Read the full PDF HERE
Documenting, archiving, and publishing are intrinsic to the ongoing practices of a.pass. They are seen as research tools that enable critical reflections through their exposure of artistic research processes. The program seeks to find public formats or outlets for research in the course of its ongoing development, and facilitates an understanding of the politics of such processes.
With these concepts in mind, the a.pass Research Center (RC) began a new program in 2018 that hosts six Associate Researchers in cycles of one year as a platform for exchange in artistic research. Cycle I hosted Isabel Burr Raty, Adrijana Gvozdenović, Antye Guenther, Sara Manente, Rob Ritzen and Sina Seifee. They contributed to the platform through concerns, concepts and “ways of doing” inherent to their practices.
PDF of the ANNEX you can read HERE
ROT is a publication reflecting the research “Wicked technology/Wild fermentation,” by Sara Manente that focuses on forms and practice of fermentation as ways to rethink bodies and their making. This glossy magazine performs research, aiming to infect the reader, and questioning how to spread, publish, and help the work survive.
Sara Manente is a performance artist, dance maker and researcher born in Italy and living in Brussels. She is interested in narrowing the distance between the performer, the audience, and the work. Her research starts from a dance practice that problematizes perception, translation, and ways of doing. Her work comes out in hybrid forms: book launch, 3Dfilm, written text, interview, choreographic piece, workshop, telepathic experience, collaboration, et al.
FORMS OF LIFE OF FORMS brings artistic research into form – not merely as an aesthetic question but as a social and political one. Indeed, there are no politics without form! With Forms of Life, Rob Ritzen curated several “Moments” that assembled works, collective readings, and other references into a single installa- tion. This publication reshuffles documentation of these “Moments” as a visual reflection of the trajectory of this research.
Rob Ritzen works as a curator with a background in philosophy. His curatorial practice is focusing on self-organized and cooperative formats. Consciously positioned at the margins of established institutions and outside of market-oriented spaces, his practice is placed in close association with communities of cultural practitioners. His initiatives are attempts to reconfigure the politics of making art and alternative forms of production and presentation.
ZOOLOGICAL VANDALISM by Sina Seifee in collaboration with editor Renan Lauran and designer Foad Farahani, is immersion in the compiling and composing of Seifee’s notes on medieval bestiaries, and placing them in sequential order. It is the first chapter of a series that creates context and opens small descriptive steps towards (what Latour might call) “knowing interestingly” about bestiaries. It is a speculative adventure in bio-techno tales and old styles of knowing. As an “ecology of obligation” with Iranian sensuality and its ardent materiality, somewhere in the menagerie of found and feral animal videos on Whatsapp and Telegram, is Seifee’s undisciplined grounding in visual crafts.
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 MA in Media Arts in KHM Cologne. In 2017 he finished an advanced research program in performance studies in a.pass.
NEOCORTEX is a textile poster publication. It can be used as a head or neck scarf, a hairband, a veil, a belt, a table cloth, an arm sling, a disguise in political demonstrations, a laboratory sieve, or a tool for receiving and transmitting alien thoughts. This scarf is the second materialization of ongoing research on neuroscientific visualization practices and questionable conceptualizations of our brains. Referring to the current trend in the scientific community to print posters on textiles rather than on paper, it combines reconstructed MRI data of the artist’s brain with various text fragments from science and science fiction.
Antye Guenther is a visual artist and artist-researcher, born and raised in Eastern Germany. Drawing from her background in medicine, photography, and in the military, her artistic practice treats themes like (non)biological intelligence and supercomputing, scientific representations of cognitive processes and mind control, body perception in techno-capitalist societies and fictionality of science. Guenther studied at the art academies of Leipzig and Karlsruhe, and at the Jan van Eyck Academie in Maastricht. In 2019 she received the first Mingler Scholarship for Art and Science.
www.archivingartisticanxieties.me by Adrijana Gvozdenović in collaboration with Sina Seifee, Pia Louwerens, Kristina Gvozdenović and Goda Palekaite, 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.
BEAUTY KIT – AN ECO-EROGENOUS ART PROJECT by Isabel Burr Raty with contributions by Kristin Rogghe, Elke Van Campenhout, Gosie Vervloessem, Pablo Diartinez and Tim Vets, is an experimental catalog summarizing Isabel Burr Raty’s research on conceptualizing and manufacturing eco-erogenous para-pharmaceutical products. It tells the story of the BKFF, a mobile farm where she and other females harvest their orgasmic juices to produce beauty bio-products, used for treatments in the BK Spa, critically discussed in the BK Focus Group and moving forward into becoming a village, where every-body harvests each other. The catalog comes with contributing text, “Harvesting bodies – The Farm as Paradox” by Elle/Elke Van Campenhout, and other reflections on the project.
Isabel Burr Raty is a Belgian-Chilean artist, filmmaker, and Media Art History teacher in ERG (École de Recherche Graphique), living between Brussels and Amsterdam. She is currently developing her second feature film, about the colonial impact on Easter Island, and creating live art and new media installations that queer production understandings, such as the Beauty Kit Project. Her works have been shown internationally.
As a way to register our process during the Parallel Parasite, three weeks residency of the a.pass Research Center at SZenne ArtLab, we filmed and recorded all the public encounters. These encounters had different formats and subjects, from socratic dialogue to classic lecture, recorded interview, and mediated discussion passing through a drumming concert with after talk. The audio-visual recordings of all these moments were collected in timeline of 23 hours. No editing was added. Sina Seifee created an interface on top of the video that allows to complement it with other collected materials and to add continuously a-posteriori reflections. Viewers can scroll through and find points of interest. We followed the anarchive* guidelines of SensLab to proceed with our investigation. For more information about the website's design visit this link.
a.pass is constantly questioning the positionality and share-ability of what is learned and interrogating the political implications of the research practices. In response to those problematics, the proposition of Parallel Parasite Residency was to dislocate the Research Center to a semi-public environment and to locate it temporarily in a gallery space, one of the per-se spaces for the exhibition. The question that was driving this movement (from the inside to the outside) was: can the a.pass RC in dis-location generate an open hub for the study of some of its practices? Can this movement instigate other forms of share-ability, publishing and access, which are informal and porous? We wanted to address the agency of such publicness and to give focus to critical doing and the critical thinking in artistic research and to which forms of sociability it generates.
Parallel Parasite was a three week residency of the a.pass Research Center curated by Lilia Mestre with Adva Zakai and Erin Manning as special guests.
RRadio Triton is an intentionally hybridised dispositive, operating within a grey zone between archiving, documenting, publishing, performing and broadcasting. Different modes of relating to the past events are called for, and these modes determine different definitions of the very nature of present time, future outlook, and of what an archive can be. The diverse audio objects it produces all relate to the politics of imagination and speculation, here envisaged as cultural and ecological instruments operative on the real.
RRadio Triton is supported by a.pass (advanced performance and scenography studies - platform for artistic research), a young institute for artistic research based in Brussels, that currently reflects on experimental modes of documenting, archiving, publishing and sharing. These modes try to mirror the institute’s criticality, its singular modes of operation, agonistic environment and ongoing reformulation of tools, practices and research. Moreover, the institute is concerned with a complex equation: how to develop a specific attitude towards archiving and dissemination that combines both a critique of the usual institutional ‘archival reason’ and the production of readable (structured) ‘forms of knowledge’? Or, in other words, how to avoid and/or assume commodification, reification and authority while documenting and publishing polymorph artistic research practices and discourses? Ultimately a.pass engages with documenting, archiving and disseminating independent and experimental artistic research practices to produce an ecology of text critique and to find inventive modes of co-operation and fair technological practices interlacing politically in ways that are non-innocent and the least toxic as possible.
The project RRadio Triton is one of the many current expressions of this endeavor.
Nourished by its participants, RRadio Triton is an after effect of the artistic research seminar named Trouble on Radio Triton ((((((( changing (the) world (s) )))))) that was held in Brussels between January and April 2017 curated and organised by Pierre Rubio within the institution a.pass. The seminar gathered artists-researchers, lecturers, cultural workers and curators around the thorny problem of the relations between imagination and political agency and was concerned with issues addressing the potential (in)capacity of art in general to produce actual social changes and the (im)possible contribution of art to collective empowerment by means of artistic imagination and fictional speculation. Among other research topics, the seminar at large focused on a few main transversal questions : Do you -as artists- through your research contribute to changes in contemporary culture? And if so, what are the cultures generated by your research? Which alternative worlds does your artistic research/practice contain? What is the operative link between your artistic research and the future?
A full list of involved practices and participants in the seminar includes: +++The artists-researchers who participated in the seminar with their projects, ideas and practices as Aela Royer, Luiza Crosman, Sina Seifee, Zoumana Meite, Sana Ghobbeh, Sven Dehens, Marialena Marouda, Ekaterina Kaplunova, Juan Duque, Esta Matkovic, Seba Hendrickx, Pierre Rubio, Eunkyung Jeong, Lili M. Rampre and Esther Rodriguez Barbero. +++ Lectures and reading sessions with Sol Archer, Peggy Pierrot, Edward George, Laurence Rassel, Fabrizio Terranova, Sina Seifee, Seba Hendrickx, Michiel Vandevelde, Wouter De Raeve, Marialena Marouda and Caroline Godart. +++ Workshops and ateliers with Myriam Van Imschoot, Alice Chauchat, Helena Dietrich and Christian Hansen that intersected sound art, speculative embodiment and worlding. +++ Theoretical references on speculative fiction with Suvin’s Cognitive Estrangement, Goodman and Eshun’s Afrofuturisms, Gilroy’s Black Atlantic identity politics, Le Guin’s feminist and anarchist science fiction, Donna Haraway's notion of the tentacular, situated knowledges and reparative strategies, Accelerationism, and Benjamin’s theory of language as magic. +++ Screenings revisiting SF cinema curated and hosted by Ekaterina Kaplunova and Sven Dehens.+++ Inputs by the seminar mentors Veridiana Zurita, Kristien Van den Brande, Peggy Pierrot and Caroline Godart.
Not merely archiving, rather activating a labor-intensive work of memory elaborated by the notion of radio as an instrument operative on the real, the RRadio Triton project is a compost of all these contributions and their transformation in the present time. The broadcasting agenda of the RRadio Triton to come will be structured around by three kind of shows. Three main programs. Three playlists. The first consists of multiple forms of interviews with the numerous actors of the seminar. The second of more or less fictional experimental sound pieces produced with or by the seminar’s participants. The third being a series of edits of the lectures, reading sessions and workshops that were part of the theoretical/practice based body of the seminar. The radio will be online soon on a digital interface that will assemble in an elegant and complex way all the “pieces” and will perform live in different contexts different kind of broadcasts in collaboration with different institutions/hosts. . Determining fluidly the critical nature of the fictional radio and within its intentionally heterogeneous and plastic landscape, all the RRadio Triton 'pieces' will collectively activate different types of issues engaging the problems of the operativity of speculative fiction and of, at large, political art. But not only.
The audio publication RRadio Triton is the outcome of the voluntary contributions of all the actors of the 2017 seminar and their recomposition in the present time. RRadio Triton is an a.pass production initiated, curated and hosted by Pierre Rubio, and is technically, artistically and dramaturgically supported by Christian Hansen and Sina Seifee.
A beta version of RRadio Triton audio publication here
A comprehensive presentation of the 2017 seminar here .
price: 2 euro
More information here.
price: 8 euro
More information here.
BUBBLE SCORE – The Relation between Performance and Writing is the third book of the ScoreScapes publications series. The book contains texts by a.pass researchers, collages as well as Scores for the Reader inserted at the back of the book.
price: 10 euro
This publication by the a.pass research centre was created for the Bubble Score practice proposed by associate program curator Lilia Mestre in Block I/2016
The book is designed by Miriam Hempel http://www.daretoknow.co.uk/
CLEAN ROOM is the name of a performance project created by Juan Domínguez and several collaborators that was developed as a three-season series with six episodes in each season. Its name refers to a spotless space, with low levels of external pollutants and controlled environmental parameters that guarantee minimum interferences in the developments of experiments.
price: 16 euro
DIRTY ROOM is CLEAN ROOM against the light, the negative of CLEAN ROOM, a collection of outlines, notes, ideas, reflections, photographic materials, maps, manifestos, fragments from diaries, transcriptions of conversations, interviews, email exchanges, memoirs, memories and scripts, among other documents from the working and research process that led to CLEAN ROOM. Through this book we invite you to enter the labyrinth of this long and multifaceted process, which had followed simultaneously different directions, moved by different concerns.
Juan Domínguez, a maker and organizer within the fields of choreography and performing arts; and Victoria Pérez-Royo, performing arts researcher.
Luiza Crosman (BR), Juan Duque (CO), Sana Ghobbeh (IR), Sébastien Hendrickx (BE) and Aela Royer (FR) reflect in their stories, statements and scores on their one year research cycle at a.pass in this publication.
price: 2 euro
This publication was part of the end communication HEARSAY at grelight projects 23/24/25 may 2017 at GREYLIGHT projects. .
The Therapy Sessions, a performance piece in four parts exploring the emotional role of a bureaucrat using a video, a screenplay, an audio file and a collection of illustrations.The Therapy Sessions involves three characters, which are investigating patterns of bureaucratic behaviour, the compromising bureaucrat, the facilitating therapist and the classifying analyst.
price: 5 euro
Designed by Miriam Hempel http://www.daretoknow.co.uk
The book Perform Back Score is the result of 3 months of performed, sketched and written dialogue produced within a group of artistic researchers, each plunging into a study about the Conditions for the Emergence of Poetics. Poetics used here as ‘acts’ that transform our ways of perceiving, as situations that invite another understanding of ‘things’.
price: 10 euro
The book documents the process in three parts of different formats: a chronological and a reflective part as well as unfolding, visual interpretation of the dialogue.
This publication by the a.pass research centre was created from the Perform Back Score practice proposed by associate program curator Lilia Mestre during the a.pass block January – April 2015. a.pass, is a post-master artistic research environment based in Brussels, Belgium.
The book is designed by Miriam Hempel http://www.daretoknow.co.uk/
In the frame of Aleppo‘s research project ‘Back to the Order’, six artistic researchers of a.pass will discuss, perform, exhibit and share their different takes on notions of ‘order’ and its simultaneous resonances of ease and discomfort, of political rigidity and potential, of aesthetic boredom and political reconsideration. Samah Hijawi, Philippine Hoegen, Cecilia Molano, Sara Santos, Gosie Vervloessem and Veridiana Zurita were exploring the shifting territories of an order to be reconstructed, a.pass proposes ‘volver’ as an incentive to become involved, to revolve around recurring and shared interests, to recompose history in the aftermaths of an imploded revolution.
This brochure contains texts and interviews by the presenting participants and the other contributors of the VOLVER conference that took place on the 29th and 30th of May 2015. Performances, film screenings, installations workshops were presented to share in the artistic research processes that participans followed during their year at a.pass, alongside with lectures and presentations by the guests of the researchers: Patricia Reed, Gonçalo Pena and Petra van Brabant.
You can read the PDF of the full publication HERE
More information here.
Here you find the publication that was made for the presentation of the research of associate researcher Veridiana Zurita:
Edited by Elke Van Campenhout, Lilia Mestre
Texts by Alexandre LePetit, Lilia Mestre, Flora Pilet, Veridiana Zurita, Mischa Twitchin, Michiel Reynaert, Elke Van Campenhout and others.
To be published in autumn 2015.
This book explores the position of the object in contemporary performance.
What happens when the object is no longer dealt with as a reference point in the multi-layered language of theatre? What if the object takes centre stage, or even better, becomes the stage itself? Who is the spectator the moment you become aware of IT staring back at you?
The texts and images in this book refer to the works of performance makers Lilia Mestre, Joanna Bailie & Christoph Ragg, Laurent Liefooghe and Sanja Mitrovic. This publication contains texts by André Lepecki, Elke Van Campenhout, Christophe Van Gerrewey and Nele Wynants.
If you wanted to come up with a language that could be understood by anyone, and that allows for different ways to adapt to the situation, but that still speaks about what concerns us all, the Tarot is the way to go. The Tarot is an ancient method to gain insight into your current situation. It is a way to bring different aspects of your life together, and relate them to an outside world that sometimes appears hostile or unconcerned by your sorrows or doubts. With the Tarot of Hope, Bureau d’Espoir tries to get a grip on our current situation.
The journey through the Majors
In the Major Arcana, Hope gets born out of chaos: a miserable situation of economic crisis, emotional instability and institutional failure. But walking the journey of Hope from these miserable beginnings towards its realization in Utopia, opens up small pockets of change with every step. Things never are what they seem in this game. Every card has a good and a bad side, a way to progress and a warning against inertia. The Major Arcana of Hope contains 22 cards, starting with the zero point of hope in its namesake card, and then evolving through two series of ten, before arriving at the card that is both the end and a new beginning: Utopia.
The first series of ten cards explore the earthly sides of Hope, and bring insight into the emotions, the material attachments, the rational powers and the sexual and subconscious drives that give rise to our actions and imagination. The last card of the first series of ten is called Breath and this a card that both closes the door on this first earthly cycle, as well as opening the door to a second part of the journey. Though darker this time, full of doubt and crisis, imploring the reader to leave behind his identity, his beliefs, and his certainties, this second cycle has a more profound and even spiritual charge to it, and emphasizes the interconnectedness between the individual and the world she inhabits. But in this Tarot arriving in Utopia is not an end point, only another turn-around moment, in order to restart the quest on the next level.
price: 25 euro
What is the relation between the researcher and his research, between the artist and the world, between the body and the body of work? Today’s ideology of contemporary arts condemns the narcissism of the artist-genius as as an old-fashioned marketing strategy that affirms rather than critiques the status quo.
price: 2 euro
But nobody probably doubts that the quality of an artistic research is largely dependent on the individual desire of the researcher, on the spark of necessity that turn mere research data into a work of genuine reflection. In an invitation that has the power to instigate interest and a dialogue that extends beyond the safe limits of the research environment.
In this booklet we look into the work of five artist researchers: Daniel Kok, Gaja Karolczak, Julia Clever, Carolina Goradesky and Maité Liébana Vena. In their (very diverse) cases, each of them explores a possible strategy to deal with the ‘I’ of the researcher: as a ‘problem’ to address the needs of the European community and rethink the public as a simultaneous singular and plural body (Daniel Kok). As a constantly shape-shifting ground for the experience of the phantom body (Gaja Karolczak). As a foreigner in search for spatial re-cognition (Carolina Goradesky). As a performer healing the self through dialoguing with a plant, inviting the spectator to share in the experience (Maité Liébana Vena). Or as a discrete witness to the playing out of History in WWII reenactments (Julia Clever).
All of them put their bodies and self-constructions at risk, expose themselves as historically, geographically, racially or otherwise bent relational territories on which the larger narratives of aesthetics and politics cross and intertwine. Their stories in all their small-scale intensity are mirroring fragments of larger forces that can not so easily be grasped or experienced: the violent manipulations of commerce, migration, politics and global economics. But especially also the artificial - because always mediated, manipulated and accidental - coming-into-being of the self.
This booklet contains artistic statements of all of the artists, as well as individual interviews on their relation to the topic
Please read the full publication here
The book Writing Scores is the result of 3 months of written dialogues produced within the group of artistic researchers of a.pass during the Block I /2014 curated by Lilia Mestre. Questions on art, dreams, politics, violence, research, life, practice, bureaucracy, resistance, etcetera, ... are addressed and later on re-addressed, revisited and assembled into a book with (at least) three faces...
edited by Lilia Mestre and Elke Van Campenhout
price: 10 euro
You can read the Scores in Process >>> HERE
You can read the Scores Revisited >>> HERE
You can read Behind the Score >>>HERE
You can read the Glossary >>>
These there researchers all linger in their own way on the thresholds between the hyper-real and everyday fictions, inviting the visitor to step into their research through the experience of its procedures.
price: 2 euro
Read the full publication here
END-COMMUNICATIONS @ DecorAtelier 24 and 25 May from 17:30 till 22:30
Rue de Liverpool 24, 1080 Molenbeek-Saint-Jean
BOOK LAUNCH Medium Score -Tectonic Friendship & End Communications Writing Score
@ Brew 26 May from 17:30 till 19:30
1 Rue du Pene, 1000 Brussels
This is 1000 liter fuel. So-
For this End-Communications, six researches come together in concepts of absence, invisibility, history and knowledge. They research in various ways to bring what seems to be ungraspable in the construction of subjectivities to the fore. Subjectivity here, not as an individual subjectivity, but one that collectively builds and positions (in transformation) outside of oneself. Subjectivities as constituted by cultural, economical, social and other interactions and seen as complex narratives that mediate our perception(s) of the world. How do we make sense of what is pertained as ‘real’ and how through the generalization of such a standpoint one is unable to connect with the singular, and its inherent complexities? What ethical utterances can appear from this way of addressing the world?
Following up on the idea of co-making worlds a.pass positions itself as a collaborative environment for the investigation and expression of artistic research. The media of the research are multiple and often combined. The cross disciplines and their interaction forces each specific (or even disciplinary) methodology to break down and instigate the construction of singular ways of doing/ thinking. This approach orients artistic research out of a categorical way of understanding knowledge production in the arts as much as it opens up distinctive and particular forms of addressing relationality, we could call undisciplined.
The work of the six researchers entails combined forms of research on what can be called transdisciplinary research in order to open up the complexity of the objects of study through combining experiential approaches.
Luisa Fillitz's research positions itself on the relationship between physical and metaphysical realities and questions the predetermined bo rders of a effect we take as ‘real’. Esther Rodriguez-Barbero Granado works in the domains of architecture and body as constructors of space. Eunkyung Jeong, through a daily drawing practice, researches the idea of time within diverse forms of existence as the stone and the self. Marialena Marouda’s research on the ocean problematizes scientic knowledge as the single epistemology of nature. Ekaterina Kaplunova develops a systematic approach to family relations and cultural lineage in relation to the multifunctional artist. Shervin Kianersi Haghighi addresses the undocumented performance of everyday life as an invisible event produced within the confines of Art.
SCORESCAPES BOOK LAUNCH
Medium Score -Tectonic Friendship & End Communications Writing Score
a.pass book launch @ Brew with a dialogue facilitated by Philippine Hoegen and chocolate cocktails by Shervin Kianersi Haghighi!
We will engage in a collective discussion with Philippine Hoegen and will perform parts of the publication.
This publication serves the SCORESCAPES research - scores as pedagogical tool by Lilia Mestre and the End-Communications of six a.pass researchers. Medium Score builds on the previous iterations of scores as tools to practice dialogue and intersubjective formats for exchange in artistic research.
Before finishing the a.pass program in May 2018, the six researchers Luisa Fillitz, Esther Rodriguez-Barbero Granado, Eunkyung Jeong, Marialena Marouda, Ekaterina Kaplunova and Shervin Kiarnesi Haghighi worked for a month and a half in an adapted Writing Score to produce this publication.
Design: Miriam Hempel www.daretoknow.co.uk