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    • Not in the Mood
    • Not in the Mood Isabel Burr Raty, Adrijana Gvozdenović, Antye Guenther, Sara Manente, Rob Ritzen, Sina Seifee
      05 April 2021
      posted by: Sina Seifee
    • 03 May 2021
    • 31 July 2021
    • Not in the Mood

      a.pass Block 2021 II curated by Isabel Burr Raty, Adrijana Gvozdenović, Antye Guenther, Sara Manente, Rob Ritzen, Sina Seifee -

      participants: Inga Nielsen, Anantha Krishnan, Jimena Perez Salerno, Carolina Mendonça Ferreira, Gary Farrelly, Aleksandra Borys, Amy Pickles, Chloe Janssens, Anapaula Camargo, and Vera Sofia Mota.

      Having completed a cycle of a.pass Research Center in 2019, the six of us proposed to co-curate the block of 2021/II as a group. We aim to collectively curate an a.pass block where we redistribute and redefine the roles of curator, mentor, guest and workshop facilitator. This implies putting our knowledges, our differences and kinships into (re)productive promiscuous interactions. Each of us thinks of a.pass as an ecology of sensitivities, sentiments, rhythms and styles of knowing, but also as apparatuses, technologies and infrastructures. We do a block curation that pays specific attention to the affective and emotional dimensions of research and knowledge production, which we call here “mood”. Not only do humans have their moods and mood swings, but more-than-human, eco-synth-tech systems, and also climates and markets have it, too. By thinking and proposing practices with and about mood, we are navigating with and within affective interactions, imperfections, subjectivities and sensations of making oneself orient in the research environment and the world.

       

      Block Scenario

      The block unfolds from the 3rd of May to the 31st of July 2021. 

      The fourth floor of a.pass will host two installations, Unrest and The Depository Cat, inhabiting the common space, before the block starts. 

      Unrest, an artwork by Sofia Caesar, is a kinetic space that can move and stretch with our interactions, triggered by the workshops and reading sessions throughout the block. The Depository Cat, by Isabel Burr Raty, is a tentacular inflatable that proposes an ongoing practice based on research-treatments sharing, oriented to harvest living testimonies of the block’s processes and moods.

      During the Opening Week, Sara Manente leads the first collective practice called the Washing Machine. It is a fast-paced associative game and a way to use the filter of mood to look into our research. 

      In the first part of the block, Antye Guenther facilitates a hybrid workshop practice, titled Oh So Serious, around moodiness for de-professionalization.

      Throughout the block, Sina Seifee takes the role of PR by interviewing the participants and publishing regularly online.

      Multiple reading sessions will be conducted on Thursdays during the block.

      In the first part of the block, we will read selected essays associated with or drawn from Affect Theory, namely Lauren Berlant, Sara Ahmed, and Silvia Federici, under the working title Nail Art Affects Reading Sessions, facilitated by Sara Manente and Adrijana Gvozdenović.

      In the second part of the block, Thursdays are reserved for The Labour of Laziness reading sessions, proposed by Rob Ritzen.

       

      OPENING WEEK

       

      During the Opening Week, Sara Manente leads the first collective practice called the Washing Machine. It is a fast-paced associative game and a way to use the filter of mood to look into our research. Every participant is asked to prepare in advance 10 heterogeneous items from their practice under the filter of “obsessions”: bring something that you cannot stop thinking about, or that keeps coming back to you. It can be an unreasonable idea or feeling, a fragment of your own or somebody else’s work. Items can be of any format: a quote, a research question, a scrapbook, a dance move, a thought, a video extract, an object, a dream, or a short practice.

       

       

      ONGOING PRACTICES

       

      THE DEPOSITORY CAT - Isabel Burr Raty
      activated by a workshop at the beginning of the block on Wednesday 12th of May

      The Depository Cat is an ongoing practice throughout the block, which proposes the installation of an interactive space that invites participants to share their research in the form of self treatment/s or treatment/s for others. The idea is to open the possibility for the treatment’s giver/s and/or receiver/s to remain in a constant state of alteration, envisioning flux as one of the foundational resources in the processes of artistic research.

      The “treatment” implies the sharing or design of “healing” tools that give the opportunity to translate personal artistic concepts into physical or imaginary forms. These are put into motion by being with the - self - or with the - other/Cat, to trigger inner and outer mutations that can particularize, de-particularize or meta-morph affects underlying in the creative process of research. 

      The Cat takes the form of a “first aid cavity” that creates a visual space composed of i.e: non-standard animisms technologies, syncretic beliefs and statements, that can be freely inhabited. This cavity is at the same time a tentacular organism, as its limits can be stretched throughout the block, populating the common a.pass room. Participants are invited to deposit the or various “remainants” of the treatment/s offered in order to imprint the memory of the “healing” that took place. The remainants can be ornamental, devotional, cathartic - human and more than human objects and/or non-objects - that can infect, disinfect, contaminate, or not the common a.pass space. The depository process is archived with photographs and shared in the form of an album at the end of the Block.

       

      PR - Sina Seifee
      ongoing interviews, public relation

      Sina will make interviews with the participants throughout the whole block one by one on a weekly basis. The interviews are immediately edited into a short videographic piece with a collage style and animated elements from the imagination, the project, or the environment where the talk takes place. The pieces are published every week on multiple social platforms. The main host for the talks will be a subdomain of the a.pass website, which will be designed as a “collector” of the interviews for future access. The interviews in the format of video will be posted and prompted on both a.pass and non-a.pass platforms, where a wider audience has immediate exposure to it as it gets produced during the block.

      The interviews are informal and playful, with a heuristic approach to getting to know the participants' work and their personalities. The interview will be a substitute for mentoring (around), questioning (at), guessing (what), inventing (off), entangling (with) and imagining (on) what they are doing, what they are up to, and which mood they are in. The aim is less about understanding, and more about engaging and guessing fabulously what their matters of care are, with a perspectival (i.e. a reaction that is particular to me) and speculative (the “what if”) force that I embody in my own practice. The talks might take a maximum of two hours of recording and the final edited piece will not be more than 30 minutes long. The publication of the content will be based on the agreement with the participants, how and to which extent each likes to be exposed on social media. The interviews might take place in a.pass or elsewhere.

       

       

      WORKSHOPS / READING SESSIONS

       

      NAIL ART AFFECTS READING SESSIONS - Sara Manente and Adrijana Gvozdenović
      Thursdays, the first half of the block, before the HWD
      13th, 20th, 27th May

      We propose a formalized but relaxed situation, a hybrid form between mentoring and a reading group. We will do each other's nails while reading essays on affect theory. 

      “In ancient Egypt and Rome, military commanders also painted their nails to match their lips before they went off to battle.” Similarly, we will take care of each other, talk about what makes us happy and why do we feel like we feel (Sara Ahmed) to prepare for the “age of anxiety” (Lauren Berlant), to learn how we can repair (Eve Sedgwick) and to “re-enchant the world” (Silvia Federici).

      Doing manicure is a self-care or a professional service that can be considered a beautification process: removing the dead cuticles, massaging and moisturizing the skin, filing, polishing and decorating the nails. It is an intimate, private process and a ritual of preparation that serves the appearance in public. Could this be also a definition of what mentoring is? Can this situation create a space where different reading and discussing of the text can happen? 

       

      OH SO SERIOUS - Antye Guenther
      two days practice, 31st May and 1st June

      Antye is proposing a hybrid workshop practice around seriousness - approached as a state of non-moodiness - as questionable traits of professionalism in the arts. The aim is to propose and test, in conjunction with the participants, various strategies to insert moodiness,  non-seriousness and silliness (back) into artistic (research) practices as a way to de-professionalize. Where are our desires to be serious/ to be taken seriously in professional artistic contexts coming from? In what ways is this an attempt to champion objectivity and rational thinking in strong opposition to affects, moods and feelings, referring hereby as well to suspicious, idealized concepts of scientific practices in the 19th century? And what kind of strategies could help us to evoke processes of the-seriousness-ization for de-professionalization?

      This two-day practice will consist of a (performative) input lecture to shed light on the complex intertwinement of academisation and professionalization in the Arts, which seem to have been fundamentally boosted by neoliberal demands of constant self-advertising and promoting. This lecture will try to trace back specific tropes of professionalism to the 19th century ideal of the scientist as an ‘objective’ data recording device. After this lecture a short reading session will be proposed, to start and stir a conversation around (problematic) seriousness and professional attitudes. This will be followed by the invitation to the participants to share and to reflect on their own seriousness in their practices, what seriousness might mean for them as artists/practitioners in the arts. At the end of the first day, the participants will be asked to think of strategies to oppose rational-objective thinking and to practice hyper-seriousness or non-seriousness as a way to ‘de-professionalize’, which we want to share and test out together the next day.

      In preparation, Antye will collaborate with Sara and Isabel to invent and test specific ‘body practice’ to be added to the toolbox of de-professionalization on the 2nd day.

       

      THE LABOUR OF LAZINESS - Rob & Steyn Bergs
      reading sessions, Thursdays, the second half of the block, after the HWD and one moment in PAF
      24th June, 8th and 15th July

      The Labour of Laziness is dedicated to exploring the ambiguous, complex, and contradictory valences of laziness, and to examine its potentially subversive or invigorating political effects.

      In neoliberalism, tirelessly working on and investing in the self becomes an exigency. Because of their relative economic precarity, but also because of the nature of their work, artists and art workers often find themselves at the forefront (or rather, at one forefront) of exploitation and, perhaps especially, self-exploitation. We are less interested in laziness as a mode of resistance to this neoliberal regime than we are in laziness as a lateral form of political agency. In other words, we are not necessarily after laziness as a straightforward opposition to work—as passivity, as a simple refusal of work, as ‘doing nothing.’

      Instead, in discussing laziness, we want to raise questions about work and productivity in the arts. We will do so through collective reading sessions, taking place in an installation by Sofia Caesar.

      Furthermore, for the duration of the block, participants will be invited to keep a ‘lazy journal’ as a means of reflecting on their own relation to work and (self-)discipline, as well as on their understanding of productivity and how it informs their practice. These journals will be used as a common ground for a final group discussion/workshop. Importantly, the journals need not take the written form; other formats—video, drawing, or other media—can of course also be explored.

       

       

      PARTICIPANTS

      Inga Nielsen, Anantha Krishnan, Jimena Perez Salerno, Carolina Mendonça Ferreira, Gary Farrelly, Aleksandra Borys, Amy Pickles, Chloe Janssens, Anapaula Camargo, and Vera Sofia Mota.

       

      CURATORS

      Isabel Burr Raty, Adrijana Gvozdenović, Antye Guenther, Sara Manente, Rob Ritzen, and Sina Seifee

       

      Isabel Burr Raty is an artist, filmmaker, teacher and sexual Kung Fu coach exploring the interstices between the biotic and the virtual. She is currently researching on the human body as a territory for sustainable agri-culture and intertwining performance, installation and film to queer labor understandings, offer SF in real-time and play with geo-synthetic magic.
      www.isabel-burr-raty.com

      Adrijana Gvozdenović is an artist interested in artists’ motivation and ways of resisting (self)institutionalized structures. In the last three years, she has been developing methods of collecting and annotating symptomatic artistic practices that recognize their anxiety as a prerequisite state for criticality, which led to developing formats of publicness that push the borders between research, mediation, and production. These will be tested as needed during the block.
      www.gadi.me

      Antye Guenther is a visual artist, born and raised in East Germany. Drawing from her backgrounds in medicine, photography, and in the military, her art practices orbit around themes like ((non)biological intelligence and supercomputing, computer-brain-analogies and mind control, think tank ideologies and self-optimization, neuroimagery and fictionality of science, body perception in techno-capitalist societies and science fiction. Her work comes then in hybrid forms: performances, performative ceramic objects, fictionalized video tutorials, photo-text works, speculative scripts, artist publications, and narrative installations in various collaborations.
      www.aguenth.de

      Choreographer, dancer and researcher based in Brussels, Sara Manente, is interested in the dynamic relation between performer, work and spectator. Her projects are developed throughout hybrid research and become public in different formats. Currently, she works with aesthetics and ethics at the intersection between live arts and live cultures: namely, fermentation technology, noise, chimerization and (auto)immunity.
      www.saramanente.weebly.com

      Rob Ritzen is co-initiator of THAT MIGHT BE RIGHT, a founding member of LEVEL FIVE and coordinator of PERMANENT. My curatorial practice is focused on self-organized and collaborative formats in close association with cultural practitioners. In my research, I am concerned with social and political constellations that have a hold on everyday life. Cultural practices are a way to dislodge the hold the present has on us.
      www.robritzen.info

      Sina Seifee is an artist based in Brussels, Tehran and Cologne. Using storytelling, video, and performance, he explores and teases with the heritage of zoology in West Asia. His work picks up on how epistemologies, jokes and knowledges get shaped in the old and new intersections of techno-media and globalism.
      www.sinaseifee.com/

       

    • 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 installation. This publication reshuffles documentation of these “Moments” as a visual reflection of the trajectory of this research.

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

      https://www.robritzen.info/actions/forms-of-life-of-forms/

      price 12 Euro

       
    • books
    • performative publishing
    • research center
    • associate researchers Cycle 1
    • PUBLISHING ARTISTIC RESEARCH research center associates Cycle 1
      17 February 2020
      posted by: Steven Jouwersma
    • Isabel Burr Raty, Antye Guenther, Adrijana Gvozdenović, Sara Manente, Rob Ritzen, Sina Seifee and a.pass
    • 01 February 2020
    • 35 euro = 4 publications + Annex
    • PUBLISHING ARTISTIC RESEARCH

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

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

       

      PDF of the ANNEX you can read HERE

      a printed annex is added for free with every purchase
      of the Research Center Cycle I publications.

       


       

       

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

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

      Price 14 Euro

      ORDER HERE


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

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

      https://www.robritzen.info/actions/forms-of-life-of-forms/

      price 12 Euro

      ORDER HERE

       

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


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

      Price 5 Euro

      ORDER HERE

       


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


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

      https://aguenth.de/

      Price: 155 Euro

      ORDER HERE

       

       

       

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


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

       

       

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

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

       

      Price: 10 Euro

      ORDER HERE


      4 publications + Annex = 35 euro
    • research center
    • associate researchers Cycle 1
    • RESEARCH CENTER Cycle 1 Block III Co-Curated by Pierre Rubio
      29 April 2019
      posted by: Lilia Mestre
    • Adrijana Gvozdenović, Sina Seifee, Isabel Burr Raty, Sara Manente, Rob Ritzen, Antye Guenther
    • a.pass/ ZSenne ArtLab
    • 29 April 2019
    • 28 July 2019
    • case of: Pierre Rubio
    • RESEARCH CENTER Cycle 1 Block III

       

      The a.pass Research Center is dedicated to supporting advanced research and to collecting and making public methodologies of artistic research developed at a.pass.

      This summer block marks the end of the first cycle of the a.pass Research Center. After being initiated as a platform for individual research trajectories, the Research Center shifted to welcoming a group of advanced researchers for a period of one year. The last block of the cycle 2018/2019  is co-curated by the group of Associated Researchers. For a three week period - June 24 / July 14 - the work will be developed at Zsenne ArtLab.

      We are happy to work with the following Associate Researchers:

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

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

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

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

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

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

      For this co-curated current block the Associate Researchers will be supported by Pierre Rubio as the Research Center curator.

      Pierre Rubio (France, 1962) works as an artist, dramaturge, and independent researcher. His practice at large aims at re-negotiating habitual modes of individuation by using displacement and speculation as a methodological principle. He often uses ‘as if’s’ processes -alone or in collaboration- to investigate technologies, cosmologies and ideologies of artistic and research practices in relation to the production of subjectivity. Rubio is currently co-curator of the postgraduate artistic research institute a.pass (Advanced Performance and Scenography Studies_a platform for artistic research)

    • research center
    • associate researchers Cycle 1
    • RESEARCH CENTER CYCLE 1 BLOCK II CURATED BY ALEX ARTEAGA
      08 January 2019
      posted by: Lilia Mestre
    • Adrijana Gvozdenović, Sina Seifee, Isabel Burr Raty, Sara Manente, Rob Ritzen, Antye Guenther
    • a.pass
    • 07 January 2019
    • 31 March 2019
    • RESEARCH CENTER CYCLE 1 BLOCK II

      The a.pass Research Center is dedicated to supporting advanced artistic research and to collecting and making public methodologies of artistic research developed at a.pass. 

      The block II in the cycle 18/19 is focused on two intertwined fields of inquiry: aesthetic research practices in the medium of written language and architecture understood as intervention in the emergence of environments through construction and related practices.

      For the period of September ‘18 to August ‘19 we are happy to welcome following Associate Researchers to the a.pass Research Center:

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

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

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

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

      Sara Manente lives in Brussels and works as a choreographer and performance artist.

      Her projects start from an understanding of dance as a performative language and exist at the limit of the choreographic: texts, dance pieces, films, workshops, experimental performances, artistic researches and collaborations.

      At the a.pass Research Center she is gathering knowledge on fermentation techniques in order to consider her research from a perspective of bacterial/interspecies ethics and aesthetics.

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

      For the current block the Associate Researchers will be supported by Alex Arteaga as the Research Center curator and further on by Pierre Rubio for cycle 18/19 block 3.

      Alex Arteaga’s research integrates aesthetic and philosophical practices relating to aesthetics, the emergence of sense, meaning and knowledge, and the relationships between architecture and the environment through phenomenological and enactivist approaches.

    • research center
    • associate researchers Cycle 1
    • RESEARCH CENTER Cycle 1 Block I Curated by Vladimir Miller
      11 September 2018
      posted by: Joke Liberge
    • Adrijana Gvozdenović, Sina Seifee, Isabel Burr Raty, Sara Manente, Rob Ritzen, Antye Guenther
    • 03 September 2018
    • 30 November 2018
    • RESEARCH CENTER Cycle 1 Block I

      This September marks the beginning of the first one-year-cycle of the a.pass Research Center. After being initiated as a platform for the individual research trajectories of the a.pass Associate Researchers, starting this year the Research Center is shifting to welcoming a group of advanced researchers for a shared one-year period.

      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.

      For the period of September ‘18 to August ‘19 we are happy to welcome following Associate Researchers to the a.pass Research Center:

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

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

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

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

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

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


      For the current block the Associate Researchers will be supported by Vladimir Miller as the Research Center curator and further on by Alex Arteaga for block I/19 and Pierre Rubio for Block II/19.

      Vladimir Miller works as an artist, researcher, scenographer and dramaturge. His practice aims at re-negotiating habitual modes of spatial production within ad-hoc groups and institutional environments by using fragility as a building principle.

       




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