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Lilia Mestre /28


    • Project
    • Recent Past
    • A looming score - we share your politics of damage Block 2019/III curators Lilia Mestre and Sina Seiffee
      27 August 2019
      posted by: Lilia Mestre
    • 02 September 2019
    • 01 December 2019
    • case of: Sina Seifee
      case of: Lilia Mestre
    • A looming score - we share your politics of damage
       
      Why loom? We were thinking about the loom’s invocation of the closeness of the textile sense, fabrics that bind our desires and bodies. The loom means also the threatening feeling of an inevitable terrible thing as it approaches. And the possibility of b-looming, from the rest, waste, residue, remainders of the storm. Furthermore, loom echoes a gendered practice of writing textile; in the making of fabric like Arachné, that talented mortal weaver who challenged the god of wisdom, as well as Penelope, who weaved and weaved (a mournful making and unmaking fabrics) to postpone her arranged marriage. The loom is a metaphor that invites us to think of reality as something deeply embedded within context, like “the weaver's loom that is discerned within the cloth it weaves” (Veena Das). That means, modes of knowing constitute the objects of knowing in a manner that profoundly affects how one comes to inhabit a new reality.
       
      That is just the conceptual backdrop for us. In this block we want to focus on a support structure that will help each other research and continue what has been initiated in the past block, ‘Troubled Gardens.’ We transport what has been found out there and elsewhere into looming (transposed into weaving + feeling the darkness of it). That is to sustain being immersed in the subjects of ecology, feminism and their possible political agency in this unpredictable and precarious world we are living in. In the coming block, we’ll take these lines thought while going back “home” (we will land somewhere in a.pass studios hosting three scenographies from Laura, Maurice and Caterina for their End-Communication). We would take the movement of going inside as the one to prepare for winter: gather, digest, tell stories, imagine futures. As a curatorial approach we are not interested in obsessing on these concepts per se, but working in and through the particular challenges of our researches.

      We are structuring the block around three ‘scores’ (i.e. structures for enabling the plural): “what do you eat? what do you think? what do you do?” The score here is seen like the loom (a trope of text and textile): thinking made in the context of its weaving in the criss-crossing of one another's desires. Like patterns of giving and receiving affect, concepts, panics, worries, concerns, literacies, curiosities, play, know-ofs, as-ifs, why-nots, sometimes obvious sometimes cryptic sites that you and your colleagues are caught in long enough. By ‘playing’ one integrates, takes care of things that one might not be interested in, engages in an ongoing pattern of feeding and being fed. This joins the power of the transformative by paying attention to things that one does not notice alone. ‘One is alone together.’ What kind of monsters are we?!
       

       

       

      The score is structured on a weekly basis. We will gather one morning and one afternoon only once a week, as follows:
       
      Mondays from 10:00 till 15:00
      what do you eat? is about bringing your food--we feast, making lunch, not cooking, eating together, extended breakfast, with reading practices. Bring something you want to share: text, problem, theme, practice, concern, old question, new question, film, … in case you have nothing, Sina and Lilia have a bag of goodies. 
      what do you think? has to do with the harvesting fields of interest, readings, questions you have in your work and what has been provoked in the last block. Asking what was the sort of knowledge about the ecological thought that you inhabited in ‘Trouble Gardens’?

       

      Tuesdays from 14:00 till 18:00
      what do you do? has to do with what are the residues of the kinds of knowledge, imagination, relations that you are bringing into your current work. There is a list of existing scores in the a.pass website, if you want to know more go here. Performing Back Score, Medium Score, Bubble or Writing, Fragile Community Score, each with its own different nuances of attention, writing and composing. We will present them during the opening week and work with one score throughout the block.
       
      Participants
      Muslin Bros, Amélie van Elmbt, Rui Calvo, Anapaula Camargo, Chloe Chignell, Diego Echegoyen, Deborah Birch, Lucia Palladino, Piero Ramella, Adriano Wilfert Jensen, Quinsy Gario, Kasia Torz, Magda Ptasznik ,
       
      Dedicated mentors
      Sara Manente, works with digestion and fermentation processes and feminist theory. Choreographer and performance artist working on ethics and aesthetics of fermentation in relation to artistic research.
      Jeroen Peeters, writer, dramaturg and performer, part of the artistic team of Sarma, a laboratory for discursive practices and expanded publication. The topics of his work includes: performing arts as a site for social experiments, embodied knowledge, languages of making, visual regimes, and ecologies of attention.
      Nicolas Galeazzi, in the cross over through media, methodologies, materials and theories, he works as an actor, teacher, theater director, concept artist, and performance artist. Galeazzi works with Mise-en-Discourse - performative research frameworks where public can experiment with political and social conditions.

       

      Guests
      Milena Kipfmüller and Klaus Janek, artist duo resident at Q-O2, working on development of theatrical, radio and soundwork that deals with aspects of staging sound in specific situations, the processing of musical material, field recordings and language based sound. They will give a workshop in a format of a practical research about how sound acts by itself in a context of performative dramaturgies. Their contribution to the block coincides with the a.pass engagement in defining its own notion of making public, performative devices and working with sound.

       

      Curators
      Lilia Mestre, is a performing artist and researcher based in Brussels. She is interested in art practices as a medial tool between several domains of semiotic existences. Coming from a choreography and dance background, Mestre now researches on Scorescapes, a research she started in a.pass questioning support structures and artificial friendships in artistic research environments.
      Sina Seifee, artist-researcher-storyteller works on the poetics of animal description, the ecological cosmologies of nonhumans-with-history. His artworks illustrate research trajectories that traverse the questions of technology, storytelling, globalism and intercultural mythologies, with an eye on the premodern techno-culture in the Middle East.

       

       

       

       

       

    • Project
    • Recent Past
    • Research Center
    • 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 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 Gvozdenovic, 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 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

    • Archive
    • Recent Past
    • Research Center
    • 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 Gvozdenovic, 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 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.

    • Atelier
    • block information
    • Recent Past
    • artistic research
    • Block 17/II
    • practice
    • score
    • The Medium Score Thinking making together apart
      07 May 2017
      posted by: Lilia Mestre
    • Lilia Mestre
    • case of: Lilia Mestre
    • The Medium Score

      The proposal for this block follows on previous iterations of scores as tools to practice dialogue or intersubjective formats for exchange in artistic research. ScoreScapes is an investigation of how scores can facilitate the relation between artistic research, documentation and knowledge processing.

      If artistic research is an active and methodological search for ways to keep the viability of our relation with the world, then how can this search be mediated by scores? If artistic research engages in processes of awaking unseen phenomenological relations with what surrounds us, then how do we compose materials and thoughts? What is the performativity at stake on the sharing of those? What’s the relation between subjectivity and collectivity? What does that do to our individual practices and to the collective itself?

      This time the practice of The Medium Score will focus on how different formats of communication intertwine in the making and the analyses of each others researches. Each time every participant will contribute with a 5 minutes template of his/her research as a module of knowledge processing within the common environment of a.pass post master.

      The score brings about the importance of art practice and research as a discursive tool. The score pushes for an assemblage of layers - philosophical, emotional, aesthetic, economic, critical, social-  that form a reflection of the world and the role of art within it. Every art work has a relation with multiple layers and constructs itself upon that basis. The context of each artistic research is variable and is therefor a contribution for a plural approach of relations.

      GENERAL FRAME : MMM - Medium, Methodology, Model

      Medium

      Use the medium you wish. Answer the questions that will be addressed to you always with the same medium. Be aware you can change medium just once and when you do so you’ll have to explain why.

      Methodology

      Through the practice of the score the methodological approach of the singular researches will emerge by the way participants will compose their replies. The score allows for the cognition of the individual methodological approaches.

      Model

      By the end of the score practice each of us will make a model of each of our researches. A model is a visualisation of the connections that the researches propose and the links they have with modes of production, the societal environment, the philosophical, architectural, political, etc, fields that the singular researches entail.


      INSTRUCTIONS

      -We meet every week on Thursdays from 17:00 till 21:00 on a.pass 4th floor studio.
      -We bring food to share.
      -We work with the people present. It’s not possible to participate remotely by email or other telematic means.
      -There is no audience.If you don’t have work to present you skip a session.

      The score is simple. It works as follows:

      Proposition > (X 8 question > reply ) > model

      To start:

      The first meeting each of us presents a 5 minutes sample of our research question. The sample is communicated as performance, text, object, dissertation,…It manifest the content of the research and the medium through which the research is taking place.

      The questions

      After we assist to each others presentations we assign by chance procedure who is asking questions to whom.

      Each of us has two days to formulate a question to one of the researchers that has presented her/his work. Questions are sent by email.

      The questions are a dialectic tool to engage in the discursiveness of artistic practice and research. They aim to argument what is at stake, its implications and further relations in the artistic research environment. They are the indicators of the dialogical potential of each research project. They are the motor of a process of sharing, contaminating, contradicting, thinking / making together apart. Questions are an intrinsic and important component of the score. Think them, contextualize them, offer them.

      The replies

      After receiving your questions you have 5 days to develop an answer with the medium you’ve chosen. You present your reply the week after in a 5 minutes template. And so forth till the end of the block.

      Change

      If you want to change medium during the score practice it is possible to do it once. You have to argument your choice when you decide to do so.


      PUBLICATION

      We think together how we will publish the practice of the score. How do we make public our processes? The question of documentation and archive is a collective process. The result will be decided by all of us and the materials we generate. A publication will be issued after the block finishes.


    • block information
    • Recent Past
    • Block 17/II
    • The problem of the score Block curated by Lilia Mestre / May > July 2017
      21 April 2017
      posted by: Lilia Mestre
    • case of: Lilia Mestre
    • The problem of the score


      From May till July 2017 the a.pass post-master program questions how structures pre-determine singular outcomes, and to what extent they imply relationality. Every system is a network of connections and the way the system is set to operate defines forms of relation which reveal ideological standpoints. In other words modes of interaction are formatting forces that construct worlds. If we think that way, what kind of problems do our research structures entail?  And if we can think a polyphonic world , constituted by multiple models, how do we consider our own structure as a relational one? What kind of technologies are we putting into place? What kind of invitation are we making? And to whom?

      The notions of ‘apparatus’ and ‘tentacular thinking’ will be key to understanding and experiencing the problem of score in contextual ecologies. Apparatuses, as coined by Foucault and Agamben, are systems of governance that enable relationships between beings and structures through which the subject is constructed. During former block Donna Haraway  introduced us to tentacular thinking as a place from which one can build relations to economical, biological, philosophical, productional, institutional, etc orders. Together with the a.pass researchers, workshop givers and guests we reflect on them, challenge our practices and relate to other authors and art makers.

      Every Thursday we meet at a.pass 4th floor for movement practice with Anouk Llaurens, followed by a reading and reflexion group that tackles emergent issues and in the evening we play ‘The medium Score’. Through the score we concentrate on Medium, Method and Model in our researches as points of analysis and tools to craft relations. The MMM attempts to understand the implications of our works in our environmental context. The crazier the better!

      The Medium Score is a next iteration of Block Curator Lilia Mestre’s research on scores as collaborative tools for production, pedagogy and discourse. A variation of Writing Score https://apass.be/writing-scores-the-book/ but this time each score participant will focus on his/her own medium. Scores are seen as dispositives of collaboration, of conversation and practice that tie together a plurality of concerns of a.pass researchers. More information about the previous scores at the ABCDAIRE > entry = Scores

      In what concerns workshops, Vladimir Miller and his project Settlement is in for a 2 week investigation on how spatial setups embody and facilitate certain ideologies of togetherness. Jennifer Lacey gives a week workshop on choreography and dance. Her approach consists in the development of processes specific to each project and its resources of production. Through her methods we produce aesthetic rules, body vocabulary and behaviour related to us as a group in context.

      In collaboration with former a.pass researchers Sofia Caeser we organise a seminar at La Bellone with focus on the status of document and display as structures that reveal power relations and equally structures that can be transformed and modify those same power relations. The full programme is under construction but we can already announce that artists Vincent Meessen, Olga de Soto, Kobe Matthys and Femke Snelting are invited to give public talks and masterclasses. Former a.pass associate researcher Juan Dominguez launches the book that results from his research on conspiracy.

      During The Problem of the Score the concrete models under consideration are the methodologies of researchers, the devices proposed by workshop givers, the structure of a seminar and the score as learning through practice tool.

      More information about the block soon!

    • Workshop
    • Bubble Score for performance and writing 02 December 2015
      posted by: Nicolas Y Galeazzi
    • Lilia Mestre
    • a.pass
    • 11 January 2016
    • 25 March 2016
    • case of: Lilia Mestre
    • Bubble Score for performance and writing

      General rules:

      • The score happens weekly throughout the block between January and March 2016. The day and hours will be agreed with the group.
      • The practices of the score alternate between performance and writing as modes of the performative. Performance doesn’t mean a concrete discipline but a materiality coming to presence. (Of course writing can be part of it. The question would be then the relation between several ways of writing). Participants can chose to start with writing or performance, after that each alternating consequently between the two practices the following sessions.
      • No remote presence is allowed. Meaning there can’t be works sent by email. If someone can’t be present during a session, the sequence will be picked up next time the person joins back.
      • All people attending the score meetings has to share work. There is no audience.
      • We'll discuss together about issues of documentation for this process containing different mediatizations. A publication will be issued out of the material produced.
      • The score will take place in the evening. We'll bring food and drinks to share.

       

      Playing rules:

      To start:

      1. Present max 5 minutes performance or write a text of maximum two pages. This first presentation is a gift to the group and the beginning of a process.
      2. After assisting to all presentations, each of us will select one  one performance or text to ask a question to and assigns who should answer that question.
      3. General discussion.
      4. We have 2 days maximum to address the questions. The next session will happen one week after.

      The week after.

      1. Present max 5 minutes performance or write a text of maximum two pages as a response for the question that as been assigned to you in relation to what you've witness and your interests in that. No interest is also a good motivation.
      2. After assisting to all responses, each of us will select one performance or text to ask a question to and assigns who should answer that question.
      3. General discussion.
      4. After assisting to all presentations, each of us will select one  one performance or text to ask a question to and assigns who should answer that question.
      5. We have 2 days maximum to address the questions. The next session will happen one week after.

      And so forth...

      A first meeting will happen during the opening week to define further rules and to precise ways of documenting the process taking in consideration the publication. Miriam Hempel the graphic designer will be also present in this meeting.

    • Workshop
    • Block 16/I
    • “An image says more than a thousand words, so why writing?” 01 December 2015
      posted by: Nicolas Y Galeazzi
    • Lilia Mestre & Bruno De Wachter
    • a.pass
    • 01 February 2016
    • 05 February 2016
    • “An image says more than a thousand words, so why writing?”

      “An image says more than a thousand words, so why writing?” There are a thousand objections possible to that cliché. “Tell that to the blind man” is the one we would like to pick. What words start to echo in your mind when you close the visual input? And which words would you choose to replace an image being taken away? Ah, you might object, ah, but writing is not about describing images, it is all about sharing thoughts. If somebody is making movements, the spectator will make the same movements but without moving. If someone has written down a line of thoughts, the reader will walk the same line of thoughts but without writing. “Writing is what you do to share your inner self with the outside world” is the romantic version of that vision. This can be a good reason indeed, but you can only write about your inner world through the detour of the outside, otherwise nobody would understand a word. Otherwise, you would not even have a word. And can the opposite not be just as good a motivation? Writing to assimilate the outside world – the unknown, the impersonal – and make it your own?


       

       

      Biography

      Lilia Mestre (1968) is a Portuguese performing artist living and working in Brussels. In her work she uses choreographic tools to research the social body. She gives special attention to the agency of all things and has been working in assemblages, scores and inter-subjective set ups.
      Actually she’s involved in two research projects: ‘And what about Virtuosity?’ with Edurne Rubio, Shila Anaraki and Frederik Croene supported by the Flemish government which developed in the art project “The container” 2016/17 in the Academy Kunstbrug in Gent. And ‘Choreographic figures -deviation from the line’ initiated by Nikolaus Gansterer and supported by the University of Vienna and Peek.
      Since 2006 she is dramaturge and/or curator for projects in Bains Connective Art Laboratory in Brussels. Currently she is program co-curator at a.pass (advanced performance and scenography studies in Brussels).

      Bruno De Wachter (° Antwerp, 1972)  Lives in Brussels. Works half-time as a technical copywriter and half-time on his own writing and walking projects. Published essays, translation and prose in the Flemish literature magazine Yang and its successor nY. Started to write prose inspired by long distance walking and is gradually evolving towards fiction. Has a special interest in the combinations of text and photography, in the crossroad between fiction writing at science, and in writing as a way to relate to the landscape.

    • block information
    • Block 16/I
    • Block Focus: Sub -(e)ject The relation between writing and performance
      01 December 2015
      posted by: Nicolas Y Galeazzi
    • Lilia Mestre
    • a.pass
    • 04 January 2016
    • 31 March 2016
    • case of: Lilia Mestre
    • Block Focus: Sub -(e)ject

      The proposal for this block follows up on scores as a tool to organize dialogical or intersubjective formats for exchange in artistic practice and research. In the past two years I developed in the frame of a.pass a score for writing practice, ‘Writing Scores’ and a score for performance ‘Perform Back Score’, both as discursive tools. Both scores created a platform for the different researches to co-habitate and to reflect back the methods and strategies each of us use in the making and thinking of our practices. The main questions are: How do we compose materials and thoughts? What is the performativity at stake on the sharing of those? What’s the relation between subjectivity and collectivity in a collaborative environment? What does that do to our individual practices and to the collective itself?

      I like to think that the becoming of the subject takes place in the experiences s/he partakes in the interiorisation and exteriorisation of the world. The subject as an agent of change that through its own transformation in the collective terrain participates activelly in the collective. I see the arts as a manifestation of that transformation and that transformation as a form of political engagement .

      For 2016 I would like to mix both scores and propose to focus on the gestures of performance and writing as gestures of inscription both containing the desire to create surfaces of reflection that beam our experiences out into the world and give tools for reading that same world.

      We can think performance as writing as well as writing as performance and the multiple relations the practice of arts have with writing. Language is the common denominator in our super capitalized society, it’s the place of communication/ transmission by excellence, where knowledge (experience and thought) gets legitimized and for the same reasons a place where we cross or establish borders. We all have a deep relation with language from daily life existence to the writing of academic papers, theatre programs, grants applications passing by fiction or poetry. And in a moment or another we have to answer the questions: What are you doing? What is is about? Why?

      Through our the block we’ll search for the connection between the word and the event, the resonance of the work into words, also if the work is writing itself, and vice versa. The confrontation between the place of experience and the place of re-telling, the dialogue that runs in between them and makes both evolve. How each of us does it? Which kind of tone, format, lenght, do we use to manifest the experience into words or the words into experience? How do the two practices feed each other? Can a writing about art be art itself?

      The score is called “ Bubble Score for multiple languages” and will take place once a week from January till March. We’ll alternate weekly between writing and performing and a publication will be produced afterwards. The score will have several observation stand points: as practice of both, performing and writing, and their relation, as a way to publish events and reflections and as a social environment of authors without territories developing subjectivies/ collectivities. The five workshops will support the individual researches by contributing with tools and strategies coming from different artistic approaches.

       

      OVERVIEW

      Here we give a short overview on the workshops spread over the block, which shall bring a
      mixture of inputs into the discourses raised through the focus of this block.

      The first workshop about is about subjectivity and will be given by Elke Van Campenhout as a start up to the philosophical environment of the block. We’ll reed authors such as: ...

      After this we will dive into blindness and writing with Lilia Mestre (performance) and Bruno De Wachter (writer). The idea of the workshop is to start a relation between the personal throught working on blindness and writing as a pratice bringing that inside in relation to the outside, the world. The work will take form throught the researches of the participants.

      Jack Hauser and Sabina Holzer will give a workshop on scores where each participant will practice scoring in relation to her/his research as much as the collective construction of a score where the different practices can ‘play’ with each other.

      Myriam Van Imschoot will use various forms of voicing and singing to co-write thoughts, ideas and presence in the multiple spaces of social interaction, communication and their architectural and acoustic envelopes.

      And to end, the choreographer Anne Juren will work with body technics as Feldenkrais to approch different states of the body and write from that perspective taking support on Ecriture Feminine.

       

    • block information
    • Block 15/I
    • Lilia Mestre
    • BLOCK FOCUS 2015/I CONDITIONS FOR THE EMERGENCE OF POETICS
      16 September 2014
      posted by: Guido Lucassen
    • Lilia Mestre
    • 05 January 2015
    • 30 April 2015
    • case of: Lilia Mestre
    • BLOCK FOCUS 2015/I

      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’.

      If we think performance as the coming-forth of those acts, as a framed re-actualization of what is there (a part of the world) we can give focus to the relations and tensions between what is offered and what can be received in a reciprocal act of exchange, between performance and audience. Performance becomes then the enhancement zone for shared inquire, an area through which, attention is created, a place of inter-subjective research.

      The performativity or agency of such acts is of course embedded in the invitation they propose through the organization of the elements that take part in the acts themselves (time, space, objects, words,...) and that form an environment that starts to speak.

      I would say that the margins of the ‘event’ (emergence) is then situated in-between that environment, the perceptive bodies and the communal regime of perception proposing a field of action, a re-consideration of forms of living, a political approach.

      Scores are tools to understand and analyze those conditions and to bring to the fore the core of each proposal. This block we’ll investigate some formats coming from different practices (music, choreography, theater, drawing, philosophy) through the workshops and we will process the information through a score called ‘Perform back score’. (see ‘Performing back score in workshops). This score focuses on the performativity of any act of framed communication.

      A study of the conditions for the emergence of poetics in different art practices will enable the possibility to question the methods and strategies they propose and to observe the impact they produce as forms of communication (shared environments). By crossing different practices we get re-informed about our own ways of doing, one’s own methodology, one’s own critical approach, one’s own aesthetics.

      * Wikipedia : Poïesis (Ancient Greek: ποίησις) is etymologically derived from the ancient term ποιέω, which means "to make". This word, the root of our modern "poetry", was first a verb, an action that transforms and continues the world. Neither technical production nor creation in the romantic sense, poïetic work reconciles thought with matter and time, and person with the world.

    • end communication
    • Event
    • Precious indirection* End-Communications of Deborah Birch, Diego Echegoyen and Lucia Palladino&Piero Ramella
      13 January 2020
      posted by: Lilia Mestre
    • @ Needcompany
    • 24 January 2020
    • 25 January 2020
    • Precious indirection*

       

      Precious indirection*

      24-25 January 2020 @ MILL / Needcompany

      End-Communications of Deborah Birch, Diego Echegoyen and Lucia Palladino & Piero Ramella                                 

      “Precious indirection”*

      The a.pass End-Communications of Deborah Birch, Diego Echegoyen and the duo Lucia Palladino & Piero Ramella will take place on the 24th and 25th of January 2020 at MILL / Needcompany. End-Communications invite the a.pass researchers to share their subject matters, modes of seeing, articulating and making artist research public after following the year-long program.

      The practice of research in the cases of Deborah, Diego, Lucia and Piero each evoke radically different relations to language. From poetry to theatre, passing by automatic speech and writing, language embodies different epistemologies through these different modes of articulation and voice.

      It is important to emphasise how their performative situations propose a specific relation with the public and how, therefore, they instigate singular modes of participation.

      This relation is symptomatic of  the content of the different research proposals and activate different strata of intersubjectivity.

      *When writing about Roland Barthes’ inaugural lecture in “This Little Art” Kate Briggs notes about literature what could be seen as analogous for artistic research: “ ‘Literature does not say that it knows something, but that it knows of something, that it knows about something’, where the term literature is understood to refer not to a ‘body or a series of works, nor even a branch of commerce or teaching, but the complex graph of the traces of a practice, the practice of writing.’ The consequences of this of, of this about, – what Barthes also calls literatures’ ‘precious indirection’ – are in addition to what is already known, literature can also tell us of what is not yet known, it can gesture toward further, possible areas of knowledge, to what is unsuspected, unidentified, unknown.”

       

      This event is hosted by MILL.

      With the support of Needcompany.

       

      24 & 25 January,

      Doors Open 18:00

      18:00 > 23:00 – Pilgrimage / Lucia Palladino and Piero Ramella (ongoing)

      19:00 – To be someone implies to be somewhere / Diego Echegoyen (1 hour)

      21:00 – I Have Discovered That Peace is Losing Time Without Losing the Self /

      Deborah Birch (1 hour)

       

      Pilgrimage / Lucia Palladino & Piero Ramella

      Lucia Palladino is a dancer, choreographer and researcher. Piero Ramella is a visual artist and performer. They work as a duo in the fields of performing arts and artistic research.

      In the context of a.pass they investigated human and non-human presence in the landscape and within documentation, as a form of performance, which produces new landscapes to inhabit. Their research project was born from the urgency to take a position against the aesthetics of transparency. Beyond its apparent democracy, the ‘transparency society’ is the dictatorship of the self where no otherness is allowed. They believe that in order to transform information into resource it needs to preserve a certain degree of opacity: accessibility implies loss. They intend this practice as a form of contemplative activism which can transform our perception of the world around us and reality itself.

      Pilgrimage is an investigation of documenting as a work of translation. The English word ‘translation’ comes from Latin translatus, serving as past participle of transferre: ‘to bring over, carry over’. The document, then, as a translation, does something, it moves our points of view across time and space and it transforms accessibility: it is not an object, but a magmatic cluster of relationships. The characteristics of our movement within this dynamic system are those of the pilgrimage. For the early medieval pilgrims “it mattered little whether any physical record remained at each site of the personages or events with which it was associated.

      What was real and authentic about the sites, for them, lay not in the objects found there, but in the memory-work, the thinking to which they gave clues” (Tim Ingold). The objects in themselves are just pretexts: what is relevant is the movement they are part of and stimulate. The research is the practice of translating through different media which produce materials that can be shared, entered and altered by other people, other materials, other affections. This practice of documenting the landscape does not engage the modes of illustration or comment on the subject. The documentation aims at translating the landscape in order to undo our knowledge. Every embodiment, indeed, stands itself as a new landscape and produces a discourse that includes the mould and the cast, making new points of view possible.

       

      To be someone implies to be somewhere /Diego Echegoyen

      Diego Echegoyen (1981 Buenos Aires, Argentina) is a theatermaker and performer with a special interest in collaborative performance making, based in Brussels. He is interested in a speculative approach to the ‘political representation crisis’ in contemporary western democracies in relation to the simultaneous representation crisis which he perceives in the performing arts.

      His initial focus within the apass artistic research environment was on the agency of performing arts to act as a potential tool to produce changes in social reality, when placed in the public space, interrupting its regularity, its usual logic. 

      From the beginning his research followed a path of failure. It crashed and collapsed and that crisis opened a new territory for him to situate himself as a migrant artist from Argentina, where crisis is a given circumstance. He thus brings his specificity as a human being, as a political subject merging with his artistic interests. Within the a.pass platform his research becomes process oriented, his body becomes territory, his self becomes subject-matter.

      These three processes opened a dialogue with his background as a theater actor bringing in the sacred-secular notion of sacrifice. This ritual, featured within Grotowski and Artaud’s work, traversed the relation between object and spectator eventually arriving at questions surrounding his own family narrative, where after four generations this other sacrifice of migration becomes palpable.

      For his End-Communication he shares this ‘crisis process’ of his artistic research, the assemblage of components by neighborhood zones and the critical process of trying to make sense.

      The performative installation To be someone implies to be somewhere is his ‘unfolded self’ during that process. 

      It is a ritual disorganization of his family narrative & its myths, wounds & obsessions, the recent Argentinian history & his experience in Brussels as a migrant” 

       

      I Have Discovered That Peace is Losing Time Without Losing the Self / Deborah Birch

      Deborah Birch is a poet, primarily interested in the anagogical interpretation of the ordinary, and an academic working in the nexus between scientific systems and mystico-occult systems. Her work forms a lattice of literary, performative, and affective practises.

      I Have Discovered That Peace is Losing Time Without Losing the Self is the third part of her ongoing Caves project, which treats the cave as a space of access to a non-ordinary temporality and a mineral transcendence that is anchored in the flesh, not in denial of it.

      The calcium of my teeth and bones, and the calcium of the limestone cave, she says.

      The iron in my blood and the basalt of the gorge, she says.

      The salt in the sweat of the skin of my lover, she says.

      Microcosm, macrocosm.

      Tears, Trust, she says.

      A feminist re-reading of the allegory of the cave, I Have Discovered delves into questions of language, hesitation, and time. Unfolding and refolding scales and frames of reference, her End-Communication will invite the public into a poetic zone of the underground.

      The cave is not

      Home

      It is a pocket

      A chamber

      A cavity

      A shell

      Home is on the

      Surface and

      The surface is

      Burning.

      There will be some light, some time-travelling, some lying in the dark. There will be shoelessness, and bodies touching. The performance will last about an hour.

       

    • LINK: https://parallelparasite.apass.be/

      As a way to register our process during the Parallel Parasite, three weeks residency of the a.pass Research Center at SZenne ArtLab, we filmed and recorded all the public encounters. These encounters had different formats and subjects, from socratic dialogue to classic lecture, recorded interview, and mediated discussion passing through a drumming concert with after talk. The audio-visual recordings of all these moments were collected in timeline of 23 hours. No editing was added. Sina Seifee created an interface on top of the video that allows to complement it with other collected materials and to add continuously a-posteriori reflections. Viewers can scroll through and find points of interest. We followed the anarchive* guidelines of SensLab to proceed with our investigation. For more information about the website's design visit this link.

      a.pass is constantly questioning the positionality and share-ability of what is learned and interrogating the political implications of the research practices. In response to those problematics, the proposition of Parallel Parasite Residency was to dislocate the Research Center to a semi-public environment and to locate it temporarily in a gallery space, one of the per-se spaces for the exhibition. The question that was driving this movement (from the inside to the outside) was: can the a.pass RC in dis-location generate an open hub for the study of some of its practices? Can this movement instigate other forms of share-ability, publishing and access, which are informal and porous? We wanted to address the agency of such publicness and to give focus to critical doing and the critical thinking in artistic research and to which forms of sociability it generates.

      Parallel Parasite was a three week residency of the a.pass Research Center curated by Lilia Mestre with Adva Zakai and Erin Manning as special guests. 

      The a.pass Research Center is mainly working with alumni and associated researchers.
       
      For Parallel Parasite we were:
      Alex Arteaga, Silvia Pinto Coelho, Bojana Cvejic, Nikolaus Gansterer, Nicolas Galeazzi, Adrijana Gvozdenovic, 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 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.

       

      More info about the residency: https://apass.be/projects/parallel-parasite/
      or https://parallelparasite.apass.be/#about

       

       

       

    • end communication
    • Event
    • Recent Past
    • PEACH BASKETS - THREE ANGLES ON BALANCING End-Communications of Caterina Mora, Laura Pante and Maurice Meewisse
      05 September 2019
      posted by: Lilia Mestre
    • a.pass
    • 27 September 2019
    • 28 September 2019
    • PEACH BASKETS - THREE ANGLES ON BALANCING

      a.pass is happy to invite you to the End-Communications of Caterina Mora, Laura Pante and Maurice Meewisse

      18:30 > Door opens

      19:00 - 21:00 > Ongoing Installation / performances
      >Double Spiral with rain makers - Maurice Meewisse
      >After Affect Clinique - Laura Pante

      21:00 > Pa-küru: 47 minutes of a bastard cheap lecture performance

      23:00 > Party with DJ Bicha Boo Collective -> 27th September ONLY!!!!

      *

       

      Peach Baskets - What the hell!

       

      “Maria Spelterini is walking across a tightrope across the Niagara Gorge, from the United States side to Canada, with her feet in peach baskets. In the background is the Niagara Suspension Bridge, which is full of spectators. In the distant background is the Niagara Falls.” (wikipedia)

      Funambulism is a "staying with the trouble" concept (in Donna Haraway´s words), that intertwines the a.pass End-Communications of Caterina Mora, Laura Pante and Maurice Meewisse, the 27 and 28 September at a.pass studio.

      It all started with the idea of balancing oppositions, no matter which: theory and practice, high and low cultures, language and body, feminism and heteronormativity, bad and  good, horizontal and vertical, north and south, truth and fake, here and there, real and virtual, peach baskets and shoes - What the hell?!

      The projects of Cate, Laura and Maurice, embody the crossings between antonymous positionalities and work with strategies that include negotiations, side effects, mistakes, shadows, confusion, plural views and overlapings as co-inhabitors of a research context attempting to think complex phenomena.

      To walk the tightrope one needs to be precisely at the moment. In the Merriam Webster dictionary, the second definition of funambulist says: “a show especially of mental agility”. Stay, stay, progress, walk…It is interesting to assess the complexity of such acts that involve several physical skills to portray exception and risk; that are then associated to freakishness, populism, entertainment, intense experience. Walking on the edge, for the good, the bad, the useless, the expectation, the market, for nothing, for life. Self-induced trouble in order to expose complex phenomena.

      The tightrope delineates the space, creates sides and indicates the demarcation of territories. It is a geometrical form, a fictional separation that enables position, that asks to be crossed as a heroic act. A symbolic gesture linking (or separating) two end points. Reinforcing nature, in this case - the Niagara Falls as like if they would need support. What kind of visibility is at stake? What was that woman doing in 1876? Why did she have peach baskets on her feet? Why did she sometimes tie her ankles? 

      The scenographies of these End-Communications are differentiated by three geometric shapes: the spiral, the triangle and the rectangle. They are reference points that reflect dwellings within real and artificial realities, they deploy perceptions. They are imperatives to read topologies: the arena, the tent and the stage. They all have a centre, they all are crossed by lines, they all follow patterns, they all create spaces, folds. 

      Imagine that all these lines and curves crossing the scenographic spaces are folds proposing potential, temporary and situated forms of critical enquiry between seemingly disconnected or distanced realities.

      At this point, the Deleuzian concept of the fold opens a range of actions, movements and transformations for what seems to be static and impenetrable perceptions of reality.  The fold changes place, re-forms elsewhere, multiplies, turns things inside out and outside in. The fold is extreme and intense and unlimited, it's baroque. It might be a form of connection that facilitates open-ended and inexhaustible unfoldings of  worlds.

      Caterina Mora uses what she named Transversal Research Training as a way to politicise the relations between ones’ own biography, western culture, global economy, institutional demand & heteronormativity. Cate works with show business as a form, to research relationalities in a non binary manner. Laura Pante creates conditions that trouble the relation between the private and the public perception of the body. Provoking awareness of the degree to which language and visual culture shape the body and our relation to it. Laura approaches technology and spirituality as culturally formative constructs that are constitutive parts of the self. Maurice Meewisse crafts situations as mimicries of institutional frameworks. Maurice's research questions the discrepancy between theoretical and ideological standpoints and the conditions that enable artistic work. The idea of the artist researcher as a self - instituted figure brings focus to both the agency of the artist and the dominance of power structures.

      "That is why the unfolded surface is never the opposite of the fold, but rather the movement that goes from some to the others. Unfolding sometimes means that I am developing—that I am undoing—infinite tiny folds that are forever agitating in the background, with the goal of drawing a great fold on the side whence forms appear. . . . At other times, on the contrary, I undo the folds of consciousness that pass through every one of my thresholds . . . in order to unveil in a single movement this unfathomable depth of tiny and moving folds that waft me along at excessive speeds in the operation of vertigo." Gilles Deleuze in 'The Fold: Leibniz and the Baroque'

      Maria Spelterini disappeared shortly after the crossing of the Niagara Falls. No one knows why, how or where to. 

       

      *
      Caterina Mora, a patagonian doer (1988) from Fiske Menuco (Río Negro, Argentina) determined by the wind. She has incorrect English and she always asks for help for text revision. She had several titles and roles in Argentinian territory which become innocuous in other countries.

      Although she can give specifications on her traditional artistic roles in the Performing Arts (as a dancer, performer, ballet/contemporary dance/tango professor, director assistant, writer, modèle vivant), she is interested in transcending them. The ‘doer’ participates in academic groups and loves to create pieces with fiction and glitter.

      In a.pass she develops Transversal Research Training, a device for Artistic Research practice which is busy with the creation of political entertainment as affirmative critique. She makes, writes, embodies, questions and even refuses translations. She has become obsessed with Aprha Behn, a female spy for King Charles II in XVII century Belgium. She was a "translatress".

      Her End-Communications is a show called Pa-küru: 47 minutes of a bastard cheap lecture performance.
      It is based on translating ballet to reggaeton. a.pass provides bright paper, a 2x10 metre platform, a microphone like Madonna, cables, speakers, lights and a ballet barre. She provides 47 minutes of her embodied research, a 0,34 euro broken plastic crown that she bought in Buenos Aires (the crown ́s value then was of 1,21 euro) and music from her cell phone that she bought for 67 euros.

      She's trying to dance critically: from l'obsession après une audition to the pleasure of mostrar los dientes.


      *
      Laura Pante is a dancemaker based between Brussels and Venice. She combines the practices of drawing, architecture and graphic design with movement, dance and choreography.

      She crossed a.pass artistic research environment with a focus on body performativity, apparatus of spectatorship and the agency of images questioning in which way there is still a projection of fascist ideologies on the bi-dimensional screens which walk with us and prescribe our movement into the world. In other words how visual propaganda contributes to the production of body’s shapes. In her practice she researches how to create conditions for the possibility of a movement inquiry driven by a loss of corporal references and spatial coordinates challenging the expansion or the disappearance of body as a cultural phenomena.

      For her End-Communication, THE CLINIQUE will welcome you into the green corner, the remains of an ancient and spreading red volcano or the living room of a grandmother’s dream(s), to experience one by one a 360° video and performative installation. Within a precarious co-presence of inside and outside, private and public, personal and collective, we will practice a propaedeutic* research exploring a possible loss of corporal references and a consequential loss of memory - a flickering amnesia of the body’s shape, as if discovering something would mean to forget the dimension you came from, challenging mediated vision and image production. Laura and her assistant will guide you with the help of a dance performed by hands (a touch) informed by osteopathic practices**: the capacity to see into the abyss of flesh.

      * Propaedeutic // from the Ancient Greek προπαιδεύω (propaideúō, “I give preparatory instruction”), from πρό (pró, “before”) + παιδεύω (paideúō, “I teach”) is a historical term for an introductory course into a discipline, that is an art, or science, or movement.
      ** Ostheopatic practices of touch // OMT - osteopathic manipulative therapy // application of manual forces to improve homeostasis which have been altered by somatic dysfunction.

      *
      Maurice Meewise is a visual artist with a curiosity for the politics that construct accepted protocol of action and communication within specific institutionalized contexts. In most situations he finds an inherent conflict that acts as the impulse behind the creation of a new work in which he uses different techniques, from sculpture to performance, to create aesthetic interventions and attempt to provoke the reevaluation of our conditioned patterns of acceptance and behavior.

      The journey he embarked on at a.pass has been primarily focussed on the context provided by the institute, the program as well as the participants, curators, staff and visitors. He explored the limits of the context and the inconsistencies that he sometimes found between theories and the way they were practiced. During his period at a.pass he attempted to challenge the beliefs within the institute by making a series of symbolic interventions that addressed these boundaries and discrepancies.

      But one thing became apparent. Where is he in what he does?
      For the end communication he commissioned himself to look at what context he provides, to look at what he is constituted of, to think about his role as an artist and performer and his relationship with the audience. He uses the same strategy he applied before, but now to explore his own politics. It resulted in Double Spiral with Rainmakers - and he will prepare the dinner.

    • end communication
    • Event
    • Recent Past
    • Research
    • Body Virtual Institution End-Communications - Nassia Fourtouni, Goda Palekaitė and Katinka Van Gorkum
      30 April 2019
      posted by: Lilia Mestre
    • @ Hacktiris (6th floor) - Rue Paul Devauxstraat 3, 1000 Brussel
    • 31 May 2019
    • 01 June 2019

    •  

      @ Hacktiris (6th floor) - Rue Paul Devauxstraat 3, 1000 Brussel

      Doors open at 18:00

      19:00 GODA PALEKAITĖ - How to Infuriate a Historian
      21:00 NASSIA FOURTOUNI - Waiting Room Meditation
      22:00 KATINKA VAN GORKUM - Distance Learning in Close Proximity


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

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

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

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

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

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

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

       

      Short description of the researches and links to the respective portfolios:

      Nassia Fourtouni

      is a dramaturg and dance researcher. She came to a.pass with a research upon dramaturgical practice with a focus on the initial phase of a creative process, namely the phase where things are not yet shaped, the phase of nothing.

      Having in mind the dialogical relationship in which most dramaturgical practices take place, the first scores she developed were about dialogue and conversation. Gradually, the scores and methodologies developed borrowed the form of a somatic lesson.

      In her work she brings together text and experiential anatomy, shaping an expanded dramaturgical practice that can vary in form and content depending on the given context. The aim is to facilitate the appearance of embodied aesthetic experience by addressing the inner sense.

      The practice manifests in installations, scores and somatic lessons.  Also, it functions as a critical commentary on authorship and the seductive power of language, mainly in relation to the use of instructions.

      For the a.pass end-communications, she is developing an in situ audio installation based on a score about the past, the present and the future of the building, using excerpts from texts by Virginia Woolf, Robert Walser and Ivan Illich.

      https://apass.be/profile/practicing-interstices/

       

      Goda Palekaite

      is an artist and researcher whose work can be described as a combination of artistic, literary and anthropological practices. Her long-term projects explore the construction mechanisms of historical narratives, political agency of dreams and imagination, and social conditions of creativity. Their outcomes usually manifest as performances, installations, scenographies, and texts.

      In the context of a.pass Goda continued her investigations on the construction of historical and political ideologies, and the agency of imagination in processes of legitimization and instituting. Her interest lies in narratives, stories and characters of diverse identities, which operated outside the official discourses, and were seen as troublemakers. These people did not see themselves as artists, neither have they had a place in art history; yet Goda sees their modes of operation as comparable to those of some contemporary artists working today.

      For the End Communications event at a.pass she is writing a script and directing a performance-conference where three of such characters meet. The debate will take place between a 19th century Russian anarchist Mikhail Bakunin, the ancient Greek female poet Sappho and a controversial Jewish-Muslim writer and journalist Essad Bay. This semi-scripted debate will manifest as a live discussion between three contemporary artists and researchers whom Goda encountered within the context of a.pass: Nicolas Galeazzi, Marialena Marouda, and Sina Seifee. They will embody the characters, yet contributing with their own practice.

      https://apass.be/blockboard/my-case/?user=103

       

      Katinka Van Gorkum

      is a visual artist interested in the (domestic) interior as a figure for interiority. Previous work includes video, performance and installations, all with a strong physical component. She arrived at a.pass with a desire to explore further the concept of home and how it's being shaped by ideas, ideologies, theory and philosophy. Besides that, she felt the need to dematerialize her art practice, experiencing difficulties with the inflexibility, heaviness (literally) and the origin of the materials she used. She also had questions about her work as a single-use artwork and art as an ecological act.

      She started working with the 3D design program SketchUp which is used by architects and designers. In this virtual environment she tries to exteriorize the interior. Working in virtual space further problematized the question of exteriorizing the interior and brought up questions concerning (dis)orientation, scale, groundlessness, perspective, entering and sharing an interior.

      Throughout the a.pass trajectory she has attempted multiple points and modes of entry to the spaces of the research. For the End Communications she intends to open the virtual research environments through a (lecture) performance and screen recordings of the SketchUp spaces, exploring the program as a tool for distance learning in close proximity.

      https://apass.be/profile/dear-visitor-a-portfolio-by-katinka-van-gorkum/

       

       

    • Recent Past
    • Research Center
    • Research Center Cycle 1
    • RESEARCH CENTER Cycle 18/19 - Block III Co-Curated by Isabel Burr Raty / Antye Guenther / Adrijana Gvozdenović / Sara Manente / Rob Ritzen / Pierre Rubio / Sina Seifee
      29 April 2019
      posted by: Lilia Mestre
    • a.pass/ ZSenne ArtLab
    • 29 April 2019
    • 28 July 2019
    • RESEARCH CENTER Cycle 18/19 - Block III

      The a.pass Research Center is dedicated to supporting advanced research and to collecting and making public methodologies of artistic research developed at a.pass.

      This summer block marks the end of the first cycle of the a.pass Research Center. After being initiated as a platform for individual research trajectories, the Research Center shifted to welcoming a group of advanced researchers for a period of one year. The last block of the cycle 2018/2019  is co-curated by the group of Associated Researchers. For a three week period - June 24 / July 14 - the work will be developed at Zsenne ArtLab.

      We are happy to work with the following Associate Researchers:

      Adrijana Gvozdenović is an artist who notes, talks, writes, and collects. She is interested in anecdotal and peripheral art, the conventions of exhibition making, artists’ motivations, and responsibility in the general context of art and art-related politics.

      Sina Seifee researches as an artist in the fields of narrative, performance and knowledge production. He has been working on the question of technology and storytelling in the arts and sciences of the middle ages and the past-present of material reading practices in collective life. He studied Applied Mathematics in Tehran, received his master in Media Arts in KHM Cologne and in 2017 finished an advanced research program in performance studies in a.pass.

      Rob Ritzen works as a curator with a background in philosophy, museum studies, art and architectural history. His curatorial practice is focused on self-organised and co-operative formats in close association with cultural practitioners — consciously positioned on the margin of established institutions and outside of market oriented spaces, but in the middle of communities of cultural practitioners. Most recently he co-initiated That Might Be Right, an attempt to reconfigure the politics of making art and alternative forms of production and presentation.

      Isabel Burr Raty is a performance artist based in Brussels interested in the ontological crack between the organic and the artificially engineered, between the unlicensed knowledge of minority groups and the official facts. Her research interweaves new media, body art, lectures, installations and participatory performance to propose hybrid narratives and bio-autonomy practices that play with synthetic magic and compose in situ Sci-Fi.

      Sara Manente lives in Brussels and works as a choreographer and performance artist.
      Her projects start from an understanding of dance as a performative language and exist at the limit of the choreographic: texts, dance pieces, films, workshops, experimental performances, artistic researches and collaborations.
      At the a.pass Research Center she is gathering knowledge on fermentation techniques in order to consider her research from a perspective of bacterial/interspecies ethics and aesthetics.

      Antye Guenther, born in former East Germany, has a theory based visual art practice dealing with epistemological questions within the realms of technology, post-humanism, science fiction and fictionality of science. Since her fellowship at the Jan van Eyck Academy in 2015-2016, Guenther, who has a background in medicine, is investigating neuroscientific research and imaging, particularly in its entanglement with neoliberal corporate structures and ideologies.

      For this co-curated current block the Associate Researchers will be supported by Pierre Rubio as the Research Center curator.

      Pierre Rubio (France, 1962) works as an artist, dramaturge, and independent researcher. His practice at large aims at re-negotiating habitual modes of individuation by using displacement and speculation as a methodological principle. He often uses ‘as if’s’ processes -alone or in collaboration- to investigate technologies, cosmologies and ideologies of artistic and research practices in relation to the production of subjectivity. Rubio is currently co-curator of the postgraduate artistic research institute a.pass (Advanced Performance and Scenography Studies_a platform for artistic research)

    • Archive
    • Documentation
    • Publication
    • Block 17/I
    • RRadio Triton
    • RRadio Triton audio publication
      18 January 2019
      posted by: Lilia Mestre
    • a.pass
    • HOSTED BY PIERRE RUBIO
    • 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, Seba 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, Seba 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 .

       

       

    • Archive
    • Event
    • RRadio 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://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.

    • Recent Past
    • RESEARCH CENTER CYCLE 18/19 BLOCK II CURATED BY ALEX ARTEAGA
      08 January 2019
      posted by: Lilia Mestre
    • a.pass
    • 07 January 2019
    • 31 March 2019
    • RESEARCH CENTER CYCLE 18/19 BLOCK II

      The a.pass Research Center is dedicated to supporting advanced artistic research and to collecting and making public methodologies of artistic research developed at a.pass. 

      The block II in the cycle 18/19 is focused on two intertwined fields of inquiry: aesthetic research practices in the medium of written language and architecture understood as intervention in the emergence of environments through construction and related practices.

      For the period of September ‘18 to August ‘19 we are happy to welcome following Associate Researchers to the a.pass Research Center:

      Adrijana Gvozdenović is an artist who notes, talks, writes, and collects. She is interested in anecdotal and peripheral art, the conventions of exhibition making, artists’ motivations, and responsibility in the general context of art and art-related politics.

      Sina Seifee researches as an artist in the fields of narrative, performance and knowledge production. He has been working on the question of technology and storytelling in the arts and sciences of the middle ages and the past-present of material reading practices in collective life. He studied Applied Mathematics in Tehran, received his master in Media Arts in KHM Cologne and in 2017 finished an advanced research program in performance studies in a.pass.

      Rob Ritzen works as a curator with a background in philosophy, museum studies, art and architectural history. His curatorial practice is focused on self-organised and co-operative formats in close association with cultural practitioners — consciously positioned on the margin of established institutions and outside of market oriented spaces, but in the middle of communities of cultural practitioners. Most recently he co-initiated That Might Be Right, an attempt to reconfigure the politics of making art and alternative forms of production and presentation.

      Isabel Burr Raty is a performance artist based in Brussels interested in the ontological crack between the organic and the artificially engineered, between the unlicensed knowledge of minority groups and the official facts. Her research interweaves new media, body art, lectures, installations and participatory performance to propose hybrid narratives and bio-autonomy practices that play with synthetic magic and compose in situ Sci-Fi.

      Sara Manente lives in Brussels and works as a choreographer and performance artist.

      Her projects start from an understanding of dance as a performative language and exist at the limit of the choreographic: texts, dance pieces, films, workshops, experimental performances, artistic researches and collaborations.

      At the a.pass Research Center she is gathering knowledge on fermentation techniques in order to consider her research from a perspective of bacterial/interspecies ethics and aesthetics.

      Antye Guenther, born in former East Germany, has a theory based visual art practice dealing with epistemological questions within the realms of technology, post-humanism, science fiction and fictionality of science. Since her fellowship at the Jan van Eyck Academy in 2015-2016, Guenther, who has a background in medicine, is investigating neuroscientific research and imaging, particularly in its entanglement with neoliberal corporate structures and ideologies.

      For the current block the Associate Researchers will be supported by Alex Arteaga as the Research Center curator and further on by Pierre Rubio for cycle 18/19 block 3.

      Alex Arteaga’s research integrates aesthetic and philosophical practices relating to aesthetics, the emergence of sense, meaning and knowledge, and the relationships between architecture and the environment through phenomenological and enactivist approaches.

    • end communication
    • Event
    • Recent Past
    • Subtracted Seduction End-Communications
      07 January 2019
      posted by: Lilia Mestre
    • Hectolitre
    • 01 February 2019
    • 02 February 2019
    • Subtracted Seduction

      On Friday 1 and Saturday 2 February 2019, from 18:00 to 22:00 Adrijana Gvozdenović, Pia Louwerens and Eleanor Ivory Weber present their artistic researches at the former swingers club, La Porte des Senses, today an art space called Hectolitre, to mark the end of their participation in the a.pass program.

      With Subtracted Seduction, their individual researches are framed through shared concepts such as anxiety, non-consensual collaboration, authorship and institutional critique. In each of the three approaches, narratives created through these symptoms of the contemporary artist are investigated. The romantic artist is negated and the multi-faceted artist materialises as both instigator and instigated, made up of multiple voices. The three researchers engage with the complexity of being both unnameable and contained in the knowledge-network immanent to the institution. There appears Subtracted Seduction.

      Gvozdenović, Louwerens and Weber all work with writing and performance. They use notions of script and publication as tools to reveal contexts as partners to the doing and thinking of artistic practice. The institutional is key to their approaches, both as a way to understand what predetermines the performativity of the artwork and in how it relates to issues of authorship. The question is often, "who is voicing?"

      Pia Louwerens works with spoken-word performances in which she performs an unreliable subject intra-acting with its institutional framework.
      Eleanor Ivory Weber uses conceptual writing techniques to arrive at multi-vocal recompositions of existing text-sources, combining formal structures with the spontaneity of the body.
      Adrijana Gvozdenović collects and annotates symptomatic artistic practices that recognise their anxiety as a prerequisite state for criticality. This results in publications of sorts or “exhibiting otherwise”.

      The concept of the anarchive as a way to reactivate meaning through revisiting traces is a common process to the three researches. Through either activating authored texts, institutional conditions and/or artistic practice paraphernalia, new iterations appear that re-actualise and re-situate the event. Each variation is always already allied with new subjectivities.

      To access the Research Portfolios follow the links:

      Adrijana Gvozdenovic
      https://apass.be/blockboard/my-case/?user=97

      Pia Louwerens
      https://apass.be/blockboard/my-case/?user=99

      Eleanor Ivory Weber
      https://apass.be/blockboard/my-case/?user=98

       

      Schedule of the event:

      18:00 food & drinks (€)

      18:30 Subtracted Seduction
      19:00 Subverses I: Play
      (break)
      20:00 7 anxieties and the world
      20:30 Subverses II: Glossolalien missive
      (break)
      21:15 Subverses III
      21:30 The big gesture is many small gestures dispersed

      Performances by:
      Adrijana Gvozdenović, Pia Louwerens, Eleanor Ivory Weber

      With contributions by:
      *Subtracted Seduction: sound editing and mixing Teresa Cos
      *Subverses I & III: performers Lydia McGlinchey, Marcus Bergner
      *7 anxieties and the world: sound mixing Marko Radišić

      Thanks:
      Henry Andersen, Simon Asencio, Marcus Bergner, Deborah Birch, Elen Braga, Kate Briggs, Mladen Bundalo, Teresa Cos, Sven Dehens, Nico Dockx, Diego Echegoyen, Paolo Favero, Luisa Fillitz, Nassia Fourtouni, Anastasia Freygang, Nicolas Galeazzi, Camille Gérenton, Caroline Godart, Katinka van Gorkum, Adrijana Gvozdenović, Philippine Hoegen, Eunkyung Jeong, Steven Jouwersma, Ekaterina Kaplunova, Leo Kay, Shervin Kianersi Haghighi, Pauline Hatzigeorgiou, Heike Langsdorf, Joke Liberge, Bart Lescreve, Pia Louwerens, Marialena Marouda, Lydia McGlinchey, Michèle Meesen, Maurice Meewisse, Zoumana Méïté, Lilia Mestre, Wesley Meuris, Vladimir Miller, Caterina Mora, Eszter Némethi, Elizabeth Newman, Anouchka Oler, Goda Palekaitė, Lucia Palladino, Laura Pante, Vijai Patchineelam, Peggy Pierrot, Piero Ramella, Marcelo Rezende, Kate Rich, Esther Rodríguez Barbero, Pierre Rubio, Margaux Schwarz, Hoda Siahtiri, Vanja Smiljanić, Femke Snelting, Geert Vaes, Eleanor Ivory Weber, Camilla Wills, Roberto Winter, Aurore Zachayus, Adva Zakai.

       

       

       

       
    • end communication
    • Recent Past
    • PIECE ME BACK TOGETHER (AGAIN) End-Communications
      03 September 2018
      posted by: Lilia Mestre
    • 14 September 2018
    • 16 September 2018
    • PIECE ME BACK TOGETHER (AGAIN)

      On September 14­, 15 and 16 Leo Kay, Elen Braga, Eszter Némethi, Geert Vaes and Hoda Siahtiri come together in concepts of identity, narratives of possible futures, liquidity and participation. The five artist researchers take over Elizabeth Park for the weekend presenting an undercover carnival of experiences. All of which welcome audience into tangible relationship with the material.

      The presentations include: Eszter Némethi’s Border Stories a conference-­machine weaving together magic, the uncertainty of definitions and war; Hoda Siahtiri’s intimate expanded film experience concerning pain and healing; Elen Braga’s site­ responsive, interactive exhibition exploring identity, gender roles and image construction through multi­-threaded visual and sonic narratives; Geert Vaes's Live Talk Show: an awareness experiment at the crossroads of Therapy Street and Tourism Avenue where the public wear hyper real masks & explore the possibility of nurturing empathy for others; & Leo Kay’s Bakery Of Slow Ideas exploring sourdough and vegetable fermentation as an action; a ritual & a space for dialogue, critiquing the collateral damage caused by the continual drive towards hyper productivity and self presentation.

      a.pass -advanced performance and scenography studies - is an artistic research environment that develops research on performativity and the creation of space, in an international artistic and educational context. The environment encourages diverse understandings of artistic research, the development of (post-­disciplinary or undisciplined) perspectives and experimentation with methodologies and strategies. a.pass is concerned with reflections on the role and responsibility of the artist researcher within the vital and precarious economic, political and global context of the here and now.

      Opening hours:
      From 12am to ­11pm. With formal presentation from 16:00

      12:00 > 21:00 Bakery of Slow Ideas process- Leo Kay
      14:00 > 21:00 Vroom - Elen Braga
      16:00 + 18:00 Border Stories - Eszter Némethi
      20:00 > Singing the Silences - Hoda Siahtiri
      21:00 > Bakery of Slow Ideas Breaking Bread Presentation- Leo Kay
      18:30 + 22:00 > The Who Are You Talking To Talk Show- Geert Vaes
      (Sunday at 17:00 + 19:00)


      Address:
      Elizabeth park / De Platoo
      1081 Koekelberg Brussels, Belgium

    • block information
    • Recent Past
    • a.pass meets SOL / School Of Love A curatorial proposition by Adva Zakai
      03 September 2018
      posted by: Lilia Mestre
    • apass
    • apass
    • 03 September 2018
    • 30 November 2018
    • a.pass meets SOL / School Of Love

      From Sep till Nov 2018 a.pass and School Of Love will start a flirt with each other, develop a relationship and hopefully make (produce) love.

      SOL is a collective platform that was initiated some years ago*, inspired by the interest in both love and school as charged with potential to generate new politics and relations in the world. SOL is practiced through regular meetings, but follows no curriculum. Instead, it develops a spontaneous program through the presence and interest of its participants. SOL is basically an invitation to hang out. But to hang out deeply. To practice school as a place of free time – free to study things as they appear, separated from the dependency on the time and space of social order and production. And to practice love – Not the kind of love that is generated through affirmation of who we think we are, but love as an act of giving by allowing it to transform us.

      And now SOL is here, at a.pass, with a call to the participants to engage with their artistic researches through love itself. a.pass and SOL will get together, without knowing ahead what is going to happen, but with the trust that everything we live outside of SOL – artistic researches, experiences and desires – will manifest themselves inside SOL in a way we could not imagine elsewhere. And once this happens, maybe the difference between art and love will not be so obvious anymore..

      Alongside the weekly meetings of SOL at a.pass, a program of study days and workshops will look into various aspects that bring together love, art, school, improvisation and politics. Those sessions will be led by: Johan Grimonprez, Bleri Lleshi, Femke Snelting, Brandon LaBelle, Eva Berghmans, CW/ Common Wallet project, Jan Masschelein, Laurence Rassel, Caroline Godard, Elke Van Campenhout, João Fiadeiro, Alex Arteaga, An Mertens, Daniela Bershan.

      Study Days Program


      Joining in:
      SOL will meet every Tuesday at a.pass and is open to anyone interested to take part. All welcome! A special introduction day into SOL: Tuesday 3rd september 10h – 18h.

      STUDY DAYS and WORKSHOPS – Non a.pass participants who are interested to join – please contact a.pass lilia@apass.be or Adva advazakai@gmail.com

      * Adva Zakai is a part of the SOL collective. SOL's protocol can be practiced by anyone and anywhere, be modified and transformed through the encounter with a new context.

       
    • end communication
    • Recent Past
    • This is 1000 liter fuel. So - & book launch End-Communications + a.pass publication
      21 May 2018
      posted by: Lilia Mestre
    • 24 May 2018
    • 26 May 2018
    • case of: Lilia Mestre
    • This is 1000 liter fuel. So - & book launch

       

      END-COMMUNICATIONS @ DecorAtelier 24 and 25 May from 17:30 till 22:30

      Rue de Liverpool 24, 1080 Molenbeek-Saint-Jean

      BOOK LAUNCH Medium Score -Tectonic Friendship & End Communications  Writing Score

      @ Brew 26 May from 17:30 till 19:30

      1 Rue du Pene, 1000 Brussels

      This is 1000 liter fuel. So-

      For this End-Communications, six researches come together in concepts of absence, invisibility, history and knowledge. They research in various ways to bring what seems to be ungraspable in the construction of subjectivities to the fore. Subjectivity here, not as an individual subjectivity, but one that collectively builds and positions (in transformation) outside of oneself. Subjectivities as constituted by cultural, economical, social and other interactions and seen as complex narratives that mediate our perception(s) of the world. How do we make sense of what is pertained as ‘real’ and how through the generalization of such a standpoint one is unable to connect with the singular, and its inherent complexities? What ethical utterances can appear from this way of addressing the world?
      Following up on the idea of co-making worlds a.pass positions itself as a collaborative environment for the investigation and expression of artistic research. The media of the research are multiple and often combined. The cross disciplines and their interaction forces each specific (or even disciplinary) methodology to break down and instigate the construction of singular ways of doing/ thinking. This approach orients artistic research out of a categorical way of understanding knowledge production in the arts as much as it opens up distinctive and particular forms of addressing relationality, we could call undisciplined.

      The work of the six researchers entails combined forms of research on what can be called transdisciplinary research in order to open up the complexity of the objects of study through combining experiential approaches.

      Luisa Fillitz's research positions itself on the relationship between physical and metaphysical realities and questions the predetermined bo rders of a effect we take as ‘real’. Esther Rodriguez-Barbero Granado works in the domains of architecture and body as constructors of space. Eunkyung Jeong, through a daily drawing practice, researches the idea of time within diverse forms of existence as the stone and the self. Marialena Marouda’s research on the ocean problematizes scientic knowledge as the single epistemology of nature. Ekaterina Kaplunova develops a systematic approach to family relations and cultural lineage in relation to the multifunctional artist. Shervin Kianersi Haghighi addresses the undocumented performance of everyday life as an invisible event produced within the confines of Art.

      SCORESCAPES BOOK LAUNCH

      Medium Score -Tectonic Friendship & End Communications  Writing Score

      a.pass book launch @ Brew with a dialogue facilitated by Philippine Hoegen and chocolate cocktails by Shervin Kianersi Haghighi!

      We will engage in a collective discussion with Philippine Hoegen and will perform parts of the publication.

      This publication serves the SCORESCAPES research - scores as pedagogical tool by Lilia Mestre and the End-Communications of six a.pass researchers. Medium Score builds on the previous iterations of scores as tools to practice dialogue and intersubjective formats for exchange in artistic research.

      Before finishing the a.pass program in May 2018, the six researchers Luisa Fillitz, Esther Rodriguez-Barbero Granado, Eunkyung Jeong, Marialena Marouda, Ekaterina Kaplunova and Shervin Kiarnesi Haghighi worked for a month and a half in an adapted Writing Score to produce this publication.

      Design: Miriam Hempel www.daretoknow.co.uk

       

    • Archive
    • block information
    • The Way of the Anarchive a residency with Erin Manning in the frame of parallel parasite
      11 May 2018
      posted by: Lilia Mestre
    • Zsenne ArtLab
    • 18 June 2018
    • 29 June 2018
    • case of: Lilia Mestre
    • The Way of the Anarchive

       

      The Way of the Anarchive

      What resists the archive?
      How does that which resists cast itself forward?
      What kinds of traces, smudges, residues does it leave, does it create?
      How can we value that which does not register, but makes a difference?

      A processual engagement with the anarchic share of experience will allow us to develop techniques for attuning to that which resists capture. In a paradoxical move, our work will be to give it the breadth and force of an appearance. This appearance, conceived as a minor gesture, will be curious about that which sparks in the interstices of experience in the making.

      With a.pass associate researchers: Sina Seiffee,  Adrijana Gvozdenovic, Sara Manente, Lilia Mestre, Nicolas Galleazzi. a.pass (ex)participants: Marialena Marouda, Eleanor Weber , Xiri Noir and Pia Louwerens Guests: Erin Manning, Brian Massumi, Adva Zakai, Alex Arteaga, Miriam Hempel, Nikolaus Gansterer, Silvia Pinto Coelho, Tamir Etin, Halbe Kuipers, Nico Dockx, Veridiana Zurita, Petra Van Dyck and Lea Dietschmann,  ...

      SCHEDULE

      • WEEK 3 (18 -24 June) - The two weeks of The Way of the Anarchive are radically open: together we will work to create vacuoles of time through which the infraperceptible will begin to resonate. From 12:00-16:00 you will find us at Zsenne, in and around. But time folds, so don't be alarmed if 16:00 becomes 19:00 - you never do know what time can do! In the evenings most days there is an open conversation.

      • Monday 18 > The Way of the Anarchive

      • Tuesday 19 > The Way of the Anarchive 19:00 Encounter with Erin Manning

      • Wednesday 20 > The Way of the Anarchive

      • Thursday 21 > The Way of the Anarchive  19:00 Encounter with Nico Dockx: Every Archive Hides Another Archive

      • Friday 22 > 13:30-16:30  Miriam Hempel > The Meaning Of — an exploration of alternative perspectives

      • Saturday 23 > Visit DETM (Don't Eat The Microphone) In Psychiatrisch Ziekenhuis Dr. Guislain. GENT with Viridiana Zurita, Petra Van Dyck and Lea Dietschmann (closed session)

        WEEK 4 (25- 30 June)

      • Monday 25 > CRI’s (a.pass post-master sharing practices day+ feedback)

      • Tuesday 26 > The Way of the Anarchive  19:00  Encounter SenseLab and SOL

      • Wednesday 27 > The Way of the Anarchive  19:00  Encounter with Alex Arteaga:  “de-archiving. A framed dialog”

      • Thursday 28 > The Way of the Anarchive  19:00 Encounter with Erin Manning and Brian Massumi - Cryptoeconomy of affect

      • Friday 29 > The Way of the Anarchive

      • Saturday 30 > Nikolaus Gansterer (Translecture) CANCELLED (due to inoperative meniscus)

       

       

       

       

       

       
    • block information
    • gathering
    • Research Center
    • Instead of Needing to Know SOL/School Of Love in the frame of Parallel-Parasite
      11 May 2018
      posted by: Lilia Mestre
    • 04 June 2018
    • 09 May 2018
    • case of: Lilia Mestre
    • Instead of Needing to Know

      Out of the many definitions of love, SOL was always attracted to the one that describes love as the willingness to let go of what you thought you were before meeting the other. This kind of love can exist among strangers, not only within romantic couples. Schools should teach how to love this way. Schools should facilitate this mode of being.

      If both Love and School engaged in the practice of being open to change through encounters with others, we might develop sensitivities to deal with unknown paths better. Maybe 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 a life dedicated to an anticipated and defined future.

      Proposing to put improvisation back in the agenda might seem like stating the obvious. Life itself is an improvisation, of course, we never stopped improvising. But as we already did with love and school, SOL would like to dedicate a special attention to improvisation in order to examine its relevance to contemporary realities. Not the improvisation that aims to emancipate repressed self-expression, nor the one that provides skills and the mastery to manouver within individual lives and careers, but an attitude of improvisation that may create an actualized set of relations between us and other people, us and other things, us and anything that is not us.



      Lets call it a pre-research. The week we'll spend in Szenne gallery is mainly a theoretical exploration, aiming at beginning to understand what these thoughts might mean. Perhaps by the end of the residency we will prefer not to use the word improvisation anymore/at all, and will name things differently. For now, we will share our first thoughts on it, read texts together, practice and reflect on the directions that this process can grow into.

      tp://Please inscribe here : https://bimestriel.framapad.org/p/VoV7C6HGQX

      www.schooloflove.info
      https://apass.be/parallel-parasite-platform-for-practice-based-research-in-the-arts/

       

      * * *
      * Members of SOL develop projects collectively, or invite SOL to join a process they initiated individually. This process was initiated by Adva Zakai and will be practiced in collaboration with SOL members and whoever is interested in joining.

      ** Participation conditions: Preferably follow the whole week, so that we share a process. If a whole week not possible, come for a full day. If planning ahead is too difficult, pop in and we'll see what this does to our and your process.


      Please inscribe here : https://bimestriel.framapad.org/p/VoV7C6HGQX

      Weekly plan

      Monday June 4th
      11h – 12h Settle in, introduction of participants and their interests.
      12h – 13h Listen to lecture On not knowing and paying attention / Tim Ingold + discussion
      13h – 14h30 Lunch break
      14h30 – 17h Read fragments from Speaking and Sensing the Self in Authentic
      Movement: The Search for Authenticity in a 21st Century / Seran E. Schug
      17h30 - 19h Socratic discussion on the term Authentic
      19h - 20h Introduction of the School Of Love

      Tuesday June 5th
      11h – 13h Read Improvisational Necessity and its After Affects / Sher Doruff
      13h – 14h30 Lunch break
      14h30 - 17h Read Improvisational Necessity and its After Affects / Sher Doruff
      17h30 – 19h Socratic discussion on the term Improvisation

      Wednesday June 6th
      SOL OFF

      Thursday June 7th
      11h – 13h Authentic movement guided by Julien Bruneau, (ONLY for those who follow other days in the process)
      13h – 14h30 Lunch break
      14h30 – 17h Authentic movement practice guided by Julien Bruneau (ONLY for those who follow other days in the process)
      17h30 -19h TTTell (Time-Term-Tell discussion)
      19h30 SOL interview by Lauren Grusenmeyer for the WORKOUT publication http://bureaugrusenmeyer.com/projects/WORKOUT

      Friday June 8th
      11h – 13h Read Towards a Politics of Immediation / Erin Manning
      13h – 14h30 Lunch break
      14h30 - 17h Read Towards a Politics of Immediation / Erin Manning
      17h30 – 19h Roumor Machine (discussion)

      Saturday June 9th
      11h – 13h Read Towards a Politics of Immediation / Erin Manning
      13h – 13h30 Break and lunch preparation
      13h30 – 15h Final discussion, plans for the future, feedback on the week and goodbye.

      Additionally:
      Tuesday June 26th
      SOL will meet with Erin Manning and the Sense Lab at ZSenne Gallery at 19h, in an open public discussion about the text of Manning that was read during SOL's residency.

    • Workshop
    • Little Fables of Practice Workshop 07 June 2017
      posted by: Lilia Mestre
    • Sina Seifee
    • a.pass 4th floor
    • 24 July 2017
    • 25 July 2017
    • case of: Sina Seifee
    • Little Fables of Practice Workshop

      In this two days workshop Sina Seifee proposes the notion of keyword seen as a site where one formulates concepts and narratives that reorient one within one's own research practices. We will (re)animate our keywords as fables, which are operational metaphors that shape subjects and objects of knowledge. How can we participate in (re)shaping our objects of knowledge in terms of little fables?


      Committed to staying with linguistic differences in each of our stories we open a praxiography, a way of investigating the ontological commitments embedded in language that we are using to describe what we do. The participants are asked to bring their "found-objects" (objects, categories, metaphors, concepts, words, terms, and figures that one cannot stop following) and put them under telling: stories about the lives of your found-objects in a practice of writing. In telling-practices we engage in a contingent (re)materializing of our empirical objects and we question the essential stories that hold each of our practices together. With the aim of keeping our objects, concepts, and insights in a state of generative transformation, through participating in different (though not fixed nor mutually exclusive) ecology of key concepts we will learn a relational empiricism that helps decomposing one's solid objects of knowledge.


      Where? a.pass 4th floor from 14:00 till 18:00

    • Workshop
    • Block 17/II
    • choreography
    • dance
    • dispositif
    • together
    • Dance Workshop 07 June 2017
      posted by: Lilia Mestre
    • Jennifer Lacey
    • 10 July 2017
    • 14 June 2017
    • Dance Workshop

      It seems obvious  that the conditions for making something (anything) will influence the thing made . Other "I " words are maybe more specific than influence: infuse, impregnate, infiltrate, interrupt, incinerate, incarcerate, inveigle, imbue, illuminate. The larger axis of conditions, as I see them, are largely related to money, time, health and the political situation of the land and/or institution surrounding the workplace. The more intimate and malleable aspects are ideas and process. The qualities and hazards of the large-axis conditions in relation to the ones deemed "creative" produce what we could call a form.

      The base line of dance is perhaps understood as the body but mostly it is bodies ( minds implied) together someplace, deciding to work in a certain way . The how of the work, the process, is something that is always to be reinvented and renegotiated. Each dispositif of dance making already contains a nascent content, one that will inevitably be more influential than any idea or concept in the production of the form. So, in imagining how to design the making of a dance, the translation of the concept or content into a thing-which-can-be-done is a crucial, poetic and political task.

      In this workshop we will practice dancing and make the making of dances, or otherwise said, processes.
      Within the workplace/studio our first and most important gesture is to decide how shall we spend our time and how we shall be with each other and then be alert to the dances that are produced and what they might need to continue. My primary proposition is to cultivate processes derived from your own work, translating their conditions and content into practices that produce some dances (we will simply call all that we produce "dance"). There is no necessity to have had any experience dancing.

       As an artist who has worked under a myriad of different large-axis conditions, I have found the greatest necessity and source for me is to render transparent these larger conditions and mix them into the content or desires that preoccupy me, to consciously make a process that can only exist within this specific alchemy. This is my way but there are many varied conventions of contemporary choreographic practice that hold with in them poetic, social and political forces that become be the dominant aspect of the work, even if by accident. We will play with a few of these to observe their forces in action but most of our energy will be devoted to your own work,devising ways to share their doing that retain the integrity of your vision and perhaps reveal the influences of the specific conditions of your work. Or more truthfully, we will start to do this, as 5 days is rather short for such an ambition!  I like to refer to working processes as punctual social contracts. Ones that might be extreme in certain ways but that are agreed upon and that we know will end and so we can commit without anxiety.

      INSCRIPTIONS ; production@apass.be LIMITED CAPACITY  (price 50 euro)

      Everyday from 10:00 till 17:00 a.pass 4th floor

    • Walter Benjamin's work could be described as an extremely precise and sensible/sensitive analysis of modernity. Or, more precisely, of the procedures through which modernity is affecting modes of life and of communication and, essentially, of relating to the world. In his "On Language as Such and on the Language of Man" for example, Benjamin describes a practice of an intense “listening”, a mode of extreme attentiveness and generosity towards every-thing that surrounded him, as the precondition for any form of language. And in "The Storyteller", he views storytelling as a way of voicing such experiences of listening to and of experiencing the world. Yet storytelling makes use of almost everything that the modern individual is not or has not, most notably time and the ability to listen. In this mode of communication, the story resonates on multiple levels of meaning without ever assuming the position of an objective truth. In other words, storytelling creates personal narratives where truth and fiction are as much intertwined as the subject of the narration with its object.

      Guided by a desire to take a closer look into Benjamin's work, we propose the feminist reading group.

      What does it mean to read as a feminist? The question may seem odd, or even trivial, but it engages the very ground of our work as artists and thinkers. Indeed, how is our reflection oriented, if not by the very way in which we turn to the text? And yet, when we think about methodologies and epistemologies, we rarely interrogate the practice of reading itself. This is all the more surprising that feminists tend to engage with texts by seeking to counter and denounce what phallocentrism wishes to leave unseen. These oppositional readings are crucial: without them, the insidious fallacies and the fatal acts of bad faith cannot be undone and proliferate unhampered. Yet they also run the risk of turning feminism into a mode of thinking that does nothing but to say “no,” one that destroys but rarely creates, and one that produces its own form of alienation. We want to propose another form of feminist reading: instead of the critical, distrustful distance, we suggest that closeness and intimacy may form an equally powerful approach. In this reading group, we examine what feminist thinking can become when it takes the shape of a lover’s response to a text’s seduction, and when refutation and penetration are replaced by a mode of reading that is founded in an ethics of proximity.

      The structure of the reading group is open. There are no experts. We choose, read and unfold the texts together and according to the interest and individual focus of the participants.

      Meetings from 17:00-20:00 at a.pass studio, 4th floor

      Next meetings & readings:  20.06 / 04.07 / 18.07 / 08.08

      For further information about the texts please contact: marialena.pouskouri@gmail.com


    • Curated by Sofia Caesar and Lilia Mestre, the public program “The Document Transformed” invites four practitioners that offer very distinct questions, methods, and proposals to problems related to documentation. Join Femke Snelting, Olga de Soto, Vincent Meessen, and Agency (Kobe Matthys), and others, for three days of presentations, screenings, performances and conversations. How does the document affect practices, bodies, histories, and experiences? The event brings together practices that not only give sight to the power relations engendered by apparatuses of documentation, but also move towards the transformation of the systems in which we produce history, law, art, and the body. Held in the context of The Problem of the Score, block curated by Lilia Mestre in the a.pass post-master research program and supported by a.pass.

      This seminar is organized in collaboration with La Bellone - Brussels

      To inscribe to the master-classes please send an email to production@apass.be


      JUNE 22-23-24 @ LA BELLONE
      Rue de Flandre 46
      Brussels

      Detailed program:

      Thursday June 22nd

      10:00 > 13:00        Masterclass Agency (Kobe Matthys)

      What if ephemeral things become included within art practices? Intellectual property seems to be mostly reserved for “fixated” things. Although the European copyright law doesn't exclude variability, during jurisprudences judges consider movements that are “recordable” in some way or another. Agency calls forth different controversies from recorded movements in dance and performance and sport. By paying attention to the consequences of the apparatus of intellectual property right for the protocols inherent to practices, the fragility of the mode of existence of singular art practices is made explicit.

       

      14:00 >17:00     Masterclass Possible Bodies (Femke Snelting and Adva Zakai)

      This edition will be dedicated to a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. It was developed in the mid-nineties and remains one of the most commonly used file-formats for transposing movement captured in physical space, to a computational environment. Around this relatively legible format, a rich ecology of software tools developed. The file-format functions as a boundary object between practices and bodies, as it is used by animators, game developers, interface researchers, medical professionals, dance-historians, sports-analysts and engineers.

      Together we will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.

      The reading of the .bvh file format is developed with Adva Zakai in the context of Possible Bodies, a collaborative research initiated by Jara Rocha and Femke Snelting on the very concrete and at the same time complex and fictional entities that “bodies” are, and the matter-cultural conditions of possibility that render them present.

       

      Friday June 23rd

      10:00 >13:00        Exhibition visit (Bozar) and discussion with Vincent Meessen
      Starts at Bozar Main entrance

      In this afternoon, artist Vincent Meessen will take us through his Bozar show, that comes from his recent practice that involves research, historicization, and speculation about congolese works of art that have been commissioned and (re-)contextualized in the early 30’s. Starting from there, we can raise some issues about what a work of art is expected to be and how it can shift meaning with context and neighbouring artefacts.

      More about the show Patterns for (Re)cognition by Tshela Tendu & Vincent Meessen, Opening 16th June at BOZAR: http://www.bozar.be/nl/activities/124891-tshela-tendu-vincent-meessen

       

      14:00 >17:00       Masterclass Olga de Soto

      Olga de Soto will share her research project that has Kurt Jooss’ The Green Table (1932) as a starting point. She will display the process, methods, research protocols and strategies that she has developed over time, and through which she addresses the question of reconstruction, re-enactment and revival from the perspective of the trace, both material and immaterial, in order to analyse the several charges the work contain (social, political, dramatic, emotional...).

      She will share with us how she approached Jooss' work through the archive, the trace and the document, proposing to circumvent the traditional modalities of transmission in dance, in order to probe the archive’s "capabilities" to say the work, as well to examine the archive's "becoming-work".

      We will observe how the project and its process unfolded simultaneously into two levels: on a documentary research level and on a creation level. With the help of several documents, we will observe how the documentary research was developed, dedicated in part to researching and documenting the perception and transmission of The Green Table, seeking out iconographic material (through the gathering of numerous documents of different kinds), analysing the choreographic characteristics of the work and looking for witnesses – dancers and audience members from different origins and generations, in order to study the perception of the work through the prism of the viewer’s gaze (using the interview as a tool to collect memories, focusing on the importance of the testimony and oral sources).

       

      Saturday June 24th 12:00 > 18:00

      In this afternoon of presentations, screenings, and performances, the four invited practitioners will take us to dive deeper into different case studies.

       

      12:30   Sofia Caesar: Introduction talk

      13:00  Femke Snelting

      Femke Snelting will present a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. Together they will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.

      14:00 Olga de Soto

      Olga de Soto will share some excerpts of Débords, work presented at Les Halles in 2012, as well as some excerpts of the installation she is currently working on, and that was partially presented this Spring at Museum für Neue Kunst, in Freiburg. The presentation will be punctuated with a discussion on the work.

       

      PAUSE

       

      15:30  Vincent Meessen

      Vincent Meessen will screen “One. Two. Three.”, piece presented in Wiels in 2016, followed by a talk about his strategies of re-composition and counter-narratives.

      16:30 Agency (Kobe Matthys)

      What if ephemeral things become included within art practices?” Thing 001678 (Le Jeune Homme et la Mort) concerns a conflict between on the one hand Roger Eudes, Théâtre Champs-Elysées, and on the other hand Jean Guttmann (Babilée) and Jean Cocteau about the performance Le Jeune Homme et la Mort. On June 8, 1960, the court case Eudes c. Gutmann, Cocteau et autres took place at the Cour d’appel de Paris. Judge Rousselet had to decide who owned the rights over the movements of the performance, Eudes who hired Jean Gutmann to “translate” Jean Cocteau his drama into ballet movements or Cocteau who wrote the script of Le Jeune Homme et la Mort.

      17:30 Book launch with Juan Dominguez and Victoria Perez Rojo

      The book Dirty Room is the fourth and last phase of Juan Dominguez’s research, developed during 2015-16 as a.pass associate researcher. Dirty Room is a collection of outlines, notes, ideas, reflections, photographic materials, maps, manifestos, fragments from diaries, transcriptions of conversations, interviews, email exchanges, memoirs, memories and scripts, among other documents from the working and research process that led to Clean Room. Clean Room was a project based on the concept of seriality with a pilot and 3 more seasons of 6 episodes each that took place from 2010 to 2016.

      Dirty Room offers the readers an immersion in the process of the project Clean Room. It is a book in which there are no critical essays, or texts speaking only from the external position of the spectator. All of the contributions are part of the ongoing research and working process of Clean Room, either continually accompanying it over long periods or as one-off contributions at a specific moments. This decision highlights the great potential of the process in its fragmentary, undefined and open nature not only for the transmission of knowledge and ideas, but above all for stimulating imaginative processes to connect with the concerns that set the series in motion.

      Dirty Room

      Edited by: Juan Domínguez and Victoria Pérez Royo

      Editorial: Continta me tienes

      Executive Production: manyone

      Madrid, May 2017

      Translations by Ana Buitrago, Simon Malone and Catherine Phelps

      This is a publication by the a.pass research centre.

       

      About the participants

      Vincent Meessen

      "Transform documents into experiences and vice versa". This phrase by Aby Warburg could definitely be used to introduce Vincent Meessen's speculative realism, or as he calls it: 'documents d'expérience'. His archival investigations always lead to loose associations and appropriative gestures that are rewritten into critical narratives.

      In his latest modular installations he combines films with printed matter and sculptures. Meessen produces narratives that question our ability to deal with the colonial ghosts of modernity. In his recent Vita Nova, he makes use of the filmic essay to re-read Roland Barthes in various postcolonial African situations, applying Barthes's deconstruction tools to some of his famous texts. Vincent Meessen likes to use procedures of collaboration that undermine the authority of the author and emphasize the intelligence of collectives and of conceptual characters. He is a founding member of the artist collective Potential Estate and of the platform for artistic research and production Jubilee (jubilee-art.org).  

      Recent shows include KIOSK (Ghent), ARS 11, Kiasma Museum (Helsinki), Stedelijk Museum Bureau (Amsterdam) and Contour Biennial for Moving Images (Mechelen). He worked together with the collective Potential Estate for the Brussels Biennial and M HKA (Antwerp). His filmworks were screened at Jeu de Paume, at Cinémathèque française (Paris), at Museo Reina Sofia (Madrid), at the Swiss Institute (NY) and at international festivals such as IDFA (Amsterdam), IFFR (Rotterdam), Cinéma du Réel (Paris) and Transmediale (Berlin). His films are distributed by Argos center for art & media (Brussels) (see also section on Art Organisations). Meessen has curated several film programs and exhibitions for various institutions including Extra City (Antwerp), Argos (Brussels), C.E.A.C (Xiamen, CH), E.R.B.A (Valence, F).

       

      Agency

      Agency is a Brussels-based initiative founded in 1992, which constitutes a growing list of 'things' that resist the radical split between the classifications of "nature" and "culture" and consequently between expressions and ideas, creations and facts, subjects and objects, humans and non-humans, originality and common, mind and body, etc.

       

      Femke Snelting (Possible Bodies)

      Artist and designer, developing projects at the intersection of design, feminism and free software. She is a core member of Constant, the Brussels-based association for arts and media, and co-initiated the design/research team Open Source Publishing (OSP). With delegates Jara Rocha, Seda Guerses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools. She formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring and recently co-ordinated the Libre Graphics Research Unit, a European partnership investigating inter-relations between free software tools and artistic practice. Femke teaches at the Piet Zwart Institute (Master Media Design and Communication).

      Possible Bodies is a collaborative research on the very concrete and at the same time complex and fictional entities that “bodies” are, asking what matter-cultural conditions of possibility render them present. This becomes especially urgent in contact with the technologies, infrastructures and techniques of 3D tracking, modelling and scanning. Intersecting issues of race, gender, class, age and ability resurface through these performative as well as representational practices. The research is concerned with genealogies of how bodies and technologies have been mutually constituted. It interrogates corpo-realities and their orientation through parametric interfaces and looks at anatomies that are computationally constrained by the requirements of mesh-modelling. It invites the generation of concepts and experimental renderings, wild combinations and digital and non-digital prototypes for different embodiments. Collectors: Jara Rocha + Femke Snelting.

      Her collaborator Adva Zakai is a choreographer, performer and curator who explores how body and language are perceived through each other.

       

      Olga de Soto

      Olga de Soto Olga de Soto is choreographer and dance researcher, born in Valencia, she lives in Brussels. She graduates from CNDC / Centre National de Danse Contemporaine d’Angers, after having studied classical ballet, contemporary dance and music theory in Valencia and in Madrid. Her creation work begins in 1992, and includes the creation of numerous works of different formats. Since the end of the ’90, her work focuses on the study of memory, and it questions the impact of live art, its usefulness its lasting quality, deploying itself along two axes. The first centres on the study of the body's memory through the creation of works, aiming at a pluralistic approach to dance and the body, in works creations such as anarborescences (Théâtre de la Cité internationale, Paris, 1999), Éclats mats (Centre Pompidou, Paris, 2001), INCORPORER ce qui reste ici au dans mon cœur (Centre Pompidou, Paris, 2004-2009). The second axis explores works from the history of dance as part of an approach governed by the study of perceptual memory, that of spectators and dancers. The resulting projects emphasize the importance of the processes and pay particular attention to documents, to the process of documentation, to testimony, to archives and oral sources, narrative and storytelling, particularly in works such as histoire(s) (Kunstenfestivaldesarts, Brussels, 2004), An Introduction (Tanz Im August, Berlin, 2010) or Débords (Festival d’Automne, Paris, 2012). These projects are interested in the experience of the viewer and in the anthropology of the spectacle, while developing through an approach that studies the aesthetic experience based on the oral history of works from the past. Her last projects genuinely mix the languages of choreography with those of documentary, performance, visual arts and installation, playing with the porousness of these disciplines. The work of the choreographer also reveals the strong links between art history, social and political history, and personal paths. Olga de Soto’s work has been shown in some twenty countries, an she is regularly invited to teach and to lead workshops and classes in various universities, as well as to collaborate in conferences where she shares her research methodology and her documentation work. She was awarded the SACD Prize 2013 in the category of Performing Arts for both her trajectory and her research work on Dance History, and specially for her research and creation work on The Green Table.

    • Research
    • artistic research
    • Block 17/II
    • spatial research
    • SETTLEMENT (11) artistic research environment
      07 May 2017
      posted by: Lilia Mestre
    • Vladimir Miller
    • a.pass 4th floor
    • case of: Vladimir Miller
    • SETTLEMENT (11)


      During the days of May 22nd - June 4th 2017 a.pass will come together and host an open workspace called SETTLEMENT. In the course of these 14 days we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.pass SETTLEMENT and sharing some of your ideas, practices or works with others. The materials and structures available at a.pass will be a common resource for all who join to create whatever is needed to facilitate this process. The schedule for these two week will be developed on site by its participants and shared online here:

      Settlement 11 Collective Schedule

       

      Here are some key ideas which have informed similar spaces before:


      encountering processes
      The potential of this setup is that it allows us to encounter each others processes instead of products of our artistic work. Processes are much more difficult to make visible and to see as they require a different mode of attention and participation. The attempt to witness a process requires a change in the temporal mode and in the mode of being-together in the collective space.

      no spectators
      The space we are trying to facilitate is open, but it is not an exhibition. There is no „spectator mode“, and no institutionalized responsibility for hosting. However any participant (including possible newcomers) is welcome to invite and host anybody according to the logic of her/his work process. Anybody is welcome to joint the collective space for any time span, respectful of the fact that Settlement is a predominately a workspace. The (growing/changing) group will try to provide enough information at the entrance, so that everyone feels welcome and knows how to join and share. Although the time frame is short, we hope to create a space that would be engaging to the students, faculty and visitors of the Academy.

      gifts
      Everyone is welcome to visit or join the space. If someone wants to stay and work (this includes us) s/he should bring a "gift" to the space in terms of sharing a work process, presenting a work, or facilitating a discussion or any other imaginable contribution to the shared space.

      productive instability
      We will collect most of the materials for the space from the academy’s storage and re-accommodate them towards our purposes. This strategy produces a space that is fragile, self-made, and constantly changing. We believe that such a space influences the sociability within it towards similar qualities – towards a more fluid social contract. In asking for a hands-on construction and deconstruction of its makeshift set-ups, such a space allows for a quicker change of settings and a decentralized mode of (self)organization. For this reason, we suggest to refrain from using usual furniture (tables and chairs) and improvise new set ups for „work-stations“ and collective moments out of what we can scavenge from around the academy.

      SETTLEMENT


      Settlement is spatial proposal that tries to sustain its architectural fragility hoping in this way to initiate a temporary social, organizational and ideological one.  Simply put it is a collective workspace, a camp and a hangout, open to all who stop by and would like to contribute to it. Like many other such meetings it is a place of informal exchange and presentation. It is a space for practices instead of products, a place where our individual ideas and processes have not yet achieved a solid state and can flow into each other.

      Settlement starts with a haphazard collection of materials in an otherwise empty space Everything one might need for one’s work has be be built and (re)invented there. There are no tables, no chairs, and the materials and objects resist easy categorization and usability. They have to be mis-used, adapted, they have a will on their own. The built environment has to be negotiated (with) on the level of the object. There is potential in a thing being one thing one day, and a totally different thing the day after. There is also potential in that thing changing hands. (You will be surprised how quickly ownership is established from communal beginnings: you just have to take one thing and put is somewhere.)

      Settlement is a space that tries very hard not to settle. Its instability works against the establishing of clear boundaries between „your space“ and „my space“, what hopefully follows from that is that it is very difficult to establish boundaries between „your work“ and "my work". Miller believes that practice is bound by space, and if space gets shaky, unstable, shareable, so does the practice.

      By starting from scratch Settlement invites a re-negotiation of the specific conditions of each practice.  In the course of the three weeks Settlement lets your particular method of production and sharing find its own intrinsic spatial conditions, free from the encoded behaviors of ready-made spaces such as “table”, “studio”, “meeting”, “gallery”, “venue”, “library”, etc.

      The politics of practice in terms of co-habitation and co-working, of claiming one’s own space, inviting or excluding the outside, communication of ideas, inviting change and influence are all there to be questioned within this setup. As a practice is (in some ways) „re-built“ during Settlement, one can come to question its very construction.

      Settlement is a collective project Vladimir Miller facilitated over several years on different occasions. The project takes the form of a workshop and creates and inhabits a space full of fragile and precarious structures. Since Settlement starts from a space devoid of habitual work setups, with all materials present considered a common resource,all the structures are built from the necessities of the individual and collective practices of its participants. A kind of a re-start on the physical level and an attempted re-start on the level of the habitual and institutional structures governing our spaces of production. The title is used as a provocation, as Settlement is a space which, over the course of several weeks, tries very hard not to settle.
      Settlement puts a spatial perspective on practice, identifying modes of institutionalization and habit which keep the spaces of artistic production and education from becoming spaces of commoning. These modes of ‘settling’ are embedded in many things: they are there in the ways the spaces are designed and organized towards stability (supporting habit and the given hierarchy of organization), they are there in the institutionalized processes of access and exclusion, and they are there in our social habits (which structure the most empty and open space imaginable). Looking at how the spaces of our practice prioritize the habitual, Settlement introduces architectural fragility as a mode of destabilizing practice and the social agreements between the participants. The spaces created within Settlement are make-shift and precarious and therefore never suited to support a certain social constellation or a process indefinitely. That introduces another timing into the space, rendering all structures inherently temporary and unreliable. The habit of regarding products of work as property becomes destabilized, as all structures in the space are short-lived and can become ‘material’ again very quickly. These and other changes occur through fragility of the built environment and work effectively against the habitual ‘settling down’. The transition of a structure back to the common resource through collapse or re-appropriation is always a possibility, producing the common as a constant perspective onto the emerging territories, constellations and rules in the Settlement space.

    • Publication
    • BUBBLE SCORE / Lilia Mestre a.pass publication
      19 January 2017
      posted by: Lilia Mestre
    • Book
    • case of: Lilia Mestre
    • BUBBLE SCORE / Lilia Mestre

      BUBBLE SCORE – The Relation between Performance and Writing is the third book of the ScoreScapes publications series. The book contains texts by a.pass researchers, collages as well as Scores for the Reader inserted at the back of the book.

      price: 10 euro

      This publication by the a.pass research centre was created for the Bubble Score practice proposed by associate program curator Lilia Mestre in Block I/2016

      The book is designed by Miriam Hempel http://www.daretoknow.co.uk/

       

      .  





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