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    • postgraduate program
    • workshop
    • Trouble on Radio Triton
    • TELESCOPING THE INTERVIEW three day intensive
      12 January 2017
      posted by: Pierre Rubio
    • Myriam Van Imschoot
    • 07 February 2017
    • 10 February 2017
    • TELESCOPING THE INTERVIEW

       

      'Telescoping the interview' follows in three days the route from interview-based art to vocal performance and bruitism. That was anyway the passage once taken by sound and performance artist Myriam Van Imschoot when she discovered within her interest in the interview several doors that led over time to appreciating speech for what it offers beyond meaning: significant aberrations, iterations, flux and rupture, modulation, and not in the least, different alterations of subjectivity away from the knowledge-centered ego to idiotic, pluriphonic and even nonhuman alternatives. It became the backbone of a body of works that persistently investigates the various agencies and colours of voicing.

      The three day workshop wants to act as an insert into Trouble on Radio Triton by interacting with the radiophonic and speculative concerns of this block.

      Rather than developing a full-on extensive practice-based workshop, this is a three day intensive that will combine artist talk, screenings, voice improvisations, score explorations, and other tele-scopic incursions into artistic practice and research.

      Have a look at the schedule below.

       

      Myriam Van Imschoot (1969) is a Brussels-based sound and performance artist who works in different media - with the voice as the recurrent motive -, often engaging large groups of performers/practitioners that bring their own sonic cultures, techniques and histories, on the edge of folklore and popular practice with extended uses. Her latest performance pieces, What Nature Says (2015) and HELfel (2016), evoke sensations of landscape in trouble, with the call as an emergent act of insistence and resistance. She is the founder of various initiatives, like Sarma, Voicelabs, Oral Site, and recently the sound poetic series Volume SP. In 2017 her new film Yodel Portrait Phil Minton will come out in Stuttgart, Akademie Schloss Solitude, followed by the première of the theater production IN KOOR! (with Willem Dewolf) at Campo.

      http://oralsite.be/pages/Myriam_Van_Imschoot_Digital_Portfolio

      http://oralsite.be/pages/WNS

      www.oralsite.be

      http://oralsite.be/pages/VolumeSP

       

       

      Schedule of the workshop

      Tuesday 7th from 3pm to 10pm

      Wednesday 8th from 10am to 5pm

      Friday 10th from 10am to 5pm

       

      Location of the workshop

      a pass / Studio 4th floor

      rue Delaunoystraat, 58-60

      1080 Brussels

       

       

    • postgraduate program
    • workshop
    • Dreaming Reality 09 June 2023
      posted by: Kristien Van den Brande
    • Anna Nowicka
    • a.pass
    • 24 June 2023
    • 25 June 2023
    • Dreaming Reality

      In the workshop we will explore our unique languages of imagination. We will notice how images move us, and how our actions transform inner landscapes. We will shift perspectives, switch between giving and receiving, doing and observing, dancing and being still. With the help of shifting the eye within and without the body, we will build realities and let go of them, draw inner landscapes and quest into their mysteries. We will speak worlds into being and listen to how they resonate in the body. From this receptive place, we will form our unique dances.

       

       

      → DATES&TIMES

      Saturday 24th 16h-21h
      Sunday 25th 10.00-15h*

      *Please mind that the workshop has different planned time on both days. A brake for lunchtime is considered.

      →HOW TO JOIN

      The number of participants that can join the workshop is small, non a.pass participants are welcome but registration is required. Do you want to participate in this workshop? Send an email to mizimakov@gmail.com with [DREAMING] as subject before Tuesday, JUNE 22, 2023.

       

      ANNA NOWICKA ABOUT THE WORKSHOP

      "The practice I propose is rooted in the work with dreams I studied at The School of Images and with dr. Bonnie Buckner. We will apply this particular method to choreographic work, plunging into “opening” any image, situation, and form, responding to it from a place of rested, attentive awareness. We will explore night dreams, and dreams that arise in waking reality. We will embody singular images, develop their specific qualities, states they induce and dances they jolt. We will follow the way in which they expand into narratives, using storylines as prompts to flow between qualities and shape shift with ease. We will go deeper into working with patterns, acknowledging the role of time and space in bringing materials to forms. Questions will prompt poetic ways of composing, weaving movements in an associative manner, fostering connections between seemingly unfamiliar materials. Questions will take us beyond the surface level understanding of a dream to reveal its deeper meaning.

      The aim of this work is to become present, dancing with reality with curiosity and ease. With this experiential, deeply embodied perspective one becomes a response-able agent of creation, dreaming the world into being."

       

       

      ABOUT ANNA NOWICKA

      Anna Nowicka (Berlin) is choreographer and performer, plunging into the lush reality of dreaming. She researches the potential of images to expand the body into a state of a continuous becoming. Graduate of the Salzburg Experimental Academy of Dance (SEAD), MA Choreography at the HfS Ernst-Busch / HZT in Berlin and MA Psychology at the Warsaw University, she wrote her practice based PhD on embodied awareness as the foundation for being present. She has completed a basic training in Systemic Therapy. Anna is a certified Saphire® teacher of dr. Catherine Shainberg’s “The School of Images”. She is unfolding dreamwork through an intensive exchange with dr. Bonnie Buckner.

      more: https://annanowicka.com/


      ABOUT THE CONTEXT/INVITATION 

      Dreaming Reality with Anna Nowicka is part of the Participant Assembly Curatorial by invitation of Andrea Brandao and Marko Gutić Mižimakov. 

       

      ACESSIBILITY

      {a.pass is located on the 4th floor inside the Brussels Event Brewery building. The studio is wheelchair accessible via elevator.

       

    • statements for a.pass 03 February 2022
      posted by: Lilia Mestre
      statements for a.pass

       

      "We are all very familiar with oppressive education; with its systems of reward and punishment, the stimulus of competition, the naming of the strong and the weak, the encouragement of reproduction by repetition, the reinforcement of norms and normativity, the unquestionability of the accommodating attitude towards the status quo, and its decision-making-educators—who by refusing dialogue—do not organise the people. The very goal of oppressive education isn’t to liberate nor to be liberated but to manipulate, control and generate conformism.

      However, there is another sort of education that is precisely based on dialogue; a form of education that doesn’t function as a tool to facilitate anyone’s integration into the logic of the present system. It is the practice of freedom in its most germinating terms; the facilitation of critical thinking, creativity and citizenry.

      a.pass is one of such places, of permanent learning and of promotion of such form of education. I was privileged to have been a part of this program and to have developed there much of my understanding of artistic research and art.

      I sincerely hope this institution is granted the opportunity to keep on existing and help shape the artistic scene I am a part of."

      Luanda Casella. Schrijver en theatermaker. Artist in residence NTGent

      *

      “I arrived at a.pass in the crucial moment of my life and career while searching for a way to combine various interdisciplinary artistic and academic experiences and, thus, to define my research and practice. There, I found a unique environment - rigorous intellectual discourse, dedicated peers and mentors, supportive community, and freedom to work on what I needed at that time. Even though previously engaged in international scenes of visual arts, performance and social sciences, I did not know such a place could exist. Until now I do not know another institution comparable to a.pass, neither in Belgium nor internationally. A.pass was the context where I developed the professional trajectory that I now follow. After and thanks to the post-graduate program of a.pass, I started a PhD in artistic research at Hasselt University (fully funded), published two books, and created performances, films and installations in collaboration with such institutions as Whitechapel Gallery, Delfina Foundation and Arts Catalyst in London, Venice Biennial for Architecture in Venice, Kunsthal Gent, BOZAR Brussels, Konstepidem in Gothenburg, among others. In these projects I often collaborate with artists and researchers whom I encountered through the context of a.pass. I firmly believe the relevance of this institute to be invaluable for the fields of contemporary art, performance and artistic research, as well as its model as an institutional structure to be unique and experimental.”

      Goda Palekaite. Artist researcher. Ph.D. candidate at Hasselt University and PXL-MAD School of Arts.

      *

      Een jaar op a.pass heeft me meer gegeven dan drie jaar reguliere kunstopleiding. Voordat ik naar a.pass ging dacht ik niet dat het mogelijk is: les krijgen van échte kunstenaars. In vergelijking met a.pass waren mijn jaren op theaterschool een omweg vol met vast benoemde docenten die te ver van de kunstwereld verwijderd waren. Juist doordat a.pass een uniek, steeds veranderende en hybride school is die niet onder één noemer te vatten is, slaagt de opleiding er beter in om in te spelen op de veranderende wereld. Participatie is er geen loos woord: participanten en docenten kunnen de vorm van de opleiding permanent bevragen en verscherpen. a.pass uit België halen betekent een enorme en onmiddellijke verschraling van ons kunstenveld.”

      Jozef Wouters. Scenograaf en theatermaker. Winnaar Ultima Podiumkunsten 2019 met Decoratelier

      *

      "As Brussel's only learning environment focused on artistic research and performance, a.pass serves a unique and irreplaceable function in the city. My work has been transformed by the intensive learning experience I've had there. It's more than just an institution, it's an international community coalesced around principals of rigor, collaboration and care. It gave me the confidence to emphasize knowledge production and performativity as the core strategies in my own art teaching practice."

      Gary Farrelly. Beeldend kunstenaar, performer en pedagoog bij La Cambre.

      *

      "As a past researcher at a.pass I would like to express my disdain and concern over the decision of the Ministry of Education to withdraw their support from the insitution. My time at a.pass has been a period of incredible growth as artist, researcher and in my apprach to pedagogy in the arts. The research I started there have since resulted in projects & research supported locally, nationally, internationally by funders as well as prestigious institutions in Belgium and abroad and continues to fuel my practice and thinking. I strongly believe that a.pass is a unique institution in Europe for the quality & rigour in their pedagogical approach and vocabulary of methodologies that represent an incalculable cultural value in its own right. Beyond this collective value a.pass is also a rich and diverse environement for individual artistic researches to flourish that not only allowed me access to an incredible breadth of thinking and practices, establish new collaborations but also continues and will continue to feed my research and practice multiplying manifold the investment of the ministry and adding values be they academic, cultural, financial, artistic, emotional to Belgian academia, the Belgian state and its people. As a resident of Brussels, as an artist, as independent researcher, as an alumni of a.pass and as a European citizen I call on the Ministry to reverse their decision."

      Eszter Nemethi, artist, curator
       
      *

      "I was a participant in a.pass in 2014 and it was an adrenaline injection into my practice. Vague ideas transformed into solid ground for a collaborative performative practice and it was a strong and formative influence also on my work as a teacher. Besides being an invaluable place of research and education, a.pass offers it's alumni a professional community that uniquely reinforces their work and careers. In this way it is a strong, constitutive player in the whole Belgian (performance) art field."

      Philippine Hoegen, artist, educator

      *

      “Als internationaal kunstenfestival met een sterke interesse voor artistieke pedagogie zijn we bijzonder bedroefd over het nieuws dat a.pass zijn werkingsmiddelen zal verliezen. Het ondoordacht en lichtzinnig schrappen van een artistieke onderzoeksinstelling als a.pass is een totale verarming van het kunstschoollandschap. Als we de toekomst van het Vlaamse kunstenveld willen bestendigen dan moet er blijvend geïnvesteerd worden in verschillende vormen van artistiek onderwijs. a.pass is daar voor ons een cruciaal en onvervangbaar onderdeel van.”

      Dries Douibi, artistiek directeur KUNSTENFESTIVALDESARTS 

      *

      “Elk hedendaags artistiek ecosysteem heeft behoefte aan infrastructuur voor artistiek onderzoek. Sinds 20 jaar heeft Vlaanderen dit stapsgewijs verankerd in de grote academische onderwijskoepels. Sinds 14 jaar bestaat er een onafhankelijk, klein instituut, a.pass, wat fungeert als een internationaal laboratorium voor individueel onderzoek in een omgeving die zelforganisatie en solidariteit cultiveert. A.pass is daarenboven een unieke reflectiekamer over de methodieken en de ethiek van onderzoek. A.pass is een voorland, een stukje van dat ecosysteem dat bewezen heeft bijzonder goed in staat te zijn om het artistiek én het academisch veld te irrigeren met onvermoede voedingsstoffen. Zonder a.pass zou het programma van een huis als Kaaitheater verschralen.”

      Barbara Van Lindt, algemeen en artistiek coördinator KAAITHEATER

      *

      "This is striking and sad news: the Flemish government stops the support for a.pass artistic research school, and also for HISK/Hoger Instituut voor Schone Kunsten/Higher Institute for Fine Arts. At the same time they decided to continue and increase the support for two other educational institutions: the International Opera Academy and the Orpheus Institute. Both institutions are focussed on western classical and contemporary forms of music.
      The political choice is clear, and is probably exemplary for the direction the Flemish arts scene is evolving to the next years: real experiment, more dissident or difficult developments of artistic practices are cancelled in favour of frictionless, bourgeois ways of relating to art. I am not calling out opera and music research, don’t misunderstand me here, my plea is to support different educational views on art and access to different ways of relating to art. This government has decided to slowly but surely cancel out a vivid and (politically) more critical part of the arts scene. Yes, we knew this already, now we see it in action."
      Michiel Vandevelde, artist, dancer
       
      *
       

      “Als commissie schreven we een inhoudelijk advies dat a.pass met een goed tot zeer goed rapport richting een toekomst loodst, waarbij een stopzetting van subsidiëring nooit ter sprake is gekomen en voor ons nooit op de agenda stond. In dit rapport beschrijven we op een constructieve en positieve manier hoe a.pass functioneert. Dit rapport kwam tot stand na het doornemen van hun benchmarking, analyse van de voorbije jaren, plannen voor de toekomst en inspirerende gesprekken met (ex-)studenten, mentoren, management, bestuur en collega’s uit het veld. We zijn dan ook verbaasd en teleurgesteld dat de minister dit gunstige advies naast zich neer heeft gelegd.”

      An Vandermeulen & Mira Sanders (evaluatiecommissie) 

      *

      “It is with shock and sadness that we receive the news that Minister Weyts of Education will not prolong the agreement with HISK and a.pass starting 2024. The reason given for this decision is the lack of added value to the ecosystem of educational art institutes in Flanders. As director of the Jan van Eyck Academie in Maastricht I can only say that this is far from the truth and this decision will be a blow to the network of post academic institutes in Europe. HISK and a.pass are part of the postacademic ecosystem and fill in just as all the other post academic institutes the gap between educational/academic and artistic practice. This is the reason why so many international artists find their way to Belgium, The Netherlands and Germany. There are no such institutes available in the world. Northern Europe has played a significant and leading role in nurturing and sustaining institutes like these for over 150 years starting with the Rijksacademy in Amsterdam. Also, postacademies push the narrative and discourse of artistic and artistic research practice internationally. This will be a blow to both fellow institutes and artists alike. I hope sincerely that Minister Weyts will reconsider his decision and will allow HISK and a.pass play the important role that they have been doing for so many years.” 

      Hicham Khalidi - directeur Jan Van Eyck Academie 

      *

      "a·pass has been coming to PAF every year as part of its research curriculum. The dedication towards experimental forms of education, practices of collective organization and the politicization of artistic research, makes it an invaluable institution in the landscape of school and educational programmes.”

      Simon Asencio, performing artist and pedagog. On the behalf of PAF - Performing Arts Forum - Saint-Erme, France

      *

      "What I found in a.pass is the art school I imagined to be part of when I first thought of becoming an artist. It just took me 10 years to get there. My art education begins at the Faculty of Fine Arts of Montenegro, through exchange programs in art schools in Vienna and Metz, Master's degree in Luca School of Art Brussels, postmasters in St Lucas in Antwerp, to having a research position at the Royal Academy of Fine Arts in Antwerp. I can say with certainty that only after a.pass I gained the tools and confidence to be the artist I want to be. This is due to the experimental structure of a.pass that makes it a special place (and that transcends the borders of Belgium) - a well thought structure that allows a nonvertical approach to teaching, an open and transparent process that encourages all the participants to devote themselves not only to develop their own work but to do so by taking part in each other's practices, while they are co-making the institution they are part of. I think that to manage this way of working and to become this kind of institution it takes years of hard work and risk-taking, where governmental support is of crucial importance.

      Also, a.pass managed to create a truly transdisciplinary environment, focussing on the performativity of artistic research and the methods of sharing knowledge. This I experienced only as an aim of artistic research programs developing today in Schools of Art. Needless to say that visual art schools are far from this achievement as they are becoming more of incubators for only specific kind of artist and art production, falling under pressure and influence of art market demands. a.pass is not just a program to go though, a step in the career, but it is an artist-run educational platform that for sure wouldn't be able to develop as such if merged within bigger structures of the School of Art. 

      a.pass is for me not only a program I took part in, but it is also a base experience for a belief that things can be done differently and that this world can become a less hostile place through artistic means."

      Adrijana Gvozdenović, artist

      *

      "It’s very sad for me to read that the subsidy for a.pass will not continue. In January of 2012 I joined a.pass as a researcher. The time I spend at a.pass was extremely beneficial; a.pass widened my understanding of artistic research, pushed me to better explain my practice, and gave me the courage to articulate and share my research. I’m very grateful for that time and the connections made there. In a complex world we need more places like a.pass not less."

      Elizabeth Ward, choreographer, performer, dancer

      *

      "I attended a.pass in 2017 and 2018, and graduated in February 2019. Without a.pass I simply don't think I would be where I am today as an artist. I learned a lot from the teachers and peers in my program. The context of a.pass (including ongoing feedback, presentation moments, space, time, research trips, budget and one-on-one mentoring support) permitted me to try new things and test out new and experimental formats, within a supportive and critical environment. a.pass provided a crucial developing ground for me to better understand my artistic practice, research methodology and needs. a.pass encourages its participants to connect with other practitioners and institutions in Belgium, and this is a strong aspect of the learning offered. The presentation of my graduation piece was held at Hectolitre, Brussels, and was organised collaboratively with two peers from my cohort. The collaboration was an important part of what made that event so meaningful. We were supported to make an audio publication together, and conceive a coherent program for our three practices, creating something none of us could have managed alone. Held on two evenings, there was a large public present to experience our event, and the three jury members subsequent feedback was invaluable. This marked a significant moment for me. Since graduating, I have continued my artistic research and consistently been invited to present performances and publish writing in Belgium and abroad. The dedicated and ongoing feedback I received during the period of my study at a.pass was instrumental to the evolution of my artistic research. The community of a.pass students and alumni is strong and ever-growing; it is a diverse group of people whose coming together makes for a unique study program, not only in Belgium but internationally. The close and unpredictable encounters with artist researchers from different disciplines and backgrounds is rare and must be valued highly. a.pass creates a veritable surplus for the artistic, cultural and educational sphere in Belgium."

      Eleanor Ivory Weber, Brussels-based artist, a.pass Post-Master graduate

      *

      "This decision is a proof of incompetence by the Ministry when it comes to understanding the information and documentation they demand and are provided with. It is evident that those in power have horrifying little to no knowledge about their own cultural fields."

      Heike Langsdorf - radical_hope - a.pass alumna, artist and pedagog in KASK

      *

      "Minister Ben Weyts should understand the importance of a.pass for the richly networked ecology of the Belgian art field, where bigger and smaller institutions constantly nourish each other. I experienced the value of the a.pass program from close by in 2016-17. The careful pedagogy helped me to start developing my own artistic practice, next to working as a dramaturge for other artists, amongst which some a.pass alumni such as Heike Langsdorf, Luanda Casella and Jozef Wouters."

      Sébastien Hendrickx, performing artist, dramaturge, art critic

      *

      "I would like to testify to the great importance of the a.pass post-master program in the development of my artistic research and its outreach in Europe since 2016. It is now supporting other artistic researches in dance, performance and documentation through publications like "Mind the dance" a digital publication of REFLEX Europe, 3 years EU-project (2018), Body in Revolt, ICK Amsterdam Online Magazine (2017) and presented in renown European dance festivals and Arts institutions a.o: Charleroi Dance, Brussels (2021); Royal Conservatory of Antwerp-master program (2020 -2021) Independent Dance, London (2019); Kaaïstudio, Brussels (2018), ImpulzTanz, Vienna (2018; 2017; 2016); KASK school of Arts, Gent (2021-2018)."

      Anouk Llaurens, dancer, artist, researcher in dance and pedagogue

      *

      "Participating in the a.pass past-master program has been hugely important for my practice. It is one of the best environments I can imagine for an artist of maker to develop and improve their critical thinking. Especially the exchange between the different fields within the arts is very special and contributes in making anyone a better and more complete artist. At least that counts for me, since my end presentation in September 2019, I've become a curator, fund raiser and a teacher and a much more complete artist. I am slowly finding my position with the international art scene and art market and turned my practice into a much more sustainable enterprise."

      Maurice Meewisse, artist, curator

      *

      "Since 2015 a.pass offers me a unique pedagogical method and an international platform that provides the guidance of highly qualified professionals in the arts, culture, theory and sciences. Based on self organization, transdisciplinary peer exchange and multicultural community care, I find the freedom and trust to experiment with my creative, intellectual and production interests in a safe space. This has allowed me to find my research methodologies, strengthen my art practice and work, develop publishing, teaching, mentoring and curating capacities. In other words, to position my profession and be someone constructive in society."

      Isabel Burr Raty, artist

      *

      "I have been an associate researcher at a.pass in 2018/19 and this period of time had such an influence on my practice and on my desires in regards to where I want my work to go, and whereto I want to develop as an artist and as a human being. I had the feeling already that there is something very unique and something very special happening at a.pass when I partly joined one of their blocks as a visitors, a block that was topic-wise very much connected to my practice. And this vague feeling proved so to be so true. It is hard to put this in words. As a visual artist and artist researcher I seem to have a difficult, challenging etc relationship with language. I experienced a.pass a a ‚fermenting‘ place, as a very fertile ground for other kinds of thinking, making, doing to emerge, to imagine other kinds of futures so desperately needed. One major trajectory in this is collaboration and community. ‚We are not all and the same but we are in this together‘. Coming from an art education that mostly teaches very individualistic approaches to art practices, it was so revealing to experience a.pass and their collaborative teaching and learning methods in the making. Last year I had the honour to curate a block as well together with my research cycle I fellows, and I again the experiences I made, the conversations we had, the things we had done together with the people at a.pass and the participants is now very much influencing how I want to approach working, thinking, doing in my practice based PhD, which is mainly collaborative. I have quite a hard journey in front of me. Learning how to truly collaborate and work together is not easily done when one went through all the individualised art and other higher educations. But a.pass gave me the hope and the energy and the passion and the joy to really trying it, to seeing not onl the benefits but the needs to do so. Loosing a.pass as a psotmaster education institution will create such a loss and leave such a hole within the educational field of artistic knowledge making etc., and I dread to think of the consequences this will entail. Within the spirit of a.pass I still hope, however, that we will be able to change the course and continue supporting this amazing, ideosyncratic and so needed institution."

      Antye Guenther, visual artist

      *

      "I participated to the a.pass post-master program between October 2018 and January 2020. My experience in the frame of this institution has been that of an extraordinary exposure to critical thought and radical imagination. Not only in the context of a.pass I found a context to get in touch with the cutting edge of artistic research within an heterogeneous, international and rich group of peers and tutors, but I found also that the ever-changing and ever-challenging environment of the program regarded also the organization of the program itself. I have never met or heard, before or after my stay in a.pass, such a radical self-critical approach within an established art education institution: the program itself was a wider research project of which the participants were part of, getting influenced by it but also shaping it with their collective and individual presence. I believe that this specific fluid and self-critical approach points at the roots of what is at stake in the practice of artistic research and should be a precious model to think of its institutionalization in the context of art education - the presence of which constitutes undoubtedly a priceless treasure for Brussels cultural scene. The a.pass post-master program led me to re-imagine education, community and artistic practice as mismatched from what is already existing, to suspend given knowledge to foster the imagination of new possible realities, which I believe to be the very core of the role of "school" as an institution within our society."

      Piero Ramella, visual artist and performer

      *

      "Small is Beautiful.

      I joined a.pass in 2014, not knowing how much it would influence my practice, and how much of a large and extended family such a small organisation would connect me to. On a personal and artistic level, and through their subtly inquisitive, and insistently open approach to pedagogy, I was able to develop the courage to explore ways of presenting my work, and this is the reason I am where I am today. What I learned from people at a.pass, I keep very close to me.  

      We don’t only need traditional art academies, or the big names to which art schools are attached. These places may not be open to risk, but at a.pass, every problem is an opportunity to evaluate and reconsider the pedagogical framework that enables learning in ways that are present; present in the community, in the garden, in the city, in the performance space, etc. There is a clear commitment to community and sharing, in negotiating the decisions of how to learn together, and in publishing this information for others to learn from it. 

      While these may not be the most sought-after terms of engagement for politicians and economists, they are the terms of everyday life in any community. a.pass gives people tools for collective working, thinking, living, and making. We need these tools to re-think our relationships to the worlds we inhabit, worlds that are under threat because of the individualistic and money-driven attitudes that dominated our lives for too long.

      a.pass is not just in Belgium, it is in Spain, in Romania, in Turkey, in Sweden, in Palestine, in Germany it is in Jordan, in Iran, in Serbia, in Canada, in Brazil, in Holland, in France, in Poland, in Italy, in Mexico, in the USA, in Portugal, in Ruwanda, and Iceland—to name just a few. a.pass is what puts Belgium on the international art map. Decisions to cut it out of the picture should be in consultation with the people who thrive from it, not for the furthest person from its realities. We want a more collective approach to political decisions."

      Samah Hijawi, artist and phd researcher 

      *

      "In my experience, the unique added value of a.pass is unquestionable. 

      Personally, a.pass has had an instrumental function in my artistic career, giving space and time to develop my artistic practice and the opportunity to make connections with colleagues and professionals in my field. The artistic developments I achieved during my time at a.pass became the pillars of my artistic practice. The works I made during a.pass allowed me to leap my practice further into unknown places. The personal connections I made in a.pass are still very important to me personally and professionally. Since being at a.pass, I started teaching at Luca School of Arts in Brussels where I am also a PhD candidate, and I participated in several exhibitions and events in the Flemish art scene.

      Finally, a.pass is a pilar in its field, gathering artists from different disciplines into a truly unique institution. The artists that are formed in this institution are fresh, original, special artists, that together generate an artistic scene which is extremely valuable to the Flemish art scene as a whole. 

      To cut funding from a.pass is to cut out the core of a vivid and diverse art community."

      Sofia Caesar, visual artist 

      *

      “As one of the invited international peers involved in the benchmarking process initiated by a.pass in 2019, I want to express my support to a.pass and protest in the situation where the Ministry of Education has decided to cut the funding of a.pass. I am shocked to hear that the Ministry of Education uses “negative advice” coming from peers as an argument. If this refers to the benchmarking process I was involved in, it is clearly a grave misinterpretation.
      In my view, the operational and pedagogical foundation of a.pass that involves dynamic intertwining of self-organisation and collaboration for both the postgraduate and the research centre programs has proven highly relevant and successful. After a long phase of institutional legitimation struggles the international field of artistic research is actively looking for new forms of organisation and ways of engaging with the professional art field beyond the university system. In this situation, a.pass appears as a significant forerunner and should be seen as one of the cutting edge institutions in the field.
      Cutting the a.pass funding appears to me very short-sighted. I hope the decisions concerning this can still be reconsidered.”

      Mika Elo, Professor of Artistic Research, Academy of Fine Arts / University of the Arts Helsinki Finland

      *

      "It would be an immense loss to the landscape of art education if a.pass would close its doors!! For me, the time I spent at a.pass was very important, it introduced me to new perspectives on art making and artistic research. a.pass gave me constructive tools to understand and articulate my practice, in a supportive and challenging manner. I most appreciate the way we have learned with and from each other on equal terms, through our own and shared desires and concerns. I have been nourished with stirring moments, insights and questions which are still unfolding. I experienced it as a place open to experimenting, failing, falling, suffering, laughing, exploding, resting, resisting, doubting, and emancipating. places with this kind of freedom are of highest value to the art world.  Don’t want to have missed my time there – especially with all the wonderful and inspiring people that I know thanks to this place – it is an essential ground to the work i’m doing now."

      Agnes Schneidewind, artist

      *

      "I was privileged to be one of a.pass's first participants, witnessing the growth and impact that a.pass has had in the artistic community over the years of its existence; an impact that has proven to have national and international reach. I have continued to be present as a mentor, curator and research associate because a.pass has become a catalyst for dedicated, open and inspiring people. For most, a year at a.pass has been a career and a personal turning point. It has given me the opportunity to carve out a personal way of doing research and producing work, a chance to bring theory and practice together that my previous master's degree, a year of research at University and a year at Fine Arts Academy did not grant me. At a.pass, I met peers with whom I continue to work and discuss, people who over the years remain intellectual and personal references, weaving a network of relationships in which Brussels functions as a focal point.

      a.pass is an institution that keeps the dialogue between old and new alumni open, that is not afraid to rethink itself, that is not blind to systemic power dynamics and oppressive habits, that is made up of people who care about each other, about diversity in knowledge production, about interdisciplinary and critical thinking. If we are in a world that needs to change, we need the ability and the courage to look into it, not shut it down."

      Sara Manente, artist

      *

      "It is known that the future is a big question mark. Apart from the many crises we know, many will come that will again shake our grounds. Some authors say that in the future there will be a new class of people - the useless class - that are those that do not find a place in the work market because Artificial Intelligence will do all for us. To cope with this, the author's advice is to redirect educations' s purpose towards emotional education rather than the acquisition of specialized knowledge, so that humans learn to cope with change and find new interests and occupations. 

      I start this statement of support in this way because a.pass has been a place where, me, a specialised professional in contemporary dance in middle career, has been invited to explore issues that little or nothing had to do with my practice as a dancer, and from that, develop new entries to my body practice. I started a.pass when I was 39 years old, and previous to that, I studied dance in many different institutions. I started studying dance at 8 years old, and since then I never stopped. I did a dance school in Mozambique for 1 years, then a full dance school for 6 years in Santiago de Chile and I ended up in P.A.R.T.S doing 3 more years. I studied a lot because I wanted to know my theme well. I worked as a freelance dancer with many independent makers of the European dance scene and also with some very well known established choreographers. But throughout that journey, I also developed my own choreographic work, even though in a much more shy manner than with my career as a dancer. In my personal biography I am also an ex -exilied of the Pinochet dictatorship, and daughter of a committed left wing activist's parents in Chile. This political heritage accompanies my life, the reason why I studied Political Science at ULB Belgium and then I did a master in Art and Politics in Goldsmiths London . All this cv like text to explain that what allowed all those studies and personal reality to make sense, was what I could accomplish in a.pass, that without the trust that mentors and colleagues in a.pass gave me in my research project, it wouldn't have been able to happen. My research looked into the ways laws and norms choreograph the social body, and with this research I have managed to move back to Chile and develop the project further. I have taught secondary students a non-traditional dance or body class, where I have invited them to explore the way their bodies are subjected to norms. The class was given in the context of civics education class, where apart from learning how the country is organized, they have managed to integrate politics to their bodies and observe themselves through the lense of the ways power operates in their life, movements and actions. The same class was given to a labour union of cleaning ladies, where apart from being able to rest their tired bodies from the repetitive movement of cleaning by making other movements, they have explored the way their workplace is filled with domestic rules that aren't necessarily the ones they agree upon. These classes were interrupted with the Covid crisis but my plan is to do them again as I believe they create spaces of micro-emancipations where the sensorial, the mental, the private and the public, dialogue.

      I started this statement of support talking about the advice an author gives to the potentially useless class that will exist in the near future. A.pass has impacted my future becomings in a way that has vitalized it by giving me tools for creativity, finding solutions and allowing me to test out possibilities. The emotional educations i have managed to learn from my experience in a.pass is based in thinking that every thought is important and useful; that any opinion is worth listening and answering; that any project is an input; that colleagues are not enemies but collaborators; that intuition and theory are equality important; that knowledge materialized in a practice still has a lot to say, and it is not necessarily bounded to an aesthetical function; that artist have a role in the creation of happiness and wellbeing of society; and that artists are here to stay!"

      Varinia Canto Vila, artist, dancer, choreographer

      *

      "Outside of the Bologna logic of BA; MA or PhD and outside of titles and diploma requirements, a.pass looks for the criticism of the doing, of the practice.

      Inside of the capital of the European Union, a.pass has a fee potentially accessible to countries which currencies are not in euros. I am referring here at the fact that the Latin-American community that I have met in a.pass is numerous and grandiloquent: I met people from Brazil, Uruguay, Chile, Argentina, Mexico, Ecuador. 

      Inside of Brussels, a.pass is as diverse as the city which host it."

      Caterina Mora, artist, dancer

      *

      "a.pass is exemplary in forms of collective organization and through this changes the shape of artistic practices and their role in society. What I took from a.pass is that we should learn from each other and the best way to do that is to leave space for initiative, plurality, and deliberation. 'We are in this together' is a valuable lesson to learn, a.pass is a place where this is practiced and reflected upon every day, in this way artistic practices are redefined and that is what post-graduate education is about. The artists engaged in a.pass take these experiences with them, in their work and to their audiences, as a result the question 'we are in this together, now what?' becomes public and that is one of the roles art should take."

      Rob Ritzen, artist, curator of That Might Be Right,

      *

      "The artistic research program at a.pass was a turning point in my personal, political, and artistic life. The questions raised by this process are crucial to the definition of my artistic-political identity. The environment built up over all these years is one of the rare grounds for deep reflection on the practice and theory of performance. Losing a.pass means that we have entered a cultural and educational recession. It affects not only Belgium, but the entire international artistic community that finds in a.pass an asylum in these obscure times."

      Flavio Rodrigo, artist

      *

      The context of rigorous examination, practical exploration and support in the construction Of methodology for research gave the groundings for a robust practice that is now gaining interest and continues to develop in commercial and community contexts across the UK and further afield. 

      a.pass is a unique institution uniquely situated both geographically and in terms of the intersectional artistic/methodological/political and philosophical preoccupations that it holds as valued.

      I am incredibly disturbed to hear that the institutes money has been cut and that it will not be able to continue to support artist researchers in vital, pivotal moments in their careers. 

      I am without doubt that a.pass enriches the European artistic and academic community and I urge who ever has the power to intervene to reconsider this shortsighted decision. I would suggest that rather than support a stripping back, hollowing out and commercialising of artistic ventures that seems the order of the day, that the Belgium governmental decision making bodies make a stand, recognise the long term value to the health of the nation  and support a context that challenges, stretches, nurtures and give vital space for artist researchers from all areas of thought and expression to deepen and develop their practice. 

      Leo Kay, artistic director: Unfinished Business

      *

      "A.pass profoundly reshuffled my thinking about art and its relevance in society.
      It provided a fertile environment for experiment and freedom in questioning given categories."

      Kasia Tórz, writer & dramaturg

      *

      "A good way to attest of the pedagogical efficiency of a certain program is to do a « before & after » comparison. Having seen, throughout the years, many colleagues I knew enrolling in a.pass, I am confident stating that its approach has powerful effects.
      Artists having completed the program gain an in-depth understanding of their interest, craft precise tools to develop their work, and broaden their awareness of their perspective's relevancy to the larger context – artistic, social, and political. This often results in an increase of their credibility, visibility and recognition, and thus of their professionalization. But beyond that, it leads also many of the alumni to multiply the ways by which to reach a larger and more diversified audience. The utterly collective and experimental approach of a.pass gives indeed many tools to contribute with specificity and intelligence to the field–and society at large. It is not only anymore about creating « your » piece, but about sharing a process, discussing concerns, confronting point of views. Be it by organizing seminars, leading participatory practices, teaching workshops, intervening in the public space or publishing magazines...typically, a.pass alumni invent many ways to put their work into the world and let the world inform their work, implicating many diverse people along the way. Reaching out, questioning oneself, making proposition as to the place of art for this changing world of ours.
      Of all the virtues a.pass exerts on the artistic field (and beyond it), this is certainly one of the most rare and precious: to cultivate an art-making which is not about the author's narcissism nor the audience's consumerism, but about meeting, debating, searching and inventing together – crafting novel ways towards a shared relevancy, specificity and intelligence."

      Julien Bruneau, artist and researcher, mentor in a.pass, co-editor of Revue COI (TJP, CDN Strasbourg Grand Est), fellow of Third (Das Research, AHK)

      *

      Beste Minister Ben Weyts,

      Met ontzetting heb ik vernomen dat u de postgraduaatsopleiding a.pass niet langer zal subsidiëren. Dit is een enorm verlies voor het Vlaamse onderwijslandschap in de kunsten. Zoals u weet zijn onze reguliere opleidingen in de kunsten heel beperkt in vergelijking met buitenlandse onderwijsinstellingen. Waar wij drie Bachelor jaren aanbieden, volgen studenten in het buitenland vaak minstens vier jaren onderwijs alvorens een Bachelor-diploma te behalen. Nadien bieden we in Vlaanderen een Master-opleiding aan in één academiejaar; in het buitenland is dit meestal een opleiding die twee academiejaren beslaat.

      Gedurende dit ene jaar moeten MA studenten niet alleen een autonoom artistiek werk maken, maar ook hun portfolio en artistieke visie professionaliseren, een masterproef schrijven, netwerken in het kunstenveld, en vaak ook nog een stage volgen. Het spreekt voor zich dat dit niet evident is. Deze beperking van onze opleidingen werd tot voor kort in Vlaanderen gecompenseerd door de zeer sterke postgraduaatsmogelijkheden, waar geselecteerd wordt op kwaliteit en potentieel, ruimte is voor intense persoonlijke begeleiding, onderzoeksvaardigheden centraal staan, en een sterke peer-to-peer en netwerk-cultuur heerst. A-pass is in die zin een incubator voor kwaliteitsvolle kunst en duurzame, internationale netwerken. Jonge kunstenaars hebben dit nodig.

      Het is geen toeval dat deze opleiding precies in Vlaanderen de ideale bestaansvoorwaarden gevonden heeft om te ontstaan en te bloeien. Het is een initiatief van kunstenaars zelf en spreekt over hun noden en visie. Het is net uit de rijke Vlaamse artistieke ecologie dat de energie en inzichten, de autonomie en het ondernemerschap ontsproten zijn om zich in te zetten voor de jongere generatie. Om jonge kunstenaars alle kansen te geven om te groeien en aansluiting te vinden bij het internationale artistieke veld. De subsidies waren daartoe een belangrijke ondersteuning en boden de noodzakelijke input voor een duurzame groei en kwaliteitsgarantie.

      Maar niet alleen is a-pass noodzakelijk als een aanvulling op ons onderwijsveld en als incubator voor de lokale professionalisering en internationale uitwisseling. Het is ook een cruciale pijler van de internationale uitstraling van ons artistiek onderwijs. Het zet ons op de internationale kaart van onderwijsinstellingen en versterkt de reputatie van ons artistiek onderwijs wereldwijd. Door de subsidies van a-pass (en HISK) stop te zetten, maakt u Vlaanderen arm. Nederland heeft de Rijksacademie en de Jan Van Eyck Academie. Wat doet u met Vlaanderens internationale uitstraling op het vlak van postgraduaat kunstonderwijs?

      Het is niet zo dat u de waarde van a-pass niet erkent, en als oplossing suggereert u een aansluiting bij een andere artistieke instelling. U begrijpt dat u hen hier een onmogelijk scenario aanbiedt. De kunstinstellingen, organisaties en centra hebben zelf moeite om hun werking te garanderen en kunstenaars faire arbeidsvoorwaarden aan te bieden. Daar is geen financiële ruimte, meer nog: daar is ook geen expertise om onderwijs aan te bieden. Bovendien zou a-pass op die manier haar autonomie en haar internationale uitstraling als onderwijsinstelling zien verwateren.

      Inkantelen binnen een bestaande onderwijsinstelling is al even onrealistisch, gezien de besparingen en financiële uitdagingen waar het kunstonderwijs vandaag al mee te maken heeft. Ik sta zelf aan het hoofd van een kleine Advanced Master opleiding dat focust op onderzoek in de kunsten. Deze opleiding is enkel rendabel omdat we deze gedeeltelijk financieren met de aanvullende onderzoeksmiddelen. Binnen de basisfinanciering voor onderwijs is hiervoor geen ruimte, en het zou ook niet rechtvaardig zijn om extra financiële druk te leggen op het reguliere kunstonderwijs dat een democratische toegang tot de kunsten garandeert. Zoals u weet zijn de middelen in het onderwijs ontoereikend, ook in het kunstonderwijs, en we houden de boel enkel draaiende omdat het personeel vanuit liefde voor het kunstonderwijs en voor de jonge kunstenaars veel meer doet dan dat we redelijkerwijze van hen kunnen verwachten. Een postgraduaatsopleiding als a-pass incorporeren in het onderwijsaanbod van de kunstschool zou geen teken zijn van goed bestuur: het zou druk leggen op de middelen, op de ondersteunende diensten, en het zou bovendien de autonomie, de flexibiliteit en de internationale uitstraling van a-pass niet ten goede komen. Zoals de Rijksacademie en Jan Van Eyck in Nederland, kan A-pass net zijn wat het is omdat het opereert naast de kunstscholen, en op die manier met alle kunstscholen op een gelijkwaardige manier kan uitwisselen en samenwerken, in relatie tot van specifieke noden en opportuniteiten.

      Gezien de positieve evaluatie van a-pass en de kleine financiële impact maar de grote waarde voor het Vlaamse kunstonderwijs, voor de Vlaamse uitstraling en bovenal voor de jonge kunstenaars, vraag ik u de beslissing te herzien en a-pass het vertrouwen te geven om deze kwaliteitsvolle opleiding te kunnen verderzetten en uitbouwen.

      Met vriendelijke groeten,
      Petra Van Brabandt

      Petra Van Brabandt, Hoofd onderzoek en maatschappelijke dienstverlening, Sint Lucas Antwerpen, KdG

      *

       

    • postgraduate program
    • bleed is inevitable
    • block 2021/III
    • Role Play Intensive
    • bleed is inevitable curatorial assemblage facilitated by Kristien Van den Brande
      20 September 2021
      posted by: Sina Seifee
    • 06 September 2021
    • 30 November 2021
    • bleed is inevitable

      The block “Bleed is inevitable” starts from the premise that we are inhabited by several voices - be them spiritual, psychological, political, juridical, institutional, identitarian, non-human, culture-historical, assigned or acquired, short or long term,… - and that we are subject to environments that bring these voices into dialogue or conflict, or muffle them. During the block, the a.pass researchers are invited to think their interactions from the perspective of role play, and to create artificial environments in which to experiment with and dis-equilibrate an individual or collective constitution of voices. It is a guided exercise in letting go of what one knows or thinks to know and a prodding for delineated and contrived spaces to speculate on different modes of being together in the world.

      History will always be in the room though. In LARP (Live Action Role Play)-vocabulary ‘bleed’ refers to the experience of transferral between real-life and game-world. In-game experience inevitably spills back into life, and vice versa, one’s game character and world is inevitably inspired by real-life experiences and self-perception. LARPers have developed techniques to halt or hold this zone of oscillation, between what is and what could be. While closure of play might be a necessary tool to keep up with ‘real-life’, we could also question the ‘right to a proper end’ as particular to Western storytelling tradition, with consequences for what we think a proper life or story is. ’Bleed is inevitable’ invites the a.pass participants to question and reinvent assigned roles, investigate the ideological space of ‘bleed’, as well as experiment with techniques of game-design within artistic research.

      “Bleed is inevitable” is an assemblage of different curatorial proposals that have been in conversation for a longer period of time. Not seamless, but definitely more than tangentially connected, therefore with the ongoing challenge to superimpose and retrace how they spill into each other.

       


       

      First, Ronny Heiremans and Katleen Vermeir take us for two walks in SPA in the context of their research ‘7 WALKS (resolution)’. The context of SPA offers the unique opportunity for a series of itinerant reflections on water and art. Drawing inspiration from the intangible legacy of historical walkers — kings and czars, political refugees, artists and philosophers — and, strongly anchored in a local context, Heiremans and Vermeir propose us to explore a balance between private property of and access to resources that we hold in common as a society. Can SPA inspire to unbundle the proprietary rights that have been stacked around authorship and (land) ownership, i.e. two paramount features of Western subjectivity?

      Guests: David Aubin, Scott Raby, Steyn Bergs, Jens Van Lathem, Tobias Van Royen.

      September 16-17

       


       

      Second, block curator Kristien Van den Brande organizes a two week Role Play Intensive. The Intensive combines immersive experiences, showcases, reading, film, discussion with invited guests, and this input is alternated with open slots where we translate and experiment for ourselves what role-play can bring to our work. Discussions around consent, boundaries, co-authorship and a willingness to suspend the self into play will be key. We will take role-play as a space for investigation, confrontation and speculation rather than escapism. What conversational, contractual and/or architectural techniques have LARPers, BDSMer or therapists developed to mark the transition between real-time&space and play-time&space? What are ethical limits of engaging in role-play, regarding the politics of appropriation and trauma? What are the conditions for role-play to offer a safe/brave space to practice critical empathy (Ed Fornieles), un-recognizing (Elvia Wilk), disidentification (Jose Esteban Muñoz), or for suspending the cops in the head (Augusto Boal)?

      Guests: Amélie Orsel with the LARP Identities; Olivier Stein with an introduction to different Role-Play cultures and techniques; Carolien Stikker with a demonstration of Voice Dialogue Therapy; Femke Snelting with an attempt at a new authorship license; Sarah Vanhee’s film The Making of Justice; Wouter De Raeve and Lietje Bauwens with the film WTC A Love Story; Kobe Matthys / Agency with an assembly about a copyright controversy around reality-tv.

      September 27 - October 8

       


       

      Third, a.pass participants Chloë Janssens, Amy Pickles and Túlio Rosa are organizing a temporary context for collective study: ‘On Coloniality: a public gathering’. Through different artistic and theoretical speculations they invite us to study coloniality and its manifold dimensions. The term ‘coloniality' differentiates colonialism, as a historical process, from its legacies. It refers to the modes of organisation of power in colonized territories, and how this extends out into supposedly post-colonial states. How is the colonial rationale at the basis of current modes of social and political organisation? How have these supposed histories collapsed into, resonate with, and form our present? Departing from critical reflection on the countries where they were born — Belgium, Brazil, UK — they invite us to draw connections between different times and locations by closely following methods of appropriation and extraction of land, resources, labour and data. Through different artistic practices we will draw parallels, observe symmetries and find correlations across colonialism as it exists across all aspects of our lives; institutionally, economically, in corporations, governance, everyday structures of living and our bodies. 'On Coloniality: a public gathering' will be hosted inside and outside of a.pass, a porous programme open to the public. There will be an exhibition that hosts artist work, reading and listening sessions, screenings, public conversations and discussions.

      Guests are announced shortly.

      November 10-13

       
    • research center
    • Real Time Composition Open Sessions 12 July 2021
      posted by: Vladimir Miller
    • João Fiadeiro
    • a.pass
    • 19 July 2021
    • 21 July 2021
    • yes
    • Real Time Composition Open Sessions

      As Associated Researcher at the a.pass Research Center, João Fiadeiro will open his research process to the a.pass community in order to exchange, clarify and discuss the premisses and principles of Real Time Composition, a tool that practices radical decentering in order to attend to what exceeds human experience. This process can be accessed in a series of meetings/slots between July 19 and 21.

      In Portuguese, the word "reparar" can be understood both as “noticing, attending”, and as “restoring, repairing”. It also means “stopping twice” (re-parar). Real Time Composition works in the entanglement of these three meanings because they invite all at once to come to a halt and to observe as a commitment to the present and a willingness to restore what has been wounded.

      Real Time Composition "object of study" is the space-time interval that emerges when the experience we all have with linear time is interrupted and suspended by an accident/incident. This generates a “rift” in the “arrow of time" opening a gap in the sensation of continuity. Inside this space, time is not linear (or circular) but "twisted" (like a "Möbius strip" topological surface), governed by laws that don't respect conventional notions of before or after, inside or outside, up or down, left or right. Inside this space, time has this rare quality of being simultaneously “no longer” and “not yet”.

       

      Real Time Composition is a contra-intuitive tool because it practices an ability to look at ourselves looking at (ourselves looking at) things. It does that by "practicing", by default, the famous Bartleby’s approach to (re)action: “I would prefer not to…”. An attribute that keeps “possibility suspended between occurrence and non-occurrence, between the capacity to be and the capacity not to be.” (Giorgio Agamben, Bartleby, or On Contingency in Potentialities: SUP, California,1999).

       

      For more information and to enroll in the session(s) please visit the following site: 

      Information and Sign Up

       

      On João Fiadeiro

      As an artist João Fiadeiro positions himself in the crossroads between performance, dance, visual arts and theater. As a researcher he positions himself in the intersections between practice and theory; art and science; life and art. His work – both as an artist and as a researcher – relies on the premiss that composition should be understood and experienced as com-position (the preposition “com” means “with” in Portuguese). That is to say, not as an act of “positioning oneself against”, but as an act of “positioning oneself with”.

      João Fiadeiro (1965) is a Portuguese performer, choreographer, researcher, teacher and curator. He belongs to the generation of artists who emerged in the late eighties in Portugal and gave rise to the New Portuguese Dance movement. He was the artistic director of ATELIER RE.AL a structure that played a major role in the development of contemporary dance and trans-disciplinary initiatives in Portugal. João Fiadeiro has toured extensively throughout Europe, North and South America with his solo and group works. In the 90’ João Fiadeiro studied and practiced intensively Contact-Improvisation which led him to pursue and systematize his own research on improvisation under the designation of Real Time Composition. This research has led him to coordinate workshops in Masters and PhDs programs in several schools and universities throughout the world.

      Currently he his a PhD student at Colégio das Artes, Coimbra University and Associated Researcher at a.pass, Brussels, with a scholarship from Calouste Gulbenkian Fundation in Lisbon

       

       

       
    • performative publishing
    • RRadio Triton
    • Trouble on Radio Triton
    • RRadio Triton Data Retrieval Interface 29 December 2019
      posted by: Sina Seifee
    • online: https://rradiotriton.apass.be
    • 01 July 2018
    • case of: Sina Seifee
      case of: Pierre Rubio
    • RRadio Triton Data Retrieval Interface

      https://rradiotriton.apass.be

      RRadio Triton is an experimental radio project aiming at producing collective audio documents gathered in and disseminated by the ad hoc fictional radio label/station, recording, editing, sampling, remixing and releasing audio and soundscapes. The audio publications of RRadio Triton are the recomposition of the outcomes of the voluntary contributions from all the actors of the 2017 a.pass seminar, BLOCK 17/I TROUBLE ON RADIO TRITON_ ((((((( CHANGING (THE) WORLD (S) )))))) curated by Pierre Rubio.


      RRadio Triton Data Retrieval Interface, inspired by the hybrid dispositive of its makers, is intended to be a science-fiction entity, a problematic database design, and a speculation site for the politics of imagination. The website is result of the initiation and curation of Pierre Rubio with the artistic and technological dramaturgy of Sina Seifee, and the supported of Christian Hansen.

      The website is an instance of a labor-intensive artistic work, deliberately creating the visual language and semantic for the composing of image assemblage. Made by Rubio's laborious editing and situated imaginary, and Seifee's tailor-made chaoticism. In terms of programming the site, our problem was how knowledge can resist appropriation and translation into an idiom of digital interface, and how to create a living context of the "representations" that were done in the RRadio Triton seminar. The interface is designed as a landscape in the manner of a vortex, filled with a series gif objects, as successive approximations or placings-in-variations. The gif animations are chosen meticulously as semiotically invested figures to play with their vague morphology (a vase, a wheel, a skull, a sun, an eye). They do not visualize the audio pieces, rather populate the field of view by rendering the sound timeline as a topological singularity.

      For further information go to Seifee's techno-epistemological report on the making of the interface here.

    • performative publishing
    • RRadio Triton
    • Trouble on Radio Triton
    • RRadio Triton audio publication
      18 January 2019
      posted by: Lilia Mestre
    • online: https://rradiotriton.apass.be/
    • 01 July 2019
    • case of: Pierre Rubio
    • RRadio Triton

       

       

       

      RRadio Triton is an intentionally hybridised dispositive, operating within a grey zone between archiving, documenting, publishing, performing and broadcasting. Different modes of relating to the past events are called for, and these modes determine different definitions of the very nature of present time, future outlook, and of what an archive can be. The diverse audio objects it produces all relate to the politics of imagination and speculation, here envisaged as cultural and ecological instruments operative on the real.

       

      RRadio Triton is supported by a.pass (advanced performance and scenography studies - platform for artistic research), a young institute for artistic research based in Brussels, that currently reflects on experimental modes of documenting, archiving, publishing and sharing. These modes try to mirror the institute’s criticality, its singular modes of operation, agonistic environment and ongoing reformulation of tools, practices and research. Moreover, the institute is concerned with a complex equation: how to develop a specific attitude towards archiving and dissemination that combines both a critique of the usual institutional ‘archival reason’ and the production of readable (structured) ‘forms of knowledge’? Or, in other words, how to avoid and/or assume commodification, reification and authority while documenting and publishing polymorph artistic research practices and discourses? Ultimately a.pass engages with documenting, archiving and disseminating independent and experimental artistic research practices to produce an ecology of text critique and to find inventive modes of co-operation and fair technological practices interlacing politically in ways that are non-innocent and the least toxic as possible.

      The project RRadio Triton is one of the many current expressions of this endeavor.

       

      Nourished by its participants, RRadio Triton is an after effect of the artistic research seminar named Trouble on Radio Triton ((((((( changing (the) world (s) )))))) that was held in Brussels between January and April 2017 curated and organised by Pierre Rubio within the institution a.pass. The seminar gathered artists-researchers, lecturers, cultural workers and curators around the thorny problem of the relations between imagination and political agency and was concerned with issues addressing the potential (in)capacity of art in general to produce actual social changes and the (im)possible contribution of art to collective empowerment by means of artistic imagination and fictional speculation. Among other research topics, the seminar at large focused on a few main transversal questions : Do you -as artists- through your research contribute to changes in contemporary culture? And if so, what are the cultures generated by your research? Which alternative worlds does your artistic research/practice contain? What is the operative link between your artistic research and the future?

       

      A full list of involved practices and participants in the seminar includes: +++The artists-researchers who participated in the seminar with their projects, ideas and practices as Aela Royer, Luiza Crosman, Sina Seifee, Zoumana Meite, Sana Ghobbeh, Sven Dehens, Marialena Marouda, Ekaterina Kaplunova, Juan Duque, Esta Matkovic, Sébastien Hendrickx, Pierre Rubio, Eunkyung Jeong, Lili M. Rampre and Esther Rodriguez Barbero. +++ Lectures and reading sessions with Sol Archer, Peggy Pierrot, Edward George, Laurence Rassel, Fabrizio Terranova, Sina Seifee, Sébastien Hendrickx, Michiel Vandevelde, Wouter De Raeve, Marialena Marouda and Caroline Godart. +++ Workshops and ateliers with Myriam Van Imschoot, Alice Chauchat, Helena Dietrich and Christian Hansen that intersected sound art, speculative embodiment and worlding. +++ Theoretical references on speculative fiction with Suvin’s Cognitive Estrangement, Goodman and Eshun’s Afrofuturisms, Gilroy’s Black Atlantic identity politics, Le Guin’s feminist and anarchist science fiction, Donna Haraway's notion of the tentacular, situated knowledges and reparative strategies, Accelerationism, and Benjamin’s theory of language as magic. +++ Screenings revisiting SF cinema curated and hosted by Ekaterina Kaplunova and Sven Dehens.+++ Inputs by the seminar mentors Veridiana Zurita, Kristien Van den Brande, Peggy Pierrot and Caroline Godart.

       

      Not merely archiving, rather activating a labor-intensive work of memory elaborated by the notion of radio as an instrument operative on the real, the RRadio Triton project is a compost of all these contributions and their transformation in the present time. The broadcasting agenda of the RRadio Triton to come will be structured around by three kind of shows. Three main programs. Three playlists. The first consists of multiple forms of interviews with the numerous actors of the seminar. The second of more or less fictional experimental sound pieces produced with or by the seminar’s participants. The third being a series of edits of the lectures, reading sessions and workshops that were part of the theoretical/practice based body of the seminar. The radio will be online soon on a digital interface that will assemble in an elegant and complex way all the “pieces” and will perform live in different contexts different kind of broadcasts in collaboration with different institutions/hosts. . Determining fluidly the critical nature of the fictional radio and within its intentionally heterogeneous and plastic landscape, all the RRadio Triton 'pieces' will collectively activate different types of issues engaging the problems of the operativity of speculative fiction and of, at large, political art. But not only.

       

      The audio publication RRadio Triton is the outcome of the voluntary contributions of all the actors of the 2017 seminar and their recomposition in the present time. RRadio Triton is an a.pass production initiated, curated and hosted by Pierre Rubio, and is technically, artistically and dramaturgically supported by Christian Hansen and Sina Seifee.

       

      A beta version of RRadio Triton audio publication here

      A comprehensive presentation of the 2017 seminar here .

       

       

    • performative publishing
    • RRadio Triton
    • Trouble on Radio Triton
    • Broadcasting RRadio Triton 18 January 2019
      posted by: Lilia Mestre
    • by OFFoff, a.pass and Domes FM
    • Kunsthal, Ghent
    • 25 January 2019
    • 26 January 2019
    • broadcast
    • case of: Pierre Rubio
    • Broadcasting RRadio Triton

       

       

      Art Cinema OFFoff is a platform for experimental cinema and audiovisual art. OFFoff searches for films from the past and present that enter into cinematographic and narrative experiments, often navigating between cinema and the other arts. During the opening weekend of Kunsthal,Ghent, ArtCinema OFFoff puts up a broadcast on Domes FM around RRadio Triton, a collective and experimental research project produced by a.pass. The broadcast circles around relations between artistic research and speculative fictions. What kinds of futures do artistic research practices imagine? Which fictions are needed? And what voices do we need to bring those fictions up? The program for and the performance of the broadcast is a collaboration between ArtCinema OFFoff (Kunsthal Ghent), RRadio Triton (a.pass, Brussels) and Domes FM (Bidston Observatory Artistic Research Centre, Liverpool). With and by Deborah Birch, Edward Clive, Sven Dehens, Edward George, Christian Hansen, Pierre Rubio and Sina Seifee.

       

      [audio mp3="https:///www.apass.be/wp-content/uploads/2019/01/soundcloud_excerpt.mp3"][/audio]

      excerpt from the broadcast.... soon online in full...

       

       

      Interviewer :
      What is RRadio Triton?

       

       

      RRadio Triton :
      A seminar, 'Trouble on Radio Triton ((((((( changing (the) world (s) ))))))' was held in a.pass between January and April 2017 curated and organised by Pierre Rubio, gathering it forces and resources around the question of artistic imagination and political agency. Among other enquiries, some of the main questions that were raised during the seminar were: Do you--as artists--through your research contribute to changes in contemporary culture? And if so, what are the cultures generated by your research? Which alternative worlds does your artistic research/practice contain? What is the operative link between your artistic research and the future? Following that initiative, now the project RRadio Triton sets out to dream of operating like a time machine carrying its protagonists through time back to the 2017’s events and returning them as new narrators. By adopting the identity of an ad hoc fictional radio station, it records, edits, samples, remixes and releases pieces of audiowork and soundscapes that originated at the 2017 seminar. RRadio Triton is becoming a hybridised dispositive about the politics of imagination and speculation, not merely archiving, rather activating a labor-intensive work of memory elaborated by the notion of radio as an instrument operative on the real. This way of approaching archive and dissemination mirrors the current expressions of a.pass’s criticality as an institution that is committed to the ecologies of critique and the reformulation of its research-tools and practices.

      The audio publication RRadio Triton is the outcome of the voluntary contributions of all the actors of the 2017 seminar and their recomposition in the present time.

       

       

      Interviewer :
      In response to the invitation of ArtCinema OFFoff to interact within the (re)opening event of the Kunsthal Gent in January 2019, RRadio Triton collaborates with curator Sven Dehens and will structure its first broadcast with two selected pieces that both perform complex critical dispositives around ideas of memory, reparation and worlding.
      Through OFFoff webpage we can access to a lot of informations about the event, but how a radio station -even fictional like RRadio Triton became involved with a cinematic event?

       

       

      RRadio Triton :
      Some shared views on reparative fiction for sure… And a lot of the audio objects/pieces constituting RRadio Triton relating more or less directly to cinema. Thematically first with a strong relation with science-fiction cinema genres and subgenres and critical questions around utopia/dystopia -central nodes in S-F cinema. There is also a more practice based link with film and more specifically with film soundtracking as some pieces are made after sound research ateliers called “Foley your Research” that were performed around the question “how does/could your research sound like?”. As well, some pieces relate directly to existing films, whether because of the central thematic of one of the recorded live lectures, or because of a structuring cinematographic reference/quote/appropriation. And last, some pieces engage with convoking cinematographic images/bodies through sound. They channel bodies, affects, voices and presences through different use of sound and they ‘produce’ images without any actual camera.

       

       

      Interviewer:
      Could this be seen as a different form of worlding? One of RRadio Triton’s main endeavours?

       

       

      RRadio Triton:
      One of the justifications for worlding -imagining and situating the world otherwise- is that the stories of this world are getting toxic as they are mere instruments for social reproduction. Re-imagining the erased stories -erased by economical, colonial, patriarchal, ideological or cultural instrumental power orders and determining modes of governance- and speculating other stories can produce (and not only reproduce) other social orders and thus other worlds. The two pieces we are proposing in dialogue with Cinemas OFFoff both try to tackle the very possibility of imagining differently and thus create the necessary conditions for re-invention and speculation. They world.

       

       

      Interviewer:
      Can you present the pieces shortly?

       

       

      RRadio Triton:
      The first piece is a montage of a live lecture given by Sina Seiffe during Trouble on Radio Triton ((((((( changing (the) world (s) )))))) -a seminar held by a.pass in 2017, it focuses on a ‘problematic’ social media video and puts it back in motion critically, rebroadcasting it in a way. The second piece is an edit of a rare live communication -part of the same seminar- by Edward George revisiting his research work developed for the iconic film Last Angel of History.

       

      Interviewer:
      The radio will be hosted by Domes FM, an online radio station set up in the basements of the Bidston Observatoy Artistic Research Centre (BOARC).
      What is BOARC?

       

       

      RRadio Triton:
      Located in the outskirts of Liverpool, BOARC is a not-for-profit study centre, focused on providing artists, writers, academics, performers etc with a cheap, temporary place to dictate their own methods of work, allowing them to come together and stay, to develop projects that require time and space, in a non-pressured environment.

       

       

      Interviewer:
      On Saturday the 26th of January, between 12h and 18h, one can follow and attend the live broadcast from Kunsthal Gent. There will be space for participation in diverse conversation formats held between the recorded audio pieces. In addition, on Friday the 25th of January, between 20h and 22h, there will be a Domes FM broadcast from the basements of the Bidston Observatory by Edward Clive, one of the hosts of the space. What will Edward Clive do?

       

       

      RRadio Triton:
      In reaction to RRadio Triton, he will bring a mix of soundtracks and queer experimental foley from the depths of science fiction cinema.

       

       

      Interviewer:
      Is it possible to listen to the broadcast online?

       

       

      RRadio Triton:
      Yes! One can follow the broadcast online during the announced hours. The URL for the broadcast will be announced in time.

       

       

      Interviewer:
      Can I get the credits of RRadio Triton’s pieces?

       

       

      RRadio Triton:
      Of course, here you go...

      RRadio Triton is an a.pass production initiated, curated and hosted by Pierre Rubio, and is technically, artistically and dramaturgically supported by Christian Hansen and Sina Seifee. The pieces we will broadcast on the 26th of January from Kunsthal Ghent on Domes FM Liverpool are:

       

          ‘An Animal Escape Case’
      an audio editing of a live essay-performance, 70’, 2019
      Author and Performer/Lecturer Sina Seiffe
      Editor Pierre Rubio / Sound Christian Hansen / Production a.pass
      The lecture was performed in March 2017 in Brussels within the lectures series “Book Club/Trouble on Radio Triton” at a.pass (advanced performance and scenography studies - a platform for artistic research)

       

      In his essay-performance ‘An Animal Escape Case’, Sina Seifee opens one object. He unpacks the destiny of a social media video file about a feral cat, that, in anthropomorphic terms, adopted a kitten, and the reactions of Sina’s family in Tehran towards these shared social-media digital images. This object and relational event is transformed into a landscape of observations, philosophical concerns, sociological anthropological and historical analyses. The complex arrangement relates diverse notions as, greeting, encounter, understanding, friendship, technology and most importantly, a destabilizing reality for humans, that of wildness. Sina performs as the narrator of a kind of film in which he is both the witness and the main actor. The edited audio piece tries to bring back his (intense) presence and incarnated storytelling, as well as the many references and borrowings to popular and not popular culture both from Iran and the West.

      The essay/performance investigates the fragile intersections of friendship between digital avatars and trans-animals in the social media in Tehran’s landscape. Through personal animal-findings and fairy-tale associations the An Animal Escape Case interprets the epistemological openings and closings in cross-species sociality, exemplified by the everyday use of mobile phones where images of pets circulate and different species meet in mediated formats. By analyzing everything that anthropomorphism can perform and contain, and seen through the animality in the situated conditions of contemporary domestic life, the essay/performance addresses the relationships between people, animals and their surroundings in a socio-technological milieu as complex as Tehran’s urban environment. (Sina Seifee)

      Sina Seifee is an artist-researcher-storyteller working on poetics of animal description (ecological cosmologies of nonhumans-with-history). Born in Tehran (1982), he studied Applied Mathematics in Beheshti University and Visual Arts in Charsoo Institute of Art in Tehran. After moving to Germany in 2011, he graduated in Cologne with master diploma in Media Arts from Kunsthochschule für Medien Köln (2014) and received his postmaster in Advanced Performance and Scenography Studies from a.pass in Brussels (2017).
      His work, realized in different forms of lecture-performances, reading group, workshops, image making, video and writing- is centered around the questions of technology, storytelling, globalism and intercultural mythologies in the heterogeneous knowledge-worlds of art and sciences, with attention to the premodern era.

       

       

          ‘Last angel of history’
      an audio editing of a live lecture, 3 episodes of 30',  2019
      Author and Performer/Lecturer Dr. Edward George
      Editor Pierre Rubio / Sound Christian Hansen / Production a.pass
      The lecture was performed in March 2017 in Brussels within the lectures series “Book Club/Trouble on Radio Triton” at a.pass (advanced performance and scenography studies - a platform for artistic research)

      Dr. Edward George is the writer, researcher, and narrator of the seminal fiction-documentary film The Last Angel of History. In a rare live communication he shares the research processes and thinking that supported the creation of the film. The audio piece revisits George revisiting his work of revisiting the lineage of Afrofuturism.
      The Last Angel of History is one of the most influential video-essays of the 1990s influencing filmmakers and inspiring conferences, novels and exhibitions. Black Audio Film Collective’s exploration of the chromatic possibilities of digital video is embedded within a mythology of the future that creates connections between black (un)popular culture, outer space and the limits of the human condition. The influential Black Audio Film Collective crafted this experimental blend of sci-fi parable and essay film, which also serves as an essential primer on the aesthetics and dynamics of contemporary Afrofuturism. Interviews with esteemed musicians, writers, and cultural critics are interwoven with the fictional story of the “data thief,” who must travel through time and space in search of the code that holds the key to his future.

      Dr. Edward George is a founding member of Black Audio Film Collective (1982-1998), the multimedia duo Flow Motion (1996-present), and the electronic music group Hallucinator (1998-present). He lives in London.

    • postgraduate program
    • workshop
    • a.pass Basics workshops
    • a.pass meets School of Love
    • block 2018/III
    • STUDY DAYS A curatorial proposal by Adva ZAkai
      11 September 2018
      posted by: Joke Liberge
    • 10 September 2018
    • 30 November 2018
    • STUDY DAYS

      PROGRAM AND SCHEDULE

      This block is organized around a series of Study Days. Almost every Monday till the end of November, a.pass hosts artists, thinkers and researchers to contribute to the problematization of various issues that bring together love, art, school, improvisation and politics.


      ** The texts bellow are written from the perspective of the notions explored at a.pass, and not by the guests, who are invited to respond to them from within their own practices **


      September 10th
      Maybe one day, love will no longer be considered a private endeavor or a slogan of hippies, but rather a public and a political mode of being...

      Guests: Johan Grimonprez & Bleri Lleshi

      Imagine a society that bases its arrangements, institutions and democracy on love itself. Such a society will probably teach and exercise love as a force that contributes to the constitution of communities. Maybe then it will make less sense to say that love is a social construction than to say that love constructs society... What kind of practices can re-appropriate love by allowing it to shift from individual, consumerist and patriarchal inclinations into the political engagement of play and interaction of differences? How can love be romantic but not only? What if love would expend beyond the limits of the couple and the nuclear family and serve as the basis for our political projects in common?
      10h – 13h A session with Johan Grimonprez
      13h – 14h Lunch
      14h – 15h15 presentation of work by Johan Grimonprez
      15h15 – 15h30 Break
      15h30 – 18h A session with Bleri Leshi

       

      September 17th
      To be included your love tool kit
      Or: Tender technologies: how tools shape practice and practice shapes tools

      Guest: Femke Snelting

      Femke Snelting: Can we transform our relation to everyday communication technologies? Can we take that risk? Currently, tech giants dominate all forms of digital communication, from cloud-storage to production tools and archiving systems. Infused with modernist ideas of progress, these tools are full of capitalist values and dreams of seamless scaleability. They form intricate webs of human and non-human agencies weaving themselves into and around us, intimately linking our personal and professional practices. Also institutional practice has come to rely on the use of commercial platforms, including places that are dedicated to radical transformation, political love and commoning like a.pass. So how are we being with technology when practicing a School of Love? This study-day is dedicated to experiencing technology differently, of developing a convivial relationship that foregrounds vulnerability, mutual dependency and care-taking. With the help of old and new Free, Libre and Open Source Software tools we will practice a transition from anticipating efficiency to allowing curiosity; from expecting scarcity to demanding multiplicity; from solution to possibility.
      10h – 13h A session with Femke Snelting
      13h – 14h Lunch
      14h – 18h A session with Femke Snelting

       

      September 24th – September 29th
      Inspired by the interest in both love and school as charged with potential to generate new politics and relations in the world.

      a.pass meets SOL participates to The Swamp School at the Venice Biennale Architecture 2018

      "In exploring the imaginary of a swamp—a living organism in which borders defined by social, political and cultural factors are porous and permeable— the Swamp School will investigate an open artistic/architectural form, effective workshop and publication methodologies. The Swamp School will act as a pilot for future learning environments, informed by and informing the architecture and installations of its own space. Research questions will focus on creating public interfaces and manuals that support adaptation and learning to meet the demands of a changing environment.” Swamp Pavillion curated by Nomeda and Gedeminas Urbonas.

      Participating institutions: MIT School of Architecture and Planning, Royal Academy of Fine Arts Antwerp, University of Antwerp, Università Iuav di Venezia, Nuova Accademia di Belle Arti - NABA Milan, The Art Institute at the Academy of Art and Design FHNW Basel, Institute of Aesthetic Practice and Theory IAeP, Academy of Art and Design FHNW Basel, University of Iceland, Vytautas Magnus University Kaunas, a.pass - advanced performance and scenography studies Brussels, Vilnius Gediminas Technical University, Contour Biennale 9 Mechelen, Design for the Living World Class at HFBK The University of Fine Arts Hamburg, Städelschule Architecture Class – Staatliche Hochschule für Bildende Künste Frankfurt

      http://swamp.lt/#program


      October 8th
      Blame it on monogamy

      Guests: Eva Berghman, CW/the Common Wallet project, Kathrien De Graeve

      Many of us were indoctrinated to believe that they desire only one way of moving through the course of life, where pairing is the ultimate goal and the preferable mode of being. This probably has not much to do with the belief in the mental and spiritual profoundness of the unit of two, but rather being motivated by the fear of being left out by a society that socially and economically prioritises the couple. How to re-appropriate institutions that re-appropriated love itself by bounding it to laws, contracts, economy and morals? What if being polyamorous would not only mean having many lovers, but many kinds of love? We could chose to stop considering Polyamory as merely a sexual and romantic practice, and think of it as an ethic that potentially destabilizes the normative hierarchies between human relationships. Monogamy is not just a way to love romantically, it also influences our relations to money, time, jobs, passports, artistic/scientific/academic researches etc... If Polyamory would be the dominant way of relation in the political and social sphere, how would this effect the notions of owning (property, identity, ideas) and owing, of secrets and privacy? How can love subvert and de-construct power structures that use monogamy to move us away from caring collectively?

      10h – 11h30 A session with Katrien De Graeve
      11h30 – 13h A Session with Eva Berghmans
      13h – 14h Lunch
      14h – 15h30 A session with CW / the Common Wallet project
      15h30 – 16h Break
      16h – 18h A discussion through relating the themes of the day to our own practices

       

      October 22nd
      Love makes schools make love

      Guests: Jan Masschelein, Laurence Rassel, SRG / school research group

      Maybe one day, schools will no longer be considered as merely a protective incubator that prepares one to life outside of it, but rather an engaged environment that influences the world. Think of a society that bases its schools on experiment, reflection and collectivity, independent from the market's need. Schools that produce ideologies and policies, instead of being instrumentalised by them. Schools that gather strangers and differences under the common wish to study public matters in order to challenge and improve them. If ever such a society will exist, it will probably construct its schools as flexible systems that work in acceptance of potential change and disruption, as a way to embody that which is being studied in them. Can schools embrace love as a strategy to create a place of encounter where both the institution and its part takers grow in relation to each other? How can a school base its structure on the same principals it wishes to teach?

      13h – 16h A session with Jan Masschelein
      16h– 18h A session with Laurence Rassel
      18h – 19h Dinner (provided by a.pass)
      19h – 21h Presentation of school models that were developed by a.pass participants


      October 29th
      By putting that which is between us before that which we think belongs to us.

      Guests: Caroline Godart, Elke Van Campenhout

      School is maybe more of a verb than a noun. Its a state of “attentivnes” to the world that one could chose to enter at any time and any place, in the company of others. Within this logic, wouldn't being a student similar to being an artist? Schools and students could be considered as lovers, who commit to each other, but do not wish to control what the other does with the love that they give. To school could mean to study and care for the same thing that you would also be willing to let go of. To - engage with, and - detach from, at the same time. This could be the love that dares to bound spirituality and politics together. If school becomes a verb, teachers would then teach how to school, and maybe love would not be a feeling, but a mode of studying that generates feelings.

      10h – 13h A reading session with Caroline Godart
      13h – 14h Lunch
      14h – 16h A reading session with Caroline Godart
      16h – 16h30 Break
      16h30 – 18h A reading session with Elke Van Campenhout

       

      October 31st – Nov 5th (Nov 3rd – off)
      Instead of needing to know

      A workshop by Joao Fiadeiro.
      Guests: Elke Van Campenhout, Alex Arteaga

      If in both Love and School an openness to change through encounters with others is practiced, we better develop sensitivities to deal with a change into an unknown path. Perhaps we would be better off improvising through, with and within the unknown instead of needing to know. Maybe improvisation today can be approached as a mode of resistance to tendencies for a life dedicated to an anticipated and defined future. It might seem like stating the obvious, proposing to put improvisation back in the agenda. Life itself is an improvisation, of course, we never stopped improvising. But we can dedicate a special attention to it in order to examine its relevance to nowadays realities. Not the improvisation that aims to emancipate repressed self expressions, neither the one that provides skills and masteries to manoeuvre within individual lives and careers , but an improvisation attitude that may create an actualized set of relations between us and other people, us and other things, us and anything that is not us.

      10h – 18h A workshop with Joao Fiadeiro
      19h – 21h (Nov 2nd, 4th, 5th ) Evening interventions by Joao Fiadeiro, Elke Van Campenhout, Alex Arteaga


      November 12th
      The Love workers

      Guests: An Mertens, Daniela Bershan

      Artistic processes often face the contradiction of critiquing the same protocols they have to comply with, such as deadlines, saleable products, authorship, commissions and competition. Many artists experience frustration by the fact that policy makers, programmers and curators determine the visibility of certain artists/art works instead of others. A Love Worker – could this be a synonym for an Artist? Would this emancipate some practices from having to defend their relevance through the procedures imposed by artistic scenes? Or better than that – could this expand the boundaries of what an artistic work can become?

      10h – 13h A session with An Mertens (in the forest)
      13h – 15h Lunch (+ coming back from the forest)
      15h – 18h A session with Daniela Bershan

       

      BIOGRAPHIES

      Bleri Lleshi is philosopher, writer, lecturer, youth worker and DJ. He studied political sciences and philosophy at Vrije Universiteit Brussel. At the moment he is writing a ph.d on the struggle of the excluded. Lleshi is lecturer at UCLL where he teaches various subjects on social sciences. His research focuses on topics such as inequality, neoliberalism, youth, migration, identities, and extremism. Lleshi has participated in conferences, debates and media. In 2014, he was considered as one of the most influential immigrants in Belgium

      Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities. Grimonprez's curatorial projects, films and installations have been exhibited at museums worldwide. He published several books and he lectures widely.

      Femke Snelting works as artist and designer, developing projects at the intersection of design, feminism and free software. In various constellations she explores how digital tools and practices might co-construct each other. She is member of Constant, a non-profit, artist-run association for art and media based in Brussels. Since 1997, Constant generates performative publishing, curatorial processes, poetic software, experimental research and educational prototypes in local and international contexts. http://constantvzw.org/

      Eva Berghmans is a journalist working for 'De Standaard'. As a journalist she has an excuse to step up to people and ask them all kind of weird and intimate questions. She never took 'because this is the way we have always done things' for an answer and tries to see through the presumptions in our everyday lives. Currently she is working on a research project on polyamory, published on http://www.standaard.be/tag/.'

      CW/the Common Wallet project is an initiative of 10 people from the art sector in Belgium who share their individual income in one collective bank account. Through this experiment they collectively explore their psychological and cultural dependencies on money and a possible alternative to the monogamous and often lonely relationship one has with the money one earns. CW part takers are : Luigi Coppola, Eliza Demarre, Anna Rispoli, Adva Zakai, Diederik Peeters, Christophe Meierhans, Luca Mattei, Agnes Quackels, Ingrid Vranken, Irena Ramanovic


      Katrien De Graeve is a postdoctoral researcher of the Research Foundation Flanders (FWO), affiliated to the Department of Languages and Cultures of Ghent University, and member of the Centre for Research on Culture and Gender. In 2012, she completed her PhD at the Department of Comparative Sciences of Culture at Ghent University with a critical analysis of intensive parenting practices in Belgian-Ethiopian adoptive families. In her current research project (2016-2019), she has shifted focus to the study of sexuality/romantic relationships and discourses of exclusivity and plurality in light of the normative two-parent nuclear family.

      Jan Masschelein is head of the Laboratory for Education and Society, and of the research group Education, Culture and Society. He studied educational sciences and philosophy at the K.U.Leuven and at the Johan Wolfgang Goethe Universität in Frankfurt am Main and is as well Fellow of the Alexander Von Humboldt-Stiftung. His research can be situated in the broad domain of the formation of educational theory, critical theory, social philosophy and governmentality studies. More concretely it concerns the public and societal role of education and schooling, the role of the university, the changing experiences of time and space in the age of the network, the educational meaning of cinema and camera, the architecture of schools and architecture of the learning environment, a pedagogy of attention, the notion of 'pedagogy', the pedagogical role of teachers and social workers. A lot of attention is directed towards experimental educational practices and towards new forms of documentary and exploratory research.

      Laurence Rassel is currently the director of art school ERG in Brussels. Educated in visual arts and pedagogy, she pursued an interdisciplinary trajectory from new media to the management of an artistic institution. From 2010 to the end of June 2015, she was director of the Fundacio Antoni Tàpies in Barcelona, a foundation created to promote contemporary art and thought, and the study of Antoni Tàpies' work. Previously, from 1998, she was, among others, responsible for Constant, a non-profit organization based in Brussels. Constant connects theoretical thinking, the critical use of new technologies, artistic behavior and political issues in the network. At the same time, she was project coordinator for the Interface3 women's technology training center in Brussels, as part of the European ADA project from 2001 to 2006. 



      SRG/School Research Group is an open group of art practitioners and pedagogues who meet regularly in order to share their interest and experience within school environments in Belgium and study together. 



      Caroline Godart is a writer, professor and dramaturge based in Brussels. She holds a PhD in Comparative Literature with a concentration in Cinema Studies from Rutgers University (USA), where she studied with Elizabeth Grosz. She is now an Assistant Professor of Communication, Germanic Languages and Cultural Studies at IHECS (Institut des Hautes Études des Communications Sociales, Brussels). Her first book, The Dimensions of Difference, was published by Rowman and Littlefield in 2016. It explores the question of difference, and in particular of sexual difference, through three axes (space, time, and embodiment), which are approached both as aesthetic devices and as philosophical concepts in the works of Luce Irigaray, Gilles Deleuze and Henri Bergson.

      Elke Van Campenhout / ELLE is a tantric practioner and artistic researcher. She developed her work partly at the a.pass research institute where she worked for five years under the umbrella of Bureau d’Espoir, a practice on the import, export and redistribution of hope. For this practice she studied political theory, contemporary philosophy and spiritual body practices. Her work is a transdisciplinary practice, linking contemporary philosophy to spiritual body practice, in the development of an ethics of coming together and rethinking our relation to the world we live in. Since 2 years Elke Van Campenhout and Stijn Smeets started up the experimental living community The Monastery, dedicating all their time and resources on the creation of a spiritual life of devotion, alternative economies, and ritual composition.

      João Fiadeiro belongs to a generation of choreographers who emerged in the late 1980’s and led to the emergence of the Nova Dança Portuguesa. In 1990, he founded the workshop RE.AL Company that supported the creation and dissemination of several choreographers and their works, which were regularly performed in Europe, the United States, Canada, Australia and South America. Real Time Composition is a project that he has been developing for twenty years. In parallel, he has organized several workshops in various training courses, schools and universities throughout the world. João Fiadeiro is currently completing a PhD in contemporary art at the University of Coimbra in Portugal.

      Alex Arteaga’s research integrates aesthetic and philosophical practices relating to aesthetics, the emergence of sense, meaning and knowledge, and the relationships between aurality, architecture and the environment through phenomenological and enactivist approaches. He studied composition, music theory, piano, electroacoustic music, and architecture in Berlin and Barcelona and received a PhD in philosophy from the Humboldt University for his dissertation Sensuous Framing: Fundamentals of a Strategy to Realize Conditions of Perception. From 2008 to 2012 he was a post-doctoral researcher at the Collegium for the Advanced Study of Picture Act and Embodiment at the Humboldt University and visiting professor at the MA Choreography at the Inter- University Centre for Dance Berlin. In 2012 he led the research team at the Berlin.

      An Mertens is artist, writer, and core-member of Constant, an artist run organisation for experimental art and media in Brussels. Next to a practise of literary creation using algorithms, she is also a nature guide in Forêt de Soignes and writing fiction with a particular interest for the non-human presences in woods.
http://constantvzw.org, http://www.algolit.net, http://www.paramoulipist.be/

      Daniela Bershan aka Baba Electronica is a love worker using visual arts, performance, music making and social organization around topics of collective study, care-making and practices of (non-sexual) intimacy. In her work she conceptualizes not just the characteristics of her materials but with and through them the skills and objects they can be read with: the DJ, the remixer, the researcher, the love-worker are dissecting choreographies and scores in order to make tangible how they operate; and enable to organize relations otherwise. They are committed to experiment and circulate with queering tools. Bershan co-founded and directed FATFORM (NL), and is co-organizing ELSEWHERE & OTHERWISE at Performing Arts Forum (FR). Her works, projects and performances have been presented worldwide.

       

       
    • conference
    • project
    • research center
    • seminar
    • workshop
    • Parallel Parasite
    • Parallel Parasite Research center 18/II curated by Lilia Mestre
      03 September 2018
      posted by: Lilia Mestre
    • 04 June 2018
    • 30 September 2018
    • case of: Lilia Mestre
    • Parallel Parasite

      A month residency at ZSenne ArtLab : On Anarchiving > On Love > On Score -ing > On the spot > On presence
      Gatherings of parallel parasite platforms  for practice based research in the arts > If you want to know, come!


      From the 4th till the 30th of June the a.pass Research Centre (RC) will be in residency at ZSenne ArtLab and will constitute itself as people meet, as thematics emerge, as the environment conditions, as the weather manifests, as the bodies form, as toxicity persists, as we drive ourselves towards multiplying perspectives for thinking and experiencing phenomena emerging from artistic research practices. 

      The RC will function as a meeting point for the convergence of concerns, interests and the pleasures of learning together. It will research itself and its modus operandi in terms of hospitality, dissensus and criticality through the various research practices proposed.

       

      The propositions start from reading groups, activating thinking/doing practices, score -ing, speculative talks, and registration/documentation formats in order to converge multiple insights that might (and not must) infuse other formats of reflecting/experiencing framed by the quasi public environment of the gallery space. 

      The Research Center in residency invites several guests which are thinking and experiencing ‘gathering’ as a form of knowledge processing bridging theoretical and experiential approaches. These gatherings don’t depart from personal concerns but aim to mine inter-subjective frame works to question artistic research as a learning together practice.

      This point of address for the a.pass RC next block, comes from two main curatorial concerns. The first is about the publicness of a Research Centre for artistic research and its visibility, accessibility and share-ability.  What are the internal and external demands and needs of such environments? The second comes from an observation on what I’m calling parallel-parasite platforms for practice based research in the arts.

      a.pass is constantly questioning the positionality and share-ability of what we learn and interrogating the political implications of the research practices. In response to those problematics, as RC curator, my proposition is the dislocation of the RC to a semi-public environment and to locate it temporary in a gallery space, one of the per-se spaces for the exhibition. The question driving this movement (from the inside to the outside) is: can the a.pass RC  in dis-location generate a hub for the study of some of its practices? can this movement instigate other forms of share-ability and access that are informal and porous? We’ll be addressing the agency of such public-ness and how it will be giving perspective to the critical doing and the critical thinking in artistic research and what forms of sociability will be generated.

      The three main proposals are: SOL (School of Love) proposed by Adva Zakai, The way of the Anarchive proposed by Erin Manning (SenseLAb) and ScoreScapes proposed by Lilia Mestre (a.pass). These invited quasi – institutional setups affiliated in one way or another with the academic environment are experimental formats of learning processes that are critically challenging modes of knowledge production in artistic research. All these ‘parallel-parasite platforms’ or ‘ways of doing’ are engaged in thinking-doing practices that converge theoretical and artistic research practice approaches in the arts. 

      SOL / School Of Love is an initiative of students and teachers from the Autonome Vormgeving department at KASK. SOL came to existence spontaneously as a school inside a school, in March 2016, out of a workshop that explored the notions of Love and School as modes of attention. SOL has no predetermined curriculum. It avoids defining itself and its goals in order to allow activities to emerge through the presence and interest of its participants, who come from inside KASK as well from outside of the institution. Anyone can be a part of SOL, anything can become a project in it, and it can take place anywhere, as long as it’s stimulated by the will to re-think both school and love as charged with potential for change and engagement in society. It is what we make it to be. 

      AND

      The SenseLab is a laboratory for thought in motion.

      Based in Montreal, the SenseLab is an international network of artists and academics, writers and makers, from a wide diversity of fields, working together at the crossroads of philosophy, art, and activism.

      Participants are held together by affinity rather than by any structure of membership or institutional hierarchy. The SenseLab’s event-based projects are collectively self-organizing. Their aim is to experiment with creative techniques for thought in the act. The SenseLab’s product is its process, which is meant to disseminate. The measure of success is the creative momentum that spins off into individual and group practices elsewhere, to seed new processes asserting their own autonomy. The SenseLab makes no claim to ownership, operating as much as possible on the principle of a gift economy.

      This block will follow up on the thinking the archival concerns of artistic research at a.pass. The interest crawls out of the virtual into the physical public sphere wanting to add another aspect to it. The Zsenne will be taken as a sensor environment for the working upon collective processes of archive and anarchive. For this precise question we’ll be working with Erin Manning and her knowledge on the Anarchive as part of the Immediations project in SenseLab.

      Anarchive 

      1.The anarchive is best defined for the purposes of the Immediations project as a repertory of traces of collaborative research-creation events. The traces are not inert, but are carriers of potential. They are reactivatable, and their reactivation helps trigger a new event which continues the creative process from which they came, but in a new iteration.2.Thus the anarchive is not documentation of a past activity. Rather, it is a feed-forward mechanism for lines of creative process, under continuing variation.

      3.The anarchive needs documentation – the archive – from which to depart and through which to pass. It is an excess energy of the archive: a kind of supplement or surplus-value of the archive.

      In this movement between having to retreat from the world and then go back to the world as both places to make sense (study) of our relation with things,  various questions start to appear: What is the importance and articulation of doing/thinking practices? And what kind of positionality would this create in the semi-academic frame work?What kind of environments and practices can we envisage to share political/ aesthetic concerns? what kind of ‘library’ would we build to address these concerns?

      Each practice will have a specific way of opening to the public and more specific formats will be announced in detail as we go along. For now the basic structure is a daily private practice fora group of invited artistic researchers and an open door practice everyday from 17:30 till 20:00 where public conversations and doings welcome the interested and the passerby.

      The RC is mainly working with alumni and associated researchers linked with the a.pass Research Centre. For Parallel Parasite we are: Alex Arteaga, Silvia Pinto Coelho, Bojana Cvejic, Nikolaus Gansterer, Nicolas Galeazzi, Adrijana Gvozdenović, Nico Dockx, Steven Jouwersma, Halbe Kuipers, Pia Louwerens, Sara Manente, Marialena Merouda, Erin Manning, Brian Massumi, Lilia Mestre, Martino Morandi, Pierre Rubio, Sina Seifee, Eric Thielemans, Femke Snelting, Eleanor Ivory Weber, Adva Zakai, Veridiana Zurita with Petra Van Dyck and Lea Dietschmann .

      and the post-master researchers: Elen Braga, Nasia Fourtouni, Leo Kay, Laura Pante, Geert Vaes, Maurice Meewisse, Caterina Mora, Ezther Nemethi, Hoda Siahtiri, Goda Palekaite, Katinka Van Gorkum.

      Forms of learning together is a central approach in the post-master’s program of a.pass (platform for artistic research practices) and has a background in art run organisations as models of self-organisation and collaboration.  It views art practice and artistic research as situated, critical and autonomous processes contributing for the politisation of modes of gathering and learning together. 

      ScoreScapes is a research on how to create frameworks for bringing together diverse artistic practices to ‘speak’ to each other without having a common constraint in terms of content or form. To find systems of interaction where different aesthetic experiences cohabitate, complement, disagree and motivate thirdness together with the possibility to trace it. Like a maze of potentials hovering over us participants of the score.

      A central concern in the ScoreSacpes research is the development of modes of being together with our individual backgrounds, moods, sensibles, political concerns, theories, … Through a system of questions and answers set in time, the scores propose regular encounters as a mode of intensive exchange about individual experiences that interconnect with others. In this sense the score proposes a form of sociability. To work with scores allows to follow up and evaluate these relationships constantly. The score evolutions are guidelines for the progress of the study and facilitate a chronological trajectory of the research. To make scores is also to produce documents in order to observe the paradigms that are at stake while making art. The unexpected and unforeseen event is always a surprising call to pay attention to the performative aspect of things, to the condition of all existence as experiential events. The score becomes a life art laboratory for multidisciplinary practices and pluri-focus presences. An attempt to shift from an art-to-look-at to an art to experience.

       
    • SCORESCAPES: Thinking Scores as Pedagogical Tool is an ongoing research in the context of a.pass. For this occasion the score will serve the question of  'being in an (other) place' which is not home, which is semi-public, which will constitute a composite body and which will be in the 'here' of the public space and of the a.pass Research Center. Which tender social formation will take place?  What will appear from the rubbing between institutional paradigms and the discourses that resist? The score wants to make appear narratives localized in that time/place frame work. We will work with writing and physical forms of presence and we'll go in between inside and outside, the individual and the group, in between the here and there, between being part of and being other.

      SCORESCAPES bears witness to affective relationships for understanding the self and the collective through acts of gathering and attending to varied modes of being with their respective backgrounds, moods, sensibilities, political concerns, and theories. Acting as a system that establishes questions and answers set in time and place, the scores propose regular encounters as conditions for intensive exchange. They propose a system of interaction where varied aesthetic experiences coexist, complement, challenge and inspire otherness with the potential to trace it. The Score wishes to underline the importance of the experiential aspect of things as a thinking-partner.

      The week will be separated in two practices. The first will be a closed session 'Score for entering a space' with Esther Rodriguez- Barbero Granado, Lilia Mestre and Eric Thielemans.  The second 'Fragile Community Score'  is under inscription and will last for 3 days.  Both practices will be shared in the evenings.

      Please inscribe by sending an email to lilia@apass.be

      SCORESCAPES

      • WEEK 2 (11-17)

      • Monday 11 > Eric Thielemans >  Score for entering a place (close session)> Public Discussion from 17:30 till 19:00 > Concert  Eric Thielemans at 20:30

      • Tuesday 12 > Eric Thielemans > Score  for entering a place (close session) > Public Discussion from 17:30 till 19:00

      • Wednesday 13 > ScoreScapes > Public Discussion from 17:30 till 19:00

      • Thursday 14 > ScoreScapes > Public Discussion from 17:30 till 19:00

      • Friday 15 > ScoreScapes > Public Discussion from 17:30 till 19:00

      • Saturday 16 > Monday Readings - Femke Snelting and Martino Morandi  > 11:00 till 16:00

    • research center
    • seminar
    • Parallel Parasite
    • parallel-parasite Research center 18/II curated by Lilia Mestre
      23 April 2018
      posted by: Lilia Mestre
    • Zsenne ArtLab
    • 04 June 2018
    • 30 June 2018
    • parallel-parasite

      A month residency at ZSenne ArtLab : On Anarchiving > On Love > On Score -ing > On the spot > On presence
      Gatherings of parallel parasite platforms  for practice based research in the arts > If you want to know, come!


      From the 4th till the 30th of June the a.pass Research Centre (RC) will be in residency at ZSenne ArtLab and will constitute itself as people meet, as thematics emerge, as the environment conditions, as the weather manifests, as the bodies form, as toxicity persists, as we drive ourselves towards multiplying perspectives for thinking and experiencing phenomena emerging from artistic research practices. 

       

      The RC will function as a meeting point for the convergence of concerns, interests and the pleasures of learning together. It will research itself and its modus operandi in terms of hospitality, dissensus and criticality through the various research practices proposed.

      The propositions start from reading groups, activating thinking/doing practices, score -ing, speculative talks, and registration/documentation formats in order to converge multiple insights that might (and not must) infuse other formats of reflecting/experiencing framed by the quasi public environment of the gallery space. 

       

      The Research Center in residency invites several guests which are thinking and experiencing ‘gathering’ as a form of knowledge processing bridging theoretical and experiential approaches. These gatherings don’t depart from personal concerns but aim to mine inter-subjective frame works to question artistic research as a learning together practice.

      This point of address for the a.pass RC next block, comes from two main curatorial concerns. The first is about the publicness of a Research Centre for artistic research and its visibility, accessibility and share-ability.  What are the internal and external demands and needs of such environments? The second comes from an observation on what I’m calling parallel-parasite platforms for practice based research in the arts.  

       

      a.pass is constantly questioning the positionality and share-ability of what we learn and interrogating the political implications of the research practices. In response to those problematics, as RC curator, my proposition is the dislocation of the RC to a semi-public environment and to locate it temporary in a gallery space, one of the per-se spaces for the exhibition. The question driving this movement (from the inside to the outside) is: can the a.pass RC  in dis-location generate a hub for the study of some of its practices? can this movement instigate other forms of share-ability and access that are informal and porous? We’ll be addressing the agency of such public-ness and how it will be giving perspective to the critical doing and the critical thinking in artistic research and what forms of sociability will be generated.

       

      The three main proposals are: SOL (School of Love) proposed by Adva Zakai, The way of the Anarchive proposed by Erin Manning (SenseLAb) and ScoreScapes proposed by Lilia Mestre (a.pass).

       

      These invited quasi - institutional set ups affiliated in one way or another with the academic environment are experimental formats of learning processes that are critically challenging modes of knowledge production in artistic research. All these 'parallel-parasite platforms' or 'ways of doing' are engaged in thinking-doing practices that converge theoretical and artistic research practice approaches in the arts. 

       

      SOL / School Of Love is an initiative of students and teachers from the Autonome Vormgeving department at KASK. SOL came to existence spontaneously as a school inside a school, in March 2016, out of a workshop that explored the notions of Love and School as modes of attention. SOL has no predetermined curriculum. It avoids defining itself and its goals in order to allow activities to emerge through the presence and interest of its participants, who come from inside KASK as well from outside of the institution. Anyone can be a part of SOL, anything can become a project in it, and it can take place anywhere, as long as it's stimulated by the will to re-think both school and love as charged with potential for change and engagement in society. It is what we make it to be. 

      AND

      The SenseLab is a laboratory for thought in motion.
      Based in Montreal, the SenseLab is an international network of artists and academics, writers and makers, from a wide diversity of fields, working together at the crossroads of philosophy, art, and activism.
      Participants are held together by affinity rather than by any structure of membership or institutional hierarchy. The SenseLab’s event-based projects are collectively self-organizing. Their aim is to experiment with creative techniques for thought in the act. The SenseLab’s product is its process, which is meant to disseminate. The measure of success is the creative momentum that spins off into individual and group practices elsewhere, to seed new processes asserting their own autonomy. The SenseLab makes no claim to ownership, operating as much as possible on the principle of a gift economy.

       

      This block will follow up on the thinking the archival concerns of artistic research at a.pass. The interest crawls out of the virtual into the physical public sphere wanting to add another aspect to it. The Zsenne will be taken as a sensor environment for the working upon collective processes of archive and anarchive. For this precise question we’ll be working with Erin Manning and her knowledge on the Anarchive as part of the Immediations project in SenseLab.

       

      Anarchive 1.The anarchive is best defined for the purposes of the Immediations project as a repertory of traces of collaborative research-creation events. The traces are not inert, but are carriers of potential. They are reactivatable, and their reactivation helps trigger a new event which continues the creative process from which they came, but in a new iteration.
      2.Thus the anarchive is not documentation of a past activity. Rather, it is a feed-forward mechanism for lines of creative process, under continuing variation.
      3.The anarchive needs documentation – the archive – from which to depart and through which to pass. It is an excess energy of the archive: a kind of supplement or surplus-value of the archive.

       

      In this movement between having to retreat from the world and then go back to the world as both places to make sense (study) of our relation with things,  various questions start to appear: What is the importance and articulation of doing/thinking practices? And what kind of positionality would this create in the semi-academic frame work?
      What kind of environments and practices can we envisage to share political/ aesthetic concerns? what kind of ‘library’ would we build to address these concerns?

       

      Each practice will have a specific way of opening to the public and more specific formats will be announced in detail as we go along. For now the basic structure is a daily private practice fora group of invited artistic researchers and an open door practice everyday from 17:30 till 20:00 where public conversations and doings welcome the interested and the passerby.

       

      The RC is mainly working with alumni and associated researchers linked with the a.pass Research Centre.

      For Parallel Parasite we are: Alex Arteaga, Silvia Pinto Coelho, Bojana Cvejic, Nikolaus Gansterer, Nicolas Galeazzi, Adrijana Gvozdenović, Nico Dockx, Steven Jouwersma, Halbe Kuipers, Pia Louwerens, Sara Manente, Marialena Merouda, Erin Manning, Brian Massumi, Lilia Mestre, Martino Morandi, Xiri Noir, Pierre Rubio, Sina Seifee, Eric Thielemans, Femke Snelting, Eleanor Ivory Weber, Adva Zakai, Veridiana Zurita with Petra Van Dyck and Lea Dietschmann .

      and the post-master researchers:
      Elen Braga, Nasia Fourtouni, Leo Kay, Laura Pante, Geert Vaes, Maurice Meewisse, Caterina Mora, Ezther Nemethi, Hoda Siahtiri, Goda Palekaitė, Katinka Van Gorkum.

      Forms of learning together is a central approach in the post-master’s program of a.pass (platform for artistic research practices) and has a background in art run organisations as models of self-organisation and collaboration.  It views art practice and artistic research as situated, critical and autonomous processes contributing for the politisation of modes of gathering and learning together. 

      ScoreScapes is a research on how to create frameworks for bringing together diverse artistic practices to ‘speak’ to each other without having a common constraint in terms of content or form. To find systems of interaction where different aesthetic experiences cohabitate, complement, disagree and motivate thirdness together with the possibility to trace it. Like a maze of potentials hovering over us participants of the score.


      A central concern in the ScoreSacpes research is the development of modes of being together with our individual backgrounds, moods, sensibles, political concerns, theories, … Through a system of questions and answers set in time, the scores propose regular encounters as a mode of intensive exchange about individual experiences that interconnect with others. In this sense the score proposes a form of sociability. To work with scores allows to follow up and evaluate these relationships constantly. The score evolutions are guidelines for the progress of the study and facilitate a chronological trajectory of the research. To make scores is also to produce documents in order to observe the paradigms that are at stake while making art. The unexpected and unforeseen event is always a surprising call to pay attention to the performative aspect of things, to the condition of all existence as experiential events. The score becomes a life art laboratory for multidisciplinary practices and pluri-focus presences. An attempt to shift from an art-to-look-at to an art to experience.

    •  

       

      Now if six turned out to be nine,
      I don't mind, I don't mind (…)
      Alright, 'cause I got my own world to look through,
      And I ain't gonna copy you.

      - J.Hendrix

       

      Stimulating the audio nerve directly
      You wanna come flex with me?

      - The Spaceape

       

       

      In this Book Club, we drown together in an ocean of sound and words.

      We listen to echoes of submarine writings. We vibrate to the whale’s praise chants. We embrace syncretic marginal cults. We embark on a slave/space/ship for a time travel into modern cultures.

      1492. Knowledge Freedom/Culture Born Wisdom.

      We build or we destroy.

      We find our way through popular cultures and music. Is there something to hear between the 0 and the 1 of digtised compressed music? Is there something to de-cypher in our coded Nyabinghi drums? What is the message hidden between themes, rhythms, intonations, improvisations, the samples, the drum, the bass, the cuts and the pastes?

      We learn about the Know-Ledge.

      What kind of mental space or imaginary frame allowed/constrained the emergence of a futuristic post-modern culture within the Black Atlantic?

      To mediate our comprehension of the unsubtitled tracks, we'll intensively use texts by Kodo Eshun, David Toop, Peter Lamborn Wilson, S. H. Fernando Jr. and others, hoping we’ll finally kiss the sky.

      We draw an intensive rear view mirror tour in theory, music, politics, visual arts and mysticism.

      Positive – Energy – Always – Creates – Elevation. (PEACE)

       

      We end the session with Zoé Whitley on the “ afrofuturistic transnational geographies”, a framework of thoughts and aspirations called Afro Futurism, today, in 2017.

      Partly reading together, this session will also be a time for listening and thinking together.

       

       

      Peggy Pierrot lives in Brussels and is involved in projects linking information, media, activism, radio art and technology.

      A sociologist by training, she holds a postgraduate degree in multimedia engineering. Peggy worked as a journalist (Transfert.net, Le Monde diplomatique, Minorités.org) and as editorial/technical webmaster in media and non-profit projects. She lectures on African-American and Caribbean literature and culture, science-fiction, information society or related topics. She collaborates with erg (École de Recherche Graphique, Brussels), and she is a tutor in les Ateliers des Horizons in Grenoble (France), a new multidisciplinary professional training located at the boundaries of the art(s) and societ(y)ies.

       

       

      Date

      Thursday February 16th

      from 9.30am to 1.30pm

      (as the session will be quite (con)densed, please be on time!)

       

      Location 

      a pass / Studio 4th floor

      rue Delaunoystraat, 58-60

      1080 Brussels

       

    • Newsletter November 2016 13 November 2016
      posted by: Steven Jouwersma

      newscaption

      line650

       

      INVITATION

      The Artist-Commoner.
      (Self) Education
      of New Subjectivities

      Two days of presentations, performances,
      exchanges and commoning practices @ Kaaistudio

      November 25 (10am-2am) & November 26 (3:30 pm-2am)

      Commong sa na pas de valure_apass_Colour

      A public meeting organised by a.pass.

      With: Daniel Blanga-GubbayKristien Van den Brande, Bojana Cvejić, Juan Dominguez, Nicolas Galeazzi, Guy Gypens, Miriam Hempel, Philippine Hoegen, Steven Jouwersma, Rudi Laermans, Lilia Mestre, Vladimir Miller, Cecilia Molano,  Kate Rich, Pierre Rubio, Femke SneltingSPIN, Magdalena Tyzlik-Carver, and a.pass-researchers.




      Does commoning, as a means of artistic practice, require a radically different self-conception of the artist? And if we see the emergence of a different artist subjectivity, what role does (self-)education in the arts play in fostering and welcoming this subjectivity? What kind of (educational) institutions can the artist-commoner take root in? How can these institutions engage not only in educating the artist
      about the commons but in developing radical methodologies of commoning education?

      During a two day event, a.pass welcomes a gathering of researchers, artists, a.pass program participants and public to engage with the struggle of being an artist commoner today, and the role of (educational) institutions in bringing this subject about.

      November 25 (10am-2am) & November 26 (3:30 pm-2am)
      @ Kaaistudio - Onze-Lieve-Vrouw van Vaakstraat 81. Brussels 1000.

      Free admission.

      read more and program

      Between what is no longer and what is not yet

      Performance by Juan Dominguez @ Kaaistudio

      November 26, 20:30

      Performance in the context of a.pass’ public meeting The Artist Commoner.
      (Self) Education of New Subjectivities

      retrato johnny

      Dominguez wants to suspend events and create an interval of time in which he can try to integrate his past into his future. He will translate his visions and his desire to encounter the unknown through language. Dominguez is working alone for the first time in 14 years. Back then, he choreographed his work with labeled cards. Now, he’ll speak himself and give rise to a self-portrait that cites himself and some of his friends.

      Concept and Performance: Juan Dominguez
      Production Management: Manyone
      A production by Juan Dominguez. Supported by Tanznacht Berlin and Tanzfabrik Berlin/ apap-advancing performing arts project – Performing Europe 2020 / EU – Creative Europe Programme
      Photo: Cuqui Jerez
      Duration: +- 2 hours. 

      Limited capacity! 8/10/12€.

      Tickets via Kaaitheater: website

       

      New Call for applications 
      for artistic research projects post-master and phd level

       

      mess_and_research

      if you are working in the performing arts and want to start an artistic research in a professional research environment, free from production constraints,

      or if the concepts of performativity or/and scenography are (relatively) new to you and you want to explore them in-depth, in relation to your own practice,

      then a.pass might have a place for you. READ MORE

       

      DEADLINE: 09/01/2017
      TO START IN MAY 2017
      SELECTION TALKS : 23&24/01/2017
      (PLEASE KEEP THESE DAYS FREE!)

      line650

      a.pass’ curatorial team: new constellation

      From January 2017 onward!

      In 2007 Elke Van Campenhout started a.pass; almost 10 years later the time has come to pass on what she called her ‘tender institute’ to a new constellation of people. New or not so new. Mentor Kristien Van den Brande and programme coordinator Nicolas Galeazzi are asked to join the curatorial team of a.pass, which currently consists of Lilia Mestre, Pierre Rubio and Vladimir Miller. From 2017 on Lilia and Kristien will share the artistic coordination previously done by Elke and Nicolas. The extended curatorial team stays responsible for the post-master programme, and is preparing for a more intensive collaboration with the a.pass research centre.

      line650

       a.pass

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

       

       

       

    • conference
    • postgraduate program
    • research center
    • block 2016/III
    • Commons
    • The Artist Commoner : Public Meeting (self) Education of new subjectivities
      30 August 2016
      posted by: Nicolas Galeazzi
    • a.pass, KaaiTheater
    • KaaiStudios - Onze-Lieve-Vrouw van Vaakstraat 81 // 1000 Brussel.
    • 25 November 2016
    • 26 November 2016
    • case of: Nicolas Galeazzi
      case of: Vladimir Miller
      case of: Lilia Mestre
    • The Artist Commoner : Public Meeting

      When we talk about commoning in the arts, or of artistic production as a site of commoning, or the arts as a common good, we evoke economies of material and immaterial labour within the field of art. But we seldom consider the changing understanding of what an artist is, and how this historic subjectivity possibly undergoes a dramatic shift in response to the resurgence of the commons debate in the last few years. Not only do we need to ask ourselves how to be an artist and a commoner today, and how to produce art within commoning processes, but also what kind of a new artist subjectivity is summoned by the commons. Long gone is the conception of the artist as a craftswoman, long gone the conception of a solitary genius, yet the market still welcomes the individualistic producer, enamoured with the beautified reflection the neo-liberal consumer finds in the persona of the free-to-do-anything, singular novum-art-maker. At the same time the contemporary art market (at least its attention, if not its monetary economy) has embraced commoning as a method for artistic production and encourages the artist to engage with the surrounding world. But is it really the same type of artist that emerges in the (economic) contexts traversed by the artist commoner? She travels from commoning to capitalism, to gift economy, and back. How are those subjectivities negotiated with the citizen of capitalism who she inadvertently also is?

      Does commoning, as a means of artistic practice, require a radically different self-conception of the artist? And if we see the emergence of a different artist subjectivity, what role does (self-)education in the arts play in fostering and welcoming this subjectivity? What kind of (educational) institutions can the artist-commoner take root in? How can these institutions engage not only in educating the artist about the commons but in developing radical methodologies of commoning education?

      During a two day event, a.pass welcomes a gathering of researchers, artists, a.pass program participants and public to engage with the struggle of being an artist commoner today, and the role of (educational) institutions in bringing this subject about.

      Two days of presentations, exchanges and commoning practices. Two days of ateliers, books launches, performances, workshops and discussions.

      free admission -  except the performance of Juan Dominguez - tickets

       


       

       

      PROGRAM

       

      Friday November 25

      10:00-16:00: Open space / habitat, with: a.pass participants. (@dance studio)

      11:00-15:30: office-work,
      with Femke Snelting, Kate Rich, Magda Tyzlik-Carver.(@concert studio)

      15:30-17.30: Regime Change, presentation after office-work,
      with: Femke Snelting, Kate Rich, Magda Tyzlik-Carver. (@concert studio)

      18:00-23:00: Common Sweat sauna,
      with Steven Jouwersma.

      18:00-19.30: Turn, Turtle! panel,
      with: Vladimir Miller, Nicolas Galeazzi, Daniel Blanga-Gubbay. Followed by The Missing Chapter, by Guy Gypens & SPIN.

      Food: catering at Kaaistudio-bar

      20:30-21:30: SITUATMENTS,
      with: Vladimir Miller, Lilia Mestre, Pierre Rubio, Kristien Van den Brande & Cecilia Molano, Steven Jouwersma, Nicolas Galeazzi, Philippine Hoegen & Einat Tuchman (@concert studio).

      21.30-02:00: PRACTICES. Mobile Interviews + City of Commons + Reading out loud & von unten + Common Sweat Sauna + ArtsCommons rehashed

       

       

      Saturday November 26

      12:00-15:00: Open space / habitat, with: a.pass participants. (@dance studio)

      15:30-16:30: Figures of commoning,
      introduction by Rudi Laermans

      16:30-18:00: Launch Bubble Score publication,
      with: Lilia Mestre, Philippine Hoegen, Miriam Hempel 

      17:00-21:00: Common Sweat sauna,
      with Steven Jouwersma.

      18:00-19:30 : Presentation of the ThK Journal #23, Commons / Undercommons in art, education, work…’,
      with: Bojana Cvejić interviewed by Pierre Rubio.

      Food : catering by Kaaistudio-bar

      20:30-22:30: Between what is no longer and what is not yet,
      performance by Juan Dominguez - ticket requiered

      22:30-02:00: introduction Dino Sound System + DJs: party!

       



      OPEN SPACE / A COMMON HABITAT FOR ARTISTIC RESEARCH
      with Nicolas Galeazzi and a.pass-participants

      Friday 25 November: 10:00-16:00

      Saturday 26th November: 12:00 - 15:00

      Every Friday of the last three month a.pass participants met for a concentrated commoning experiment.

      With this practical inquiry into artistic research as a commons we try to establish an Open Space practice, that allows pursuing the individual researches while observing at the same time the general picture that these activities generate together. Every artistic element within that space is considered as a common good. Training the simultaneity and interdependence of individual and common interests not only puts our commons economy at work, but also lets us investigate the personal and collective effects of this structural shift.

      For the ‘The Artist Commoner‘ meeting we move the Open Space Practice to the KaaiStudios and continue our work under the new spatial conditions, inviting you as a potential Open Space commoner into these investigations. You are welcome to explore, expand, dismantle and recharge this space with whatever you consider as your current work. Please bring at least a vegetable for the common cooking.

      10:00 to 11:00 warm up; 11:00 to 13:00 practice; 13:00 common soup and discussion; 14:30 to 15:30 logging.

       

       

      REGIME CHANGE
      with Kate Rich, Femke Snelting and Magdalena Tyzlik-Carver

      Friday 25 November, office hours: 11:00-15:30

      Presentation: 15:30-17:30

      A day long session, aimed at aligning the a.pass computing infrastructure with the ambitions and aspirations summoned by the commons. Tech giants currently dominate all forms of digital communication, from cloud-storage to production tools and archiving systems. For cultural institutions like a.pass and many kindred spirit organisations, there is potential for resistance. Kate, Magda and Femke will use the common power of their intersecting practices in art, technology and theory, to break the spell of this paralysing digital regime. With the aid of Free, Libre and Open Source software, the transposition agents will begin to transform the relation of a.pass to its computing technology. Throughout the day the trio will conduct fieldwork, draw up solemn oaths & commit the institution to a rite of passage: from efficiency to curiosity; from scarcity to multiplicity and from solution to possibility. Champagne served all day.

       

       

      
TURN, TURTLE! PANEL
      with Vladimir Miller, Nicolas Galeazzi, Daniel Blanga-Gubbay, Guy Gypens, SPIN.

      Friday 25 November, 18.00-19.30

      We would like to draw your attention to the publication of the book ‘Turn Turtle, Turn!’, a creative and intellectual analysis of the new turn in the perception and workings of institutes in the performing arts.

      What has become apparent in the last ten years or so is a move towards an engaged re-appropriation of of arts institutions in artistic (performance) practices, and a more in-depth collaboration between institutes and artists in rethinking the functioning, position, and decision-taking structures of these organisations. We asked several artists, programmers and thinkers to contribute to this publication from the viewpoint of their practice and experience within the institutional framework. Turn, Turtle! Re-enacting the Institute is the second part of the publication series Performing Urgency, commissioned by European theatre network House on Fire which will continue half-yearly.

      For this edition launch in Brussels, the artists Vladimir Miller, Nicolas Galleazzi and Daniel Blanga-Gubbay will debate on these questions. The panel is followed by The Missing Chapter, a discussion between SPIN and Guy Gypens.

       

       

      
SITUATMENTS
      with Vladimir Miller, Lilia Mestre, Pierre Rubio, Nicolas Galeazzi, Kristien Van den Brande, Steven Jouwersma, Philippine Hoegen & Einat Tuchman.

      Friday 25 November, 20:30-21:30

      Collective scheduling and set-up. The first evening of The Artist-Commoner meeting is structured as an overlap of practices, talks and mini-workshops. We would like to provide a space and time for the audience to engage in the politics, pragmatics and poetics of collective scheduling and setting up, believing that commoning begins where stakes and engagement are developed within a framework that is open to change by its outsiders. On Friday evening we come together to introduce and situate our main concerns and give space to a self-organization of the evening. Guided by open space principles, the audience is invited to take active part in existing proposals and schedule other circles and meetings around possible emergent topics. All proposals will be organized and communicated on a central wall paper. This sprawling exploration of the conference themes will be injected into the discussions and presentation of the second day.

       

       

      PRACTICES
      with Vladimir Miller, Kristien Van den Brande & Cecilia Molano, Steven Jouwersma, Pierre Rubio, Nicolas Galeazzi, Philippine Hoegen & Einat Tuchman.

      Friday 25 November, at 21.30pm-02:00

      Mobile interviews - Pierre Rubio

      Pierre Rubio will conduct several nomadic interviews with the participants and with the audience throughout the two-day event. They will revolve around preconceptions about and definitions of the very terms of the a.pass event. What does ‘commoning’ mean? Who is the ‘subject’ producing and operating the commons? What is a ‘commoning practice’? What can ‘commoning’ do? What is the relation between the production of subjectivity and the production of a commoning theatre of operations?

      City of Commons - Vladimir Miller

      In 2015 Stefan Gruber and Vladimir Miller began working on a series of speculative vignettes imagining and discussing a city (or rather a multitude of cities) where certain key institutions are based on practices of commoning. These fragmented utopian visions do not necessarily function or come together as one proposal, but are tools to explore critical positions towards the commons. The texts approach commoning not from the present state of things but speculate from within an imaginary state of commoning as a status quo, thus shifting critique towards a position of inner logics. Rather than discussing commoning practices by comparing or contrasting them with present day structures we jump to a discussion of commoning from within its own possibilities and contradictions, on its own terms. Vladimir Miller will facilitate a work session where together we will develop and discuss visions of institutions as radical spaces of commoning.

      Reading out loud & von unten - Cecilia Molano & Kristien Van den Brande

      Out of the clear, critical light of day, where black night is falling, let's do something as simple as reading a novel to each other. From beginning to end, von unten and out loud, with no particular perspective in mind. Vocalizing writing in order to actualize it, like visualizing it, is not without danger, says Lyotard. Let’s see. If on your bookshelf you have a copy of anti-bildungsroman Jakob Von Gunten by Robert Walser please bring it. Books-with-scribbles-in very much appreciated. Starting at 9.30 pm, until the last page is turned.

      Common sweat sauna - Steven Jouwersma
      extra session on saturday 17:00-21:00

      The Common Sweat Sauna is a real working sauna made only from recuperated materials. It was built in the public space of Brussels and immediately opened up to the public. The project intends to create a free nomadic urban sauna space that diverts from the logic of commercial and individualized wellness and that de-colonizes the public space. The sauna moves from place to place in Brussels and gathers a growing crowd that takes care of the sauna.

      please bring your sauna gear.

      ArtsCommons - rehashed & common zapping (Philippine Hoegen & Einat Tuchman & Nicolas Galeazzi)

      Based on their experience with an attempt to create a commons for the arts, Einat Tuchman, Philippine Hoegen, Nicolas Galeazzi will discuss the difficulties in practicing the commons as an artistic form. Their discussion is ongoing, temporarily settled at a table next to the bar, open for everyone and will be supported by a common zapping through YouTube clips.

       

       

      Figures of Commoning 

      with Rudi Laermans

      Saturday 26 November, 15:30-16:30

      Commoning, or the collective production of a common (a commonality, a common good), is the essential practice through which the social instantiates the political, be it on the macro or the micro level. Evidently, there exist various modes of commoning - of being with and for, social giving and taking, sharing and co-creating. The presentation focusses on some of these practices, ranging from discussing to complicit action to doing nothing.

       


      LAUNCH: BUBBLE SCORE 

      with Lilia Mestre, Philippine Hoegen, Miriam Hempel, and a.pass-participants

      Saturday 26 November, 16:30-18:00

      As a program curator of a.pass (advanced performance and scenography studies), Lilia Mestre has since 2014 developed ScoreScapes, a research on scores as pedagogical tools. Her theoretical interest focuses on performativity as a discursive practice leading to a method based on dialogical and intersubjective formats that function as enablers of exchange within artistic research. Working with this method led to various ways of reflecting on the participants’ work, such as the question of authorship within a scored situation and the bearing of individual creativity within a collective. Bubble Score is the third score created for this context; on the occasion of ‘The Artist Commoner’ a publication will be launched to share and open up the discussion ‘of’ methodologies of commoning education.

       

       

      ‘COMMONS / UNDERCOMMONS IN ART, EDUCATION, WORK...’

      with Bojana Cvejić (ThK - Walking Theory), Pierre Rubio (a.pass)

      Saturday 26th , 18.00-19.30

      a.pass welcomes Bojana Cvejić to discuss the last issue of the journal TkH/Walking Theory : ‘Commons / Undercommons in art, education, work…’ (2016).

      In an interview by Pierre Rubio, co-curator of the apass program, Bojana Cvejić, co-editor of the journal, will address a few problems and questions following from 'The Public Commons and the Undercommons of Art, Education, and Labour’ conference (Frankfurtlab 2014).

      Taking a cue from Jason Read’s contribution to the conference and journal: ‘Individuating the Commons’, Cvejić will account for the approaches and arguments around the Common, its practices and plea for new subjectivation. Her own stance recasts collectivity through the questions of the preindividual and transindividual (in Gilbert Simondon, Paolo Virno, and Jason Read). Cvejić recently gave a lecture using these very concepts ( ‘Radicalising a condition into a practice : Transindividuality’ London, Sept. 2016) to critically problematise art as “a site of intensive expression of individualism”.

      Why do concepts like ‘individuation’ or ‘transindividuality’ seem operative today for Bojana Cvejić to expand the narrow individual interest to a broader horizon of collective transindividual solidarity?

       

      BETWEEN WHAT IS NO LONGER AND WHAT IS NOT YET
      
with Juan Dominguez

      Saturday 26 November; 20:30-22:30

      Juan Dominguez suspends events and creates an interval of time in which he tries to integrate his past into his future. He translates his visions and his desire to encounter the unknown through language. For the first time in 14 years Dominguez is working alone, giving rise to a self-portrait that cites himself and some of his friends.

      tickets on Kaaitheatre website

       

       

      Dance with the DINO SOUND SYSTEM
      
with Christophe Meierhans and Ant Hampton

      Saturday 26 November, 22:30-02:00

      To round up this public meeting, we will party. The sound will be produced by a sound system that is considered a common good – the ominously famous "Dino Sound System". Driven by the need to dance - a group of artists, djs and friends around Christophe Meierhans and Ant Hampton joined forces to construct an extraordinary loudspeaker system that can be used by any of the contributing ‘Dinos' for whatever event they’re planning. For our party, the system will experience its second test phase and official inauguration, with music played by a many-armed, collective DJ. Bring your ears for a listening event at 22.30 and you’ll not be able to hold your legs back!

       

       

      ONGOING

      A.pass books on display / for sale

      The stock of books, artist-publications, posters, leaflets produced by a.pass-curators, researchers and participants will be on display and for sale during the Artist Commoner public meeting.

      publications of a.pass

       

       

       

    • Newsletter November 2017 12 October 2015
      posted by: Elke van Campenhout

      newscaption

      line650

       

      INVITATION

      The Artist-Commoner.
      (Self) Education
      of New Subjectivities

      Two days of presentations, performances,
      exchanges and commoning practices.

      November 25 (10am-2am) & November 26 (4pm-2am)

      line650

      Commong sa na pas de valure_apass_Colour

      A public meeting organised by a.pass.

      With: Bojana Cvejić, Rudi Laermans, Juan Dominguez, Kate Rich, Femke Snelting, Magdalena Tyzlik-Carver, Nicolas Galeazzi, Steven Jouwersma, Pierre Rubio, Lilia Mestre, Vladimir Miller, Kristien Van den Brande, Cecilia Molano, Guy Gypens, SPIN, Philippine Hoegen, Miriam Hempel, and a.pass-researchers.




      Does commoning, as a means of artistic practice, require a radically different self-conception of the artist? And if we see the emergence of a different artist subjectivity, what role does (self-)education in the arts play in fostering and welcoming this subjectivity? What kind of (educational) institutions can the artist-commoner take root in? How can these institutions engage not only in educating the artist
      about the commons but in developing radical methodologies of commoning education?

      During a two day event, a.pass welcomes a gathering of researchers, artists, a.pass program participants and public to engage with the struggle of being an artist commoner today, and the role of (educational) institutions in bringing this subject about.

      Read more -https:///www.apass.be/common-conference/

      With every day from 18h on a real sauna on the terrace. bring your slippers. 

      25 November (10am - 2am) 26 November (4pm - 2am) @  Kaaistudio

      Free admission.

       
       

      Between what is no longer

      and what is not yet

      Performance by Juan Dominguez @ Kaaistudio

      November 26, 20:30

      Performance in the context of a.pass’ public meeting The Artist Commoner.
      (Self) Education of New Subjectivities

      retrato johnny

      Dominguez wants to suspend events and create an interval of time in which he can try to integrate his past into his future. He will translate his visions and his desire to encounter the unknown through language. Dominguez is working alone for the first time in 14 years. Back then, he choreographed his work with labeled cards. Now, he’ll speak himself and give rise to a self-portrait that cites himself and some of his friends.

      Concept and Performance: Juan Dominguez

      Production Management: manyone

      A production by Juan Dominguez. Supported by Tanznacht Berlin and Tanzfabrik Berlin/ apap-advancing performing arts project – Performing Europe 2020 / EU – Creative Europe Programme

      Photo: Cuqui Jerez

      Duration: +- 2 hours. 

      Limited capacity! 8/10/12€. Tickets via Kaaitheater:

      https://www.kaaitheater.be/en/agenda/between-what-is-no-longer-and-what-is-not-yet

       

       

      New Call for applications 
      for artistic research projects post-master and phd level

       

      mess_and_research

      if you are working in the performing arts and want to start an artistic research in a professional research environment, free from production constraints,

      or if the concepts of performativity or/and scenography are (relatively) new to you and you want to explore them in-depth, in relation to your own practice,

      then a.pass might have a place for you.  Read more --> OPEN CALL INFO

       

      DEADLINE: 09/01/2017
      TO START IN MAY 2017
      SELECTION TALKS : 23&24/01/2017
      (PLEASE KEEP THESE DAYS FREE!)

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      a.pass’ curatorial team:

      new constellation

      From January 2017 onward!

      In 2007 Elke Van Campenhout started a.pass; almost 10 years later the time has come to pass on what she called her ‘tender institute’ to a new constellation of people. New or not so new. Mentor Kristien Van den Brande and programme coordinator Nicolas Galeazzi are asked to join the curatorial team of a.pass, which currently consists of Lilia Mestre, Pierre Rubio and Vladimir Miller. From 2017 on Lilia and Kristien will share the artistic coordination previously done by Elke and Nicolas. The extended curatorial team stays responsible for the post-master programme, and is preparing for a more intensive collaboration with the a.pass research centre.

      Read more in who is who https:///www.apass.be/who-is-a-pass/

      line650

       a.pass

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

       

       
    • "They are blind, they only see images _ Están ciegos solo ven imágenes"
      Mahmud Shabistari Persia S.XIV.

      As a preparation for the Unseen Workshop, Abu Ali * Toni Serra set up a blog for us with an amazing collection of videos, texts and images. These information built the strong backbone and central point of attention in this workshop.  Watching and discussing them brought us to some intensive exercises, which again had a visual outcome and also can be found on this blog.

      Enjoy exploring these pages : here

       

      divorce

    • postgraduate program
    • workshop
    • Untouchable/Unacceptable/Intangible
    • THIS PLACE 23 March 2015
      posted by: Nicolas Galeazzi
    • Sara Manente / Marcos Simoes
    • a.pass
    • 01 June 2015
    • 05 June 2015
    • THIS PLACE

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

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

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

       

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


       

       

      Biographies

      Sara Manente

      °1978, lives and works in Brussels.

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

      Sara Manente works as a choreographer and performer.

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

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

      www.cabra.weebly.com

       

      Marcos Simoes

      °1975, Portugal, lives and works in Brussels.

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

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

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

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

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

       

    •  

       

       

      Researchers Participants in the Postgraduate Program

      Audrey Cottin
      Danny Neyman
      Hektor Mamet
      JeremiahRunnels
      Kleoni Manousakis
      Mavi Veloso
      Philippine Hoegen
      Samah Hijawi
      Sara Santos
      Tinna Ottesen
      Yaari Shalem

       


      Research End Presentations

      Damla Ekin Tokel
      Hans Van Wambeke
      Rareş Crăiuţ
      Stef Meul 

       

       

      Research Centre Researchers

      Adriana La Selva
      Cecilia Molano
      Mala Kline
      Ruth S. Noyes,
      Veridiana Zurita

       


      Partners

      PAF (Performance Art Forum, Reims, France)

       


      Contributors for workshops

      Ana Hoffner
      Antonia Baehr
      Daniel Blanga-Gubbay
      Elke van Campenhout
      Emma Cocker
      Eric Thielemans
      Lilia Mestre
      Mariella Greil
      Nikolaus Gansterer
      Pierre Rubio

       


      Coordinators a.pass

      Elke van Campenhout
      Nicolas Galeazzi

       

      Mentors

      Geert Opsomer
      Kristien Van den Brande
      Peter Stamer
      Pierre Rubio

       

       

       

       

      ‘CONDITIONS FOR THE EMERGENCE OF POETICS’
      curated by Lilia Mestre (Associate Program Curator) and Nicolas Galeazzi (Program Coordinator)

      The proposal is to plunge into the conditions for the emergence of poetics. Poetics used here as acts that transform our ways of perceiving, situations that invite another understanding of ‘things’.

       

       

      14 / 01 -19 / 03 / 2015


      ‘PERFORM BACK SCORE’
      Weekly Practice by Lilia Mestre


      This score is a proposal to communicate through performance throughout the block. It focuses on performance as a tool for the transformation of thought, intuition, desire, referentiality, practice into a communication medium. How to introduce exposure, playfulness, risk, generosity, exchange, fuck fear, contamination and precision in our way of communicating? How does this communication produce desire? To whom, where and how is this desire directed? What is the intensity/quality of it? What is the political agency of it?
      The aim is to develop systems to practice the staging of philosophy, critical exposure and the rhetorics inherent to any body, object, word, situation. It is a working score. Taking as a principle that the artwork raises questions and doesn’t give answers I would like to propose a Q&A in 9 sessions where we can just perform. The series of performances will function as replies that raise (an)other(s) question(s) or problematic (s). This score will also be a documentation practice that questions performance as a document.

       

       

      05 / 01 - 09 / 01 / 2015


      ‘REPERTOIRE’
      Workshop by Eric Thielemans


      For the last couple of years my artistic practice became more research based and reflective, and my work was touched by that evolution. The workshop deals with the notion(s) of repertoire. Of what stuff are they made? How did they come about? It will be a first time for me to adapt the questions and reflections to a wider and multidisciplinary field of expertise and practices.
      Repertoire(s) is a research and reflective workshop in which I see us all, like a bunch of passionate amateur entomologists , observe, index, taxonomize, and share the constitutive phenomenons of our life with our craft and the repertory of skills, tools, techniques, practices that we use to build that life. Furthermore we will investigate various strategies and ways to weave the sensibilities, disciplines and practices of each participant together into meaningful wholes or collective spaces and cosmologies.
      First the focus will lie on each of us individually. After that we will dive into group related observations. How do we behave as a group? What’s the repertoire of the group? Off course this separation individual-group is artificial and not always easy to keep but I think it will give us a strategy, plan, focus and ground during the work.
      At the end of the workweek, we will propose a showing of the work in which there will be place for each individual to share and propose some of his/her findings and reflections in whatever way suitable as well as there will be group propositions.

       

       

      19 / 01 - 23 / 01 / 2015


      ‘PERFORMANCE / PERFORMATIVITY / SUBJECTS / OBJECTS’
      a.pass Basics workshop by Pierre Rubio and Elke van Campenhout


      ‘Performance / Performativity / Subject / Object’ is a b-workshop: it covers some of the basic knowledges we share on an (almost) daily basis in a.pass, and that need some in-depth attention. In this block we will read texts and discuss the problematics from the point of view of objects and subjects: how does an object perform its objectness and how does it perform us. In other words: how does the object perform our subject-ness? And how does the subject perform the object? Or: how can we replace our subjectness by objectness and what does that entail?
      In other words, although the basic performativity texts like the ones of Judith Butler and the speech act theory of Austin will certainly play a role in the backseat, in these reading sessions we will concentrate more specifically on object oriented philosophies like the ones of Graham Harman and Timothy Morton, the ‘queer phenomenology’ of Sara Ahmed, go deeper into the concept of ‘compositionism’ as coined by Bruno Latour, and study the continuity between materiality and immateriality by reading some from ‘Action and Agency in Dialogue’ by François Cooren.

       

       


      02 / 02 - 06 / 02 / 2015


      ‘TOOLS FOR ARTISTIC RESEARCH - BECKETT’
      a.pass Basics workshop by Ana Hoffner


      The workshop starts from the assumption that the work of Samuel Beckett can offer a variety of tools for contemporary forms of artistic research. In the workshop we will focus on absurdity, melancholy, exhaustion, sense/nonsense and emptiness as main signifiers of Beckett’s work for stage, TV and film. We will watch and analyse selected scripts, dialogues, spatial set-ups and performances in order to transform them into our own experiments, exercises and techniques using body, space, camera and text. The challenge of the workshop will be to make those categories mentioned above appear as twofold: as artistic concepts from the past but also as embodied experiences and potential tools for our own artistic research. Each day we will focus on a different category from Beckett’s work in order to transform it, translate it and develop a better understanding of the way we as artist, performers and choreographers can use them in the present.

       

       

       

      23 / 02 - 27 / 02 / 2015


      ‘CHOREO-GRAPHIC FIGURES - DEVIATIONS FROM THE LINE’
      workshop by Nikolaus Gansterer, Mariella Greil, Emma Cocker


      How might one devise a system of notation alert to the real-time circumstances of the practicing within practice, foregrounding process, and emphasizing the durational ‘taking place’ of something happening (live)? What forms of notation could be developed for articulating that which resists articulation, for that which is pre-articulation, or a form of representation for the non-representational? How can a form of notation communicate the instability and mutability of the flows and forces within practice, without rendering them still or static, without fixing that which is contingent as a clearly readable or literal sign?
      To explore the performative character of notation, we practice kinetic as well as graphic modes of inscription, expanded tactics beyond apparent physical limitations (of the mind, the hand, pencil, and paper), attending to the integration of time, sound, movement, and narration. We propose the concept of the choreo-graphic figure, for investigating how the embodied practice of choreographic performance (in an expanded sense) might become a tool of inscription and notation in itself. The choreo-graphic figure is conceived as a notational event, incorporating the potential of both movement and materiality, a sense of both temporality and spatiality. Our shared quest is both for a system of notation for honoring the process of figuring (as a live investigative event) and for “choreo-graphic” figures for making tangible and communicating these significant moments within the unfolding journey of collaborative practice. We seek modes of notation between the lines, interested in the interval or gap between the choreo + graphic, sign + non-sign, visual + textual, extensive + intensive, embodiment + disembodiment, movement + materiality, being + becoming.

       


      02 / 03 - 06 / 03 / 2015


      ‘CONDITIONS FOR SOMETHING TO HAPPEN (LATENT PERFORMANCES)’
      workshop by Daniel Blanga-Gubbay

      Instead of thinking of the possible as an empty space, we should maybe see it as a space designed with conditions. Latency names the state of something ready to happen, ready to emerge. Within this space, something will happen: can we still be responsible for creating this space, without taking care of its result?
      This workshop puts first into question what does mean an act of transformation. Well beyond the notion of performing arts, performance can perhaps simply be thought of as any act that can modify the coordinates of the given. If we imagine reality to be a surface made of endless inclinations that determine movements and trajectories within it, then the proper task of performance is perhaps that of constructing the gesture that can refigure the surface for a while, releasing unimagined lines, opening up gaps between the permitted and the possible.
      How is it possible to go beyond the idea of creating something to suddenly create a space ready for the emergence of something unspecific to happen? By merging theory and practice, working both through interventions in given and constructed space – and through the categories of space of accident, risk, love – these days investigate not only the question "what is the condition for the emergence of an action", but eventually "what does it mean to create (and abandon) a space filled with unforeseen possible actions?"

       

       

      09 / 03 - 14 / 03 / 2015


      ‘WHEN THIS YOU SEE REMEMBER ME’
      workshop by Antonia Baehr


      In this workshop, we will investigate how scores can function as a constitutive factor for kinship relations. We will write scores as gifts to each other, and I will share some of the “make-up productions” working methods with you.
      We will make ourselves familiar on a practical level with the use of scores for performance. We will read and execute a number of found scores: historical ones (from John Cage’s Songbooks for ex.) and contemporary ones (from the projects Laugh, and Abecedarium Bestiarium, among others), some infamous and others entirely unheard of. We will write, interpret and perform scores for each other, pass them on, turn them literally upside down while swapping roles and places.
      Between the hierarchical pyramidal structure to the collective, there is an endless plurality of forms of collaboration possible. This workshop examines the boundaries between score/interpretation, rehearsal/performance, director/performer, and audience/presentation. This workshop’s focus is an investigation through praxis.

    • Choreo-graphic Figures - Deviations from the Line is an interdisciplinary collaboration involving artist Nikolaus Gansterer, choreographer Mariella Greil and writer-artist Emma Cocker. The project unfolds through two interconnected aims: we are interested in the nature of ‘thinking-feeling-knowing’ operative within artistic practice, and seek to develop systems of notation for sharing and reflecting on this often hidden or undisclosed aspect of the creative process. Herein, lies the challenge

      • How might one devise a system of notation alert to the real-time circumstances of the practicing within practice, foregrounding process and emphasizing the durational ‘taking place’ of something happening (live)?
      • What forms of notation could be developed for articulating that which resists articulation, for that which is pre-articulation, or a form of representation for the non-representational?
      • How can a form of notation communicate the instability and mutability of the flows and forces within practice, without rendering them still or static, without fixing that which is contingent as a clearly readable or literal sign.

      To explore the performative character of notation, we practice kinetic as well as graphic modes of inscription, expanded tactics beyond apparent physical limitations (of the mind, the hand, pencil and paper), attending to the integration of time, sound, movement and narration. We propose the concept of the choreo-graphic figure, for investigating how the embodied practice of choreographic performance (in an expanded sense) might become a tool of inscription and notation in itself. The choreo-graphic figure is conceived as a notational event, incorporating the potential of both movement and materiality, a sense of both temporality and spatiality. Our shared quest is both for a system of notation for honouring the process of figuring (as a live investigative event) and for “choreo-graphic” figures for making tangible and communicating these significant moments within the unfolding journey of collaborative practice. We seek modes of notation between the lines, interested in the interval or gap between the choreo + graphic, sign + non-sign, visual + textual, extensive + intensive, embodiment + disembodiment, movement + materiality, being + becoming.

       

      Proposal for a.pass

       

      For a.pass, our intent is to share and put pressure on our recent explorations around both the ‘notion of notation’ and the ‘notation of notion’, through live investigations, presentation and discussion with students and wider publics. Specifically, we wish to investigate notation (and its related technologies) through two concepts: figure and figuring.

      • The Notion/Notation of Figuring: We use the term ‘figuring’ to describe a state of emergence or experiential shift, the barely perceptible movements and transitions at the cusp of awareness within the process of “sense-making”. What different systems of notation can be developed for cultivating awareness of and for marking and identifying the moments of “figuring” within live investigative action?
      • The Notion/Notation of Figure: We use the term ‘figure’ to describe the point at which figuring coalesces into a recognizable + repeatable form. How then might the performed ‘figure’ be a system of notation in and of itself?
    •  
      Every block (in January, May and September) new researchers  join the program.  This system allows the researchers to exchange experience during the different phases of their research processes and  brings about a constant flow of new perspectives and ideas.
       
      The a.pass program is a one-year program consisting of three blocks of four months. The first three months of each block take place within the organized collective research environment.  The fourth month of each block is open for the individual development of the research project.
       
      A.pass is an intensive program relying on the researchers presence and contributions, nevertheless it is possible to combine the program with some external projects. The participation of the researcher in the block is planned in dialogue with the coordinator and the program curator.
       
      Artistic creation ourside of  a.pass research can be integrated into the individual research trajectory: participants can work on their own creations during their studies at a.pass, insofar as these creations are part of the participant’s research project.
       
      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.

       

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2011 BLOCK I 01 January 2011
      posted by: Pierre Rubio
    • 01 January 2011
    • 31 March 2011
    • 2011 BLOCK I

       

       

       

      Researchers Participants in the Postgraduate Program

      Abhilash Ningappa
      Alessandra Coppola
      Caroline Daish
      David Zagari
      Doris Stelzer
      Esther Francis
      Iris Bouche
      Margareth Kaserer
      Marilyne Grimmer
      Michiel Reynaert
      Philippe Severyns
      Rodolphe Coster
      Stephen Bain
      Timothy Segers

       


      Research End Presentations

      Einat Tuchman
      Katrin Lohmann
      Sven Goyvaerts

       


      Partners

      Kaaitheater
      Damaged Goods
      RITS
      Burning Ice festival.
      Pact Zollverein
      De Singel
      PAF (Performance Art Forum, Reims, France)

       


      Contributors for workshops

      Adva Zakai
      Anette Baldauf
      Aras Ozgun
      Christian Rizzo
      International Errorist
      Laurent Liefooghe
      Leo De Nijs
      Meg Stuart
      Various Artists
      Vladimir Miller

       

      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout

       

      Mentors

      Laurent Liefooghe
      Lilia Mestre
      Pierre Rubio
      Vincent Dunoyer

       

       

      03-13 / 01 / 2011


      ‘A SETTLEMENT ON ALCHEMY, ALLIANCE , ANARCHY’
      workspace by Vladimir Miller


      The settlement is a model to engender and structure work, knowledge, events and encounters. In a shared space, the participants function as an open group where questions of territory, negotiation and hospitality in art production surface. Settlers build a station suitable for their own artistic research and, by doing so, enter in a growing and evolving network of objects, spaces, ideas and events. The settlement allows negotiating many gradations of participation and influence; it also provides different modes of engagement between inside and outside. A settler can leave, a visitor becomes a tourist, a frequent visitor can eventually settle in the space. The political questions inherent in claiming one's own space, inviting or excluding the outside, the formation of groups and production of locality and culture, constantly question the concept of settlement itself. Between anarchy and the rule of majority the settlement praxis actively searches for a spatialized production of dis-agreement.
      In the context of her two-week ‘Atelier’ in the Kaaistudios, Meg Stuart invited Vladimir Miller to localize his settlement in the dance studio. During these two weeks a.pass settlers and Atelier members will try to find moments of common ground, confronting the ideas and topics emerging in their respective territories.

       


      17-21 / 01 / 2011


      ‘ERRORISTA’S’
      workshop by a.pass in collaboration with Kaaitheater and RITS in the context of Burning Ice festival.


      The International Errorist is an artistic and cultural movement whose nucleus is the Buenos Aires-based artist collective Etcétera… The Errorist is also the most recent iteration of Etcétera’s unique fusion of aggressive street theater, political critique, and direct-action protest, which is equally marked by the group’s formative militancy within Argentina’s human rights movement as it is the artists’ ardent fealty to surrealism. Since the group’s formation in 1997, Etcétera has produced a myriad of photo- and video-based works, poetic manifestoes, theatrical works, and interventionist performances. Few have been created specifically as artworks to be exhibited in traditional fine arts contexts or destined for the publics proper to such contexts. Rather, Etcétera…’s works most often begin as performances in the midst of political demonstrations, unannounced street actions that target unwitting passersby, or as images and texts crafted to circulate within the mass media and/or amidst publics associated with left social movements.
      The International Errorist constitutes a critique of the contemporary discourse of terrorism, where this discourse is understood to be an instrument of statecraft. Etcétera…’s work explores terrorism as an ideological mediation whose function is not only political -- as it bears upon interpretations of political violence, for example-- but specifically biopolitical, as it concerns the calculus of the differential value of human lives and the state’s exercise of biopower over groups delineated according to this logic.

       


      24-28 / 01 / 2011


      ‘EXPERIMENTAL ETHNOGRAPHY’
      workshop by Anette Baldauf & Aras Ozgun


      This workshop aims at discussing some of the basic notions and problematics of visual ethnography, contemporary experimental practices in this field, and the practical potentials of digital media technologies for ethnographic research purposes. Starting with a critical historical overview of visual ethnography, the workshop examines various aspects of the problem of representation in visual ethnography. Representation of non-western “others” in the colonialist representation regimes, the “realism” and the “truth-value” of visual representation in general will be a part of this discussion. Following this discussion we will focus on non-mainstream ethnographic approaches and experimental documentary film practices, including so-called fake documentaries, which reflect upon and cultivate this problem of representation itself, and seek to create alternative modes, regimes and techniques of visual representation. Finally, we aim to familiarize ourselves with some of the basic techniques of ethnographic fieldwork.

       

       

      28-30 / 01 / 2011


      ’CURATING IN PERFORMING ARTS’
      workshop by a.pass in collaboration with Pact Zollverein, Essen.


      This workshop is organized over two weekends: one participating in the colloquium on curating organized by Pact Zollverein (Explorationen 11: Beyond Curating), and one discussing and proposing a new thinking about curating in the performing arts in deSingel.
      The currently vibrantly beginning discussion about curating in dance and performance comes at a moment when, on the one hand, ever new courses of study in curating are being launched for visual art and, on the other hand, the shape of the curatorial profession, in its authorial intervention and its omnipresence in the art market, has everywhere become the focus of massive criticism – as it was in the 1970s.
      At the same time, the entanglement of theory and practice has become ubiquitous, not least because of the transformation and revaluation of art colleges and art academies into universities. In what is currently happening in art, the art museum is testing the performative and processual exhibition, while the dance and performance house oriented toward performative arts is developing the live course or the "Musée de la danse". In the field of dance, since the end of the 1990s, artists' initiatives have been developing that introduce new artistic practices and criticize the existing organizational models (for example, from choreographs and performance artists like Xavier Le Roy, deufert + plischke, and Boris Charmatz). Substantively and structurally, organizers took up important impetuses from artists, whether in the form of a thorough interlocking of theory and practice or of the establishment of artist and co-curator teams, artistic laboratories, or residence programs.

       

      31 / 01 - 04 / 02 / 2011


      ‘NEW-YORK’
      workshop by Elke Van Campenhout & Bart Van den Eynde


      In the context of the ‘New York festival’ organised by deSingel, a.pass organizes an intensive discussion workshop. We take a close look at the recent New York performance scene and analyze how pop esthetics, cinematographic editing principles en trans-medial dispositives influenced a specific language of theatre, dance and performance. Video material, texts and talks with the artists present in the festival will be the starting point of the conversations. possibly Natural Theatre of Oklohama will also add a more practical section to the workshop.

       

      07 - 11 / 02 / 2011


      ‘BUREAU OF UNTITLED’ / EXERCISE IN COMMERCIAL ART’
      workshop by Various Artists


      Being a Various Artist is a series of interactive installations by Various Artists in which artists are invited to identify with one of Various Artists. The format is not so much about learning but it also produces new work of which the author is the Various Artist, at the same time remaining the property of the participating artists. The event that Nadine organizes in February is dealing with Various Artist Liam Drib.
      Liam Drib, born in Liverpool 1961, well known for Mes Amis Belges, Cobalt Thoughts and his Evil Olive pub realisation, will be the centre artist of a new Being a Various Artist Workshop with an emphasis on commercial art and dazzling ideas.
      To support this theme, Liam will organise a Bureau of Untitled (BoU) with the participants of the workshop.
      The mission of BoU is to propose new ideas to artists that have a financial value on the art market, meaning their works can be traded. BoU is about making money with art paid by art money. The context of BoU at PAF is the arts lab Being Liam Drib.
      The structure of BoU approaches the structure of a sports game, including 2 teams (one black on white and one white on black) and a referee (black and white). Initially an artist is proposed, voted and processed Ideas, fitted to the work of the chosen artist, are being generated at a continuous pace which will be stored in ascending price categories. The sealed ideas will be offered for sale to the artists on an international art fair in the near future.

       

      07 - 12 / 02 / 2011


      ‘SENSITIVITY, SPACE, STAGE’
      workshop by Laurent Liefooghe


      Through texts and references this workshop wants to introduce some concepts and concrete examples of spaces and how these function as a ‘stage’. Simultaneously it will explore the idea of the ‘stage’ (the place of the performance) as an ideological space.
      The workshop will use the work Theater-Cinema by Dan Graham as reference, a crystallization point around which we will try to examine concepts of performance spaces and the power mechanisms involved.
      The ambition is not to give an exhaustive and historical overview, but rather through the reading of specific texts and trough concrete practices to explore a personal spatial sensitivity.
      The Texts will touch upon diverse themes as: the ‘theatro del mondo’ (the ideas of the stage as a metaphor for the world / the world as a stage), the baroque urbanistic interventions of Pius X (the city as a theater), the black box as a monadic space,. etc.
      The introduction of specific examples of spatial practices leads to concrete questions on the production of space. What does it mean to first conceive a space – to first ‘represent’ it -and then realize it? Through examples of existing practices different means and methods of representation in function of production are investigated.



      14 - 19 / 02 / 2011


      ‘SPACE OVERLOAD’
      workshop by Christian Rizzo


      Christian Rizzo wants to use the projects of the a.pass participants as a basis for a research on the collective production of space. How to spatialize one’s own practice and by doing so create an environment for other practices. How to be present in silence. How can the group’s activity be the scenography for an individual practice and the other way around. How to deal with an overflow or with a lack of spatial information.

       


      28 / 02 - 04 / 03 / 2011


      “LOCATION”
      workshop by Leo De Nijs


      Location is a practical workshop in an enormous building with empty class rooms, a theatre space and offices that was once the location of a theatre training. As a start there will be an investigation into different ways of exploring the building and expressing the specificity of this/a location through different media. The question how to use a found space as a location will then be translated in the concrete realisation of an installation starting from the personal researches of the participants.

       

      14 - 18 / 03 / 2011


      ‘THE ARCHIVE AS GENERATOR’
      workshop by Adva Zakai


      Which archive could generate the future rather than preserve the past?
      Coming out of the experience of ‘d o m i n o k i n g d o m’ where each work lives on in the next because works are made as a reaction on previous ones, I am interested in delving more into the possibility of generating present and future out of a direct confrontation with past experiences: formats that make the past, present and future influence each other, can trigger a constant re-evaluation and challenge of our knowledge and perception.
      Archiving, be it in the artistic, educational or any other field, is considered important because it ‘proves’ the (past) existence of a past events and thus enables them to continue to exist and to be (re)visited. But imagine an archive that is not trying to capture fixed ‘images’, that is not referential. An archive that is a living process that keeps modifying itself constantly, triggering new processes instead of being a mere documentation, always lost in the past.
      How does an archive functions that is looking forwards instead of looking back?
      This question will be explored through reading, discussion and guest lectures.





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.

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