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Maurice Meewisse /4


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    • 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.

    • block I - m.a.s.o.m. 15 September 2019
      posted by: Maurice Meewisse
    • case of: Maurice Meewisse
    • block I - m.a.s.o.m.

      "Milieus, associations, sieves and other matters."

      "Ensemble of problematisations composing a processual environment. A metastable milieu in crisis, which evolves by shifting to new dimensions out of a series of confrontations with and temporary resolutions of problems. The basic grid is one of a series of self organised interactive events intersecting with a series of theoretical study days and a series of advanced forms of feedback." (May-August 2018, curated by Pierre Rubio)

      During my first block I spend most time trying to understand in what kind of environment I ended up and to learn the lingo. Besides that, it was urgent to reformulate my research question that come out of my practise.

      C.R.I. I

       

      The block was activated by C.R.I.'s (critical research interfaces) which raised questions about what does your research open up or makes you see and how does it function as a dispositif (from Foucault). For the first C.R.I. I stacked all the materials, from coffee cups and wall segments to research objects from other participants on one big pile in the middle of the room. I invited all my colleague to come the next day with a very simple task, walk around the pile with me sitting on top. Every time somebody completed a full circle I would read up one 'act' that composed the pile, and if somebody activated the horn, I would start over again from the beginning. After more 90 minutes they managed to walk all the 123 circles around me without stepping on the horn.

      C.R.I. II - A 40kg likable object to carry around

      During a day at ZSenne artlab we were invited to make a small scale C.R.I. for which I introduced my likable object that was filled with 40kg of sand. My request for the group and visitors was simple, please carry the thing and don't put it down!

       

    • block II - School of Love 14 September 2019
      posted by: Maurice Meewisse
    • case of: Maurice Meewisse
    • block II - School of 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." Curated by Adva Zakai, Sept/Dec 2018

      The curatorial proposal seemed from the start interesting but problematic, so I decided to beforehand what my position should be and how I want to relate to the program and a.pass. From the start the claims made by the curator – it is not about love, but about political love, the willingness to let yourself be transformed by other, and that it was not a school, but there is an interest in school – formed the basis of my attitude of constructive opposition. In a not always subtle way I put the thesis of this block to test. The production of actual works was not the main goal of the block, they functioned more as conversation starters within the continuous political game.

      test - the tower

      I decided to start with a small provocation, in the middle of the space I build a tower where it was possible for one person to sit on top of. The tower formed a visualization of the attitude I approached SOL with. Halfway through the block, during some presentations I explained my motives and asked the people there if they thought that they excepted the tower. Everybody but one wanted to keep the tower – no unanimity - so the tower had to go.

      test - the class picture

      During the closing week of this block we traveled together to Performance Art Forum, in northern France. This school trip made me think about our group, what we are, what are status is and how we are related to each other. I decided to do an expiriment, with making a class picture - to see if that could clarify some those questions. I put up a camera on a stand and made every 10 seconds a picture, assuming that at one point everybody would have their eyes open. The actual picture didn't clarify much, but what remained was the act of the making the picture.

       

    • block III - Settlement 14 11 September 2019
      posted by: Maurice Meewisse
    • case of: Maurice Meewisse
    • block III - Settlement 14

      "During the days of Jan 7th-26th 2019 a.pass will come together and host an open workspace called SETTLEMENT. In the course of these three weeks 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 the a.pass main space will be a common resource for all who join to create whatever is needed to facilitate this process." Curator Vladimir Miller

      The Settlement was prolonged and resulted in Unettled Study, as a part of Performatik19, the Brussels performance biennial in Kanal Centre Pompidou.

      In the context of the  Settlement I started a proces where I would explore themes like ownership, value and territory.

      Step I - Sitting

      The Settlement started as an empty space, and I needed to sit, but if you make only one stool, there will always be somebody on it, so I made a lot more.

      Step II - Helping

      I offered my skills to the group, if somebody wanted something, I would make it for them!

      Step III - Branding

      On the last day of the first week I branded everything I made with green and orange, in total 27 objects, after this I left the Settlement for two weeks.

      Step IV - Follow-up

        

      I told the settlers that all my efforts were for the benefit of the collective and that they should feel free to do whatever they want with the stuff I made. But after two weeks I came back to follow up on my work, and about half  'my' things were used in people individual projects - which was perfectly fine, but where I could find traces of my branding, I rebranded and spread my motif further.

      Step V - Outsourcing

      Again I was away for some time, but I needed to stay involved, so what better way then hire people to make me the things I desired? The assignments varied from things I actually needed, up to stuff I was curious about how my colleagues would react. "I need a flag and I pay € 10,- for it" - "I want something pretty for € 8,- " - "Could somebody make me a 10% oversized chair for € 10,-?" - "I pay € 10,- for something to organize all these jobs" ect.  In total 13 objects have been made based on those minimal guidelines, but there was always one hard demand, it needed to be branded! The resulting objects varied enormous, there were provocations, there were simple executions, useful ones and even a virtual one!

      Step VI - Selling

      The Settlement moved to Kanal Centre Pompiduo and transformed into 'Unsettled Study' as a part of Performatik19. In the middle of the group I erected a small shop, Meewisse Mobilier et Divers, where I engaged into negotiations to determine the value of the outsourced objects. The visitors had then the option to buy the object for that price. In that negotiation I was completely open about the procedure that led to these object and tried to sketch an as complete as possible image of the object. Factors like material, who made it, what is it for, what did I pay for it, is it art, is it something else, ect..?

      With special thanks to Katinka, Diego, Adrijana, Steven, Elen, Vlavio, Antye and Pierre for making objects!

       

    • block IV - troubled garden 10 September 2019
      posted by: Maurice Meewisse
    • case of: Maurice Meewisse
    • block IV - troubled garden

      Curated by Nicolas Y Galeazzi

      In this block we were invited to imagine our research as an ecosystem. This was actually relatively easy, because since some I imagined my practice along these lines, although I prefer to use the term oikos.

      My attitude and relationship to the a.pass curatorial program has been different every block. Because the end is approaching I decided to use this block as an experimental playground and to start preparing my end-communication. It resulted in a series of small interventions and explorations in which the curatorial program was secondary. My focus was pointed at how to relate to specific perceptions of reality, and what became apparent during my period at a.pass, explore and question my own perception of reality. This block I explored the agency of smaller gestures then I used before.

      The concept of making kin from Donna Harroway was the bases of the adoption project that I found most interesting in this block. We were asked to give up for adoption a part of our research. I brought in a flag that was partly deconstructed and primarily based on naval signal flags to explore the ambiguity of those things. But since I gave this up for adoption, it doesn't play a role in the current narrative.

      Laura Pante gave me a lot of material for adoption, she gave nature, fascism, Jane Fonda, the pink, and other items and concepts. The big amount of the materials that I received forced me to select and edit, sometimes follow an idea, and sometimes store it for later. I was looking for connections and meaning through working with them, I presented those as rehearsal for a small exhibition. (I was asked to do something on the doorstep of NL=US, a gallery in Rotterdam, I used my adoption findings as the exhibition that was inside)

      During the halfway days we swapped adoptees, I recieved my new one from from Nicolas Y Galeazzi

      Who received 'Yggdrasil' from from Flavio Rodrigo. He gave me the number 1425, as a reference to a date imagined by Donna Harroway. Accidentally he talked about a 1000 years. I decided to not physically bring the number with me, even though I found out later that the proffered wood for an axe handle is actually ash. My explorations resulted into a presentation in 'Valhalla'.

      During dinner I spoke about the steps from tree and wood to lumber and timber, I made a huge 'buddha-bowl' which was mixed up to become pig-food, I showed a timber sample box with over 50 samples of wood from all over the world, of which some are now endangered, I did an experiment with some generated sound and I gave my adoptee to Nicolas is the form of a facses, and ancient ambigoues object.

      Some small gestures during

      I made and served jam made from Japanese Knotweed

      I weaponized the children that lived on the wasteland where part of the block was happening

      And when we asked to leave a trace at the unlearing centre we visited in Switserland, I cut of some centimeter from a chair so it would wobble.

      (some photo's of my intervention at NL=US)

      the cloths are adapted by the Muslin Bros

       





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