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    • research center
    • associate researchers Cycle 2
    • block 2021/I
    • Printer's Devils
    • Printer's devils Research Center Cycle 2 Block III
      17 January 2021
      posted by: Kristien Van den Brande
    • Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre, Pia Louwerens, Kristien Van den Brande
    • 04 January 2021
    • 04 April 2021
    • Printer's devils

      One publishes to find comrades! So says André Breton. The researchers in the current cycle of the research centre — Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens — are ending their trajectories at a.pass with a block focused on publishing, and the myriad of relations implied in committing something to print. Publishing is rarely something that concludes a confined process of solitary thought. It is a social process that — abstractly and manifestly — involves collaboration along the way: sometimes with fellow interlocutors, sometimes with an editor or designer at the other end of the table, sometimes with abstract ideas of what readership might entail. Rather than aiming for a book or for printed matter as a finite goal, we will take publishing as a pretext to build relationships that last over time. How can a publication be set up as an ongoing social gesture, a space for the continued production of meaning and reverberance?

      This block has a weekly organization, whereby Tuesdays alternate between a technical-dramaturgical help-desk, and editorial-curatorial approaches. Help-desk Tuesdays are more loosely structured around practical needs of the collective and individual publications. How did you do this? Why would you do that? During the editorial-curatorial Tuesdays we work on a collective publication, addressing a breadth of concerns in publishing (commonplace books, performative publishing, the interplay between analogue and digital publishing, orality and transcription, co-writing, the power of address, self-writing, ventriloquism, reading as writing, distribution).

      The researchers' collective publication process is hosted by madewitholga.be, a virtual residency space, designed for research and experimentation. It is the sister-space of oralsite.be, a platform for digital artist publications, initiated by Sarma. The collective publication commences as a collective commonplace book, an inventory of what was found noteworthy during the shared research time at a.pass. How did epiphanic thoughts, ideas or observations materialize in notebooks, notepads, post-its, letters, etc; what kind of publicness is enacted at the outset of noting them down; and what operations or translations can we perform to enhance readability?

      Throughout the previous blocks the researchers have been assisted, respectively by Vladimir Miller and Nicolas Galeazzi. The upcoming three months are organized by Kristien Van den Brande, in collaboration with the researchers.

    • research center
    • associate researchers Cycle 2
    • block 2020/III
    • Hosting
    • Hosting Research Center Cycle 2 Block II
      22 September 2020
      posted by: Nicolas Galeazzi
    • Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre, Pia Louwerens, Nicolas Galeazzi
    • a.pass
    • 01 September 2020
    • 12 December 2020
    • case of: Nicolas Galeazzi
    • Hosting


      There, we go on…

      The Associate Researchers are sitting together again physically. Sometimes masked, hands well disinfected and -as usually, hosted by the institutional care of a.pass. This care might be physical as never before. After several months under the lockdown's separating conditions and a half-suspended block, live meetings seem to be a real relief! It feels like re-starting the real. Of course, this feeling is not justified. However locked away from the real-'live' and however difficult the Corona-spring was, the productivity of the online collaborations was astonishing! A new online working-site has been filled with masses of texts, notes, and plans. It might be difficult to document live working processes with the same intensity. Last block ended with a residency in Zsenne Art Lab in July, when physical meetings were possible again. Workshops were proposed by each researcher as a way to share and exchange. This residency stayed contained within a small group of people, that for the first time came together physically. 

      Now, the autumn block has started with a new constellation of people and new conditions - the conditions of the post-lockdown-yet-infectious-city-life. The associate researchers Pia Louwerens, Breg Horemans, Davide Tidoni, Lili Rampre, Esteban Donoso, and block curator Nicolas Galeazzi meet again regularly. More or less every second Thursday one of us is hosting the others in their research 'field'.

      When we meet, half of the meeting, we are guests in the field of the other. We think-with, take part, and relate to whatever is proposed to be practiced. The second half of the meeting is explicitly not pre-conditioned by us. We relate to what is there, to what comes up, or what is needed at the moment. The possible plays of guest and host -  amongst bodies and viruses, parasites, and hosts - are multiple, and allow us to experience our relational dependencies. 


      There, we are again...

      Again and again, it is necessary to think through the relational field we are working with. Not only the forced physical distancing, the prohibited hugs, and the masked faces, but also the role of the institutional and individual responsibilities, the new urgencies for presence and absence, and a new mix of carefulness and caring, are tinted the relational questions at a.pass with the Corona crisis. 

      What and who are we to each other in a research group? What does the research group do for us? What does it mean to be Associate Researchers - what does it mean to be a host? What is the institutional framework - what does it allow, and what does it problematize? What kind of projections are made into the institutional, and what kind of speculations could we unleash on them? 

      The virus highlights these questions in a very special way. Bodily distanced, we are still physically related. It feels like a real-time training in relational ontology. Donna Haraway manifests it as  “beings do not pre-exist their relating" and therefore relations do produce us, not the other way round. This way to see ontology is into our face any time we have to say hello to somebody and hesitate whether to show the elbow, to hug, or just to stay still at 1,5m apart. Anyway, or specifically now, it’s worth putting the focus more on shaping relations around us rather than to shape ourselves. If this is true, attitudes of hosting, being it places, practices, contexts, and perspectives is an approach we will explore.

      "We are going"..

      Derrida starts his article on Steps of Hospitality / No Hospitality with this ontological statement about being guest, always! "We are moving around: from transgression to transgression but also from digression to digression." What does that mean in the contemporary context? "This step too many." These days we are crossing lines at any moment. Unavoidably. The lines of the subject are massively shaken, enforced, penetrated, and transgressed or at least put in question by a multitude of crisis - Crisis of trust (replaced by control), a crisis of care (replaced by security), a crisis of mattering (denied by ignorance). 
      Derrida invites us to practice unconditional hospitality and sets out the conditions for it: to go on, step by step, to put oneself in a constant not-knowing the lines guest/host-hood. 

      What can that mean with respect to Haraway’s relational ontology? 
      Probably we can explore this by speaking out invitations. Let’s challenge unconditional hospitality and ask how to shape relations as a conditioning factor to deepen our understanding of the specific relational fields we find ourselves in. 


      We are going on a walk..

      As a starting ‚seminar’ in this block, we invite ourselves for a walk in the Ardennes. We will be hosted by Elke Van Campenhout at her new residence and invite her to join our 'going on'.
      Originated in the wish to give attention to all the physical and social side-processes around our research in focus, which inform our relations, trajectories, and perceptions, we want to share an experience of time besides the habitual working patterns. A hike seemed to be a simple push out of habits into a habitat where we are guests per se. Let's see how this attention infects us and our research. 

       
    • research center
    • workshop
    • associate researchers Cycle 2
    • Re- 29 June 2020
      posted by: Vladimir Miller
    • Esteban Donoso
    • ZSenne Art Lab
    • 13 July 2020
    • 14 July 2020
    • Re-

      How do we become visible? Within which frames? What are the conditions of that appearance? This workshop takes as points of departure objects and documents from our own archives as performance makers / thinkers, and creates a new environment for them. Via re-visiting their time, environment and our personal connections to them, we will open up a process of constant re-structuring of our own narrations. If we were to write a film script about these re-visited environments, what form would they take? How will we come to occupy the space of a film frame? Will there be enough space? How will our collective reflections and present tense entanglements become part of our fiction? How will we manage to exist and coexist within this commensurate space?

      This workshop is facilitated by Esteban Donoso, and will involve co-writing and thinking together to co-create a film script using a version of those documents, plus versions of our reflections, questions and dialogues. Please bring a document of your performance life, the documents can go from 'harder' materials like video or photos to an anecdote or a dialogue that we remember, a smell, a description of a space, etc.

      Duration: 2 x 4 hours

      More info: re-workshop@outlook.com

       

      Session 1

      Mon, July 13th

      14h

       

      Session 2

      Tue, July 14th

      14h

       

       

    • performative publishing
    • research center
    • associate researchers Cycle 1
    • WHAT YOUR RESEARCH DID TO ME research center associates Cycle II
      17 February 2020
      posted by: Steven Jouwersma
    • Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens
    • 10 June 2021
    • 30 euro - annex + 2 books + 1 game
    • WHAT YOUR RESEARCH DID TO ME

      Performative publishing” opens other forms of doing that reflect the speculative attitudes of artistic research.

      a.pass Research Center hosts associate researchers in one-year cycles. Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens were part of “Cycle II 2020/21”. Their research topics range from cultural discourse analysis in the dance field, institutional critique and immaterial art production, architectural encounter dispositifs, decolonial dance history and politics of listening. Throughout the year, they contributed with concerns, concepts and “ways of doing” inherent to their practice. They share their research trajectory and their entanglements in singular performative publications, as well as a collective digital publication on madewitholga.be. Excerpts of their collaborative work are published in The Annex, which functions as a printed index to the online collective publication, as well as to the multiform performative publications of the individual researchers.

       


      THE ANNEX

      Collective publication

      What your research did to me is a collective online publication by a.pass “Research Center Cycle II,” with excerpts printed in The Annex. In response to a self-defined score, the associated researchers produced an online assemblage of conversations, film clips, letters, auto-theoretical writings and a storytelling/feedback game.

      In a collaborative research environment like a.pass, a lot of creative and critical energy is devoted to developing modes of sharing. These modes range from spontaneous and informal, to highly orchestrated, artificial, constrained and designed. Whether called hosting, adopting, participating, initiating, presenting, borrowing, testing, or what have you – they all come with a different distribution of entanglements with each other, and eventually with a wider public.

      The publication What your research did to me takes as a point of departure the fact that modes of sharing already happened, and that along the way, the initial projects lost their clear contours. They crossbred into each other and made (un)traceable lines and knots, without losing definition. When deliberating the making of a publication to impart something of the collective process, the first impulse was to find a common denominator in research subject (e.g. listening), if not in research method (e.g. note-taking). This strategy yielded a somewhat pernicious effect in that it tended to fade the singularities and intricacies of the approaches, how one inclined to another – but not necessarily to all. Sharing wasn’t the same as amalgamating into uniformity. Proximity engendered centrifuge as much as centripetal forces.

      The solution adopted was to list each for oneself, moments where one’s research was inspired by someone else’s, and to readdress that moment of implicit borrowing or appropriating back into collective work, either with the proprietor of the question or with the entire group, and in any case, witnessed by all.

      madewitholga.be or in print.

      PDF OF ANNEX II here > a.pass_annex_2021

      The Annex is 5 euro.
      You get the Annex for free if you order one of the publications.
      Price of Annex + the 3 printed publications = 30 euro


      What your research did to me, a collective online publication by a.pass Research Centre Cycle II, with excerpts printed in *The Annex*. What your research did to me is an online assemblage of conversations, film clips, letters, autotheoretical writings and a storytelling/feedback game, produced in response to a self-defined score.
       
      Published on madewitholga.be

      SITING DISCOURSE
      Diary excerpt from Live Archive,

      by Breg Horemans

      Siting Discourse is a dialogical diary that explores the protocols, politics and accessibility of a digital architecture-as-archive (www.taat-projects.com). Horemans shares the writing process through a recorded sequence of screen captures. Siting Discourse exposes the Live Archive´s digital spatiality and the implicit gestures, attitudes and coincidences of discourse making that it aims to facilitate. The title is a reference to the Live Archive as a (web-)site for discursive documentation and it addresses the academic citing mechanism as a form of “structural misquoting.” Siting Discourse is a collaboration between Siebren Nachtergaele (Social Sciences HOGENT, Theatre Studies UGENT, BE) and Andrew Filmer (Theatre Studies, Aberystwyth University, WA). Their first encounter was shaped by means of a drift.

      PDF FREE DOWNLOAD  > archive 10-6-2021_final

      Breg Horemans is co-founder of TAAT, a liquid collective of artists working on the verge of performance, research and installation art. Since 2011, he renegotiates his relation to the architecture discipline through transdisciplinary collaborations. The desire of his research lies in shaping the spatial conditions for ‘sites of encounter’ that invite human and non-human entities to co-constitute each other. The projects initiated by TAAT generate spaces for co-activity and instigate fluid prototyping processes as ‘becoming spaces’. In the last two years, Breg is co-developing an online environment that enhance processes of open source writing, archiving and publishing.

       


       

       

      I’M NOT SAD, THE WORLD IS SAD
      Artistic research novel,

      by Pia Louwerens

      I’m Not Sad, The World Is Sad is an autotheoretical, semi-fictional account of a performance artist who lands a part-time job as an Embedded Artistic Researcher in an art institution. Invested in queer theory and institutional critique, she sets out to perform the artist “differently” through a process of negation and passivity, inadvertently causing her relationship with the institution’s curator to grow increasingly speculative and paranoid. Louwerens’ labor as tour guide, security guard, artist, hostess and researcher at different institutions begins to overlap and blend under the name of “performance.” Im Not Sad, The World Is Sad is a fragmented story of paranoid and reparative reading, script and utterance, exposure and vulnerability.

      Pia Louwerens is a performance artist and researcher from the Netherlands, living in Brussels. Her research revolves around the becoming of the artistic subject, the I who writes, speaks and makes, in relation to the (institutional) context. From 2019 - 2020 Louwerens was working as embedded artistic researcher at a big research project, for which she was embedded in an art institution. Through this research she attempted to perform or practice the artist, and thereby the institution, differently. Her work usually takes the shape of a performance in which she speaks, switching between registers of the actual, the possible, the professional and the anxious artist.

      price 15 euro

      ORDER HERE + preview PDF (coming soon)

       


       

       

      POP-FI POSTER
      A game,

      by Lili M. Rampre

      Pop-Fi poster is a “choose your own adventure” game developed by Lili M. Rampre in collaboration with Júlia Rúbies Subirós. The game traces pre-public discourse, a semi-private collection of thoughts that, once shared and circulated, can shift a wider agenda on what matters to artists the most. The game aims to popularize common fictions and pop the bubble of others. Collectivizing half-digested thoughts potentially means bridging between personal and structural to effectuate change. Pop-Fi poster is part of Pop-Fi: a multifaceted project that entails a performative workshop ventriloquizing popular movie icons, video installations and script-readings. Pop-Fi foregrounds concerns of an artistic community through a variety of formats that act as a discourse prism. Pop-Fi poster is both a visual aid for the workshop and an autonomous object. Pop-Fi’s next step is developing strategies to funnel from anecdotal to factual and think about data and its visualization techniques informed by direct experience, commitment to action and intersectionality.

      Lili M. Rampre is researching strategies to highlight “off stage”; processes, practices and actors behind, off, under or above the stage. Her focus lies on power relationships and the dynamics of disparities in cultural capital (audience-performer, fan-star, producer-artist). Her work has often a role-reversal in its core proposal, ventriloquism of a kind, or unreliable narration. Most recently Lili is looking into fandom and fandom civic practices authorising fiction to affect political action as an artistic methodology, to re-articulate essential parts of artistic production and circulation as fictional or factual aspects.


      Price 3 Euro

      ORDER HERE (coming)

       


       

      WHERE DO YOU DRAW THE LINE
      BETWEEN ART AND POLITICS
      Interviews,

      by Davide Tidoni

      Where Do You Draw the Line Between Art and Politics consists of a series of interviews with individuals who have been active in various capacities at the intersection of art and politics. Between historical documentation, political memory, dialogic reflection, and motivational support, the publication examines the experiences, commitments and feelings that operate and inform aesthetic priorities in social spaces outside of art institutions; it’s a repository designed to inspire and encourage the politicization of aesthetics, as opposed to the aestheticization of politics.

      Davide Tidoni is an artist and researcher working with sound and listening. With a particular focus on direct experience, observation, and action, he creates works of different formats that include live performance, intervention, walk, video, audio recording, and text scores. He is interested in the use of sound and music in counter-culture and political struggles and has published a sound based field research on the northern italian ultras group Brescia 1911 (The Sound of Normalisation, 2018). Davide’s work can be accessed at: davidetidoni.name

      price: 15 Euro

      ORDER HERE + preview PDF (soon)


       
       
       
       
    • research center
    • associate researchers Cycle 2
    • RESEARCH CENTER CYCLE 2 BLOCK I and In-Between Block 19 January 2020
      posted by: Vladimir Miller
    • Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre, Pia Louwerens, Vladimir Miller
    • 01 January 2020
    • 31 July 2020
    • case of: Vladimir Miller
    • RESEARCH CENTER CYCLE 2 BLOCK I and In-Between Block
      This January marks the beginning of the second one-year-cycle of the a.pass Research Center. Initiated out of a desire to be a shared platform of exchange, support and publicness for the Associate Researchers this year long initiative will continue to support and publish advanced research and investigate its trajectories within a.pass.  The Associate Researchers will be hosted and supported during Cycle 2  by the Research Center curators: Vladimir Miller (Block I+II/20).
       
      For the period of January to December 2020 we are happy to welcome following Associate Researchers to the a.pass Research Center:
      Breg Horemans, Davide Tidoni, Esteban Donoso, Pia Louwerens and Lili Rampre.
       
      During the upcoming block we will start and at the same time continue our work by imagining and negotiating the individual contracts between the researchers and the Research Center, which will speculate on the individual research process and the support needed during the year cycle. 
    • end presentation
    • performative publishing
    • postgraduate program
    • block 2016/III
    • UNDER )o( MINING 27 September 2016
      posted by: Nicolas Galeazzi
    • Isabel Burr Raty; Thiago Antunes; Esteban Donoso
    • Zsenne Artlab
    • 27 September 2016
    • 30 September 2016
    • UNDER )o( MINING

      "BEAUTY KIT FOCUS GROUP"

      ISABEL BURR RATY

      Isabel will be presenting bio-products that she fabricates
      from a variety of substances collected from her womb

      "WELCOME and please do NOT turn the page"
      THIAGO ANTUNES 

      A reading game performance around authority, obedience and participation,
      inspired by civic integration programs.

      "TABLE MOVIE"
      ESTEBAN DONOSO

      Esteban hosts a moment of collective fiction; to create an imaginary film
      using our senses as recording devices.


       

      DOOR OPENING AT 18.30 : 20 PEOPLE PER NIGHT - INSCRIBE BELOW !!!

       
      Due to the intimate nature of our performance event, we will be hosting up to 20 people per night, so it is first come first served, or alternatively  we kindly ask you to sign up and reserve a place using the doodle link above (highly recommended!!)   

      We have designed an experience that offers you finger food with interactive installations at 18h30 and then we will be guiding you through a series of participatory performances.

       


        

      pics_emailer_isabel

      Isabel burr raty
      Bio Autonomy practice

      “I conceive of the Planet as a womb. I make the sacred plastic to reveal its nature. I bring my insides out, performing bloody rituals with machines mimicking the dichotomy of life as it becomes transgenic, engineered in the temple of science. I’m a sculptural thought. Before the womb microarchitecture ends up being a metal box, I become a pharmaceutical sculpture animating a dimension that queries the place of spirits and souls. I’m anatomy. I body dig cyclically. I'm a medical container and I use my uterus to prove it. I excavate the inner geology of this persona to practice my fabrications. I deconstruct to construct bringing the discharged abject to our every day. I re-acknowledge bio-autonomy. I build a bridge. I use the system, the metaphor of industry and its mind gap game apparatus hoping to free us from the mechanical and systematic customized gesture”. 

      "BEAUTY KIT FOCUS GROUP"
      Participatory performance. 

      pics_emailer_thiago

      Thiago antunes
      Civic intimacy games

      My plan was to create a political role playing game that could address migration and integration. After realizing the limits of playable games to disrupt hegemonic discourses, I started to investigate manners of encouraging the players to play against the game itself. A game that never starts, or never ends, and peculiar rules that lead to paradoxical achievements became possibilities for concretely investigating the contradictory hospitality of Europe.

      In my decolonizing fantasy, I imagine Amerindian shamans running an immigration office in Europe, imposing their fleshly notion of integration under the drapery of the bureaucratic civic integration courses. These games demand resourcefulness from the players in coping with physical proximity, smelling and touching the other, sharing drinks and food, enhancing intimacy, as basic requirements for acquiring citizenship. The colonised eventually teaches the coloniser “what a body can do”.

      "WELCOME and PLEASE DO NOT turn the page"
      participatory performance

      pics_emailer_esteban

      esteban donoso
      Scenes of naration

      “During this period I have created distpositifs that alter/displace self-narration and narratives; opening up the gap that lies in-between the thinking and the speaking, the speaking and the doing. This in-between space unfolds slowly and simultaneously to our conscious speaking / doing and allows for a thinner, more fluid membrane between reality, fiction and memory. There is also the in-betweenness of the speaker and the listener, of the speaker and the spoken about, of the person speaking and the others that speak through him/her. A scene of narrating that welcomes the fragmentary, the phantasmatic and the poetic”.

      "TABLE MOVIE"
      participatory performance


       

      UNDER )O( MINING

      “… the playful dystopia of the domestic raw. The displaced archive woven through a membrane that digs fictional technologies…”

      “….is to playfully dig into archives, fabricating technologies that challenge dystopian perspectives through the displacement of domestic membranes, weaving new fictions for ourselves…”

      “… through raw technologies, weaving membranes of fictions, digging in the playfulness of a dystopian archive, creating domestic displacements of ourselves…”


      Home

      Rue Anneessens 2, 1000 Bruxelles

      http://www.zsenne.be/ 

       

    • postgraduate program
    • workshop
    • block 2016/II
    • Excursions
    • Uninvited Research
    • Mr. Ecuador 22 April 2016
      posted by: Nicolas Galeazzi
    • Esteban Donoso
    • meeting at a.pass
    • 29 June 2016
    • Mr. Ecuador

      The trip I propose has two parts, the first day we will visit the swimming pool at Jeu de Bal in Brussels. While swimming we will record sounds from the site, our conversations, and sounds sprout from talking practices I have been working on. When we are back in the apass studio, we will perform our swiming pool sound documentary. We will perform it live, in swiming gear, some sounds will be broadcasted, some will be produced at the moment, some texts read live. Along with our performing, there will be a video footage of an abandoned swimming pool in Quito-Ecuador, a former military post from the XIXth century, turned into a sports complex, then abandoned from the 1970s on, this swimming pool was the site for the first Mr Ecuador contest.

    • #1
      16th June 2015

      Hello Esteban
      Hello
      I would like to ask some questions to you, because of the last conversation that we had drinking a beer in… what is this bar called?
      Fontainas
      Yes, after this conversation I have been working on some questions about the subject of your research, and I would like to ask them to you and see what you do with them
      Aha Do you want to say something or do you want me to go straight away with the interview?
      No, Im also interested in what I can be able to say around this questions
      I hope they will not take you by surprise, or that they are not too conflictive, or too new, or anything like this, ok?
      No… don’t worry about it
      If you cannot reply just make a sign and I go to the next ok?
      Ok
      My first question would be: what is the relationship between the authentic movement practice, which is in fact an appropriation that you do of this practice with your research interest
      It is a very good question, the first thing I would say is
      Can you speak a little bit louder?
      Yes…the first thing I would say is, I don't know…yet
      I think it came about because I was interested in researching within a logic that was closer to the body
      Closer to the body…
      A logic coming from the body, because I wanted not to start from a logic that comes from language and since I had in mind the idea of interviewing, I said to myself perhaps I can ask questions to the body. But this implies that the body is beyond language and that i can go like this (does the gesture of peeling off or opening a curtain) and there is the body. So now it is different, I think it is more about the interaction of many layers of bodyliness and many layers of language that I feel interact in this particular practice. So now I might step into a different question….
      Yes, its interesting this idea of layers of body and language, how did it appear or come into your mind?
      The practice of authentic movement came about in a couple of ways, one is: I started with Jennifer Monson when I lived in the U.S. and she is actually connected to Jennifer Lacey and DD Dorvillier, they worked together in New York
      Ah ok
      This is how it started, and then when I went to Impulstanz in 2007, it was a lot of what we were doing in a workshop there. Later on I started experimenting with this tool because I was interested in how much you can gather in terms of information about yourself, about the body and about the world, through this practice.
      With time this became a “safe place” for me, a place where I could go if I needed to be with myself. Now, it might be good to wonder: safe from what? (long pause) I think it made me safe from dance training (?)
      And i think it kept me safe from dance training, because it was a way for me to take a distance from “actual training” and wonder about my own particular way of understanding….
      But is it because you don’t feel authentic movement is a way of dance training?
      Yes, or maybe at the moment it felt like it was not entirely a dance training, perhaps because it comes form a dance-movement therapy context. Although the way I came about it was through dance and choreography practitioners, now I can see that it actually is a way of dance training. I think maybe I did this separation at the moment - a separation between dance training and authentic movement - because it became a way of assimilating technical aspects, morphological qualities about my body, or about how I relate to people….and so it really is a place that I created in order to articulate and ponder about my own dancing body.
      And …..your interest or intuition about developing this practice? or do you have a goal in mind?
      I do… its more like an intuition, really, at this point
      Yes, because you have talked about the origin of it, but do you have a goal?
      Actually I think in order to have a goal I need to go over the questions in this interview first….
      Ok, but then at least can you present this practice to me? are you going to present it? what are you going to do with it?
      I think I actually need to talk about the idea of neutral, because it seems that I some point I came to see it that way. I wonder in which way I came to understand it as ‘neutral’, and whatever I mean by that…
      Because now that we’ve been talking about this many layers of body and language, how would you then define what is neutral? is it possible to find something without layers?
      Exactly, no
      Authentic Movement is an actual technique and it comes from a Jungian school of Movement Therapy and it aims - among other things - to find connections between body and mind.
      I am going to step out of my interviewing role for a moment, since we have been discussing about these topics for several occasions. Don’t you think that the questions that you have about your project have been imposed already? Is the idea of a colonized body that is trying to break free from boundaries not an already colonized idea?
      Maybe I will say it in spanish, que si no consideras que muchas de las preguntas que tienes no son ya una propia herencia, por lo tanto una especie de colonización, una imposición, están impuestas de alguna forma?
      I think I know what you mean… but I would like you to elaborate more
      Ok, we can have a beer later and discuss about this, but i Would like continue with the interview
      Do you think you can apply it to every context?
      No I don't, I think it always depends, but I think Im insisting in this idea of neutral because I would like to trace my train of thought in respect to this. I think I got to understand it as neutral because it gave me a place that was out of the constraints of ‘having to do something’ and started to finally wonder how it is that I was approaching any doing.
      How do you think it was helping you?
      It mostly has to do with creating my own body, when I went back to Ecuador I continued to work on this practice and developed it further. At that moment it was a tool for reconstructing and re-membering things together (as a group of dancers). Also I had the chance to do it as a Movement Therapy, which in conjunction with my own going to psychoanalysis. I think it enabled me to find more freedom in my own representation of my body. I was working in my own layers of bodyliness and the materiality of it, and the possibility to talk about it, this became my own creative project, or my own bricolage. This process was very informative abut my own way of thinking and experiencing.
      What limitations do you see in this practice
      I think my questions about coloniality and geography are very specific, and the tool could turn out to be vague in relation to them. This would be the limitation.
      In the case that this practice was not there, what do you envision could be another practice that addresses what we have been talking about?
      I may need to get closer to language and use a tool like anamnesis, or use a regular interviewing device.
      wow, but you are using language!
      yes, but it is a different kind of language, I think I am talking about a more chronological account of events.
      but what I am interested in is the constitution or configuration of a body, that happens around the trajectory of doings that each body has. So I am more interested in trajectories and perhaps this tool is dealing more specifically with the present moment: in this space, in this environment, with these sensations.
      Ok, we can go on while having a beer later, Thank you
      Thank you

      #2
      15th July 2015

      Can you describe your practices?
      Yes, I have two practices going on at the moment, one I have called dissolving the other. It is a series of relays, a person does something for an amount of time with eyes closed, the next person is going to re-do what the first person did. I suppose there is an idea of continuation, along with the idea of re-doing, that may be involuntary and also an idea of reviewing, which happens at the same time as re-doing.
      For the next time I do it I have a lot of questions, the first one is if there should be a more specific score, because right now what they do is open. Although the open score is also nice because each person can do whatever they need and listen to their own body
      Why do you think it would be good to have a more precise score?
      Because it seems very open and a lot depends on the first person who is doing it. The whole set of re-doings is very connected to what the first person does. This is good because it starts as something very close to the person’s body and experience and listening to that moment, but I am wondering if I set it up as a question (and of course then i have the issue of how to come up with the question, and where the question comes from) So maybe we start with a question (that could be more or less arbitrary for the group) and it is not that they have to think about the question consciously, but we will see if with the many doings something of the question gets answered.
      I also want to do it for an extended period of time, it could be 2 hours a day each day.
      What kind of experience do you want to give to the participants in this current format?
      This is a very good question because it is related to what I want to get from the practice. mentoring with Pierre, at some point he said that I seems what I want is the other people to experience what I have experienced. In relation to many layers of bodyliness and many layers of language, but i think it does have to do with my own experience of reviewing these layers and seeing how they have come about and maybe opening up spaces in them or re- ordering them. I want the participants to have an experience of their “many layers” of their own bodyliness and also of how they give an account of them.
      Where do you envision it happening in the future? What kind of space?
      In the immediate future, I would like to do it outside
      In which kind of space?
      In a garden, there is something ecological about this project - although not in the sense of a search of the ‘natural’-, but about looking at a person’s mental ecology, or bodily ecology, and I think it will be interesting to see how this happens in a more ‘natural setting’, a setting that has a different arrangement than inside a building.
      Otherwise Im thinking it could happen inside a ‘set’ in which there are many types of objects (I still need to work on this). I could have cushions, something that feels comfortable, but I would like a plant to be in there, and a piece of furniture.
      So you are thinking not only about the person’s intention but about the relationship to the environment?
      Yes, something may appear in the relationship to the objects that may be worthwhile to explore, for example, in Half Way Days, in one of the groups, it became very much about the body, but in another group, it became very much about the objects in the room.
      The cushions you had
      Yes
      So it would be interesting to set it up in a way that i can be about the environment, can also become very internal, I like this space for the person to choose.
      The other practice that I would like to describe is Weaving Talking
      The Weaving Talking Singing (laughs)
      Its an ‘invented’ tradition, of course many cultures have weaving as a very important part of their tradition; particularly in the Andes it is an important element for memory, religious practices, agriculture…
      And for identity
      Yes, even the gender is codified in the weaving of the clothing, for example. Also, what they wear has has a practicality for planting and harvesting.
      In Spain they have this practice for weaving with “boleros”, to weave lace.
      So it appears in many contexts, but since I haven’t had a direct relationship with any of these traditions, I am sort of making it up. I am looking at youtube tutorials and doing this teenager bracelet kind of weaving and using a loom that is designed for children.
      Because it is not goal oriented, we are wondering about the act of weaving, more than actually weaving something like a tapestry or a sweater.
      More than the result, the process?
      Yes
      I am also interested in the conversation that happens while weaving, there is kind of concentration that provokes language to appear in a different way. There are a lot of possibilities here also, its could be a conversation, or it could be an interview. It could be a way of talking about things that are hard to talk about.
      But you don’t know if it is?
      If it was therapy I would have to be sustained for a long period of time, They would have to come regularly and weave. I think it would allow for many elaborations with objects and materials.
      Both of the practices are at this initial state.
      Apparently I am interested in language
      Apparently? (laughs)
      Yes, I should look carefully into the ways that I set the scores, the way I give the tasks, etc etc.
      And for the weaving do you think a change in the space could also be interesting?
      Yes! If I do it in the street it could be an interesting social/relational practice, like in the middle of a square and people can come weave and talk. Its a relational object.
      What kind of experience do you want to give to the participants in the Weaving Talking?
      There is a collective doing that i would like them to get engaged in. There is also a transformative element since their words are going into the weaving, and here there are many possibilities. There is instead of a crystallisation of words, a woolization of words.
      Since it doesn’t require too much skills, someone who has more of an expertise can do it as much as someone who has never done it.
      Do you always see it as a collective practice?
      Yes I see around 3 people doing it at the time
      Ok
      Ok

      #3
      21st July 2015

      What place do you give to the idea of race in your own experience?
      This is complicated, because it has been a very important element in my own construction as a person, and there is an element of racism and discrimination that has been ever present in my own history growing up in Ecuador and living there.
      In my family, my grandmother on my father’s side was an indigenous person, she was an worker in a Hacienda and my grandfather was the owner of the hacienda. There is a great deal of this story that I don’t know, even though I have been reconstructing it for a long time; but I do have my grandfather’s last name, my father got it through a legal procedure that used to be done at the time.
      To go back to the idea of race, one of the things that I don’t know about my grandmother is if she spoke quichua (the native language) besides speaking spanish, that would be important for me to know. The way the issue of race has worked is that there is a clear hierarchy between indigenous people and white-looking people in which traditionally the indigenous people are the servants, as in the case of the Hacienda where my grandmother worked.
      My father was moved to a different city when he was a little kid
      WIth his mother?
      No, by himself, to go to school. My grandmother stayed working in the Hacienda, for free, because the new owners sent him to school, although my father would have been the heir of the Hacienda, being the only son of the owner. And of course if that would have been the case, it would have been even more terrible, to be a manager in this unjust system, you know? there would have been too much karma to that
      (laughs)
      Afterwards, when my father married my mother and they had their own house, we also had maids, which were of course indigenous people who came from the countryside to the city and worked in households.
      So your father went away to study and met your mother there?
      No, he studied until high school, went back to the Hacienda and left to the city with my grandmother. He met my mother in the city.
      My mother’s family was from the city, but this was in the 50s - 60s and the city didn't really become modernized until the 70s with the Oil Boom. She said that when she was a kid it was usual for people to have guinea pigs in the kitchen, running around, just like in the countryside, because they kept the kitchen warm. Its crazy to have had this mix of modern city and indigenous tradition at the same time.
      So it was a heating system?
      Yes
      (laughs)
      But its interesting how the ideas of class and of race come together in Ecuador. My great grandfather on my mother’s side was the son of a Minister, and he never had to work, since he had a status, although he kept loosing his fortune and selling estate to maintain his status and still not work, ever. My great grandmother had to work sewing to feed the fifteen children they had. There is a very patriarchal sexist hierarchy in which the hard work goes to the female indigenous person, although also for the indigenous males jobs like construction were left.
      So your father and your mother got married and….
      Yes they got married they lived in the city, they had seven kids, which is quite a lot and this is why they always needed help, and there were a lot of people who came form the countryside and needed a job
      So you always had an indigenous nana
      Yes, and even now she is still around, she works for one of my older brothers, though she is about to retire. Now they have a retirement fund and social security, but it is a rather new thing in the system. Before, the working relationships were ambiguous and there was the idea that hiring them was ‘doing them a favour’.
      When I was growing up, relatives of the house keepers would come to work in the house for periods of time as a way of taking them ‘out’ of the extreme poverty they lived in. One time a young boy (who had exactly my age) came and stayed for a few weeks until something valuable disappeared in the house and they kicked him out. It happened many times that people came and left for some reason.
      So I feel I have been exposed to this racialization of people; although my family has a mixed background there is this very ‘white’ rhetoric of making a difference between ‘us’ and ‘them’.
      Who are the whites in Ecuador?
      Spanish descendants, criollos, they are called
      Same as in Mexico
      Yes, I think Ecuador is very similar to Mexico in that there are still indigenous populations, but what I saw in Mexico is that you have a lot of work about indigenous cultures, like in the Anthropology Museum the work of periodization and historization of indigenous cultures is quite amazing. In Ecuador it seems a bit underdone, this kind of work.
      Do you think Ecuadorian indigenous are racist to themselves?
      I do, many times I have heard indigenous people saying self deprecating things about themselves, and also talking as if race was an essence. There is also a lot of alcoholism, and sadness, it is a diminished culture….
      The reason why I am interested in constructions of otherness has to do with the racial other, I have lived in a context that clearly distinguishes between indians and non-indians - thought they are not so clearly distinguishable in actuality, are they? -
      They are even antagonists, in this system
      Yes, exactly, completely antagonist, and hierarchized through many modes of violence that has been internalized.
      When I was working as a teacher there, I had a student who worked teaching at an intercultural school in which they spoke quichua and spanish, a lot of the kids’ parents had migrated to the city from the country side. She said that a lot of times the parents came to the school and explicitly told her not to talk to their kids in quichua, but in spanish; and a lot of times when they spoke to the kids in quichua the kids responded saying ‘I don’t know this language’. In this case language is a way of marking oppression.
      Interestingly, a lot of our spanish uses structures from quichua, and a lot of words we normally use too, but it seems we don't acknowledge this fact often.
      There is a merging of languages
      Yes but Im really interested in looking at how this merging comes about
      I see that this influences you personally, but why do you think you transpose this into your practices? And what for?
      For me there is something about layering there, and how this many layers coexist within your personal ecology
      What is personal ecology for you?
      I am in the process of defining it and understanding it, looking at The T hree Ecologies, by Guattari. It has to do with how you have built your own terrain, based on your life experiences and the collective memory that inhabits you - and you inhabit-. Somehow this elements in your terrain have become solid and part of it, like the idea that you have of yourself and your identity, but If you can build and create your own terrain you can start to see what elements are good for your soil and how it can be more fertile. It is important also to decide what you want to grow. This is how I am understanding it at the moment.
      Do you think your practices are directed to finding an ecology?
      Yes, they really have to do with working with each person’s own ecology. I am assuming that experiences of ‘othering’ of being under oppressive systems work in different ways in different contexts but they still operate, you know? So a lot of the work for me has to do with looking at this formations, and maybe doing something to the soil.
      In the practice of dissolving the other, when you see the result in the end, What does it give to you?
      I think what it does is that it enables mobility and a certain transformation that i think is quite important. It builds a temporary community and a material that is always changing.

      Yes, but what do YOU get out of this practice?
      For me the observation of how it works with other people really gives me a lot right now. On the other hand, it helps me dissolve my own others; I think I have been constructed with very fixed idea of others, under very tyrannical systems, even Europe is a tyranizing other for me
      Tell me about your residency card (laughs)
      Exactly, this helps to soften this constructions, and that is a precious thing for me. I don't like solid worlds
      Excluding worlds
      Yes
      So who is this other and how would you describe it?
      Well at the moment I am thinking of the other as the cultural other. I don't want to go into the psychoanalytic distinction between the Other and the other…. But the Other in general terms is a place where language and culture come from, and it is different form the other which is a mirrored reflection of the person - we are constructed within this Other. I suppose in the end it is all very related, the cultural other as a mirroring fantasy of difference, and the Other, the system that encompasses and frames that mirror dynamic.
      However, making another person different is a particular way of ‘othering’ and since the construction of the racial other is so violent, I would like to research more into this.
      Perhaps this is why in dissolving the other I have gone away form doing it in couples, and want to introduce many third parties in the mix, to get out of the mirroring thing.
      Franz Fanon says that the concern with self and other constructions is already a colonizer privilege, since if you are in a position of colonized you are in a zone of non-being, you are not human. Entering the self- other dynamic is already a step ahead.
      In Latin America the indians are seen as essentially inferior, and a lesser kind of human, this is what ratializing does, it colours the other as inferior.
      I would like to continue to think about other elements about my own ecology, but this has become a bit intense, and I need a break, could we continue in two weeks?
      Yes, ok
      I will see you then?
      Yes, thank you!
      Thank you!





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