-versa in enabling the non expertise as potential for critical presence.

      More information

       
       

       a.pass
      p/a de Bottelarij
      Delaunoystraat 58-60/p.o. box 17
      1080 Brussels/Belgium

      tel: +32 (0)2 411.49.16
      email: info@apass.be
      web: www.apass.be

       

       
    • project
    • Making kin - the web Nicolas Galeazzi
      19 May 2019
      posted by: Nicolas Galeazzi
      Making kin - the web

      'Troubled Gardens' are cultivated by making kin with the multiplicity of our research. We want to mingle, mix and merge different aspects of our researches into each other, so they create affinity, friends, siblings, partners, kids - kin. Donna Haraway proposes to make kin with things, species and other ‚companions‘ in order to web another "we" - an other idea of the social and with this a possibility to become-with our habitat than to colonise it. 

      The experiment in this block is to ‚adopt‘ aspects of someone else’s research and accept it as part of your own research. Adopting means taking care of someone else's, as it would be your's!

      During the opening week, we all have put an aspect of our research free for adoption and picked a basked with an adoptee to care for it and integrate it into the life of our research till the Half Way Days of this block. There we will set it again free and hand it over to new parents - who will care for it till the end week where the original parent will find their research aspect back, changed, part of the culture of another research and richer in experience!

      This cluster of posts shows the trajectory of the adoptees and the all new and old parents are invited to share and tell stories of their adoptees.

       
       
    • postgraduate program
    • workshop
    • Troubled Gardens
    • Waterways 07 May 2019
      posted by: Nicolas Galeazzi
    • Marialena Marouda
    • 01 July 2019
    • 02 July 2019
    • Waterways
       
       
      As an additional tool of investigation for the troubled gardens, I propose to float on water. By exchanging the usual surface of this block - soil - for water, I would like to explore how this element and it’s set of conditions can leak into artistic researche(r)s - or even flood them? What does it mean to understand water as a workshop? How can this experience influence our practice in the workshops of this block?
       
       
      Asking these questions, we will spend at least 48h at the water and walk along the idea of 'canal'. Will we accompany the water or is the water our companion? How does the current of the rivers enter the streams of our communication? How do we approach this hyper-object that finally floats in the ocean?
    • newnew may2019 01 May 2019
      posted by: Steven Jouwersma

      newscaption
      NEWSLETTER MAY 2019

      Troubled Gardens
      Block 2019/II
      29 April-28 July 2019

      curated by Nicolas Y Galeazzi

      After having curated two blocks at a.pass with regards to the conditions in which we create – the block 2017/II about the commons as an alternative economy, and the block 2018/I about the making of conditions and Institutional Critique – Nicolas Y Galeazzi sees the need to look beyond our cultural boundaries and understand the meshwork of diverse conditions we are living in together with other species, elements and time zones.

      Taking this 'ecosystem-perspective‘ as the main tool for the participants investigations, this block shall give the possibility to reflect  on their researches as a relational field within the 'terrestrial‘ landscape. On the other hand, it will unavoidably put the works in relation to the ecological crisis and catastrophes surrounding us and will help to develop tools and understandings for a post-anthropocentric, post-atopocenic, probably post-artropocentric relational practice.

      The workshops of this block will be 'gardens' - and therefore for once of spacial nature. Nicolas Y Galeazzi proposes to ask these gardens to be the teachers, to learn from them, to let them put the works at work, to ask them to suggest a practice, to make them structure the time and the collective research attempts. The gardens will be the 'education' framework and the ‘atelier.’

      In this framework  several ‘companions’  were invited- Kobe Mathys, Martin Schik, Gosie Vervlossem, Marialena Marouda, Vicent Alexis, Filip Van Dingenen, Einat Tuchman, Philippine Hoegen- to build a network, a web of knowledge together with the all involved.

      For more information:
      www.apass.be

      Research CenteR

      Cycle 18/19 - Block III
      29 April-28 July 2019

      Co-Curated by Isabel Burr Raty / Antye Guenther / Adrijana Gvozdenović /
      Sara Manente / Rob Ritzen / Pierre Rubio / Sina Seifee

      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.

      More information

      @ Hacktiris 31 May and June 1, 2019
      Starts at 18h

      Rue Paul Devauxstraat 5
      1000 Brussel
      6th floor

      You are invited to join:

      a.pass End-Communications of
      Katinka Van Gorkum, Nassia Fourtouni and Goda Palekaitė.

      Virtual Body Institution is the coming together of the 3 concepts that intertwine in the End-Communications of Katinka Van Gorkum, Nassia Fourtouni and Goda Palekaitė.

      Their practices are very distinct from each other, in form as in content though they all engage with forms of sociability that enhance, propose and reveal the relation of the individual with the societal. Tackling this position from discursive, technological or body practices they invite the visitor to engage in thinking and embody modes of construction of the self.

      Through their current practices of research and exposure – that use the personification of historical characters in a public discussion, the entrance into virtual space as a extension of the ‘real’ and the body as a perception machine – we encounter some of the contexts and mechanisms we inhabit in current western society.

      Their proposals are not complementary but do co-habit through this event beyond agreement or disagreement by creating an area (spatial and experiential) of a temporary common.

      The work of Katinka Van Gorkum, Nassia Fourtouni and Goda Palekaitė enacts research modes of activating and empowering the self as active part of larger technological concepts. One becomes aware through their piercing practices of the narratives that surround the institutional, the body and the virtual. They softly enable criticality in the moment of exposure by engineering transdisciplinary processes that fundamentally question what  we are made of and how do we relate to it.

      All researchers work with performance and with the performativity of the event as a field of exploration that deconstructs the world as a given. The making public of these concerns in a transdisciplinary manner, mainly want to politicise the individual as being an actant in the public sphere enacted by the event itself. The participatory is here seen as the moment of inquiry, experiencing and sharing that crosses through the individual to the communal and vice-versa in enabling the non expertise as potential for critical presence.

      Are questions related to the self, isolated from the other? Is the self alienated from the communal, the historical, the technological, from the body?  How do we practice the spilling of our personal concerns into societal concerns? Where and how do we politicise our practices? Where do we meet? Are we here yet?

      More information

       a.pass
      p/a de Bottelarij
      Delaunoystraat 58-60/p.o. box 17
      1080 Brussels/Belgium

      tel: +32 (0)2 411.49.16
      email: info@apass.be
      web: www.apass.be

    • This is an elaborate permaculture garden with many small experiments from water cleaning plants to interspecies labour. Kobe, who will also be one of the dedicated mentors - is working in this garden for 12 years together with a collective of various artists and activists. It is quite a sensitive ecosystem. Not only these human relationships and diverse projects but also the wild animals and insects that are populating the area have to be taken care for while entering this garden. What does this mean for us how can we become their companions?
      We will engage and relate to this 'refuge' situated somehow hidden behind industries along the neglected Zenne river throughout the whole block. It will be our primary place of gathering, and therefore we will also physically support the collective in gardening and construction work

       
    •  

      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.

       

       
    •  

      To engage in gardens and use them kind of as our ‚atelier‘ needs a certain regularity.  Therefore, I propose to meet more or less three days per week. To all of these days one or more companion shall be invited. These days may resound the three ecologies proposed by Felix Guattari:

      One day we will focus on gardening (the environmental ecology), helping with planting, weeding, constructing etc. whatever is needed to do.

      One other day we will engage in weaving the social tissue by exchanging and discussing ideas, experiment with practices, and sharing the work on the adoptions.

      On the third day, we want to give space to the development of the individual research ecologies, for a shared reading relevant texts (which might reflect the mental ecologies). Our ‚companions’ will join us on these days, connect to our practices or propose a specific approach from their side.

      Of course, these days are not apportionable in ecological categories, and the practices will strongly interrelate. We will have to find out together how these foci can influence the practices and how we develop rituals and methods that help guiding us through the various experience of ecologies and ecosystems.

       
    • postgraduate program
    • workshop
    • The Adoption Project
    • Troubled Gardens
    • Making Kin the adoption project
      24 April 2019
      posted by: Nicolas Galeazzi
    • Nicolas Galeazzi
    • Zenne Garden et al.
    • 06 May 2019
    • 28 July 2019
    • case of: Nicolas Galeazzi
    • Making Kin

      The primary soil of questions for our investigations in the a.pass block 2019/II is to experience us as an ecosystem in ecosystems. We take this fertile ground as an incentive to generate ideas for a 'we' that relates differently to the planes, stays differently in trouble with the damages we induce, and rather becomes-with then cares-for the life on it. Donna Haraway proposes for the generate this other "we" by makeing kin with multiple things, species and other ‚companions‘. In her book „Staying With The Trouble. Making Kin in the Chthulucene“, an essential (tentacular) body of references for this block, she offers a meshwork of indicators what 'making kin' could mean.

      "Think we must. We must think"
      (Stengers, Despret, refering to Harraway).

       

      To put it into practice is at stake. My intuitive response to this is a practice that I started developing some years before I read her text: mutual adoption of specific aspects of each other’s research seems to be a good motor to train the response-ability Donna Haraway claims as one of the needs for making kin. To ‚adopt‘ objects, practices, behaviours or ways of thinking etc. of someone else’s research means taking care of it as it would be your own! In an ecosystem, all aspects are at the same time ‚other' - and part of one and the ‚same‘ space of resonance. The complex relational web of this 'same-other', can be explored by mutual and temporal adoption of aspects of each other' research and make it part of kin.

      I propose a joint exercise, whereby every one of us

      1.) prepares to put aspects up for adoption, then

      2.) to leave them as ejects of our research aside, to

      3.) be found by others and

      4.) to adopt ourselves ejected aspect from someone else into our own practice.

      - On a regular base, we will need to swap and continue the cycle.

       

      Btw. did you know that works are acting in swarms, and take common decisions by communicating through touch?

       

      During the opening week, we will develop our adopt-ability and will exchange our 'baskets' and get ready for the impact an adopted aspect on our researches.
      The first cycle of adoption starts in the opening week, will continues with a swap in the HWD’s and will end by handing it back in the end week.

       
    • postgraduate program
    • Troubled Gardens
    • Block 2019/II Troubled Gardens ecologies of artistic research
      23 April 2019
      posted by: Nicolas Galeazzi
    • Nicolas Galeazzi
    • 29 April 2019
    • 28 July 2019
    • case of: Nicolas Galeazzi
    • Block 2019/II  Troubled Gardens

      The earth faces troubles of kind humanity never experienced before: climatic changes induced by humankind are dramatically destructive and - meanwhile unavoidable. Therefore we can register a shift in the environmental movement from an understanding of trying to prevent the planet from a catastrophe to mere dealing with life within the consequences of climate changes. This perspective fundamentally shifts our culturally abstracted understanding of nature - and therefore it poses big questions to the arts as a source of cultural knowledge for that great deal of life. The catastrophe might mirror the impossibility of hierarchical understandings of the relation between nature and culture, but it also forces us to the obvious insight that all vital cycles - whether social, ecological, technological, cultural, mental, emotional, economic etc.- are inseparably connected ecosystems.

      Knowing about their sensitivity and complexity, I’m asking myself, how does my artistic practice and research act within the disturbedness of these ecosystems? How can I understand myself and my research as transformative part of their troubles - knowing, that I’m a troubled and troubling ecosystem myself?

      After having curated two blocks at a.pass with regards to the conditions which, and in which we create - the block 2017/II about the commons, as an alternative economy, and the block 2018/I about the making of conditions and Institutional Critique - I see the need to look beyond our cultural boundaries and understand the meshwork of diverse conditions we are living in together with other species, elements and time zones.

      The aim of this block is to challenge our individual research aims as living creatures and companions in and as ecosystems. Hyper related, affecting, and never singular, our researches are - however - in resonance with their surrounding. We can not ignore the influence of these aspects, but we are also hardly aware of the performance of these influences on our practice.

      Taking this ‚ecosystem-perspective‘ as the main tool for our investigations, this block shall give you the possibility to reflect your research as a relational field within a ‚terrestrial‘ landscape. On the other side, it will unavoidably put our researches in relation to the ecological crisis and catastrophes surrounding us and will help us to develop tools and understanding for a post-anthropocentric, post-atopocenic, probably post-artropocentric relational practice with your research.

      Therefore, this block IN-vites you OUT. Where to investigate and experience a behaviour as ecosystem better then in the outside - an outside, that immediately takes us in, makes us being a part of it! ‚Outdoor‘ - at places with-out-doors - might be the right term. Where weather and biosphere meet industrial (side-)performance, migrant activities, walls, traffic, sun - and state power, written and unwritten laws etc. interact with each other.
      This block takes you out into the systemically ‚wild‘. What allows structure? I don’t know - at the moment, before having taken up theses c/glasses any curated structure feels violent towards the tenderness of the ecosystems. Handling the idea ‚ecosystem as research as ecosystem‘ with care is as crucial as to care with the greatest sensitivity for the ecosystems we are about to enter by stepping out of the door.

      This in mind, I throw out my tentacles to propose a path to step into our ‚worlding‘ experience and to trace the stories we will tell on that way.

       
    • 1. Entrepreneur & Creative Economy

      art and economy

      Hans Abbing (2010). Why are artists poor? The exceptional economy of the arts. Amsterdam University Press.

       

      Tatiana Bazzichelli (2013) Networked disruption. Aarhus: Digital Aesthetics Research Center, 73.

      PhD thesis

      creative economy

      Richard Florida (2002) The economic geography of talent. Annals of the Association of American geographers, 92(4), pp.743-755.

      creative economy flag-raiser

      Richard Florida (2005) Cities and the creative class. Routledge.

      Bridgstock Entrepreneurship Education in the Arts

      quadruple bottom line theory, career self-management

      Hartley et al Key Concepts in Creative Industries

      entrepreneurship and innovation

      creative economy critique

      Banks, M. and O’Connor, J. (2017) Inside the whale (and how to get out of there): Moving on from two decades of creative industries research. European Journal of Cultural Studies, 20(6), pp.637-654.

      Timely self-critique from apologetic creative economy former enthusiasts. Creative cities, cluster theory, Landry, Florida etc.

      Paul Chatterton (2000). Will the real Creative City please stand up?. City, 4(3), pp.390-397. [online]

      http://www.tandfonline.com/doi/pdf/10.1080/713657028

       

      Banks, M., 2010. Craft labour and creative industries. International journal of cultural policy, 16(3), pp.305-321.

      Richard Sennett and craft.

      Anthony Davies (2007) Take me I’m yours: neoliberalising the cultural institution. In Mute Vol 2 No 5 It’s not easy being green [online]

      http://www.metamute.org/editorial/articles/take-me-im-yours-neoliberalising-cultural-institution

      A principle contradiction: the content of the institution’s discourse can be utterly inverted in the institutional form.

      Jones, C. and Murtola, A.M. (2012) Entrepreneurship and expropriation. Organization, 19(5), pp.635-655.

      Entrepreneurship as individual activity which rests on appropriation of production in common.

      Angela McRobbie 2016. Be creative: Making a living in the new culture industries. John Wiley & Sons.

      Book. Forensic examination of the UK cultural economy.

      2. Diverse Economies

      Performativity

      ..& research

      Butler, J., 1993. Critically queer. GLQ: A journal of Lesbian and Gay Studies, 1(1), pp.17-32.

      Performativity as a research strategy.

      Queer theory.

      Law, J. and Urry, J. (2004) Enacting the social. Economy and society, 33(3), pp.390-410.

      Sedgwick, E.K., (1997) Paranoid reading and reparative reading, or, You're so paranoid, you probably think this introduction is about you. [online]

      https://helda.helsinki.fi/bitstream/handle/10224/3628/2001-1233.pdf?sequence=1

      .. & art

      Brook, Donald. Experimental Art [online]

      http://blogs.unsw.edu.au/niea-experimentalartsconference/files/2011/08/DONALD-BROOK-Experimental-Art.pdf

      Art as ‘mimetic innovation’

      Wright, S. (2013). 1:1 Scale, Toward a lexicon of usership. Van Abbemuseum. [online]

      Art on a 1:1 scale

      .. & economy

      Çalışkan, K. and Callon, M., 2009. Economization, part 1: shifting attention from the economy towards processes of economization. Economy and Society, 38(3), pp.369-398.

      Performing the economy / economy as performance.

      Çalışkan, K. and Callon, M., 2009. Economization, part 1: shifting attention from the economy towards processes of economization. Economy and Society, 38(3), pp.369-398.

      Callon, M., 2006. What does it mean to say that economics is performative? [online]

      https://halshs.archives-ouvertes.fr/halshs-00091596/document

      Diverse economies

      JK Gibson-Graham and Ethan Miller (2015) ‘Economy as ecological livelihood’. Manifesto for Living in the Anthropocene, pp.7-16.

      Rethinking economic action as a space for ethical negotiation. In economic geography, JK Gibson-Graham challenges the idea of “the economy” as a unified, capitalist domain, to instead reframe it as diverse practices and interrelationships of sustenance and livelihood. This “diverse economies” approach is grounded in methodologies from feminist theory, which emphasise the need to recognise, theorise and engage with diversity. It constructs a different vision of "economy" where a host of informal, underground, non-market, collective and co-operative behaviours and activities are considered not only prevalent, but also primary and consequential.

      JK Gibson-Graham. (2008) 'Diverse economies: performative practices for other worlds'. Progress in Human Geography, 32(5), pp.613-632.

      Gibson-Graham, J.K., 1999. Queer(y)ing Capitalism in and out of the Classroom [1]. Journal of Geography in Higher Education, 23(1), pp.80-85.

      Zanoni, P., Contu, A., Healy, S. and Mir, R.,(2017) Post-capitalistic politics in the making: The imaginary and praxis of alternative economies. In Organization, Vol. 24(5) Sage Publications pp 575-588

      Gibson-Graham, J.K., 2014. Rethinking the economy with thick description and weak theory. Current Anthropology, 55(S9), pp.S147-S153.

      3. Radmin

      Art and admin

       

      Andrea Phillips (2015) Invest in What

      howtoworktogether.org [online]

      Arts organisations' structures shape their policies. A history of artistic work proposing radical forms of cooperation

      vs potlitcally endorsed models of entrepreneurship.

      Caroline Woolard (2017) Ourgoods, BAMBAPHD [online]

      Art-based critique of art economies. Objects and contexts: together, objects

      and contexts create space for reflection, circulation, and social transformation.

      Angela McRobbie (2010) Rethinking Creative Economy as Radical Social Enterprise. Variant Magazine

      [online]

      How does teaching students critical understanding tally with also encouraging self-reliance and entrepreneurship?

      Proposes a renewal of radical social enterprise and co-operatives as self-organised collectives, to provide working structures for diverse occupations, including artists.

      Business studies

      Martin Parker Art as Work

      Critical management studies perspective on Art. Being an artist is supposed to expose the constraints of rules by bending / breaking conventions .. but art is work and involves rules, and work is creative and produces difference.

      Matthew Manos (2012) Business as a Medium in Hertz, Garnet. Critical Making. 1st ed. [United States]: Telharmonium p.27-32. [online]

      Business as a medium for critical enquiry and meaning-making, to change perceptions.

      A means of designing a future the entrepreneur would like to inhabit.

      Business as a non end-dated project; an ultra accessible medium; a platform for experiments.

      Martin Parker et al (2013) ‘Horizons of possibility’. In: Parker, M., Cheney, G., Fournier, V. and Land, C. eds., The Routledge companion to alternative organization. Routledge.

      Assimilation and recuperation (Boltanski & Chiapello) vs operating in the cracks.

      Essential laboratories for post/non/modified capitalist practices, ‘less-governed’ (Foucault).

      Critique is a limited strategy if the real goal is social transformation. (A positive critique which brings new things into the world).

      Does the scale of resistance have to match the scale of the problem?

      Calls for a radical insurgent entrepreneurship as form of social creativity. Changes in daily practice, invents futures.

      Entrepreneurship as a set of unstable, untested, potentially transformational practices of collective invention and reorientation.

      Craig Deegan (2016)

      Twenty five years of social and environmental accounting research within Critical Perspectives of Accounting: Hits, misses and ways forward. Critical Perspectives on Accounting, 43, pp.65-87.

      Critical accounting.

      The transformational potential of accounting, vs producing incontravertible facts.

      Accounting as a means of identifying which action one must defend.

      Systems thinking

      Gregory Bateson (1972) Steps to an Ecology of Mind

      Form is the primary mode of communication, understood analogically. Significant meta-level change requires a change of context as well as content.

      Bruno Latour (2011) What’s the story? Organizing as a mode of existence. In: Passoth, JH., Peuker, B. and Schillmeier, M., Agency without Actors.

      Organisation staves off disorder. Being-in-action, organisations as scripts. Organisations as a flock of sparrows.

      Legal

      Janelle Orsi

      Bronwen Morgan

      Morgan, B. and Kush, D. (2015) 'Radical transactionalism: legal consciousness, diverse economies and the sharing economy'. Journal of Law and Society 556-587

      Bronwen Mogan and Declan Kuch Radical Transactionalism

      An expansive concept of enterprise as ‘any productive activity that might bring us sustenance’.

      The legal, financial and organisational structures of our current economy do not sit comfortable with small-scale sustainable economy initiatives.

       





APPLY TO THE A.PASS PROGRAMMES

Unfortunately we no longer have applications. Both programs: the Postgraduate as well as Research Center have come to an end due to the decision of the ministry of education to stop financing a.pass. At the moment we look into new plans for the future. More news soon on our website.

Alternativly you can upload your Research proposal, Portfolio, CV and other documents here.

Maximum file size: 50 MB, maximum 5 files.

X  

add file..


SIGN UP TO EVENT
selected :
yes
no
ex-participant


ORDER