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    • Launch
    • Research Center
    • CYCLE I: PUBLISHING ARTISTIC RESEARCH LAUNCH with: Isabel Burr Raty, Antye Guenther, Adrijana Gvozdenović, Sara Manente, Rob Ritzen, Sina Seifee and a.pass
      17 February 2020
      posted by: Steven Jouwersma
    • @ Level5 – RUE PAUL DEVAUXSTRAAT 5, 1000 BRUSSEL (5TH FLOOR) at 18:00
    • 29 February 2020
    • 29 February 2020
    • case of: Guido Lucassen
    • CYCLE I: PUBLISHING ARTISTIC RESEARCH LAUNCH

      Documenting, archiving, and publishing are intrinsic to the ongoing practices of a.pass. They are seen as research tools that enable critical reflections through their exposure of artistic research processes. The program seeks to find public formats or outlets for research in the course of its ongoing development, and facilitates an understanding of the politics of such processes.

      With these concepts in mind, the a.pass Research Center (RC) began a new program in 2018 that hosts six Associate Researchers in cycles of one year as a platform for exchange in artistic research. Cycle I hosted Isabel Burr Raty, Adrijana Gvozdenović, Antye Guenther, Sara Manente, Rob Ritzen and Sina Seifee. They contributed to the platform through concerns, concepts and “ways of doing” inherent to their practices.

       

       6 PUBLICATIONS + 1 ANNEX 

      with: Isabel Burr Raty, Antye GuentHer, Adrijana Gvozdenović, Sara Manente, Rob Ritzen, Sina Seifee and a.pass

      29th February 2020 

      @ Level5 – Rue Paul Devauxstraat 5, 1000 Brussel (5th floor)

      Doors open at 18:00

      We will read, perform, discuss and open the bar at Level5. Rile* bookshop will open its doors. 

       


       

       

      ROT is a publication reflecting the research “Wicked technolo- gy/Wild fermentation,” by Sara Manente that focuses on forms and practice of fermentation as ways to rethink bodies and their making. This glossy magazine performs research, aiming to infect the reader, and questioning how to spread, publish, and help the work survive.

      Sara Manente is a performance artist, dance maker and researcher born in Italy and living in Brussels. She is interested in narrowing the distance between the performer, the audience, and the work. Her research starts from a dance practice that problematizes perception, translation, and ways of doing. Her work comes out in hybrid forms: book launch, 3Dfilm, written text, interview, choreographic piece, workshop, telepathic experience, collaboration, et al.


      FORMS OF LIFE OF FORMS brings artistic research into form – not merely as an aesthetic question but as a social and political one. Indeed, there are no politics without form! With Forms of Life, Rob Ritzen curated several “Moments” that assembled works, collective readings, and other references into a single installa- tion. This publication reshuffles documentation of these “Mo- ments” as a visual reflection of the trajectory of this research.

      Rob Ritzen works as a curator with a background in philosophy. His curatorial practice is focusing on self-organized and cooperative formats. Consciously positioned at the margins of established institutions and outside of market-oriented spaces, his practice is placed in close association with communities of cultural practitioners. His initiatives are attempts to reconfigure the politics of making art and alternative forms of production and presentation.

      ZOOLOGICAL VANDALISM by Sina Seifee in collaboration with editor Renan Lauran and design- er Foad Farahani, is immersion in the compiling and com- posing of Seifee’s notes on medieval bestiaries, and placing them in sequential order. It is the first chapter of a series that creates context and opens small descriptive steps towards (what Latour might call) “knowing interestingly” about bestiaries. It is a speculative adventure in bio-techno tales and old styles of knowing. As an “ecology of obligation” with Iranian sensual- ity and its ardent materiality, somewhere in the menagerie of found and feral animal videos on Whatsapp and Telegram, is Seifee’s undisciplined grounding in visual crafts.


      Sina Seifee researches as an artist in the fields of narrative, performance, and knowledge production. He has been working on the question of technology and storytelling in the arts and sciences of the middle ages and the past-present of material reading practices in collective life. He studied Applied Mathematics in Tehran, received his MA in Media Arts in KHM Cologne. In 2017 he finished an advanced research program in performance studies in a.pass.


      NEOCORTEX is a textile poster publication. It can be used as a head or neck scarf, a hairband, a veil, a belt, a table cloth, an arm sling, a disguise in political demonstrations, a laboratory sieve, or a tool for receiving and transmitting alien thoughts. This scarf is the second materialization of ongoing research on neuroscientific visualization practices and questionable concep- tualizations of our brains. Referring to the current trend in the scientific community to print posters on textiles rather than on paper, it combines reconstructed MRI data of the artist’s brain with various text fragments from science and science fiction.


      Antye Guenther is a visual artist and artist-researcher, born and raised in Eastern Germany. Drawing from her background in medicine, photography, and in the military, her artistic practice treats themes like (non)biological intelligence and supercomputing, scientific representations of cognitive processes and mind control, body perception in techno-capitalist societies and fictionality of science. Guenther studied at the art academies of Leipzig and Karlsruhe, and at the Jan van Eyck Academie in Maastricht. In 2019 she received the first Mingler Scholarship for Art and Science.

       

       

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


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

       

       

      BEAUTY KIT – AN ECO-EROGENOUS ART PROJECT by Isabel Burr Raty with contributions by Kristin Rogghe, Elke Van Campenhout, Gosie Vervloessem, Pablo Diartinez and Tim Vets, is an experimental catalog summarizing Isabel Burr Raty’s research on conceptualizing and manufacturing eco-erogenous para-pharmaceutical products. It tells the story of the BKFF, a mobile farm where she and other females harvest their orgasmic juices to produce beauty bio-products, used for treatments in the BK Spa, criti- cally discussed in the BK Focus Group and moving forward into becoming a village, where every-body harvests each other. The catalog comes with contributing text, “Harvesting bodies – The Farm as Paradox” by Elle/Elke Van Campenhout, and other reflections on the project.

      Isabel Burr Raty is a Belgian-Chilean artist, filmmaker, and Media Art History teacher in ERG (École de Recherche Graphique), living between Brussels and Amsterdam. She is currently developing her second feature film, about the colonial impact on Easter Island, and creating live art and new media installations that queer production understandings, such as the Beauty Kit Project. Her works have been shown internationally.

       a.pass
      p/a de Bottelarij
      Delaunoystraat 58-60/p.o. box 17
      1080 Brussels/Belgium

      tel: +32 (0)2 411.49.16
      email: lilia@apass.be
      web: www.apass.be

       
    • Research Center
    • RESEARCH CENTER CYCLE 2 BLOCK I 19 January 2020
      posted by: Vladimir Miller
    • 01 January 2020
    • 31 March 2020
    • case of: Vladimir Miller
    • RESEARCH CENTER CYCLE 2 BLOCK I
      This January marks the beginning of the second one-year-cycle of the a.pass Research Center. Initiated out of a desire to be a shared platform of exchange, support and publicness for the Associate Researchers this year long initiative will continue to support and publish advanced research and investigate its trajectories within a.pass.  The Associate Researchers will be hosted and supported during Cycle 2   by the Research Center curators: Vladimir Miller (Block I/20), Lilia Mestre (Block II/20) and Pierre Rubio (Block III/20).
       
      For the period of January to December 2020 we are happy to welcome following Associate Researchers to the a.pass Research Center:
      Breg Horemans, Davide Tidoni, Esteban Donoso, Pia Louwerens and Lili Rampre.
       
      During the upcoming block we will start and at the same time continue our work by imagining and negotiating the individual contracts between the researchers and the Research Center, which will speculate on the individual research process and the support needed during the year cycle. 
    • 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 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

       

       

       

    • BLOCK
    • Recent Past
    • Research Center
    • Research Center 19/III - Reviewing emergence cleaning is just another approach to messing up
      16 September 2019
      posted by: Nicolas Y Galeazzi
    • Cared by Nicolas Y Galeazzi
    • 01 September 2019
    • 30 November 2019
    • Research Center 19/III - Reviewing emergence

      How is not keen about ‚dynamics '. Mechanics describes it as a concern for the "effects of forces on the motion of a body or system of bodies, especially of forces that do not originate within the system itself". I'm wondering how mechanics define borders of a "system" - what belongs to its inside, and what does not. I imagine it as a possibly unavoidable but finally arbitrary process of deciding. However, I myself, I consider dynamics connected to vitality - or let's call it breathing.

      One year, six associates, three curators, several events and residencies, lots of contexts and thoughts, etc. - I think we can say, the research center was never as extensive as this new cycle. It was time for a.pass to come up to the promise of generating more publicly available content. The five associate researchers accompanied by three different curators have processed their contexts and brought them to a ripe state for publishing. Holding in, taking a breath, smelling the taste, enjoying the fill of the lungs, holding in again and softly pushing the are out - and so, the cycle can start again. What was here? What was nourished by the oxygen? What did come up by breathing the same air as five other researchers?

      This block we take a breath. We are looking at what emerged. We are cleaning up, select what felt useful, archive and document, think about publishing, and try to evaluate the insights for the next cycle.
      Of course, while wrapping up, the question comes, is this not what research anyway requires from us at any time? Isn't wrapping up just another word for going on? Or is wrapping up possible anyhow in a research that is at the end never ending? Sure, close looking, reflecting, evaluating and sharing are intrinsic to research. It just takes place in a different light than pondering, discovering, curiosity, surprise etc.

      Nothing against ‚Research '- but 'search' comes first!
      This summer I was standing in a forest, next to my child. We listened, imagined, looked in the search for bears and libels, mushrooms and orchids. There was no direction, just forest, we entered where it was possible, and continued where that forest opens vision. The structures are given but inscrutable. We learn, we wonder, we wish, we compare, and things fall into our memory to be linked to other memories. Search is big. Search is following the order of the woods - not the trees.
      Research feels a bit like hide-and-seek. Everything takes place within a certain convention - the rules of the game. That's what the fun is about it. I exactly know what I'm searching for and what I have to do, I just don't know how it will happen, and when. We collect, we document, we reorganise, we create an overview, we create vision. Research is messing up the order. Research is taking perspective, so we don't see the whole woods for the trees.

      ***

      The a.pass Research Center is dedicated to supporting advanced research and to collecting and making public methodologies of artistic research developed at a.pass.  After being initiated as a platform for individual research trajectories, the Research Center shifted to welcoming a group of advanced researchers for a period of one year.

      This winter block marks the closure and thinking back of the first cycle of the a.pass Research Center through publishing.

       

      Cycle I - Associated Researchers

      Adrijana Gvozdenović is an artist who notes, talks, writes, and collects. She is interested in anecdotal and peripheral art, the conventions of exhibition making, artists’ motivations, and responsibility in the general context of art and art-related politics.

      Sina Seifee researches as an artist in the fields of narrative, performance and knowledge production. He has been working on the question of technology and storytelling in the arts and sciences of the middle ages and the past-present of material reading practices in collective life. He studied Applied Mathematics in Tehran, received his master in Media Arts in KHM Cologne and in 2017 finished an advanced research program in performance studies in a.pass.

      Rob Ritzen works as a curator with a background in philosophy, museum studies, art and architectural history. His curatorial practice is focused on self-organised and co-operative formats in close association with cultural practitioners — consciously positioned on the margin of established institutions and outside of market oriented spaces, but in the middle of communities of cultural practitioners. Most recently he co-initiated That Might Be Right, an attempt to reconfigure the politics of making art and alternative forms of production and presentation.

      Isabel Burr Raty is a performance artist based in Brussels interested in the ontological crack between the organic and the artificially engineered, between the unlicensed knowledge of minority groups and the official facts. Her research interweaves new media, body art, lectures, installations and participatory performance to propose hybrid narratives and bio-autonomy practices that play with synthetic magic and compose in situ Sci-Fi.

      Sara Manente lives in Brussels and works as a choreographer and performance artist.
      Her projects start from an understanding of dance as a performative language and exist at the limit of the choreographic: texts, dance pieces, films, workshops, experimental performances, artistic researches and collaborations.
      At the a.pass Research Center she is gathering knowledge on fermentation techniques in order to consider her research from a perspective of bacterial/interspecies ethics and aesthetics.

      Antye Guenther, born in former East Germany, has a theory based visual art practice dealing with epistemological questions within the realms of technology, post-humanism, science fiction and fictionality of science. Since her fellowship at the Jan van Eyck Academy in 2015-2016, Guenther, who has a background in medicine, is investigating neuroscientific research and imaging, particularly in its entanglement with neoliberal corporate structures and ideologies.

       

       

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

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

       

       

       

      FORMS OF LIFE OF FORMS

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

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

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

      Rob works as a curator with a background in philosophy, museum studies, art and architectural history. His curatorial practice is focused on self-organised and co-operative formats in close association with cultural practitioners — consciously positioned on the margin of established institutions and outside of market oriented spaces, but in the middle of communities of cultural practitioners. Most recently he co-initiated That Might Be Right, an attempt to reconfigure the politics of making art and alternative forms of production and presentation.

       

       

       

      OTHERWISE EXHIBITING ARTISTIC ANXIETIES AND THE WORLD

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

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

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

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

       

       

       

      OTHER GEOMETRIES

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

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

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

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

       

       

       

      MAKING PUBLIC

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

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

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

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

       

       

       

      CRITICAL BESTIARIES

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

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

      Sina Seifee researches as an artist in the fields of narrative, performance and knowledge production. He is working on the question of technology and storytelling in the arts and sciences of the middle ages and the past-present of material reading practices in collective life.

       

       

       

      SCORESCAPES

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

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

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

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

       

       

       

      TOWARDS AN ECO-EROGENOUS PARA-PHARMACEUTICS VILLAGE

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

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

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

       

       

       

      POLITICS OF ENGINEERING

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

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

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

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

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

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

       

       

       

      CONTINGENT WEIRDNESS (workshop on horror)

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

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

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

       

       

       

       

      DEALING WITH POROSITY

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

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

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

       

       

       

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

       

       

      *all the events are public, except noted otherwise

       

      FORMS OF LIFE OF FORMS Rob Ritzen

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

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

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

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

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

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

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

       

      WICKED TECHNOLOGIES/WILD FERMENTATION Sara Manente

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

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

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

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

       

      OTHER GEOMETRIES Femke Snelting

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

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

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

       

      CRITICAL BESTIARIES Sina Seifee

      4.7 - 19-22:00

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

       

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

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

      9.7 - 12-13:00h OSP presentation

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

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

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

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

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

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

       

      SCORESCAPE Lilia Mestre

      5.7 - 14-17:00

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

       

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

      6.7 / installation: Self facial abduction beauty treatment

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

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

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

       

      CONTINGENT WEIRDNESS Adrijana Gvozdenović and Sina Seifee

      11.7 - 10-18:00h day 1

      12.7 - 10-24:00h day 2

      for registration email to sina.seifee@gmail.com

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

       

      OTHERWISE EXHIBITING ARTISTIC ANXIETIES AND THE WORLD

      Adrijana Gvozdenović / ongoing practice

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

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

       

      CYANOTYPE PRINTING PROCESS Adrijana Gvozdenović

      ongoing / installation and practice 

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

       

      DEALING WITH POROSITY Antye Guenther

      ongoing exchange of audio files with the participants

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

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

       

       

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

       

      The residence is produced by a.pass Research Centre

      and hosted by ZSenne ArtLab

      From June 24th to July 14th 2019

      9h00 - 23h00

      Anneessens 2, 1000 Brussels

      https://goo.gl/maps/nTVwbSAjK6yW76iY9

       

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

    • 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
    • victories over the suns

       

       

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


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

       

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

       

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

       

      Our residence will (not) unite Jason Bahbak Mohaghegh, Isabel Burr Raty, Antye Guenther, Adrijana 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’s institutional and long term structures work towards a repository of methodologies, forms of archive and ‘making public’ of artistic research practice.

       


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

       

      Detailed informations about the projects and agenda here

       

       


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


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

    • 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 ‘gathering’ as a form of knowledge processing bridging theoretical and experiential approaches. These gatherings don’t depart from personal concerns but aim to mine inter-subjective frame works to question artistic research as a learning together practice.

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

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

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

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

      AND

      The SenseLab is a laboratory for thought in motion.

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

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

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

      Anarchive 

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

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

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

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

      The RC is mainly working with alumni and associated researchers linked with the a.pass Research Centre. For Parallel Parasite we are: Alex Arteaga, Silvia Pinto Coelho, Bojana Cvejic, Nikolaus Gansterer, Nicolas Galeazzi, Adrijana 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 ‘speak’ to each other without having a common constraint in terms of content or form. To find systems of interaction where different aesthetic experiences cohabitate, complement, disagree and motivate thirdness together with the possibility to trace it. Like a maze of potentials hovering over us participants of the score.

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

       
    • 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 ‘gathering’ as a form of knowledge processing bridging theoretical and experiential approaches. These gatherings don’t depart from personal concerns but aim to mine inter-subjective frame works to question artistic research as a learning together practice.

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

       

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

       

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

       

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

       

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

      AND

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

       

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

       

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

       

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

       

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

       

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

      For Parallel Parasite we are: Alex Arteaga, Silvia Pinto Coelho, Bojana Cvejic, Nikolaus Gansterer, Nicolas Galeazzi, Adrijana 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 ‘speak’ to each other without having a common constraint in terms of content or form. To find systems of interaction where different aesthetic experiences cohabitate, complement, disagree and motivate thirdness together with the possibility to trace it. Like a maze of potentials hovering over us participants of the score.


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





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