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

    •  

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

      Doors open at 18:00

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


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

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

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

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

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

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

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

       

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

      Nassia Fourtouni

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

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

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

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

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

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

       

      Goda Palekaite

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

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

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

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

       

      Katinka Van Gorkum

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

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

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

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

       

       

    • In the course of the upcoming two weeks the a.pass researchers of this block will each propose an excursion coming out of their current research focus. You are cordially invited to join. Please sign up on the a.pass main page on the detail page for each of the proposals.¬†

       

      26. Okt

      Eleanor Weber

      The World Today / All In The Mind

      "‚Äú‚Ķa 100% probability of nothing happening, and that‚Äôs often when it‚Äôs more interesting‚Ķ‚ÄĚ
      ‚Äď Peter Ryan, ABC Senior Business Correspondent, 2 October 2017
      On Monday 23 October 2017, several todays, today. An instruction-based, public yet solo, listening & reading exercise, derived from radiowaves. Thinking about the public mind and testing what is produced from chance and structure. How language functions on different registers, at once, in time, and beyond us.
      //// Please bring ID for library registration, a smartphone/laptop (with charger) and head/earphones. "

       

      24. Okt

      Pia Louwerens

      From I to we - Excavating reality together, at home

      From I to we serves as an introduction into my practice inside its subjective core: my own home at Rue Blaes 244. After a performance the audience is invited to rewrite the script, rewarded with a warm meal cooked by the artist herself.

      25. Okt 

      Hoda Siahtiri

      If the past is really passed?! An introduction to co-experincing the others' trauma.

      The city of Brussels is holding a part of my past, I take you to one of the most traumatic places of Brussels for me.

       

      26.Okt 

      Geert Vaes

      La Flandre Profonde/Into The Heart Of Flanders

      Visiting and interrogating theatre amateurs rehearsing 'Het Gezin Van Paemel', a flemish classic and theatrical mask for a flemish identity. The 'interrogation' consists of a group constellation + witnessing the rehearsal + an interview.

       

      27. Okt

      Sven Dehens

      Untitled Excursion 

      Critical voicing, reading, enactment of Alien (1979). Process of audio-visual documentation. Generation of a subtext to the script.

       

      30. Okt

      Shervin Kianersi

      For to Know Nothing Is Nothing

      Imagine natural daylight, the best kind of light to see things clearly. Then imagine the light getting brighter and brighter, until it becomes so blindingly white that you are filled with anxiety. The information overload that we experience in our everyday lives is similar to that blinding light. Its origins date to the early 90s, when computer networks attained critical speeds and scales. Today, each of us yearns to be informed 24/7. The dictatorship of information creates in us a desire for round-the-clock information. We have become the organic components of an integrated global data and information system. Yet this yearning we feel is about our search for the Real, which a never-ending stream of information, that informs us only of the reality of facts, can neither satisfy nor fulfil. Because information is always directed at you. Information informs but is no guarantee of getting any closer to the truth. In fact, information sometimes operates as an obstacle to the truth. Instead, what if we started to filter out what we could of the information, in order to better understand the truth? What if we ignored information about the given facts and instead tried learn about something or someone for ourselves? 

       

      31.Okt

      Elen Braga

      The masters meeting: A Journey to the unpromised land and the magic balls

      You shine through my atmosphere. And when you show up, my mountains move like bushes in the wind, and the rocks are scattered on all sides. I hear you. I hear amazing bang like a storm to come. I hear the noise of thunder, the voice of demons, the winds, the monsters. The whole earth rises, dilating like the waves of the sea and my surface breaks down. My own ground seems to be subside, and... Take your hand car and come with me. We need to find another ground to walk by: the unpromised land and the magics balls...

       

      1.Nov 

      Leo Kay

      The time it takes to think

      How can we think together? How can we make Space for deep reflection on complex issues? How can we come close enough without intruding? How can we engage in group dialogue and take the time that is needed to think before producing more, contributing more to the system we are locked within?

      A day of observing, listening, walking, kneading, thinking, talking and baking, as we navigate a critical socio/political issue that effects us all and will continue to affect us in the forceable future. 

       

      2. Nov

      Luisa Filiitz

      A collection of Impressions

      Coming together in a place. Where and how do our perceptions, according to the surrounding/the place and the situation where we are, manifest themselves? Where and how can we locate them in our body? How is our intuitive reaction? Linked together in groups, we would then ‚ÄĒ following a score-proposal ‚ÄĒ try out how everybody`s own intuitional desire of where and how he/she wants to move is affecting the movement of the others in the group as well as their movement is affecting each one. Afterwards everybody is invited to create a zine in any form ‚Äď according to ones wish ‚Äď trying to remember the different impressions and the thoughts, feelings, that they provoked.

       

      3.Nov

      Eszter Némethi

      War-/-Lace and Vertigo

      An excursion is a military term to describe a short entry to enemy territory without formal announcement of war. This excursion is an invitation to explore the ways in which spaces and materials can become instructions and how this relates to participation in complex systems. What is the the agency of things, participants and also the host. Can we listen to things in order to decipher their fictions? And can we remain complicated to each other? You will visit the Kantcentrum in Brugge and the NATO Headquarters in Evere . I will do my best to host you. You will be largely following instructions, reading, making, observing, walking and looking for gaps. You will then return to a playground for discussion at a.pass. I will make you dinner.

       

      17. Nov

      Marialena Marouda

      Flemish Marine Institue: Marine Station Ostend (MSO)

      A tour of the Marine Station Ostend and its research vessel Simon Stervin by marine biologist Dr. Andre Cattrijsee. My interest is to get a glimpse of the tools that the research institute uses in order to study the ocean. What language is used and what are the measurement instruments in the laboratories? What kind of ocean is produced through them?

       

       

       

       

       

       

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


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

      Settlement 11 Collective Schedule

       

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


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

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

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

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

      SETTLEMENT


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

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

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

      By starting from scratch Settlement invites a re-negotiation of the specific conditions of each practice.¬† In the course of the three weeks Settlement lets your particular method of production and sharing find its own intrinsic spatial conditions, free from the encoded behaviors of ready-made spaces such as ‚Äútable‚ÄĚ, ‚Äústudio‚ÄĚ, ‚Äúmeeting‚ÄĚ, ‚Äúgallery‚ÄĚ, ‚Äúvenue‚ÄĚ, ‚Äúlibrary‚ÄĚ, etc.

      The politics of practice in terms of co-habitation and co-working, of claiming one‚Äôs 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) ‚Äěre-built‚Äú during Settlement, one can come to question its very construction.

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

    • Publication
    • Research
    • DIRTY ROOM 19 January 2017
      posted by: Steven Jouwersma
    • Juan Dom√≠nguez
    • book
    • case of: Lilia Mestre
    • DIRTY ROOM

      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.

       

    • block information
    • Research
    • Block 15/II
    • The House of Spirits 31 March 2015
      posted by: Nicolas Y Galeazzi
    • a.pass research centre
    • 10 May 2015
    • 24 July 2015
    • The House of Spirits

      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.

      The beginning of every week (Monday evenings) is marked by a shared ritual with the participants, in which the reading of the shaman/conservator is revealed and the new shaman takes possession of the House. After the ritual the group engages in the weekly reading session (the Reading Circle).

      At the end of the block (just before end week), 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 work developed throughout the block.

       

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

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

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

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

      The a.pass Research Center is mainly working with alumni and associated researchers.
       
      For Parallel Parasite we were:
      Alex Arteaga, Silvia Pinto Coelho, Bojana Cvejic, Nikolaus Gansterer, Nicolas Galeazzi, Adrijana Gvozdenovic, Nico Dockx, Steven Jouwersma, Halbe Kuipers, Pia Louwerens, Sara Manente, Marialena Merouda, Erin Manning, Brian Massumi, Lilia Mestre, Martino Morandi, Pierre Rubio, Sina Seifee, Eric Thielemans, Femke Snelting, Eleanor Weber, Adva Zakai, Veridiana Zurita with Petra Van Dyck and Lea Dietschmann.
       
      and the post-master researchers:
      Elen Braga, Nasia Fourtouni, Leo Kay, Laura Pante, Geert Vaes, Maurice Meewisse, Caterina Mora, Ezther Nemethi, Hoda Siahtiri, Goda Palekaite, Katinka Van Gorkum.

       

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

       

       

       

    • filter --> TRT (Transversal Research Training)
      03 September 2019
      posted by: Caterina Mora
    • case of: Caterina Mora
    • The 13th May 2019 emerged TRT --> how did I arrive to it?

                                             (in the dynamics of going through)

      props: mate / madera / creepy virgen / brillante paper

                                   This text can be a part of the script for my End-Presentation in PAF

                                                                                                                TRT or Trans-Re-Training 

      It is a political device for the my, our, yours, their  artistic practise     

      Instead to control, it engages with planning of time-work and keep time for contingence events.    Projection: photo of my planning

      It is not something new: it doesn't reclaim uniqueness or originality. It recognizes thousands of referents. Projection:  It defends shareability

      It tries to refuse FC, Instagram, Google, Snapchat.   Projection: it is looking for an open source web page (still in process)

      It conceives documentation as way to look backwards: what is it that transforms/modify/change you?

      It address explicitly to sexuality, sensuality, erotism and to the pleasure of communication, without take care too much of grammar. Désolé but I AM NOT SORRY. It is also adressing explicity.           Projection: pleasure   

      It is looking for transpirar la gota gorda transpiration. It encourages transunderstanding of transrelationships                                      

      It electrifies transience (transitoriedad) and transgress

      It develops transferable skill between readingwritingmoving

      It is aware about non-transparent power structures

      It exercises the magnetization of transimagination

      It takes care of context    (It question how much context the practise needs) IT IS SITUATED

      Descansa para desacatar¬†¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬†IT IS TRANSDUCCI√ďN

      The translation is feminist because is looking at gendered dances --> "The text that you translate determines which translation theory you need to use" (Mariana Pessino) 

      It encourages evident things (it uses what it has) --> please LISTEN it

      TRT is feminism busy with create vocabulary (Projection: thanks Butler), power structures (thanks Femke, she helped me finding something persistent as a problem in my daily life connected also with practice. And this that we find changed both: my daily life and my practice). TRT is feminism busy with  conditions of production (thanks Le Roy), contradictions (thanks Petra van Bravandt), abortion law (thanks la marea / the wage) argentina feminista, entertainment (thanks Lilia), promiscuity (thanks Juan), decolonial approach (thanks Lucas),  marxism and aesthetic experience (thanks Horacio Banega), Bologna process (thanks Susana and María Martha), BDSM (thank you), Aphra Behn (photo), Elvira Lopez (photo tesis), ways of sharing (thanks Segunda Cuadernos de danza), technical support (thanks Steven) limits and borders (thanks Marie).

                                                                                                 

                                                     

      This is its desing: 

                              TRT

                                    t t t ttttttttttttttttttt

    • Recent Past
    • Research Center
    • Research Center Cycle 1
    • 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 ‚Äúfermentation and wickedness‚ÄĚ. 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 : ‚ÄúMush‚ÄĚ 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 ‚ÄĒ 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

      ‚ÄėMy desires (or wills) are always in being produced, instead of producing. But some sort of production is expected.‚Äô

      (Stefano Faoro, from the A4 press release of his solo exhibition ‚ÄėSoft Knees‚Äô, at Wiels project room 21.02 ‚Äď 10.03.2019.)

      Back in February, ADRIJANA GVOZDENOVIC 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 ‚ÄėArchiving Artistic Anxieties‚Äô, a proposal for self-archiving as an artistic practice. Adrijana introduces the concept of ‚Äėartistic anxieties‚Äô which stands for an artistic practice that looks for developing a mode of critique from an unstable position, exploring uncertainties and ‚Äėfollow(ing) the treads where they lead‚Äô.

      *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. ‚Äėcomplex 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 ‚Äėinfrastructures‚Äô 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 ‚Äúexcellent‚ÄĚ. 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 ‚ÄėMaking Public‚Äô.

      Publishing more? But what and how? Are we not obliged to problematize what a publication of artistic research could be? And isn‚Äôt 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 ‚Äėactualised‚Äô 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 ‚ÄėMaking Public‚Äô 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 ‚Äėcontract‚Äô, to the dichotomy between ‚Äėprivate versus public‚Äô, to the challenging concept of ‚Äėperformative publishing‚Äô, 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 ‚ÄėMaking Public‚Äô 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 ‚Äėdescription‚Äô 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‚Äôs research proposals? How to deal with an un-disciplinary context that aims for transversal relations? By ‚Äúscore‚ÄĚ 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 ‚ÄėScorescapes‚Äô, 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‚Äôs 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‚Ķ 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 ‚ÄėEco-erogenous Para-pharmaceutics Village‚Äô in the Atacama Desert in Chile, where ‚Äúevery-BODY‚ÄĚ 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 √Čcole de Recherche Graphique Brussels and is artist in residency in Waag, Mediamatic and VU Amsterdam.

       

       

       

      POLITICS OF ENGINEERING

      ‚ÄėPolitics of engineering‚Äô 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 Gvozdenovic 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‚Äôs 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 ‚Äúbad feelings‚ÄĚ 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‚Äôs 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 ‚Äėexpectation‚Äô 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 ‚Äėscary stories night‚Äô.

      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 ‚Äėbrain vases‚Äô, 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‚Äô thought processes?

      For this residence in Brussels, and taking into account Antye‚Äôs 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 ‚Äėabsence‚Äô. 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‚Äô practices. 3/ a live video communication moment of presentation and sharing of Antye‚Äôs 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 : ‚Äúother geometries non agonistic performative dinner‚ÄĚ [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 ‚Äúcritical bestiaries,‚ÄĚ a magazine in the making, a mini-scale quasi-organization to host/construct semi-sustainable structures for ‚Äėstorytelling‚Äô and ‚Äėquestioning‚Äô 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 Gvozdenovińá 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 Gvozdenovińá / 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 Gvozdenovińá

      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‚Äôs institutional and long term structures work towards a repository of methodologies, forms of archive and ‚Äėmaking public‚Äô of artistic research practice.

    • Recent Past
    • Research Center
    • Research Center Cycle 1
    • 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‚Ķ, 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 ‚ÄúVictories over the Suns‚ÄĚ ¬†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‚Äôs 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 ‚Äėgiving up‚Äô? Is it possible today to activate change processes other than by creating fictions and ‚Äėalterations‚Äô 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‚Ķ 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 ‚Äėestablishingly‚Äô 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 Gvozdenovic, 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‚Äôs institutional and long term structures work towards a repository of methodologies, forms of archive and ‚Äėmaking public‚Äô 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

    • BLOCK
    • Recent Past
    • Troubled Gardens / Block 2019/II ecologies of artistic research
      23 April 2019
      posted by: Nicolas Y Galeazzi
    • Nicolas Y Galeazzi
    • 29 April 2019
    • 28 July 2019
    • case of: Nicolas Y Galeazzi
    • Troubled Gardens / Block 2019/II

      The earth faces troubles of kind humanity never experienced before: climatic changes induced by humankind are dramatically destructive and - meanwhile unavoidable. Therefore we can register a shift in the environmental movement from an understanding of trying to prevent the planet from a catastrophe to mere dealing with life within the consequences of climate changes. This perspective fundamentally shifts our culturally abstracted understanding of nature - and therefore it poses big questions to the arts as a source of cultural knowledge for that great deal of life. The catastrophe might mirror the impossibility of hierarchical understandings of the relation between nature and culture, but it also forces us to the obvious insight that all vital cycles - whether social, ecological, technological, cultural, mental, emotional, economic etc.- are inseparably connected ecosystems.

      Knowing about their sensitivity and complexity, I’m asking myself, how does my artistic practice and research act within the disturbedness of these ecosystems? How can I understand myself and my research as transformative part of their troubles - knowing, that I’m a troubled and troubling ecosystem myself?

      After having curated two blocks at a.pass with regards to the conditions which, and in which we create - the block 2017/II about the commons, as an alternative economy, and the block 2018/I about the making of conditions and Institutional Critique - I see the need to look beyond our cultural boundaries and understand the meshwork of diverse conditions we are living in together with other species, elements and time zones.

      The aim of this block is to challenge our individual research aims as living creatures and companions in and as ecosystems. Hyper related, affecting, and never singular, our researches are - however - in resonance with their surrounding. We can not ignore the influence of these aspects, but we are also hardly aware of the performance of these influences on our practice.

      Taking this ‚Äöecosystem-perspective‚Äė as the main tool for our investigations, this block shall give you the possibility to reflect your research as a relational field within a ‚Äöterrestrial‚Äė landscape. On the other side, it will unavoidably put our researches in relation to the ecological crisis and catastrophes surrounding us and will help us to develop tools and understanding for a post-anthropocentric, post-atopocenic, probably post-artropocentric relational practice with your research.

      Therefore, this block IN-vites you OUT. Where to investigate and experience a behaviour as ecosystem better then in the outside - an outside, that immediately takes us in, makes us being a part of it! ‚ÄöOutdoor‚Äė - at places with-out-doors - might be the right term. Where weather and biosphere meet industrial (side-)performance, migrant activities, walls, traffic, sun - and state power, written and unwritten laws etc. interact with each other.
      This block takes you out into the systemically ‚Äöwild‚Äė. What allows structure? I don‚Äôt know - at the moment, before having taken up theses c/glasses any curated structure feels violent towards the tenderness of the ecosystems. Handling the idea ‚Äöecosystem as research as ecosystem‚Äė with care is as crucial as to care with the greatest sensitivity for the ecosystems we are about to enter by stepping out of the door.

      This in mind, I throw out my tentacles to propose a path to step into our ‚Äöworlding‚Äė experience and to trace the stories we will tell on that way.

       
    • Research "history" Pia Louwerens at a.pass, July 2017 to February 2019, approximately.

      Hello everyone,

      Where do I start? Do I start at the beginning and end at the end, or do I go in a circle? Do I write about how my research developed at a.pass, because then I write about the people I met and the energy they contributed to my project, the theories and books I met and encountered as vividly as the people who shape the program.

      a.pass is a transdisciplinary and transindividual research platform. It, they and we are open to researchers from many different disciplines and carefully curate programs that facilitate exchange, discourse, friction and feedback. The postmaster trajectory takes one year, divided into three blocks of four months. There is a possibility to extend the process by skipping one block, which I did. I followed a.pass from Sept. 2017 - Dec. 2018, with a last presentation on the 1st and 2nd of February 2019, for which I am making this portfolio.

      Taking into account the results of my research, it is clear that I cannot write about my practice as if it is something that develops in one direction only, using certain ‚Äúsources‚ÄĚ to do this. During the program I felt more like I was at sea, being carried my many things outside of myself and in many directions. However, I accepted the challenge that a portfolio poses, and tried to keep it as clear as possible. I only included things that I produced myself, and I kept a chronological order.

      As evidence for this trajectory I have scanned the archived physical remains of my research, which are scripts and presentations in various states of decay. By way of contextualisation I have superimposed information on these artefacts, concerning the state of my research at that time.

    • Event
    • Recent Past
    • UNSETTLED STUDY AT PERFORMATIK '19 performative research environment
      03 January 2019
      posted by: Vladimir Miller
    • KANAL
    • 22 March 2019
    • 23 March 2019
    • case of: Vladimir Miller
    • UNSETTLED STUDY AT PERFORMATIK '19
       
      Unsettled Study will invite the audience to witness and join the multitude of research processes currently hosted by the a.pass platform for artistic research.  
       
      For several years a.pass platform fo artistic research has periodically engaged with a research environment called Settlement proposed and facilitated by Vladimir Miller. This project continues to ask on which spatial, performative and institutional conditions is it possible to step into and share an artist's research process as it is happening.  

      During Performatik 2019 "Unsettled Study" will attempt to develop the idea of the Settlement into a performative installation at KANAL which will invite the audience into the multitude of research and work processes currently hosted by a.pass. Starting from the Settlement project in January at a.pass, the researchers, curators and facilitators will embark on a process of developing architectural structures to support, represent and host their research processes. Through a series of workshops and inputs from invited guest artists the researchers will develop short performance lectures in relation to their practice. As a culmination of this three months long process this emergent collective space of study will move from apass to KANAL and open its research environment in an evening of overlapping performances and installations.

       

       

      Within the frame of Performatik19, the Brussels biennial of performance art

       

      Unsettled Study Open Studio

      Wednesday 20th ‚Äď Saturday 23rd of March during opening hours at Kanal Centre Pompidou Brussels

      tickets are available as a special 10-day pass for Kanal Centre Pompidou

       

      Unsettled Study Performative Research Environment

      Friday 22nd of March 16h

      Saturday 23rd of March 18h 

      at Kanal Centre Pompidou Brussels

      duration ca 3h

      tickets are available as a special 10-day pass for Kanal Centre Pompidou

       

      Produced and performed by a.pass researchers, curators and facilitators: Alex Arteaga, Deborah Birch, Elen Braga, Isabel Burr Raty, Chloe Chignell, Diego Echegoyen, Amélie van Elmbt, Nassia Fourtouni, Katinka van Gorkum, Antye Guenther,Steven Jouwersma, Leo Kay, Joke Liberge, Mathilde Maillard, Sara Manente, Michele Meesen, Maurice Meewisse, Lilia Mestre, Caterina Mora, Muslin Brothers (Yaen Levi & Tamar Levit), Eszter Némethi, Goda Palekaite, Laura Pante, Peggy Pierrot, Rob Ritzen, Flavio Rodrigo, RRadio Triton, Femke Snelting, Christina Stadlbauer,   
      Lecture performance mentoring: Philipp Gehmacher
      Process curator: Vladimir Miller

    • Project
    • Recent Past
    • Research Center
    • parallel parasite
    • Parallel Parasite Research center 18/II curated by Lilia Mestre
      03 September 2018
      posted by: Lilia Mestre
    • 04 June 2018
    • 30 September 2018
    • case of: Lilia Mestre
    • Parallel Parasite

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


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

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

       

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

      The Research Center in residency invites several guests which are thinking and experiencing ‚Äėgathering‚Äô as a form of knowledge processing bridging theoretical and experiential approaches. These gatherings don‚Äôt depart from personal concerns but¬†aim to mine inter-subjective frame works to question artistic research as a learning together practice.

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

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

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

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

      AND

      The SenseLab is a laboratory for thought in motion.

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

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

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

      Anarchive 

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

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

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

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

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

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

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

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

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

       
    • Archive
    • Recent Past
    • Research Center
    • parallel-parasite Research center 18/II curated by Lilia Mestre
      23 April 2018
      posted by: Lilia Mestre
    • Zsenne ArtLab
    • 04 June 2018
    • 30 June 2018
    • parallel-parasite

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


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

       

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

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

       

      The Research Center in residency invites several guests which are thinking and experiencing ‚Äėgathering‚Äô as a form of knowledge processing bridging theoretical and experiential approaches. These gatherings don‚Äôt depart from personal concerns but¬†aim to mine inter-subjective frame works to question artistic research as a learning together practice.

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

       

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

       

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

       

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

       

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

      AND

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

       

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

       

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

       

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

       

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

       

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

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

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

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

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


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

    • Recent Past
    • Research Center
    • Boundaries do not sit still
    • Boundaries do not sit still Research centre 18/I curated by Femke Snelting
      05 January 2018
      posted by: Femke Snelting
    • 01 January 2018
    • 30 April 2018
    • Boundaries do not sit still

      In Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter, feminist theorist Karen Barad examines how apparatuses stabilize and destabilize boundaries. ‚ÄúApparatuses are dynamic (re)configurings of the world, specific agential practices/intra-actions/performances through which specific exclusionary boundaries are enacted.‚ÄĚ she writes.

      As an ‚Äėexternal guest‚Äô invited into the research center from January until April 2018, I would like to turn Barad‚Äôs parental advisory into an invitation to experiment, speculate and reflect on the intra-actions through which in- and exclusionary boundaries are performed in a.pass itself.

      Boundaries do not sit still follows from a long interest in the interdependent relations between technology and practice, resulting in a series of projects and questions that have been invited into dialogue with a.pass at several occasions.

      How do digital tools and artistic research co-construct each other? How are gestures, discourses and behaviours shaped, oriented, communicated and defined through the (digital) apparatuses at work? How is research articulated and in what way are its boundaries enacted through software, infrastructures and devices?

      These questions will be addressed in mentorings, informal meetings within/around a.pass and in research activities related to The Possible Bodies inventory. In addition, the research centre will host five Monday Readings (with Martino Morandi, Seda Guerses and Sina Seifee).

    • Forum
    • What are you training for? On acting and performance techniques - Current directions for embodied research in the performing arts
      20 December 2017
      posted by: Nicolas Y Galeazzi
    • Dra. Adriana la Selva
    • 10 January 2018
    • 11 January 2018
    • What are you training for?

      Adriana La Selva is participant of the a.pass PhD research program and proposes the 2 day seminar "What are you training for?" in relation to her home university U-Ghent. The topic addresses the conditions of the body in relation to its performativity. Starting the investigations of the self-creation of conditions at the body seems to comply with the intentions of the block MAKING / CONDITIONS perfectly.  We therefore decided to join this seminar as part of Plenum I. The first round of the individual research presentations of each a.pass participant will take place within this seminar and amongst the seminar participants.

       

      outline

      This inter-university specialist course intends to investigate acting and performing techniques as a field of knowledge separated from those of the representation and spectacle.

      In which ways can performer’s technique (a range of codified skills one chooses to learn) and performer’s training processes (how you engage with techniques towards creation or, how you create a certain routine to deal/improve these techniques), dialogue with other fields of study, such as philosophy, sociology and politics? Can we look at technique as an aesthetic/poetic device on its own? What is performative about it?

      The designed programme seeks to investigate and challenge what acting and performance technique is, and how it is disseminated through artistic, social and political agency.

      We will tackle this frame in both theory and practice, with interactive workshops, work demonstrations, reading seminars and lectures, where acting and performance technique apprenticeship will dialogue with a philosophical context which unfolds the notion of epistemology: the study of the nature of knowledge itself and how it is sourced.

      The course is open to all contemporary art scholars, both in an academic and a practice-based sense, working on artistic and everyday life techniques as embodied discourses. Participants are invited to elaborate on different training methods and art practices, as much as on theoretical models, and to experiment with their individual approach to artistic work from a technical and training-like perspective.

       

      guest lectures

      Lecturers will work out the above frame in two levels:

      1. on a theoretical level, with the reading seminar sessions and the lectures of Prof. Dr. Ben Spatz (Senior Lecturer in Drama, Theatre and Performance at Huddersfield University), Nicolas Galeazzi (a.pass) and Odin Teatret’s performer Iben Nagel Rasmussen. Still active, she is considered a living archive, carrier of a legacy that dates back from the beginning of a particular physical theatre culture started by Jerzy Grotowski and Eugenio Barba in the 60’s.

      1. a practice-based level: the participants will participate in training exercises with Ben Spatz, and will watch the work demonstrations of Esa Kirkkopelto (Senior Lecture on artistic research at UNIARTS Helsinki) and Carlos Simioni (Performer at Grupo LUME, Sao Paulo), followed by an open talk. The first from Finland, the latter from Brazil, these are two performers that found a precious way of seeing technique as a poetic object on its own, which they use to create radical interactions with the communities they belong to. Throughout the two days of this course, we will investigate the notion of embodied technique - both in artistic and everyday life practices - as an epistemic field, i.e. as a resistant and potentially radical strategy for knowledge of and/or dialoguing with a broader social/political context.

       

      tentative program

       DAY1: 10/01/2018
      10:00 to 17:00including 1 hour lunch break + evening event (total of 8 working hours).
      09:30 to 10:00Coffee and attendance list
      10:00 to 10:30Introduction by Prof. Dr. Christel Stalpaert and Dra. Adriana La Selva on the overall topic.
      10:30 to 12:00Prof. Dr. Ben Spatz, who will give an introductory lecture on embodied research and his current artistic outcomes.
      12:00 to 13:00 Nicolas Galeazzi: "Unfolding performance notions and the conditions of the making".
       13.00 to 14.00 Lunch Break
      14.00 to 17:30

      Workshop session 1. Presentation and discussion of material linked to participants‚Äė research projects and art works. Participants are asked to prepare small presentations approaching corporeality and technique in relation to their own researches. This work will then be further developed in the workshop sessions, led and feedbacked by Ben Spatz.

      19:00 to 21:00

      Evening event: Esa Kirkkopelto/ Other Spaces will bring a lecture/performance on embodied research and different modes of being, also other-than-human.

       

       

       Day 2: 11/01/2018
      10:00 to 18:30including 1 hour lunch break+ 30 min refreshments break (total of 8 working hours)
      10:00 to 13:00Practice-based Workshop with Prof. Ben Spatz where theory and practice aggregated in the previous day with the students will be exposed through an epistemological practice-based work on the very notion of technique.
      13:00 to 14:00Lunch break
        
      14:00 to 16:00lecture / artist talk with Iben Nagel Rasmussen in which she will reflect on her life-long commitment to training and the unfolding of physicality in political and social spheres. The lecture will unfold as an interview, led by Prof. Ben Spatz.
      16:00 to 17:00Launch of Rasmussen’s book The Blind Horse. Round table with the author and Dr. Adriana La Selva.
      17:00 to 17:30 Refreshments break
      17:30 to 19:30Carlos Simioni carries out a work demonstration on his long term collaboration with Iben.

       

       

      organising and scientific committee

      Prof. Dr. Christel Stalpaert,

      Full professor in Theatre and Performance Studies at Ghent University, Director of the research centre S:PAM (Studies in Performing Arts and Media) and PEPPER (Philosophy, Ethology, Politics and Performance)

      E-mail: Christel.Stalpaert@Ugent.be

      Prof. Dr. Jan Steen,

      Lecturer in acting and head of Drama Department, KASK-School of Arts

      E-mail: jan.steen@hogent.be

      Drs. Adriana La Selva,

      PhD Researcher at UGent (S:PAM) and KASK

      E-mail: AdrianaParente.LaSelva@Ugent.be

      Prof. Dr. Luk Van Den Dries

      Full Professor of Theatre Studies at the University of Antwerp and head of the department of Literature.

      E-mail: luc.vandendries@uantwerpen.be

      Prof. Dr. Bart Philipsen

      Full Professor in the Faculty of Arts, coordinator of Literary Studies Research Unit KULeuven.

      E-mail: bart.philipsen@kuleuven.be

       

      partnership

      PEPPER - Philosophy, Ethology, Politics and PERformance, UGent

      Research Center for Visual Poetics - UAntwerpen

      Embodied Research Working Group:

      a.pass : advanced performance and scenography studies, Brussels

      NORDISK TEATER LABORATORIUM

    • Atelier
    • Block 17/I
    • 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 ‚Äúhow does/could my research sound like?‚ÄĚ.

      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 ‚ÄėSci-Fi terraforming mode of attention‚Äô- the ‚Äėregard‚Äô 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.

    • end communication
    • Generously forceful / The doubtful wild THREE VIVARIUMS / ¬†a.pass¬†research presentation¬†
      21 May 2016
      posted by: Nicolas Y Galeazzi
    • TINNA OTTESEN¬†
    • in the cellars of the Tour&Taxis sheds
    • 26 May 2016
    • 28 May 2016
    • Generously forceful / The doubtful wild

      Program 

      vernissage 26/5 at 18.00 ‚Äď 20.00
       
      vivariums open¬†26/5 ‚Äď 28/5 ¬†11.00 ‚Äď 20.00h
       
      artist talk 27/5 at 18.00 

       
      in the cellars of the Tour&Taxis sheds

      Avenue du Port 86C, 1000 Bruxelles

       


       
      vi·var·i·ums or vi·var·i·a: 

      A place, such as an enclosure or facility, used for keeping live animals for observation or research.

       


       

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      THREE VIVARIUMS: ENTER, SURRENDER, PLAY 

      I invite you to contemplate on a reality without you being the central perspective.

      When entering a.pass, my initial question was, how to combine site specific and portable scenography.  How to make spaces, that correspond to a particular site, but can also move between locations and respond to the next site with equal value, using the same materials. 

      This research has led me to the scenography of a manmade space. My contemplation is not only its interaction with its surroundings and context but furthermore, how the human body interacts directly with space ‚Äď how is he influenced and transformed by it?¬†

      If a place has a memory, will it sense your absence? How do we respond to materials, and to the sensations, the memories they evoke? And how can inorganic, industrial materials like latex & nylon, respond to elementary things in us? What are the transformative effects of space and beauty? Is it possible that spatial experience can change ones perspective and interaction with the world?

      Each vivarium explores a material, spatial positioning and proportions. I’m exploring the generous violence of beauty by creating small cells that evoke the sensations of wide landscapes.   

      Get close, find the playfulness through engagement and intimacy, and use your senses as a compass!

       


       

       

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      LETS TALK ABOUT THE WEATHER.

      Artist talk with light snacks and heavier drinks. 

      Friday 27/5 at 18:00 

      Chatting about weather is not only Iceland’s most indulged past time behaviour. The pleasure of sharing perceptions of this ever changing landscape connects us to the basics of this world, and shapes our relation to matter. 

      Tinna Ottesen‚Äôs vivariums position the border between matter and us into a moving climate. She is subtly reconsidering the environment as a partner in crime ‚Äď a responsive field, that ‚Äėtalks‚Äô back to us.¬†

      We would like to invite you to talk about these ‚Äėtalking‚Äô qualities of material in relation to the spaces and landscapes we are living in. Based on a text by Tim Ingold, ‚ÄúThe eye of the storm: visual perception and the weather‚Ä̬†Tinna Ottesen will be interviewed by Nicolas Galeazzi about her perception of space, the performance of the weather, touch and other feelings.¬†

       


       
      Tinna Ottesen has been working with space and scenography for stage, for sites & for screens over the last 10 years exploring the suggestions of behaviour space provides and the affects the medium is capable of.

      She is a prominent presence in the Icelandic art scene and has a trail of projects spanning from site specific performances, production design for Films, TV & documentaries, theatre scenography, art direction for festivals, and immersive installations like the underwater concert series and food event installations.  

       


       

      How to find the vivariums: 

      Avenue du Port 86C, 1000 Bruxelles

      Tinna map-Seite001

       





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