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

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


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

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

       

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

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

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

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

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

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

      AND

      The SenseLab is a laboratory for thought in motion.

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

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

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

      Anarchive 

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

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

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

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

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

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

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

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

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

       
    • performative publishing
    • research center
    • Parallel Parasite
    • Parallel Parasite Timeline Repository - Web Publication Research Center Document
      21 December 2019
      posted by: Lilia Mestre
    • online: https://parallelparasite.apass.be/
    • case of: Lilia Mestre
      case of: Sina Seifee
    • Parallel Parasite Timeline Repository - Web Publication

      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 Ivory Weber, Adva Zakai, Veridiana Zurita with Petra Van Dyck and Lea Dietschmann.
       
      and the post-master researchers:
      Elen Braga, Nasia Fourtouni, Leo Kay, Laura Pante, Geert Vaes, Maurice Meewisse, Caterina Mora, Ezther Nemethi, Hoda Siahtiri, Goda Palekaitė, Katinka Van Gorkum.

       

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

       

       

       

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

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

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

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

      SCORESCAPES

      • WEEK 2 (11-17)

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

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

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

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

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

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

    • research center
    • seminar
    • workshop
    • block 2018/II
    • Parallel Parasite
    • 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 Ivory 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)

       

       

       

       

       

       
    • research center
    • workshop
    • a.pass meets School of Love
    • Parallel Parasite
    • Instead of Needing to Know School Of Love @ Parallel-Parasite
      11 May 2018
      posted by: Lilia Mestre
    • School of Love
    • 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

      www.schooloflove.info

       

      * * *
      * 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.

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

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


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

       

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

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

       

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

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

       

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

       

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

       

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

       

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

      AND

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

       

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

       

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

       

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

       

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

       

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

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

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

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

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


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





APPLY TO THE A.PASS PROGRAMMES

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

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

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