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    • postgraduate program
    • block 2020/I
    • Zone Public 20 December 2019
      posted by: Pierre Rubio
    • curated by Femke Snelting & Peggy Pierrot & Pierre Rubio
    • a.pass Brussels
    • 16 January 2020
    • 27 March 2020
    • case of: Pierre Rubio
    • Zone Public

       

       

      Zone Public contributes to an ongoing conversation on the dynamics of publishing generated by technologies of artistic research. From January 2020 onwards, within the a.pass platform for artistic research practices -where its agents continuously re-examine and re-imagine this special form of knowledge production, specifying over and over again its generative nature and deploying its potential-  a three month series of readings, mediations and compilations is oriented by the postgraduate program and its participants to (re)consider the forms and conditions for disseminating artistic research.

       

      In the context of a.pass, the field of artistic research is one to be embodied but also to be explored, discussed and ultimately transversally invented. Instead of a discipline, a.pass considers artistic research as an inclusive library of heterogeneous, impermanent, precarious yet rigorous constructions and affirms that only as a non-discipline, un-discipline or de-discipline can artistic research create the conditions for multiple sites of intersection between society, academia and art. Methodological conflicts, critical discursive inventiveness and continuous experimentation with tentative sub-categories, all are generatively interconnected through hybrid artistic and research practices. Thus, Zone Public wants to closely observe and document the sources, contexts, dynamics, compositions and especially the modes of publicness of the multiple and diverse art and research projects conducted in the post graduate program. The different participatory dispositifs initiated by Zone Public are situated in this specific context, where artistic research is modulated as a topological object to articulate the ways in which artistic practice, theory, history and other disciplines intersect and combine in unique ways in each artistic research projects and trajects. 

       

      Nevertheless, to consider these diverse artistic researches as singular assemblages, as effects but also as proposals for new combinations implies navigating a space where the separation between what is discrete and continuous is reduced. Thinking/doing, writing/publishing, researching/performing, speculating/archiving, containing/executing, exploring/presenting, disagreeing/collaborating, emancipating/determining… Zone Public wants to question these polarities and tries to articulate a relational material that supports, binds and maintains both the discrete and the continuous scales of a non-uniform zone of artistic research in tension with its publicness.

       

      Especially, Zone Public invites to (re)consider the conditions for dissemination of the specific forms of knowledge that artistic research does produce/process/practice. It activates the interrelation between research-as-process versus the crystallisation that publishing requires, and wants to open up the exhibitionary regimes which seem to articulate current artistic research practices and the infrastructures of knowledge production that its agents are both using and possibly used by.

       

      What happens to research when it is made public? How to deal with the apparent dichotomy between research and publicness? What are the ways to manage the (im)possible task of (re)presenting something as hybrid and liquid as a research process? How to produce legible forms out of unformed research matters? How to understand publishing beyond legitimisation and validation? What relations emerge from the determining norms of institutional or academic forms of publication? What to expect from the transfer of research to audiences and what would be, for both agents, useful to know? What could be the definitions and practices of spectatorship for artistic research? What could a public for artistic research be?

       

      Tuned through an ensemble of co-curated proposals designed and coordinated by Femke Snelting, Peggy Pierrot and Pierre Rubio in discussion with the a.pass actors, Zone Public is set up as a collective situation to reflect upon the conditions for making research public, as a space, and time, for together reconsidering academic and/or artistic (internalised) standards of communication and to get to terms with their implications. Therefore, Zone Public is also an occasion to share, invent and consider experimental, performative and/or speculative forms of publishing and exhibiting.

       

      Zone Public is co-curated by three cultural workers. Each of them arrive with distinct but related practices and approaches to the problems of publishing and they assume each of the participants will arrive with theirs. Pierre is interested in modes of knowing, forms of culture and processes of collective individuation specific to artistic research; Femke brings tools from new-materialist feminisms to the tensions between publicness and ongoingness; Peggy questions how publishing can be defined in other ways than by utilitarianism or fetishisation of the legitimacy ideology and dominant modes of (re)presentation and recognition.

       

       

      Zone Public is organised around four dispositifs. Each of them allows another entry into 'the problems of publishing' and is proposed as an invitation to be appropriated and developed.

       

      1. Multipolar Book Club (Researching / Reading / Discussing)
      Every Thursday morning, a time to read and discuss together. The texts to work with are reflecting upon questions of concretisation and individuation, around intersectional relations between cybernetic control systems and structures of knowledge oppression, on the problems of the public, on entanglements and how to cut, and on usefulness and anti-utilitarianism. 
      When: Thursdays 10h00-14h00

       

      2. A Becoming Library (Researching / Contributing / Compiling)
      On Friday afternoon, time to work on concrete experiments of research-publishing. On the program: making on-line publications, editing photocopied fanzines, reprinting materials and programing small radio-capsules. What knowledge would be really useful to publish, and for whom? This collection of publishing experiments will form a growing 'library' of content and forms that matter. The group will contextualise and reflect upon this 'becoming library' through the practice of 'compilation'. Compiling is a term borrowed from collective software-development and it is used to describe a practice of iteratively and temporarily bringing together of resources and references to form a running program. Rather than formatting itself according to preformatted templates of art-publishing, artist books, or academic publishing, can one think the infrastructure of referencing and distribution in ways that work performatively with and not against the intricacies of artistic research? 
      When: Fridays 14h00-18h00

       

      3. The Bermuda Radio Show (Researching / Questioning / Positioning)
      The Bermuda Radio Show is a series of triangular audio recorded conversations. They are occasions to reflect on the issues with ‘making-public’ in relation to artistic research projects conducted at the moment in a.pass. Each project producing possibly its specific form of and matter for interviews.
      When: flexible between Thursday afternoons and Friday mornings or at other possible times.

       

      4. Close Encounters (Researching / Curating / Hosting)
      On some Thursday evenings, a series of presentations and public conversations that was proposed in the context of the a.pass research center in 2018. (See: https:///www.apass.be/close-encounters/ ). Close Encounters are light and irregular events to take time to meet, listen and evaluate an idea, a project, a research, or a specific point in a research trajectory. The events are free-formed and singularly appropriated by its protagonists, but the format is always a dialog with one or more guests; all are invited to expand on their research or the problem posed through the lens of their expertise, experience or concern. For Zone Public, the Close Encounters series will invite guests that have relevant practices with regards to (infrastructures of) publishing and/or making-public and/or art and research publicness. 
      When: most of the time on Thursdays 18h00-21h00

       

       

      here more information about the block of which "Zone Public" is a part

       


      Femke Snelting - Zone Public co-curator
      Femke Snelting works as artist and designer, developing projects at the intersection of design, feminisms and free software. In various constellations she has been exploring how digital tools and practices might co-construct each other. She is member of Constant, a non-profit, artist-run association for art and media based in Brussels. With Jara Rocha she currently activates Possible Bodies, a collective research project that interrogates the concrete and at the same time fictional entities of "bodies" in the context of 3D tracking, modelling and scanning. She co-initiated the design/research team Open Source Publishing (OSP) and formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring. Apart from mentoring at a.pass, Femke teaches at the Piet Zwart Institute (experimental publishing, Rotterdam).

       

       

      Peggy Pierrot - Zone Public co-curator
      Peggy Pierrot lives and works in Brussels. She works mainly with different associations and educational or research structures. Her most favourite tools are human sciences and free softwares. Since there are "profound links between gesture and speech, between expressible thought and the creative activity of the hand ", she is currently working at the Ecole of Recherche Graphique (ERG) both as a technical and logistical assistant and as a teacher in Media and Communication Theory. She is also involved in the master's program Récits et expérimentation - Narration spéculative. (Storytelling and experimentation - Speculative Fabulation) She gives lectures and workshops on Afro-Atlantic cultures and literatures, science fiction, media and technology and has an active practice in radio.

       

       

      Pierre Rubio - Zone Public co-curator
      Pierre Rubio works as artist, independent researcher and dramaturge. At large and through different forms, his work questions modes of individuation to explore contemporary production of subjectivity in/through the arts. What is real for an artist? is his main research question. Pierre was a dancer and choreographer for a long time, holds a master degree in the arts combining theatre & communication at the campus of Aix-Marseille University (France) and dance & choreography at the campus of Centre National de Danse Contemporaine in Angers (France). Pierre is currently a core member, co-curator and mentor in a.pass - a platform for artistic research practices.

    • "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!

       

    • research center
    • associate researchers Cycle 1
    • RESEARCH CENTER Cycle 1 Block III Co-Curated by Pierre Rubio
      29 April 2019
      posted by: Lilia Mestre
    • Adrijana Gvozdenović, Sina Seifee, Isabel Burr Raty, Sara Manente, Rob Ritzen, Antye Guenther
    • a.pass/ ZSenne ArtLab
    • 29 April 2019
    • 28 July 2019
    • case of: Pierre Rubio
    • RESEARCH CENTER Cycle 1 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)

    • postgraduate program
    • workshop
    • a.pass Basics workshops
    • Untouchable/Unacceptable/Intangible
    • ECOLOGY OF AFFECTS 28 March 2015
      posted by: Pierre Rubio
    • Pierre Rubio / Geert Opsomer / Pierre Joachim
    • 25 May 2015
    • 29 May 2015
    • case of: Pierre Rubio
    • ECOLOGY OF AFFECTS

       

       

      “The supreme mystery of despotism, its prop and stay, is to keep men in a state of deception, and with the specious title of religion to cloak the fear by which they must be held in check, so that they will fight for their servitude as if for salvation.”
      Spinoza, ‘Tractatus Theologicopoliticus’, 1670

       

      “There is an ecology of bad ideas, just as there is an ecology of weeds”
      Gregory Bateson, ‘Steps to an ecology of mind’, 1972

       

      “There is only desire and the social, and nothing else.”
      Gilles Deleuze-Felix Guattari, ‘Anti-Oedipus’, 1972

       

      “The question of subjectivity is now returning as a leitmotiv. It’s not a natural given any more than air or water. How do we produce it, capture it, enrich it, and permanently reinvent it in a way that renders it compatible with universes of mutant value? How do we work for its liberation that is for its resingularization?
      Felix Guattari, ‘Chaosmosis’, 1992

       

      “A revolution is as much a reorientation of our affective relations as it is of social relations and cannot be one without the other.“
      Jason Read, ‘Economies of Affect / Affective Economies’, 2013

       

       

      Every block, a.pass organizes ‘b-workshops’ that focus on the basic principles of a.pass as a collaborative artistic research environment.

      This B-workshop ‘Ecology of Affects’ wants to address critically the production of subjectivity. We will put into discussion Spinoza’s theory of Affect in the ‘Ethics’ and Guattari’s critique of Capitalism's exploitation of Desire by reading closely a series of texts from the 17th up to the 21st century. With the help of two guests, Pierre Joachim and Geert Opsomer, we will study these philosophical and critical key notions but also discover how Pierre and Geert put them into practice and consequently how we can do so as well.

      Can we associate sadness with the outcomes of our capitalist world?
      Are we affected so much by capitalism that we can only sadly survive in what seems to have become its ‘nature’?
      Can we still affect the world?
      What could a joyful passion mean today?
      Is a joyful passion subversive?
      How can we create the conditions for joy to be possible?
      Is it by re-allocating desire that new joys can emerge?
      Can artistic researches produce a change?
      How can agency be created with aesthetic means?
      Could we critically re-combine ethics and aesthetics to reclaim the transformative power of our researches?
      What could be the nature of an ecology of affects that has the potential to produce a change?

      The workshop will make use of an elaborate reader that will be shared with the participants well in time for the workshop.

       

      The workshop is curated by Pierre Rubio

       

       

      Biographies

      Geert Opsomer

      Geert Opsomer is a German philologist, theatre scientist and dramaturg, teacher at the director’s department of the RITS and artistic collaborator of the arts centre CAMPO. Between 2001 and 2007 he was the artistic director of Nieuwpoorttheater in Ghent, which in 2008 fused with the theatre company Victoria to become CAMPO. Within CAMPO Geert Opsomer organizes the Plateau/Platform for Artistic Nomads, which is the artistic research department of CAMPO.

      An extension of this research platform turned into the celebrated CAMPO production ‘A l’attente du Livre d’Or’, selected for the Dutch Theaterfestival in 2010. Together with Johan Dehollander and a strong Belgian-Congolese cast, Opsomer made a joyful-anarchistic assemblage piece about Congolese comedy and Western tragedy. The jury praised the piece as a pioneer in the construction of connections between local and international practices, allowing them to strengthen one another.

       

      Pierre Joachim

      Pierre Joachim studied architecture (la Cambre, Belgium) and philosophy (ULB, Belgium). He has been exploring interactions between ‘theory’ and various practices, from architecture to pedagogy, social work, or dramaturgy. Rather driven by collaborations born from joyful encounters than any specific field of expertise, his main recent activities are writing and research collaborations with psychoanalyst Kathleen Rochlenko, performance and installation creation with Alexandre Le Petit (Verso Natura) and architectural conception. He is actually working on a blog and inquiry project. Spinoza’s Ethics have often offered him a precious tool for thought and collaboration.

    •  

       

      ‘Performance / Performativity / Objects / Subjects’ is an a.pass basics-workshop covering some of the basic knowledges we share on an (almost) daily basis in a.pass, and that need some in-depth attention.

      In this workshop we will read texts and discuss the problematics from the point of view of objects and subjects: how does an object perform its objectness and how does it perform us. In other words: how does the object perform our subject-ness. And how does the subject perform the object. Or: how can we replace our subjectness by objectness and what does that entail?


      In other words, although the basic performativity texts like the ones of Judith Butler and the speech act theory of Austin will certainly play a role in the backseat, in these reading sessions we will concentrate more specifically on Object Oriented Ontologies like the ones of Timothy Morton, the extended concept of ‘the democracy of objects’, go deeper into the concept of ‘compositionism’ as coined by Bruno Latour, revisiting phenomenology with Sara Ahmed through her (queer) concept of 'orientation' and mobilizing metaphorically the notion of 'ventriloquism' by reading some pages of François Cooren's ‘Action and Agency in dialogue’ . 

      What if human interactants were not the only ones to be considered, paraphrasing Austin, as “doing things with words”? That is, what if other “things” could also be granted the status of agents in dialogical situations?

    • postgraduate program
    • workshop
    • a.pass Basics workshops
    • NOT_index
    • Scores
    • "general intellect ? - it's not about you, stupid !" 03 March 2014
      posted by: Guido
    • Pierre Rubio / Elke van campenhout
    • 03 March 2014
    • 07 March 2014
    • case of: Pierre Rubio
    • ‘General Intellect? - it's not about you, stupid !’ will explore and question a basic parameter of the apass environment : the relation between the individual and the collective. What is this relation, how does it function? Is it the individual that creates the collective? Or is the collective the base structure on which individuals can work and organize themselves? Specifically within an artistic research environment where the institution is constantly reformulating itself out of a multitude of individual inputs and where the individuals, in a state of crisis, are constantly self-constructing, confronted and challenged by a collective project.

      Can there be a mutual constitutive relation? A relational machine we can call ‘General Intellect’ or ‘Transindividual Space’ operating between and through the individuals, creating an 'ensemble' through their practice?

      From reading sessions to diverse practice formats, we will come up possibly with refreshed perspectives on what collective working and thinking can do.

    • postgraduate program
    • workshop
    • a.pass Basics workshops
    • block 2013/II
    • NOT_index
    • HOW ABOUT CRITIQUE, CRITICALITY, CRISIS? 24 June 2013
      posted by: Pierre Rubio
    • PIERRE RUBIO / PETER STAMER
    • 24 June 2013
    • 28 June 2013
    • case of: Pierre Rubio
    • HOW ABOUT CRITIQUE, CRITICALITY, CRISIS?

       

      Every block, a.pass organizes ‘b-workshops’ that focus on the basic principles of a.pass as a working environment. ‘How about Critique, Criticality, Crisis?’ ties in on a field already explored by ‘Feedback and Critique’ in July 2012. Whereas the previous workshop focused on several feedback techniques to clarify the nature(s) and function(s) of feedback within a collaborative and self-organized artistic research environment, this one will focus on the challenging issue of ‘critique’.

      What does critique aim at, and how does it epistemologically operate? How can we deal with its problematic relation to judgment and truth? What’s the relevance of critique within a system of criticality to overcome the vicious circle of belief and denunciation? What’s the role of discourse and theory in one’s research and practice in order to go beyond backing up one’s work but rather challenging it, eroding it, posing problems to it? Is discourse solving the crisis of practice or should it rather impose a crisis on practice?

      From critical readings of several texts on critique and criticality to film and performance analysis, from case studies to role-playing, we will come up with refreshed definitions of critique and renewed objectives of uncompromising aesthetic.

       

       

    • postgraduate program
    • workshop
    • a.p.t.-a.s.-a.r.c.
    • NOT_index
    • ARTIFICIAL REALITIES #2 Magical Materialism
      10 October 2011
      posted by: Pierre Rubio
    • Pierre Rubio
    • 10 October 2011
    • 23 October 2011
    • case of: Pierre Rubio
    • ARTIFICIAL REALITIES #2

       

       

      Let’s sit in a circle to talk about magic.

      And then, let’s practice alchemy…

      This workshop is the continuation of a series. A “first episode” happened during last spring, a new one happens this fall. They both seek to detach our research projects from an essentialist and naturalistic approach. Their common aim is at (re)problematising for (re)capturing the strategies of construction and thus the theories of knowledge which our singular researches investigate and produce. If the Spring workshop’s keyword was ‘attachments’, the second step will be entirely contaminated by the notion of ‘magic’. We will take a trip into the wonderland of in-differentiation between cultural and natural, object and subject, figure and background, and more important, theory and practice.

      At first, during three days, we will re-consider our research projects under the influence of two singular analysis of magic : respectively Gilbert Simondon’s and Isabelle Stengers’.

      Far from considering magic as an obsolete historical object, Simondon’s notion of the magical is that of a world structured by a network of privileged places and privileged moments. Let’s compare this magical structure of the world to our projects, as if they were worlds in themselves.

      With the help of Stengers, our ‘favourite witch’, we will track the evil spells of capitalism as well as “the thoughtlessness encouraged by the theme of progress” and any kind of prescriptive power discourses. Logically we will then question the potential of politics’ re-invention through our artistic researches, the level of “empowerment” they produce and the possibility of “reclaim” they generate.

      During a second period of an entire week, we will turn a former shop (turned recently into an art gallery) into an alchemy laboratory to transmute our projects into something other. The basic idea is that if one takes distance from one’s own project by moving it into unexpected contexts, this allows the discovery of ‘attachments’ and “othernesses” to enrich the ‘original’ project. Taking seriously what practice means and is capable of, let’s engage in a risky path from familiar individuals to unfamiliar singularities, from experiments to experiences, from “matter of facts to matter of concerns”.

      The magical world is not a fascinating ethnographic object but “a mode of existence” to which individuals, as well as collectives, (and also artistic research projects...) can come back, if they endure the ordeal of disindividuation. “Disindividuation is a lack in structure” that happens when organisations that make us see, think and act break up, making us paradoxically available to invent other ways of seeing, thinking and acting. Welcome to the post-rational shamanistic academia!

       

    • postgraduate program
    • workshop
    • a.p.t.-a.s.-a.r.c.
    • NOT_index
    • ARTIFICIAL REALITIES #1 Displacements and Attachments
      30 May 2011
      posted by: Pierre Rubio
    • Pierre Rubio
    • 30 May 2011
    • 03 June 2011
    • case of: Pierre Rubio
    • ARTIFICIAL REALITIES #1

       

      Often artists and researchers still hold on to the illusory idea of their material having a ‘natural’ ‘essence’. Let us for a moment take some distance from this essentialist and naturalistic approach, let us consider our research projects as artificial constructions, which thus can be problematized and turned into stimulating and productive networks. Artificial Realities aims at a rediscovery of our projects by a momentary over-artificialization: first by re-mapping our projects and by doing so understand/capture the strategies of ‘assemblage’ and thus the theories of knowledge which they formulate; and secondly by opening up horizons of possibilities for further developments and speculations. The basic idea is that if one takes distance from one’s own project by ‘moving’ it in unexpected contexts or by ‘translating’ it in non familiar languages, this will allow the discovery of new components and new ‘attachments’ that will enrich and stimulate the ‘original’ project. Or in other words: developing an otherness by experiencing and exploring “as if's” to get out of the over-territorial and locked perception of “our” projects. Let's re-construct, re-imagine, re-invent “our” substrata. Let's science-fictionalize “our” “problems” and speculate ... cartoons... models for societies... newspapers... fictions... messages for eventual extraterrestrial forms of life... social practices... TV programs... religions... and more. Artificial Realities will develop through different steps: from identification of central issues in the practice, problematization, to several experiences of transfers, translations, displacements, parallax shifts, etc. The workshop includes reading sessions (Bruno Latour's On the modern cult of the factish gods and Factures/Fractures), individual work, group presentations and discussions.

    • performative publishing
    • research center
    • associate researchers Cycle 1
    • archiving artistic anxieties 02 March 2020
      posted by: Pierre Rubio
    • Adrijana Gvozdenović
    • online: http://archivingartisticanxieties.me/
    • case of: Adrijana Gvozdenović
      case of: Sina Seifee
    • archiving artistic anxieties

       

      www.archivingartisticanxieties.me by Adrijana Gvozdenović in collaboration with Sina Seifee, Pia Louwerens, Kristina Gvozdenović and Goda Palekaitė, is a noisy visual archive and online publication that takes the form of an essay. This platform is a way to reflect and diffract from the different activities and events realized in the past year. The writing and editing processes are exposed and show the different steps of the collaboration and their constructive agencies.


      Adrijana Gvozdenovic has been for the last two years a researcher at a.pass. She proposes activities that push the borders between research, mediation and production as well as examine new formats of publicness. Naming these activities ‘Otherwise Exhibiting’, is an attempt to shift the focus from the object to relations. During the last year, her research project “Archiving Artistic Anxieties” was supported by the Royal Academy of Antwerp, which resulted in this online publication in collaboration with a.pass Research Center.

    • lecture
    • performative publishing
    • research center
    • Close Encounters
    • Zones of disobedience Elen Braga / Eve Kalyva / Steven Jouwersma
      29 January 2020
      posted by: Pierre Rubio
    • Close Encounters series
    • ISELP & a.pass
    • 06 February 2020
    • 06 February 2020
    • Zones of disobedience

       

       

      a.pass Close Encounters

      Zones of disobedience

      Elen Braga / Eve Kalyva / Steven Jouwersma

      06/02/2020 - 15h00  at  ISELP / 18h00  at  a.pass

       

      Close Encounters are light and irregular events to take time to meet, listen and evaluate an idea, a project, a research, or a specific point in an artistic -research- trajectory. The events are free-formed and singularly appropriated by their protagonists, but the format is always a dialog with one or more guests; all are invited to expand on their research or the problem posed through the lens of their expertise, experience or concern. The Close Encounters series holds a double intention of getting a closer look at things and of approaching somebody closely and tries to respond to three key questions in relation to artistic research and its current nature, function and conditions of possibility: What to study? What to research? What to practice? 

       

      For Zone Public, the current seminar of the postgraduate program in a.pass, the Close Encounters series invites guests that have relevant practices with regards to (infrastructures of) publishing and/or making-public and/or art and research publicness.

       

      On Thursday 6th, for this special edition, a new monumental work Elen Ou Hubris by Elen Braga will be on display for the first time at ISELP from 15h00 to 17h00 This will be followed by Zones of Disobedience, a three hour long discussion with Elen Braga, Eve Kalyva and Steven Jouwersma that will unfold from 18h00 onwards at a.pass.

       
       

      Thursday February 6, 15h00-17h00

       

      Elen Ou Hubris

       
      Elen Braga
       
      a monumental tapestry on display for the first time
       
      @ ISELP, Boulevard de Waterloo 31, 1000 Bruxelles
       
       
       
      Thursday February 6, 18h00
       
      Close Encounters Series @ Zone Public
       
      Zones of disobedience
       
      Elen Braga / Eve Kalyva / Steven Jouwersma
       
      a three hours public presentation and discussion hosted by Pierre Rubio 
       

      @ a.pass, 60 Delaunoystraat, 1080 Brussels

       

       
       
       
      When institutions have come to embody their own institutional critique, when participatory art becomes the new weapon of the established normalising order, and when attempts to further develop forms of artistic resistance are almost instantly liquefied in the commodifying reason of the market, a series of questions arise: Is it still possible to disobey? What could the forms of disobedient work be today? What new strategies should be invented in this context? How can one give the public the incentive to transgress its fears, inhibitions and limitations?
       
       
      Having these questions as a starting point, “Zones of Disobedience” opens up a space for discussion, reflection and debate. It presents examples from the past and the present and from across the spheres of the artistic and the political in order to problematise sets of relationships, conceptual frameworks and behaviours. These have to do with ideas about monuments, myths and experiences of the city as space but also as a site of memory, of belonging and of envisioning a future.
       
       
      The protagonists of “Zones of Disobedience” are equally interested in the relationships across the public, the artist, one’s environment and discourse, with particular attention on self-imaging in public spaces. Public self-imaging –and the different techniques of the self– are understood here in relation to a place and its image as this is perceived from different perspectives and for different audiences. Likewise, public self-imaging refers to the stories one tells about oneself and about the “other” (the artist, the audience, the immigrant, the policymaker, the army, the police), as well as to the mirroring of power, its ideologies and hierarchies. With this in mind, the performative conception of the self-image and its associated “hubris” enable to conceptualise strategies one can deploy in order to expose and destabilise the tenure of authority.
      If this can be achieved –for example in the works of Elen Braga and Steven Jouwersma through absurd, futile, uncomfortable or humorous encounters– how can such moments of critique be sustained or resurface in new forms? Which other public spaces can they generate? As such, “Zones of Disobedience” offers an evening of contestation, blurred limits, shifts and negotiations.
       
       
       

      Elen Braga

      Elen Braga is a Brazilian artist based in Brussels. Her practice involves self-imposed tasks that border on the absurd. She investigates how one creates narratives of the self, and is particularly interested in how myths function in relation to an individual’s strength, ambition, futility and resilience.
      Elen's new project, Elen Ou Hubris, is an entirely hand-tufted 120 square metres carpet/tapestry reproducing the image of a 24-metre tall woman standing on a pedestal. Created in the form of a giant idealised self-portrait of the artist, this monumental object will be installed in front of the triumphal arch of King Leopold II in the Parc du Cinquantenaire in Brussels in 2020. By its size and location, Elen Ou Hubris addresses the notion of hubris, exposes an entangled multiplicity of self-images, seeks to open a debate on monumentality, pride and determined futures –and boldly claims the central place to question the very place of women in t-his-her-stor-y-ies.
      In 2014 Elen was selected in “Situações Brasília” Contemporary Art Award of DF –National Museum of the Republic, in Brazil. In 2016 she participated in AIR ANTWERPEN residency where she worked on the performance series named 'Os 12 trabalhos' (the twelve labors), inspired by the Greek myth of Odysseus.  In 2017 she was selected for the residency at Central Saint Martins in London in partnership with SESC São Paulo. In 2018 she completed a postgraduate in advanced performance in a.pass, Brussels.
      Elen is currently in residence at ISELP – Institut supérieur pour l’étude du langage plastique (Brussels) and has exhibited and developed projects at SOKL (Antwerp, 2019) Tomie Ohtake Institute (São Paulo, 2015), 17th Bienal of Cerveira  (Portugal, 2013), MUVIM – Valencian Museum of Enlightenment and Modernity  (Valencia, 2015), Samples - MULF – Museo Universitario Leopoldo Flores ( Mexico, 2015), SESC Belenzinho (Sao Paulo, 2017) amongst others.
       
       
       
       

      Eve Kalyva

      Eve Kalyva works on the relationships between images and texts in cultural production and visual culture. Her recent monograph, Image and Text in Conceptual Art: Critical Operations in Context (Palgrave/ Macmillan 2016), offers interdisciplinary perspectives on art from Europe, North and South America, and evaluates the different ways in which artworks advance their institutional and socio-political critique. Eve also works on the relation between art and politics, visual activism and social semiotics. She has developed the idea of “rhetoric of disobedience” to refer to the different ways in which art engages the associations one makes beyond what one sees, and is particularly interested in meaning making and communication as social and shared processes.
      Prior to moving to Amsterdam, Eve taught at universities in the UK and Argentina, and collaborated with international art institutions such as the Henry Moore Institute (Leeds) and the Museum of Modern Art Chiloé (Chile) as curator and artist in residence. Her creative practice explores the intersections of the real with the fantastic through texts, images, objects and bodily experiences; and her interdisciplinary research spans art, exhibition design, pedagogies of play, intermediality, discourse analysis and visual culture. Eve also develops museum workshops and cultural games. She is co-coordinator of the research group Global Trajectories of Thought and Memory: Art from the Global South at the University of Amsterdam, and will co-chair the panel ‘Radical women: the construction of Latin American women artists through exhibitions’ at the forthcoming 2020 annual conference of the College Art Association.
       
       
       
       
       

      Steven Jouwersma

      Steven Jouwersma is a Dutch artist. His work develops always in relation to contexts and combines performance with film making and installations.  
      Within specific contexts where socio-political tensions intersect, Steven Jouwersma invents performative situations that enable critical relations between him-as-artist and the expectations of the public. Steven (self) induces “crises” in the apparent status quo and engages in performing the inherent contradictions present within, often highly, unsettled spaces of cultural difference. Art in public space and in countries that are foreign to the artist always assert political dimensions. By defining antagonistic elements that provoke debates, Steven functions as a catalyst for these political dimensions to be exposed. Without being “classically” political, Steven’s works aim to challenge his own political and social position as well as his audience’s by acting “like an icebreaker in a congealed situation”. These singular forms of interaction in public spaces have unexpected outcomes. In some cases, in place of the predicted problems that might have occurred, the project is accepted and achieved. On the other hand, occasionally, the artist’s contribution is considered too controversial, straying too far away from conventions, and leads to its cancellation. Steven works with these missed expectations and miscommunications and sees them as potentials from which he operates, continually adjusting his own expectations.
      Steven studied at the Frank Mohr Institute and has a Master in Interactive Media and Environments. His most recent residencies and public events of the last three years are: dinA (Brussels), IBB (Curacao, Mondriaan Fonds), Buratinas (Nadine, Brussels) Künstlerhaus Bethanien (Berlin, Mondriaan Fonds), Het Resort E03S01 (Het Resort, group show –with Alban Karsten and Feiko Beckers, Groningen), Common sweat sauna #2 and #3 (Zsenne Artlab, Brussel) Spectacle of the Sweet…  (Nodine, Brussel), Wandering Arts Biennale (Nadine, Brussel), Power and Ancestors (WM Gallery, Amsterdam), Casa Moderna (Willemstad), Grand Marcha (Carnaval parade, Willemstad)
       
    • postgraduate program
    • block 2020/I
    • Zone Public
    • BLOCK 2020/I 20 December 2019
      posted by: Pierre Rubio
    • a.pass Brussels
    • 06 January 2020
    • 30 April 2020
    • BLOCK 2020/I

       

       

       

       

      a.pass post-graduate program for winter-spring 2020 follows the habitual form of three collective gatherings: at the beginning: the ‘Opening Week’, in the middle: the ‘Half Way Days’ and at the end: the ‘End Week’. These are collective workdays where, at large, all the artists and researchers both present their work and feedback on everybody’s research. The three distinct gatherings propose different protocols of presentations and modes of feedback. All protocols are discussed during the block. 

      The block includes as well Zone Public, a curated seminar-like series of working sessions dedicated specifically to this block and happening mainly on Thursdays and Fridays. This ensemble of proposals is designed by Femke Snelting, Peggy Pierrot and Pierre Rubio.


      January
      6-14 : Opening Week Days
      16-17 : Zone Public sessions #1
      23-24 : Zone Public sessions #2
      30-31 : Zone Public sessions #3

      February
      6-7 : Zone Public sessions #4
      13-14 : Zone Public sessions #5
      17-21 : Halfway Days
      27-28 :  Zone Public sessions #6

      March
      5-6 Zone Public sessions #7
      12-13 Zone Public sessions #8
      14-15 Zone Public sessions #9
      22-23 Zone Public sessions #10
      30-April 5 End Week at Perfomance Arts Forum (France)

       


      The artists and researchers participating in this block with their projects are:

      Chloe Chignell
      Signe Frederiksen
      Quinsy Gario
      Stefan Govaart
      Adriano Wilfert Jensen
      Mathilde Maillard
      Muslin Brothers
      Flavio Rodrigo Orzari Ferreira
      Magda Ptasznik
      Christina Stadlbauer
      Federico Vladimir Strate Pezdirc
      Kasia Tórz
      Katrine Turner
      Andrea Zavala Folache

       

       

       

       

       


      The dedicated mentors, curators, and artistic coordinator are:

       

                 Dedicated Mentoring

      Kristien Van Den Brande
      Kristien Van den Brande is a Brussels-based writer, editor, dramaturge and researcher. An ongoing interest in the (im)materiality, image and performativity of writing has characterized her work, which engages with a range of disciplines including literature, performance, expanded publishing, urbanism and sexuality. Inspired by ‘minor literatures’, she does ongoing research about 'Support de Fortune’, a notion that refers to forms of writing that take place in the margin of print or on throw-away paper. She is a living book and co-editor in Mette Edvardsen’s project Time has fallen asleep in the afternoon sunshine. Together with Myriam Van Imschoot she set up oralsite.be, an online platform for expanded publishing. Lately, she is gaining interest in role-play as dramaturgic, artistic, therapeutic, sexual tool "to undo the creature in us”. That latter was Anne Carson speaking.

       

      Vladimir Miller
      Vladimir Miller works as an artist, researcher, scenographer and dramaturge. His practice aims at re-negotiating habitual modes of spatial production by using fragility as a building principle. He uses collective construction- and building processes to investigate ideologies of labour and territory within ad-hoc groups and institutional environments. In his latest projects he works with the materiality of fluids to challenge ideas of stability embedded within the design of spaces of cultural production. Vladimir Miller has been a frequent collaborator with the choreographers Philipp Gehmacher and Meg Stuart. As scenographer, co-author, dramaturge and performer he took part or co-created a number of performances and video installations with the two artists. In 2018-19 he is dramaturge in residence at Decoratelier/Josef Wouters. Vladimir Miller is co-curator of the postgraduate artistic research institute a.pass, Brussels and a PhD in Practice candidate at the Academy of Fine Arts, Vienna. In 2013 Miller was Fellow at Institut für Raumexperimente, Berlin and in 2015 Fellow at Akademie Schloss Solitude in Stuttgart. Vladimir Miller has been guest lecturer at the University of Hamburg and at KASK, Gent.

       

      Femke Snelting
      Femke Snelting works as artist and designer, developing projects at the intersection of design, feminisms and free software. In various constellations she has been exploring how digital tools and practices might co-construct each other. She is member of Constant, a non-profit, artist-run association for art and media based in Brussels. With Jara Rocha she currently activates Possible Bodies, a collective research project that interrogates the concrete and at the same time fictional entities of "bodies" in the context of 3D tracking, modelling and scanning. She co-initiated the design/research team Open Source Publishing (OSP) and formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring. Apart from mentoring at a.pass, Femke teaches at the Piet Zwart Institute (experimental publishing, Rotterdam).

       


                Zone Public Co-curating

      Peggy Pierrot
      Peggy Pierrot lives and works in Brussels. She works mainly with different associations and educational or research structures. Her most favourite tools are human sciences and free softwares. Since there are "profound links between gesture and speech, between expressible thought and the creative activity of the hand ", she is currently working at the Ecole of Recherche Graphique (ERG) both as a technical and logistical assistant and as a teacher in Media and Communication Theory. She is also involved in the master's program Récits et expérimentation - Narration spéculative. (Storytelling and experimentation - Speculative Fabulation) She gives lectures and workshops on Afro-Atlantic cultures and literatures, science fiction, media and technology and has an active practice in radio.

       

      Pierre Rubio
      Pierre Rubio works as artist, independent researcher and dramaturge. At large and through different forms, his work questions modes of individuation to explore contemporary production of subjectivity in/through the arts. What is real for an artist? is his main research question. Pierre was a dancer and choreographer for a long time, holds a master's degree in the arts combining theatre & communication at the campus of Aix-Marseille University (France) and dance & choreography at the campus of Centre National de Danse Contemporaine in Angers (France). Pierre is currently a core member, co-curator and mentor in a.pass - a platform for artistic research practices.

       

      Femke Snelting
      (see above)

       


                Artistic coordination

      Lilia Mestre
      Lilia Mestre (Lisboa 1968) is a performing artist and researcher based in Brussels. She interested in art practice as a medial tool between several domains of semiotical existence. Mestre works with assemblages, scores and inter-subjective setups as an artist, curator, dramaturge and teacher. She’s currently co-curator and artistic coordinator of a.pass where she develops a research on scores - Scorescapes - as a possible radical pedagogical tool. In 2019 - 2021 she’s collaborating with Prof. Jill Halstead and Prof. Brandon LaBelle in Social Acoustic - a research project supported by the University of Bergen, Norway. And with Nikolaus Gansterer and Alex Arteaga in Contingent Agencies - a research project supported by PEEK -Vienna, AU. 

       

       

      More information about Zone Public here

    • research center
    • associate researchers Cycle 1
    • Victories over the Suns
    • victories over the suns projects / events / agenda
      24 June 2019
      posted by: Pierre Rubio
    • a.pass Research Centre Associates in residence
    • ZSenne ART Lab / Brussels
    • 24 June 2019
    • 14 July 2019
    • victories over the suns

       

       

       

      general presentation of the project here

       

       

      ---------research projects-events-and-agenda---------

       

       

       

      WICKED TECHNOLOGIES/WILD FERMENTATION

      By linking practices of fermentation, feminism and artistic research, SARA MANENTE hosts a space for thinking, perceiving and doing togetherness in live cultures and live arts.

      Sara is a performance artist, dance maker and researcher interested in narrowing the distance between the performers, the audience and the work. Her research starts from a dance practice that problematizes perception, translation and (aesthetic) value. Her work comes out in hybrid forms: book launch, 3Dfilm, written text, interview, choreographic piece, workshop, telepathic experience, collaboration et al.

      For Zsenne she proposes and activates a Discursive lab on “fermentation and wickedness”. She will first lacto ferment a summer vegetable while discussing collectively the meaning of wicked, queer, wild and technologies in relation to participants personal researches. She then will leave the ferments in jars to age in the space of the gallery. On the last day of the residency the researchers in Brussels will open and taste them while discussing the same topics, this time informed by 3 weeks of collective fermentation. Meanwhile Sara will be in Fahrenheit 451 House in Catskill starting new alive cultures with the artists/curators Inju Kaboom and Steve Schmitz and their guests as a relay game of bacterial process. Among all the present participants of the residency, Antye Guenther, currently in residence in Japan, will join this online collective fermentation dinner.

      Furthermore Sara will perform later in the week, an informal try-out concert on the multilayered and mashed sound that she has been making in the last few months : “Mush” musical cocktail.

       

       

       

      FORMS OF LIFE OF FORMS

      ROB RITZEN assembles elements of his research as an associate researcher at a.pass. In several collective moments he will explore the idea that form is not only aesthetical but that there is no politics without form. If so those concerned with form everyday, artists for example, can bring forms into being that can generate (un)foreseen effects on the forms that dictate our everyday life and shape our world. With Forms of Life of Forms, in short, Rob wants to work with others to better understand forms in all their expressions and workings, but above all to gain insights into how we can use forms to change the world around us.

      With every moment he will add different perspectives and new layers to the notion of form; in-formation, political forms, network forms, value forms, organisational forms. Each moment brings forward a text and visual works that will be explored and discussed together. These elements will form a growing assemblage of written and visual works by Caroline Levine, Marco Lampis, Catherine Malabou, Antye Guenther, Marjolijn Dijkman, Mathijs van de Sande, Judith Butler, Alexander R. Galloway and Eugene Thacker, James Bridle, PA Consulting Group, Bureau des Etudes Luc Boltanski and Arnaud Esquerre, Nancy Fraser, Diego Tonus, and Zachary Formwalt. 

      Graphic design collective D.E.A.L will translate each moment and the added insights into a poster published for the following session.

      Rob 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.

       

       

       

      OTHERWISE EXHIBITING ARTISTIC ANXIETIES AND THE WORLD

      ‘My desires (or wills) are always in being produced, instead of producing. But some sort of production is expected.’

      (Stefano Faoro, from the A4 press release of his solo exhibition ‘Soft Knees’, at Wiels project room 21.02 – 10.03.2019.)

      Back in February, ADRIJANA GVOZDENOVIĆ related her thinking to Stefano Faoro’s text and how he used the standard format of A4 exhibition guide to be the work in the exhibition and a press release at the same time. How to engage with the time in ZSenne Artlab as a residency, a semi-public presentation, an open project, a traject, aiming to examine the formats of publicness of artistic research that pushes the border between research, mediation and production?

      For three weeks, Adrijana proposes two ongoing practices that are at the same time a tool for conversation, an ongoing research and documentation process focusing on the temporal aspect of this kind of exhibiting. First, a cyanotype printing process, forming in time in relation to U.V. rays from sunlight to think together about traces and blueprints of and for the event, their sharp shadows and (non)transparency. Second, a one-to-one card reading, artistic anxieties and the world. In a 7 card spread Adrijana proposes to read (for and with) the artists and researchers - individuals that are concerned, fearful and hopeful, excited about their practice.

      Adrijana is a visual artist and a researcher. In the last two years, in the collective studying environment of a.pass, she has been proposing activities and formats to explore possibilities of what she calls  Otherwise Exhibiting, shifting the focus from

      object to process to change. Since the beginning of this year, as a continuation of these lines, she started doing one year research at the Royal Academy of Antwerp with a project ‘Archiving Artistic Anxieties’, a proposal for self-archiving as an artistic practice. Adrijana introduces the concept of ‘artistic anxieties’ which stands for an artistic practice that looks for developing a mode of critique from an unstable position, exploring uncertainties and ‘follow(ing) the treads where they lead’.

      *To take part in one of these two practices and contribute to the research, please send email adrijana.gvozdenovic@gmail.com 

       

       

       

      OTHER GEOMETRIES

      Femke Snelting develops research projects at the intersection of feminisms, design and free software. In various constellations she explores how digital tools and cultural practices might co-construct each other. She is a member of Constant, a non-profit artist-run association for art and media based in Brussels. 

      She proposes for the residence a workshop : Other Geometries. It is an invitation to reflect on, re-imagine and train for togetherness with difference. It is a collaborative research-kit, a porous collection of trans*femininist renderings, eccentric imagery and recombinatory vocabularies. The kit is part of an ongoing conversation with activist collectives which rely on concepts such as 'sovereignty', 'freedom', 'independence' and 'autonomy' to ideologically motivate work on tools, networks and infrastructures we need and want. But by sticking to modes of separation rather than relation, we continue to evoke utopias elsewhere, instead of developing ways to stay with the trouble that we are already entangled in. 

      Other Geometries proposes 'complex collectivity' as a tentative framework to think with, for example, non-normative human constellations, or collectives where participants with radically different needs, backgrounds and agencies come together. ‘complex collectivity' can be self-chosen, or be the result of structural forces such as laws, racism, technology, wars, austerity, queerphobia and ecological conditions.

      Many of the items included in the kit modify existing concepts by introducing dynamic tension. In the workshop Femke will extend this method to the way we relay stories of complex collectivities or the kind of geometries we invent for them. We will try to be attentive to generative vibrations between ontologies and cosmologies and speculate with ‘infrastructures’ that could hold more than one form of togetherness together. What non-utopian models can we design to interface with multiple collectivities? How can we do that without making their intersections dependent on the rigidifying assumptions of sameness and reciprocity?

       

       

       

      MAKING PUBLIC

      After a.pass last audit in 2015, the Ministry of Education supported our institution by rating it officially “excellent”. Nevertheless the ministry encouraged us to become more visible and disseminate our knowledge practices on a more regular basis. This administrative curatorial invitation became a point of critical discussion and complex -conceptual and practical- development in a.pass under the name ‘Making Public’.

      Publishing more? But what and how? Are we not obliged to problematize what a publication of artistic research could be? And isn’t it as well coherent to question and develop other modes of publishing? Disseminating more? But in which direction, in which proportion and for who? What does quantity mean in a frame of experimental practice? And what is the public for artistic research if not one to be imagined and ‘actualised’ because it might not exist yet? Are we not supposed to speculate a public for speculative practices? 

      Since three years the different iterations and proposals under the ‘Making Public’ umbrella were numerous within a.pass at large and occupied quite some space in the newly reconfigured research centre. Going from the thorny problem of ‘contract’, to the dichotomy between ‘private versus public’, to the challenging concept of ‘performative publishing’, to discussions towards the development of experimental digital (non)humanities, to the ontological/political definition of publishing as an act, and more... our notebook and catalogue of actual practices is expanding.

      For this residence we propose a discussion day around ‘Making Public’ as a title, frame and horizon where the participants will contribute by sharing their own relational arrangement between their practices and the publication problem. They will also share their definitions and discuss together their concern starting from the question of urgency.

       

       

       

      CRITICAL BESTIARIES

      A lecture performance by SINA SEIFEE presenting the making of a mini-scale quasi-organization, called the critical bestiaries, to host/construct semi-sustainable structures for storytelling and questioning techniques of bestiaries. Namely, the questions of relational histories, technologies of memory, modes of attention, differential consciousness, and animal subjectivity. This project in the shape of a magazine will be a quadrilingual (German, Farsi, English, Arabic) online and printed form, and its topics are both thematic and epistemic. It is both an inspiration for storytelling and a reading apparatus, to give a chance to an interest for multi-species studies and to define a hybrid mode of discourse to talk about the conditions of storytelling today.

      This projects will practically address the question of: which sensory-technology for making are necessary to approach ‘description’ as speculative theory in practice of how a world works? The aim of the magazine is to entangle: design (making things that tell stories), storytelling (a materialist practice of how not to reach the end), science (an interpretative adventure), faithful and fantastic (mixture of the highly rational and the highly fabulous), boundary objects (workaround things, concepts, processes, even routines that permit coordination, sometimes collaboration, without consensus), objectivity (the possibility of unambiguous communication and of boundary articulations) and fable (relational and speculative empiricism).

      Sina Seifee researches as an artist in the fields of narrative, performance and knowledge production. He is 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.

       

       

       

      SCORESCAPES

      Lilia Mestre is a performing artist and researcher based in Brussels working mainly in collaboration with other artists. She is interested in art practice as a medial tool between several domains of semiotic existence. Lilia works with assemblages, scores and inter-subjective setups as an artist, curator, dramaturge and teacher. From 2019 till 2021 she has/will collaborate(d) with Brandon Labelle in Social Acoustic project - a research project supported by the University of Bergen, Norway and with Nikolaus Gansterer and Alex Arteaga in Contingent Agencies - a research project supported by PEEK -Vienna. Since 2008 she is involved in developing the artistic research oriented young institution a.pass -she is currently a.pass artistic coordinator and co-curator- where she has been developing a research on scores as pedagogical tool titled ScoreScapes.

      ScoreScapes is a research Lilia started in the context of a.pass, starting from questions such as: How to create an inclusive dispositive that enables learning through each other’s research proposals? How to deal with an un-disciplinary context that aims for transversal relations? By “score” Lilia means a set of instructions that can be repeated for a predetermined period of time. These instructions create a system through which participants interact, as the scores can be modified and used by anyone. Since 2014, she has developed four iterations of the practice: Writing Score, Perform Back Score, Bubble Score and Medium Score. And each iteration marked by the release of a conclusive publication.

      Recently Lilia wrote ‘Scorescapes’, a text about the project that points to its transversal qualities and delineates some problems about its nature. Is ScoreScapes an archive? A documentary production? An art practice? A social practice? How does the project relate to artistic research as an unstable and unframed mode of knowledge practice? Does ScorScapes project’s ungraspable definition create conditions for something to happen in term of publishing otherwise?

      During the residency in Zsenne ArtLab, Pierre Rubio will present the different dimensions and current state of the ScoreScape project with Lilia in an afternoon of collective reading, interview, Q&A and discussion.

       

       

       

      TOWARDS AN ECO-EROGENOUS PARA-PHARMACEUTICS VILLAGE

      In catastrophic times… Can the orgasmic body be a source for sustainable electricity production? Can the cavities that make up the landscapes of the human sexual organs be a territory for agricultural development? Can sex hormones offer alternative components for psychopharmacology and recreational drugs formulas? ISABEL BURR RATY is an independent filmmaker and performance artist, interested in the ontological crack between the organic and the artificially engineered, between the unlicensed knowledge of minority groups and the official facts. In her films, Isabel embodies human cosmo-visions that are in eco-survival resistance, bringing the imaginative realisms of the camouflaged and their subversive sense of chronology into the screen. In her artwork she interweaves new media, body art, installation and performance proposing hybrid narratives and bio-autonomous practices that play with synthetic magic. In her current work, Isabel creates hybrid performances and installations that invite the public to queer fixed categories of production understandings and experience the benefits of embodying SF in real time. She is currently running a Mobile Farm that starts by harvesting human female sexual juices, to produce beauty bio-products in Portugal and Holland, and will evolve into an ‘Eco-erogenous Para-pharmaceutics Village’ in the Atacama Desert in Chile, where “every-BODY” will harvest and recycle each other. The village will be a tentacular community of synergic mutualism that goes beyond the idea of corpus/body as biological transmitter of kinship and situates the human as a non-human species that can offer solutions to the planetary crisis we live in.

      During the residence, Isabel presents three objects that revisit her project and outline a perspective towards the future of her research: Self facial abduction beauty treatment - This installation offers to the public the tester products of the unisex skin care lines manufactured in the Beauty Kit Female Farm and displayed in this Farm SPA. The visitors are invited to follow the application protocol an experience exotic transpersonal benefits - Male Farm : 1st encounter - To move the ideas of the project forward, during the residence, Isabel organises the first official Male Farm Encounter starting the conversation with a question: What’s happening with male sexuality today? A group of friends will join Isabel for an off conversation about how to address the incognitos around the male sexuality with the ambitious mission of transforming in the future male orgasmic genital and mental fluids in bio-autonomous technologies to produce electric energy. Beauty Kit Upgraded - Lecture Performance - In this lecture the artist hacks the focus group format to present the different lines of beauty bio-products that she conceptualized and manufactured using the female sexual juices that were harvested in her Mobile Farms. In this occasion the public is invited to help solving some of the riddles embedded in the alter-economic model of this project.

      Isabel is associate researcher in a.pass.be, teaches Media art history in École de Recherche Graphique Brussels and is artist in residency in Waag, Mediamatic and VU Amsterdam.

       

       

       

      POLITICS OF ENGINEERING

      ‘Politics of engineering’ is a one day of presentations and conversations about the questions of digital technologies posed by a.pass, as an institution, and addressed by its constituent knowers -Lilia Mestre, Pierre Rubio, Sina Seifee, Open Source Publishing - in the process of making three models and adjustment to the work of documentation and digital publishing that has been recently done or currently in the making.

      ---The day will start with a public conversation and an inconclusive study on the technical and epistemological assumptions that were made in the making of Parallel Parasite : Timeline Repository, a visual and discursive apparatus made by Sina Seifee after Parallel Parasite, a month residency at ZSenne ArtLab, produced by a.pass Research Centre and curated by Lilia Mestre in the Summer of 2018. 

      ---Afterwards we continue by a presentation of OSP (Open Source Publishing) an engaged graphic design unit founded in 2006 in Brussels. OSP comprises a group of individuals from different backgrounds and practices in typography and graphic design, cartography, programming, mathematics, writing, and performance. They will present their practice, commitments, tools and projects.

      ---We will then continue by publishing the RRadio Triton Data Retrieval Interface, a website hosting a collective and experimental radio project aiming at producing audio documents gathered and disseminated by the ad hoc fictional radio label/station, which is the outcome of voluntary contributions after the 2017 winter seminar of a.pass, curated by Pierre Rubio. The website will be presented by the makers, the result of the initiation and curation of Pierre Rubio with the artistic and technological dramaturgy of Sina Seifee. They will discuss the making of RRadio Triton Data Retrieval Interface as a hybrid dispositive, as a science-fiction entity, a problematic storytelling, a speculation site and some concerns around politics of imagination.

      ---Then, OSP in conversation with Sina Seifee, will question and problematise engineering mentality and the use-relation of digital technologies in/with the arts and complex artistic research practices and institutions.

      ---Finally, everybody will have a discussion/Q&A where complex politics of digital engineering can be addressed collectively.

       

       

       

      CONTINGENT WEIRDNESS (workshop on horror)

      Adrijana Gvozdenović and Sina Seifee propose Contingent Weirdness (workshop on horror)

      A two-days training/hanging-out/sharing/practice for artists researchers focusing on the specific genre of horror to understand each other’s artistic commitments in a constraint and therefore generative way. Adrijana and Sina will explore and reshape historical elements of the genre, such as zombies, gore and torture of ghostly demons, vicious animals and cannibal witches, as well as medieval serial killer monsters, unnatural disasters and Frankenstein projects, and so on. Parallel we foreground different scales and registers of horror for reconsideration, ranging from speculative fiction, sci-fi cinema, to medieval bestiaries, inducing “bad feelings” such as fear, uncanny, awe, mania, panic, tension and anxiety.

      The workshop starts by imagining an aspect of our practices as a horror story, locating the fear, and deciding, with the help of the group, what can be turned into horror. Doing so, we are interested in exploring the parts of our practice that are fucked-up, that means to which extent what we do can become a disaster, gore, torture. Starting from where one’s practice produces demage and when thinking disintegrate and disorient, we will map what escapes our peripheral vision. We will discuss together (arche-)type of horror categories and make a cliche/scheme/model for at least one or two of them. Then we will chose an affective, atmospheric, compositional technique of horror to ask how does this story relates to which existing social, political, cultural phenomena today. We will concentrate on both, to create horrors but also working on a specific setting, which is important for the genre not only to set up the mood but to create an ambience of the expectation of horror. In the workshop we will provide basinc accessories and tools to create settings - an ambience of ‘expectation’ pregnant with horror. In relation to this, we will prepare references for the reading and/or watching selected films together. In the second day, we focus on composing singular pieces (around individual proposals or in small groups) which we will share at the end of the day in the setting of a ‘scary stories night’.

      Going through how this genre works is important, because genre is a way of gathering and staging what it cares for, in a performative and coherent way to teach a negatively affected audience how to inhabit their world. Adrijana and Sina are interested what comes out when we start from the fears and affects creating personalised monsters of our work and how will this training from another side of reasoning, while working in an atmosphere for a contingent weirdness, shape the language for not thinking clearly, yet precisely. Particular interest of the workshop is in those scales that are not necessary correct and of good intention. We propose to exaggerate consciously how great art practices are also awful, how the things we do are also often laden with damage and death, to trace our works in the matrix of rage, lure, and desire (and not necessarily in the matrix of truth, duty, and achievements).

       

       

       

       

      DEALING WITH POROSITY

      How to become porous? How to stay porous? Dealing with porosity, this quality or state of being permeable and/or capable of being penetrated, as a means to disrupt binaries, culture-nature, inclusive-exclusive, body-mind, information-matter... That is what Antye Guenther is up for.

      Antye is a visual artist and artist researcher, born and raised in Eastern Germany. Drawing from her background in medicine, in photography, and in the military, her artistic practice treats themes like (non)biological intelligence and supercomputing, posthumanism and mind control, body perception in techno-capitalist societies and science fiction. She is an associate researcher at a.pass and holds the first Mingler Scholarship for Art and Science/ NL. At the Arita Porcelain Residency in Japan, Antye is currently developing ‘brain vases’, to investigate the problematic metaphor of the brain as a container or vessel. Her brain was scanned at the Neuroscience Department of Maastricht University where the MRI data 3D (re)constructed it within a scientific visualisation programme and was used as a source material to fabricate delicate and desirable porcelain vases. But what if these vases are dysfunctionally engineered and are porous? What if a vessel as iconic as a porcelain vase leaks? The material metaphor poses some questions: How to stay porous? How to get severely entangled with and influenced by other people, new environments, other cultures etc.? How to take part in each other practice? How to engage in each others’ thought processes?

      For this residence in Brussels, and taking into account Antye’s geographical displacement in Japan, she proposes the following encounters: 1/ She will send every week an object in the form of an audio file to fill and potentially penetrate the gallery space and be discussed by the artists/researchers present in Brussels in her ‘absence’. The discussion will be recorded and sent back to her in Japan. 2/ One-on-one video conversations creating concentrated moments to discuss concerns in each others’ practices. 3/ a live video communication moment of presentation and sharing of Antye’s experiences so far at the Arita Porcelain Residency in Japan.

       

       

       

      ----------------------agenda----------------------

       

       

      *all the events are public, except noted otherwise

       

      FORMS OF LIFE OF FORMS Rob Ritzen

      26.6 - 16-19:00h / FOLOF I - reading group

      1.7 - 16-19:00h / FOLOF II - reading group

      1.7 - 19-20:00h / FOLOF II - lecture by Mathijs van de Sande

      3.7 - 16-19:00h / FOLOF III - reading 

      8.7 - 16-19:00h / FOLOF IV - reading

      13.7 - 13-15:00h / FOLOF V  ultimate and complete form of the installation - open and public from 16h00 to 20h00

      [A series of reading sessions and installations that will add different perspectives and new layers to the notion of form; in-formation, political forms, network forms, value forms, organizational forms. read more]

       

      WICKED TECHNOLOGIES/WILD FERMENTATION Sara Manente

      25.6 - 12-14:00h / [by invitation]

      5.7 - 19-20:00h / MUSH musical cocktail concert on the multilayered and mashed sound

      13.7 - 18:00h / last poisoned supper of doom

      [A discursive lab about Sara’s notion of fermentation and wickedness, on the meaning of wicked, queer, wild and technologies in relation to the participants personal researches. read more]

       

      OTHER GEOMETRIES Femke Snelting

      30.6 - 12-18:00h [by invitation]

      30.6 - 20-22:00h / in collaboration with Sara Manente and the group : “other geometries non agonistic performative dinner” [by invitation]

      [Workshop with a collection of femininist renderings, eccentric imagery and recombinatory vocabularies, with ideologically motivate work on tools, networks and infrastructures to re-imagine togetherness. read more]

       

      CRITICAL BESTIARIES Sina Seifee

      4.7 - 19-22:00

      [Presentation of the “critical bestiaries,” a magazine in the making, a mini-scale quasi-organization to host/construct semi-sustainable structures for ‘storytelling’ and ‘questioning’ techniques of bestiaries. read more]

       

      POLITICS OF ENGINEERING Sina Seifee,OSP,Pierre Rubio,Lilia Mestre

      9.7 - 11-12:00h Parallel Parasite : Timeline Repository

      9.7 - 12-13:00h OSP presentation

      9.7 - 13-14:00h (lunch break)

      9.7 - 14-15:00h RRadio Triton Data Retrieval Interface

      9.7 - 15-16:00h Discussion between OSP & Sina Seifee

      9.7 - 16:30-18:00h Collective discussion and Q&A

      -from 18:00h on - open evening with the platforms available!

      [A day of presentations and conversations about the question of digital technologies posed by a.pass and addressed by its constituent knowers (Lilia Mestre, Pierre Rubio, Sina Seifee, and OSP) in the process of making three models and adjustment to the work of documentation that has been recently done. read more]

       

      SCORESCAPE Lilia Mestre

      5.7 - 14-17:00

      [A transversal scoring practice, reading group/presentation/interview/discussion about the project ScoreScapes by Lilia Mestre. read more]

       

      TOWARDS AN ECO-EROGENOUS PARA-PHARMACEUTICS VILLAGE Isabel Burr Raty

      6.7 / installation: Self facial abduction beauty treatment

      6.7 - 11-13:00h / Male Farm : 1st encounter [by invitation]

      6.7 - 19-20:00h / Beauty Kit Upgraded - Lecture Performance

      [A collection of performances and installations that invite the public to queer fixed categories of production understandings and experience the benefits of embodying SF in real time. read more]

       

      CONTINGENT WEIRDNESS Adrijana Gvozdenović and Sina Seifee

      11.7 - 10-18:00h day 1

      12.7 - 10-24:00h day 2

      for registration email to sina.seifee@gmail.com

      [Two-days workshop, training/hanging-out/sharing/practice for artists researchers, focusing on the specific genre of horror to understand each other’s artistic commitments in a constraint and therefore generative way. read more]

       

      OTHERWISE EXHIBITING ARTISTIC ANXIETIES AND THE WORLD

      Adrijana Gvozdenović / ongoing practice

      for an appointment please contact adrijana.gvozdenovic@gmail.com

      [One-to-one sessions for artists and researchers, a card-reading and interview practice concerning individuals that are concerned, fearful and hopeful, excited about their practice. read more]

       

      CYANOTYPE PRINTING PROCESS Adrijana Gvozdenović

      ongoing / installation and practice 

      [Made of processing traces and blueprints of U.V. sun rays. read more]

       

      DEALING WITH POROSITY Antye Guenther

      ongoing exchange of audio files with the participants

      13.7 - 11-12:00h skype working session from Arite (Japan) [by invitation]

      [A series of inquiries in the form of interview between Japan and Belgian, one-one-one video calls, and recordings on individual bases. read more]

       

       

      --------------------------------------------------------------------

       

      The residence is produced by a.pass Research Centre

      and hosted by ZSenne ArtLab

      From June 24th to July 14th 2019

      9h00 - 23h00

      Anneessens 2, 1000 Brussels

      https://goo.gl/maps/nTVwbSAjK6yW76iY9

       

      The Research Center at a.pass is a platform for advanced research practices in the arts. It invites six associated researchers per one year cycle to develop their artistic research practice in an environment of mutual criticality and institutional support. In agreement with the individual research trajectory of the associate researchers the apass Research Center supports and facilitates forms of publications, performative publishing, presentations, experimental research setups and collaborations.  Rather than consolidating the existing discourse around the notion of artistic research, a.pass is committed to accumulating different understandings of artistic research through practicing its frameworks, archives and vocabularies. By bringing together differently practiced notions of artistic research, a.pass is reflecting on modes of study and knowledge practice within the artistic field. a.pass is interested in the actualisation of performing knowledge because it considers artistic research as a situated, contextual practice which is the consequence of ongoing negotiations between its stakeholders, contextual fields and discourses. a.pass interacts with academic, activist, or practice-based fields and methods of research, and supports the development of rigorous, inventive forms of artistic research on the intersections between those fields and in tension with academic artistic research as a developing discipline. The center itself is not a solid institutional body with its associate researchers as satellites, it is rather constructed as a support structure that brings different trajectories and fields of research to a multitude of temporary overlaps.  It’s institutional and long term structures work towards a repository of methodologies, forms of archive and ‘making public’ of artistic research practice.

    • research center
    • associate researchers Cycle 1
    • Victories over the Suns
    • victories over the suns dissolving totalities, usurping orders, inventing new materials
      14 June 2019
      posted by: Pierre Rubio
    • a.pass Research Center Associates in residence
    • ZSenne ART Lab / Brussels
    • 24 June 2019
    • 14 July 2019
    • case of: Pierre Rubio
    • victories over the suns

       

       

      Occidental-Hubris-Apocalypse. Under the modernist and universalist suns everything has burned. Everything looked well organized, bright and transparent, yet everything burned. Nature and culture are melting away. Democracy has shrunk to a gloomy memory of form. All sorts of objects and their categorizations are calcinated. Fragile, they quickly disappear into floating ashes scattered by the wind. From the darkness, on the black powdery toxic deposits of a temporary illusion that believed it was eternal, against all odds, a new life has begun and various species of luminescent critters are crawling around condemned to invent new materials…

      Trying to write a presentation for this artistic research residence project while watching the global game of thrones and painfully figuring out how to take part in a post-capitalist social change ecosystem based on the injunction to live on ruins…, trying to write this text is epic and the text is epic. And yes, we were kind of drunk when we said a big yes to name our residence in relation with Malevich pre-suprematist seminal performance. And yes, titeling our residence “Victories over the Suns”  seems to have everything to do with the feverish and romantic dream of a group of artists soaked in beer and wine. And yes, proclaiming victory before battle will be seen as a horizon of manic hope. Yet, it’s necessary.

       

      Is it not almost impossible to continue to believe in the possibility of creating conditions for imagining alternatives other than through a commitment that inscribes itself in ‘giving up’? Is it possible today to activate change processes other than by creating fictions and ‘alterations’ that suddenly generate more than themselves, other worlds, engaging us in an effort to invent and build another type of (non)luminous scenes of selves, presences, and knowledges? No, the order of this reality is not necessary and a deep doubt has settled that requires to fully reconsider what was presented until recently as being the only possible horizon.  Moreover the system seems to work without anybody in charge. Could it be that we have to self-assign the task, at least momentarily? Could it be a moment to assume the duty to reconsider some things and change the way we look at some things? Important for us to start with: collective geometries, non-modern perspectives, forms, arts, bodies, fortunes, eating, hacking… in addition to the classics : institution, public and politics. Paranoia is our ally and also our condition for defining a possible darkened and contaminated critical position. Our enemies -the suns- are plural and we develop decentralized strategies -our victories- producing plural resistant forms. Norms and values are transformed, constructed and proposed, they are plastic but not relativist. In the dark we see strange lights that darken and we take the risk of proposing ‘establishingly’ experimental.

       

      In our residence, each process is designed individually and in common, in order to share a fiction of sharing. We aim our experimental tools at each other, ourselves and at you. They are directed at a viewer, curious-anxious about modes of reparation who can put together the research trajects that she finds in a process of performing-publishing of difficult-makings of different objects and positions. We are hungry and angry: at our bodies, at assemblages, at more stories for other histories, for different exhibits, for fresh cultures. And, sorry, we are not ashamed, it will be a failure. It is so difficult to present/exhibit/publish our researches. It is hard to maintain the difference between momentary autonomous object-projects and fully open unstable object-trajects. Imagine the combined impossibly difficult of doing both at once, which of course we tragicomically will? It will be an experiment in organizing and presenting what appears to be fundamentally  unorganisable and unpresentable. When all is lost why not go for broke, victorious over the sun?

       

      Our residence will (not) unite Jason Bahbak Mohaghegh, Isabel Burr Raty, Antye Guenther, Adrijana Gvozdenović, Gijs de Heij, Ludi Loiseau, Sara Manente, Lilia Mestre, OSP, Rob Ritzen, Pierre Rubio, Mathijs van de Sande, Sina Seifee and Femke Snelting.

       

      In an Eco-Erogenous Para-Pharmaceutics Village we will be Living and Eating Together Other Geometries of Parallel Parasite Timeline Repository of Forms of Life of Forms of Politics of Engineering Bestiaries & the Chaotic Order of Existence in Slow Cyanotype Cooking Together Monster Zero of Contingent Weirdness and Wild Fermentations Wicked Technologies in Porous Porcelain Brain Vessels from Japan for a Non Agonistic Self Beauty Abduction Performative Dinner or a RRadio Triton Data Retrieval Interface Card Reading of 7 Anxieties and the World ScoreScape Male Farm Multi Demonic Schizoid Possessed Report as Before there was Nothing there were Monsters.

       


      The Research Center at a.pass is a platform for advanced research practices in the arts. It invites six associated researchers per one year cycle to develop their artistic research practice in an environment of mutual criticality and institutional support. In agreement with the individual research trajectory of the associate reserachers the a.pass Research Center supports and facilitates forms of publications, performative publishing, presentations, experimental research setups and collaborations.  Rather than consolidating the existing discourse around the notion of artistic research, a.pass is committed to accumulating different understandings of artistic research through practicing its frameworks, archives and vocabularies. By bringing together differently practiced notions of artistic research, a.pass is reflecting on modes of study and knowledge practice within the artistic field. a.pass is interested in the actualisation of performing knowledge because it considers artistic research as a situated, contextual practice which is the consequence of ongoing negotiations between its stakeholders, contextual fields and discourses. a.pass interacts with academic, activist, or practice-based fields and methods of research, and supports the development of rigorous, inventive forms of artistic research on the intersections between those fields and in tension with academic artistic research as a developing discipline. The center itself is not a solid institutional body with its associate researchers as satellites, it is rather constructed as a support structure that brings different trajectories and fields of research to a multitude of temporary overlaps.  It’s institutional and long term structures work towards a repository of methodologies, forms of archive and ‘making public’ of artistic research practice.

       


      During the three weeks of the residence, we will work and be present in the space of the gallery with our researches and arts. Some of them will be public, others not and a lot of them in between.

       

      Detailed informations about the projects and agenda here

       

       


      The residence is produced by a.pass Research Centre
      and hosted by ZSenne ArtLab


      From June 24th to July 14th 2019
      9h00 - 23h00
      Anneessens 2, 1000 Brussels
      https://goo.gl/maps/nTVwbSAjK6yW76iY9

    •  

       

      Milieus, Associations, Sieves and other matters

      some orientation guidelines

       

      Today, to the question ‘what is technoscience?’ the answer is: it is the medium of knowledge. Just as technology is not the instrument of science but its epistemological framework, so it is not the instrument of our communication, but our medium of meaning. Everyone seems to admit today that we are inhabited by our habitat, built by our niche, processed by our technical environment, which is neither external nor peripheral, but inherent to our being and to all meaning. Now it seems obvious that it is one and the same milieu that surrounds and separates us, and that which crosses and connects us, but this environment has become technical. The co-birth of humans and technology means that the latter is both our medium (the midpoint through which individuals maintain each other) and our environment (our space-time). The technical environment perfectly illustrates the idea that our environment or what surrounds us is actually in our midst (au milieu de nous). That technology is both our exteriority and our interiority, our cage and what takes us away from it. How, in an artistic research environment, do these ontological, ethical and political contemporary concerns resonate?

       


      Proposal


      Composing a processual environment, the block consisted in a sequential ensemble of collective dispositives that were proposed to be appropriated, interpreted, developed and problematised by the artists and researchers. A metastable milieu in ‘crisis’ which evolved by shifting to new dimensions out of a series of analyses and temporary resolutions of problematics linked with the artists and researchers’ projects considered as technologies.

      The basic structure was an arrangement of 1-self organised interactive events intersecting with 2-a series of three theoretical study days and 3-a series of advanced forms of feedback.

       

       

      Organisation / Trajectory

       

      1. Twenty two self-organised interactive events of different dimensions : the C.R.I.’s
      (from May 31st to July 19th)

      The acronym C.R.I. stands for Collective Research Interface. The researchers were invited to compose and propose participatory events that one could identify as shareable practices out of/around/through their individual researches. Instead of qualifying -and reducing- simply the object by ‘collective practice’ or ‘workshop’, the name ‘Collective Research Interface’ produced momentary shared interstitial spaces between different scales (private, public, cultural, social, personal, artistic, aesthetic, political and so on…) and enabled and supported a certain mode of attention, the one of technical mentality. Experiencing with this mentality was possible as the mode of production of the C.R.I.’s followed a principle of compositionality. The performativity and meaning of the C.R.I’s, as complex technical ensembles, were determined by the meanings of their constituent parts and the modes of relating/assembling used to combine them. A structuring loop was formulated : invent, invite, do, participate, share, document, discuss, reflect, problematisatise… and back again. The researches were not only presented but organised into shareable dispositives, that then were described, analysed, filtered driving the attention to their resonances in term of constructions and modes of assemblages. Their technological qualities.

       


      2. Three theoretical study days

              a/ The diagram and the residual (June 12th)
      The program visited the artist residency project ‘Villa Blanche’ within the Solvay Parc in Brussels with Martino Morendi (philosopher-hacker-activist) and Pietro Fortuna (philosopher-artist). The day was articulated around the tension between two conceptual outlines, two proposals that sketched complementary or opposite modes of understanding reality. The diagram, as the systematic representation of a set of relations between elements, where logics, organicism and industrial engineering converge in the effort to govern and organize these relations and the residual, as the irreducible part that remains beyond one's hunger to explain and describe, that recedes and escapes any attempt of organization and rationalization.
      United if only by their distance from the subject-object mode of disclosure, Martino Morandi and Pietro Fortuna oriented us through a series of ‘objects’ like an elegy by Rilke, passages from von Uexküll and Agamben, a bourgeois villa, a tree, a giant Olmec head made of stone, the Solvay ammonia-soda process ... and a series of readings of objects related to every researcher’s art and research.


              b/ on Participation (June 17th)
      The program visited the project ‘Precarious Pavillon #1 - Don’t eat the microphone’ -an artistic project initiated by Veridiana Zurita and Petra Van Dyck, curated by Michael Vandevelde and co-produced by Vooruit- happening in the garden of the Psychiatric Hospital Dr. Guislain in Ghent.
      The study day was dedicated to the critique of participatory art and ideas of participation. Don’t Eat the Microphone represented for us a grey zone where we could think but also be challenged in our certainties about the nature and function of participation. Currently focused on the development of the Collective Research Interfaces and exploring the value of several modes of participation, we wanted to problematise the issue(s) in a problematic environment.             
      What is participatory art? What does it mean to participate?
      What are the relations between participatory art and utopia?
      Which kind of public space and social fabric participatory practices do (and do not) produce? What are the relations between participatory art and communicative capitalism?
      What is participation-as-injunction the diagram of? Is it still possible not to participate? Is it still possible even to imagine non-participation? How to foster (non) participatory arts and (un) communicative thus militantly collective aesthetic educations of possibilities? After a phase of various reservations expressed about the optimistic rhetoric accompanying collaboration and participation, could we now be entering a new phase of a practical re-invention of participation?
      This tentative list of problems and questions guided our study day displaced in the frame of Don’t Eat the Microphone. We read some Hal Foster , Chat Rooms / some Claire Bishop, Artificial Hells / some Yves Citton, Ecology of Attention / some Derek R. Ford and Tyson E. Lewis, On the freedom to be opaque monsters, and discuss in various ways our doubts on participative art with the curators of ‘Don’t eat the microphone’ project and the patients of the psychiatric hospital.


              c/ Poieien (July 14th)
      Invited by the summer program to structure a day around concerns traversing researchers and artists when thinking about methodologies and their politics, Bojana Cvejic, then-curator of the research program at p.a.r.t.s., guided the group of researchers and artists through a critical reflection that she currently conducts on methodologies, opposing practice and action to poiesis. During the encounter with the researchers of a.pass, she proposed two points of entry: how poetry pierces through other mediums than text and poiein, as in how to make, compose, form... more than do and act... a kind of thought that arises from within, or close to, artistic practice that in turn becomes an instrument of looking past art. She accounts for it by “poetics”, using the term to emphasise the productive power of thought as opposed to the genre of interpretation that classifies specimens of kinds. Bojana Cvejic shared that poetics entails engagement with art in imaginary and speculative senses that ‘theory’, tout court – in the way that it has become the superstructural element of art production in capitalism – no longer enables.
      The participants did map out their imaginary around their matters of concern, read some texts and discussed with Bojana.

       

       

      3. Three 'Sieves' proposed by three human 'analogous algorithms'

      The aim of these three advanced modes of feedback named ‘Sieves’ -performed by three ex-a.pass researchers identified as 'analogous algorithms'- were to create conditions that could define practices of creative feedback experimentations on artistic researches envisaged as technical dispositives to investigate how each rhetoric of presentation and its digestive techniques could be expressed in terms of data model (Sina Seifee in May), in terms of recipes and cook books (Gosie Vervloessem in June) and in terms of idiotic practice (Vanja Smilianic in July)

       

              a/ Sina Seifee / Filters
      The basic question of 'Filter'  was : what happens when linking the symbolic space of data-model to the (relational, procedural, emotional) qualities of the researches of participants? The work started with working on/with the feedback material produced during the block’s opening week and processing this material in diagrams. The proposal centred on the notion (and practice) of topological analysis to investigate questions of connectivity and boundaries, in order to find out what remains invariant as a result of transformation. This did direct us to construct ‘transversal objects’ actualising what connects and joins, what delinks and disconnects in the culture of each participant researches.

      some documentation of the process here

       

              b/ Gosie Vervloessem / Vision and Digestion
      The protocol was to bring one’s research and start to think about the taste of it, the way it could move through one’s intestines and try to visualise the tools and methods one would use to transform one’s questions into a dish. How to boil down questions, how to crystallise the background dramaturgy of researches? As a way of documenting the symposium, Gosie proposed to write  the recipes of the ‘dishes’ and to edit the cookbook out of the ‘digested’ researches.

       

              c/ Vanja Smilianic / Idiotic Mandala attacked by a parasitic octopus
      The Idiotic Mandala  -indicating a weird circular configuration with a centre that radiates outward into compartmentalised areas deranged by the unvited presence of a creeping octopus-  asked to switch off one's rational thinking and opened it up to wandering and wondering. The practitioners were invited to introspectively transform the Vicious Circle ( sad passions at work disguised as set of tools and technologies that became behaviour patterns in one's research) into the Virtuous Circle (creating a universe in which idiots are able to act)

       

       

       

      Milieus, Associations, Sieves and other matters

      some justifications

       

              Thematics, Research questions, approaches, potentials, methodologies, relevance

      In response to a proposed frame given by a.pass coordinator and research center curator Lilia Mestre to structure the block in relation to the Senselab concepts and practices, postmaster program curator Pierre Rubio choose to design entry points to different set of practices and theoretical notions accessing a central theme for Senselab and him, the one of technical mentality. A few years ago SenseLab published a special issue of Inflexions ‘Simondon : Milieux, Techniques, Aesthetics’ and Brian Massumi’s lenghtly interview ‘Technical mentality revisited’ was published in Parrhesia. Rubio, since 2010, regularly revisits Simondon’s texts in relation to his practice as artist/dramaturge and observes the growing interest for the french philosopher's ideas in the academic and artistic fields. He curated an a.pass block in 2014 -'Milieu(s)'- that problematised some aspects of technical mentality within a collectively constructed ephemeral public school dispositive.  The possibility of considering artistic researches trajects and projects as technical objects and experimenting with technical mentality seemed to be relevant for this block especially in the vicinity of Senselab's residence invited by a.pass Research Centre within the 'Parallel/Parasite' project.

       

      -A poly semantic space to activate problematisations and progressive resolutions through concretisation

      -The individual CRI’s as case studies of non-autonomous technological open objects

      -Constructivism, technical mentality and artistic research

      -Simondon and artistic research : a promising diffractive equation

      .

      ... to be continued...

       

       

       

       

       

       

    • Close Encounters is the name of a series of presentations and public conversations produced by the a.pass Research Centre during this block, which takes place when researchers are invited, or feel the need to communicate publicly about their research. These light and irregular events are designed to take the time to meet, listen and evaluate an idea, a project, a research, or a specific point in a research trajectory. Even if the events are free-formed and singularly appropriated by its protagonists, one rule remains for all: the format must be in dialog with a guest who is invited to expand on the presented research, the topic discussed or the problem posed through the lens of their expertise, experience or concern. The Close Encounters series holds a double intention of getting a closer look at things and of approaching somebody closely and try to respond to three key questions in relation to artistic research and its current nature, function and conditions of possibility: What to study? What to research? What to practice?

    •  

       

      1 research platform
       
      In its core a.pass is a platform for professionals in the fields of arts and theory who wish to engage in a self assigned research topic. It provides a place and infrastructure to meet other researchers, collaborate on some aspects of the work, get feedback on the project, develop one’s methodology and to widen one’s theoretical and practical scope through critique, mentoring and feedback. 
       
       
      2 educational platform questioning artistic research
       
      A.pass institute defines and activates artistic research by accumulative process and critique.
      Embracing the fact that artistic research is becoming a category of production in the cultural field, a.pass does not claim it as it’s goal or premise to be able delineate the borders of this particular methodology. A.pass affirms this apparent lack of definition as a chance. Operating without a predefined notion of what „artistic research“ is, it creates and brings together a pluralistic overview of the existing notions of this practice.
      An affirmative survey towards the question „what is an artistic research?“ has therefore become one of apass' defining methodologies: apass strives to host a multitude of practices in the arts which self-define themselves as research. Their definitions of what a research praxis in the arts is are at times complementing and at times contradicting each other. This dis/agreement creates a polivocal platform of definitions and is a statement towards a different conception of institutions: away from essentialist claims and towards a more politicised platform of engagement with a certain discipline.
      Some of the methods of this study methodology are:
      -a.pass frequently invites research practitioners in the arts to work with the researchers of the institute.
      -a.pass invests in creating occasions for public discussions of what artistic research is and in presenting the researches work to the general public.
      -a.pass is producing a library of research methodologies by publishing individual and collective research cases.
      -a.pass is presenting itself as a platform for the exchange, implementations and experimentation of research methodologies. 
       
       
      3. questioning teaching
       
      a.pass is a platform which educates and sets an agenda of learning for its participants. It is building its curriculum by inviting advanced practitioners in the arts to actively engage the participants into and around their research within a framework of workshops, ateliers, collective practices or scores. This work is not framed as a teaching as such, but as a process of collective exploration. Experimental formats of collective and collaborative research are frequently proposed and developed in such a framework. The traditional professor-student relationship is put into question here and has to be re-negotiated as a dialogue while a diverse group of practices is admitted as „teaching“.
      a.pass develops teaching practices which engage with the question of how the process of knowledge production and transfer can be framed otherwise outside the persistent hierarchies within the processes of learning and education. 
       
       
      4. meeting point
       
      Beyond its defined curriculum and methods a.pass has in general become an informal meeting point of professionals in the arts on many levels of professionalization. Many contacts and collaborations that have been initiated at a.pass continue well beyond the one-year time-frame of the post-master program. It is a productive hub for the Brussels art scene. 
       
       
      5. experimental institute
       
      A.pass’ work includes research into the formation and politics of educational institutions. By collecting innovative methodologies of research, facilitating educational experimentation and by maintaining an institutional openness, a.pass affirms and continues to be an experimental institute/institution, a place of engaged research of what education in the arts is today. 
    • research center
    • defining a.pass
    • Artistic Research & a.pass : a critical practice by Elke Van Campenhout (2015)
      30 November 2017
      posted by: Pierre Rubio
      Artistic Research & a.pass : a critical practice

       


               1. Questioning artistic research

       

      To clarify what kind of research a.pass sustains, a minimum of conceptual transparency is needed. When we combine the terms ‘research’ and ‘artistic’, most of the time we are dealing with a research ON the arts (art history, musicology, theatre sciences, aspects of cultural sociology, aesthetics etc...) or a research IN the arts (a research that is part of a (regular) artistic practice). What we in a.pass consider as artistic research – a term that is often understood in reference to the Anglo-Saxon models for practice-based research – often is the result of a research in the arts, but cannot be reduced to it. A.pass doesn’t want to limit its range of research to the ‘artist research’ full stop: the necessarily research-oriented attitude that accompanies any kind of serious artistic endeavour, which does not necessarily have any link to the communication and valorization of research results as it is demanded in an academic context. ‘Research’, as it is understood in the artistic practice, is an evident part of this practice which allows for a result-oriented reflection on the work, or in other words: a research oriented towards the production of the art work as a product, as a repertory and/or as an oeuvre. In the a.pass environment, and in a playful questioning of the ‘academic’ research mind-set, this individual artist is not the sole focus of attention, or at least not in the sense that we perceive our researchers as artists tout court. An artist research has an inherent logic and validity, but does not necessarily have a need to be communicative to an outside community in any other form than through the production of art works. A.pass reflects on a research in the arts that is more than a report – in the art work itself or in the accompanying dissertation – of the individual research of an artist. What we consider an artistic research project is rather: ‘a new practice in the arts, which differs from the individual artist practice, as well as from the art historical or scientific research practice. One researches not only the art through the art works, but the functioning of art and the breadth of the art practice by way of interdisciplinary interventions in the (semi-)public, societal domain. Artistic research is an interdisciplinary concentration around a ‘binding’ problem that catches the attention of a pluriform group of participants.’ (Jouke Kleerebeezem, De Witte Raaf) This means that a question in the research of a.pass is always situated in a broader context than that of the sole artist: a lot of the questions that are posed in a.pass generate collective discussions and critique, find their way (partly) into other researches or attempt temporary coalitions in the defining and/or broadening up of a certain problematics. Important in this environment is the shared reflection concerning ways of working, diverse understandings of artistic research, the development of (post-disciplinary) perspectives and the experimentation with methodologies and strategies. The work of the artistic researcher does not coincide with the work of the artist in the sense that it is self-conscious, and explicitly communicates and circulates this self-reflection within a wider group of stakeholders. In other words, the emphasis in this kind of research is not so much on the conception and production of an art work – although this undeniably and unavoidably is part of the whole of the research – but rather on a questioning that puts the individual art practice and even the recognizable mono-discipline in a wider perspective. This kind of research originates from and builds on the demands and problematics of a shared debate, and can be approached by different specialist researchers, each addressing the question out of his own domain. The length, the quality criteria, the form, the communication strategies and the required ‘relevance’ of the research – and thus also the understanding of the requirements of the PhD -project that might eventually result out from it- are thus in principle dependent on the context and have to be negotiated on a project base between the researcher and the institution(s) involved. It is in this case very important to recognize a wider ‘public’, the potential users of this research, as a partner in this trajectory, and to develop the appropriate communication channels to make this participation possible.   

             

                   2. Constructing a general intellect

       

      Other than the ‘artist’s research’, artistic research overwrites the isolation and the hermetics of art production in the classical sense, in addressing in one way or another a socially relevant problematics. This kind of artistic research opens up new ways for the creation of a ‘generous cultural memory’. But at the same time the societal relevance of this research cannot coincide with its utilitarian value, since the direct impact of the research practice and reflection necessarily develops through artistic, affective gestures of experimentation and communication that resonate with, but never answer to, the concrete questions posed within the societal fabric. This kind of research thus will only influence the daily social, political, economic or scientific reality by a detour, through the unsettling of its self-reflection and imagination(s). This independent position, free from any preconditioned political preconceptions, economic value or socially determined relevance is a necessary and undeniable characteristic of this research practice. More than a pragmatic laboratory for the production of answers on societal questions, the research platform that is a.pass offers the possibility to construct a ‘general intellect’: a way of working wherein researchers collectively give form to diverse practices to produce and articulate knowledge in an open, shared research environment.          

       

                  3. Investigating divergent forms of knowledge

       

      In a.pass the relevance of the research is measured by the degree in which researchers, out of their different backgrounds and knowledge horizons, manage to formulate innovative perspectives on potential knowledge production, as well as on the development of tools to share and experiment this knowledge on the public scene. It is clear that the development of this kind of research environment also resonates with other institutions for art education on an (inter)national scale. Artistic research in a.pass can be seen as a third way, wedged in between the artistic practice as such and the more academic understanding of knowledge production. Different from the artistic practice the research is not limited to the individual trajectory, the personal questioning and aesthetics of the artist. But at the same time the art practice does take a central role in the development of new perspectives and methodologies, a way of working that relates to, but doesn’t coincide with, and even explicitly questions an academic AND an artistic framework. Artistic research in a.pass is not limited to the development of arts-practice-related knowledge, but also involves the creation and testing of formats, methodologies, communication strategies and shared practices, ‘tools for collaboration and communication’, that broaden up the understanding of artistic research from an art work with paper validation form to a more critical investigation into the statute, the circulation and the valuation of divergent forms of knowledge. 

       

               4. contextualising a singularity

       

      The a.pass Post-master Program and Research Centre are positioned within a larger context of the arts and education, and develops its working out of a questioning of the current organization of artistic and educational (institutional) practices. In its trajectory, a.pass has on all levels of its organization critically reflected upon the economy of knowledge as it is being employed today in higher education and the media, the logics of the arts market, the recuperation of institutional critique by the institutions themselves, the capitalist drive for the new, the seductive and the quickly consumable, and the role and responsibility of the artist researcher in all of this.
      In a.pass the relevance of the research is measured by the degree in which researchers, out of their different backgrounds and knowledge horizons, manage to formulate innovative perspectives on potential knowledge production, as well as on the development of tools to share and experiment this knowledge on the public scene. It is clear that this kind of research environment also resonates with other institutions for art education on an (inter)national scale. Artistic research in a.pass can be seen as a third way, wedged in between the artistic practice as such and the more academic understanding of knowledge production. Different from the artistic practice the research is not limited to the individual trajectory, the personal questioning and aesthetics of the artist. But at the same time the artistic practice does take on a central role in the development of new perspectives and methodologies, a way of working that relates to, but doesn’t coincide with, and even explicitly questions an academic AND an artistic framework. Artistic research in a.pass is not limited to the development of arts-practice-related knowledge, but also involves the creation and testing of formats, methodologies, communication strategies and shared practices, ‘tools for collaboration and communication’, that broaden up the understanding of artistic research from an art work with paper validation form to a more critical investigation into the statute, the circulation and the valuation of divergent forms of knowledge.
      This means that a.pass is an environment that reflects and practices knowledge and artistic strategies with the windows open to an outside reality. In that sense a.pass is not so much a preparation for the ‘professional life’, as it is a putting-into-question of what these professional sectors (both the artistic and educational organizations of institutes, values and work) are symptoms of. Throughout the years, a.pass has used its own institutional status – and the opportunities offered by being an artistic educational program embedded in a larger network of schools, art centres, research places, workspaces, etc… – to seriously reconsider its role, and the role of the artist researchers within the current ethical, political, economic and social context of knowledge production and sharing.
      On the level of ethics this means that we consider both the institute as the institute’s participants to be part of a larger network of relations, that give them their value and meaning. In a.pass the relation between the ‘I’ of the researcher and the provisional construction of the ‘We’ of the research practice within the institute, is a recurring, and politically charged, topic. The institute here is considered as an experimental field to try out strategies for the now and the future within a larger society. A.pass gives a lot of attention to the transindividual character of practice and knowledge, and how the collective environment can be both a source of frustration and feedback, as of nourishment and challenge to the individual researcher’s trajectory. Also, a.pass in that sense always takes the ‘ethical’ concreteness, the situational reality of research seriously: artistic research is always already embedded in the relations that produce it, and these relations encompass elements of discourse, social and economic factors and spatial settings, as well as institutional givens, societal demands and resources at hand. Therefore an artistic research strategy or outcome is not transparently reproducible without changing in the process. The ethical (here understood as relational and situational) character of the research, makes it resistant to commodification on a larger scale. But this doesn’t mean that the research can not be communicated or shared, using strategies that differ from the promise of serial reproduction.
      This interest in the transindividual character of learning and research, however, does not exclude a strong focus and interest in the development of the individual’s trajectories. Since the institute can not function without the invested interest and contributions to the common environment of the researchers, a.pass strives towards creating an environment in which the aesthetic and artistic idiosyncratic qualities of each practice can be challenged into being. A.pass considers the artist researcher not so much as an artist-producer of work, but as an artist-researcher, reflecting self-critically on the trajectory already accomplished, and reconsidering the notions of work, value, the market, responsiveness and responsibility through the practicing of the research. A.pass encourages the exploration of ‘risky’ practices that do not directly correspond to the current demands of the arts market or academic understandings of research, in order to create an experimental environment in which certainties can be subverted, undermined, or simply reappraised from another point of view.

       

       

    • lecture
    • performative publishing
    • research center
    • Close Encounters
    • Semiotics of the Uncanny Dr. Dalila Honorato / Isabel Burr Raty
      13 October 2017
      posted by: Pierre Rubio
    • Close Encounters series
    • a.pass 4th floor studio
    • 21 October 2017
    • Semiotics of the Uncanny

       

       

      a.pass Research Center and Isabel Burr Raty invite special guest Dr. Dalila Honorato.

      The talk will be followed by a discussion.

      Saturday October 21st 2017, 16h-19h @ a.pass , 4th floor

       

       

      'Semiotics of the Uncanny'

       

      'Semiotics of the Uncanny' will approach alternative bodies in art, sexuality and pop culture, that conjugate body alteration, medical fetish, disability aesthetics and creative ritualistic behavior, touching on subjects such as: phobia, paraphilia, teratology, prosthetics and acrotomophilia.

      If the body is defined as the sum of all physical parts then individuality is composed by the uniqueness of this structure and the qualities of its elements. In a time when plastic surgery is considered a commodity within the cosmetic industry and the hype for symmetry has reached post-standardized levels, the borders between mass production and eccentricity, in what beauty is concerned, become more obvious. But it is when health issues occur that the equation changes. How can a body be defined if a physical part is missing or if it is supernumerary in the sum? Unlike some types of lizards, starfish, sea cucumbers, earthworms and salamanders, humans have a very limited capacity of self-healing. What happens to a physical part that is removed from a body separated either due to an accident or due to its dysfunction? And how does one cope with this separation as an individual and as a social being?

       

      After Dalila’s talk, Isabel Burr Raty, performance artist, independent filmmaker and associated researcher in a.pass Research Center, will offer some tea and will support a co-learning conversation.

       

      At first, the focus of the conversation will be on the Hybrid Art contemporary positioning, a phenomenon that mixes multiple art forms crossing borders between art, science and technology, contributing to hybrid narratives in performing arts and creating new alternative technological materials and objects aimed to serve as empowering tools for resisting the high-tech capitalist imperialism. Then, Isabel and the public will prolong the discussion with Dalila to bring her approach to a broader artistic research context.

       

      Dr. Dalila Honorato’s research focuses on embodiment at the intersection of performing arts and new media and, as a curator, she is interested in exploring the outlines of art and biology. Dalila is currently Assistant Professor in Aesthetics and Visual Semiotics at the Department of Audio and Visual Arts of the Ionian University in Corfu, Greece. She is one of the founding members of the Interactive Arts Lab where she coordinates the Art & Science Research Group. She is the head of the organizing committee of the conference "Taboo-Transgression-Transcendence in Art & Science" and conceptor-developer of the Corfu Summer School in Hybrid Arts. She is a guest faculty at the PhD studies program of the Institutum Studiorum Humanitatis in Alma Mater Europaea, Slovenia, and a guest member of the Center of Philosophy of Sciences of the University of Lisbon, Portugal.

      ionio.academia.edu/DalilaHonorato

       

      Isabel Burr Raty explores the ontological crack between the engineered and the native, between the official facts and the unlicensed knowledge of the resettled, the relocated; in order to think about the memory of the future and dig out chapters left out of scientific and history books. Her artistic research  is design based and semiotic, interweaving live/body art, participatory performance, biology and DIY technologies, and is based on the question of how to write in situ Sci-Fi narratives that remain alive, alive as they rely on the participative audience’s faculty to propose dispositives of liberation from a commodified life/body.

      www.isabel-burr-raty.com

       

      When: Saturday October 21st  from 16:00 h to 19:00 h

      Where: a.pass fourth floor studio.

      Free entrance

      Directions: https:///www.apass.be/contact/

      Please confirm your participation by sending an email to <isabelburr.raty@sacrofilms.com> !

    • postgraduate program
    • research center
    • block 2017/III
    • 2017 BLOCK III 01 September 2017
      posted by: Pierre Rubio
    • 01 September 2017
    • 30 November 2017
    • 2017 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Adrijana Gvozdenović
      Eleanor Ivory Weber
      Elen Braga
      Eszter Némethi
      Eunkyung Jeong
      Geert Vaas
      Hoda Siahtiri
      Leo Kay
      Luisa Fillitz
      Pia Louwerens
      Shervin Kianersi
      Sven Dehens

       

      Research End Presentations

      Esta Matkovic
      Lili Mihajlovic Rampre
      Maarten Van den Bussche
      Sina Seifee
      Xiri Noir

      Research Centre Researchers

      Adriana La Selva
      Adva Zakai
      Isabel Burr Raty
      Mala Kline
      Ricardo Santana

       

      Partners

      ARIA
      Koninklijke Academie voor Schone Kunsten
      Middelheim Museum
      Kunsthal Extra City
      Kunstcel
      Departement Cultuur, Jeugd, Media
      Kunstenpunt

       

      Contributors for workshops

      Dalila Honorato
      Eleanor Ivory Weber
      Elen Braga
      Eszter Némethi
      Geert Vaas
      Hoda Siahtiri
      Isabel Burr Raty
      Leo Kay
      Luisa Fillitz
      Marialena Marouda
      Nico Dockx
      O.S.P. (Gijs de Heij, Ludi Loiseau, Sara Magnan)
      Pascal Gielen
      Pia Louwerens
      Pierre Rubio
      Shervin Kianersi
      Sven Dehens
      Vladimir Miller

       

      Coordinators a.pass

      Lilia Mestre
      Pierre Rubio
      Vladimir Miller


      Mentors

      Caroline Godart
      Heike Langsdorf
      Pierre Rubio
      Peggy Pierrot

       

    • postgraduate program
    • research center
    • block 2017/II
    • 2017 BLOCK II 01 May 2017
      posted by: Pierre Rubio
    • 01 May 2017
    • 31 July 2017
    • 2017 BLOCK II

       

       

       

      Researchers Participants in the Postgraduate Program


      Ekaterina Kaplunova
      Elen Souza Braga
      Esta Matkovic
      Esther Rodriguez-Barbero
      Eszter Némethi
      Hoda Siahtiri
      Leo Kay
      Luisa-Marie Fillitz
      Maarten Van den Bussche
      Marialena Marouda
      Shervin Kianersi
      Sina Seifee
      Sven Dehens
      Xiri Noir
      Zoumana Meïté

       

      Research End Presentations

      Juan Duque
      Luiza Crosman
      Sana Ghobbeh
      Sébastien Hendrickx

      Aela Royer

       

      Research Centre Researchers

      Adriana La Selva
      Adva Zakai
      Esteban Donoso
      Isabel Burr Raty
      Mala Kline
      Ricardo Santana

       

      Partners

      La Bellone
      PAF performance Arts Forum

       

      Contributors for workshops

      Lilia Mestre
      Jennifer Lacey
      Caroline Godart
      Marialena Marouda
      Vladimir Miller
      Anouk Llaurens
      Sofia Caesar
      Femke Snelting
      Olga de Soto
      Vincent Meessen
      Agency (Kobe Matthys)

       

      Coordinators a.pass

      Kristien Van den Brande
      Lilia Mestre

       

      Mentors

      Kobe Mathys
      Nicolas Galeazzi
      Tine Van Aerschot
      Veridiana Zurita

    • postgraduate program
    • reading session
    • Trouble on Radio Triton
    • YOU CALL THIS PROGRESS ?! 4/4 (revisiting SF Cinema) curated by Dehens & Kaplunova
      17 March 2017
      posted by: Pierre Rubio
    • a.pass
    • 20 March 2017
    • YOU CALL THIS PROGRESS ?! 4/4

       

       


      Screening starts at 16h00
      Entrance free
       
       
      Extended, closing program for Monday 20/03/17
       
       
      Hyperstition
      2016/ 100'
      Christopher Roth with Armen Avanessian

      "Hyper-what?"
      Features Georg Diez, Anke Hennig, Tom Lamberty, Nick Land, Quentin Meillassoux, Reza Negarestani, Björn Quiring, Patricia Reed, Tom Streidl, James Trafford, Jeanne Tremsal, Alex Williams, and Slavoj Žižek.


      Kempinski
      2007/France/14'
      Neil Beloufa

      Shot in Mali, Neil Beloufa’s Kempinski (2007) is a science fiction documentary featuring interviews with local inhabitants as they imagine their visions of the future.
       


      +++ BREAK/ Starts again at 19h30 +++
       
       

      Kin-dza-dza!
      1986 / USSR/ 135'
      Georgiy Daneliya

      Kin-dza-dza! is one of the strangest artefacts in all of Soviet cinema. It’s a science fiction satire in which Vladmir and Gedevan, a gruff Russian construction worker and a Georgian student, find themselves accidentally transported to Pluke, a barren desert-world with a barbaric, bureaucratic society. Gradually realising that they are not in a ‘capitalist country’, the two men begin a long and farcical voyage home that more closely resembles the theatre of the absurd than it does any preconceived notion of cinematic science fiction. The men befriend two locals, Bi and Wef, and are soon busking their way across Pluke and becoming ensnared in various misadventures that stem from the planet’s bizarre and unbendable social rules, and its two-tier social structure of ruling Chatlanians and subservient Patsaks.


      Heart of a Dog 
      1988 / USSR / 113'
      Vladimir Bortko

      An adaptation of Mikhail Bulgakov’s dystopian and comic sci-fi novel Sobache Serdtse about a Soviet experiment of turning a dog into a human, set in Moscow in 1925, not long after the Revolution of 1917.
      Old Prof. Preobrazhensky and his young colleague Dr. Bormental inserted the human's hypophysis into a dog's brain. Couple of weeks later the dog named Sharik became a slovenly and narcissistic incarnation of the New Soviet Man.
    • postgraduate program
    • reading session
    • Book Club
    • Trouble on Radio Triton
    • Book Club #9 Language as Magic and the Language of Things Book Club Series / Caroline Godart & Marialena Marouda
      03 March 2017
      posted by: Pierre Rubio
    • a.pass
    • 17 March 2017
    • Book Club #9 Language as Magic and the Language of Things

       

       

       

      Bookclub #9

      Close Reading Session with Caroline Godart and Marialena Marouda

      Language as Magic and the Language of Things

      Walter Benjamin’s “On Language as Such and on the Language of Man”

       

       

       

       

      “To whom does the lamp communicate itself? The mountain? The fox?”

       

      In the essay “On Language as Such and on the Language of Man” Benjamin proposes a language metaphysics that extends to every thing. Every thing has a language: objects, animals, human beings but also immaterial things, like the Arts or Technology. For Benjamin language is therefore a medium going very much beyond human language and the communication through words. One could say language is the way in which some thing – indeed every thing – communicates itself to the world.

      During this morning session we will read Benjamin’s text on the metaphysics of language by using the method of the feminist close reading. By encountering the text in such a way we will try to unfold concepts such as the magic in language and the language of things.

       

       

       

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

      http://www.rowmaninternational.com/books/the-dimensions-of-difference

       

      Marialena Marouda works in the fields of performance art and choreography. She studied philosophy and visual arts at Columbia University in New York, USA (B.A., 2004) and continued her studies at the Institute for Applied Theater Studies at the University of Giessen, Germany (M.A., 2011).  Marialena Marouda’s work is focused primarily on the development of performance exercises, self-invented practices for relating to and for inhabiting spaces. The experimentation with walking, listening and storytelling as relational spatial practices forms the basis of her work.

       

       

      Friday 17th from 10am to 2pm

      @ a.pass 4th floor

      participation to the costs : 5 euros

      Map

    • postgraduate program
    • reading session
    • Trouble on Radio Triton
    • YOU CALL THIS PROGRESS?! 3/4 (Revisiting SF Cinema) curated by Dehens & Kaplunova
      03 March 2017
      posted by: Pierre Rubio
    • 06 March 2017
    • YOU CALL THIS PROGRESS?! 3/4

       

       

      Program for Monday 06/03
      Screening starts at 19h30
       
       
       
       
      Testament
      John Akomfrah
      1988 / Ghana / 88 min
       
      Preceeding the visit of Dr. Edward George, member of Black Audio Film Collective (1982-1998), we present Testament, the first narrative feature film of the collective. Link to the event / on Facebook
       
      In Testament, the condition of the postcolony is embodied in the figure of activist turned television reporter Abena who returns to contemporary Ghana, for the first time since the 1966 coup that ended President Kwame Nkrumah’s experiment in African socialism. Adrift in a ‘war zone of memories’ in the words of the film’s subtitle, Abena is caught in the tension between public history and private memory Testament is characterised by a depopulated frame and the deliberately cold look that evoke an emotional landscape of postcolonial trauma.
       
       
       
      The Unity of All Things
      Alexander Craver & Daniel Schmidt
      2013 / USA, Switzerland, China/ 97 min
       
      The Unity of All Things is a work of experimental science fiction about the construction of a particle accelerator beneath the U.S./Mexico border. It is grappling with questions of self and other by employing particle physics as a metaphor for the morphing nature of human identity. The film engages the utopian impulses of the genre, not through the imagining of another world, but through the rendering of this world as Other. All subjects are treated as alien, or as radical others, who search for, or advance different ideological, psychological, or sexual ideals of belonging. Subjects oscillate between the contemplation of past societal traumas and idealizations of futurity that refuse to synthesize or resolve, but instead reveal a troubling satire of the present.
       
       
       
       
       
      Program for Monday 06/03
      Screening starts at 19h30
      Entrance free
      location a.pass 4th floor
      https://www.google.be/maps/place/Rue+Delaunoy+60,+1080+Molenbeek-Saint-Jean/@50.8530792,4.3300367,17z/data=!4m2!3m1!1s0x47c3c3f46c54e4c7:0x4e61e376c2f6b53a

       

    •  

       

      Book Club #6   “A STITCHED AND SPLIT HOSPITALITY”

      with Laurence Rassel

      Thursday March 9th / 10am-1.30pm

       

       

      “The split and contradictory self is the one who can interrogate positionings and be accountable, the one who can construct and join rational conversations and fantastic imaginings that change history. Splitting, not being, is the privileged image for feminist epistemologies of scientific knowledge. "Splitting" in this context should be about heterogeneous multiplicities that are simultaneously salient and incapable of being squashed into isomorphic slots or cumulative lists. This geometry pertains within and among subjects. Subjectivity is multidimensional; so, therefore, is vision. The knowing self is partial in all its guises, never finished, whole, simply there and original; it is always constructed and stitched together imperfectly, and therefore able to join with another, to see together without claiming to be another.”

      Donna Haraway, Situated Knowledges

       

       

      Upcoming Book Club welcomes “what if” expert-consultant Laurence Rassel. Long ago she diagnosed the vacuity of artistic practices when its formats of knowledge-production are not ‘situated’ in an ecology of art that encompasses social and psychological factors. Paradoxically she considers fiction, science-fiction, narratives and role plays as paramount tools to achieve that goal.

      Laurence Rassel will address the notion of ‘Radical Hospitality’ by revisiting Stitch and Split, and some of the curatorial operating principles and practices she developed in Fundació Antoni Tàpies in Barcelona: ‘re.act.feminism’, ‘Retrospective’ by Xavier Le Roy, ‘FAQ: Zone of frequently asked questions’, ‘Allan Kaprow. Other Ways’.

       

      At Tàpies Foundation she engaged the staff-members in a continuous play of becoming aliens of their own activity, all the while practising different modes of welcoming and establishing actual rules for how to use the ‘house’. How can rules be read, understood and negotiated if we take the model of children who change the rules of the game as they play: “Now, what if? And if? Now You, Now I.”

      The science and fiction approach in Stitch and Split is an early exemplarity of her hybrid curatorial practice that steers towards a politics of imagination-as-critique and alternative forms of life and work ‘invented’ in common. Stitch and Split explored the joints, the interstices, and the reciprocal contaminations between two registers which might be considered opposed, science and fiction. Science fiction as a zone of tension that amalgamates imaginary and real, utopia and dystopia, flesh and machine; the use of intrusion, incongruity and discrepancy as a system of resistance and a tool for questioning the present. Science fiction is not considered here as an oracle that can predict the future more or less exactly, but as a critical, inventive, cross-genre/gender and cross-disciplinary discourse on the body, identity and contemporary territories.

      http://www.stitch-and-split.org/site/images/poster.pdf

       

      Laurence Rassel is a Brussels based cultural worker who acts as curator, teacher, organizer. She is currently the director of ERG (École de recherche Graphique). From 2008 to 2015 she was the Director of Fundació Antoni Tàpies, Barcelona, an institution created in 1984 by the artist Antoni Tàpies to promote the study and knowledge of modern and contemporary art. From 1997 to 2008, Rassel was member of Constant, a Brussels based non-profit association and interdisciplinary arts-lab that advocates free software, copyright alternatives and (cyber)feminism.

       

       

      Trouble on Radio Triton”, the dispositive of the current block in a.pass, revolves around a series of questions (de)forming alternatively its centre and its periphery: As artists, do our researches contribute to changes in contemporary culture? And if yes, which alternative worlds do our researches/practices contain and produce immanently? What do we see with/through artistic-research? How do we relate to the future via artistic-research? Through a series of strategic ‘if’s’, ‘what if’s’, ‘as if’s’ we imagine alternatives and exercise criticality along diverse speculative collective practices.

       

       

       

      Book Club #6 “A STITCHED AND SPLIT HOSPITALITY”

      Thursday March 9th / 10am-1.30pm

      participation to the costs : 5 euros

       

      @ a.pass / 4th floor

      https://www.google.be/maps/place/Rue+Delaunoy+60,+1080+Molenbeek-Saint-Jean/@50.8530792,4.3300367,17z/data=!4m2!3m1!1s0x47c3c3f46c54e4c7:0x4e61e376c2f6b53a

       

    • lecture
    • performative publishing
    • postgraduate program
    • Book Club
    • Trouble on Radio Triton
    • Book club #7bis An Animal Escape Case Book club series special event / Sina Seifee
      28 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 10 March 2017
    • case of: Sina Seifee
    • Book club #7bis  An Animal Escape Case

       

       

      Book Club #7  'Special event'  by Sina Seifee

      An animal escape case

      March 10th – 2.30am-3.30pm

       

       

      This 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 in Tehran domestic landscape exemplified in the everyday use of mobile phones where images of pets circulates and different species meet in mediated formats. The essay/performance analyzes all that anthropomorphism performs and withholds on and with animality in the situated conditions of contemporary Tehran domestic life and addresses the relationships between people, animals and place in a socio-technological milieu as complex as Tehran's urban environment with its politics, televised operations, public/private cross- boundaries, its wilderness, and technologically mediated stories and rumors that populate its landscape. By going through the politics of friendship in a political and historical milieu the essay explores different modes of friendship in the literary texts such as: the 8th century Kalile va Demne’s indo-Iranian essence of friendship, the quotidian of middle ages registered in the works of Saadi, an Iranian modality of everyday happening of greeting in Taarof, children animation films, and ‘Telegram’ social networks in my own family. The An Animal Escape Case as an artistic concern with “foreign-policy” remains committed to the finite essence of friendship while investigating the origins of reciprocity, identification, and greeting in quotidian technologized performances. By problematizing the notion of Democracy as an institutionalizations of a Graeco-Roman model of friendship, the essay/performance asks for other forms of friendship that has stakes in multi-species contingencies in a “difficult” landscapes such as Tehran, operations of disproportion and disidentification empowered by middle ages Indo-Persian cosmologies, and the possibilities of empathic non-understanding in everyday life.

       

      Sina Seifee is an interdisciplinary artist working in the field of computer art, writing, drawing and performance. He is involved in research and work on technology, narrative, globalism, and intercultural mythologies.

      http://www.sinaseifee.com

       

       

      Book Club #7  'Special event'  / Sina Seifee

      March 10th – 2.30am-3.30pm

      Entrance free

    •  

       

      Book Club #7 with Fabrizio Terranova

      Politics of Speculative Fabulation

      March 10th - 10am-1.30pm

       

      In this talk/reading session, Fabrizio Terranova will revisit a recent text by Donna Haraway, “Tentacular Thinking” and talk about the different projects he is involved in where activism, speculative fiction and pedagogy merge.

       

      "We need new types of narrative", once wrote Haraway (1). We follow in her tracks. Indeed we need new types of narrative and techniques. Stories that reclaim the earth and the commons that capitalism has stolen from us. Stories that invite us to take up and create trans-species sensitivities, trans-matters vitalities and trans-cerebral unrests. And it’s not enough imagining them, these stories have to be made. And even making them does not suffice, it is necessary to learn how to fabulate what concerns us, what we are confronted with, that is to say, to venture into narrations and cosmologies that can welcome these sensibilities, vitalities and crossing unrests. Fabulating is indeed a new kind of construction, at least for those who seek knowledge and in our opinion, fabulations are those narratives that dig interstices in our world, queering and manipulating it in a more than imaginary take off’s until sparking new attachments and forcing the investigation to be reopened, so that we may once again explore this forsaken territory, which did not seem to deserve even a bit of our attention. Fabulating is an act of repopulating which will no longer be trapped by the limited question of True and False. Stuttering the real, launching the orderly sabotage of the categories of thought, enlarging the spectre, bringing out connected and baffling new worlds, deploying them by triggering desires for the possible and shifting a too well described overwhelming World. Finding tricks, playing, tirelessly returning to our practices, affirming the necessity of new ways of telling and experiencing these worlds, is what we must learn to do.

      Fabrizio Terranova

      (1) D. Haraway, “Primatology is Politics by Other Means”, 1986



      Fabrizio Terranova, who lives and works in Brussels, is a film-maker, activist, dramaturge, and teacher at erg (École de recherche graphique) in Brussels, where he launched and runs the master’s programme in Récits et expérimentation/Narration spéculative (Narrations and experimentation/ Speculative narration). Terranova is the author of Josée Andrei, An Insane Portrait, an experimental documentary that was turned into a book published by Les Editions du souffle. He is also a founding member of DingDingDong – an institute to jointly improve knowledge about Huntington’s disease. He has recently published the article “Les Enfants du compost” in the a publication edited by isabelle Stengers and Didier Debaise : Gestes spéculatifs (Les Presses du réel, 2015). Fabrizio Terranova directed a documentary/film on/with Donna Haraway - 'Donna Haraway: Story Telling for Earthly Survival'. The film will be presented at the end of March 2017 in Brussels within a series of conferences with and around Donna Haraway.

       

      https://vimeo.com/188121629

      https://www.youtube.com/watch?v=zFGXTQnJETg)

       

       

      Fabrizio Terranova’s cinematic choice, a pseudo-realist but discretely fictional one, corresponds very precisely to the mode of presence that makes this portrait a model of integrity. Neither taking over nor offering a neutral opinion, it is a device that constrains Haraway no more than it constrained Josée Andréi, the subject of his first, admirable film, but leaves them to use their own mode of being honest and entrusts in the work of the image the responsibility of turning this recorded document into a co-created documentary work. I am profoundly grateful to this director for knowing how to use his talent, his intelligence and his sensitivity to serve what will be a real transmission of intelligence and emotion. I would also like to emphasise the exceptional confidence that he was able to inspire in Haraway, whose recorded lectures are so far all we know about her, allowing her to give free rein to a “thought” live.

      Isabelle Stengers

       

       

      Book Club #7 with Fabrizio Terranova

      March 10th - 10am-1.30pm

      Participation to the costs : 5 euros

       

      at 2.30pm, an essay-performance will follow Fabrizio Terranova's presentation.

      "An animal escape case" by Sina Seifee

      https:///www.apass.be/book-club-series-7-an-animal-escape-case/

       

       

       

    • postgraduate program
    • seminar
    • Book Club
    • Trouble on Radio Triton
    • BOOK CLUB #8 ACCELERA.PASS Book Club Series / Michiel Vandevelde & Wouter De Raeve curated by Sébastien Hendrickx
      24 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 16 March 2017
    • BOOK CLUB #8 ACCELERA.PASS

       

       

       

      Book Club #8 with Michiel Vandevelde and Wouter De Raeve

       

       

      Accelera.pass

      A seminar-presentation by Michiel Vandevelde and Wouter De Raeve curated by Sébastien Hendrickx

       

      How to render our future habitable again, without resorting to the false paradise of disembodied utopias? The societal challenges of the 21st century urge to re-think tactics, methodologies and productions of knowledge how to challenge the prevailing hegemony. In 2013 the Accelerationist Manifesto by Nick Srnicek and Alex Williams emerged, aiming to do exactly that. It questions the traditional Left and demarcates a renewed relation with capitalism, while its provocative aura generated a whirlwind of pros and cons.

       

      During this seminar we will not merely read excerpts of the manifesto. By means of a genealogy of the concept, we'll try to frame this tendency within the larger philosophical evolutions of the past decennia and nuance its “accelerating” characteristic.

       

      Michiel Vandevelde (Belgium, 1990) began his dance career at an early age with the Leuven-based company fABULEUS. Since graduating from P.A.R.T.S. in 2012 he has been building up his own practice as a choreographer, curator and writer. A political and artistic activism is the common thread running through his work. He is a member of the Bâtard festival’s artistic team and of Etcetera’s editorial team. Michiel has previously appeared at Kaaitheater with Antithesis. The future of the image (2015).

      From 2013 to 2017 Michiel Vandevelde will be artist in residence at Kaaitheater.

       

      Wouter De Raeve (BE, 1982) studied landscape architecture and is currently pursuing a master degree in visual arts at KASK (Ghent, Belgium). An interest in the interaction between the spatial realm and how society is thought is the leitmotif running through his projects. He recently co-initiated the platform Perhaps it is high time for a xeno-architecture (of knowing) to match, a Brussels-based curatorial and research platform that seeks to examine the possibilities for re-radicalizing spatial practice.

       


      March 16th, 10am-1.30pm

      @ a.pass 4th floor

      Participation to the costs : 5 euros

      Map

    • lecture
    • postgraduate program
    • Trouble on Radio Triton
    • LAST ANGEL OF HISTORY screening and presentation by Dr EDWARD GEORGE
      23 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 08 March 2017
    • LAST ANGEL OF HISTORY

       

       

      “LAST ANGEL OF HISTORY”

       

      a screening and presentation by Dr EDWARD GEORGE

      (Black Audio Film Collective, London)

       

      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 unpopular 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.

      Edward George, the writer, researcher, presenter of this ground breaking science fiction documentary, will present and discuss the film and its themes of music, Diaspora, science fiction, and its engagement with Afro futurism.

       

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

       

       

      March 8th, 2017 _ 7pm-10pm

       

      @ a.pass

      Delaunoystraat 58

      1080 Brussels

       

      ​entrance free​!

       

      Screening at 7pm

      Presentation at 8pm

      Discussion at 9pm

       

      https://www.youtube.com/watch?v=iYe_nj7xfQM

      https://en.wikipedia.org/wiki/The_Last_Angel_of_History

       

       

    • postgraduate program
    • reading session
    • Trouble on Radio Triton
    • YOU CALL THIS PROGRESS?! 2/4 (Revisiting SF Cinema) curated by Dehens & Kaplunova
      10 February 2017
      posted by: Pierre Rubio
    • a.pass
    • 16 February 2017
    • YOU CALL THIS PROGRESS?! 2/4

       

       

      Program for Thursday 16/02, 19h30
       

      The stuff of stars has come alive
       
      A Visit To The Underground Cities Of Mars
      UNARIUS
      1977/ USA/ 58"

      We'll go visit the underground cities of Mars, as imaginated and documented by an actual psychic experience. It shows for a more embodied approach to the SF imagination and reconsiders the trope of the guest, the visitor, the witness as experience. We will be guided by Uriel and her students of the UNARIUS academy of science, an UFO-religion still active today. 


      The Co-Star Tapes
      Compiled by Miranda July
      1998-2002/ USA/ Var.
       
      Then we head to scroll through The Co-Star Tapes, a series of videos compiled and distributed by Miranda July in the 90s. Let's look at the co-stars of the sky. It's a feminist, queer sky; a betaville for the future.

      The selection includes:

      How The Miracle of Masturbation Saved Me From Becoming a Teenage Space Alien - Dulcie Clarkson
      A coming-of-age story you've never seen before.

      The Amateurist - Miranda July 
      A “professional” woman monitors an “amateur” woman (both played by July) via video surveillance, as she has for the last four and a half years. She has never had direct contact with the amateur, but creates a sense of communion through numbers, knobs and careful language.

      Transeltown - Myra Paci 
      Dante transported to Times Square.




      NOTE: The event is open for limited public. Feel free to invite some friends. 
      Before the screening at 7.30pm, around 6pm we will cook some vegetarian pasta and eat together. 
       
      WELCOME!
       
       
       
    •  

       

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

      - J.Hendrix

       

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

      - The Spaceape

       

       

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

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

      1492. Knowledge Freedom/Culture Born Wisdom.

      We build or we destroy.

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

      We learn about the Know-Ledge.

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

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

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

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

       

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

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

       

       

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

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

       

       

      Date

      Thursday February 16th

      from 9.30am to 1.30pm

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

       

      Location 

      a pass / Studio 4th floor

      rue Delaunoystraat, 58-60

      1080 Brussels

       

    • postgraduate program
    • reading session
    • a.pass Basics workshops
    • Book Club
    • Trouble on Radio Triton
    • Book Clubs #3 & #4 Situated Knowledge Book Club Series / Sina Seifee
      29 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 02 February 2017
    • 09 February 2017
    • Book Clubs #3 & #4 Situated Knowledge

       

      Which version of "realism" are you talking about? Recollecting truth and objectivity are activated whenever a 'point of view' is produced among other metaphors that we use in our practice and thinking in techno-scientific societies. In this group reading sessions we are going to study one of the most stubborn and pervasive phantasms in art and sciences, the figure of objectivity, with the Donna Haraway's 1988 essay 'Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective'.

      This reading focuses on politics and epistemologies of location, positioning, and situating in our power-sensitive conversations, and what does it mean to become accountable and responsible for one's own noninnocent translations.

      We begin with her essay on the 2nd of February and talk about each of our practices in particular continuing on the 9th.

      From 9.30am to 1pm both days.

    • postgraduate program
    • reading session
    • Trouble on Radio Triton
    • YOU CALL THIS PROGRESS?! 1/4 (Revisiting SF Cinema) curated by Dehens & Kaplunova
      29 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 30 January 2017
    • YOU CALL THIS PROGRESS?! 1/4

       

       

      Program for Monday 30/01/17:
       
      Screening begins at 20:00
       
      Crimes of the future
      David Cronenberg
      1970 / USA / 70 min
       
      Crimes of the Future details the wanderings of Tripod, sometime director of a dermatological clinic called the House of Skin, who is searching for his mentor, the mad dermatologist Antoine Rouge. Rouge has disappeared following a catastrophic plague resulting from cosmetic products, which has killed the entire population of sexually mature women. A bio-political Science Fiction informed by the anti-psychiatry movement mixed with a bit of Ballard and Burroughs and a lot of early Cronenberg imagination. It is curious in many ways - one of which being the fact that no sound was taken on location and the experimental use of foley that resulted from this.
       
      Per Aspera Ad Astra (Through The Thorns To The Stars)
      1st part
      Richard Viktorov
      1981 / USSR / 75 min
       
      Neeya is a striking-looking anthropoid found barely alive in an abandoned space craft... Brought to earth by the Russian space crew, she is nursed back to health and memory of her planet Dessa and its ecological collapse. When Neeya's benefactor Sergey joins the crew of an environmental rescue mission, she sneaks on board and convinces Sergey to change course. Once they have landed on the planet of Dessa, they begin improving the atmosphere and water while simultaneously struggling against the supporters of an evil dwarf Turan and a creepy biomass that has escaped the laboratory…
       
       
       
    • postgraduate program
    • workshop
    • Trouble on Radio Triton
    • TELESCOPING THE INTERVIEW three day intensive
      12 January 2017
      posted by: Pierre Rubio
    • Myriam Van Imschoot
    • 07 February 2017
    • 10 February 2017
    • TELESCOPING THE INTERVIEW

       

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

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

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

      Have a look at the schedule below.

       

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

      http://oralsite.be/pages/Myriam_Van_Imschoot_Digital_Portfolio

      http://oralsite.be/pages/WNS

      www.oralsite.be

      http://oralsite.be/pages/VolumeSP

       

       

      Schedule of the workshop

      Tuesday 7th from 3pm to 10pm

      Wednesday 8th from 10am to 5pm

      Friday 10th from 10am to 5pm

       

      Location of the workshop

      a pass / Studio 4th floor

      rue Delaunoystraat, 58-60

      1080 Brussels

       

       

    • postgraduate program
    • reading session
    • Book Club
    • Trouble on Radio Triton
    • Book Club #1 COGNITIVE ESTRANGEMENT BOOK CLUB SERIES / Sol Archer
      06 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 19 January 2017
    • Book Club #1 COGNITIVE ESTRANGEMENT

       

      a.pass welcomes Sol Archer on Thursday January 19th from 9.30 to 13h00 as part of the Book Club Series.

       

      “SF’s specific modality of existence is a feedback oscillation that moves now from the author's and implied reader’s norm of reality to the normatively actualised novum… and now back from these novelties to the author's reality, in order to see it afresh from the new perspective gained.”

      Darko Suvin

       

      Science Fiction has enjoyed a massive surge in popularity over the past few years, Utopian, Dystopian, and futuristic worlds abound in the cinema, on TV, in books, and cartoons.  I want to look at what drives this surge, and how imagining difference may be a reflection on the political reduction of possibility, following 2008?

      Starting with Darko Suvin's ideas of Cognitive Estrangement, we will look at some of the mechanisms and functions of science fiction, and consider how the imagining of alternative realities operates is a critical gesture with which to view consensus reality -Suvin's “Zero World”.

      We will read into Ursula LeGuin's “Carrier Bag Theory of Fiction”, consider some classic examples of critical Sci-Fi, and talk briefly about the position of theatre within Science Fiction.

       

      Sol Archer is an artist, primarily working with the moving image to research the layering of narratives within location. Sol’s work has been exhibited internationally, at, among other places, the Sydney Biennial, the MuKHA Antwerp, Action Field Kodra, and the University of California. Currently he is an artistic researcher at the Jan van Eyck Academie where he is developing a film workshop, based on an improvisational game of science fiction and alternative futures.

      http://www.solarcher.co.uk

      https://youtu.be/vd4pM5-d3yU

       

       

       on Thursday January 19th from 9.30 to 13h00 !! @ https://goo.gl/maps/n1xo77pA9es

    • SELF / Throughout the block each participant develops a self-interviewing practice. The self-interview develops through the individual 'journeys of practices and researches'. During opening week we will introduce possible strategies for self-interviewing and start up the process. During the End Week we will share our results or work in progress. (for inspiration (and fun)... https://youtu.be/o51RdZBsv0w)

      PEER / On top of the dedicated mentoring and the self-interview practice you will also mentor - and be mentored by -a peer participant who will follow you throughout the whole block. You meet with each mentor (at least) twice throughout the block.

      This list shows the chains of  mebtorings: A mentors B, mentors C ...

       Mentored byMentoring
      Isabel Burr RatyThiagoVanja
      Thiago AntunesKleoniIsabel
      Ricardo Santana (PhD)VeronicaEsteban
      Esteban DonosoRicardoKleoni
      Tinna OttesenHektorMavi
      Mavi VelosoTinnaYaari
      Yaari ShalemMaviHektor
      Hektor MametYaariTinna
      Audrey CottinVanjaAdriana
      Kleoni ManousakisEstebanTiago
      Vanja SmiljanicIsabelAudrey
      Marta Verónica Cruz CamposAdrianaRicardo
      Adriana La SelvaAudreyVeronica

    • information
    • NOT_index
    • Opening Days 03 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 09 January 2017
    • 20 January 2017
    •  

       

      everyone will introduce the state of her research,

      a.pass will introduce her new team and organisation,

      the curatorial proposal of the current block will be presented and appropriated,

      the four dedicated mentors will introduce themselves and present their practice,

      we will establish a ‘block research plan’ to decide what to discriminate between all the possible options in a dialogue with us and the group.

       
       

       

      Prepare for the 9th of January a written text about you and the current state of your research.

      A written synthesis of your research, and of you as a researcher, ‘at time t’.

      This text -one to two pages long- will be very useful during the opening days as part of your individual presentation but as well as a communication device to introduce your work to your mentors.

       

       

      Score:

      Imagine yourself in a desirable future some 20 years ahead and imagine the present from there:

      who were you?

      where did you come from?  

      what was your research about?

      what was the problem/question you wanted to pose with this research?

      what was the current state of your research?

      what did you want to achieve during that block in a.pass?

      what were you speculating for within this period of time?

      what were you angry about the world and or your environment?

      what did give you hope?

      …?

       

       

    • information
    • NOT_index
    • End Week Days 03 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 01 April 2017
    • 06 April 2017
    •  

      The End Week Days are the last dedicated moments in the block for presenting our researches and for constructing a vision for the rest of our research trajectory. These days are the times for analysing the current block and come up with plans for the future. Beyond individual presentations and feedback sessions everyone is invited to propose other activities in relation to her/his/your/our research(es).

    • information
    • NOT_index
    • Assemblies, Mentoring, Workshops, Ateliers 03 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 09 January 2017
    • 30 April 2017
    •  

       

      This four months block gives you the opportunity to develop your research individually and collectively.

      We organise a very diverse series of activities and possible involvements into a large range of practices for you to deepen your research.

      The schedule is divided between mandatory days (30% of the time) as well as optional dispositives for you to compose as you wish what seems right for you and your research.

      What is mandatory?

      Assemblies (opening week, half-way-days, and end week)

      Mentorings (4 dedicated mentors practice days, 2 dedicated mentors individual sessions, 1 a.pass art coordinator individual session)

      Workshops (1 workshop on the three which are proposed for this block)

      Curated Ateliers (4 days participation in the Trouble on Radio Triton dispositive)

       

       

       

    • information
    • NOT_index
    • half-way days 03 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 20 February 2017
    • 24 February 2017
    • The half-way-days are the second assembly gathering in each block. It is the moment where the exchange of practices include the direct involvement of the others into our own practices. This intense week of exchanges is a practical research moment and a chance to test and develop our methodologies.

       

    • postgraduate program
    • research center
    • Trouble on Radio Triton
    • 2017 BLOCK I 01 January 2017
      posted by: Pierre Rubio
    • 01 January 2017
    • 31 March 2017
    • 2017 BLOCK I

       

       

      Researchers Participants in the Postgraduate Program

      Aela Royer
      Ekaterina Kaplunova
      Esta Matkovic
      Esther Rodriguez-Barbero
      Eunkyung Jeong
      Juan Duque
      Lili Mihajlovic Rampre
      Luiza Crosman
      Marialena Marouda
      Sana Ghobbeh
      Sina Seifee
      Sven Dehens
      Sébastien Hendrickx
      Zoumana Meïté


      Research End Presentations

      Agnes Schneidewind
      Anouk Llaurens
      Arianna Marcolini
      Brendan Heshka
      Christian Hansen
      Sofia Caesar
      Varinia Canto Vila


      Research Centre Researchers

      Adriana La Selva
      Adva Zakai
      Esteban Donoso
      Isabel Burr Raty
      Mala Kline
      Ricardo Santana


      Partners

      ERG (Ecole de Recherche Graphique)
      PAF Performance Arts Forum
      Nadine

       

      Contributors for workshops

      Alice Chauchat
      Caroline Godart
      Christian Hansen
      Edward George
      Ekaterina Kaplunova
      Fabrizio Terranova
      Helena Dietrich
      Laurence Rassel
      Marialena Marouda
      Michiel Vandevelde
      Myriam Van Imschoot
      Peggy Pierrot
      Pierre Rubio
      Sina Seifee
      Sol Archer
      Sven Dehens
      Sébastien Hendrickx
      Wouter De Raeve


      Coordinators a.pass

      Kristien Van den Brande
      Lilia Mestre
      Pierre Rubio


      Mentors

      Caroline Godart
      Peggy Pierrot
      Veridiana Zurita

    •  

       

      Perform Back Score
      Conditions for the emergence of poetics
      A way of life



      Perform Back Score was a proposal for the block Jan/April 2015 of the post masters a.pass (advanced performance and scenography studies) in Brussels. The program is based on 4 months blocks throughout the year, each of them concentrating on specific curatorial proposals concerned with contemporary art practices, the present socioeconomic paradigm and the role of education.

      As associate program curator for the first four months of 2014, 2015 and 2016 my focus was and is on how systems of interaction in the arts contribute to the production (process? creation?) of knowledge, first of all in the educational context and consequently, in my belief, in other social environments. I take these systems as scores that, when followed rigorously, demand the implication of individual engagement and resources in a much needed share-ability within a system of production and observation.
      In the act of giving attention to one’s own work, to the other’s work but also to the group and its context, the ecological and social aspects of art making are reflected and expanded. The inter-subjective bound takes place beyond the art works and practices themselves but in the act of paying attention, of observing and being observed.

      In 2014 I proposed in this same context a score for dialogue through writing titled “Writing Scores” where the participants were invited to meet weekly for a Q&A format practice where writing was the tool to deepen the observation of one’s own work methodologies and interests as well as the development of writing itself. This score allowed for valuable understanding of the individual and collective practices and stressed writing as a working tool for collaboration. For this time the focus was on performance as a discursive practice.

      PBScore

      PBScore is a score based on performance as a form of dialogue. For each session each participant presented a maximum 5 minutes long performance  that were showed one after the other without interruption in our weekly meetings. While assisting in each other’s performances, participants took notes and from those notes key words were pronounced to start a discussion about our impressions. At the end of each session participants selected to whom they wanted to reply to the week after and
      in between sessions, a report was written based on the keywords and the conversation that followed. The 9 sessions took place once a week between January and March 2015.
       
      The score participant in each performance exposed his /her own semantics, by constructing a response to another participant, activating a critical standpoint that in its turn become the object of critical observation. The players, by accepting the pre-established rules agreed to play the game that excluded them from daily routine and brought them to a concrete situation limited in time and space. This specific score was dealing simultaneously with the exclusion from daily life or personal  practice and the inclusion in a situation of dialogue through singular aesthetics. The participants instead of relating to material that they select through their interests and methodology had instead to relate to material that came from the other participants, bringing them to relate in ways that were not their usual approach.  The overall format of presentation was also not a familiar one, even though it had the condition of a stage.  A small area formed by mobile walls created a room in a room, a video camera was standing outside the space in the centre, the other participants stood behind the camera unless it was assigned other wise by the performer.
      The same situation re-started the following week at point zero again. The number and the mood of the players changed each time we re-started allowing for radical exposure and deep critic. The week after, the players could have been others, the response to ones previous performance could have not been present ... By playing the score there was the acceptance of inconsistency, of moving in blurry waters, of taking care of the space in between.What kind of attention is given when one spends some time reflecting and trying to respond carefully to another's aesthetic proposal?

      There is a strong political stand point on the giving of time, of taking the other seriously, on paying attention to someone or something that might and most probably will not give you anything concrete back, apart from the sustainability of dialogue indispensable for practicing being alive, being human.


      The score as partner that speaks back /
      Performance as feedback study

      The first impulse to make such a proposal came from my desire to make  art speak through its own practice. I wanted to confront discourse to other forms of language, in this case performance and its discursive potential. Not in a linear, brick by brick, way of constructing meaning, but in an assemblage of atemporal experiences. The performances replied the previous performance creating another time space relationship with the questions that were originated. The meaning was build by bubbles that had affinities between them and these bubbles created a rhyzomatic structure of thought and experience.

      I’m very interested in the idea of emphasising method as a collaborator that makes visible and foregrounds the dialogue between several elements and layers of the art works. When we take the structure of a project as an active collaborator by making its conditions operational and visible, we engage in the observation of those conditions on the work itself, revealing their intrinsic potential for communication, sharing and learning. PBScore intention is to invite the structure to be a partner of reflection, encapsulating the work in restrictions (like time, spacial area, technical tools where all limited) but forcing it to spill over when manipulated, crafted and exposed to others. The score as a structure allowed to set up the rules of the game and generate a dynamic of encounters that were the container for the performance experiences.

      In other words, by proposing an observation standpoint, a frame to look through, the score reflects at the same time the event itself and our individual and collective relation towards it.
      In the case of PBScore, the co-habitation of the performances, the observation lens (score), the subjects and the time we shared, were all partakers in the action of learning and constituted the conditions for the emergence of meaning and its share-ability.

      For example some of the participants decided to work with a same material during the 9 sessions making the material work on its flexibility, adaptability to the other and therefor discovering situations that would not have come by themselves. In these cases the score worked as a lens, amplifying the potential of the material itself and shifting our attention as witnesses into the potential inherent to the material. Others worked more intuitively, choosing on element of the performance they had to reply to, and transforming it, giving it another meaning, deviating it from it’s first sense, discovering in this case what catches the eye. Others functioned was translators of performances and in other cases a subject as the ‘hand’ became topic for a long sequence of proposals and responses.

      Obviously not all these  responses worked as we wanted. Many questions appeared towards the sense one could make out of it. In some cases they worked critically, other times as negations, or as empathy.


      Laboratory/observatory

      As an  laboratory/observatory  this process raised some questions: What do we do when we are responding to each other? What criteria do we use to select what to respond to? Critical thought? The affect towards another? Philosophical stand points? Political correctness? Desire?

      PBScore wanted to isolate responses in time and space in order to observe and reflect on dialogical mechanisms between the object of observation and the observer, between the one who answers and the one who listens. The process of this observation was individual and private  in a first instance to then became  individual and collective in the moment of sharing with the other members of the group. The weekly meetings and the time for reflection and constructing responses had quite different qualities in the process of the score. On the one hand the in-between periods in which each participant had the other in mind, living together in a way, with the proposal s/he had to reply to, and on the other hand the exposure of each participant in the collective weekly moments. These two divergent poles of activity combined the subjective agency of the participants with the social agencies  created by the context of a.pass.

      These intimacy and ‘extimacy’ moments elaborated on the process of learning not just as an individual practice depending on each person’s singular perception, but extending it to social and collective environment. In this case the environment of the post-master participants in performance and scenography studies with a focus on self-education and collaboration. My interest at this point was to practice the construction of art (knowledge) through exposure, share-ability and critical endeavour in a context of plural aesthetics.
      What happens when one has to engage with the work of another when at first instance there is no affinity?  What happens if there is a void, an incapacity of response? Or the other way around, what happens when the work of another seems to speak a very close language?

      The interest was not in creating a common standpoint for our different perceptual conditions and reflections on the performance objects that  we were part of,  but in creating an environment where those conditions and reflections could co-exist and be exchanged, allowing for critical observation, empathy, accidental correspondences, nothing, etc.
      More than in a place for common understanding, we created an experimental surface for communication in artistic research where one could observe one’s own strategies but also the ones of others, all of them contributing in a singular engagement within a group of obviously heterogeneous beings forming a plurality.
      I mean by this that the multi focal lens of this  score / tool is an apparatus for the co-habitation of different aspects of the being together, becoming a mirror of the situation itself. A mirror for the sociability implied in art making.

      These aspect was also enhanced by some performances that asked for the participation of all people present, breaking the separation  between the performance and the audience and engaging in another form of socialisation. But big contrasts happened when the next performance was a dance solo exposing the fact of being traversed by vital forces or a video piece with historical concerns on the notion of display, having in both cases a classical relation between the performance and the audience.

      PBScore comes from my desire to use performance practice in the service of dialogical contexts such as schools, art laboratories, performative encounters or any other environment in which the study of art, perception and knowledge processes is at stake. It's a learning-by-doing tool that pays attention to attention, that wants to go beyond the production of art and wants to engage in the production of life through artistic practice. Is that possible?
      I’m interested in a ‘practice the practice’ tool that sustains the learning by experience and supports the development of our relations towards the world through our concerns about the practice itself. A way to get closer, to look deeper, and at the end a way to experience present and presence. A way to re-actualise ourselves through the politics inherent in such systems of awareness, collaboration and responsibility.

      Theatre

      I would like to make an analogy to the theatre apparatus where the performers and the audience use the physical, social and political conditions of that environment as indicators of a way of looking and that frame the aesthetic experience.
      The theatre is an observatory per excellence but maybe one that is a bit too well-known. I don't think the audience presupposes anymore that everyone that sees a performance at the same time would have the same kind of interaction with it. But I want to insist exactly in that point, and to try to not pre-suppose but to be there, regardless of a strong drive in actual politics for standardisation. I’m looking here at the physical theatre and at performance (in all its forms) as places/spaces of diversity and difference which propose a way of thinking the arts as a perceptual apparatus provoking singular relations between the individual, the collective and the political.
      And with this is mind my attention at this point goes to the question: What happens when the theatre also allows for forms of non-representation, for states of presence that enhance our sociability, our criticality, our life processing capacities? There is a lot to say about this and many works lately have been developed under this question from the academic realm to the social field. In the case of PBScore the art maker and the spectator were part of the same group, alternating positions and being knowledgeable of both sides, augmenting exactly the capacity of the feedback machine that art can be but also making from each of the participants a producer and dissolving the idea of audience.
      The PBScore is an individual learning tool in a collective environment not searching for a conclusion but for a way of working together as neighbours, as important feedbackers, as engaged partners, as critical colleagues, as potential opponents in a process of orientation towards something, towards the communication of perceptual knowledge, towards the political in art making.


      Score as ecosystem

      As an interface for communication the score allows for the emergence of different voices like ghosts haunting the sensible acknowledgement of knowledge, process and concepts of art. Each participant had the same conditions to draw intentions, design orientations, make statements, have fun, take a piss, etc…, through performance practice. The scored created a force surface for the exposure of multiple existences. But what maintained the desire to come back next week? Was it the responsibility towards the other? The curiosity for the next response? The will to belong to a group? The drive of performing?

      PBScore as a horizontal structure brought about the responsibility of the ones involved as far as they wanted to be involved. It’s a structure that sustained and renewed itself on the basis of the participants and their presence. Like in any ecosystem, the species that constitute it, are the creators and instigators of the development of the ecosystem itself, their interaction constitutes its sustainability. Interestingly enough, the positions of each participant were not stable and none of them represented a fixed part of the ecosystem, but rather all of them were mutating pieces of a puzzle that constructed itself on the go. Mutual opportunism and  generosity are two sides of the same coin, like a parasitic system without aim, living for the sake of living while deepening the understanding of that specific life.
      This experience brings to the fore a complex number of elements that are inherent to a way of feeling/thinking. It reveals a universe  of interrelations between the chosen elements, forming forces of speech and the sensible that contain political perspectives and ideological concerns. Both aesthetics and ethics are intertwined  in a concise moment of exposure and attention. Justification is out of the game and rather observation and the 'being with it' are the rules through which feeling and opinion appear. Every participant is a centre with a culture, a history, a socioeconomic reality, a philosophical attitude creating therefor a poli-centered temporary community. In my opinion PBScore enhanced being plural and different as fundamentals of an ecosystem where each of the participants has a voice, where there's no obligation, where the ecosystem can't exist beyond the presence and engagement of who is part of it but exists on the tension of the plural.

      It makes me want to write down some formats that were at stake with this group of people. From dream oracles exposed through dance,  an historical fiction figure revealed through lecture performance format, trans-gender being re-actualised through documentary and live transformation, pornography in internet as a result of internet research, self becoming though the extreme use of theatre apparatus (lights, costumes, seduction, etc),  the concept of the angel creating the availability to receive/ become and much more.

      Empathetic, disruptive, enthusiastic, doubtful or convinced forces were 'performing' each time without dominating in an absolute fashion the ecosystem. This experimental format functioned as a study about aesthetics and co-existence in the performing arts, it developed special awareness about ways of thinking,  composing, sharing and engaging with a group. It gave focus to the performer, the performance space and the context where it takes place as a micro environment where the language is performance, image, text, sound, action, painting or dance…


      Flexible community without aim

      This horizontal structure implied a flexible community. A temporary, always different group of people, formed  and unformed around the weekly meetings. This score allowed for the building of a temporary community that established relations between its members and developed the sense of the doing. Performance became the time we spent together, a language spoken within this community. The system built means for communication and created the conditions for the emergence of poetics like vessels, bones, particles, all in movement. The ‘messages’ circulated through those vessels, inciting exchange and therefor producing change as a ‘natural’ consequence.

      The temporality aspect of the event and therefor of the community are very important. The score is performed in time, when it’s happening, allowing everyone to work with the present conditions and not aim for ideal circumstances,  a idealised future, or for the definition of a stale identity. Following this thought, the system can’t be understood as a goal but as a medium taking care that the  ephemeral quality of this particular process produces a vulnerable attitude towards the experience of art. It’s enhancing the desire to exchange and share worlds through practice and is not aiming to get to conclusions. If the system becomes an aim itself , it will just reproduce what we already know incapacitating the playing as revelatory practice. It is a process and it exists in the process of just doing it. But why just do it?

      Here, I would like to make a parallel between a practice like yoga or dance or a reading group for example, happening in a collective environment, and the need for sociability that brings together the individual and the collective. These gatherings set ups are learning together tools based in attention and observation. The knowledge acquired doesn’t serve anything else the vitality of knowledge itself, allowing all participants to learn through the other. These social environments are like battery  centres that inform forms of life sustained by sociability itself.  The process of socialisation  (spending time together) is endless and is pregnant, as there is the potential for the dissolution of duality between me and the other as fixed territories, the desire to become many /one. Like in a house of mirrors, PBScore was a device to the reflection and refracting of one’s one image, opening up ways of seeing, feeling and thinking the self though the other.

      The contamination of the one by the other was one of the ‘technics’ that appeared through out the score in different fashions. I remember one day someone we didn’t know presenting himself as someone that was already part of the score group and playing her role. Or the physical transformation someone into another, becoming then 2 participants which we never knew who would come to play.


      On the presence of the body

      One of the strongest rules of the PBScore is that one can not participate remotely. The presence of the body was absolutely necessary to play and witness the process of dialogue through performance in this score. As I could observe in the Writing Score proposed in 2014 the fact of gathering weekly to read the individual writings and continue the 'game' always in the presence and gaze of the others, created a specific dynamics through the rhythm of the encounters.
      The collective agreement to meet weekly created a ritualised social time/ space where alliances were built. This way a group of people created an extra - everyday rhythm where we could question and celebrate our practices.

      One of the conditions of the performing arts relies on the presence of the performers and of the audience, on the act of exchange between both parties which dissolves once the performance is over. But also on the act of memory that is activated at the precise same moment the performance disappeared and which is followed by the action of re-telling or re-processing what has happened. The intimate experience of witnessing resonates in parallel with the distance it requires to process it afterwards, both these factors are indeed of major importance in the study of performance as a critical tool. Digesting the other is of major importance for a becoming of the social body, for the possibility of a future not yet known.

      The continuous necessity of presence and distance, of the communal and the individual spaces are the necessary conditions to unravel sense(s), the relation(s) that take place, the conditions for the emergence of directions, orientations or inclinations towards what is to come. Considering these thoughts PBScore was proposing performance as rumour, as the re-telling of what has happened in one’s own gestures and gesticulations in order to re-actualise the dialogue constantly.
      To be able to participate one needs the public and the private, the institution (the score in this case in the frame of a.pass) and the intimate. PBScore was an invitation to all participants to come back to the place of the crime. An invitation to re-read and re-write presences, to unfold the stories created by the gatherings, to reformulate what remains and transforms in memory and sets the ground for the present to be.

      Every moment is unique, this time is not like the next time, what I think and feel now in this situation will not be the same in another situation. I am here and I am processing and contributing consciously and unconsciously, together and alone, deliberately or not, to what is happening, etc. Performing arts create a ritual of  presences, create a contract of attention and response between all parties. Something is unfolding and we all are part of it, we all think it, feel it, share it, though no one owns it and no one is the same. What a beautiful state to be in!

      Documentation

      This publication contains reflections about what happened in those three months. The film documentation that was used through out the score will not be used in a public realm. All the videos were data to come back to one’s own performance or the performance of another in order to reply. The use of the video camera delimitated a space of action that also functioned as another rule of the score. I remember someone performing in darkness, or doing nothing or bringing the other participants to the camera field as ways to deal with the paradoxical situation of being filmed in this context.  I don’t think the camera was at the end of much use, even though for some people the concrete material became material to construct upon.
      Another insert in this publication are the 9 reports, 8 written by myself and 1 by Philippine Hoegen that follow up the content that came about after each session.
      What is more striking to me is the fact that there is rather an afterthought built in linear language, creating an history in contrast to an absence of poetics that were all there was to experience. Maybe there’s exactly where lays the potential of performance.
      Something to think about!


      Lilia Mestre

    • postgraduate program
    • workshop
    • Trouble on Radio Triton
    • F.Y.R. Foley Your Research
      28 December 2016
      posted by: Pierre Rubio
    • Christian Hansen
    • a.pass
    • 23 January 2017
    • 06 February 2017
    • F.Y.R.

      Foley Your Research is a series of sound research ateliers throughout a.pass next block. The workshops are based both on the history of the evolution of methods used to reproduce sound effects for radio and film and a research around the question “how does/could my research sound like?”.

      Does your research have a direct auditory quality and content or would you like/need to create a fictional soundscape to give it a sound?   

      In our atelier I will introduce basic recording methods and various microphones and audio editing tools. Digital and analog use of sound effects will be a natural part of our exploration of physical objects in front of a microphone. How does an object/material producing a given sound release to the mental image you want to produce? And vice versa?

      When using microphones as extended ears it will be an important exercise to reposition ourselves as listeners and take the opportunity to tingle with space. Every recording session will offer us choices of changing time and space completely as we will work free of any visual references. In coordination with the ‘Sci-Fi terraforming mode of attention’- the ‘regard’ of the current block, we will explore tools and methods that will enable us to create critical and fictional soundscapes by layering and panning recordings into mono, stereo or surround sound fields.

    • postgraduate program
    • workshop
    • Trouble on Radio Triton
    • The Tea Party in search for an elastic alien self
      27 December 2016
      posted by: Pierre Rubio
    • Helena Dietrich
    • a.pass
    • 14 March 2017
    • 15 March 2017
    • The Tea Party

       

      The Tea Party

      a workshop by Helena Dietrich

      14th & 15th of March 2017

      from 10.00am to 6pm both days.

      @ a.pass 4th floor

      Map

       

       

       

      “A detailed and exact description of an object, including representations of its spirit language in conversational form and its daily round of activities, demonstrates to it (really to the spirit) that the performer of the ikar {chant} has intimate knowledge of it and can control it. (...) The subsequent narration of actions and events, addressed to the spirit world, causes their simultaneous occurrence in the mirror image physical world.”

      Joel Sherzer, Verbal Art in San Blas: Kuna Culture Through Its Discourse

       

      In this workshop I propose practices to create sensitivity towards the relations we build with images and aesthetics. As a development/othering of my former project Becoming Lili I invite the group to encounter alternative forms of being-with-oneself through creating an auto-(science?)-fiction story through self-image-modifications. The practices are based on improvised physical explorations of physiognomic aspects of the body-image collected in several years of experimentation.

      We will use surfaces, materials, clothes and props as entrances into parallel realities within ourselves. The clothes and accessories will become our vessels to travel into unknown (and unconscious?) parallel forms of being. Trying to establish a perspective from outer-space, the future or a parallel universe we will revisit common aesthetics with an outside eye. This approach can be understood as a ritualistic act of re-configuration of known aesthetics revealing another relation to them. We will use clothing like a pharmakon: what pollutes us can also clean us! By triggering the optical unconscious we can transform sensuously a commoditised visual world into a psychological cleansing process from cultural inherited aesthetics. Acknowledging the ability of three-dimensional images and materials as determinations of our perception of self is already an attempt to empower ourselves at changing our/the reality. Not only in words but also in materialising this reality into visible and tangible new object-beings.

       

      In two days we will approach the ‘image’ from two divergent points of departure: the image’s impact from outside to inside and the creation of an image from inside to outside.

      Looking for alternative beings, bodies and genders we will draw inspiration first from an inward inspection, giving a space for inner perceptions and phantasies and then imagine how they could be actualised into material presences -as bodies. By turning the inside out, we will ‘design’ a wardrobe for a speculative body and search for an embodied aesthetic. An invitation to explore the elasticity of the image and as in a process of channeling, body and image/form will interpenetrate.

      For the first time this practice will not be experienced in one-on-one setting only but collectively in a group. At the end of the days we will all together have a ‘tea-party’ gathering our newly discovered alien-fiction-beings. Their voices will be enhanced through microphones, loop-machines, effect-paddles and speakers and recorded as a divergent radio-show. Supported by the sonic experience and other than filming or taking pictures the focus will be on the ‘invisible matter’ the modifications bring out. Which kind of voices and words will the other image-beings create?

       

      Helena Dietrich

      The German designer and performance artist Helena Dietrich is since four years working and living in Brussels. After her Master in European Media at the University of Portsmouth, she conducted a research project at a.pass in Brussels, a postgraduate program for performance arts and scenography. Both in her artistic and in her design approach she is interested in the analyzation of the impact of visual information on identity and therefore culture. In her artistic work she lays out the significance of the symbolism that is embedded in esthetics (and by extension our identity). Her work has been exhibited amongst others at Hebbel am Ufer Berlin, Beursschouwburg Brussels, and Cinema Galeries Brussels.

      http://helenadietrich.com

       

    • postgraduate program
    • workshop
    • Trouble on Radio Triton
    • worlding from this world this is not wishful thinking, it is speculating utopia from what is already there
      27 December 2016
      posted by: Pierre Rubio
    • Alice Chauchat
    • a.pass
    • 27 February 2017
    • 03 March 2017
    • worlding from this world

       

       

      When inviting me to host this workshop, Pierre Rubio spoke about my piece Togethering, a group solo as a case of worlding: building a present-tense, experiential fiction from gathered (past) moments of collaboration, uprooting situated moments to turn them into speculative propositions for a common future.

       

      Merriam-Webster’s online dictionary defines speculate (transitive verb) as "to take to be true on the basis of insufficient evidence”. But what constitutes (in)sufficient evidence?

      (Social, political or sensational) reality jumbles together structural and punctual catastrophes, studded with gems: local endeavours, micro-events allowing glimpses of "something better”. Rather than lamenting the scarcity of agreeable situations in our present, we will wilfully engage in expanding through the force of our imagination these maybe fragile, uncertain, easily disposable snippets of communal life which are also part of the world as we know it. Taking these as sufficient evidence for the existence of a world we want to inhabit, we will turn the logic of exception into a logic of rule, and run the risk of building monstrous worlds. At least these might be differently interesting monstrosities.

       

      Our work will be one of observation, sifting and narration. Unravelling the consequences of chosen proofs, we will abstract principles from these concrete events in order to build systems; fleshing out structure, structuring affects and learning from each other - riffing off misunderstood proposals in order to speculate alternative worlds. Affirming the circumstantial as a law, generalising circumstances, pushing naivety to a point of boldness, our main responsibility rests in our choice of evidence.

       

      Language is a powerful tool, and your own practices are so many other tools which we will put to use.

       

      To start the days I will introduce some speculative dance practices in which imagination and collectivity reconfigure standard anatomical knowledge, and where paranormal or subterranean relationships between individuals and communal selves are embodied. The rest of the day is ours and we will fabricate worlds from the small stuff we find at the bottom of our pockets.

       

      Dance knowledge is always an advantage (always!) but none of what I will propose here depends on it.

       

       

      Alice Chauchat

      Alice Chauchat lives in Berlin and works as a choreographer, performer, teacher, editor and other activities related to choreography. She created performances in collaboration with a.o. Louise Trueheart, Anne Juren, Frédéric Gies, Alix Eynaudi and performed/collaborated in projects by a.o. Jennifer Lacey, Xavier le Roy, Marten Spangberg and Juan Dominguez. She has been working extensively in collaborative set-ups, developing numerous choreographic projects and platforms for knowledge production and exchange in the performing arts (everybodystoolbox.net, teachback vienna, praticable etc.). In 2010-2012 she was in the artistic direction for Les Laboratoires d’Aubervilliers, a centre for artistic research in the Parisian suburbs. After completing a master degree in choreography in the Amsterdam Theaterschool with a “group solo” and a publication of dance scores and poems, she is currently preparing a PhD on the practice of relational subjectivities in dance.

      http://www.alicechauchat.net

       

      Dates : February Monday 27th , Tuesday 28th and March Wednesday 1st and Friday 3rd

      Schedule : 11am-6pm everyday

      Address : https://www.google.be/maps/place/Rue+Delaunoy+60,+1080+Molenbeek-Saint-Jean/@50.8530792,4.3300367,20z/data=!4m2!3m1!1s0x47c3c3f46c54e4c7:0x4e61e376c2f6b53a

       

    • postgraduate program
    • Trouble on Radio Triton
    • TROUBLE ON RADIO TRITON- ((((((( changing (the) world (s) )))))) 10 December 2016
      posted by: Pierre Rubio
    • 09 January 2017
    • 30 April 2017
    • CURATED BY PIERRE RUBIO
    • case of: Pierre Rubio
    • TROUBLE ON RADIO TRITON_ ((((((( changing (the) world (s) ))))))

       

       

       

      TROUBLE ON RADIO TRITON

      ((((((( changing (the) world(s) ))))))

       

       

      ‘ The struggle to survive is not really separable from the cultural life of fantasy, and the foreclosure of fantasy is one strategy for providing for the social death of persons. Fantasy is not the opposite of reality; it is what reality forecloses, and, as a result, it defines the limits of reality, constituting it as its constitutive outside. The critical promise of fantasy, when and where it exists, is to challenge the contingent limits of what will and will not be called reality. Fantasy is what allows us to imagine ourselves and others otherwise; it establishes the possible excess of the real; it points elsewhere, and when it is embodied, it brings the elsewhere home.'

      Judith Butler

      Undoing Gender, 2004

       

       

      For the coming months, a.pass will adopt a ‘Sci-Fi terraforming mode of attention’ to challenge the current assembly of artist-researchers with the task of creating some conditions to critically questioning our abilities to ‘render our world habitable again’.

      In fact, far from proposing an innocuous escapism in the false paradise of disembodied utopias, the next a.pass block is concerned with questions addressing the possible (in)capacity of art in general to produce a change and aims to understand the (im)possible contribution of art to collective empowerment by means of artistic researching.

      The hybrid dispositive of the block is designed to research, reveal, activate and share the political inventive potentialities of our artistic researches through, paradoxically,  an immersion into and practice of different types of (speculative) fiction.

      Which alternative worlds do our researches/practices contain and can immanently produce? How do we relate to the future via artistic-research? As artists, do we through our researches contribute to changes in contemporary culture? And if yes, then which cultures do our researches produce?

      Trouble on Radio Triton is a metaphoric multipolar dispositive. A discursive and practice-based ‘lure for feeling’ and thinking. An operative alibi strategically using ‘if’s’, ‘what if’s’, ‘as if’s’ to exercise critique and imagine alternatives.

      Through a permanent dialogue between practice-based research, reflection on a variety of discourses and different modes of speculation we will explore multiple but simultaneous realities induced by a proliferation of free-form  'fictionalisations' of every participants’ research in parallel with the individual development of these very researches.

      What can we discover in our research by listening to it from another space – the one of fiction? Who will talk?  What will talk? But also: how to listen? Where to listen from? What to listen for? And whom to listen with? How to get to more than one point of listening? What/Who will become deaf? What/Who will be silenced? What/Who will be heard?

       

       

      We will present our researches three times during the block, using different forms: at first a networked portrait then a master class and finally a performative artistic-research presentation.

      On Thursday mornings we will welcome several engaged practitioners in a series of reading sessions, talks and discussions curated by Pierre Rubio in collaboration with some of the artists-researchers involved in the program.  They will share with us their efforts at creating conditions for imagining otherwise.

      With e.g. : Sol Archer, Peggy Pierrot, Laurence Rassel, Fabrizio Terranova...

      We will follow three different practice-based workshops:  Alice Chauchat's Wordling from this World , Helena Dietrich's The Tea Party  and a taylor-made proposal by Myriam Van Imschoot.

      We will attend a series of conferences by Edward George, Paul Gilroy, Lizzie Borden and Donna Haraway.

      We will collectively curate the Night Sessions: a series of evenings proposing lines of flight and unexpected connections with the program.

      We will finally collaborate together at creating a true/false/real/fictional radio station: Radio Triton.

       

       

      Radio Triton is the collective experimental dispositive of the block – a pedagogical and metaphorical tool. The proposal invites the participants to imagine and produce a series of audio pieces developed out of their researches and their contributions to the block. They can be produced individually or in collaboration within the ‘machine’ Radio Triton, which nature and identity we will collectively invent.

      The Radio Triton ‘'program’ will follow two main trajectories. The first consisting of the recording of different forms of interviews between the artists researchers and the block-guests and second being the creation of fictional audio and sonic pieces through the application of various translation processes to the participants’ researches.

      These translations/speculations will be supported by a series of sound research ateliers. Starting with ”Foley your Research” with Christian Hansen -a queer interpretation of Foley art- around the question "how does/could your research sound like?" and followed by a series of  Thursday afternoon sessions curated by Pierre Rubio in collaboration with the artists-researchers. The aim of the sessions will be in finding the appropriate 'displacing questions': the futures we need to produce the audio fictions we need.

      Radio Triton will simultaneously engage in the tasks of performing, documenting, archiving and broadcasting alternative -both disturbing and reassuring- ways of becoming-with-each-other otherwise.

       

       

      The block and the radio dispositive are named in reference to Donna Haraway’s “invitation to stay with the trouble” and the anarchist and hedonistic science-fiction masterpiece novel by Samuel R. Delany ‘Trouble on Triton - an ambiguous heterotopia’ from 1976. The novel was partly written in a dialogue with Ursula K. Le Guin’s anarchist and feminist science fiction novel ‘The Dispossessed’, whose subtitle is ‘an ambiguous utopia’. As the subtitles imply, the two novels offer conflicting perspectives on utopia and imagine the concrete possibilities and consequences of anarchist and queer societies.

      Both books inviting us to see through the trouble.

       

      Pierre Rubio, December 2016

       

       

      “The first cultural device was probably a recipient .... Many theorisers feel that the earliest cultural inventions must have been a container to hold gathered products and some kind of sling or net carrier”. So says Elizabeth Fisher in Women's Creation (McGraw-Hill, 1975). But no, this cannot be. Where is that wonderful, big, long, hard thing, a bone, I believe, that the Ape Man first bashed somebody with in the movie and then, grunting with ecstasy at having achieved the first proper murder, flung up into the sky, and whirling there it became a space ship thrusting its way into the cosmos to fertilise it and produce at the end of the movie a lovely foetus, a boy of course, drifting around the Milky Way without (oddly enough) any womb, any matrix at all? I don't know. I don't even care. I'm not telling that story. We've heard it, we've all heard all about all the sticks spears and swords, the things to bash and poke and hit with, the long, hard things, but we have not heard about the thing to put things in, the container for the thing contained. That is a new story. That is news.”

      Ursula K. LeGuin in ’The Carrier bag Theory of Fiction’,

      In Dancing at the Edge of the World, 1986

       

       

       

    • postgraduate program
    • research center
    • block 2016/III
    • Commons
    • 2016 BLOCK III 01 September 2016
      posted by: Pierre Rubio
    • 01 September 2016
    • 30 November 2016
    • 2016 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Aela Royer
      Agnes Schneidewind
      Anouk Llaurens
      Arianna Marcolini
      Brendan Heshka
      Christian Hansen
      Eunkyung Jeong
      Lili Mihajlovic Rampre
      Maarten Van den Bussche
      Sofia Caesar
      Varinia Canto Vila
      Xiri Noir
      Zoumana Meïté

       

      Research End Presentations

      Esteban Donoso
      Isabel Burr Raty
      Thiago Antunes

       

      Research Centre Researchers

      Adriana La Selva
      Adva Zakai
      Mala Kline
      Ricardo Santana

       

      Partners

      Kaaitheater
      Zsenne ArtLab
      Vaarkapoen
      PAF Performance Arts Forum


      Contributors for workshops

      Nicolas Galeazzi
      Kate Rich
      Michael Bouwens
      Einat Tuchman
      Kobe Matthys
      Mala Kline
      Vladimir Miller


      Contributors for the conference

      Aela Royer
      Agnes Schneidewind
      Anouk Llaurens
      Arianna Marcolini
      Bojana Cvejić
      Cecilia Molano
      Christian Hansen
      Daniel Blanga-Gubbay
      Einat Tuchman
      Eunkyung Jeong
      Femke Snelting
      Guy Gypens
      Ingrid Vranken / SPIN
      Juan Dominguez
      Kate Rich
      Kristien Van den Brande
      Lili Mihajlovic Rampre
      Lilia Mestre
      Maarten Van den Bussche
      Magda Tyzlik-Carver
      Miriam Hempel
      Nicolas Galeazzi
      Philippine Hoegen
      Pierre Rubio
      Rudi Laermans
      Steven Jouwersma
      Varinia Canto Vila
      Vladimir Miller
      Xiri Noir
      Zoumana Meïté


      Coordinators a.pass

      Kristien Van den Brande
      Nicolas Galeazzi


      Mentors

      Femke Snelting
      Geert Opsomer
      Kate Rich
      Philippine Hoegen

    •  

       

       

      Researchers Participants in the Postgraduate Program

      Esta Matkovic
      Esteban Donoso
      Juan Duque
      Luiza Crosman
      Maarten Van den Bussche
      Sana Ghobbeh
      Sina Seifee
      Sébastien Hendrickx
      Thiago Antunes De Oliveira Santos
      Xiri Noir

       

      Research End Presentations

      Tinna Ottesen

       

      Research Centre Researchers

      Adriana La Selva
      Adva Zakai
      Mala Kline

       

      Partners

      PAF Performance Arts Forum
      Constant vzw
      Wiels
      Thermae Grimbergen
      Tour&Taxis
      GC de Vaartkapoen 
      Centre  maritime
      Maison de Quartier Liberateur
      Bains du Centre
      CEN (Comité Européen de Normalisation)

       

      Contributors for workshops

      Christian Hansen
      Einat Tuchman
      Elke van Campenhout
      Epifania Amoo-Adare
      Esta Matkovic
      Esteban Donoso
      Femke Snelting
      Gerald Kurdian
      Juan Duque
      Luiza Crosman
      Nicolas Galeazzi
      Peggy Pierrot
      Peter Stamer
      Sana Ghobbeh
      Sina Seifee
      Sébastien Hendrickx
      Vladimir Miller

       

      Coordinators a.pass

      Elke van Campenhout
      Nicolas Galeazzi
      Vladimir Miller

       

      Mentors

      Kristien Van den Brande
      Peter Stamer
      Pierre Rubio

    • postgraduate program
    • workshop
    • a.p.t.-a.s.-a.r.c.
    • a.pass Basics workshops
    • block 2009/I
    • CONSEQUENCES 02 March 2016
      posted by: Pierre Rubio
    • Tom Plischke & Kattrin Deufert
    • 02 March 2009
    • 06 March 2009
    • CONSEQUENCES

       

      The most important element of our working process is writing and transference. It allows all participants to work in silence and not to be bothered by producibility. The constant passing on of written material and the permanent reformulating, contextualizing, expanding, and reflecting of the written material serve as a basis for the creation and composition of movements, texts, sounds, or images. But within this procedure all realizations are based on  temporary decisions depending from the material that is handed over from the other and not because the medium of realization is chosen beforehand. Our working procedure could best fit into the motto: ‘Give me your material and I show you what you're not doing with it’.

      Sourcing the creation-act out and rendering oneself into the pendency of writing instead permits a disciplined work in silence, in which each participant and partner can raise her/his voice on the paper independently from its volume or the amount and position of knowledge. Participation starts with a conspiracy of partaking, and not by the self-positioning of the speaker. With (Re)formulating we describe a process that can enable a discourse in silence, in the writing with each other. The place of the individual argument, the singular voice is taken by an instance of polyphony, similar to the Cadavre Exquis, which is a game that was invented by Surrealists in 1925. It is quite similar to an old english parlor game called Consequences in which players write in turn on a sheet of paper, fold it to conceal part of the writing, and then pass it to the next player for a further contribution. Unlike the surrealists, we don't hide what has been written previously. For us it is a downright challenge to deal with the input of the others and to come into thinking with it, to expand ideas and suggestions, to combine sketches, to suggest a possible proceeding. It is only very late in the working procedure that we ask about the medium in which this material is to be realized. In this sense, the medium becomes a part in the decision-making, in the claim of form (or format). It is not set a priori and thus has to be in reference, translation, transference to the material: it has to be a decision and not a choice.
 Because of this it is fundamental in this principle of formal strictness to take the responsibility of one's decisions and to constantly confront the other with claims in order to develop a communication, a circulation and production in the community of strangers. (Re)formulating should enable everybody to partake in the process. Just as in knitting from a single thread (the shared theme) and a knitting pattern (the permanent passing on), a complex texture evolves that formulates a possible work.

       

       

       

    • Pierre Rubio broadcasts an audio file : https://youtu.be/uG3-z4CXvn8?t=4h47m42s

      (an excerpt from "Essays in radical Empiricism" by William James

      from Chapter 8 "The Notion of Consciousness")

      while the participants look at a table and chairs

      while they are invited to listen carefully

      while they follow the text (or not) on printed copies

      sometimes some music comes and goes :

      [audio mp3="http://apass.be/wp-content/uploads/2016/01/01-Cloud-Pleaser.mp3"][/audio]

      Black Dice / Creatures Comforts / Cloud Pleaser - 2004

    • postgraduate program
    • research center
    • block 2016/I
    • Sub -(e)ject
    • 2016 BLOCK I 01 January 2016
      posted by: Pierre Rubio
    • 01 January 2016
    • 31 March 2016
    • 2016 BLOCK I

       

       

       

       

      Researchers Participants in the Postgraduate Program

      Aela Royer
      Agnes Schneidewind
      Anouk Llaurens
      Arianna Marcolini
      Brendan Heshka
      Christian Hansen
      Gerald Kurdian
      Isabel Burr Raty
      Juan Duque Restrepo
      Lili Mihajlovic Rampre
      Luiza Crosman
      Sana Ghobbeh
      Sofia Caesar
      Sébastien Hendrickx
      Tinna Ottesen
      Varinia Canto Vila


      Research End Presentations

      Hektor Mamet
      Kleoni Manousakis
      Yaari Shalem
      Mavi Veloso


      Research Centre Researchers

      Adriana La Selva
      Adva Zakai
      Juan Dominguez
      Mala Kline
      Ricardo Santana

       

      Partners

      PAF Performance Arts Forum


      Contributors for workshops

      Anne Juren
      Bruno de Wachter
      Elke van Campenhout
      Jack Hauser & Sabina Holzer
      Lilia Mestre
      Myriam van Imschoot


      Coordinators a.pass

      Elke van Campenhout
      Lilia Mestre
      Nicolas Galeazzi


      Mentors

      Femke Snelting
      Peter Stamer
      Pierre Rubio
      Vladimir Miller

    •  

       

       

      Researchers Participants in the Postgraduate Program

      Agnes Schneidewind
      Anouk Llaurens
      Arianna Marcolini
      Brendan Heshka
      Christian Hansen
      Esteban Donoso
      Hektor Mamet
      Isabel Burr Raty
      Mavi Veloso
      Sofia Gerheim Caesar
      Thiago Antunes
      Varinia Canto Vila


      Research End Presentations

      Audrey Cottin
      Danny Neyman
      Jeremiah Runnels
      Silvia Ramos Pereira
      Vanja Smiljanic
      Verónica Cruz


      Research Centre Researchers

      Adriana La Selva
      Juan Doninguez
      Ricardo Santana

       

      Partners

      Les Bains / REcommerce
      PAF Performance Art Forum

       

      Contributors for workshops

      Elke Van Campenhout
      Juan Dominguez
      Vladimir Miller

       

      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout

       

      Mentors

      Abu Ali * Antonio Serra
      Bart Van den Eynde
      Lilia Mestre

       

       

       

      The block is curated by Elke Van Campenhout (a.pass Research Coordinator)

       

       

      14 / 09 - 02 / 10 / 2015


      ‘SETTLEMENT VIII - TOWARDS FRAGILITY’
      workspace by Vladimir Miller


      What can be a truly feminist architecture? One that does not create territory, does not claim, does not exclude. How much of the utopia of Occupy is due to the haphazard conditions of camping and DIY? Should we be sad that it’s gone? Or is its ability to disappear its most precious, most pioneering trait? Every social movement must find, claim and hold a space or perish, yes? – become an institution or die.
      But how to keep on dying?
      Processes of institutionalization are also processes of architectural shifts away from the fragile: from sticks and fabrics to metal and concrete, from sit-ins on the floor to tables and chairs, from open spaces to chambers with doors, from expanding circles to sitting arrangements. All of these we justify with productivity concerns. So maybe the question is: how to be productive and fragile at the same time?
      Settlement is a spatial proposal that tries to sustain its architectural fragility hoping in this way to initiate a temporary social, organisational and ideological one. Simply put, it is a collective workspace, a camp and a hangout, open to all who step by and would like to contribute to it. 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. Settlement is a space that tries very hard not to settle. Its instability naturally 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”. I believe 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.

       

       

      12 - 22 / 10 / 2015


      ‘DIRTY ROOM’
      workshop by Juan Dominguez


      In these 10 days we will work together. That would be the most important. The togetherness. Working together, spending time together.
      I will ask you a lot of questions, over and over. I will question you, you will question everybody, we will experience suspiciousness I guess.
      In which conspiracy are you involved at the moment?
      We will trip for sure, all kinds of trips or maybe not all kinds but different trips.
      We will share expectations.
      We will build new fictions and devices.
      We will not go out, we will be trapped like el angel exterminador from Buñuel and we will not go, the negative of el angel exterminador. We will watch this movie again.
      We will cook for each other.
      We will sleep together.
      We will gather people, as many as we can.
      We will spend time, we will understand time and the time we want and what we want from time.
      What are we going to do together that we cannot do alone?

       


      09 - 22 / 11 / 2015


      ‘MOBILE MNSTRY’
      workshop by BUREAU D'ESPOIR / ELLE


      The Mobile MNSTRY (Monastery, Ministery, Monster-y) is a collective location project, organised in and around the previous Abbey of Forest. The MNSTRY will install a temporary (monastic) community that lives and works within a limited area, following a shared time score and accepting the rule of poverty for the duration of the workshop.
      During this time all activities of the MNSTRY will be organised within the public contexts of Forest, and developed as an open invitation to the neighbourhood and passers-by. During the workshop the time score of the MNSTRY will bit by bit start to change: the original ‘monastic’ score will be taken over by the members of the community, who will start to decide on what there is to be done, what we will spend our shared time on, and what is it that is needed today, here, and for whom.
      The workshop is part of the larger project Cité d’Espoir (part of the REcommerce social-artistic initiative, organised by Les Bains) which develops a constant practice for about six weeks (starting half October) with intense public moments during the weekends. The Mobile MNSTRY starts out with one member and through a call on the internet, the development of the workshop but also through local advertising the community will start to grow.
      The ‘cité’ of the Abbaye will be renamed ‘Cité d’Espoir’ and will house the artists and their guests, supporting their ‘monastic’ practices. Cité d’Espoir will develop into a social meeting place, with a silent space to hang out, daily soup dinners, a library and regular ritual and other activities. The temporary monks start to develop their practices on the basis of poverty, social service and artistic transformation. Neighbours and interested people can pass by to have a personal ritual made for them, but we also want to involve groups and youngsters to develop group public rituals with us, based on their needs and visions. For example, we develop mourning rituals for pets or family members, light rituals for those who can not stand the cold anymore, love rituals for the lonely, political change rituals for the disengaged…

       

       

       

    •  

      (excerpts July 31st 2015)

      -good morning

      -good morning

      -this morning you wrote :

      “On the black and icy waters of the Styx, in the infernal meanders of his arms, Charon's boat progresses about the kingdom of Hades. Aboard the vessel, you, me and a bunch of thinkers and activists, necessarily part of this globalised miserable journey. Of the nature of the swamps, of the depths of the mud in which we sink, of the once renowned magical properties of the river, we have lost track and memory. Sondes throwers more than prophets, advancing in the midst of experiments, we clumsily try to offer a tentative guidance...”

      very nice introduction text, very promising…

      you seem to work well in the morning, are you a “morning person”?

      -yes, I always understand better, even difficult texts if I read them, study them, in the early morning.

      I wake up, drink a coffee or two and immediately open a book and read and… understand it most of the time. And it’s the same concerning writing… words come more clearly… sentences, ideas, articulations… yes I am definitivly a morning person…

      -why do you think it is like this?

      -I am less afraid and stuck by the blank page in the morning because I feel like a blank page myself.

      -like a virgin…

      -yes like a virgin… touched for the very first time… you made me feel shiny and new...

      It’s a precious feeling and the very appropriate moment for me to work before the world imprints itself on me.

      -”imprinted”, what do you mean?

      -I am very quickly and deeply affected by things, things that appear in front of me, things that happen, objects, events, news, conversations, all problematics that the people I work with are busy with… all sort of things that want to enter into dialogue with me, populate me, occupy me and affect me so much…

      -why?

      -because they cry to be taken seriously, they insist for being articulated... sometimes they hate each other and ask me to become the referee, sometimes I have to get them around a negotiation table and perform the role of a diplomat, they… it’s like I catch any kind of information and try to make sense with everything...

      I am everyday in a titanic effort to articulate all kind of singular heterogeneities…

      -you speak about things like you would speak about persons…

      -yes, the all-kind-of-things are part of a fabric, a stuff that is in the making all along my day. This stuff is kind of alive, like a coral colony formed by organisms forming a hyper organism.

      -do the things talk to you? do you hear voices?

      -oh yeh… a lot of voices… they occupy me… I feel occupied by several entities

      -do you consider yourself as schizophrenic?

      -oh yeh… very much… sometimes I don’t feel possessed anymore, I AM possessed

      -is it a good thing?

      -oh yeh… I do believe that’s one of the best way to make sense!

      -you often use the that expression “make sense” or “making sense”, why and what do you really mean by that?

      … … … … … … ...

      what do you want to begin with, then?

      polishing lenses?

      objects as machines to be mapped out, deconstructed and rebuilt?

      objects as machines whose gravitational organisations should be read and then changed to free movement?

      objects as machines to be assembled differently to create new ecologies?

      are you a machine?

      why our magic should spellbind people?

      critical dark moments?

      which concrete outcomes after these “magic” months?

      was it all about magic?

      how to queer but avoiding 'system building', 'moral injunctions' and 'political correctness'?

      is magic putting an end to any discussion or criticism?

      what do you mean by beautiful?

      what do you mean by magic?

      what do you mean by affect?

      what do you mean by desire,

      what do you mean by care?

      what do you mean by being changed?

      what do you mean by risks taken?

      what do you mean by magic powers?

      what do you mean by powers of magic?

      what do you really want?

      do you do what you want?

      do you want what you do?

      you seem quite focussed on the Bermuda triangle Spinoza,Deleuze,Guattari, why them again? why them now? 

      putting into practice the concepts of “Sadness decomposing relations” and “Joy composing more relations”?

      is it really necessary to feel this fear to learn how to defeat capitalism and its obscene trade with death?

      evil spell? curse? aren’t you performing the anti-capitalist drama queen?

      remove the fingers out of our nose to smell the real shit?

      do you think that, like at the end of the sixties, we have to “set fire on reality itself”? is it still possible?, imaginable?

      what do they mean by “reconnecting desire and reality”?

      considering seriously our works as medicines?

      what do you mean by “the only thing to do is to construct apparatuses that will stimulate self-healing”?

      why is it necessary to affirm again that 'another world is possible'?

      what do you mean by “new affects” and “new joys”?

      doing whatever but methodically?

      why do we need to produce new joys?

      producing new lives, really?

      today, it seems not possible anymore NOT to see the coexistence of a plurality of worlds, how to practically deal with that idea?

    •  

       

      This is the time to come together.

      To celebrate what we worked on.

      To transform our preconceptions

      of rituals, of magic, of transformation itself.

      A pilgrimage of the self into the common

      and back again.

       

      This is a transformational journey

      that displaces our relation to our bodies, to nature, to objects

      by recognising the recuperation and commodification

      of these relations by capitalism.

       

      We come together

      To inspire different ways for counteracting

      oppressive operative systems

      of knowledge, love, work, and metaphysics.

       

      We come together

      To create a counter-spell for colonising forces

      that suppress, limit, undermine our natural virtual powers

      to resist, to perform, to be part of the world.

      To create a shared awareness of the recuperation of magic,

      of ritual commodification, of the reduction of everyday life

      by machines of correction,

      perverting our desires,

      crushing our potential selves.

       

      The world is full of magic unaccounted for

      We need to acknowledge its power

      and share it with others to empower their lives and dreams.

      We invite you as helpers, as energetic vessels

      to play with, to discover new ways of being together

       

      The artist can be the poetic warrior

      fighting for power and courage

      awakening the sense of self

      to write his alternative myths on the surface of reality

       

      Tonight we have the opportunity to experience and experiment the no-difference

      between the I that performs, and the you that undergoes

      Not as a closure but as a beginning

      A nudge to push us over the edge

      to allow us to spill over, grow wings

      and launch into transformation.

       

      We celebrate our schizophrenic adaptations

      of foregone cultural debris

      of ritual rumours and phantasies

      into operative practices for today’s crises.

      No exotic imitation

      but inventive re-draftings

      of what it is to be:

      a hybrid magic body

      that reinvents itself and all there is

      every day anew.

       

      We are virtual bodies,

      filled to the brim with knowledge

      we can not grasp through lack of words,

      we can not operate through lack of awareness

      we can not read through lack of skill.

       

      We are virtual bodies

      that have the power to overcome

      the limits of fear, guilt and physicality.

       

      We are beings on the edge of awakening

      generous souls that want to share their transgression

      expanding it over the edges of the precious circle

      into the heart of the matter

      into the matter that matters.

    •  

       

       

      Researchers Participants in the Postgraduate Program

      Audrey Cottin
      Esteban Donoso
      Isabel Burr Raty
      Jeremiah Runnels
      Kleoni Manousakis
      Mavi Veloso
      Thiago Antunes
      Tinna Ottesen
      Vanja Smiljanic
      Verónica Cruz
      Yaari Shalem


      Research End Presentations

      Gosie Vervlosem
      Philippine Hoegen
      Samah Hijawi
      Sara Santos


      Research Centre Researchers

      Adriana La Selva
      Cecilia Molano
      Juan Dominguez
      Mala Kline
      Ricardo Santana
      Ruth S. Noyes

       


      Partner

      PAF Performance Arts Forum


      Contributors for workshops

      Abu Ali * Toni Serra
      Adriana La Selva
      Adva Zakai
      Elke van Campenhout
      Esteban Donoso
      Geert Opsomer
      Isabel Burr Raty
      Kleoni Manousakis
      Luanda Casella
      Marcos Simoes
      Medicine Man Oscar Parada
      Nicolas Galeazzi
      Peter Stamer
      Pierre Joachim
      Pierre Rubio
      Sara Manente
      Thiago Antunes
      Veridiana Zurita

       

      Coordinators a.pass

      Elke van Campenhout

      Nicolas Galeazzi

      Pierre Rubio

       

      Mentors

      Adva Zakai
      Femke Snelting

       

       

       


      'UNTOUCHABLE / UNACCEPTABLE / INTANGIBLE'
      about the imaginative aesthetics of change

      Curated by Elke Van Campenhout (Research Coordinator), Nicolas Galeazzi (Program Coordinator), and Pierre Rubio (Associate Program Curator)


      In defence of the power of aesthetics this block tries to pry open the difficult paradox between criticality and imagination, between the power of the subject and the passive resistance of the object, between political critique and artistic re-imagineering strategies.

      The unacceptable reveals the limitations of the acceptable.
      The untouchable foreshadows the adventurous discovery of difference.
      The intangible offers a speculative sense towards the radically other.

       


      01/05 - 31/07 / 2015

      Ongoing workshops

       

      House of Spirits
      Throughout the whole period, the House of Spirits is a common space for the (re)collection, digestion and transformation of the traces of the individual researches and workshops. The House opens up a space for the ‘shamans/conservators’ of the Research Centre, as well as some of the participants. Every week another ‘shaman’ practices in the House of Spirits, working with the case objects of the participants or with left-overs of the workshop, developing a shared ritual for the a.pass group. The strategies of the ‘shaman’ include reordering, cataloguing, magical transformations, ritual alchemy, displacement and fictionalisation.
      Every shaman puts the individual case traces in another context, allowing them to resonate and breed new meanings and connections. The shamans together develop the Book, which documents the changing protocols regulating the workings of the House.
      At the end, the House of Spirits opens its doors to the public. In the form of a weeklong celebration, a curated exhibition, a mini-festival, a performative conference, or whatever at that point seems to be the most relevant to the group, the House functions in that week as a kind of temporal 3D publications that offers guests an insight in the works developed throughout the block.

       

      Reading Circle
      As a red thread throughout the block the participants engage in a weekly communal reading practice of the book ‘Realist Magic - Object, Ontology, Causality’ by Timothy Morton.
      Reading and discussing in-depth this one central text allows for the development of a common ground of reference and connection that functions as a backdrop to the workshops and practices that shape the block.

       

      Self-interviews
      Throughout the block each participant can develop a self-interviewing practice, which is supported by one or more mentors. The self-interview develops through the case practices, and is embedded in the mentoring process. During opening week we will introduce possible strategies for self-interviewing and start up the process.

       

      04 / 05 - 06 / 05 / 2015

      ‘BRICOLAGE’
      workshop by Nicolas Galeazzi


      Diving into the concept of bricolage, described in Claude Levi-Strauss' 'The Savage Mind', we develop a practice to present, discuss and discover the momentary objectives of our researches. With the help of found and constructed objects - objects of personal importance and desire, objects of daily or precious use, objects of thought and discourse - we will try to get a hold on the actual qualities of each one's research model and methodology. The bricolage technique may be very close to many of our practices. The artist researchers are commonly acknowledged as the bricoleur-scientists. They craft the object of knowledge.
      In the course of this week we will present the current state of our research case from various perspectives. ‘Bricolaging’ the 'objects' of your research, turning them upside down, looking at them through the other's eyes and assembling the elements in play, we want to understand the complex horizon of your research target.

       

       


      25 / 05 - 29 / 05 / 2015


      ‘ECOLOGY OF AFFECTS’
      a.pass Basics workshop by Pierre Joachim, Geert Opsomer and Pierre Rubio

      Can we associate sadness with the outcomes of our capitalist world? Are we affected so much by capitalism that we can only sadly survive in what seems to have become its ‘nature’? Can we still affect the world? What could a joyful passion mean today? Is a joyful passion subversive? How can we create the conditions for joy to be possible? Is it by re-allocating desire that new joys can emerge? Can artistic researches produce a change Can agency be generated with aesthetic means? Could we critically re-combine ethics and aesthetics to reclaim the transformative power of our researches? What could be the nature of an ecology of affects with the potential to produce a change?
      Every block, a.pass organizes ‘a.pass Basics workshops’ that focus on the basic principles of a.pass as a collaborative artistic research environment.
      This B-workshop ‘Ecology of Affects’ will put into discussion Spinoza’s concepts of Desire, Joy, Sadness and Affect in the ‘Ethics’ and Guattari’s concepts of Mental Ecology and Collective Assemblages of Enunciation by reading closely a series of texts from the 17th up to the 21st century. With the help of two guests, Pierre Joachim and Geert Opsomer, we will study these philosophical key notions but also discover how Pierre and Geert put them into practice and consequently how we can do so as well.

       

       

      01 / 06 - 05 / 06 / 2015


      ‘PLACE THIS’
      Workshop by Sara Manente and Marcos Simoes


      The workshop unfolds a series of extra-sensorial practices as tools for collaboration in groups, couples or with objects. The tools, for example the telepathic approach, offer the possibility to create a third existence which is ‘a self’, an entity other than us, with its own qualities and ability to perform in an attempt to include chance and other contingencies in the work, to destabilize power relations based on linear logics and to questions the effect of belief and make-belief in a performative environment. Can we create magic by creating the rules for magic to happen? Like an ‘experimental magic’ without magicians? Is it possible to empower an object, a person, a situation through speculation and prediction?
      The workshop will start with a daily practice of writing questions for a tarot reader. Then, we will offer three different performative tools to be explored and then appropriated into your own project. The workshop “Place this” wants to discover the transformational powers of this knowledge in different constellations: individually, with objects, in couples, trios, groups. With the stubbornness of ‘the idiot’, we will practice and question again and again opening up the creative process to the material and the immaterial.

       

       

      08 / 06 - 12 / 06 / 2015


      ‘UNSEEN WORKSHOP’
      Workshop by Abu Ali * Toni Serra


      Abu Ali * Toni Serra is a researcher through video. He hosts and programs the Observatori de Video No Identificat based in Barcelona - an observatory archive, that is structured around particular themes, which does encourage a critique of contemporary culture and society,
      His videos explore different visions between the essay and the poetry, with an evocation of trance and the realities of dream. His videos immerse into the relationship with the visionary, into the inner experience, the no man’s land between real and unreal, dream and awakeness, poetry and prophecy... as ways to deepen the criticism of reality.
      Normally we associate image with vision. But in a society of the spectacle images have become a form of blindness - an increasing veil, that prevents us from viewing. Our vision remains a prisoner of the images constructed by the entertainment, media and network apparatus, which not only tries to shape our vision but to colonize our dreams.
      For the workshop, he offers a selection of footage, which directly deals with the ‘Unseen’. Based on these projections he will experiment with us on practicing the not-seen. Challenging the relation between the gaze and action, vision and perception, the imaginary and the experienced, we will cruise through a network of text, video, and physical practices that open the vision for the unseen and the un-seeing.

       

       


      22 / 06 - 26 / 06 / 2015


      ‘TOWARDS A COLLECTIVE RITUAL’
      Workshop by Medicine Man Oscar Parada


      What is a ritual and how can we use our bodies as tools to access a ritualistic space? Could rituals be keys to enter the invisible world and render it perceptible to us? Are ritualistic practices ways to open a specific space inside us but connecting us as well with the outside? How to navigate the body for it to become an instrument that can reveal those spaces? What is the epistemology supporting the ritualistic practices? What are the tools and symbols at work to create a healing ceremony? How to realise that a mere procedure can escape the mechanical, become a ritual and perform power? What is a sacred space, and what can it do?
      In this workshop Medicine Man Oscar Parada proposes hologenic breathing techniques, re-birthing, sound evocation, Zen Buddhism and ritualistic elements from the Amerindian cosmogony as ways to explore the sacred.
      This workshop has as objective to engage and reproduce the sacred in connection with a performative ritual space. Which is: to operate a transformation. And that is what we can call medicine. Medicine is everything that transforms us.
      Firstly, the workshop proposes techniques and practices to open the body not only as an artistic tool but also as a medicinal tool. Secondly the workshop is also a research into creating individual and collective rituals in different ways.
      We will question and challenge the limits of what ‘self’, ‘presence’ and ‘relation’ mean.
      We will open different space dimensions to find in ourselves ways to discover, recreate and relearn our personal ritualistic spaces connected to our memory. The different sessions will produce a possible catharsis for the participants to create a collective healing ceremony.

       

       


      29 / 06 - 03 / 07 / 2015


      ‘SIX DEGREES OF SEPARATION’
      Workshop by Peter Stamer and Luanda Casella


      We are dealing with what is known as „The Small World Problem“, a popular research method, especially in times of immaterial communication or social networks like Facebook, trying to merge mathematical parameters of statistics with marketing tools to improve accessibility to one’s consumer behaviour. And yet, the thought is fascinating: that everyone of us is connected with anyone on this planet of now 7.5 billion inhabitants, regardless of race, cultural background, continent, religion, age. Next to the political implication of such a thought this idea provides us with a resourceful generator for stories, narratives, fictions about human beings and their lives.
      Six Degrees of Separation is based upon the desire to create contemporary storytelling formats in which we explore fiction in shared narrative practices - narratives without a centre plot, but composed of biographical fragments, travel experiences, random encounters, figments of imagination - and maybe very little resolution. We believe that the world is full of stories, told ones and concealed ones, voiced ones and mute ones. Stories that we fantasize are not less true; digging them out and rendering them audible creates a multiplicity of narratives which form a large tapestry of events, a patchwork of textures, interwoven in such a fashion that they somehow may exist on the verge of being. Using a mixed media apparatus (Google Earth; Skype; Google Docs, Facebook, Twitter, etc), we will go through different storytelling exercises focusing on the construction of evasive, critical, imaginative narratives in order to create a common imaginary in the end. So what is it that holds the world(s) together?

    •  

       

       

      Researchers Participants in the Postgraduate Program

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

       


      Research End Presentations

      Damla Ekin Tokel
      Hans Van Wambeke
      Rareş Crăiuţ
      Stef Meul 

       

       

      Research Centre Researchers

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

       


      Partners

      PAF (Performance Art Forum, Reims, France)

       


      Contributors for workshops

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

       


      Coordinators a.pass

      Elke van Campenhout
      Nicolas Galeazzi

       

      Mentors

      Geert Opsomer
      Kristien Van den Brande
      Peter Stamer
      Pierre Rubio

       

       

       

       

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

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

       

       

      14 / 01 -19 / 03 / 2015


      ‘PERFORM BACK SCORE’
      Weekly Practice by Lilia Mestre


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

       

       

      05 / 01 - 09 / 01 / 2015


      ‘REPERTOIRE’
      Workshop by Eric Thielemans


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

       

       

      19 / 01 - 23 / 01 / 2015


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


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

       

       


      02 / 02 - 06 / 02 / 2015


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


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

       

       

       

      23 / 02 - 27 / 02 / 2015


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


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

       


      02 / 03 - 06 / 03 / 2015


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

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

       

       

      09 / 03 - 14 / 03 / 2015


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


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

    • postgraduate program
    • research center
    • Spaces as Contracts
    • 2014 BLOCK III 01 September 2014
      posted by: Pierre Rubio
    • 01 September 2014
    • 30 November 2014
    • 2014 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Damla Ekin Tokel
      Danny Neyman
      Gosie Vervloessem
      Hans Van Wambeke
      Hektor Mamet
      Jeremiah Runnels
      Kleoni Manousakis
      Silvia Ramos Pereira
      Stef Meul
      Vanja Smiljanic
      Verónica Cruz
      Yaari Shalem


      Research End Presentations

      Anna Sörenson
      Camila Aschner Restrepo
      Victoria Myronyuk


      Research Centre Researchers

      Cecilia Molano
      Mala Kline
      Veridiana Zurita   

       

      Partners

      Les Bains
      Kaaitheater


      Contributors for workshops

      Christophe Meierhans
      Elke van Campenhout
      Fotini Lazaridou-Hatzigoga
      Jozef Wouters
      Lilia Mestre
      Luigi Coppola
      Nicolas Galeazzi
      Vladimir Miller

       

      Coordinators a.pass

      Elke van Campenhout
      Nicolas Galeazzi

       

      Mentors

      Femke Snelting
      Fotini Lazaridou-Hatzigoga
      Geert Opsomer
      Lilia Mestre

       

       

       

       

       

      ‘SPACES AS CONTRACTS’
      curated by Vladimir Miller (Associate Program Curator and Nicolas Galeazzi ( Program Coordinator)

       

       


      25 / 09 - 05 / 11 / 2014


      ‘POLITICS OF CHANGEABILITY’
      weekly meetings by Vladimir Miller, Nicolas Galeazzi and Fotini Lazaridou


      For this project we ask the researchers participants to engage individually for the duration of this block with a private or institutional space outside of a.pass. The task is: to negotiate a permanent, irreversible change in the architecture of that space and to document the negotiation process.
      Changing our spatial circumstances, for adapting them to our needs, is so foreign to us in daily life, that we associate those changes with violence and social upheaval, with revolutions and public resistance. And maybe this holds true and points us to how powerful architecture actually is in upholding existing social order. Architecture and the political connect and hinge on access to change. Hegemonies manifest themselves and are upheld by architectural structures. So every attempt to change invariably become a political attempt.
      We are framing the attempt of change as a research methodology
      Taking the steps to negotiate a permanent change in an architectural setup reveals the internal structures of power distribution and decision making for any given space. If you want to propose a change, who do you contact? who will you be referred to? which groups need to come together under which premises and structures of decision making to allow for that change? To follow up those challenges to changes is to slowly reveal a diagram of power, an architecture within architecture. In fact those two architectures are inseparable from each other and we should invent ways of speaking of them as a whole. Would we have privacy if we never had walls, what kind of togetherness would we have if availability of space was not limited? Our way of living and our way of building cannot be separated from each other.

       

       

      08 - 12 / 09 / 2014


      ‘SPACE AND CONTRACT’
      a.pass Basics workshop by Vladimir Miller


      In this workshop we will look at the non physical borders of architecture: the contracts and agreements that create and maintain our built environment.
      If you take a quick look around you and ask yourself how the things that surround you came to be the way they are, you will notice that all of them are man-made or man-transformed. Those processes of transformation are all initiated and facilitated through negotiations and agreements. The first step to connect contracts and architecture is therefore to realize that architecture is a product of an agreement. For our purposes we can loosely define a contract as a performative agreement.
      During the workshop we will discuss further how architecture also embodies and ultimately maintains social agreements of that kind
      This workshop proposes to look at the relationship between the architectural space and the contract through a series of collective building actions. We will use a simple material to build improvised structures together in order to understand how are we negotiating collaboration, aim and space. Which rules and ideological presupposition are at work? Can we come up with contracts, scores and sets of rules which would produce other architectures? What is the relationship between our social contract and the architecture we are able to produce?

       

       

      15 - 19 / 09 / 2014


      ‘IF YOU LIKE IT, THEN YOU SHOULD HAVE PUT A ROOF ON IT’
      (and put some chairs under)
      workshop-project by Jozef Wouters & Vladimir Miller


      Roofs, in the arts, are often provided. In climates like Belgium, having a roof to work under is not a bad way to start. The roof protects the work (against more things than rain). But the roof also tends to isolate it. From time to time, artists grow tired of the roof and the walls and, hoping it doesn’t rain, decide to work on a square.
      The work of a scenographer is often more about walls than about roofs (light designers don’t like scenographers who propose roofs). Walls are flexible. Walls can be discussed. Comparing this, it turns out to be way harder to negotiate about a roof and to design a roofed space that is a square as well.
      This proposal is modifying the original “lets build a house together” idea, which was already presented at a.pass. The idea is, rather than overwhelming ourselves with the house building, to have a closer look (through working) at what we identify as two key elements of structuring community and social space by the means of architecture: roofs and chairs. In a much too simple way we can say that roofs bring a community together, while chairs can be used to structure its politics of attention and visibility. By avoiding walls we also subvert a key instrument to privatization of space. The space under the roof is accessible and public by design, we don't have to distribute power/keys.

       


      29 / 09 - 03 / 10 / 2014


      ‘OCCUPYING DEMOCRACY’
      workshop by Luigi Coppola and Christophe Meierhans


      Luigi Coppola and Christophe Meierhans are working in different contexts and with different means about common decision taking procedures - or let’s say, alternative democracies. While Christophe proposes, in a lecture performance series, a new democratic system based on disqualifying people in charge, rather than electing them, Luigi is developing social choreographies as democratic models and is currently involved in a communal project of reorganizing the political, agricultural and economic system of a whole village in south Italy.
      Together they propose a research workshop where most components of its activities will have to be decided commonly with the workshop participants. Just the very basic conditions are pre-determined: the workshop occupies a public space with only one person at the time - 24h a day. The rest of the group develops, discusses and observes the occupation from a distance and takes the relevant decisions.

       

       

      13 / 10 - 17 / 10 / 2014


      ‘FORMS OF LIFE - A TRAVELING PYJAMA PARTY’
      workshop by Fotini Lazaridou-Hatzigoga


      During a period of 6 days, each participants are invited to host the rest of the group in their apartment for a day. We will cook together, discuss a series of texts, take turns using the shower and read bedtime stories from a book picked up from the shelf. We may find out about each other’s morning habits, favorite smoothie combination, different ways of folding the sheets.
      For six days and five nights, this workshop will attempt to explore different ways of living and living together, focusing on the domestic sphere, our daily habits and their spatial manifestation, as well as on the ways these forms of life may or may not slip out of the window and down to the street. During each short residency we will collectively try to come up with a proposal for a small modification of or intervention in the space we are currently in, and negotiate its terms with our host. We may or may not carry out the proposal.

       

       

      24 - 25 / 10 / 2014


      ‘POST-FOUNDATIONAL ARCHITECTURES’
      scenography workgroup meeting by Vladimir Miller


      In 2012 a.pass merged the two sections a.s (advanced scenography) and a.pt (advanced performance training) to one singular program. This move was a consequence of understanding performance and scenography more and more as inseparable parts of one and the same discourse. But the merge of discourses finally reinforced the need for a new specification of the term “scenography”. What does it really mean beyond the classical stage practice? What else than a stage - and under which conditions - can be declared as a ‘scene’ and who or what is designing it? What distinguishes a ‘performative space’ from a ‘sceno-graphed’ space?
      For discussing these questions Vladimir Miller gathered in the fall 2013 some space practitioners to a first ‘Scenography Workgroup Meeting’. In October 2014 he calls for a second one. It will be a public work meeting between and with artists, architects, and scenographers who engage in the production of temporary and performative architectures. They will critically explore the definition of scenography simply as ‘post-foundational architectures’.

       

       

      03 - 07 / 11 / 2014


      ‘PHARMAKON’
      workshop by Elke van Campenhout and Lilia Mestre


      This workshop explores the concept of pharmakon developed by the contemporary French philosopher Bernard Stiegler in his book ‘On pharmacology - how to live your life’. Stiegler uses the term pharmakon, which simultaneously stands for ‘poison’ and medicine’ as a symptom of an ever-spreading capitalism: an economy that does not only affect our labour, but does affect also our psychic ability and reduces our desires to simple drives. As both a medicine and a cure, Stiegler emphasizes the role of technology in our society as an ultimate pharmakon.
      In his ‘pharmacology’, its doubleness is investigated as a possible ‘cure’: a strategy to deal with the recovery of our desires, to go against the pressure of identification trends, brands and an ever-increasing individualization. Pharmakon stands for the technical know-how we develop the strategies we use to build a different kind of future and to create another concept of our togetherness. But this is not without risk: pharmaka are both a source of misery and abuse of power, but also a stimuli of what makes life worthwhile.
      The workshop is part of a ‘Thematics’ research project organized by Les Bains. Four artists are invited to explore in a three month residency set-ups of 'trans-individuation’: how do we form temporary moments of sharing, how can we come together in diversity, how can we build together an organization of work and knowledge sharing that is open-ended for producing and opening up to an outside world. A constant process of infection and transformation, through testing and adjusting the dosage of the pharmakon.

       


      27-29 / 11 / 2014


      ‘PHARMAKON’
      conference by a.pass Research Center, Les Bains and Kaaitheater.


      The Ancient Greek word ‘pharmakon’ means ‘poison’, ‘medicine’ and ‘scapegoat’. According to the French philosopher Bernard Stiegler, our society urgently needs a ‘pharmacology’ to turn the tide of economic, ethical and cultural impoverishment. He says that we must urgently question our culture. With which witchcraft can we turn the poison into medicine?
      Pharmakon: whitch culture? is a three-day ‘performative conference’ that examines artistic and theoretical strategies to counteract this pollution of our society’s culture. This congress is part of Thematics, a residency programme for artists and theorists run by Bains Connective workplace. This started in mid-October and is still on until 15 December, and is in its turn part of the transnational Pharmakon project organised by the Institut Nomade.

      Program of the conference

      Day 1: https://www.kaaitheater.be/en/agenda/day-1-on-the-notion-of-pharmakon-in-the-thinking-of-bernard-stiegler

      Day 2: https://www.kaaitheater.be/en/agenda/day-2-rethinking-economies

      Day 3: https://www.kaaitheater.be/en/agenda/day-3-body-technologies

    • postgraduate program
    • block 2014/II
    • Milieus
    • NOT_index
    • MILIEUS 01 May 2014
      posted by: Pierre Rubio
    • BLOCK 14/II
    • 01 May 2014
    • 31 July 2014
    • CURATED BY PIERRE RUBIO
    • case of: Pierre Rubio
    • MILIEUS

       

       

      Milieus is a collective artistic research environment for the participants, mentors and other workers of the a.pass program. In a shared workspace we develop our practices in a collaborative context, on the basis of self-organisation and self-rule. Through individual actions Milieus generates a dynamic territory for exchange, cooperation and (tacit) negotiation. A mutual creation of the individual and the common.

      We invite different guests to enter into this environment with us, to participate, open up the proposals and issues addressed in the collective work and/or to problematize the situation, fueling the ecology of ideas and practices in Milieus.

       

    • postgraduate program
    • research center
    • Milieus
    • 2014 BLOCK II 01 May 2014
      posted by: Pierre Rubio
    • 01 May 2014
    • 31 July 2014
    • 2014 BLOCK II

       

       

       

      Researchers Participants in the Postgraduate Program

      Anna Sörenson
      Audrey Cottin
      Camila Aschner Restrepo
      Danny Neyman
      Gosie Vervloessem
      Hans Van Wambeke
      Philippine Hoegen
      Rareş Crăiuţ
      Samah Hijawi
      Sara Santos
      Silvia Ramos Pereira
      Stef Meul
      Vanja Smiljanic
      Verónica Cruz

       


      Research End Presentations

      Carolina Goradesky
      Daniel Kok
      Gabriela Karolczak
      Julia Clever
      Maité Liébana Vena

       


      Research Centre Researchers

      Cecilia Molano
      Lucia Rainer
      Mala Kline
      Veridiana Zurita

       

       

      Partners

      FabLab IMAL
      KU Leuven
      PAF Performance Arts Forum

       


      Contributors for workshops

      Alma Soderberg
      Anna Sörenson
      Camila Restrepo
      Christophe Maierhans
      Damla Ekin Tokel
      Danny Neyman
      Elke van Campenhout
      Femke Snelting
      Gosie Vervloessem
      Hans Van Wambeke
      Hendrik Willekens
      Julien Maire
      Kristien van den Brande
      Luigi Coppola
      Michael Klien
      Nicolas Galeazzi
      Peter Stamer
      Philippine Hoegen
      Pierre Rubio
      Pr Jan Masschelein
      Rares Crauit
      Samah HIjawi
      Sara Santos
      Silvia Pereira / Omniadversus
      Stef Meul
      Vanja Smiljanic
      Veronica Cruz

       


      Coordinators a.pass

      Elke van Campenhout
      Nicolas Galeazzi
      Pierre Rubio

       

      Mentors

      Claudia Bosse
      Femke Snelting
      Kristien Van den Brande
      Peter Stamer

       

       

       

      ‘MILIEUS’
      curated by Pierre Rubio (Associate Program Curator) and Nicolas Galeazzi (Program Coordinator)

      Milieus is a collective artistic research environment for the participants, mentors and other workers of the a.pass program. In a shared workspace we develop our practices in a collaborative context, on the basis of self-organisation and self-rule. Through individual actions, Milieus generates a dynamic territory for exchange, cooperation and (tacit) negotiation. A mutual creation of the individual and the common.
      We invite different guests to enter into this environment with us, to participate, open up the proposals and issues addressed in the collective work and/or to problematize the situation, fueling the ecology of ideas and practices in Milieus.
      The whole curriculum content was curated by the researchers-participants themselves through the proposition of their ‘Collective Practices’ and the collective curating of the ‘Guest House series’.

       

       


      27 / 05 / 2014


      ‘A COLLECTIVE PRACTICE OF COLLECTIVE PRACTICE’
      collective practice by Pierre Rubio


      This practice aims at sharing/developing our knowledges and skills in workshop design.
      How is it possible to translate an individual practice into a collective practice?
      How can we support each others’ effort to imagine and invent collective practices out of our individual problematics?
      From identifying central research questions in each one’s researches to transformations of these questions into shareable practices up to appropriating collectively personal singularities and nourishing a possible ‘general intellect’.

       

       

      30 / 05 / 2014


      ‘GETTING A TASTE FOR FOOD’
      collective practice by Rares Crauit


      Food is highly charged with meaning and affect; it is performative and theatrical and, as a live art, it is fleeting and sensorial. Today, in a world where one in eight people are suffering from chronic undernourishment, cooking methods, consumption protocols and gastronomic speeches are lengthily elaborated on. So what is there left for artists? Looking carefully at food particularities we may witness the ordinary and extraordinary about food as an event, catching the interest of chefs as well as artists and social campaigners.

       

       

      02 / 06 / 2014


      ‘love and other matters’
      ritual for charging the space by Elke Van Campenhout / Tara


      Monday at 10am (sharp, since a ritual can not begin twice…) we meet for a social choreography, a scored ritual, a love event, a political redistribution of desire.
We work together to transform the space of Milieus into a tableau vivant of ritual practices, using objects, the body and the voice. The ritual re-charge will go through different stages, but all require your full state of attention, comfortable clothing, and a powerful energetic level. Please don’t eat before coming, and bring:
-one object that will mark your ritual space, and that is connected to the positive energy, the love you want to dedicate to Milieus
-one ritual uniform that marks your role in the ritual

       

       


      04 / 06 / 2014


      ‘THE COOK, THE THIEF, THE WIFE AND THE LOVER’
      collective practice by Philippine Hoegen


      The aim of the workshop is to play a homemade card game and to ameliorate its rules collectively.
      Some cards have 2 images, some 2 words, some an image and a word. Some have an image and a blank space, some a word and a blank space, one card has 2 blank spaces.
      Players are invited to create connections (of similarity, opposition or otherwise) as the cards are laid.
      Each participant at the table has a role: The Cook, The Thief, The Wife or The Lover.

       

       


      11 / 06 / 2014


      ‘NEW CONTINENT OF THOUGHT, DO YOU READ ME?’
      collective practice by Vanja Smiljanic


      Invitation to gather the concepts/fetish objects/questions/ideas/ghosts that obsess and possess the participants. Translation and materialisation of these thoughts to build up a space for their habitat.
      The proposal is to see and experience this space as a momentary virtual temple.
      Discovering the path to ones own virtual temple, building up the temple, guiding a tour through it, then leaving it.
      The journey to/through/out of the temple is conceived as a virtual pilgrimage.
      Following the structure of the pilgrimage, the virtual temple represents a liminal phase of one own’s research, a space of transgression, a threshold between previous way of structuring and understanding everybody own’s identity, time, space or community and the new way of doing so.

       

       


      17 / 06 / 2014


      ‘BAD T.V. SEMINAR’
      collective practice by Anna Sörenson and Stef Meul


      'Head of Bad TV Department' Anna Sörenson and 'Bureau of Censorship President of Operation' Stef Meul invite participants in a Bad TV classification evening. They step by step take the participants through the ground pillars of Bad TV, and invite them to a public voting to help the Bad TV Department classify the very core of Bad TV. The Bad TV Department uses a system of indexing, classification and creation of categories. To inform and improve the system it is needed to gather the public opinion annually. The public voting is an important input to understand what Bad TV is in 2014 and to keep the research team informed in the many genres of Bad TV, the research in depth and the categories. The public voting is giving the statistic input the Department needs to continue the work and prepare for the coming year.
      The feeling of watching something you like, but voting for it’s “bad-ness” is a conflicting feeling and a confusing thought. The nature of the Bad TV-video clips is quite entertaining but the group can feel confused by the voting system.

       

       

       

      26 / 06 / 2014


      ‘SENSORY / SENSORIAL TRANSLATION’
      collective practice by Veronica Cruz


      A collective practice working with the sensorial way with which we engage with the world and create our understanding of it. Subjectively translating stimulus from sensation to information and vice-versa.
      The body is always the receptacle of the interrelationships’ alchemy from which we build the capacity for understanding and apprehending individuals, as well as emotions and sensations. The body’s ability to invoke the past to produce new actions and behaviours most often improvised (without previewed plans) comes from a ‘practical intelligence’.
      How to propose a different sensorial approach to performative experiences? Which mediums of transmission are favoured in your research project? Which sensations are the triggers of your research? What feeling/perception would provoke your research in its receptors/audience/spectators? How could you translate the emotions of cognitive statements of your research core into a physical stimulus?

       

       


      27 / 06 / 2014


      ‘TAKE A GOOD LOOK BACK’
      collective practice by Peter Stamer


      Visualize the past as present. Close your eyes, take a good look at what happened during the Milieus program so far. Re-imagine the events that left a mark in you, that were decisive for you, major ones, minor ones. Reveal your observations by revisiting the spots that appear in front of your inner eye. You do what you say. You tell what you see.

       

       

      27 / 06 / 2014


      ‘GUEST HOUSE SERIES : JAN MASSCHELEIN’

      one day seminar around the work of Pr. Jan Masschelein curated by Philippine Hoegen and Gosie Vervloessem


      We propose an experimental seminar on horizontal learning environments/structures.
      Can one create a school for oneself? What is the role of the school as an institute?
      What does self-education mean? How can we think of different ways of creating school?
      How to counter the production oriented machine (knowledge production, instrumentalisation of terms like research in education, in art? What could be a de-capitalised labour? How could this affect knowledge production in an artistic research environment? How to keep the ‘school’ as a place of ‘free time’.

      In relation to current education and knowledge production, Jan Masschelein talks about consumerism (students as consumers of education, the entrepreneurial student), he is critical of the demand for everything to be made productive (productive time, time as a commodity, and also knowledge production) making the ‘school’ a place of formation, he calls this the taming of the school. He describes different learning environments such as the seminar, the workshop and the lecture hall: “In this sense, the lecture hall can be described as a heterotopia; a ‘place without place’ or ‘location’ with its own order, its own technologies, rituals, ways of speaking and discipline. According to Michel Foucault, it is a space where we are exposed, that is to say ‘drawn out of ourselves, in which the erosion of our lives, our time and our history occurs’. It is a place where we are exposed to a thing-in-common and are engaged in public thinking.”

       

       


      30 / 06 / 2014


      ‘ARCHIVE FEVER’
      reading session by Camila Restrepo


      Camila Restrepo will guide the participant into an exhaustive reading of an iconic essay by Jacques Derrida: “Archive Fever”. Some key points and notions will be discussed in order to embrace the (complex) sense of the text.

       

       

      02 / 07 / 2014


      ‘GUEST HOUSE SERIES : FEMKE SNELTING’

      one day seminar by Femke Snelting around the project ‘Fathers of the Internet’ curated by Pierre Rubio


      Throughout World War I and II, Belgium internationalist, universalist and documentalist Paul Otlet imagined The Mundaneum: a city that would bring together all knowledge of the world in one flexible relational classification system. His work was largely forgotten until recently, when Otlet resurfaced as ’a founding father of the Internet’. Simultaneously, corporate titan Google adopted the remains of his archive preserved at The Mundaneum in Mons. The museum is not only located in the home town of Belgium current prime minister Elio Di Rupo, but also conveniently close to Google’s largest European datacenter in St. Ghislain. Since then, The Mundaneum proudly advertises itself as ‘Google on paper’ and ‘The great ancestor of Google’.
      ‘Fathers of the Internet’ is an ongoing exploration of a wandering archive and the entanglements of artificial intelligence, patronage and political intrigue.

       

       


      08 / 07 / 2014


      ‘GUEST HOUSE SERIES : ALMA SODERBERG & HENDRIK WILLEKENS’
      one day practice around Alma Soderberg and Hendrik Willekens’s work curated by Danny Neyman


      Alma Soderberg and Hendrik Willekens are offering one day of happy experimentation with music making. We will play with the idea of starting a band and explore what this collaborative improvisatory way of working with and around sound could mean. Playing instruments together, exploring our voices and bodies as instruments of sound, singing and otherwise. We will learn how to make beats, and how to use microphones and friendly machinery to make voice and sound into a material to be moulded, sculpted, messed around with.

       

       


      09 - 11 / 07 / 2014


      ‘GUEST HOUSE SERIES : JULIEN MAIRE’
      ‘FIELD OF WORK, DEPTH OF FIELD’
      workshop by Julien Maire curated by Hans Van Wambeke and Camila Aschner Restrepo


      There are many definitions and uses for the term “fuzzy” but they all involve some reference to a state of instability. The fuzzy logic, for example, is a programming method used in artificial intelligence: the program sets doubts that are not exclusive and that are constantly negotiable. While the Boolean logic is limited to the use of disjunctions, conjunctions and negations, the fuzzy logic reaches a state of sharpness gradually, but the focus is made with hesitation and by approximation.
      By analyzing the various definitions of what could be “the fuzzy,” the workshop will question the positioning of the actor, the performer and the spectator inside the “depth of field.” The purpose is to experiment with fuzzyness and sharpness under various angles: working in a space with a fixed lens, with a single point of focus; moving through a space with a variable focus (autofocus); reducing the depth of field (macro, micro photography); and overall to devise alternative principles for “focus control,” the intermediate stages that precede a sound, a gesture, a concept or an image.

       

       


      14 / 07 / 2014


      ‘SPEAKING BODIES’
      collective practice by Danny Neyman


      A collective practice about our bodies and our relation to our bodies through language.
      I want to gather together around the "poor material" of our own bodies, selves, memories, speaking mouths, and guide a series of exercises which will generate a verbalization of body-selves, exploring our bodies in fragments, looking at how our bodies are charged with meaning, stories, experience, memory, signification, seeing what can and can't be said about bodies, where words cling onto a body and how and when do they slip off.

       

       


      15-16 / 07 / 2014


      ‘MAKING HI-S-TORIES’
      collective practice by Samah HIjawi and Sara Santos


      The workshop will weave together several ideas around contesting historical narratives, and the power of images, their fetishization, and their potential of/for resistance through methodologies of collage and montage.
      In two separate groups, using texts, images, photographs and video each group will work for a couple of hours in creating two separate narratives of this underground collective and their manifesto, a timeline mapping the trajectory of their activities, and we try to imagine the flag they might have made to represent themselves and present themselves to the world with. Using materials provided, as well as materials we bring with us from our own practice we create an historical document of this precious moment in history.
      Then, the groups switch stations. Using collage and montage sensibilities, the groups reconsider each others historiography to intercept each others narratives.

       

       

      16 / 07 / 2014


      ‘THE GROOM OF THE STOOL’
      collective practice by Gosie Vervloessem


      A diary of digested and not digested practices.
      How does your practice digested by a foreign body looks like?
      The Groom of the Stool (formally styled: “Groom of the King’s Close Stool“) was the most intimate of an English sovereigns’ courtiers. The Groom of the Stool, in the very earliest times was responsible for assisting the King in the performance of the bodily functions of excretion and ablution, whilst maintaining an aura of royal decorum over the proceedings.This physical intimacy naturally led the Groom to become a man in whom much confidence was placed by his royal master and with whom many royal secrets were shared.
      Recipe for a workshop :
      A. Warm up – playing around with maizena
      B. The recipe
      Cook your work/your practice/your life and write down the recipe and present your meal
      C. Grooming
      Sharing practices by eating and digesting, devouring and digesting each others’ dishes.
      Choose and eat the meal of somebody else – the cook assists the digestion and interviews the eater (the actual grooming) – record the interview on paper/take notes.
      D. Stool
      The eater reports on the excrement, using whatever means that seem suitable. How does your practice digested/processed by a foreign body looks like, smells like, …?

       

      18 / 07 / 2014


      ‘GUEST HOUSE SERIES : LUIGI COPPOLA & CHRISTOPH MAIERHANS’
      one day practice and discussion around ‘Alternative Democracy’ by Luigi Coppola and Christophe Maierhans curated by Nicolas Galeazzi


      Whenever people come together, decisions will be taken - explicit or implicit, legal or legitimate, in conflict, consensus or as a compromise, spontaneously or according to a strict protocol. The dominant ‘democratic’ protocols of taking such communal decisions, are put in question from many sides: from Rancière’s concept of equality, to Putin’s rhetorics, threatening western libertarianism.
      However, in the age of flat hierarchies and the emphasised individualism, artistic group decision taking mechanisms are - willingly or not - strongly influenced by the biases, falls promises and suspiciousness against the democratic way of live. Many projects and methods try to avoid, alter or oppose democratic structures.
      a.pass, for example, and specifically Milieus, are in many sense rooted in practising agonistic structures of negotiation and try to find alternative ways.

       


      21-22 / 07 / 2014


      ‘TRANSNATIONAL ART COMMONS’
      collaborative workshop-project by Nicolas Galeazzi


      I would like to invite you all to a collaborative practice around the Transnational Arts Commons, which we are developing in relation with the Dampfzentrale in Bern.
      The aim of the project is, to temporarily run the Dampfzentrale during the Bern Biennale as a Commons, and to use this opportunity as a case study in order to develop a sustainable artistic economies based on the idea of the commons.
      In order to create a legal and recognised status for this commons, we aim to found a european co-operative, which will run its business as a commons. The exact model for this co-op is still very controversial and has to developed through many stages and with the input and interest of many people. You are kindly invited to take part in this procedure.
      Beside this gathering, we are organising a “State of the Arts” meeting. The focus of this meeting is to bring different interests and ideas in relation to each other. We invite some people engaging in alternative currencies, some active in the basic income debate, and others interested in a european network of alliances between the arts and other fields. All these approaches have their problematic points and have things in common.

       

       

      23 / 07 / 2014


      ‘MONOPOLY OF I’s / MONOPOLY OF ID's’
      collective practice by Silvia Pereira / Omniadversus


      It is a Monopoly game, with us as participants.
      We will be the piétons (pedestrians), playing at being and buying artistic identities. Identities that we will create ourselves for ourselves to the purpose of the game. The way the game will be organized will lead the group to movement very similar to the one in dynamics of creating identities as by-products of the subjecthood in relation to the conditionings of the industries of the arts.
      During the game the subject as an art piece will pass through several passes in a spiral of ascension which represents the glorification of the subject as an attributed value constructed in a narrative, a chronology and history.
      While playing we will experience through the practice the process of subjectivation of identity while enquiring about it accordingly to the positions/roles being played in the game, subject/object/art collector.

       


      24-25 / 07 / 2014


      ‘GUEST HOUSE SERIES : MICHAEL KLIEN’
      two days of practice and discussion around the project ‘Parliament’ by Michael Klien curated by Damla Ekin Tokel and Stef Meul


      Michael Klien proposes a 'closed' Parliament for participants. 4 hours long to experience the setup. After that we can discuss how to take this into the city. All day is spent tuning perception to the underlying dynamics of the individual and collective mind, sensing, and interacting with nature’s self-organising dynamics. These choreographies are rehearsals of utopia, nevertheless real social relations. Rather than just commenting on it or deconstructing it, but using that aspect that those are rehearsals for our emerging social relations.

    • postgraduate program
    • research center
    • Scores
    • 2014 BLOCK I 01 January 2014
      posted by: Pierre Rubio
    • 01 January 2014
    • 31 March 2014
    • 2014 BLOCK I

       

       

       

      Researchers Participants in the Postgraduate Program

      Anna Sörenson
      Camila Aschner Restrepo
      Carolina Goradesky
      Damla Ekin Tokel
      Daniel Kok
      Gabriela Karolczak
      Gosie Vervloessem
      Hans Van Wambeke
      Julia Clever
      Philippine Charlotte Hoegen
      Rareş Crăiuţ
      Samah Hijawi
      Sara Santos
      Silvia Ramos Pereira

       


      Research End Presentations

      Chris Dupuis
      Karl Philips

       


      Research Centre Researchers

      Cecilia Molano
      Lucia Rainer
      Mala Kline
      Veridiana Zurita

       


      Partners

      Les Bains
      PAF Performance Arts Forum

       


      Contributors for workshops

      Elke van Campenhout
      Lilia Mestre
      Lisa Nelson
      Nicolas Galeazzi
      Nikolaus Gansterer
      Pierre Rubio
      Veridiana Zurita

       


      Coordinators a.pass

      Elke van Campenhout
      Nicolas Galeazzi

       

      Mentors

      Ana Hoffner
      Kristien Van den Brande
      Peter Stamer
      Pierre Rubio

       

       

       

      ‘SCORES’
      curated by Lilia Mestre (Associate Program Curator) and Nicolas Galeazzi (Program Coordinator)

       

       


      13-17 / 01 / 2014


      ‘SCORES GENERATOR’
      workshop by Lilia Mestre


      In this workshop, I’ll introduce a writing score, which was tested already in the research residency Thematics: Author/Authority that I curated in Les Bains last year. This score is based on question&answer dialogues between the participants and will be continued in a regular basis, after this one week workshop, in open weekly meetings during the block. With this writing score, we’ll produce a documentation booklet at the end of the block. As an example, you can find here the booklet that was made for Author / Authority.
      The aim is to discuss and write as a regular practice and to use encounter, dialogue, each others knowledge in the elaboration of the discourse about one’s own researches.
      I will introduce two performance scores I worked with: one on sounding objects /affective spaces from performance ‘ Moving You’; and another: from gesture to utterance to language that comes from my latest performance with Marcos Simões: ‘Ai! a choreographic project’.

       

       


      27 / 01 - 07 / 02 / 2014


      ‘LABORATORY: TUNING SCORES’
      (composition, communication, and the sense of imagination)
      workshop by Lisa Nelson


      The Tuning Score -a performance research format- asks what do we see when we're looking at dance. How does composition arise in the body and its environment? The research focuses on the physical base of the imagination. By altering the way we use our senses while moving and watching movement, we can begin to tease apart the genetic and acquired patterns our senses use to construct our experience. We will look at ways these patterns influence how and why we move, shape our interaction with our inner and outer environments, and inform both our desire for action and what we "see" when we are attending to anything.
      Two aspects of practice are described by the name Tuning Scores: a solo warm up, and interpersonal composition games. The solo practices are a kind of pre-technique––a physical-attentional warm up to one's inner composition, and provide an inner score for the ensemble games. Focusing on vision, touch, and hearing, the scores provoke spontaneous compositions that make evident our opinions about who/where we are, how each of us senses and makes sense of movement, initiating a dialogue between inner and outer organization, about space, time, movement, and the desire to compose (a satisfying) experience.
      The Tuning Score is an improvisational composition practice that is a performance in itself. It offers tools and a framework for communication and model of collaboration that is constructed by the players in the act of doing. As a practice of real-time editing and instant replay, Tuning is an aesthetic game and a self-balancing system that uncovers its intention each time anew.

       

       

       

      17 - 21 / 02 / 2014


      ‘ARTISTIC RESEARCH’
      a.pass Basics workshop by Nicolas Galeazzi, Lilia Mestre, Veridiana Zurita, Elke van Campenhout


      It comes in waves, sometimes it’s a fever, sometimes a dispute and sometimes energy boost: the discussion around artistic research is a core issue at a.pass. Its notions go in various directions, follow diverse protocols and curl around manifold practices. In order to keep this controversy discussion alive we would like to design a workshop with four different approaches and definitions of artistic research provided by four people in the a.pass surrounding : Elke Van Campenhout, Veridiana Zurita, Lilia Mestre and Nicolas Galeazzi. Following a score, all four try to communicate their thought lines of artistic research practices. The score not only asks for their proper view, but also for supportive foreign material and for its antonyms.

       

       


      3 - 7 / 03 / 2014


      ‘GENERAL INTELLECT ?’
      a.pass Basics workshop by Pierre Rubio and Elke van Campenhout


      ‘General Intellect?’ will explore and question a basic parameter of the a.pass environment : the relation between the individual and the collective. What is this relation, how does it function? Is it the individual that creates the collective? Or is the collective the base structure on which individuals can work and organize themselves? Specifically within an artistic research environment where the institution is constantly reformulating itself out of a multitude of individual inputs and where the individuals, in a state of ‘crisis’, are constantly self-constructing, confronted and challenged by a collective project.
      Can there be a mutual constitutive relation? A relational machine we can call ‘General Intellect’ or ‘Transindividual Space’ operating between and through the individuals, creating an 'ensemble' through their practice?
      From reading sessions to diverse practice formats, we will come up with refreshed perspectives on what collective working and thinking can do.

       

       


      10 - 14 / 03 / 2014


      ‘NOTATIONS BETWEEN THOUGHT AND MATTER”
      workshop by Nikolaus Gansterer


      Scores are translations. They transform one thought into another. They are also invitations to understand and interpret one reality through another. In a five day workshop led by the artist Nikolaus Gansterer, we will collaboratively explore the complex relationship between drawing, writing and movement.
      What is exactly happening when a thought and/or movement becomes a score? What
      kind of translation process is taking place between thought and matter? And again what is happening when a notation is being read, interpreted and performed by others? What kind of movements, transcriptions and acts of inscribing take place when we project a cartography of the body? What kind of tool set can we develop to map this intertextual language? What else can become a score?
      Within the workshop, drawing scores is to be extended along the categories of time, space and movement. So to speak a line of thought becomes a line on the paper, can turn into a line in space, a line verbalized, a line drawn with the whole body.
      The workshop will interrogate these interstitial processes, practices and knowledges produced by scores, from page to performance, from word to mark, from line to action, from modes of flat image making towards transformational embodied encounters.

    • postgraduate program
    • research center
    • Settlements
    • 2013 BLOCK III 01 September 2013
      posted by: Pierre Rubio
    • 01 September 2013
    • 30 November 2013
    • 2013 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Anna Sörenson,
      Camila Aschner Restrepo
      Carolina Goradeszky
      Chris Dupuis
      Damla Ekin Tokel
      Gabriela Karolczak
      Julia Clever
      Karl Philips
      Maité Liébana Vena
      Maja Hammaren
      Rareş Crăiuţ
      Stef Meul
      Victoria Myronyuk


      Research End Presentations

      Helena Dietrich
      Luanda Casella
      Nibia Pastrana Santiago
      Raquel Santana de Morais

       

      Research Centre Researchers

      Lucia Rainer
      Mala Kline

       

      Partners

      Uferstudios (Berlin)
      PAF Performance Arts Forum
      Bâtard festival
      RITS
      P.A.R.T.S.


      Contributors for workshops

      Claudia Bosse
      Elke van Campenhout
      Nicolas Galeazzi
      Vladimir Miller

       

      Coordinators a.pass

      Elke van Campenhout
      Nicolas Galeazzi

       

      Mentors

      Ana Hoffner
      Geert Opsomer
      Lilia Mestre
      Pierre Rubio

       

       

       

      ‘SETTLEMENTS’
      curated by Vladimir Miller (Associate Program Curator) and Nicolas Galeazzi (Program Coordinator)

       

       

      09 - 13 / 09 / 2013


      ‘(PRE)CONDITIONS OF ACTS’
      a.pass Basics workshop by Claudia Bosse in the form of a city space action laboratory

      The main focus is to analyse and understand the contextual and spatial dependency of space and of each artistic practice, to invent translations, spatialisations and sharable constellations for each one’s specific research. What is given in a space, and how this information is manifested. What is inscribed in a space as its function, economy of transfer, context of its users, politics of its realisations and time?
      Scenarios of the personal research will be developed, used, transferred, implanted and tested in different spatial conditions of urban zones and zones of social contracts. This means, that we will try to put the consistency of our different research approaches in dialogue with urban and social spheres. How will they be infected, destabilised or clarified?
      The communication and observation will have to focus on following two aspects of scenography: the organization of space as a basic condition of artistic production and the (re)presentation of space in dialogue with the different understandings of the surrounding contexts. No space is inculpable, but at the same time the concrete condition for each artistic formulation and appearance .
      By interacting and criticising via concrete propositions, we try to create a practice that reacts on the proposed practice of the other workshop participants and the city and its users and inscribed different contexts. Everyone is writing a journal of documentation which will be publish on a blog with reflections about the space, the propositions and the influence towards your own research.

       

       

      16 - 20 / 09 / 2013


      ‘FEEDBACK’
      a.pass Basics workshop by Elke van Campenhout


      In this second feedback workshop, we take the end presentations of the previous week as a starting point. On the basis of what the participants that finished their trajectory showed to the public, and on the basis of what they choose to share on the level of their research methodologies to the group, we confront the relation between research and its relation to an ‘outside’ (the public, the research fellows, the internet, …). Since in a.pass we use feedback as a basic tool for the construction of a common ground, and of a collaborative working environment, we try to develop different methodologies to construct a critical culture of mutual support. But: since a good feedback needs a precise point of entry, a clear presentation, or a generous invitation, the feedback workshop works at the same time also on the requirements of a research presentation, and the different attitudes of feedbacking this makes possible.

       


      30 / 09 - 20 / 10 / 2013


      “SETTLEMENT’
      workspace proposed by Vladimir Miller


      In the last years a.pass already organized seven Settlements in the program. Some were organized in our studio, some on location. Vladimir Miller proposed the Settlement as an open and collaborative research space that takes on different forms in different locations. This time he invites us for a slightly transformed Settlement at the Uferstudios in Berlin.
      A Settlement is a workspace that explores the relations between space, (artistic) practice, and the politics of the commons.
      The basic practice of this collective set-up is to occupy together one large space and build everything required in that space from a common stock of materials to enable the individual practices. Next to providing the practitioner with the possibility to re-negotiate the spatial manifestations of his or her individual practice over the three weeks, the Settlement explores the potential of unstable architectures, the emergence and disappearance of property and territory in collective practice, and the agency of objects in establishing communal structure.
      Following the idea that the material choices determine the set of possibilities of any given practice, for this episode we would like to work with materials that are not chosen by us or Vladimir but are randomly gathered from already existing workspaces in Berlin. This choice is also informed by a raised awareness towards questions of sustainability within research environments. The material will thus be largely provided by artist and architects studio’s that will contribute objects and left-overs of previous practices, which will be used as a starting point of a material collection for this project.

       


      11 - 23 / 11 / 2013 & 02 - 07 / 12 / 2013


      ‘CONCERNS IN MOTION’
      laboratory, workshop and performative conference
      in collaboration with Bâtard festival, RITS, and P.A.R.T.S.


      This year the Bâtard festival was calling for projects reacting to the evidently generic question “What are your concerns?”. All addressed concerns - of selected and non selected propositions - were mapped out and shall be the starting point for setting up a performative congress related to the festival concerning the activation of concerns. The question of “what to do?” - if you are clear about your concerns - not only triggers the classical grassroot-questions concerning our capacity of inducing change, but is also confronting us with a lot of political, ethical and aesthetic paradoxes of political and artistic activism.
      The strategies we have at hand or in mind are often very controversial, just because of the always inherent potential of being recuperated by the opposed issues and powers. We see it as an artistic duty to constantly re-discuss and re-negotiate the relations of politics, art and activism, the relation of the artistic sphere and the surrounding society, and we have to search for consequent and radical solutions for approaching our concerns.
      The Bâtard festival invited the three educational institutions: a.pass, P.A.R.T.S., and RITS to be engaged in the setup of this congress and we react to this invitation by inviting our students and/or participants to collectively develop material in a two week long workshop and to perform the congress together.
      The whole congress should be built on our reactions to the Map of Concerns and the proposed strategies of activism of the guests invited to the workshop.

       

       

       

    • postgraduate program
    • research center
    • 2013 BLOCK II 01 May 2013
      posted by: Pierre Rubio
    • 01 May 2013
    • 31 July 2013
    • 2013 BLOCK II

       

       

       

       

      Researchers Participants in the Postgraduate Program

      Daniel Kok
      Gabriela Karolczak
      Helena Dietrich
      Luanda Casella
      Lucia Rainer
      Maité Liébana Vena
      Maja Hammaren
      Mala Kline
      Nibia Pastrana Santiago
      Raquel Santana de Morais
      Victoria Myronyuk


      Research End Presentations

      Fleur Ordoukhani
      Ive J.K. Leemans
      Jaime Llopis

       

      Partners

      PAF Performing Arts Forum


      Contributors for workshops

      Adva Zakai
      Anette Baldauf
      Anna Rispoli
      Chantal Mouffe
      Elke van Campenhout
      Nicolas Galeazzi
      Nikolaus Gansterer
      Peter Stamer
      Pierre Rubio
      Various Artists


      Coordinators a.pass

      Elke van Campenhout
      Nicolas Galeazzi

       

      Mentors

      Claudia Bosse
      Geert Opsomer
      Peter Stamer
      Robert Stijn

       

       

       

       

      The block is curated by Elke van Campenhout (Research Coordinator) and Nicolas Galeazzi (Program Coordinator)

       

      20 - 24 / 05 / 2013


      ‘PERFORMING RESISTANCE IN POLITICS’
      workshop around/with Chantal Mouffe by Anette Baldauf and Elke van Campenhout


      This Workshop looks into Chantal Mouffe's ideas on the political concepts of hegemony and antagonism as well as their relationship to the arts. Anette Baldauf and Elke van Campenhout will put Mouffe's political theory under the microscope, by reading an anthology of her texts and discussing their relevancy for artistic research practices today. Finally, on the last day, Chantal Mouffe will offer her input, discuss with us the central trajectories of her work and elaborate on her special interest in the arts.
      day 1. Introduction on Post-Marxism
      day 2: Politics Today
      day 3: Politics and Public Space
      day 4: Art
      day 5: discussion with Chantal Mouffe

       


      27 - 31 / 05 / 2013


      ‘THE END OF PERSONALITY’
      workshop by \/arious Artists


      ‘The end of personality’ is a series of actions, interventions and artistic research methods developed and guided by Various Artists. During five days, a program will be presented to the participants that deals with themes like authorship, default identity, straitjacket-creation.
      Different Various Artists will guide the participants through research and interactive activities on several locations. The workshop is site-specific, the local context, and a few restrictions will be defining the content.
      Various Artists is a collective of 24 'imaginary' artists who for the last four years opened themselves up to be embodied by different physical persons. The artistic content that each artist creates belongs to the Various Artist, but the physical work can differ from owner. The complex and fragmented nature of Various Artists’ work deals with identity, artistic practice, and Gesamtkunst.
      The workshop aims to question in different ways artistic identity.
      Working methods, group sessions, and co-artistic concepts are examples of activities where personality, identity, and methodology will be tackled.

       


      03 - 07 / 06 / 2013


      ‘BETWEEN TOOL AND MATTER - THE ART OF INTERVIEW’
      workshop by Anna Rispoli and Adva Zakai


      The practice of interview is living a golden age in visual arts and live art contexts. Often a series of interviews supports the creation of video-documentaries as a research tool, frame site-specific performances, or create the first bonding for community-based projects. At the same time it is not rare to experience works of art that take interviews as their conceptual object of artistic reflection. The difference between those two approaches often appears blurry. More so, it produces challenging ethical and aesthetic questions concerning the power relation between the interviewer as an author and the interviewee as an authority - or inverse.
      Methodologies and perspectives from various fields will be reflected upon in relation to each other during the workshop: Artists who make use of the interview in their artistic trajectory will discuss their works with each other and the participants. Sociologists and phd researchers will introduce interview protocols and share their exploration of ethical implications linked to the relationship interviewee/interviewer. Specifically, we will exercise sensitive listening, watch and analyze case studies of interviews, and focus on the creation of subjective tales within the urban experience. Along the workshop days, participants will share and feedback the content produced during the workshop from the perspective of their own practice.

       


      10 - 14 / 06 / 2013


      ‘CHINESE WHISPERS & ORIGINAL COPIES’
      workshop by Nikolaus Gansterer


      Nikolaus Gansterer works on a series of projects studying strategies of translation and forms of reproduction and appropriation. Here his attention is directed towards differences, misinterpretations and errors committed in the process of communication circles. What happens when an image, an object or movement is read, used, interpreted, understood without knowing its initial personal and/or cultural context? By regarding these gaps with their potential shifts of meaning as a vital source of artistic inspiration, Nikolaus proposes for the workshop setting up several circuits of interpretations exploring multiple and shared authorships to reflect on diverse cultural practices, identities and authenticities.

       


      24-28 / 06 / 2013


      ‘HOW ABOUT CRITIQUE, CRITICALITY, CRISIS?’
      a.pass Basics workshop by Pierre Rubio and Peter Stamer


      Every block, a.pass organizes ‘b-workshops’ that focus on the basic principles of a.pass as a working environment. ‘How about Critique, Criticality, Crisis?’ ties in on a field already explored by ‘Feedback and Critique’ in July 2012. Whereas the previous workshop focused on several feedback techniques to clarify the nature(s) and function(s) of feedback within a collaborative and self-organized artistic research environment, this one will focus on the challenging issue of ‘critique’. What does critique aim at, and how does it epistemologically operate? How can we deal with its problematic relation to judgment and truth? What’s the relevance of critique within a system of criticality to overcome the vicious circle of belief and denunciation? What’s the role of discourse and theory in one’s research and practice in order to go beyond backing up one’s work but rather challenging it, eroding it, posing problems to it? Is discourse solving the crisis of practice or should it rather impose a crisis on practice?
      From critical readings of several texts on critique and criticality to film and performance analysis, from case studies to role-playing, we will come up with refreshed definitions of critique and renewed objectives of uncompromising aesthetic.

       


      15-19 / 07 / 2013


      ‘SCENOGRAPHIC FUNDAMENT’
      a.pass Basics workshop by Nicolas Galeazzi and Elke van Campenhout


      Let's stress the 's' in a.pass and study its 'scenography' aspects. In this B-workshop we want to discover the base of what scenography stands for in our acronym. This will not be a work to understand scenography in general, rather, we want to detect, where each of us sets her/his focus in the artistically formed relationship between performance and space.
      Starting point for this enquiry will be 'the public' - the public, for which a spatial condition is provided - incidentally, accidentally, explicitly or as an emerging construct. The public is taken here as sphere, where the social body meets it's self-created structures. In this sense a scenography is a form of an organization of the performance of this social body - an aesthetic organization, which unavoidably presents and reveals it's own politics.
      Whether the scenography happens in the inside space of a theatre or a gallery, a flat, a foyer, or a dance floor, or if it happens in the outside space of a park, a parliament or the pavement, the crucial question is, to whom does this 'scenario' communicates itself and who is designing it for what? Then, what is the difference between a performative space and a scenography? Where do we break the fine line between them? And how to dance on it, without falling into the featureless?

    • postgraduate program
    • research center
    • 2013 BLOCK I 01 January 2013
      posted by: Pierre Rubio
    • 01 January 2013
    • 31 March 2013
    • 2013 BLOCK I

       

       

       

      Researchers Participants in the Postgraduate Program

      Carolina Goradeszky
      Chris Dupuis
      Daniel Kok
      Fleur Ordoukhani
      Gabriela Karolczak
      Ive Leemans
      Jaime Llopis
      Julia Clever
      Karl Philips
      Lucia Rainer
      Maité Liébana Vena
      Nibia Pastrana Santiago
      Raquel Santana de Morais

       

      Research End Presentation

      Robin Amanda Creswell Faure

       

      Partners

      Buda Kortrijk
      PAF Performing Arts Forum


      Contributors for workshops

      Alessandra Coppola
      Ana Hoffner
      Claudia Bosse
      Elke Van Campenhout
      Juan Dominguez
      Michael Kliën
      Nicolas Galeazzi
      Peter Stamer
      Vladimir Miller

       

      Coordinators a.pass

      Elke van Campenhout
      Lilia Mestre

       

      Mentors

      Claudia Bosse
      Nicolas Galeazzi
      Peter Stamer
      Vladimir Miller

       

       

      21-25 / 01 / 2013


      ‘NOT QUITE, NOT RIGHT’
      (Bodies within Postcoloniality)
      a.pass Basics workshop by Ana Hoffner


      How is a body transformed into an image and how does an image of the body emerge as representation? How are images of the body constructed through differences which are emphasized or hidden? We will start the workshop by having a closer look at stereotypes and visual vocabularies for representing difference by reading basic texts on representational critique by Stuart Hall. Then we will discuss basic concepts of Postcolonial Theory such as Orientalism, Subalternity, Ambivalence, Hybridity and Mimicry by Said, Spivak and Bhabha. The aim of the workshop is to enter these notions through the visual field, therefore we will use the method of Close Reading in order to connect them with the knowledge production within the works of Isaac Julien, Trinh T. Minh-ha, Angela Melitopoulos, Tanja Ostojic and others. In the last part of the workshop we will try to relate the questions raised in the workshop to contemporary societies of global migration and our own artistic research especially the image production within it.

       

       

      26 - 27 / 01 / 2013 & 29 / 01 - 02 / 02 / 2013


      ‘UNFOLDING SENSIBILITIES’
      workshop by Juan Dominguez


      This workshop takes place in two parts, first in Buda Kortrijk to the curated performance program of Juan Dominguez : ‘Somewhere Between Fiction and Reality’ and then, the workshop ‘Unfolding Sensitivities’ at a.pass in Brussels.
      Usually we, human beings, share interests, share situations, share work, spaces, leisure, love. We do it defining our interests, our identities and our territories. We are used to be effective, to not waste time, to feel uncomfortable if we don’t get what we want, we like to be safe.
      In this lab we are going to contaminate each other, we are going to lose ourselves, we are going to find and not to seek for, we are going to laugh a lot, we are going to decide, to create our own work conditions, to auto generate our resources, to work together. Clearly, we will fail miserably. But only if you want, if you don’t want, don’t come!
      In case you need a bit more info about what we will do:
      We will work through situations and practices
      We will discuss about the need of doing what we do
      We will reflect about the concerns of each other
      We will accumulate and document experience
      We will unfold perceptions aspects of space and time
      We will in a way make a trip towards the nearest unknown

       

       

      04-08 / 02 / 2013


      ‘RE-IMAGINEERING THE MACHINE’
      workshop by Vladimir Miller and Elke Van Campenhout


      In this five day workshop we work hands-on on the creation of performance 'machines', inspired by the everyday disciplinary machines that regulate our lives. In our practice we try to re-connect to an environment that is largely manifested and mediated through technological, capitalist, moral and security apparatuses that shape our sense of belonging, of mobility, and our innermost desires. Through a series of case studies we try to reinterpret the machines we know very well, but normally try to overcome by ignoring or looking awry. In this workshop we try to do the opposite: we embrace the machine and its disciplinary rigour but try to turn around its functionality: no longer producing the self-evident affirmation of the social norm, but twisting its capability for change in perception and experience.

       

       

      11-15 / 02 / 2013


      ‘CHOREOGRAPHING AS AN AESTHETIC OF CHANGE’
      workshop by Michael Kliën


      Michael Kliën outlines a fundamentally rethought understanding of ‘choreography’ as a practice vitally relevant to current social and political processes. Choreography as an ‘Aesthetics of Change’ is concerned with the workings and governance of patterns, dynamics and ecologies: the choreography of the living. If the world is perceived choreographically, namely as a moving matrix of relations, interactions, constellations and proportionalities, the creative practice of choreography aims to engage these relations or set specific conditions for relations to emerge.
      The workshop outlines choreography as a deeply political practice, unfathomably entwined with ways in which we perceive the world. Seen through a connecting framework to other fields of human knowledge (such as philosophy, physics, formal composition, sociology, anthropology, etc) participants are encouraged to recognize and challenge epistemological assumptions inscribed in the act of creation. Discussing and demonstrating a series of methodologies, the workshop explores structures and dynamics to be found in and between humans, in and between ideas as well as within the overall fabric of contemporary reality.
      The workshop will also include with an introduction to ‘Social Dreaming’, an experimental psychoanalytical practice designed by Gordon Lawrence at the Tavistock Institute in London during the 70’s.

       


      25 / 02 - 01 / 03 / 2013


      ‘SOUND GARDENING’
      workshop curated by Alessandra Coppola


      The choices the gardener makes to shape the garden result from the knowledge of how different soils accommodate different forms of life, in which ways these species develop, grow, expand above and under the ground as well as how they interact with each other and the environment. Sounds, unlike plants, do not possess such developed taxonomy; nevertheless we expect to identify various forms of sounds' "biotopes": where, when, and how do sounds do appear in the city.
      We will propose a work of observation and analysis of the urban sonic territories in order to "draw" acoustic maps of particular locations. As we won’t be relying on scientific measurements, but rather on perception and senses, our maps will differ from the noise pollution’s maps; we will try to define various given soundscapes in terms of the atmosphere they create, rather than formal units of measurement.
      Our practices aim to observe, analyze and understand the relationships between soundscape and atmosphere in an urban contexts, and eventually propose actions to alter a given situations with a sound-designing ethos. We expect this approach to be highly informative on the action agency and function sound has in shaping atmospheres;
      It will also be a study of urban soundscape from multiple viewpoints: phenomenological, poetic, physic, architectural, social, musical…. We will try not to impose any aesthetics or practice of creation, but be open to as many perspectives as possible with the reception of soundscapes.

       


      04 / 03 - 16 / 03 / 2013


      ‘THEATER OF MEMORY - POLITICAL UNDERSTANDING OF THE SELF’
      workshop by Claudia Bosse


      I am interested in the structure of our memory according to spatial structures which are the conditions of daily routines of our organisation of knowledge, practice, emotions, thoughts. The grammar of the spaces we are producing are structuring our thoughts and imaginations. I would like to work on try-outs and analysis of space, and spatial production between the concepts of theatre, city and parliament, the relations between political, social and individual space and its particular organisations. The memory, is in a way the archive of consciousness of our experiences. Following Guilio Camillos concept of ‘theatre of memory’ (teatro del mundo) as a conceptual arena of thoughts and an encyclopaedic ritual for one spectator, I would like to develop try outs of this concept according to individual concepts of the participants. I would be interested to co-relate this concept of theatre of memory to the concept of the cartography of the self. Cartography of the self as a didactic machine for self construction, as a space related creation of cartographies inhabited with embodiments and speech acts. The aim would be to work on tools to transfer interests and methods into a spatial appearance, to make them understandable and possible for collective discourse. This discourse should relate a combined body - thought - space - voice practice. Thinking in spaces, unfolding thoughts in space. Embody ideas. The try outs should be transferred in different spatial contexts and simultaneous settings as well as transferred into the public space.
      Its all about the production of space. production of thought. production of practice. production of self. production of art. production of analysis. production of aesthetics, production of politics. production of relations. production of memory. production of desires, production of ethics...

       


      18 - 22 / 03 / 2013


      ‘THE ADOPTION PROJECT’
      workshop by Peter Stamer & Nicolas Galeazzi


      How do you position yourself to your art? 
How tight is the bond between you and the issues or ideas you are working with?
What if you would release this bond and lend out parts of your research temporarily to someone else?
      The Adoption Project deals with the ties and habits between you and your artistic practice. It challenges the perspectives and positions you engage with in your artistic process and separates them from your personal involvement by handing them over to a different outlook, practice, or routine for a certain period of time. A clearly defined section of your project will be packed in a 'box' and given up for adoption, while you will take a part of someone else's research temporarily under your 'protection'.
In this sense the Adoption Project aims to facilitate you with tools to put your work in a public context long before it is 'completed'. We understand this process as an effective instrument of research.


    • conference
    • research center
    • block 2012/III
    • Tender Institute
    • Tender Institute 08 September 2012
      posted by: Pierre Rubio
    • international conference
    • 07 September 2012
    • 08 September 2012
    • Tender Institute

       


      ‘TENDER INSTITUTE’
      international conference by a.pass


      After finishing the artistic research post-graduate program at a.pass, 8 participants open up their researches in a performative and multi-layered setting.
      Sharing their insights into questions that are on the table for contemporary artists every day: what is the notion of work? How to deal with intuition today? What is the performative power of the object? How can the city be the witness of time?
      8 cases open up as many different strategies, diverse invitations to engage and experience artistic research from 8 wholly different perspectives.
      During a residency period of 3 weeks, a space is constructed that invites you into all these different cases, constructing crossing points and welcoming the visitors into the research trajectories.
      At the same time, a.pass organizes the conference 'The Tender Institute': an active meeting around the notion of the 'institute' in artistic practices today.
      In the last ten years, more and more artist initiatives have been re-thinking the institute once again as a point of address: a place where people share their concerns and interests, where you can find topical information and engage with it, where knowledge is archived and opened up to public interest and scrutiny. Compared to the more established Institutes these initiatives seem less concerned with classical knowledge conservation than with a dynamic reformulation of knowledge processed in situ. Opening up the monolithic space of recognition and representation into a heterotopic space of engaged interest.
      In these two days, a.pass invites speakers, artists, and administrators to construct new imaginations of what the institute today might look like: how to think of an institute with flexible walls, how to administer an organic institute that grows out of the interests of the people working in it? What is the place of this kind of institute in today's society? In other words: how can an institute still stay an institute when it is embracing its 'tenderness': when it recognizes its dependency on the interest of its users? The risk to become obsolete in the whirlwind of heterotopic interests? The challenge to re-invent its administration to shift from a politics of categorization to one of attention and engagement?

    • postgraduate program
    • research center
    • Tender Institute
    • 2012 BLOCK III 01 September 2012
      posted by: Pierre Rubio
    • 01 September 2012
    • 30 November 2012
    • 2012 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Chris Dupuis
      Helena Dietrich
      Karl Philips
      Lisa Charlotte Baudouin
      Luanda Casella
      Nibia Pastrana Santiago
      Raquel Santana de Morais
      Robin Amanda Creswell Faure

       


      Research End Presentations

      Aleksandra Janeva Imfeld
      Carlotta Scioldo
      Catherine (Clé) Lé
      Elise Goldstein
      Oshin Albrecht
      Simon Loeffler
      Veridiana Zurita
      Vicente Arlandis

       

       

      Partners

      RITS
      Campo
      Les Bains / Thematics
      Playground Festival
      M-Museum

       


      Contributors for workshops

      Bart Van den Eynde
      Brandon LaBelle
      Carlotta Scioldo
      Einat Tuchman
      Elke Van Campenhout
      Geert Opsomer
      Heike Langsdorf
      Johan Dehollander
      Jovial Mbenga
      Jozef Wouters
      Lynda Gaudreau
      Peter Pal Pelbart
      Robert Steijn
      Stefanie Claes
      Toto Kisaku
      Vera Mantero

       

       

      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout

       

      Mentors

      Ana Hoffner
      Lynda Gaudreau
      Pierre Rubio
      Robert Steijn

       

       

       

      07 - 08 / 09 / 2012


      ‘TENDER INSTITUTE’
      international conference by a.pass


      After finishing the artistic research post-graduate program at a.pass, 8 participants open up their researches in a performative and multi-layered setting.
      Sharing their insights into questions that are on the table for contemporary artists every day: what is the notion of work? How to deal with intuition today? What is the performative power of the object? How can the city be the witness of time?
      8 cases open up as many different strategies, diverse invitations to engage and experience artistic research from 8 wholly different perspectives.
      During a residency period of 3 weeks, a space is constructed that invites you into all these different cases, constructing crossing points and welcoming the visitors into the research trajectories.
      At the same time, a.pass organizes the conference 'The Tender Institute': an active meeting around the notion of the 'institute' in artistic practices today.
      In the last ten years, more and more artist initiatives have been re-thinking the institute once again as a point of address: a place where people share their concerns and interests, where you can find topical information and engage with it, where knowledge is archived and opened up to public interest and scrutiny. Compared to the more established Institutes these initiatives seem less concerned with classical knowledge conservation than with a dynamic reformulation of knowledge processed in situ. Opening up the monolithic space of recognition and representation into a heterotopic space of engaged interest.
      In these two days, a.pass invites speakers, artists, and administrators to construct new imaginations of what the institute today might look like: how to think of an institute with flexible walls, how to administer an organic institute that grows out of the interests of the people working in it? What is the place of this kind of institute in today's society? In other words: how can an institute still stay an institute when it is embracing its 'tenderness': when it recognizes its dependency on the interest of its users? The risk to become obsolete in the whirlwind of heterotopic interests? The challenge to re-invent its administration to shift from a politics of categorization to one of attention and engagement?

       

       

      Fall 2012

      ‘SCHIZOPHRENIC BODIES’
      series of workshops organised by a.pass in collaboration with Les Bains (Thematics ‘Come Together/Schizophrenic Bodies’), RITS, and Campo / Summer School


      Schizophrenic Bodies test the limits of the economy of our belonging and coming together. Interpreting a Schizophrenic Body as a body that simultaneously belongs to different time and space zones, different fields of experience or history, or a body in a synaesthetic space, we'll explore during two months very different schizophrenic models. Our desire is to be working with the input of the BwO of Deleuze, with Peter Pal Pelbart the 'ghostly' bodies as put into perspective in the practice of Robert Steijn, the postcolonial monsters of Vera Mantero, the ways to rethink the hybridity of our history with the Society for the Advancement of People of Elegance and the 'orally disoriented body' of Brandon LaBelle. In each of the stadia we try to come to an overlapping and exchange between practice and theory, placing both participants and mentors into an unknown field of references that produce unexpected exchange and reasoning.

       

      17-21 / 09 / 2012


      ‘SCHIZOPHRENIC BODIES / 1’
      Peter Pal Pelbart & Robert Steijn


      This first workshop around the theme of Schizophrenic Bodies, will explore the notion of the ‘Body without Organs’, both from a theoretical and a physical perspective. In the morning the sessions with Peter Pal Pelbart are organized around texts from his book ‘The Cartography of Exhaustion’ and in the afternoons/evenings Robert Stijn works on creating these bodies through various physical practices that question, stretch or undermine an immediate i-dentification with our body and mind. The practices induce a certain kind of alienation, working out of unmediated desires, splitting up the I into different entities, in dialogue with totem animals, ghosts, out-of-body experiences. All on an experimental scale of rediscovery.

       

       

      01 - 05 / 10 / 2012


      ‘SCHIZOPHRENIC BODIES / 2’

      VERA MANTERO / The thinking body
      Vera Mantero is one of the leading Portuguese dancers and choreographers. She started in the Ballet Gulbenkian, studied contemporary dance technique and started creating her own choreographies in 1987. Since then, her work has been shown in theatres and festivals in Europe, Brazil, USA, Canada and Singapore.
      One of her shorter pieces was based on the hybrid post-colonial body of Josephine Baker, a ‘not-too-black’ American dancer making a career in colonialist France by manipulating the French stereotypes about blackness: blacks as wild animals coming straight from the jungle.
      Relaxation, the use of voice, writing, breathing and free association are some means to be used in her workshop entitled ‘The thinking body’. In this way, we will explore the movements and actions going on inside us, some of them separately first in order to incorporate them later in longer and more complex improvisational processes. The idea of getting inside a particular state of consciousness will be very important. Awareness and use of space, and the exploration of objects and materials will not be forgotten. Irony and empty hands will take us further. The workshop is not only open for trained dancers.

      PAN / The Belgo-Congolese Third Space
      (Toto Kisaku / Johan Dehollander / Jovial Mbenga / Stefanie Claes / Geert Opsomer)
      The workshop develops a research context around a contemporary Congolese performance subculture calling itself SAPE (La Société des Ambianceurs et Personnes Élégantes or, in English: the Society for the Advancement of People of Elegance). They consider themselves members of a sort of science and religion which “escalates into real fashion contests and potlatches in which youngsters would display their European fashion designer clothes, in an attempt to outdo each other”.
      The workshop aims at creating a temporary community of artistic nomads focusing on new ways to relate to the hybridity of our history, our imagination, our collective consciousness, our multiple media, our fashion and above all our of potential of resistance.

       


      08 - 12 / 10 / 2012


      ‘PERMEABLE CITY / 1’
      a.pass Basics workshop by Carlotta Scioldo & Bart Van den Eynde with Heike Langsdorf, Einat Tuchman and Jozef Wouters.


      The urban context has become the working field for many artists over the last decades. This movement outside the established art spaces can be seen as means to make a direct connection with and to have a direct impact on a larger (urban) audience and/or to (re)connect with the social, economical and political realities of the city.
      What are the economies involved in this ‘fieldwork’ and what are the possibilities and difficulties of the artist’s position in this relation? How do these artistic interventions relate to the very different temporalities of the urbanist and architectural timelines involved in the continuous making of the city?
      The concrete case of Brussels and the very different practices in the city of three ex a.pass participants, Heike Langsdorf, Einat Tuchman and Jozef Wouters, are the starting point of a first workshop where their work will be presented and contextualized. Together with the artists we will explore the neighbourhood and places they work in and the theoretical framework they have built.

       

       

      15-19 / 10 / 2012


      ‘OUT OF FRAME’
      workshop by Lynda Gaudreau


      For the next Playground Festival Lynda Gaudreau has been invited to adapt her choreographical exhibition ‘Out of Grace’ for the permanent collection of the M-Museum in Leuven. Elementary devices such as sound, lighting and the presence of the body will draw the visitor in and activate modes of display and perception, addressed here according to a performative and compositional logic. What is entailed by these modes when a collection coexist with the body, the light and the sound? André Malraux’ essay, ‘The Imaginary Museum’, (1947) will serve as a starting point to reflect on history, contemporaneity and the idea of reproduction with copies, photocopies, photos and drawings. This hybrid and experimental project, at the borders of choreography and exhibition questions the nature and relationship of these practices.

       


      25 - 29 / 10 / 2012


      ‘SCHIZOPHRENIC BODIES / 3’
      Brandon LaBelle


      The workshop will explore notions of masquerade, impersonation, clowning and multiple personalities. Through a series of exercises and experiments with voice, masks, and puppets, participants will construct their own double. The double will function as a second body, or an echo of oneself. By using various static materials, the workshop will support a "distribution of agency" away from the human subject and toward an interaction with static materials, audio recordings, and space. How might objects and things come to life, as animate forms? And what consequences might this have for methods of performance and choreography?

       

       

      12-16 / 11 / 2012


      “PERFORMANCE / PERFORMATIVITY’
      a.pass Basics workshop by Elke Van Campenhout


      In this workshop we attack texts and practices that deal with the notion of performance and performativity. We dive into the historical context of the birth of performance as an emancipatory and authenticating gesture, put critical questions towards its aura of ‘authenticity’ and ‘unrepeatability’ (Peggy Phelan), its documentary status, etc... We also go into the philosophical meaning of ‘performativity’ as developed by Austin and Butler. And take in some of the technological and economic uses of the word ‘performance’ to see if this can enlighten a contemporary notion of ‘performance’ today: how this could reflect a changed reality, and societal organization. Is there anything to be emancipated from? And are performative strategies the tools we need to wriggle ourselves out of the restrictions and limitations of an artistic, economic, and institutional field?

       


      19 - 24 / 11 / 2012


      ‘PERMEABLE CITY / 2’
      workshop and conference by Carlotta Scioldo & Bart Van den Eynde with Heike Langsdorf, Einat Tuchman, Jozef Wouters & guests


      Second practical part of the workshop ‘Permeable City’ on artistic interventions in the urban context where the participants of the workshop are invited to explore their own artistic practice in relation to the city and the working spaces created by Heike Langsdorf, Einat Tuchman & Jozef Wouters.
      This second workshop week will be rounded up in a conference, a public presentation and discussion forum, with participants and guests where the two weeks experience of ‘The Permeable City’ will be shared with a larger audience.

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2012 BLOCK II 01 May 2012
      posted by: Pierre Rubio
    • 01 May 2012
    • 31 July 2012
    • 2012 BLOCK II

       

       

       

      Researchers Participants in the Postgraduate Program

      Aleksandra Janeva Imfeld
      Carlotta Scioldo
      Catherine (Clé) Lé
      Elise Goldstein
      Elizabeth Ward
      Fleur Ordoukhani
      Helena Dietrich
      Ive Leemans
      Jaime Llopis
      Luanda Casella
      Lucie Eidenbenz
      Oshin Albrecht
      Simon Loeffler
      Veridiana Zurita

       

      Partners

      PAF Performance Art Forum
      Nadine
      De Singel

       

      Contributors for workshops

      Anja Steglich
      Ant Hampton
      Caroline Daish
      Elizabeth Ward
      Elke Van Campenhout
      Julie Pfleiderer
      Nicolas Galeazzi
      Paz Rojo
      Vladimir Miller

       

      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout

       

      Mentors

      Ana Hoffner
      Nicolas Galeazzi
      Peter Stamer
      Pierre Rubio

       

       

       

       

       

      07 - 11 / 05 & 14 - 18 / 05 / 2012


      ‘HIGHER PERFORMANCE’
      workshop by Nicolas Galeazzi & Elizabeth Ward


      The current economic crisis is not only a result of some major failures in speculating practices, it is the outbreak of the constant crisis inherent to the system. Since many years a precarious and dangerous economic climate has been created through the exploitation of the society and the environment in the believe in constant growth and a policy relying on the infinite creation of money for some through the creation of infinite debt for the majority.
      The current cuts of public funding and the absence of interesting jobs are just some visible signs of the consequences of governmental reaction towards the 2008 crisis. Arts all over Europe are now more concretely targeted for cuts then ever in the last 40 years.
      In this climate, artists are forced to rethink their relationship to economics. We have to leave our triple position as critiques, prototypes and profiteers of the system, and rethink our relation to the protection through governmental funding. This can not be done by making art in a more 'economic' way.
      This workshop rather launches a discussion about the repositioning of the economic field towards the arts by “occupying” and appropriating the "economics" and its terminology and fill it with new practices and new meaning. We will occupy the vocabularies, the practices and the appearance of the economy and to open it to a wider spectrum of life than just a financial success. For that we have to ask, what do we expect from future life? What is it what we really are 'dealing', 'trading' with? What is our currency? What kind of an economy could we establish out of an artistic (researching) practice which will make a real difference?
      In order to compare and relate the differing understandings of 'performance' in a practical and discursive way, we will setup a lab where artistic performances and economic performances should coexist, contradict and corrupt each other.

       


      21-25 / 05 / 2012


      ‘SEEING SOUND’
      two workshops by Julie Pfleiderer and Ant Hampton


      ‘Soundwalk’
      German director Julie Pfleiderer and performance artist Caroline Daish have invited guest artists, including David Helbich, Joanna Baillie & Paul Craenen for the May Soundlab "Seeing Sound". The idea is to create 10 days around Sound and Performance in the context of Soundwalks and inviting an expansive interpretation of the form 'Soundwalk'.
      ‘Fantasy Intervention’
      "Fantasy Intervention" is a workshop by Ant Hampton on imagination and writing for site-specific theatre and live urban interventions. With a focus on observation imagination and writing and involving walks in the city, discussion, film and photography the workshop culminates with a series of presentations.

       


      28 / 05 - 01 / 06 / 2012


      ‘COLLABORATION AND COLLABORATIVE RESEARCH’
      a.pass Basics workshop by Elke Van Campenhout


      Every block, a.pass organizes some ‘B-workshops’: workshops that focus on the basic principles of a.pass as a working environment. Every B-workshop is accompanied by a reader of texts and information that will be the starting point for discussion and a platform for (re)-thinking the a.pass working environment. In the upcoming blocks we will gather around topics like ‘collaboration’, ‘self-organization’, ‘tools, cases and other methodologies for artistic research’, ‘feedback and critique’, ‘collaborative work spaces’, ‘transdisciplinary research practices’, ‘What is political about research?’, ‘Who’s afraid of the Institute?’, etc...
      This first B-workshop on ‘collaboration and collaborative learning’ opens up the field of collaborative practices as ‘open collectives’, as it grew in the artistic practices of the last 10-15 years. We try to get a grip on the social, political, economic and aesthetic context that has produced this proclivity for communal working, and look at some interesting examples of collaborative research projects.

       

       

      25 - 29 / 06 / 2012


      “WHATEVER MOVING LIKE THIS”
      workshop by Paz Rojo


      How could we experience the question "what, why, who, where, what for, how we live the tension between individuation and the necessity of collectivity?” What are the conditions that make WE a problem to sustain rather than a problem to solve? How can we address such a question assuming that the sites where the sensible, the corporeal and unspeakable are the battlefield where to challenge our existence? How could we do so without addressing pre-existent models and protocols? Could we experience (the) body as the very battlefield where the "somatic" prime on the "cognitive" where "creation" prime on the "creative" where “tacit experience” primes over “negotiation and responsibility” and where softness, empathy and dispersion prime over self-representation, self-management and self-control? What does being “democratically in contact means today" as a performative and experienciable gesture?
      This workshop takes place within the framework "C O R E O G R A F X S", an investigation that departs from a series of choreographic cultures that emerged over the 70´s in NY, which sought to incorporate the collective daily life through the body. From this context "C O R E O G R A F X S” studies some of the concepts that defined these cultures and, in turn, questions what they mean in the current market democracies and in relation to the triangle brand-body-work.

       


      02 - 06 / 07 / 2012


      ‘FEEDBACK AND CRITIQUE‘
      a.pass Basics workshop by Vladimir Miller & Elke Van Campenhout


      We want to address the topic of feedback. Since a.pass is a shared environment, we depend a lot on each other as sparring partners in our researches. Often the work is presented within a group and the quality of the feedback is lacking in precision, understanding or communicative strength. What is important in giving or receiving feedback is that both positions are clarified: what position do I speak out of? what kind of feedback would be useful for my research?
      In this workshop we try to construct very diverse feedback techniques: spoken critique, non-negotiated critique, direct feedback, indirect feedback, written, walking, one-on-one or transformative feedback.
      We refer also back to some basic texts on art critique and feedback systems.

       

       

      13 - 22 / 07 / 2012


      ‘THE WALK’
      workshop on location by dr. Anja Steglich & Elke Van Campenhout


      The Walk is a ten day workshop on location, focussing on two main questions:
      How to turn walking into a qualitative tool for artistic research? and How to create a shared landscape through the individual investigation of connecting territories?
      During the Walk we will address these questions out of the proposals of the individual researchers, that will investigate a limited domain and devise a walk that can later be picked by others. Important in this construction is the decisions made on the level of parameters: what do I consider (out of my research) to be important ‘markers’ of the walking experience: fe. sound, shapes, roads, attitude of walking, … Throughout the ten days we try to come back to the PAF ‘headquarters’ with enough information to turn our proposals and experiences into a shared map of the environment, and add the instructions, tasks and guidelines into a useable walking guide for others.
      What is important here that these guidelines are both addressing the walk as a method for artistic research and the walk as an investigative tool to discover the landscape as a ‘narrative’.
      The main guest on this journey is dr. Anja Steglich, who is currently working on two linked themes: the `telling landscapes´ and the ‘landscape choreography’.

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2012 BLOCK I 01 January 2012
      posted by: Pierre Rubio
    • 01 January 2012
    • 13 April 2012
    • 2012 BLOCK I

       

       

      Researchers Participants in the Postgraduate Program

      Aleksandra Janeva Imfeld
      Catherine (Clé) Lé
      Elise Goldstein
      Elizabeth Ward
      Fleur Ordoukhani
      Frank Pay
      Ive Leemans
      Jaime Llopis
      Oshin Albrecht
      Robin Amanda Creswell Faure
      Sara Dandois
      Simon Loeffler
      Vicente Arlandis

       

      Research End Presentations

      Caroline Daish
      Doris Stelzer
      Margareth Kaserer
      Marilyne Grimmer

       

      Partners

      Thematics/Les Bains
      Triennal Hasselt
      PAF Performance Art Forum

       

      Contributors for workshops

      Akira Hino Sensei
      Alexander Schellow
      Annu Pennanen
      David Bergé
      Deufert & Plischke
      Einat Tuchman
      Eleanora Sovrani
      Kobe Matthys
      Lilia Mestre
      Nicolas Galeazzi
      Stephane Querrec
      Vladimir Miller

       

      Coordinators a.pass

      Elke van Campenhout
      Lilia Mestre


      Mentors

      Marie de Brugerolle
      Nicolas Galeazzi
      Robert Steijn
      Vladimir Miller

       

       

       

      17 - 20 / 01 / 2012


      ‘WHAT’S THE CASE ?’
      (methodological warm-up)
      workshop by Nicolas Galeazzi and Lilia Mestre


      This workshop is questioning the basic gestures of your artistic research.
      In the search for descriptions of their methodologies, artistic researchers are developing an infinite spectrum of phrases, idioms and other grammatical constructs, to filter out the basic gesture of their own practice.
      Understanding individual research as “cases” possibly enfolding fan of possibilities, and the artistic choices taken within the case as the specific politics of your research, in these four research days, we try to get an overview of this spectrum and discuss this range of approaches to artistic research in relation to your own ‘case'.

       


      01-04 / 02 / 2012


      ‘DIGITAL CRIMINAL’
      workshop by David Bergé


      What is an analogue experience in relation to a digital one?
      In this workshop we will explore together notions as the possible, the virtual and the potential in relation to the analogue versus the digital. How to define the choice for a digital or analogue process and what are its consequences towards an outcome and audience experience?
      On the table will be 'On the Superiority of the Analogue' by Brian Massumi and videoworks by Michael Snow, Derek Jarman, Holis Frampton, as well as 70’s land art projects and their documentation, such as 'seven winter midday shadows' by Hamish Fulton and the documentary of 'spiral jetty', made by Robert Smithson himself,… as well as photographic projects by Edmund Engelman, Mike Mandel, Larry sultan and Jon Rafman.
      Goal of the workshop is to define our own practice through what is on the table.

       


      23-27 / 01 / 2012


      ‘AKIRA HINO SENSEI’
      master class


      Akira Hino Sensei is a master of budo, an ancient Japanese martial art, who worked -between others- with the Forsythe Company, where he has regularly given workshops since 2005. His lessons have greatly influenced both their own work and that of the Forsythe Company. For a week Akira Hino Sensei will focus on feeling the body with the aim of connecting up to movement, both one's own and that of the other. Budo is therefore a way of exploring the body and developing physical communication skills.

       


      28 - 31 / 01 / 2012


      ‘EMERGENCE ROOM’
      workshop by Deufert&Plischke in Hasselt


      Emergence Room is a live-workspace, where all participants (performers and spectators) join to work in silence on pre-set themes. The workspace is built temporarily into an existing environment like a museum, a festival center, an academy, a retail store. The work-process is based on a circular structure of passing on containers of material. Its procedures are proliferation and reformulation in order to create topologies and maps that are related to the underlying theme. These topologies and maps serve as a common denominator for projects that will be individually developed, not by an individuum (a singular author), but individually as a project in the co-authorship of reformulation. The theme of the Emergence Room in Hasselt will be the myth of Arachne. It focuses on the difference between art and craft, symbolism and realism, doing as if and doing in the here and now. Athene weaves carpets that show the glorious deeds of the gods, Arachne weaves the everydayness of the relationship of humans and gods and its brutality. The figure of Arachne bares and exposes lots of topics and questions still relevant and unanswered in our time. What is the responsibility of the artist? What do we risk with art? How do we judge art works? How can artists and critiques coexist and collaborate?
      During the four days workshop all participants will work together on these topics and questions and formulate and proliferate material, create story boards together, that will later be exposed in the Emergence Room Hasselt in the frame of the exhibition SuperBodies (Hasselt Triennale).

       

       

      06 - 28 / 02 / 2012


      ‘THE SETTLEMENT: ALIEN LOGIC’
      working space by Vladimir Miller


      The settlement is a model to engender and structure work, knowledge, events and encounters. In a shared space, the participants function as an open group where questions of territory, negotiation and hospitality in art production surface. Settlers build a station suitable for their own artistic research and, by doing so, enter in a growing and evolving network of objects, spaces, ideas and events. The settlement allows negotiating many gradations of participation and influence; it also provides different modes of engagement between inside and outside. A settler can leave, a visitor becomes a tourist, a frequent visitor can eventually settle in the space. The political questions inherent in claiming one's own space, inviting or excluding the outside, the formation of groups and production of locality and culture, constantly question the concept of settlement itself. Between anarchy and the rule of majority the settlement praxis actively searches for a spatialized production of dis-agreement. This Settlement is the 5th in a series of Settlements, developed within or outside of the a.pass context. The guiding principle of the Settlement this time is ‘Alien Logic’.

       


      27 / 02 - 2 / 03 / 2012


      ‘MICRO HISTORIES / 1 / OPENING WEEK’
      workshop by Thematics/Les Bains


      Curated by Lilia Mestre/Les Bains with invited artists Eleanora Sovrani (it/be), Einat Tuchman (is/be), Annu Pennanen (fi) and Stephane Querrec (fr) and Kobe Matthys (be), Micro Histories researches the processes of documentation and presentation of the ‘Micro Histories’ collected in four different Brussels areas: Vilvoorde, St Joost, Brussels Center (EEC quarter) and Forest. We aim to investigate, challenge and discuss cultural phenomena and their construction through field research. During the opening week the participants of the Thematics and the participants of a.pass meet to lay out the themes that are driving this research: what is the sense of history? what kind of methodologies do we use to register ‘what has happened’? How do we create our own histories, or make history appear where it is not considered likely to be found? What is field research and how do we set up a valid research environment on location? This workshop is the introduction to the His/Herstory workshop, during which these strategies are put to the test in individual research field trajectories.

       


      05 - 09 / 03 / 2012


      ‘MICRO HISTORIES / 2 / HIS/HER STORY’
      workshop by Alexander Schellow


      The second week of the Micro Histories workshop offers the opportunity to all participants to develop an individual history project, choosing their own location in Brussels, working on practice based field research, together with artist Alexander Schellow. In his work, which is located between artistic and scientific research-practice, he follows different strategies to translate fictions and questions into concrete narrations – as films, interventions, installations, drawing-series or spatial performance concepts. Narrations that one literally finds on the street.
      One keyword here is: practice. Not seen in the constructed and fairly imprecise dualism of practical versus theoretical, this becomes a very relevant term as well as concept. How can a practice (of observation, recording) be framed methodologically in different ways, in order to make it (and not just: combine it with) a tool of reflection? The workshop aims to trigger your own concepts and practices to react in their specific way on the above-mentioned questions/problematics. We will develop individual starting points for projects and follow them at least for a few first steps. In central group discussions those experiences and case studies will be shared and questioned with regard to methodology as well as content.

       

       

      19-23 / 03 / 2012


      ‘THE WALK - PREPARATION’
      preparation for a walking workshop by Elke Van Campenhout


      In preparation of a month long walking workshop on mobile archiving/narrativizing the landscape, interested participants share for one week the development of possible walking scores, the fabrication and reconstruction of traces, and the possibilities of urban/non-urban routes. Every day we test out another walking score, and try to get further into the philosophy and reality of a walking workshop.

       


      10 - 13 / 04 / 2012


      ‘SPECIAL EFFECT MANUAL’
      workshop by Lynda Gaudreau


      This workshop is above all a research space around scores and working themes such as, speed, accidents and precision. Lynda Gaudreau's partitions constitute environments, "maps " integrating scenography, light, sound and relevant activities. The partitions include activities totally unrealistic, impossible to accomplish but that must be resolved at very precise moments. These scores open to a multitude of strategies to execute the tasks and generate what so called "side effects”. The workshop will be divided in two parts : conceptual and practical and participants will elaborate scores in a collaborative process. Open to choreographers, composers, visual artists interested in producing "special effects" in their works.

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2011 BLOCK III 01 September 2011
      posted by: Pierre Rubio
    • 01 September 2011
    • 30 November 2011
    • 2011 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Aleksandra Janeva Imfeld
      Carlotta Scioldo
      Caroline Daish
      Catherine (Clé) Lé
      Doris Stelzer
      Elise Goldstein
      Leonie Kuipers
      Margareth Kaserer
      Marilyne Grimmer
      Oshin Albrecht
      Robin Amanda Creswell Faure
      Simon Loeffler
      Veridiana Zurita
      Vicente Arlandis

       


      Research End Presentations

      Abhilash Ningappa
      Philippe Severyns
      Timothy Segers

       


      Partners

      RITS
      Zsenne artlab
      NU Performance Festival IV (Tallinn)

       


      Contributors for workshops

      Angelo Vermeulen
      Antonio Araújo
      Bart Verschaffel
      Bojana Cvejic
      David Bade
      Elke Van Campenhout
      Geert Opsomer
      Guillermo Gómez-Peña
      Jacob Wren
      Juan Dominguez
      Koen Van Singhel
      Nicolas Galeazzi
      Ong Keng Sen
      Pierre Rubio
      Robert Steijn
      Silke Bake-Peter Stamer
      Stef Stessels
      Terenja Van Dijk
      Wesley Meuris

       

      Coordinators a.pass

      Elke van Campenhout
      Bart Van den Eynde


      Mentors

      Anette Baldauf
      Pierre Rubio
      Vincent Dunoyer
      Vladimir Miller

       

       

       

      15 - 17 / 09 / 2011


      ‘DON’T KNOW!’
      Conference on Artistic Research

      Don’t Know! is not a gathering with the sole aim of exchanging knowledge on artistic research practices. In the course of three days we rather aim to create a frame in which research is put into practice and shared with the audience. In other words: we propose a conference which provides different working situations, allowing an in-depth experience of research formats, relations and situations, and the specific ‘knowledges’ these produce. Following the suggested attitude in our conference-title - Don’t Know! - we would like to frame these formats through four fields of questions:

      Don’t Know! the politics of knowledge production
      In which way the artistic understanding of knowledge differs from the one in other fields? What are the political implications of such a difference (if any at all)? How could we redistribute the power of knowledge production throughout the arts? And finally: is this at all a valid question? Should the arts avoid the political recuperation of its terrain and abstain from the tight link to knowledge production practices? Or: is it possible to maintain an alternative position for the arts in their way of dealing with knowledge (production)? Or if not, can the arts still claim their (political) capacity for change?

      Don’t Know! knowing today
      Within a society that has turned the commodification of knowledge into one of its main economic drives, the critical discourse on these production formats the arts create has been the basis for a lot of (historical) research practices. Therefore we would like to ask ourselves how artistic practices today can be a viable motor for thinking about our economic, technical and political realities. How can the arts reflect upon, but maybe even more, how can they influence future developments?

      Don’t Know! from knowledge production to knowledge processing
      We might argue that art (and artistic research) does not in the first instance produce knowledge, but that the arts keep on opening up the cracks in our systems of understanding: mislaying the knowledge, escaping the gridlocked pre-defined contexts that can be understood only according to the conventions of the discourses (be they political, aesthetical, psychological, …) that define knowledge. Would it then not seem more appropriate to talk about ‘knowledge processing’ than about the production of knowledge? Art as a game of misplacing information rather than one that tries to reinforce meaning on the world? And does this in a lot of ways not echo a contemporary understanding of research in general?

      Don’t Know! the environment
      Artistic research - and specific modes of dealing with knowledge (production) - is nowadays placed before the challenge that it has to operate within certain disciplinary frameworks and protocols. The actual combat in the arts now is to see where the disciplining and institutionalisation of its intrinsic researching gesture can be turned productive again.The question is: what kind of environments and institutions does art need today in order to react on the changing ontologies of knowledge and to develop different approaches of working and thinking?

       


      19 - 23 / 09 / 2011


      SUMMERSCHOOL
      series of two workshops in collaboration with RITS

       

      How to Stage Discussions about Arts and Politics?
      workshop by Jacob Wren


      Jacob’s workshop is based on the technique of the relay-interview, a simple game for having unexpected conversations. It involves asking and answering spontaneous questions that are loosely based around several themes chosen before the game starts. It is an attempt to have genuine, surprising exchanges within a performance situation. And to find out what we think about it and what we most want to know.

       

      How to Artistically Intervene in the Urban Space of the City of Ghent?
      workshop by Antonio Araújo


      The idea of Antonio’s workshop is to experience different points of departure in working with site and urban interventions. While working in a collaborative way in the city of Ghent, we will experiment the power of mobilization that theatre provides. Through intervening in the urban space, theatre recovers its public art dimension - which has always been there, but was sometimes blurry or forgotten.

       


      26 - 30 / 09 / 2011


      ‘DON’T KNOW’
      Workshop / Congress on Artistic Research by Nicolas y Galeazzi


      Nicolas Y Galeazzi focuses on developing and questioning social discourses through artistic research, which is materialised in concepts, installations, performances as well as printed matter. Galeazzi sets up performative research frameworks for experiments with political and social conditions and is working thereby on a concept of 'Mise-en-Discourses'.
      Nicolas will work further on the principles that have been developed during the conference more thoroughly with the researchers/participants of the post-graduate program. Central are the 4 questions that have been guiding the preparation of the conference.

       


      03 - 07 / 10 / 2011


      ‘DIRECTING THE GAZE’
      Reading sessions on Architecture with Koen Van Singhel, Terenja Van Dijk, Wesley Meuris and Bart Verschaffel.


      The development in the 16th century of the controlled space of the theatre isolated within the urban context made it possible to manipulate the gaze in an absolute way. The development of the theatre building reflects societal organization in a crystallized form where watching and being watched is organized following strict rules. In the second half of 20th century the theatre is brought back as a reference in the critical reflection on and discussion of the visual organization of the public space.
      In these reading sessions we invite architects, theorists and artists who work and reflect on the gaze in architecture. Texts (or other influences) that have been essential in their development as an artist or theoretician are the starting point of a discussion on the organization of the gaze in an architectural context.

       


      10 - 12 / 10 / 2011 & 17 -23 /10 / 2011


      ‘ARTIFICIAL REALITIES’
      (episode 2 - Magical Materialism)
      workshop by Pierre Rubio


      This workshop is the last iteration of a series of two. They both seek to detach our research projects from an essentialist and naturalistic approach. Their common aim is at (re)problematising for (re)capturing the strategies of construction and thus the theories of knowledge which our singular researches investigate and produce. If the Spring workshop’s keyword was ‘attachments’, the second step will be entirely contaminated by the notion of ‘magic’. We will take a trip into the wonderland of in-differentiation between human and natural, object and subject, figure and background, and more important, theory and practice.
      At first, during three days, we will re-consider our research projects under the influence of two singular analysis of magic : respectively Gilbert Simondon’s and Isabelle Stengers’.
      During a second period of an entire week, we will turn a former shop (turned recently into an art gallery) into an alchemy laboratory to transmute our projects into something other. The basic idea is that if one takes distance from one’s own project by moving it into unexpected contexts, this allows the discovery of ‘attachments’ and “othernesses” to enrich the ‘original’ project. Taking seriously what practice means and is capable of, let’s engage in a risky path from familiar individuals to unfamiliar singularities, from experiments to experiences, from “matter of facts to matter of concerns”.

       

       

      24 - 28 / 10 / 2011


      ‘PHOTOGRAPHY * LIGHT * SCENOGRAPHY’
      workshop by Stef Stessels


      Stef Stessels always has used the camera as a tool to create his personal database and archive. Recently he has begun to integrate his interest of photography directly into his scenographic work and light design. First of all he started to document the performances of de Roovers- and his sets - and the company uses his photos for its communication. More fundamentally his camera became an instrument in his research for light & set design where he integrated the photos from this research process in the actual performances. In this artistic workshop he will investigate with the participants the possible relations between photography, scenography and lightdesign integrating more technical aspects in concrete artistic exercises.

       


      31 / 10 - 02 / 11 / 2011


      ‘OBJECTNESS & THINGLINESS’
      reading sessions workshop by Elke Van Campenhout


      Picking up on the many forms in which objects have appeared in the participant’s projects in the last months, we take a quick tour down memory lane, presenting different theories on the object in a 3-day crash course for beginners: Kant, Michael Fried, Paul Gillroy, Jane Bennett etc. We work around the ‘resisting object’ and ‘thingliness’ as political qualities of the object, around the object/subject dichotomy as driving force in (late)modernism, about objects charged by desire that turn violent, etc. This workshop mainly circles around close reading of texts.

       


      03 - 13 / 11 / 2011


      ‘ON HOSPITALITY AND ESTRANGEMENT’
      ( The Tallin Project / The Viru Hotel )
      workshop by Ong Keng Sen and Elke Van Campenhout


      This workshop is part of a festival organized in a gigantic old Russian hotel in Tallinn. During ten days we will be working on two levels:
      Together with curator and theatre maker Ong Keng Sen we work around ‘the stranger’: the one that doesn’t belong, the one that disturbs the ‘common space’, the one that by his presence changes the perception of the space etc. Both on a theoretical and a practical level, we will interfere in the hotel life, working around hospitality (Derrida), extimacy / intimacy (Zizek), invisible theatre, etc.
      On a second level, you are invited to come with a project of your own, placed in one of the hotel rooms, and work further on these themes out of your personal interest. There is also the possibility to work in the corridors (as a scenographic concept), elevators, … Ong Keng Sen will also mentor these projects.
      The festival will open its doors at certain times for visitors.

       


      14 - 18 / 11 / 2011


      ‘GHOSTS AND HOSTS’
      workshop by Robert Steijn


      In this workshop Robert Steijn will work with the participants on principles like presence and absence, ghosts, energetic transformations, schizophrenic bodies belonging to different times and spaces at the same time.
      Robert Steijn worked as a dance critic for seven years, and then also as a curator for dance and experimental theatre in Amsterdam for seven years. Now he tries to bring the magic back in life and in the theatre. In that sense he considers himself more and more a magician. His helper is a deer, who appears in a lot of his texts and dances. His belief is that everyone can become a homemade contemporary shaman. His path towards becoming such a magician has been described in his three solo’s: the first solo was his call in guiding the death of his father, the second one, his ego death in the loss of everything by the breaking of the heart and now in his third solo: the birth of a person who can cross the thin line between reality and imagination, between life and death.

       


      21 - 25 / 11 / 2011


      ‘WINTERSCHOOL’
      (Baroque bodies)
      series of three workshops in collaboration with RITS


      Can we understand our times of postmodern confusion as a genuinely baroque period? How does this idea of baroque challenge pre-conceived notions such as corporality, performance and (post-)colonial hybridization? How would a baroque body look like and what is its performative potential? Are we approaching a true baroque era of crisis as the distinctions between man and machine, between human and non-human life are slowly dissolving and man is entering a new phase in the history of colonization, conquering space?
      The RITS Winter School consists of two periods. In November 2011 the Brussels-based arts centre Beursschouwburg will host three workshops for artists, activists, art students and academics. During a second period, in January 2012, you will get the opportunity to develop your own artistic response to your experience in one of the three workshops in Brussels. This individual research phase will be hosted by De Brakke Grond in Amsterdam. You will collaborate with other artists and with students from different art schools and you will be coached by different teachers from the participating art schools. The results of this workshop will be included in the program on a festival on baroque theatricality (February 1-3, De Brakke Grond)

      Workshop 1: Guillermo Gómez-Peña (USA/Mexico)
      This workshop aims at creating a temporary community of rebel artists from different disciplines, ages, ethnic backgrounds, gender persuasions, and nationalities, in which difference and experimentation are not only accepted but encouraged. Participants are given the opportunity to develop new modes of relationships between artists and communities, mentor and apprentice, which are neither colonial nor condescending and to discover new ways of relating to their own bodies. By decolonizing and then re-politicizing bodies, they can become sites for activism and embodied theory, for memory and reinvention, for pleasure and penance. Why do we do what we do? Which borders do we wish to cross and why? What is the relationship between performance, activism, pedagogy and our everyday lives? What about the relationship between the physical body and the social body?

      Workshop 2: Angelo Vermeulen (Belgium)
      In Vermeulen's workshop, entitled 'BODYREACTOR - Human monstrification in outer space', the participants will explore the notion of potential monstrification of the human body in outer space. This workshop reroutes the theme of the ‘space alien’ to man himself. How to work with an ongoing mutating and modifying body? How to physically deal with an unknown and ultimately body-transforming environment? How to relate to a space where biological evolution never took us in the first place? ‘REACTOR’ refers to the experimental, open format of the workshop, to the condition of man in outer space (living in a craft or vessel), and to the fact that the group is locked up in one single space for one week. It also refers to the concept of monstrification in a more 'Gothic' sense.

      Workshop David Bade (Curaçao)
      During this workshop, Bade and the participants will create a site-specific environment taking the shifting world of early modern baroque as a starting point. Instability, excess, changeability will function is key concepts. The workshop will also investigate different modes of collaboration. “More is more” seems to be the motto of David Bade.

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2011 BLOCK II 01 April 2011
      posted by: Pierre Rubio
    • 01 April 2011
    • 31 July 2011
    • 2011 BLOCK II

       

       

       

      Researchers Participants in the Postgraduate Program

      Abhilash Ningappa
      Carlotta Scioldo
      Caroline Daish
      Iris Bouche
      Leonie Kuipers
      Marilyne Grimmer
      Philippe Severyns
      Rodolphe Coster
      Timothy Segers
      Veridiana Zurita
      Vicente Arlandis

       

      Research End Presentations

      Alessandra Coppola
      David Zagari
      Michiel Reynaert

       

      Partners

      Sarma
      Nadine
      De Singel


      Contributors for workshops

      Adva Zakai
      Dries Verhoeven
      Elke van Campenhout
      Koen Tachelet
      Lilia Mestre & Els Viaene
      Nicolas Galeazzi
      Pierre Rubio
      Vladimir Miller


      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout

       

       

      01 - 30 / 04 / 2011


      ‘CURATING AS ENVIRONMENTALISM’

      salon about curating in the performing arts curated by Adva Zakai and Elke Van Campenhout


      How is the notion of curating transformed from its visual arts context into a more collaborative and performative gesture? Are there projects in the contemporary performance scene that are exemplary for a re-thinking of curating as environmentalism? From this starting point, the one month salon on curating in the performing arts was developed. On the basis of the online article “Curating as Environmentalism”, people were invited to gloss the text, highlight fragments, and add other texts, images, links and thoughts. The original text faded out day by day, until what was left were the parts readers chose to highlight and the references they attached to them. The added material then was the inspiration for the live salon in the workspace Nadine in Brussels.
      Contributors to the event were Deufert & Plischke, Nicolas Galeazzi, Elke van Campenhout, Adva Zakai, Raimundas Malasaukas and Jeroen Peeters.
      The event was produced by Sarma, Nadine and a.pass Research Centre.
      “Curating as Environmentalism” as a paper publication is available.

       

       

      09 - 13 / 05 / 2011


      ‘SPECULATIVE WORKSHOP’
      workshop by Nicolas Y Galeazzi


      Research always is performative; not many performances, though, are researchive. More so, seeing performance as means of research is inverting the common notion of a performance: as a tool for research it is not interested in sending, but in receiving and processing information. The Speculative Workshop is aiming to develop concrete tools and practices based on the above thought. We will look critically at the current debate about artistic research and try to develop personalised theories and practices around the performative aspect of research. The workshop provides the possibility to elaborate your performative research-attitude based on your own research practice. By that we will try to understand what kind of politics of knowledge production these attitudes stand for. The double bind between the affirmed openness of research and the underlying 'politics' of its approach is the most important twist to be taken in an artistic research project. Therefore I tend to see this workshop as an experiment in knowledge production. Its structure will have to emerge through the practices you are bringing in. But I will provide (and experiment myself with) some frameworks of reading, discussing and practicing as well as some expeditions in the 'field'. To start with I would like to experiment on two general approaches, which deal with the constant unknown territory our researches are stumbling into: Speculation as the risky investment into the unknown, and Serendipity as the finding of the un-searched. By copying and abusing scientific research methodologies and confronting them with performative and artistic means, it is my aim to throw another light on the spectrum of what happens if research and performance are thought the same. This workshop is a preparation for the a.pass research conference in September.

       

       

      16 - 20 / 05 / 2011


      ‘DUNKELKAMMER’
      workshop by Dries Verhoeven & Koen Tachelet


      We live in a visual consumption society where our eyes are brutally manipulated. Producers of images force us to attach a economic value to everything visible. They want us to classify the images that haunt us according to that economic parameters. Our self-image is assigned a place in this economy of visual valuation. As we look into the mirror of the other, we judge and adjust ourselves to the image of ourselves produced by the other. The more we make ourselves dependent upon this visual-economic labeling, the more our desires and needs are subjected to the logic of marketing and pornography: both try to penetrate as deep as possible our self-image, in order to order and re-order it, along the mechanism of ‘narcissistic differentiation’: the necessity to differentiate oneself from the others, to be more, better and more competitive. And here is a paradox. People have a deep-rooted need of intimacy, which can only be realised within a non-judging mutual space. A situation of intimacy implies that my gaze is directed towards the other, that the other is not seen as the mirror of myself, as an opportunity to market myself. From the moment that being desirable becomes a goal in itself, intimacy is impossible. Dries Verhoeven & Koen tachelet are preparing the installation Dunkelkammer for the Münchner Kammerspiele. Dunkelkammer questions the world of seeing. What does it mean to see? How does seeing and being seen influence our self-observation and our connection to the other? What happens when this sense is turned off? Those questions will be dealt with in a two-month rehearsal process with 7 blind performers. Dunkelkammer is meant to be an experience for the spectators; the thoughts, feelings, questions and (bodily) sensations of the spectator will be activated and steered by the performers’ actions and words. Crucial element is the space, the varying parameters of distance and intimacy, presence and absence. In the workshop texts by Susan Sontag, Jean Baudrillard, Houellebecq, Beckett, Oliver Sacks and others will be read and discussed. A more practical part of the workshop will deal with exploration of the corporeality of vision and blindness.

       


      30 / 05 - 03 / 06 / 2011


      ‘ARTIFICIAL REALITIES’
      (episode 1 – Displacements and Attachments)
      workshop by Pierre Rubio


      Often artists and researchers still hold on to the illusory idea of their material having a ‘natural’ ‘essence’. Let us for a moment take some distance from this essentialist and naturalistic approach, let us consider our research projects as artificial constructions, which thus can be problematized and turned into stimulating and productive networks. Artificial Realities aims at a rediscovery of our projects by an (momentary) over-artificialization: first by re-mapping our projects and by doing so understand/capture the strategies of ‘assemblage’ and thus the theories of knowledge which they formulate; and secondly by opening up horizons of possibilities for further developments and speculations. The basic idea is that if one takes distance from one’s own project by ‘moving’ it in unexpected contexts or by ‘translating’ it in non familiar languages, this allows the discovery of new components and new ‘attachments’ that will enrich and stimulate the ‘original’ project. Or in other words: developing an otherness by experiencing and exploring “as if's” to get out of the over-territorial and locked perception of “our” projects. Let's re-construct, re-imagine, re-invent “our” substrata. Let's science-fictionalize “our” “problems” and speculate ... cartoons... models for societies... newspapers... fictions... messages for eventual extraterrestrial forms of life... social practices... TV programs... religions... and more. Artificial Realities will develop through different steps: from identification of central issues in the practice, problematization, to several experiences of transfers, translations, displacements, parallax shifts, etc. The workshop includes reading sessions (Bruno Latour's On the modern cult of the factish gods and Factures/Fractures), individual work, group presentations and discussions.

       


      06 - 17 / 06 / 2011


      ‘SOUND AS SPACE’
      workshop by Lilia Mestre & Els Viaene


      Sound as Space proposes to investigate sound as a vehicle to create spaces in spaces. Sound depending on the way it is recorded and diffused, can enable the auditor to immerse in parallel realities. Audio pieces can invite the listeners to combine the view (of the physical space they find themselves in) and sound (constructed audio space) to re-create - depending on their own personal history - a new place or a series of places. Brian Massumi calls the constant becoming or transformation of space by the projections of its users the ‘virtual space’, a place of endless potential. Performing artist Lilia Mestre sound artist Els Viaene propose to think and create alternative spaces by the use of sound compositions. In this workshop we will practice recording, editing and diffusion of audio pieces produced by the participants in collaboration with us. For Mestre and Viaene this workshop is part of their ongoing research on audio spaces that create direct relations between their different users and between these users and the environment they find themselves in.

       


      01 - 23 / 07 / 2011


      ‘SETTLEMENT’
      workspace by Vladimir Miller


      The settlement as a proposal is asking its participants to come and practice their work in a shared environment. The method is to build everything from scratch on location that is required to work and communicate a practice to other participants. This can be anything from an improvised table to hold a laptop to an elaborate, secluded structure; from temporal impromptu arrangements to specific spaces that last for the whole work period. Settlement allows for a re-negotiation of the specific conditions of each practice. As it manifests itself in the workspace, a loop of condition and production is created in that shared space: in the course of the two weeks the settlement lets a particular method of production and sharing find its own intrinsic spatial conditions, free from the sets of rules and behaviours usually provided by ready-made spaces such as ‘table’, ‘studio’, ‘meeting’, ‘gallery’, ‘venue’, ‘library’, etc. By finding a spatial manifestation and localization for their work the settlers enter a growing and evolving network of objects, spaces, ideas, events and encounters in the shared space. As the emphasis of the work-process and the activity of the individual and of the group change from day to day, the settlement stays a dynamic structure, ready to be reformed according to the present requirements for production and presentation. The political questions inherent in claiming one's own space, inviting or excluding the outside, the formation of groups and production of locality and culture, constantly question the structures inherent in the concept of settlement itself. Between anarchy and the rule of majority the settlement practice actively searches for a spatialized production of a contributive dis-agreement and gives space to a literal heterotopia of work processes.

       

       

       

       

       

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

       

       

       

      Researchers Participants in the Postgraduate Program

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

       


      Research End Presentations

      Einat Tuchman
      Katrin Lohmann
      Sven Goyvaerts

       


      Partners

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

       


      Contributors for workshops

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

       

      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout

       

      Mentors

      Laurent Liefooghe
      Lilia Mestre
      Pierre Rubio
      Vincent Dunoyer

       

       

      03-13 / 01 / 2011


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


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

       


      17-21 / 01 / 2011


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


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

       


      24-28 / 01 / 2011


      ‘EXPERIMENTAL ETHNOGRAPHY’
      workshop by Anette Baldauf & Aras Ozgun


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

       

       

      28-30 / 01 / 2011


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


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

       

      31 / 01 - 04 / 02 / 2011


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


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

       

      07 - 11 / 02 / 2011


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


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

       

      07 - 12 / 02 / 2011


      ‘SENSITIVITY, SPACE, STAGE’
      workshop by Laurent Liefooghe


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



      14 - 19 / 02 / 2011


      ‘SPACE OVERLOAD’
      workshop by Christian Rizzo


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

       


      28 / 02 - 04 / 03 / 2011


      “LOCATION”
      workshop by Leo De Nijs


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

       

      14 - 18 / 03 / 2011


      ‘THE ARCHIVE AS GENERATOR’
      workshop by Adva Zakai


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

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2010 BLOCK III 01 September 2010
      posted by: Pierre Rubio
    • 01 September 2010
    • 30 November 2010
    • 2010 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Abhilash Ningappa
      Adva Zakai
      Alessandra Coppola
      David Zagari
      Doris Stelzer
      Einat Tuchman
      Esther Francis
      Iris Bouche
      Katrin Lohmann
      Manne Granqvist
      Manon Avermaete
      Margareth Kaserer
      Michiel Reynaert
      Philip Janssens
      Philippe Severyns
      Rodolphe Coster
      Stephen Bain
      Sven Goyvaerts
      Timothy Segers

       


      Research End Presentations

      Agnese Cornelio
      Ana Casimiro
      Charlotte Bouckaert
      Heike Langsdorf
      Iuliana Varodi
      Marcelo Mardones
      Maria Lucia Correia

       

       

      Partners

      Theaterfestival 2010
      Thematics (Les Bains, Brussels)
      Master in Choreography (Amsterdam)
      Campo
      RITS
      De Singel

       


      Contributors for workshops

      Anette Baldauf
      Bart Van den Eynde
      Christian Rizzo
      Elke Van Campenhout
      Epifania Amoo-Adare
      Guillermo Gómez-Peña
      Janez Janša
      Jeremy Wade
      Laurent Liefooghe
      Lilia Mestre
      Sara Manente
      Sven Goyvaerts

       

      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout


      Mentors

      Anette Baldauf
      Laurent Liefooghe
      Nicolas Galeazzi
      Pierre Rubio

       

       

       

      30 / 08 - 03 / 09 / 2010


      ‘DISCUSSION & REFLECTION’
      workshop of shared critique by a.pass in collaboration with Theaterfestival 2010


      During the Theaterfestival, a.pass-participants work together with a group of outsiders on a workshop of shared critique: we go and see a series of performances at the Theaterfestival (a yearly festival that selects performances that have been of particular importance to the development of the performance arts in Flandres/Belgium in the past year).
      Next to this we selected some texts to feed the discussion, that work out some of the themes/aesthetic principles/dramaturgical choices made in these specific performances to feed the discussion.

       


      04-09 / 09 / 2010


      ‘LaZone BRUSSELS’
      project by apass Research Center, Thematics (Bains, Brussels) and Master of Choreography (Amsterdam)


      LaZone is both the second stage in the Critical Hope research by Elke van Campenhout within a.rc (a.pass research centre) and the topic for the 2 month residency Thematics at workspace Bains Connective in Brussels. For the opening week of the projects we share our space with the students of the Master of Choreography in Amsterdam to work on defining the boundaries of LaZone: this in-between place that falls out of our understanding of the different ‘regimes of the sensible/experientiable’ (Jacques Rancière) that define our daily life. In other words: we lead our lives within different zones of understanding, speaking and behaving. What I can see and experience, what I can say and express, is dependent on the particular zone I am moving in at that particular moment (the political zone, the personal, the juridical, the virtual etc...).
      LaZone is trying to construct a space-in-between these zones: the place where behavior, speech and movement have not been negotiated yet, the place where misunderstanding is the leading principle of communication, the environment that drives our hospitality principles to their breaking point, showing us simultaneously the impotence and the potential of our cosmopolitan/transcultural hopes and desires.
      LaZone is a workshop in which three groups (Thematics artists, a.pass participants, MA Choreography) share the same space for one week. During that week LaZone will be created on different levels: the interpersonal level of hospitality and the sharing of theory and practice, and the larger level of the society at large, critically examining the boundaries of our democratic pretentions and preconceptions. Everyone can bring a ‘gift’ to LaZone: a practice, a piece of knowledge, an insight or an invitation you want to extend to the rest of the group. The workshop will create itself out of the proposals of everyone, on the basis of equality and interest, with three or four activities running at the same time, allowing every participant to develop a personal trajectory throughout the week.

       

       

      13-18 / 09 / 2010


      ‘WORKSHOPS WITH GUILLERMO GOMEZ-PENA AND JANESZ JANSA’
      Two parallel workshops by a.pt in collaboration with Campo and RITS


      Guillermo Gómez-Peña
      In this specific physical workshop, Guillermo Gómez-Peña will attempt to create a temporary community of rebel artists, aiming to find new modes of being and discover other ways of relating to their own body. During the workshop the following questions will prove to be crucial: which borders do we wish to cross? Why? Which borders are harder to cross, both in the workshop and in our personal lives?


      Janez Janša
      In this workshop, intellectual challenge and debate will be actively encouraged, triggering an entire series of questions: What is real? What is mediated? How do identity and politics relate to the status of an object of art?
      Each day of the Summer School will be concluded by an evening programme consisting of meetings, lectures, screenings, debates and artistic interventions. The evening guest artists have all collaborated on the research topic 'the performance as document - the document as performance' and include, among others, Hans-Werner Kroesinger, Sarah Vanagt and Carina Molier.

       


      19-26 / 09 / 2010


      ‘LaZone BERLIN’
      project by apass Research Center and Thematics (Les Bains, Brussels)


      A group of artistic field researchers find themselves on unknown territory: LaZone is a place where the spatial rules of behavior have stopped to make sense. It is an environment that has no function, no meaning, no recognizable orientation points. It is a transit area, a stretch of land that falls out of our rule-giving grid of common sense, of law-giving, of understanding and of commonly accepted behavior. LaZone is the space of immigrants, of avatars and aliens, of dislocated complex identities, of lost cases and derailed causes. It is a place that has to define itself through the practice, through the use, through the re-negotiation of the rules of encounter and hospitality.
      During one week a group of immigrants from a.pt (advanced performance training) and Thematics (research project of the workspace Bains Connective in Brussels) will settle down at Fabrikationen, and try to make sense of their role and interaction with the locals. The results of their work will be presented on the 24th. Their Political Party might also infiltrate at the 25th's end party.

       


      20-24 / 09 / 2010


      ‘STORYBOARDING’
      workshop by Jeremy Wade


      In many ways performance is one big performed story board, an invisible text set of directions and nothing more. At the other hand story boarding it self is an art form. So how to use a story board to construct a performance and how to make a story board performative, how to blur the boundaries between story board and piece. Starting from a a written proposal minimum of three pages of each of the participants, story boards will be made, including an application for a grant with a budget of the project.
      During the course of this exploration/composition workshop we will strive to facilitate the great blur through the investigation of numerous storyboarding techniques. We will also research a wide array of taboos, techniques and theories that help us get closer to an essential concern of composition and aesthetics which is the age-old question of… “What is a thing”? We look at a vast index of queer scores that shed some light on the circularity of aesthetics. We can make monsters out of these stagnant aesthetics and gain perspective on how to compose, obliterate, blur and layer our lovely things for an audience. We will find modes to clarify our concepts for the pre production and production phases of creation. We will work towards structuring and deconstructing our ideas, both material and ethereal.
      Jeremy Wade is an American choreographer living and working in Berlin.

       

       


      04-10 / 10 / 2010


      ‘THE GAZE 2.0’
      workshop by Sven Goyvaerts


      Theoretical & practical workshop where the social media and our desktops create the format for communication and knowledge exchange and are being used as tools for artistic creation. Central focus in the workshop is the capture / transformation / (re)routing of the gaze through social media. Featuring crash course in and experiments with social media and other software : Ustream.tv, Snapz Pro, Flickr, Skype, Facebook, Twitter, YouTube, MySpace, World of Warcraft, Second Life, Everytrail and Chatroulette.
      The following topics will be discussed : MEDIA MIRROR (on identity), CYBER EYE CONTACT (on the look and the gaze), WELIVEINPUBLIC.COM (on narcissism), SECOND SKIN (on the avatar), THE PERVERT’S GUIDE TO SOCIAL MEDIA (on obscenity).

       


      11-15 / 10 / 2010


      ‘PERFORMATIVE SPACE’
      workshop by Laurent Liefooghe


      Being interested in the negative & constrictive aspects of architecture (obstruction, representation, order) and the idea of ‘active’ architecture (defined by what it does instead of what it shows), Laurent Liefooghe takes an analogy between architecture and contemporary art performance as a departure to try to liberate architecture from its obsession with emblematic objects. For this workshop he wants to investigate the idea of the ‘performative space’. Departing from case studies, he wants to develop possible concepts of a ‘performative space’.

       


      18-22 / 10 / 2010


      ‘BROODTHAERS & KAUFMAN’
      workshop by Sara Manente


      Starting point of this workshop by Sara Manente, former a.pass participant, are the is the investigation of the possible relation between Marcel Broodthaers and Andy Kaufman, two artists that broke rules in their fields, both provocative because acting on the limits of their roles and their positions in society, playing with meaning and expectations. A speculative game to see if a hint is to be found, as if by putting two things close to each other we can find similarities, intriguing associations that we couldn't see before. The overall question is one of sameness and otherness. The research on "similarity" from the two points of view of perception (outside) and interpretation (inside).

       

       

      25-30 / 10 / 2010


      ‘INTERFACE FICTIONS’
      workshop by Lilia Mestre & Elke Van Campenhout


      In this workshop we occupy for one week the gallery/shopping window of a new alternative performance gallery in Brussels. Working together within this space we try to develop working practices that project the gallery space on the outside world: gestures that communicate with the commuters, the neighbours, the occasional passers-by. By blurring the boundaries between living and working in the space, and by not retreating to recognizable artistic strategies, we try to break the rules of expectation, of recuperation and of communication of the arts. Every participants will try, in constant negotiation with the others, to develop practices that open up the activities from within to the viewer/participant outside. This can happen imagining the space to be what it is not: a shop, a restaurant, a library, a TV studio, a social centre, an immigrant office, etc...
      As important as the inside/outside dialogue, will be the negotiation inside of the space: the overlayering of practices and imaginations of the space, the monsterly spaces that grow out of inbreeding, etc... Not only negotiating space, but also behavior, time, attitude, convictions and necessities.

       


      01-12 / 11 / 2010


      “THE 5 SENSES”
      workshop by Bart Van den Eynde and Elke Van Campenhout


      In this workshop we develop on the basis of texts and specialist talks a mapping of the 5 senses as a starting point for artistic thinking and practices. We include artistic practices like the ones of Lygia Clarke, Enrique Vargas, Peter Verhelst, Dries Verhoeven, f0am, Charo Calvo, etcetera... Each of the senses is the topic of 2 days.

       

      15-19 / 11 : 2010


      ‘SPATIAL LITERACY’
      workshop by Anette Baldauf & Epifania Amoo-Adare


      What is space, what is the relationship between spatial conditions and power? How can we envision the transformation of space and the making of different spaces? The premise of this workshop is that a critical pedagogy on space, on the forces involved in the production and reproduction of space, is a necessary condition for any intervention in space. We propose to challenge widespread understandings of space as a structure that is given and fixed, in other words: a structure that is developed for and not a context that is developed by society. We contrast this convention with an understanding of space as both, a manifestation as well as a vehicle of the productive relations of power. Following the equation “space = (social) product” we investigate spatial relations, the making of inclusion and exclusion, centrality versus marginality, legibility, difference and conflict. Framed as an exercise in “spatial literacy”, we discuss techniques of making sense of spatial relations, of making use and appropriating them.



      22 / 11 / 2010


      “LECTURE BY CHRISTIAN RIZZO”
      presented by a.pass & De Singel


      Choreographer Christian Rizzo will be working for a year with and in the buildings of deSingel. In the next block he will also create a workshop for a.pass. This is a first meeting with the artist where he reads texts with us that have been essential in his development as an artist. This lecture is a starting point to speak about different influences and important meetings in their carrier, and to show fragments of their work.
      Christian Rizzo has been fashion designer, rock musician, then dancer and choreographer. In 1996 he created his own company L'Association Fragile. From 2003 he became artist in residence of the École Supérieure des Beaux-Arts of Toulouse. Also in 2003 he received Le Grand Prix de la Critique.

       

       

       

       

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2010 BLOCK II 01 May 2010
      posted by: Pierre Rubio
    • 01 May 2010
    • 31 July 2010
    • 2010 BLOCK II

       

       

       

      Researchers Participants in the Postgraduate Program

      Adva Zakai
      Agnese Cornelio
      Alessandra Coppola
      Ana Casimiro
      Charlotte Bouckaert
      David Zagari
      Einat Tuchman
      Heike Langsdorf
      Iuliana Varodi
      Katrin Lohmann
      Manne Granqvist
      Manon Avermaete
      Marcelo Mardones
      Maria Lucia Correia
      Michiel Reynaert
      Philip Janssens
      Stephen Bain
      Sven Goyvaerts

       


      Research End Presentations

      Alejandro Petrasso
      Dianne Weller
      Fanny Zaman
      Kurt Van Overbeke
      Sara Vilardo

       

       

      Partners

      Les Bains
      MicroMarché
      Sarma
      Workspace Brussels
      Nadine
      SoundImageCulture

       


      Contributors for workshops

      Adva Zakai
      Agnese Cornelio
      Anette Baldauf
      Charlotte Brouckaert
      Dries Verhoeven
      Elke Van Campenhout
      Erik Devries
      Jeremy Wade
      Joao Fiadeiro
      Joël Verwimp
      Katrin Lohmann
      Laurent Liefooghe
      Laurent van Lancker
      Luk Lambrecht
      Manne Granqvist
      Marcelo Mardones
      Maria Lucia Correia
      Nicolas Galeazzi
      Sven Goyvaerts

       

      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout

       

      Mentors

      Anette Baldauf
      Nicolas Y Galeazzi

       

       

       

       

       

      10-14 / 05 / 2010


      ‘HP OFFICEJET 9130 ± ERRORS’
      workshop by Nicolas Y Galeazzi & Joël Verwimp


      Developments in technology and changes in society regularly render things obsolete; think of professions like blacksmithing, technology like oil lamps, and rules about handling horses. Copyright law might well become such an obsolete instrument. In fact, it never really worked outside the US/European borders and open source software already moves beyond copyright restrictions worldwide. This shows that making and meaning in the current cultural environment requires a response to existing institutional and organisation structures, identifying differences and engaging art as an open ongoing process. With COYOTL, we produce or try to produce a vivid impression of knowledge products: of these, software is unique, as it is said to have behaviour. More specifically, it instills behavior in computers when it is executed by them, causing tangible effects in the real world. Just like software, we believe that performative publishing is such a situation allowing a reflexive way of working by engaging with relationships.
      In the framework of the Bains Connective DIY residency lab at MicroMarché, we edited previous COYOTL material into the printed workbook The leakers which will build the basic discourse for the workshop. Together with your project material (on paper, in form of quotations, or as live or memorised events) we will create a pool of content, which will be copied, scratched, hacked, nod rearranged as a resource for each other’s project. Departing from these thoughts and the mutating discussion around copyright/copyleft/open source COYOTL will play as usual, with the copy-machine (HP Officejet 9130 is currently our main tool) in order to
      - develop models of cooperation for any kind of art and knowledge production
      - facilitate an environment for independent and NOT-NEGOTIATED exchange and development of other artist's practice
      - perform on paper, nurtured by and leading to performance in OTHER spaces/logic
      - question not only new work models, but also what kind of space and organisational structure art production needs today

       

      17-21 / 05 / 2010


      ‘REVOLUTION’
      no-workshop workshop by Katrin Lohmann & Manne Granqvist,
      with guests: Nicolas Y Galeazzi, Bavo, Dieter Lesage


      The no-workshop organizers believe that the concept of revolution is a relevant and urgent one for our times. What does a revolution imply for society, and for the individual? Is the total collapse near, is it necessary, is it desirable? What are the possible positions in relation to revolution for the artist and for the activist?
      The organizers of the REVOLUTION no-workshop do not pretend to be experts on the subject. Rather they regard the workshop as an opportunity to research a cluster of topics that they regard alarmingly pertinent, for themselves and for the present times, with others who share the same sentiment. It is the experience of the no-work-no-shop organizers that the matters at hand are of a kind that strike a natural chord with not so few people in the present times.

       

       


      19-21 / 05 / 2010

      ‘DOCUMENTARY’
      workshop by Laurent van Lancker in collaboration with SIC


      SoundImageCulture is a group of artist-anthropologists committed to artful storytelling through real human encounters that challenge documentary conventions, and opens up to sound and image installations. Informed by developments in cultural theory, social sciences, and the visual art. SIC questions the relation between artist, subject and viewer. How can you represent somebody in sound and image when you don’t know his or her background? The answer is not to eschew representation; rather, SIC proposes an ethical reflection on how ‘the other’ is presented in contemporary media, believing this to be an urgency of the multicultural society we live in.

       


      24-28 / 05 / 2010


      ‘QUEER IN THE CITY’
      workshop by Anette Baldauf


      I am not a Queer Studies expert, but I have worked, and taught, on questions of gender, sexuality and the city. I would love to connect that knowledge with theories on performativity, maybe starting off from Judith Butler and Jack Halberstam, both of which we addressed during the City of Illusion workshop. I have been teaching a lot on the so-called Girl Movement - Riot Girls, Dyke Bands... - which tried to challenge concepts of femininity through pop music and performance in the mid 90s, and the following backlash of Britney Spears etc.- which was a performance of femininity as special effect. We could e.g. read, and then analyze artistic as well as popular culture strategies of the gender confusion.

       

       

      31/05 - 11/06 2010

      ‘STORYBOARDING’
      workshop by Jeremy Wade


      In many ways performance is one big performed storyboard, an invisible text set of directions and nothing more. At the other hand storyboarding itself is an art form. So how to use a storyboard to construct a performance and how to make a storyboard performative, how to blur the boundaries between storyboard and piece. Starting from a written proposal minimum of three pages of each of the participants, storyboards will be made, including an application for a grant with a budget of the project.
      As Contemporary Performers, Choreographers, Directors, and Scenographers we work toward events that have the potential to rewrite and dislocate an audience from stratified senses of meaning. During the course of this exploration/composition workshop we will strive to facilitate the great blur through the investigation of numerous storyboarding techniques. We will also research a wide array of taboos, techniques and theories that help us get closer to an essential concern of composition and aesthetics which is the age-old question of… “What is a thing”? We look at a vast index of queer scores that shed some light on the circularity of aesthetics. We can make monsters out of these stagnant aesthetics and gain perspective on how to compose, obliterate, blur and layer our lovely things for an audience. We will find modes to clarify our concepts for the pre production and production phases of creation. We will work towards structuring and deconstructing our ideas, both material and ethereal.

       

      07-11 / 06 / 2010


      ‘EXHAUSTING DANCE’
      reading sessions


      After having wrestled ourselves through the introduction of this book on contemporary dance (edited by André Lepecki), we decided to take a second look at the book in a full reading-session week.
      The only scholarly book in English dedicated to recent European contemporary dance, ‘Exhausting Dance: Performance and the Politics of Movement’ examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US.
      Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge our understanding of dance by exhausting the concept of movement. Their work demands to be read as performed extensions of the radical politics implied in performance art, in post-structuralist and critical theory, in post-colonial theory, and in critical race studies.
      This book offers a significant and radical revision of the way we think about dance, arguing for the necessity of a renewed engagement between dance studies and experimental artistic and philosophical practices.
      We will combine the reading sessions with fragments out of the work of contemporary choreographers and bring the practice to the theory.

       


      14-18 / 06 / 2010


      ‘PERSPECTIVES ON SPACE’
      reading sessions


      In this reading sessions we invite several scenographers and artists in whose work the use & organization of space is essential, to read with us texts that have been essential in their development as artists. A starting point to speak about other influences and important meetings in their carrier, and to show fragments of their work. Erki Devries, Luk Lambrecht, Dries Verhoeven & Laurent Liefooghe are our guests.

       

      21 - 24 / 06 / 2010


      ‘PSYCHOANALYSIS FOR BEGINNERS’
      workshop by Elke Van Campenhout under mentoring of Mladen Dolar in collaboration with Sarma and Workspace Brussels


      The workshop on psychoanalysis will open up the field of thinking of Lacan and related thinkers to a group of beginners in the theory. In the arts psychoanalysis has taken up a central position in the interpretation and thinking about the arts. Although a lot of the time implicit, the frame of thinking about the Real, objet petit a, etc... is part of our cultural and esthetic heritage. In this workshop we look the first two days at Slavoj Zizek’s film 'The Pervert's Guide to Cinema' in which he explores the psycho-analytical subconscious of Hollywood film-making. Afterwards we read Zizek's book 'Welcome to the desert of the Real' for a contemporary and highly political performativization of what the psycho-analytical framework can still teach us today.

       


      25 / 06 / 2010


      ‘SOCIAL MEDIA & THE AVATAR’
      workshop by researcher/participant Sven Goyvaerts


      One day around the basics of the social media and the role of the avatar in our thinking about (alternative or virtual) identities.



      28 / 06 - 2 / 07 / 2010


      ‘THE GAZE’
      workshop by  researchers/participants Agnese Cornelio, Marcelo Mardones, Charlotte Brouckaert & Sven Goyvaerts


      How do we construct our identity through the look of others? How do we look at others an read them? How are we judged by others or do we feel judged by them? And how does the gaze function in the social media, how do we control the gaze of the others and how do we read others by their virtual presentation?
      Partly reading session, partly practical research using social media and the camera as a tool to catch the gaze.

       


      5-11 / 07 / 2010


      ‘FIND YOUR INNER IDIOT’
      camping group practice by a.pass


      Loosely based on the Dogma movie 'The Idiots' by Lars Von Trier, we work for one week on the principles of idiocy as a potential artistic, political or actionist strategy. During the workshop we try to define different methodologies to discover our 'inner idiots', both on a physical practice level as on a theoretical level. We combine reading and viewing sessions of material relating to 'idiocy' (out of philosophy and art history) with physical sessions, aiming at the development of a personal and a communal idiot body. Each of the participants can devise his/her own perspective on the mindset and context out of which to work, trying to discover within a small group of dedicated participants their personal 'inner idiots', and constructing a group practice out of this confrontation. We might bring the practice to public space when we feel ready for that. Only for true idiots!

       


      12 - 16 / 07 / 2010


      ‘TERROR’
      film analysis workshop by a.pass


      An exercise in concrete and detailed analysis, argumentative construction and critical discussion. In this workshop we analyze horror movies. How does the mechanism of terror functions in these movies and which are its disguises? How do we deal with our instant emotional (moral) reaction in our discussion? Where does art starts and exploitation ends? What is the place of horror in our lives? One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of film, photography, the net) horrors taking place in the real or in fantasized worlds. Images of atrocities have become, via the screens of the television and the computer, a commonplace. What is this fascination with the depiction of cruelty? Is ours perception of reality eroded by the barrage of such images or do they just make us happy that we are alive?
      This workshop is in the first place aimed at analyzing the formal principles of movie making: the creation of 'horror' through camera perspectives, montage, use of (off-)voice, etcetera. But next to that we also try to come to a deeper understanding of the parameters of horror, by reading texts (Sontag, Zizek, Cronenberg,...) to feed the discussion.

       

      17-23 / 07 / 2010


      ‘HARD WORKING IDLES’
      workshop by researcher/participant Adva Zakai with Joao Fiadeiro and guests


      Each day will be divided into two sessions: Mornings to the practice of Real Time Composition*, a method developed by Joao Fiadeiro, and afternoons to a talk with an invited guest.
      Why ‘hard working idlers’? Because I find myself confronted by this contradiction: On the one hand, being critical towards the ethics of artistic practice that are increasingly product-oriented - generating practices which are exclusive rather than inclusive, imposing a position on the artist’s plan rather than enabling an ‘emergence’ of a situation. On the other hand, appreciating a personal examination of ideas or
      forms, and intrigued by a detailed, skillful and directed proposition from the artist to the public.
      Can these two approaches complement rather than oppose each other: Where does the artist’s control over a performance stop and the event generate itself through the contributions of all its participants? How much (or rather what kind of) ‘work’ is needed in order to trigger a situation?
      The same inquiries are perhaps relevant with regards to the way one relates to one’s surroundings. Can changes in society emerge through individual or self-organized mechanisms rather than be dictated by overarching norms, ideologies and preconceptions? If we consider an experience as complete even though its in a constant state of becoming itself – would it allow more dynamic and liberation from dogmas in our day, work, life, art?

       

       

      19-23 / 07 / 2010


      ‘THE REALITY, THE GIANT SCENARIO III’
      workshop by researcher/participant Maria Lucia Correia


      The City appears as a breathing entity that contains the concept of future reflections and artistic interventions. The reality, the Giant Scenario is a workshop that approaches the city space as a living body that seeks for our attention. As working methodology we will address the city space, with a critical vision on sensorial and visual awareness. In order to map our environment we will draw and recompose the elements of the urban space, collecting lost details and objects on our city walks (derives). Moments where we will get lost into a world of colors, shapes, ornaments, sounds, rhythms… and relate to places that are damaged, abandoned, dead or ill... The workshop will then resource the urbanist and emotional mapping of the space and its graphical potentialities within a new scenario, a new life, a new narrative of forgotten details. The city will not be the set of public interventions but a living body that incorporates us, an extended form of connections, reconstructions, treatment, placement and intersections.

    • postgraduate program
    • workshop
    • a.p.t.-a.s.-a.r.c.
    • a.pass Basics workshops
    • block 2010/I
    • NOT_index
    • CONSEQUENCES II 01 March 2010
      posted by: Pierre Rubio
    • Tom Plischke & Kattrin Deufert
    • 01 March 2010
    • 06 March 2010
    • CONSEQUENCES II

       

       

      The most important element of our working process is writing and transference. It allows all participants to work in silence and not to be bothered by producibility. The constant passing on of written material and the permanent reformulating, contextualizing, expanding, and reflecting of the written material serve as a basis for the creation and composition of movements, texts, sounds, or images. But within this procedure all realizations are based on  temporary decisions depending from the material that is handed over from the other and not because the medium of realization is chosen beforehand. Our working procedure could best fit into the motto: ‘Give me your material and I show you what you're not doing with it’.

      Sourcing the creation-act out and rendering oneself into the pendency of writing instead permits a disciplined work in silence, in which each participant and partner can raise her/his voice on the paper independently from its volume or the amount and position of knowledge. Participation starts with a conspiracy of partaking, and not by the self-positioning of the speaker. With (Re)formulating we describe a process that can enable a discourse in silence, in the writing with each other. The place of the individual argument, the singular voice is taken by an instance of polyphony, similar to the Cadavre Exquis, which is a game that was invented by Surrealists in 1925. It is quite similar to an old english parlor game called Consequences in which players write in turn on a sheet of paper, fold it to conceal part of the writing, and then pass it to the next player for a further contribution. Unlike the surrealists, we don't hide what has been written previously. For us it is a downright challenge to deal with the input of the others and to come into thinking with it, to expand ideas and suggestions, to combine sketches, to suggest a possible proceeding. It is only very late in the working procedure that we ask about the medium in which this material is to be realized. In this sense, the medium becomes a part in the decision-making, in the claim of form (or format). It is not set a priori and thus has to be in reference, translation, transference to the material: it has to be a decision and not a choice.
 Because of this it is fundamental in this principle of formal strictness to take the responsibility of one's decisions and to constantly confront the other with claims in order to develop a communication, a circulation and production in the community of strangers. (Re)formulating should enable everybody to partake in the process. Just as in knitting from a single thread (the shared theme) and a knitting pattern (the permanent passing on), a complex texture evolves that formulates a possible work.

       

       

       

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2010 BLOCK I 01 January 2010
      posted by: Pierre Rubio
    • 01 January 2010
    • 31 March 2010
    • 2010 BLOCK I

       

       

       

      Researchers Participants in the Postgraduate Program

      Adva Zakai
      Agnese Cornelio
      Alejandro Petrasso
      Ana Casimiro
      Charlotte Bouckaert
      Dianne Weller
      Einat Tuchman
      Fanny Zaman
      Heike Langsdorf
      Iuliana Varodi
      Katrin Lohmann
      Kurt Van Overbeke
      Manne Granqvist
      Manon Avermaete
      Marcelo Mardones
      Maria Lucia Correia
      Philip Janssens
      Sara Vilardo
      Sven Goyvaerts

       

       

      Research End Presentations

      Fien Wauters
      Jozef Wouters
      Julie Pfleiderer

       

       


      Partners

      De Singel
      University of Antwerp
      PAF (Performance Art Forum, Reims, France)

       

       

      Contributors for workshops

      Alexander Baervoets
      Annette Baldauf
      Charo Calvo
      David Moss
      Elke Van Campenhout
      Heike Langsdorf
      Jan Maertens
      Lynda Gaudreau
      Marc Vanrunxt
      Maria Lucia Correia
      Meg Stuart
      Nicolas Y Galeazzi
      Stéphane Boudin-Lestienne
      Timmy Delaet
      Tom Plischke-Kattrin Deufert
      Vincent Dunoyer
      Vladimir Miller

       

      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout
      Vladimir Miller


      Mentors

      Nicolas Y Galeazzi
      Vladimir Miller

       

       

       

       

      11-24 / 01 / 2010

      ‘REENACTMENT / RECONSTRUCTION’

      reading and viewing sessions on re-enactment/reconstruction with Timmy Delaet

      Reading and viewing sessions on re-enactment/reconstruction with Timmy Delaet, PhD student at the University of Antwerp, viewing sessions of performance art work at Argos (centre for video preservation in Brussels). From 21 to 24 we join the conference on re-enactment / reconstruction organised by the Marina Abramovic Research Centre in Plymouth (England), combined with a series of performances.

       

      25-29 / 01 / 2010

      ‘SPHERES AND ECONOMIES OF COLLABORATION / NON-PRODUCTIVE SPHERES’

      workshop by Nicolas Y Galeazzi

      Nicolas Y Galeazzi organizes a practical workshop on artistic collaboration discussing different models, methods and the effects and side effects of collaborative interaction. The workshop puts forward different metaphors on collaboration (economy, utopia, non-production, laziness, etc...) and works through their consequences. 

       

       

      01-05 / 02 / 2010

      ‘RADICAL VOICE FOR PERFORMERS AND MAKERS’

      workshop by David Moss

      Performer, theatre maker and singer David Moss, artistic director of the institute for the Living Voice, organizes a workshop on the use of radical voice for performers and makers. Both positions are possible in this workshop, as long as you have an interest in a different use of the voice in performance (both language and non-language based).

      How do you make a voice performance? How do time, timing, intensity, attack, intimacy, eccentricity, personal history, ego, musical history, rhythm, physicality, gestures, sounds, memory, songs and senses connect you to the moment of making a voice improvisation?

       

       

       

       

      07 / 02 / 2010

      ‘PAUL TISSIER: ARCHITECT OF ILLUSIONS’

      lecture by Stéphane Boudin-Lestienne

      The french architect Paul Tissier realises in 1924 the main hall of the Hôtel Ruhl in Paris now destroyed, the « fêtes d’art », a concept that mixes the originality of an artist’s party with the luxury of a society ball. Tissier creates all by himself a complete artwork. Covering the original architecture with his setting, he imagines different types of creative scenographies. From the extraordinary legacy of his fund – including more than 400 elements of decor– the workshop proposes to discover the architect’s system and problems facing that type of event. The many different aspects of the scenography (general choices for the transformation of the place, iconography and technique of the setting, lighting, costumes, show, etc…) will be discussed.

       

       

      01-05 / 02 / 2010

      ‘AFFECT AND EMOTION’

      reading sessions by Elke Van Campenhout

      In the past year Elke Van Campenhout worked on the research project Sense Radio, initiated by choreographer and artist Lilia Mestre. A very important part of this research was concerned with the understanding of the emotional body as a social body, as a body in constant negotiation with other bodies and objects. In this week of Reading Sessions, we go through some of the ideas of Spinoza, Brian Massumi, Nigel Thrift, Sara Ahmed, Gilles Deleuze and others on affect/emotion as a mode of social circulation and  exchange. At the same time watching performance material (Meg Stuart, Lilia Mestre, ...) that corresponds to this kind of conception of the performance and the body of the performer. 

       

       

      08-19 / 02 / 2010

      ‘CITY OF ILLUSIONS’

      workshop by Vladimir Miller

      Vladimir Miller conceives the City of Illusions as a space of research and knowledge built around the concept of illusion. In the course of two weeks a city is being built in the Zwarte Zaal of DeSingel. each participant is invited to build his own research site (houses and/or public spaces like speakers corners, gardens, etc...) within the city and assume the performative agency of their settlement with the other participants.

      Light designer Jan Maertens, sound designer, Charo Calvo are guests and create their special illusion for the city. As well, urbanist Annette Baldauf and choreographer Meg Stuart will visit the city.

       

       

      22-26 / 02 / 2010

      ‘HOPE 2’

      workshop by Heike Langsdorf and Elke van Campenhout 

      Participant Heike Langsdorf and coordinator Elke van Campenhout organize a second working week on “(radical) hope”, the subject of their research project. This time, set in an urban context, we work on the spreading of the rumour of hope.

       

       

      22-26 / 02 / 2010

      ‘THE CITY : THE GIANT SCENARIO’

      workshop by Maria Lucia Correia

      The City appears as a breathing engine that shells the concept of future reflections and artistic interventions. “The Giant Scenario” is a workshop that will  suspend a conceptual approach of the city space as a  body who seeks for attention. Gradually we will propose a metaphorical diagnosis, a scan of the functionality of its organs. It will suspend  an aesthetic, emotional, sociological and physical approach of the  cityspace as a human body. As working methodology we will address the city space, with a critical vision on sensorial and visual awareness. 

      In order to fulfill the resistance of our environment we will draw and recompose the elements of the urban space, collecting lost details and objects, on city walks/derives.  Moments where we will get lost into a world of colors, shapes, ornaments, sounds, rhythms… and as well an engagement of places that are damaged, abandoned, dead and ill... The workshop is a  resource of urbanist and emotional mapping of the space and its graphical potentialities within a reborn of a new scenario, a new life, a new narrative of  details that are forgotten in the labyrinth space.The city will not  be the setting of public interventions but a living body. An extended form of connections, reconstructions, treatment, placement and intersections.

       

       

      01-10 / 03 / 2010

      ‘CONSEQUENCES II’

      workshop by Tom Plischke & Kattrin Deufert

      Participation starts with a conspiracy of partaking, and not by the self-positioning of the speaker. With (re)formulating we describe a process that can enable a discourse in silence, in the writing with each other. of formal strictness to take the responsibility of one‘s decisions and to constantly confront the other with claims in order to develop a communication, a circulation and production in the community of strangers. (re)formulating should enable everybody to partake in the process. just as in knitting from a single thread (the shared theme) and a knitting pattern (the permanent passing on), a complex texture evolves that formulates a possible work.

       

       

      15-21 / 03 / 2010

      ‘ECOLOGY & ARTISTIC PRACTICE’

      reading sessions by a.pass

      Introduced by the participants as an urgent research topic, the relation between ecological disaster and artistic practice is the theme of these reading sessions.The week will end with a artistic conference on ecology open to the public. 

       

       

      22-26 / 03 / 2010

      ‘DANCE THEORY’

      reading Sessions

      In this reading sessions we invite several choreographers to read with us texts that have been essential in their development as an artist. These reading sessions are a starting point to speak about influences and important meetings in their carrier, and to show fragments of their work.

      Lynda Gaudreau, Marc Vanrunxt, Vincent Dunoyer & Alexander Baervoets are our guests.

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2009 BLOCK III 01 September 2009
      posted by: Pierre Rubio
    • 01 September 2009
    • 30 November 2009
    • 2009 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Agnese Cornelio
      Alejandro Petrasso
      Ana Casimiro
      Charlotte Bouckaert
      Dianne Weller
      Fanny Zaman
      Fien Wauters
      Heike Langsdorf
      Iuliana Varodi
      Jozef Wouters
      Julie Pfleiderer
      Kurt Van Overbeke
      Marcelo Mardones
      Maria Lucia Correia
      Sara Vilardo
       

       


      Research End Presentations

      Ariane Loze
      Constanze Schellow

       


      Partners

      Theaterfestival
      De Singel
      CIFAS
      Bourla Theater
      PAF (Performance Art Forum, Reims, France)

       

       

      Contributors for workshops

      Arco Renz
      Benjamin Verdonck
      Hans Op de Beeck
      Laurent Liefooghe
      Lotte van den Berg
      Meg Stuart
      Moritz Kuhn
      Nicolas Y Galeazzi
      Rabih Mrouéh
      Renée Copraij
      Stefan Heinric
      Stijn Bussels
      Timothy De Paepe

       


      Coordinators a.pass

      Bart Van den Eynde   

      Elke van Campenhout

       

       

      Fall 2009

      ‘THEATERFESTIVAL’

      ‘Performance in public Space’ : reading sessions & artist talks by de Singel and a.pass

      The Theaterfestival offers a perfect occasion to make the a.pass training more visible. Three participants show their researches in the context of the festival ( Ariane Loze, Michel Yang and Jozef Wauters) and the reading sessions are open to outsiders. Several artists will be invited to discuss the theme of ‘performance in public space’ with the participants (Benjamin Verdonck, Moritz Kuhn and Lotte van den Berg), combined with a close reading of theoretical texts.  

       

      Fall 2009

      ‘CONCEPT & DESIGN III’

      workshop by Arco Renz  and Stefan Heinrich

      A scenography workshop with a choreographer seems a necessity for a.s. Working on a new project, Arco Renz works with the participants on the development of a - hypothetical - stage design for his choreography. Without the help of a 'performance text' the participants will enter his world and find connections with their own interests, measure up the artistic and practical limitations of the project and find a scenographic vision which inscribes itself in Arco Renz' universe.  

       

      Fall 2009

      ‘THE ART OF MISUNDERSTANDING’

      workshop by Nicholas Y Galeazzi

      Nicolas Y Galeazzi’s workshop 'The art of misunderstanding' explores the different ways in which artistic research is or can be organized. In a very practical setting, the participants will develop one (room-sized) 'paper' on artistic research, using their own attitudes and methodologies for a more thorough mapping out of the field. The workshop both challenges the imagination of the field of knowledge production, as offering a lot of theoretical texts explorations, introducing artistic examples and opening up a lot of discussions.

       

      Fall 2009

      ‘VENICE BIENNALE’

      journey to art biennale by a.pass 

      The visit of the Venice Biennale is a possibility for a focussed confrontation with the referential current visual arts context. Hybridity and the confrontation of cultures, identities and art languages are at the heart of the festival and the context of a cultural event of that proportion, exposure and 'fame' is in itself an important issue of discussion. Parallel with the Biennale there will be also other major exhibitions in Venice: the opening of  Punta della Dogana Art Museum and In-Finitum in the Palazzo Fortuny. There will be no organized workshop and there will be no fixed itinerary, participants will be free to completely self organize through the four days in Venice.

       

      Fall 2009

      ‘ART AS DOCUMENT / DOCUMENT AS ART - RABIH MROUÉ’

      Two weeks workshop with artist Rabih Mrouéh, in the framework of the RITS research project Art as a document/The document as art. Participants will join in first instance in day-long discussions on central topics within the working field of Mrouéh: what is history, what is fiction? can you create your own history? what is latency? when does your personal history become shared? how to create documents? how do documents function? how can you be your own actor?

      In a second phase, the participants will work with the material in a performative way.

       

      Fall 2009

      ‘ARTIST TALK / MEG STUART’

      Choreographer Meg Stuart discusses her development as an artist, the evolution of her work and how she relates to other art forms than dance. Being very aware of the artistic research context of a.pass, she will elaborated on working processes and tools for collaboration as well as the dramaturgy of her performances. 

       

      Fall 2009

      ‘RADICAL HOPE’

      An hybrid program of reading sessions, discussions with guests and practical interpretation of the concept of Hope, ending by the preparation of a 'hope dinner' in a.pass kitchen.

      'Radical Hope, Ethics in the face of Cultural Devastation', Jonathan Lear

      'Hope, New Philosophies for Change', Mary Zournazi: interview with Brian Massumi and Isabelle Stengers

      Guests : Renée Copraij: choreographer, dancer and curator of Huis aan de Werf, Utrecht and Laurent Liefooghe: architect, performance maker

       

      Fall 2009

      ‘ARTIST TALK / HANS OP DE BEECK’

      Visual artist Hans Op de Beeck discusses his development as an artist, the evolution in his work and how he relates to other arts. Using a lot of visual material from his installations and models and fragments of his videoworks, he will sketch an artistic process and an evolution through trial and error. Also elaborating on the practical circumstances of his life as an artist: economics, reception, education, the relation with critics and galleries and museums, etc..

       

      Fall 2009

      ‘CONTAMINATE THE CITY’

      artistic practices in public space

      For this workshop we will join the workshop program of CIFAS in Brussels. ‘Contaminate the city’ is a workshop on artistic practices in public space, trying out different practices and actions, and gradually developing individual projects within the city.

       

      Fall 2009

      ‘AN HISTORY OF DANCE’

      reading sessions by Katie Verstockt

      Starting with a minimal historical introduction from dance as a ritual to the dance history in Europe (focusing on the act of seeing and the scenographic performativity), dance theoretician Katie Verstockt will discuss mainly the important 20th century movements (Modern Dance, Ausdruckstanz, Ballet Russes, Ballets Suédois, Post Modern Dance, Butoh, Contemporary dance, ...) in their more general cultural context. 

       

      Fall 2009

      ‘BAROKTHEATERS’

      lecture by Timothy De Paepe at Bourla Theater

      Scenography researcher Timothy De Paepe will give a lecture on theatre architecture, stage machinery & scenography in the baroque era 1600-1750 based on his research and reconstruction of theatre buildings and stages out of the area of Antwerp. With an historical introduction on the evolution and social context of theatre and illustrated with an impressive visual documentation, this presentation will a perfect introduction to a visit of the Bourla Theater.

       

      Fall 2009

      ‘THEATRICALITY’

      lecture-workshop by art historian Stijn Bussels around the term ‘theatricality'. 

      Following Collins Dictionary it means ‘of or related to the theatre or dramatic performance’, but also ‘exaggerated and affected in manner or behaviour’. How the theatre is related to society? How the theatre is used as a concept that explains conduct outside the norm? However, this negative connotation is historically determined. In the Renaissance, the metaphor of theatrum mundi became a dominant model to show that society is fashioned by role play and scenario’s. This view, however, was not primarily put in a negative context. There is a clear shift in eighteenth-century thought. In this period, our contemporary use of the term ‘theatrical’ comes into being.

      The lecture will focus on the early modern era. By doing so, it will try to make clear how the theatre is divergently appraised in its representational aspect. The theatre is evaluated as reprehensible deception, but also as revealing deeper truth. This evaluation can be linked with views on historical societies where artificiality is not always predominantly coupled with dishonesty, but with skill and learning. 

       

      Fall 2009

      (IN) VISIBLE 

      workshop-research by Maria Lucia Cruz Correia and Bart Van den Eynde

      "The reality: “The Giant Scenario”? Are we participants in a scenario created by humans? Is our reality a scenario built in real scale? Does the space feel that we are there? Does our existence depend on the space, or is it the space that depends on us?" Starting from the distinction between what is "visible" and what is not the participants are invited to join a research of the city in the city. Together with coordinator Bart Van den Eynde a syllabus is proposed (Simmel on ‘Metropolis’, Debord on ‘Derive’ and Marc Augé on ‘non-places’) and the creation of a context for city walks and consequent mapping and reporting. 

       

       

       

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2009 BLOCK II 01 May 2009
      posted by: Pierre Rubio
    • 01 May 2009
    • 31 July 2009
    • 2009 BLOCK II

       

       

       

      Researchers Participants in the Postgraduate Program

      Alejandro Petrasso
      Ariane Loze
      Constanze Schellow
      Dianne Weller
      Fanny Zaman
      Fien Wauters
      Jozef Wouters
      Julie Pfleiderer
      Kurt Van Overbeke
      Sara Vilardo
      Sungmin Hong                


      Partners

      DeSingel                 
      KunstenFestivaldesArts
      Les Bains
      In Transit festival, Berlin
      WP Zimmer
      PAF (Performance Art Forum, Reims, France)


                        
      Contributors for workshops

      André Lepecki
      Lars Frers & Alexander Schellow
      Lilia Mestre & Els Viaene
      Luc Van den Dries
      Niek Kortekaas
      Romeo Castellucci
      Thomas Crombez
      Vladimir Miller
      Wouter Hillaert


      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout

       

       

       

      04-08 / 05 / 2009

      ‘AROUND ROMEO CASTELLUCCI’

      workshop by De Singel

      In this week we work around the video material of the Tragedia Endogonidia-cycle of Romeo Castellucci. During the first two days we watch the eleven performance and discuss the esthetic choices, and the semiotics of the work. On wednesday we try to build up a 'wunderkammer' on the principles of Castellucci's 'ars combinatoria'. As guests we have that day academic Thomas Crombez and journalist/critic Wouter Hillaert. After that we work two days with Romeo Castellucci and some of his performers on the new trilogy 'The Divine Comedy'. On Sunday the working week results in a colloquium in de Singel with international experts and collaborators of the Rafaello Sanzio-company. 

       

       

      Springtime 2009

      ‘CONCEPT & DESIGN 02’

      coaching by Niek Kortekaas

      Scenographer Niek Kortekaas will coach the a.s participants in the development of a scenography based on King Lear / William Shakespeare. The idea is to take a major work from the world repertoire and develop with a dramaturgical coaching by the coordinator (Bart Van den Eynde) and the scenographic (artistic and technical) guidance of Kortekaas a scenographic design for the big stage.

       

       

      05 / 2009

      ‘RES&REF’ (Residence and Reflection)

      research project by a.pt, KunstenFestivaldesArts and Les Bains

      Res&Ref (Residence and Reflection) is a research project, organized during the international Kunstenfestivaldesarts in Brussels. Three groups of artists reside together in the art center Les Bains (an old bathing house/swimming pool in Brussels): the res&ref-group itself is an international group of (non)-western artists, chosen by the Kunstenfestivaldesarts. The working group 'Art&Humour' is an international group of researchers, working on the theme of the subversitity of humour as an artistic strategy of resistance. The a.pass-group joins in the groups, preparing reading sessions on art and humour, but they can also join the discussions and toolkit sessions. In the evening all participants go and see the same performances at the festival, and after ten days the workshop ends with an informal public showing of the results.

       

       

      Springtime 2009

      ‘ARTIST TALK / VALENTINE KEMPINCK’

      Costume and set designer and visual artist Valentine Kempinck discusses her carrier, development as an artist, the evolution in her work and how she wanders from medium to medium. She discusses her onorthodox vision on theatre costumes and how she sees costume design in relation to the other performance components. Later she will go in details about her latest work: scenographic interventions in the public sphere which reproduce themselves, taking on different meanings through this process of reproduction.

       

       

       

      Springtime 2009

      ‘THEORY SESSIONS / HISTORY OF THEATRE AND SCENOGRAPHY’

      lecture/course by Luc Van den Dries

      In this lecture course Luc Van den Dries discusses the relation between space and theatricality. First he explores historical answers to the tension between theatre and reality. He deals with four prototypical dimensions:

      -theatre as an imitation of reality

      -theatre as a utopian project to reality

      -theatre as playful counterpart to reality

      -theatre as a metaphysical dimension within reality. 

      After scanning (20th century) theatre history related to the questions above, he discusses space-related tendencies in contemporary performing art.  

       

       

      11-21 / 06 / 2009

      ‘IN TRANSIT - BERLIN / SESSIONS WITH ANDRE LEPECKI’

      In preparation for the a.pass Berlin LAB, we read a selection of texts, proposed to us by curator André Lepecki:

      -Fred Moten, The Resistance of the Object (chapter 2 of 'In the Break')

      -Michael Fried, Art and Objecthood

      -Frantz Fanon, Black Skin White Masks

      This first week we will discuss the texts and the post-colonial themes of the festival, and will try to build up a solid base for the upcoming discussions and confrontations. Out of these discussions every one of the participants will develop a personal research project to be fulfilled during the festival.

      Always a central element of ‘In Transit’ festival since its first edition in 2002, the LAB has gone through many formats throughout the years. For this edition, we decided to concentrate the LAB around the offering of a space for all who are interested in gathering, talking, meeting, exchanging, experimenting, asking, provoking, dancing, writing, showing, displaying, performing, teaching, learning, sharing. And more. The LAB’s life and its events will be determined by you.

      The LAB hosts a day meeting, and all LAB participants are expected to attend this day-long gathering (closed to the general public) which specifically addresses projects presented in the festival as points of departure for further and concrete debates on art and politics, as these relate to performance and its effects on creating and thinking today. 

       

       

      29 / 06 – 04 / 07 & 13-27 / 07 / 2009

      ‘WAYS OF SEEING AND FORCED PERSPECTIVES’

      workshop by Vladimir Miller

      Vladimir's workshop is structured in two parts and is aimed at researching the city as a model for spectator involvement in a performance space. Connecting spectatorship and questions of teaching and learning to the city is also a model for the workshop structure itself as a space for knowledge production.

      The first part is centred around of the political aspects of space design and a phenomenological understanding of the spectators experience of space.

      Vladimir Miller uses three key texts (among others): ‘The practice of everyday life’ by de Certeau, Charles Curtis' essay on ‘Incomprehensible space’ and Jacques Rancière ‘The emancipated spectator’.

      To establish an alternative small system of knowledge production for our workshop, the participants build a space of learning and research where everyone is able to produce on her/his own terms. The idea of the city gives a model for this kind of space, which the participants can equally enter and explore.

      The research theme for the city is listening and sound. The question is how to shape space for listening, having in mind a moving listener and spectator. 

      A violinist is invited to create a continuing presence of sound in this city of listening. The space research concentrates around question of shaping the performative space (from a scenographic point of view) around that continuum of sound.

       

       

      07 / 2009 

      ‘SPATIAL RESEARCH & PERFORMANCE ART’

      workshop by Lars Frers & Alexander Schellow

      The workshop of the sociologist Lars Frers and the visual artist Alexander Schellow focuses on strategies and practices of spatial research. The starting point is that any space we can perceive and engage with is already a complex and in itself relational constellation of several aspects. It is a concrete context of a very specific materiality and an embodied spectator. Both are depending on each other. Together they both realise the conditions, that govern the way the/a world is constructed, for instance by directing attention. Or: They draw the borderlines may that be in public space with its everyday-life interactions or in the art-world frame of a theatre which guide, influence and limit our actual abilities to perceive and to act. Because of this impact  on perception and action the question of analysis and intervention is always at the same time a political and aesthetic question both in field research in public space as well as in the use of any artistically framed space like a black box or a white cube. 

       First, we want to discuss some terms and tools of our own research- and intervention-practice in and with spaces/places. We will then question, develop and adapt these terms and tools in the context of the examination, analysis, and shaping of spaces in performance practices. How to question, understand, use and not neglect or cover up spatial structures? Together with the participants of the workshop we want to choose a concrete spatial context (a building, a street, a theatre) and then concentrate on possible frames for practical research. This research should be related to the specific interests and wishes of the participants’ own projects and from their individual practices. The main part of the workshop will focus on doing concrete spatial analyses within a frame and using formats we select together. We will prescribe as little as possible, instead relying on our own perception looking for places of surprises, for modifications of movement patterns, for boredom, excitement and anxiety. Coming together at the end, we will share the singular results and research-experiences.

      Additionally and in parallel, we will offer one-to-one or one-to-two talks about specific spatial ideas and setups of projects and works, where single participants can discuss questions related to their work together with us.

       

       

      07 / 2009 

      ‘SENSE RADIO’

      workshop by Lilia Mestre and Els Viaene

      Sense Radio is a first step in a research project initiated by Lilia Mestre in a.pass research center on the ‘Social-Emotional Body’, (project that would result in the performance ‘Live-In Room’, shown at the WorkSpaceBrussels festival in Brussels in December 2009).

      This workshop is a practical try-out for the participants to set up emotional audio-spaces in the room, using the spatialisation of sound as their main material. 
Each of them is taught how to use audio recording material, how to edit sound, and how to set the sound out on the space, combine it, arrange it.

       

       

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2009 BLOCK I 01 January 2009
      posted by: Pierre Rubio
    • 01 January 2009
    • 31 March 2009
    • 2009 BLOCK I

       

       

      Researchers Participants in the Postgraduate Program
                       
      Ariane Loze
      Constanze Schellow
      Fien Wauters
      Jozef Wouters
      Julie Pfleiderer
      Marcos Simoes
      Michel Yang
      Sungmin Hong


      Partners

      Buda Kortrijk
      University of Ghent
      PAF (Performance Art Forum, Reims, France)


                        
      Contributors for workshops

      Dora Garcia
      Elke Van Campenhout
      Jan Maertens
      Kris Verdonck
      Marianne Van Kerckhove
      Miguel Clara Vasconcelos
      Peter Stamer
      Stefan Heinrich
      Tine Van Aerschot
      Tom Plischke-Kattrin Deufert
      Yosi Wanunu

       


      Coordinator a.pass

      Elke van Campenhout

       

       

       

      The block is curated by Elke van Campenhout (a.pass coordinator)

      26 / 01 – 06 / 02  / 2009

      ‘VIDEO STORYTELLING AND EDITING’

      workshop by Miguel Clara Vasconcelos

      The workshop aims at setting up a film shooting and editing process out of the personal stories of the participants. Every participant constructs a personal story (out of objects, memories and scars) and throughout the first week re-constructs this story into a workable film script. During this first week Miguel Clara Vasconcelos will also provide film excerpts and examples and will go deeper into the theoretical approach of script writing and editing.

      In the second week, the participants will work on a collaborative shooting and editing of one collective script, assembled out of the different stories. 

       

       

      02  / 2009

      ‘LIGHT & DESIGN’

      workshop by Jan Maertens

      In his workshop on light design Jan Maertens will sketch out the light designer’s tools, reviewing the technical light equipment of a theatre. He tackles the ‘functionality’ of light design as part of the scenic environment and then focuses on light design as an independent co-actor in the artistic process. The workshop consists of three sections : a general introduction, from the principles of visual perception and light as a medium to the toolbox the theatre provides for the light designer, and a reflection on the position of the light designer as an artistic player in the multimedia performance field. Secondly, the participants have a close view on the development of a light design with all possible practicalities and artistic discussions in the concrete context of the working process for Meg Stuart’s creation 2009. Third, there will be a photo shoot of the light design for ‘Maybe Forever’ with photographer David Berger : a try-out on the documentation and archiving of light design.

       

       

      02  / 2009

      ‘CONCEPT & DESIGN 01’

      coaching by Stefan Heinrich

      Scenographer Stefan Heinrich coaches the program participants in the development of a scenography based on a personal fascination, for Fien Wauters ‘Hercules 2 or the Hydra’ (a text by Heiner Muller) and for Jozef Wouters ‘Encounters at the End of the World’ (a documentary by Werner Herzog). The idea is to take this personal relation as a motor for a scenography without interference of a director's concept, dramaturgy, historical context,... For Heinrich the translation of a first fascination into a coherent story and concept and the technical development of the stage design (for a concrete theatre space) are the axes of the workshop. 

       

       

       

      16-20 / 02 / 2009  

      ‘LOW TECH PERFORMANCE / COLLABORATION AT A DISTANCE’

      workshop by Dora Garcia

      The workshop proposes to research strategies and contents that need nothing but a performer to create the work. Specific attention is given to keywords such as audience, duration, visibility, infiltration, subversion and commitment.

      The workshop starts out of mutual interest, discussion, and information. In the first days, Dora Garcia gives a short presentation of her work and adds some "affinities" with other artists that she feels close to. Then the group discusses the concept of the workshop, "LOW TECH performances". The title, ‘LOW TECH’ refers to a type of performance stressing the content over the appearance, disliking complicated scenographies and props, rethinking conventions such as audience, stage, backstage, duration, character-playing, and using the technology that is available to everybody. 

       

       

      02-06 / 03 / 2009

      ‘CONSEQUENCES’

      workshop by Tom Plischke & Kattrin Deufert

      The most important element of our working process is writing and transference. It allows all participants to work in silence and not to be bothered by producibility. The constant passing on of written material and the permanent reformulating, contextualizing, expanding, and reflecting of the written material serve as a basis for the creation and composition of movements, texts, sounds, or images. But within this procedure all realizations are based on  temporary decisions depending from the material that is handed over from the other and not because the medium of realization is chosen beforehand. Our working procedure could best fit into the motto: ‘Give me your material and I show you what you're not doing with it’.

      Sourcing the creation-act out and rendering oneself into the pendency of writing instead permits a disciplined work in silence, in which each participant and partner can raise her/his voice on the paper independently from its volume or the amount and position of knowledge. Participation starts with a conspiracy of partaking, and not by the self-positioning of the speaker. With (Re)formulating we describe a process that can enable a discourse in silence, in the writing with each other. The place of the individual argument, the singular voice is taken by an instance of polyphony, similar to the Cadavre Exquis, which is a game that was invented by Surrealists in 1925. It is quite similar to an old english parlor game called Consequences in which players write in turn on a sheet of paper, fold it to conceal part of the writing, and then pass it to the next player for a further contribution. Unlike the surrealists, we don't hide what has been written previously. For us it is a downright challenge to deal with the input of the others and to come into thinking with it, to expand ideas and suggestions, to combine sketches, to suggest a possible proceeding. It is only very late in the working procedure that we ask about the medium in which this material is to be realized. In this sense, the medium becomes a part in the decision-making, in the claim of form (or format). It is not set a priori and thus has to be in reference, translation, transference to the material: it has to be a decision and not a choice.
 Because of this it is fundamental in this principle of formal strictness to take the responsibility of one's decisions and to constantly confront the other with claims in order to develop a communication, a circulation and production in the community of strangers. (Re)formulating should enable everybody to partake in the process. Just as in knitting from a single thread (the shared theme) and a knitting pattern (the permanent passing on), a complex texture evolves that formulates a possible work.

       

       

      01-30 / 04 / 2009

      ‘TOOLS FOR TRANSDISCIPLINARITY : DRAMATURGY IN REAL-TIME’

      workshop by a.pass

      This workshop is open for three different groups of participants:

      -aspiring dramaturges from the Theatre Sciences department of the university of Ghent and Antwerp


      -scenographers/sound designers/light designers

      
-'professional' dramaturges with the artists they regularly work with.

       

      The mentors of the project are:

      theatre maker Kris Verdonck

      dramaturg Marianne Van Kerckhove

      theatre maker Tine Van Aerschot

      dramaturg Elke Van Campenhout

      theatre maker: Yosi Wanunu (Toxic Dreams)

      dramaturg: Peter Stamer

       

      In de Buda Tacktoren, we form sub-groups of one artist/dramaturg, one scenographer/../.., and one aspiring dramaturge, each one occupying one studio of the Tacktoren.

      In preparation every one of the participants will receive the initial idea, or starting point (a text, a choreographic phrase, a political issue, a question), from the prof. team. Starting from this basic material they will already come to the workshop weaponed with some initial ideas, images, related texts etcetera,... (which we can call 'mood boards), to start the discussion. During the first week, the participants will discuss and work out ideas with the artist in question, and get feedback from the prof. dramaturge in the evening. Scenographers work on scenographic proposals, but work also closely together with the aspirant dramaturges, and the other way around.
 Every day they share their results with the rest of the group. At the end of the week, we will decide where every project is going to lead to: a short performance, an exhibition of drawings, ideas, concepts, a discussion...
In the second week, the results will be shared with the public. a.pass will provide the necessary contextualization of the project to communicate its status to the public.

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2008 BLOCK III 01 September 2008
      posted by: Pierre Rubio
    • 01 September 2008
    • 31 December 2008
    • 2008 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Ariane Loze
      Bruno Stappaerts
      Christophe Engels
      Constanze Schellow
      Gable Roelofsen
      Hanne Jacobs
      Karolien De Schepper
      Kim Lien Desault
      Klaas Devos
      Lieselot Jansen
      Lore Rabaut
      Luk Sips
      Marcos Simoes
      Michel Yang
      Sara Manente
      Sungmin Hong
      Vick Verachtert

       

      Partners

      LOPITAL, Antwerpen
      PAF (Performance Art Forum, Reims, France)

       

      Collaborators for workshops

      Alessandra Bergmaschi (Brazil)

      Sandra Noeth (Germany)

      Tristan Honsinger (Germany)

       

      Coordinator a.pass

      Elke van Campenhout

       

       

       

      The block is curated by Elke van Campenhout and the researchers participants

       

      24-25 / 09/ 2008

      ‘(RE)CHANNELLING THE SINGULAR’

      (The solo in contemporary dance and performance)

      self-organised seminar by Kim Lien Desault and Sandra Noeth, University of Hamburg, Research Department, Performance Studies

      Two days of theory following the doctoral research of Sandra Noeth about the philosophical and historical significance of the solo in dance.

      Sandra Noeth and Kim Lien Desault invite the participants to ‘think’ the dance solo as an object of knowledge production.

       

       

      01-08 / 10 / 2008

      ‘PEACE PROJECT’

      self-organised project by Gable Roelofsen.

      The participants take part in the Peace Conference "Utopia or Distopia', organized by the philosophy department of the “Technische Universiteit” in Berlin. While they develop their own artistic researches to open  perspectives on the ‘question of peace' and ‘what peace can mean in a contemporary society today’, the projects are archived and exhibited at the gallery Arttransponder.

      The PEACE Project stands for the development of personal projects and of multiple collaborations between participants.

      'Mount Berlin', the 'Peace Walk’ through Berlin and the 'Sleep Inn' (a sleep-in initiative for the exchange of narrative) constitute the core of the research.

       

       

       

      09-10 / 10 / 2008

      ‘AROUND ALESSANDRA BERGMASCHI’

      meeting and working with Alessandra Bergmaschi

      self-organised and curated by Sara Manente

      Alessandra Bergmaschi, a Brazilian photographer, and artist-researcher Sara Manente develop the project "Democratic Forest”.

      who uses the camera?

      who do you want to bring into the picture?

      in what way?

      what do you communicate?

      Sessions alternate between presentation of Alessandra Bergmaschi’s work, documentary films screenings and texts readings.

       

       

       

      03-07 / 11 / 2008

      ‘TRANSDISCIPLINARY IMPROVISATION’

      self-organised workshop by Tristan Honsinger

      curated by Kim Lien Desault

      A group including dancers, actors, musicians and visual artists will work together on free jazz improvisation techniques to come to a common understanding of impro-building and group balance in transdisciplinary improvisation situations.

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2008 BLOCK II 01 May 2008
      posted by: Pierre Rubio
    • 01 May 2008
    • 31 July 2008
    • 2008 BLOCK II

       

       

      Researchers Participants in the Postgraduate Program

      Bruno Stappaerts
      Christophe Engels
      Gable Roelofsen
      Hanne Jacobs
      Karolien De Schepper
      Kim Lien Desault
      Klaas Devos
      Lieselot Jansen
      Lore Rabaut
      Luk Sips
      Marcos Simoes
      Michel Yang
      Sara Manente
      Vick Verachtert

        
      Partners

      Les Bains          
      KunstenFestivaldesArts
      In Transit @ Haus der Kulturen der Welt (Berlin)
      Conflict Room (Antwerpen)

       

      Contributors for workshops

      Andre Lepecki

      Davis Freeman

      Lilia Mestre

       

      Coordinator a.pass

      Elke van Campenhout   

       

       

       

      The block is curated by Lilia Mestre

       

       

      08-10 / 05 / 2008

      ‘SOME POLITICAL DANCE’

      workshop by Davis Freeman

      In the framework of the project 'Some Political Art', curated by choreographer Lilia Mestre in Les Bains (Brussels), the creation of a solo performance is proposed to the participants under the direction of theater maker Davis Freeman (U.S.A.).

      The participants are asked to develop a five minutes performance out of their relation with politics and/or political art and to create a video out of it. They are also asked to formulate a short text out of that position. The resulting films and texts will be used in the video installation 'Some Political Dance' by Davis Freeman.

       

       

       

      21-31 / 05 / 2008

      ‘RES & REF’ (Residence and Reflection)

      by Elke Van Campenhout and Lilia Mestre

      KunstenFestivaldesArts each year invites a group of fifteen international artists to view the festival performances, to discuss, to bring in opinions and exchange. This year, Elke Van Campenhout will expand with two other groups the ‘res & ref’ project: the a.pt-participants will join as well the group 'some political art’ around Lilia Mestre, curator of Les Bains Connective in Brussels..

      All three groups (a total of thirty artists from different disciplines) will reside for ten days in Les Bains. In addition to the discussions there will be public 'reading sessions' organized by the a.pt-participants on 'The Art of Over-Identification'.

       

       

       

       

      11-16 / 06 / 2008

      ‘IN TRANSIT’

      guidance by Andre Lepecki (U.S., curator of the festival ‘In Transit’)

      In-Transit festival focuses on postcolonial related issues. The program is exceptional, to the extent that it creates, in a challenging intellectual framework, a visibility to artists who are not often seen in Europe.

      Andre Lepecki will guide the a.pass participants through the festival. For this he will provide in advance a reader of texts on postcolonial theory and contemporary performance.

       

       

       

       

      23 / 06 - 04 / 07 / 2008

      ‘INTERFACE FICTIONS’

      workshop by Lilia Mestre

      The showcase project "Interface Fictions" will develop in the temporary gallery space Conflict Room in Borgerhout, on the busy Turnhoutselaan in Antwerpen. The project will use the transparent, yet persistent partition of a former shop vitrine to explore relationships between private and public spaces.

      The a.pass participants will reside for a week in the vitrine room and will experiment with forms of (in) visibility, intimacy and (mis)communication between them and the outside world. The recurring daily passersby will face their practices, which will simultaneously function as a reverse ring and an invitation, and at times, will also transgress outside the limits of the shop to the streets.

      This experimental project researches the 'relational' mapping between art practice, everyday life and community.

       

       

       

       

       

       

       

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2008 BLOCK I 01 January 2008
      posted by: Pierre Rubio
    • 01 January 2008
    • 31 March 2008
    • 2008 BLOCK I

       

      -Researchers Participants in the Postgraduate Program

      Bruno Stappaerts
      Christophe Engels
      Gable Roelofsen
      Hanne Jacobs
      Karolien De Schepper
      Kim Lien Desault
      Klaas Devos
      Lieselot Jansen
      Lore Rabaut
      Luk Sips
      Sara Manente
      Vick Verachtert

       

       

      -Partners

      Beursschouwburg / Bettina Knaup - festival ‘Performing Proximities’
      UA University of Antwerpen
      Troubleyn
      PAF (Performing Arts Forum, Reims)
      TkH (Walking Theory, Belgrade)
      TQW (TanzQuartier Wien)

       


      -Contributors for workshops

      Constant vzw ( Rogerio Liro / Simon Yuill / Kirstie Stansfield / Laurence Rassel / Peter Westenberg / Wendy Van Wynsberghe)

      Heather Kravas / Antonija Livingstone

      Peter Stamer / Philippe Riera

       


      -Coordinator a.pass

      Elke van Campenhout

       

       

      The block is curated by Elke van Campengout (Coordinator a.pass)

       

       

      Program #1 in collaboration with Constant vzw

       

      http://ospublish.constantvzw.org/mutual/?article377

      http://ospublish.constantvzw.org/mutual/spip.php?mot150

       

      21-15 / 01 / 2008

      ‘PERFORMATIVE RECORDINGS, BROWSING THE CITY’

      workshop by Constant vzw (Brussels)

      Day 1: We will walk the city of Antwerp. Attached to our feet will be low tech recording devices. Through them, we observe us making contact with the surfaces of the city. The regions of impact beneath the soles of our shoes, touching the sleeves of our coat, entering our field of vision produce an image of our physical presence. In a group we will explore different surroundings (busy street, shopping mall, open space... ) and make collective audio-visual collages. The devices we carry will function as our ears and eyes, they act as audio-visual mediators. At the end of the day we will use this material to make a festive audio-visual mix.

      Day 2: We will publish the video and audio we will have collected online. This involves selecting fragments, make a simple montage, install and dress up a weblog, upload the audio and video, describe the material. We will use free software and operating systems and think about alternatives for copyright by applying permissive licenses.

       

       

      28-31 / 01 / 2008

      ‘MODULATING SENSORY INPUT: OBJECTS AND SPACES STRATEGIES’

      workshop by Rogerio Liro

      In today's society we face in increasing degree of technological tools for communication: phone, email, text messaging, internet data generated oriented person. These instruments gain influence and determine already greatly our personal lives. The growth of these media seems endless. But our reserves of energy and attention is finite although we tend to test its limits. These technological opportunities for interaction show as well their own borders.

      How these instruments affect our perception of space and of our social needs? How do they redefine the boundary between ourselves and the world that surrounds us? What is the nature of this limit and how liquid is that? Do we always know when the saturation point is reached?

      In practice, particular attention will be paid to the work of Lygia Clark as therapeutic art practice, and the workshop will result in the construction of a new model for the use of a.pass workspaces.

      http://ospublish.constantvzw.org/mutual/spip.php?article353

       

       

      29-31 / 01 / 2008

      ‘PERFORMING PROXIMITIES : SWEETNESS AND FEAR AMONG FRIENDS AND STRANGERS’

      (SWAP MEAT AND MALE BREAST FEEDING)

      workshop by Heather Kravas (U.S.) and Antonija Livingstone (SE / CA)

      Choreographers Antonija Livingstone and Heather Kravas already worked a long time together, and will try to share their choreographic practices. In particular, they will work with the participants on two motion systems that simultaneously construct and deconstruct an image. The workshop revolves around the development of intimacy in a performance situation.

      The workshop takes place during the ‘Performing Proximities' festival, curated by Bettina Knaup at the Beursschouwburg in Brussels. This festival focuses on notions of hospitality, intimacy and confrontation, both in terms of programming formats and in relation to artistic work and research.

      http://ospublish.constantvzw.org/mutual/spip.php?article368

       

       

      11-17 / 02 / 2008

      ‘OBJECT SCORE NOTATION’

      workshop by Simon Yuill (software developer) and Kirstie Stansfield (artist)

      This workshop looks for the potentiality of softwares as tools to create notation of performance.

      The starting point is the development of a notation system for everyday objects, movements, and gestures capture. For this, the physical space (the dance floor) is used as notation canvas shared by/in a collective authorship.

      http://ospublish.constantvzw.org/mutual/spip.php?article369

       

       

       

      Program #2 by a.pass in collaboration with the Antwerpen Master in Theater Studies

       

      18  / 02 - 20 / 03 / 2008

      ‘DRAMA QUEENS’

      workshop by Peter Stamer and Philippe Riera

      This long-term project will develop in several phases, including the development of a performance with the master students Theatre Studies of the University of Antwerp.

      Peter Stamer initially will work with the participants around the basic principles of the therapeutic practice 'family constellations', where participants act as representatives of characters involved in the therapeutic needs of the client. The theatrical aspect of family constellations (volunteers take the 'role' of the father, mother, daughter or lover of the client, and are placed in the room to promote in this way the relationship between these key players), is the starting point for testing out this methodology as a tool in performance creation. The participants will work around these principles in the creation of improvisational moments of singing, wordless, dramatic or choreographic constellations.

      Secondarily Peter Stamer will work with about 20 students of the master Theatre Studies at UA and apass participants will become their coaches.

      One of the working week will focus on the contribution of choreographer Philippe Riera. He will work, inspired by his experience with the collective Superamas, with students around notions of fake / real and film editing esthetics principles in performance.

       

       

      Research laboratory

       

      28-29 / 03 / 2008

      ‘PRINCIPLES AND METHODOLOGIES OF AUTO-EDUCATION’

      research laboratory curated by a.pass, PAF (Performing Arts Forum, Reims), TkH (Walking Theory, Belgrade) and TQW (Tanz Quartier Wien).

       





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