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

       

       

      “LAST ANGEL OF HISTORY”

       

      a screening and presentation by Dr EDWARD GEORGE

      (Black Audio Film Collective, London)

       

      The Last Angel of History is one of the most influential video-essays of the 1990s influencing filmmakers and inspiring conferences, novels and exhibitions. Black Audio Film Collective's exploration of the chromatic possibilities of digital video is embedded within a mythology of the future that creates connections between black unpopular culture, outer space and the limits of the human condition. The influential Black Audio Film Collective crafted this experimental blend of sci-fi parable and essay film, which also serves as an essential primer on the aesthetics and dynamics of contemporary Afrofuturism. Interviews with esteemed musicians, writers, and cultural critics are interwoven with the fictional story of the “data thief,” who must travel through time and space in search of the code that holds the key to his future.

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

       

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

       

       

      March 8th, 2017 _ 7pm-10pm

       

      @ a.pass

      Delaunoystraat 58

      1080 Brussels

       

      ​entrance free​!

       

      Screening at 7pm

      Presentation at 8pm

      Discussion at 9pm

       

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

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

       

       

    • COLLECTIVE LEARNING PROPOSALS 17 September 2023
      posted by: Kristien Van den Brande
    • a.pass alumni
    • Zsenne Art Lab
    • 27 September 2023
    • 08 October 2023
    • COLLECTIVE LEARNING PROPOSALS
      For two weeks a.pass alumni have concocted an exciting and eclectic program of COLLECTIVE LEARNING PROPOSALS through which they challenge, inquire, explore and digest different ways of learning from and with each other.
       
      Everybody is welcome to join! Participation is free.
      Location: Zsenne Art Lab, Rue Anneessens 2, 1000 Brussels, Belgium
      For more detailed information please contact the individuals behind each proposal!
       
      With: Nada Gambier, Federico Protto, Sarah Pletcher, Tulio Rosa & Paoletta Holst, Lucia Palladino, Amy Pickles & Chloe Janssens, Sara Vilardo.
       
       

       
      Nada Gambier
      They write you out of the narrative. You leave them out of the story. We create new scripts.
      27.9 + 29.9 + 2.10 @ 10h00-17h00
      A 3-day working shift around creative writing based on gentle trespassing and structured cacophony. We will use interference as a tool for widening our individual writing styles and skills. Minimum attendance day 1 and 2. Bring your own writing to start working from (lists, essays, paragraphs, loose sentences...).
      For more info please contact nadakatinka@gmail.com
       
      Federico Protto
      Fashion Hypnosis
      28.9 @ 14h00-18h00
      Can you locate the space between the clothes you are wearing and your skin? Fashion Hypnosis is a soft guided meditation exploring what, how, when, where, and why we carry, wear, fit, attire, button up, button down, buckle, fasten, drape, dress, and undress. Based on a practice developed in a.pass in 2020, we will collectively experiment the 'soft' hypnosis further into a somatic-movement score relating to garments, textiles, and costumes provided and activated in space.
      For more info please contact federico.prottoscutti@gmail.com
       
      Sarah Pletcher
      collaboration from here and there
      28.9 @ 18h30-20h30
      A talk/open discussion about how artists can collaborate with one another when living or working in different locals. How can we carry the collective with us when we relocate?
      For more info please contact spletcher123@gmail.com
       
      Tulio Rosa & Paoletta Holst
      crossreadings
      3 + 4.10 @ 18h-21h30
      A curatorial exercise that brings together a selection of films and books that approach the legacies of colonialism across different geographies and socio-political contexts. Departing from materials that have been a reference to the artists’ research, these two evening sessions explore how the cross reading of works produced in different times and continents might be able to create a space of reflection sustained by the frictions and similarities that might emerge between them. The programme will be also accompanied by the presentation of Hunting Song, a publication produced by Túlio as conclusion of his journey at a.pass Research Center Cicle IV in which he crosses historical accounts of violence with the music scores of the opera Il Guarany.
      For more info please contact Paoletta mail@paolettaholst.info or Túlio rosa.tulio@hotmail.com
       
      Lucia Palladino
      correspondances_I discovered loving is like going harvesting wild herbs in the forest
      4.10 @ 15h30-17h30
      A participative reading, writing and listening score producing content from neurological atypical patterns that questions language, hierarchies of knowledge and modes of learning.
      For more info please contact info.luciapalladino@gmail.com
       
      Amy Pickles & Chloe Janssens
      getting into character/s
      5.10 + 6.10 +7.10 @ 18h-20h
      Three evenings of rituals and writing to work through difficulties, embarrassments and discomfort of composing words as someone else. The evenings are for individual work, but undertaken in a collective setting. For more info please contact amymaypickles@gmail.com
       
      Sara Vilardo
      map of displacement
      6.10 + 7.10 @ 13h30-17h30
      8.10 @ 10-13h
      Map of a displacement invites you for a shared practice, individually or in a group, of mapping a life journey in relation to personal and universal events that have interfered in your life line. Limited spots -
      recommended reservation and further information from saravilardo@gmail.com
       
      Day by day schedule:
      * Wednesday 27.9 : Nada Gambier - writing lab - 10h-17h00
      * Thursday 28.9 : Federico Protto -fashion hypnosis- 14h-18h00
      Sarah Pletcher - talk- 18h30-20h30
      * Friday 29.9 : Nada Gambier -writing lab- 10h-17h00
      * Monday 2.10 : Nada Gambier - writing lab- 10h-17h00
      * Tuesday 3.10 : Tulio Rosa & Paoletta Holst - reading/screening-
      18h-21h30
      * Wednesday 4.10 : Lucia Palladino - listening, reading and writing
      score- 15h30
      Tulio Rosa & Paoletta Holst -reading/screening
      - 18-21h30
      * Thursday 5.10 : Amy Pickles & Chloe Janssens -rituals and
      writing- 18h-20h00
      * Friday 6.10 : Sara Vilardo -mapping- 13h30-17h30
      Amy Pickles & Chloe Janssens -rituals and writing-
      18h-20h00
      * Saturday 7.10 : Sara Vilardo -mapping- 13h30-17h30
      Amy Pickles & Chloe Janssens -rituals and
      writing- 18h-20h00
      * Sunday 8.10 : Sara Vilardo -mapping- 10h-13h00
    • performative publishing
    • a.pass Polyset 2023W18-20 practice gathering
      17 April 2023
      posted by: Vladimir Miller
    • a.pass
    • 02 May 2023
    • 19 May 2023
    • case of: Vladimir Miller
    • a.pass Polyset 2023W18-20

      a.pass Polyset 2023W18-20
      May 2nd-19th 2023

       

      You are cordially invited to join the a.pass Polyset space between the 2nd and 19th of May '23. Within the Polyset you will find other practitioners, artists and researchers, materials, tools, technical support as well as any number of individual and communal practices and experimental proposals. Polyset starts from an empty space and an empty timetable – both are gradually established during Polyset by its participants. Artists who spend time in the Polyset space set up their own working conditions. There are materials available to create a wide range of structures: from a simple table to a performative setting. The invitation to work with communal materials in a shared space opens up questions of authorship and collaboration towards a transient idea of ownership.

      A Polyset is a recurring practice of coming together in a communal practice space that is hosted by an art/educational institution. While a Polyset can be initially proposed as simply as "a prolonged collective practice hangout", its complexity arises from negotiating ways of being together which are not predetermined by a plan or a structure, institutional or otherwise. Polyset operates through dis-organising and collectively reorganising established or habitual ways of gathering and working. Its core intent is twofold: to lower the thresholds for a practice to manifest in its material form and to initiate a set of renegotiations within the relationships between space, practice, community and institution.

      Polyset is an open space that welcomes and supports practitioners from outside the institution and does not assign fixed modes of participation like "audience" or "visitor". It is not a group project, but a fluctuating arrangement of "groupings" with different aims and commonalities. Poyset operates on the principle co-habitation as dissensus, which means that all processes and agreements are necessarily partial and cannot exclude other processes in the Polyset space. Every practice is invited to find its own mode of publicness and its own balance between solitary and communal research modalities.

      This text is not only an announcement, but also an invitation to come and spend time in the space and to use-design it on your own terms. If you would like join the Polyset, please keep in mind that participation in an evolving and self-structuring community takes time, therefor ideally you would have a couple of days to spend in the Polyset space. Please sign up via the green link at the bottom of the page so we can establish contact for further questions and guide you to the Polyset space on the first day that you decide to come.

       

      Polyset in short:

      Polyset is a practice of temporary research co-habitation, where the the researchers design their spaces of practice in one shared space

      Polyset is a self-curated place of study that works through an open network of invitations

      Polyset lasts three weeks and happens in one space. Participants agree to spend as much time as possible in the Polyset.

      The Polyset space will be cleared of all furniture in the beginning of the project.

      There is a communal stock of materials provided for the Polyset which are available to anyone who joins it. Materials become connected to and organised in peoples practices. To disconnect or to reorganise please be careful with the other's processes.

      We do not define what "research" and "practice" are, but Polyset is a space for research and practice.

      Polyset space is an open space. Anyone working in the space can invite anyone, and they in turn can pass on the invitation.

      Consensual planning is an exception while relational collaborative negotiations structure the space.

      Schedule of proposals is developed on a day to day basis. It is not mandatory.

       


      a.pass Polyset 2023W18-20 will bring together research practices, contributions and participation by:


      Asli Hatipoglu, Martina Petrovic, Martin Sieweke, Nada Gambier, Gosie Vervlossem, Vijai Maia Patchineelam, Vladimir Miller, Lilia Mestre, Steven Jouwersma, Kristof Van Hoorde, Paoletta Holst, caterina daniela mora jara, Tulio Rossa, Maurice Meewissse, Kristien Van den Brande, Marko Gutić Mižimakov, Alyssa Gersony, Andrea Brandão, Carina Erdmann, Amari, Lore, Marian Rosa van Bodegraven, Mlondi Dubazane, Hans Van Wambeke, Heide Hinrichs, Tania Garduño Israde

      To be expanded by the participating researchers

      an updated agenda of presentations, sharings, workshops and screenings will be posted here as it develops

       

       

    • Research Portfolio Chloë Janssens

      Download here: Portfolio_mobile_CJ

       

      Keywords: soil, underground, mediation, role play, rehearsal, semi-fiction, collectivity

      I combine cravings and knowledge from climate activism and graphic design in an artistic practice that investigates the soil as a basis of place and futuremaking.

       

      To dig my hands deep into the earth and listen 

      “The sandy soils of my birthplace ‘de Kempen’, Belgium form the dry landscape of my research. I observe my ancestors preparing the earth for agriculture by obsessively moving cow-shit from the stalls to the fields. I can smell the cattle’s breath, the farmer’s spit, my grandmother's sweat and the excrements in the soil. After the famine we begin to enrich our lands with chemical fertilisers and radio-active uranium ore. When I stick my fingers in the earth here and tune in I can hear metals nagging, minerals singing, and bones twisting and turning in the underground. My imagination is haunted by this vibrating mass of elements holding stories from elsewhere. What to do with this pulsing scoop of dirt in my hand? I hold it with disgust, I peak into it, twirl my fingers around. I try stamping on it to free its story.”

      The research proposes that a collective reading of this scoopful of earth becomes a basis for an urgent reflection on our entanglements with the places that we inhabit. I invite the audience as a co-researcher in need of a tool for reading the soil. As a tool, I use literal and metaphorical sieves to better understand our positionality and implications in the soils condition. How do these polluted soils that we create and inhabit inform, shape and guide us?

       

      Toolkit of the research

      As a real Virgo and desperate prepper I’m looking for tools to assist me in my artistic practice. In this portfolio, I share with you the tools and skills I am discovering, developing or temporarily forgetting in my artistic research. I talk about my work through these tools to share with you my current methods and approach to research and art-making.

      — Sieves

      — Facilitation

      — Semi-fiction

      — Sensuous strategies

      — Graphic Design

       

      Sieves

      I understand a sieve to be a dividing tool. A tool to temporarily separate certain bits to form meaning. The meaning can be read on the surface of the sieve as well as in the remaining mass. The sieves themselves determine what will be caught, and what is able to ‘escape’. Because the materiality of the device is in the thread as well as in the holes. Julian Barnes describes a net as “A collection of holes, tied together with string”. When I replace ‘string’ with ‘material’, this could be the definition of the sieves I have been using in this research. In that sense, the material is connecting the holes, keeping together what temporarily escapes. As a designer, I’m interested how the design of the sieve holds it’s outcome, or is it possible to design open-endedly? To not define what we want to catch or capture?  

      Metaphorically, as an artist and Pisces moon, I think of what is flowing through the holes. Marilia Librandi wonders if we can spy the world through the hole, and which different perspectives this will bring for us. She is a scholar who thinks the net as a territory of activist, ecological and artistic interactions in relation to Amerindian and riverside cosmogonies. About her writing she says: “The pressure of linear story writing is very strong. More than the net, it’s the hole that I want to weave.” 

      It’s an ongoing practice of letting the different holes in the narrative of my research exist and refuse weaving the thread combining them. Weaving the holes also means letting complexity be, and not forcing direct connections. 

       

      Interpretation, meaning-making

      I got this image and urge to put my hands into the soil and filter out meaning and guidance. To let the soil guide us, as we do with the stars. To add the gesture of looking down for guidance, to the gesture of looking up. By using my own hands as sieves, it isn’t only the remnants that speak, but also the experience of touching and feeling the mass. I will elaborate on ‘touching’ in the ‘Sensuous Strategies’ item in this toolkit.

      When you’d search for options on ‘how to read the soil’, different search engines will give you a multitude on tactics. There’s pH strips or, when the soil is still in place, we can observe what grows out of the surface of the ground. Rather than the current vegetation, I’m interested in the seeds the soil holds for emerging futures. These seeds I don’t only see as literal seeds for plants, but also as a metaphor for materials in the soil holding questions and responsibilities for the future, which f.e. uranium is doing. Reading the soil for me became, among others things, both a historical as an intuitive practice.

       

      Sifting paper

      In a.pass (2021-2022) I engaged in a paper making practice. Making paper is done by using a sieve. First old paper is mixed with water until the paper completely falls apart. Then, this mixture is sifted and pressed on a cloth mostly in a rectangular shape. This process of working with old paper with texts we had been reading, or material I had been working with, helped me compost different entrypoints and interests in my research. By going through the printed texts again, I selected bits of my research that were important, and other bits that could go. The latter were mixed to pulp, and made into new paper. The images or pieces of texts that I considered important were mounted on top of the new paper. Holding it as a new material to work with into a new stage of the research.

       

      Facilitation

      I’m interested in negotiating collective conditions. During my time at extinction rebellion I grew an interest in collective conditions that are ‘doable’. No ideal situations, but pragmatic ways of being together with an openness to be ‘contaminated’ by the beliefs of others. Being on the intersection of the arts, activism and design, I feel there’s a lot to discover for me about the practicalities of collective conditions during polarisation.

      In these collective conditions, I’m interested in the figure of the facilitator, a position that is in constant negotiation. Facilitators try to keep openings for things to emerge, and at the same time manipulate conditions to actually produce something; a decision, a conversation, new ideas,… This friction I find exciting.  

       

      Chelsea Meijer

      To deepen and further explore different perspectives, I started to work with role play. For myself, I created an alter ego called Chelsea Meier, that embodies my slightly militant and sexual fantasies. Chelsea is less of a people pleaser than I am, she dares to manipulate the conversation more and isn’t afraid to share her own thoughts, beliefs and knowledge with the group. Through Chelsea I’m curious to learn and question the role of the faciliator as a ‘neutral’ position. I’m trying to discover and play with manipulation from the ‘trusted’ figure of the facilitator. Chelsea, for me, talks to authority, control, guidance, leadership amidst emergency. 

       

      Role play

      Together with me, also the audience is invited to shapeshift. I wonder if changing body, can also influence your thoughts and behaviour. During my design education at the Bauhaus Universität in Weimar, I was taught the ‘form follows function’ principle which states that the shape of a building or object should primarily relate to its intended function or purpose. I am interested in the opposite. Being a shapeshifter myself I wonder, could changing ‘form’ change your ‘function’, or transgress the borders of ‘identity’ and negotiate new thoughts and new ways of inhabiting your form or body? Can embodying another point of view in a semi-fictional reality soften our beliefs in our everyday reality, and create openings for contamination?

       

      On Coloniality

      4-day event, 10-13/11/2021, KBK, Brussels

      An actual setting where I’ve worked with collective conditions was the event ‘On Coloniailty’ that Amy Pickles, Tulio Rosa and myself organised in the frame of a.pass. ‘On Coloniality’ was a proposition for a temporary context for collective study. Through different artistic and theoretical speculations we studied coloniality and its manifold dimensions.

      Our understanding of coloniality departed from ideas developed first by Peruvian sociologist Anibal Quijano, and later expanded by many others, such as the semiotician Walter Mignolo and feminist philosopher Maria Lugones. Coloniality is an idea that points to the modes of organisation of power in so-called colonized territories, and how this extends out into supposedly postcolonial states. It differentiates colonialism, as a historical process, from its legacies. We have been thinking about ways to describe how the colonial rationale is at the very basis of our modes of social and political organisation, how those supposed histories have collapsed into, resonate with, and form our present.

      There is a shared desire between the three of us to learn how to articulate coloniality through artistic practices. Our collaboration has grown out of our individual motivations to discuss and re-narrate the colonial practices of the countries where we were born - UK, Brazil and Belgium- and challenge the dominant narratives that compose these histories. We are drawing connections between different times and locations by following closely methods of appropriation and extraction of land, resources, labour and data. Through different artistic practices we want to draw parallels, observe symmetries and find correlations across colonialism as it exists across all aspects of our lives; institutionally, economically, in corporations, governance, everyday structures of living and our bodies.

      ‘On Coloniality’ was hosted in KBK, an alternative space near Saint Cathrine, in Brussels. It was a porous programme open to the public. An exhibition hosted the programme that consisted of reading and listening sessions, screenings, a performance, workshops, public conversations and discussions.

      For On Coloniality we learnt from and with: Jeyanthy Siva, EZLN Delegation (Gira por la Vida,) WORKNOT! X Sarmad (Alireza Abbasy, Golnar Abbasi, Arvand Pourabbasi) Daniela Ortiz, Saddie Choua, Satch Hoyt, Sami Hammana, Glicéria Tupinambá, Vermeir & Heiremans, Line Algoed, Juan Pablo Pacheco Bejarano, Elodie Mugrefya, Nontsikelelo Mutiti, Helena Vieira and the Institute of Colonial Culture (initiated by Philippe Mikobi and Maarten Vanden Eynde).

       

      Semi-fiction

      I often find reality stranger than fiction. I like to work on the verge of the almost believable. To keep a space open for a naivety that is willing not to learn. The semi-fiction interests me as a space in which many things are possible, and the actual is reconsidered. I like to look for the absurdity in every-day situations, and use that as gateways into a collective imaginary. Semi-fiction offers me a method to freely combine different times and places. Just like relativity theory in physics I try to access the complexity of everyday life by bending time and space .  

       

      Brochure Hades

      In the frame of my research on the geological disposal of nuclear waste in Belgium I worked with the HADES laboratory, an underground lab where every single test refers to a Greek mythological figure. The place itself was already loaded with such mythology, that it gave me a great entry point towards a fictional reading of this space. 

      Chelsea researched the specific site of the HADES project and discovered another very important inhabitant of the infrastructure, a young child locked up in one of the tubes, meant for radioactive disposal. The happiness of the inhabitants of the area turns out to be directly linked to the suffering of the child. This case is strangely close to another story that was reported by writer Ursula Le Guin “The ones who walk away from Omelas”. Chelsea reported the situation in the area of the HADES project to be extremely urgent both for the child and for its overhead neighbours.

      But also HADES itself understand its tricky situation. Recently they opened up a call for a ‘social project’ that wants to include ‘stakeholders’ in the decision making on how to deal with nuclear waste on the long run. Chelsea saw this as an opportunity to apply for the job to facilitate this process and has been organising councils on the geological disposal of highly radioactive waste since.

       

      Semi-fictional surroundings

      I am growing an interest in how surroundings and materials can support a semi-fictional narrative. While researching I like to’make things’. Being in touch with the materials of my research, offers me a dynamic place to interact with ‘what’s there’.

      During the trajectory in a.pass, I experimented with paper making. Starting from the paper making workshops, I went to build little sculptures from the same material. I enjoy the ‘habitation’ of the research, to inhabit the materials, texts and places of the research quite literally.

       

      Sensuous strategies

      In the risky spaces which Chelsea proposes, I try to enter a semi-fiction through sensuous strategies. I’m a great fan of touching and listening. Some of my favourite materials to work with are: fonts by womxn, handmade, recycled papers, ropes and chains, sexy and furry fabrics, audioguides and soundscapes. 

      Proximity is important in my work. Through the senses, I like to get close to things I don’t understand. 

       

      Paper making

      During my stay at a.pass I picked up a practice of paper making. I learned to make recycled paper when I was a child and had been practicing every now and then over the years. In a.pass it became a recurring practice that I revisited regularly over the span of the programme. 

      In the paper making process I re-use paper from the bin and combine them with breadbags that my family collected during Sunday breakfasts. I like to think of the pulp mixture as a colliding of places. The paper bags have longer fibers, and they are able to hold together the short-fibered recycled paper from the bin.

      Lately, I often leave the sieves for sifting the paper out of the pulp mixture aside, and use the pulp as a material for making cardboard, a table, a shelter. All kinds of substances can be added to the pulp such as soil, spinach, blue berries, coffee grind, stones, moss and ink.

       

      Intoxication

      To shapeshift, I’m experimenting with drinking a transformation poison. I’ve been thinking about this idea of intoxication or contamination as an alternative for polarisation. Could I allow myself to willingly let myself be intoxicated or contaminated by something other than myself. This openess seems so daring and naïve that it scares me. 

      As a concept it’s huge, maybe touching or swallowing ‘otherness’ can make it more concrete and ‘doable’. I try and think about contamination through swallowing or touching that which is considered dirty. Dirtyness often calls for refusal, but could we also be with the dirt and let it shape us?

       

      Audioguide Down Dwars Dela

      Down Dwars Delà, Constant vzw, 2021, EbenEzer. Together with Olivia Joret and Amy Pickles. This work is an audio tour that we shared at the end of the Constant Down/Dwars/Delà worksession, close to the Eben Ezer tower in Bassegne, BE. 

      (Text by Constant vzw) Down Dwars Delà is a trio of words from English, Dutch and French. These aren’t translations but instead position(ing) that we see as talking back to the places and postures we took, experimented with and visited during these two sessions. We look at these words as forming a vector between the beyond, the out-of-reach and the experienceable world.

      Down Dwars Delà was the name of two connected sessions that took place one after the other during the summer of 2021, in two different places. One was hosted at the Eben-Ezer tower in Bassenge, Belgium, the other at the Bidston Observatory just outside Liverpool, UK . Both settings were approached as instruments to reconsider the modes of connection, observation and story-making they foster in relation with their wider historical, geographical, social, ecological, political and economical contexts. (end citation)

      Our three voices, and narratives, are characters with different materialities. Rock is one, in its multiple, porous, breathing, extracted and exploited existences. Another is the gas nitrogen, whose role is shifting as rocks story changes. The third is a matrixial perspective, that brings our attention to borders and transferences between us. The tour began on top of the tower, then moved down to the stairs leading to it, a large pile of rocks and an old mine. The audience was added to a group chat on Signal in which audio fragments of the three characters were shared throughout the walk. The tour ended with a sound meditation by Pauline Oliveros in the mine.

      We did an iteration of this performance for the group exhibition ‘Unfolding Down Dwars Delà’ in the weekend of 16-18th of December 2021 in SeeU, Etterbeek. In this space we shared debris from the live moment of the tour, in the form of props, sound and our script. Stoney soaps presented here confused senses, and could be carried away by visitors.

       

      Graphic design 

      Graphic design and I haven’t always been friends, although I can feel we’re growing closer again. Working as a freelance designer, I can feel how these skills inform a lot how I work with performance and scenography. When thinking about alter ego’s and role play, I often fall back on making moodbards as I would do for clients when designing their branding. 

      I also think a lot through images and color. Through making images and collages I get visualisations of a cosmology or imaginary in my head. Through methods of visualisation I can see more clearly affinities between different holes in the net that symbolises my research. Through visualising I find it easier to think about stories in the research too.

       

      On Coloniality, mentoring and publication with Nontsikelelo Mutiti

      How to break loose from the grid? How to find a place to design from, a place of familiarity, something I know? How to work with what’s around and ‘make’ from this specific locality? How to relate to graphic design discourse without being burdened by it? These questions informed me during the process of making the design for our event ‘On Coloniality’ that took place from November 10-13th, 2021 in Brussels, Belgium. 

      Design comes with the responsibility of directing people’s attention. I find that devastating. It’s a source of magic, to guide someones thoughts, and I have difficulties to negotiate that power.

      In September I started teaching a Typography 1 course at Paris College of Art. An engagement that sparked my interest in typography and its political potency. Preparing classes, and meanwhile structuring my thoughts about typography, activated a renewed joy and curiosity in the subject. Seeing the mainly white, male graphic design canon made me aware of the importance to speak from a certain position. I started thinking about the position that I work and teach from. 

      That spacial position was the fundament for the design of the visuals for our event ‘On Coloniality’. I started to work with what was lying around. I used scraps from brochures and folders of venues that we visited in preparation for the event. The biscuits and corn crackers I ate continuously got their own place in the design. I felt the urge to process the materials from the preparations into the design.

      I was inspired by Nontsikelelo Mutiti, who’m I had the honor to meet for a mentoring in the a.pass programme. Nontsikelelo (among many other things) works with hair braiding as a communication technology to talk with her black community. Her way of working reminded me of the affectivity of communication design. How our communication becomes recognizable by the way it appears to our kin and communities. 

      As Nontsikelelo says in our conversation: her education was a training in reproduction. Coloniality aims to make people reproduce what the knowledge-holder already knows. Students are not always trained into formulating their own thoughts. Consciously are not, my design education made me belief I had to reproduce a standard I had no understanding of. I feel this design process was a first step to untangle and get loose from those believes. To compost the thoughts I hold on what design is supposed to be, and find a more synced place to work from.

      I published a zine that contains a 3 hour conversation I had with Nontsikelelo Mutiti covering different topics around coloniality in graphic design. We talk about books as objects of power, about design education, about reading and about who’s still doing minimal design?

    • postgraduate program
    • workshop
    • CARE at a.pass A proposition of the Participants Assembly
      04 March 2022
      posted by: Lilia Mestre
    • 07 March 2022
    • 11 March 2022
    • CARE at a.pass

      CARE at a.pass

      A longing for togetherness is inherent to the a.pass community. To ensure this togetherness it is necessary to have different strenghtening intra-structures within the larger institutional structure. Especially in disruptive times as we are living in right now - on a micro and a macro scale - the participants of a.pass asked themselves how also they can contribute one of those intra-structures in which we can provide and reflect on care.

      CARE is an invitation to five days of five brunches and five talks. Together we want to find out what does care mean under the scope of a.pass as an institution focusing on artistic research. Where or what is care within and around artistic research? How is the act of caring resonating within participants' practices? What and who needs (more) care? Is care (somewhere) missing?

      Every day the table serves brunch, and different exchanges and aspects of care. We will collect and exchange individual, collective and institutional voices and expertise.

      Initiated by Márcio Kerber Canabarro in 2019, CARE took place twice in physical gatherings in Budapest, Hungary, and in Almada, Portugal. After the Pandemic started CARE transformed into an online gathering of contributions in form of a digital Zine with approximately 8 editions and contributions reflecting on the notion of care from all over the world. 

      As the Participant Assembly’s curatorial contribution to the 2022 I. block, CARE at a.pass experiments with another alternative format of organised gathering and provides a set of methods that form a lush base to research in togetherness. These operating methods mainly touch upon basic needs of time structure, food, space, and participation. Thus CARE shapes a space to digest and process the generated knowledge and the experience, a space to breath and rest, a space to hold together. 

      Schedule:

      March, 7th-11th 2022

      5 days/ 5 brunches/ 5 aspects of care/ 5 discussions/ 5 gatherings

       

      Day 1 - 11am-3pm - opening to CARE + invitation

      Day 2 - 11am-3pm - individual care 

      • fixing things with Martin

      • fashion hypnosis with Federico

      Day 3 - 11am-3pm - collective care 

      • weaving storytelling by Sarah         

      Day 4 - 11am-3pm - the caring relationship between individual and institution 

      • day lead by Inga

      Day 5 - 5pm- 9pm - closing to CARE + soft party

      • choreography of imagining the future by Aleks

      • Open Salon hosted by Nathaniel

       

      Extra program: 

      • Every day at 7pm, - online audio reading of “Oneness vs.the 1%” by Vandana Shiva” ( link send on Monday)

      • Screening of Myriam Van Imschoot's & The Youyou Group's film 'Le Cadeau'

      •  

      CARE at a.pass holds contributions amongst others by Sarah Pletcher, Martin Sieweke, Inga Gerner Nielsens, Nathaniel Moore, Aleksandra Borys, Federico Protto.

      Sarah Pletcher is a performance-based artist that works with ceramics and fibres. She has a background in traditional and alternative weaving practices. For CARE Sarah will be preparing a loom and weaving in the space to open a conversation about care for skills of making, the people who taught us our craft, and the stories embedded and woven into the history of our and others' ways of making.

      Martin Sieweke works as a material researcher in Brussels.  

      Deconstructing and collaging given shapes and researching on the overall ambiguity of materials contexts and use relations has been a main focus ever since.

      The material’s basic features such as texture, weight or colour have a strong impact on his practice.

      He is working collectively on set and costume projects in the field of performance and dance.

      Inga Gerner Nielsens makes performance installations which often includes one-to-one interactions and speculative interviews as immersive dramaturgy. With her current project, The Mise-en-Scène of Care Work, she is researching the social skills required for these interactions by mirroring them with the work performed by nurses. 

      Her dialogues with performers and nurses had led her to recognise a need to care for the caregiver. How can we as an artistic community help care workers? How can we support each other in the kind of care we perform in our artistic work?

      In the post performance care circles artists, curators, and people working within the institution of a.pass will each be viewed as a caretaker (of objects, processes, collaborators, participants, space). The starting point for a circle will be an interview about how the period right after a production manifests in your life. Inspired by the Poliset we will then build a scenography around you  and offer a mode of interaction which might potentially accommodate, reduce or perhaps alter the intensity of your fall into the post-performance void.

      Aleksandra Borys

      Choreography for Dreaming the Future is an experimental series of audio recordings which invite the listener to dream and fantasies of the desired future. They offer guidance for imagination and for body activity. My dream was to imagine how a dance gathering can happen beyond shared space and time, connected by the intention.

      Federico Protto’s artistic practice unfolds along performance, music, costume and fashion, and artistic research. Spanning a hybrid network of collaborators and materialities, his projects question conventions in order to configure new forms of shared knowledge production and decolonized kinship.

      Fashion Hypnosis is a guided somatic and collective moment in which we expand but also intensify our bodies and our imagination around them to sharpen or smoothen our understanding of the world surrounding us. 

      Nathaniel Moore: 

       

      Open Salon is a performance format with the theme of uninhibited spectatorship. 3 performances are presented as pillars supporting the evening, around which happenings, expressions, and queer modes of connecting might occur. 

      In this salon I hope to trouble the ways in which we practise listening and attending performance. Consider it a gentle nudge out of one's comfortably distanced seat, and a raucous invitation to make a response in real time. A permission granted to open up the floodgates of an uninhibited spectatorship which reacts to what's happening in the space immediately, even, conversationally formulating additions, disruptions, contextualization, harmonies, utterances, angers, praises, perversities, angels, etc etc.

      You are invited to witness, be touched, and return the favour. 

      A mantra might be, “we do not yet know what this performance(moment) needs to be,” or is, and, we will find out together. This is desired as a brave space; a space where there are no mistakes. Where the information which emerges is valued regardless of the message it carries; valued simply because it offers the possibility to learn.

      Informing this evening is thought around care and provocation, listening and critique, love and healing.

      More information on CARE and the 2020 online zines can be found here:

      https://www.carewherezine.com

       

    • This Schedule will be updated on a daily basis as Poliset 2022W4-7 and the proposals within it develop. 

      POLISET HAS BEEN PROLONGED BY A WEEK, TO END ON FRI FEB 18TH

       

      Monday Jan. 24th

      14-19h Poliset Introduction by Vladimir Miller

      Moving into the space, introduction to the available materials, the technicals space aspects (with Steven Jouwersma), the common budget and schedule. Vladimir will facilitate a process of connecting over shared and unshared topics and ideas of everyone's research. We will try to finish the day with setting up a place to have a dinner together. Food can not be as easily shared as we like, due to covid safety, but we can try to have a shared dinner and welcome drink.

       
       

      Tue Jan 25th 

      Steven Jouwerstma technical assistance day

       

      10h Poliset talk: Politecture.

      Vladimir

       

      13h Scheduling / Check in

       

      15h Research Mapping

       

      Wed, Jan 26th

      10-13h Steven Jouwerstma technical assistance 

       

      13h Scheduling / Check in

       

      14h Low Intensity Violence Research Group

      Research Introduction

       

      Thu, Jan 27th

      11h Wet Floor Cleaning

       

      13h Scheduling / Check in

       

      15h Abrasive Strategies introduction Martin

       

      Fri, Jan 28th

       

      10h Poliset Talk

      Christine de Smedt (LIV)+Vladimir

      we will pick two space related terms from our research and introduce and discuss them together

       

      13h Scheduling / Check in

       

      13h-15h one on one Interviews on plant care as part of Ingas research practice

       

      Mon, Jan 31st

      17h Film Screening "Cyborg Europe" by Anna Lugmeier

       

      Tue Feb 1st

      Steven Jouwerstma technical assistance day

      10h Brushing Teeth, Martin Sieweke

      11h Walking Practice, Vera Sofia Mota

       

       

      Wed, Feb 2nd

      11h Open Conversation on "Organising Randomness" with Nada Gambier and Vladimir Miller (also happening on zoom)

       

      Thu, Feb 3rd

      10h LIV Group + Vladimir Miller, open conversation on notions from their practice.

      14h What can be a contemporary scenography curriculum? Public writing session (etherpad) in the poliset. Vladimir

      14h Building a space of reading, and reading Chantal Mouffe on agonism (Lisa)

      16h-18h Toast to the Future, gathering in front of the Flemish Parliament in support of a.pass

      17h Film Screening: "La Rabbia"  (Gastone Ferranti, Giovannino Guareschi, Pier Paolo Pasolini)

      19h Drinks

       

      Mon Feb 7th

      Jozef Wouters at poliset

      "I will open and share my research as part of The Unbuilt School of Architecture. Part of Decoratelier, The Unbuilt School of Architecture is a platform for research about scenography and ephemeral space. For the Poliset days, I will share my research on spaces that are made of care and words more than of space and square meters. The ways of sharing are twofold; from 4pm I will open for a reading group and at 6pm it will be a film or a talk."

      16h  Reading group with Jozef Wouters

      18h Jozef Wouters' public presentation

       

      Tue Feb 8th 

      16h Five Minute Festival

       

      Wed Feb 9th

      Tania Garduño (CIVA) day at poliset

      10:30 Open Conversation: “Periphery”, Nada Gambier

       

      Thu, Feb 10th

      14h Conversation on how we research. Focus away from “what” and “why” towards “how” with specific attention to art practice as a tool for research.  

       

      Fri, Feb 11th

      12:00 Reading Group, “What”s the Use” bySara Ahmed, with Martin Sieweke

       

      Wed, Feb 16th

      Tania Garduño (CIVA) – contribution on Proxemics:

      In the Turkish Empire, the shade of a tree you planted determined the amount of land you owned. Tree shades defined villages’ sprawls. You could also calculate how old was a city, not necessarily by its buildings but by looking at the height of the trees.

      Architecture can be seen as the practice situated between the built space, human beings and actions. It can become the container of politics, history and civilizations. However, no single discipline nor research technique can help us understand how we perceive and associate with space. The science of Proxemics acknowledges this impasse; it addresses basic human situations in a subconscious area of society. It studies the many sensory inputs and emotions related to culture and its environment. Through scientific research, combined with “learning-by-doing” and the starting point that we are all experts in “being”, Proxemics creates a broad field of experimentation that gives us a hidden take on our relationship to the world.”

      18h Presentation and Talk

       

      Fri, Feb 18th

      10h Cleaning and Sorting

      13h check in

      13:30 In-process presentations for the HWD participants

    • project
    • workshop
    • Settlements
    • Polyset 2022W4-7 a.pass, Brussels 14 January 2022
      posted by: Vladimir Miller
    • a.pass
    • 24 January 2022
    • 11 February 2022
    • case of: Vladimir Miller
    • Polyset 2022W4-7 a.pass, Brussels

      POLYSET HAS BEEN PROLONGED BY A WEEK, TO END ON FRI FEB 18TH

      SCHEDULE

       

      [disorganisation, mutable<>mutant, re-constitution, available space, usedesign, decoherence, constituent imagination, perpetual modeling, set / unset, cohab, sticky space, gel, semiset, accumulation, interim, tentative, fragile, actual, affine space, poligraphy, gathering, a walk in the dark with the flashlight pointing backwards, fugitive instituting, politecture, study, overflow, hangout]

       

      a poliset is:

      a practice of temporary research co-habitation, where the the researchers design their spaces of practice in one shared space

      an indoor research hangout with available communal materials, tools, support structures and resources

      a self-curated study, that works through an open network of invitations

      consensual over-all-planning is an exception, while relational collaborative negotiations structure the space

      Poliset was developed as a workshop at a.pass about 10 years ago when a.pass was still situated at DeSingel in Antwerp. When I was invited to teach there, I was looking for a practice which would allow the researchers to produce a study environment that was structured around a polycentric approach to community and practice. The main question in coming up with this workshop was for me: How to design a (self)educational environment which can be appropriated by others through re-design? I wanted to pass on the role of the workshop facilitator to the space itself, hoping that interactions and presentations would organically emerge from the engagement of the researchers with their work and with each other. But for this to happen our spatial arrangement had to dissolve the default model of “always gathering in a circle around a table” which would privilege me as a teacher no matter what I did and said. We all needed an opportunity to stay together but to orient ourselves away from the center and towards our tasks and questions as researchers. Not to simply fall apart into individual processes, but to disorganise in order to reorganise in multiple peer-to-peer occasions of sharing and presentation. I took the idea of a city as a spatial metaphor (or on a smaller scale: village, town), with its distributed centers of production, politics and self-organisation, as the main model for such a space. The initial proposal was therefore called “Settlement” to point to a mode of dwelling which is never one structure and desire, but a multitude of interacting formations. The word “settlement” was also pointing to the key practice of negotiation (a “settlement” marks its end in legal terms) between the social, individual, material and organisational formations which would be emergent in the space. As the practice continued to develop at a.pass and elsewhere over the past ten years, then Settlement and now Poliset went through different iterations, becoming a larger research project on the politics of commoning and the relationship between practice and its material/spatial conditions within institutions.”

      Vladimir Miller

       

      a.pass Poliset 2022W4-6 will bring together research practices, contributions and participation by:

      apass participants, mentors, curators and team (tbc):

      Aleksandra Boris, Amy Pickles, Chloë Janssens, Sarah Pletcher, Anna- Sophie Lugmeier, Asli Hatipoglu, Martina Petrovic, Martin Sieweke, Nada Gambier, Vera Sofia Mota, Gosie Vervlossem, Simon Asencio, Rares Craiut, João Fiadeiro, Vijai Patchineelam, Anna Rispoli, Samah Hijawi, Jaime Llopis, Vladimir Miller, Lilia Mestre, Steven Jouwersma, Joke Liberge, Kristof Van Hoorde.

       

      with research contributions by:

       

      artists choreographers Christine de Smedt, Liza Baliasnaja and Theo Livesey:

      L'Inconnu is a collaborative research project between Liza Baliasnaja, Theo Livesey and Christine De Smedt, around the notion of Low Intensity Violence (LIV). For this work, we consider LIV to be made up of the violences we experience and produce which are not immediately evident or visible. The violence that works in disguise. The research currently takes a specific look at LIV through the lens of language, and how language operates as a medium and vehicle for violences.”

       

      Tania Garduño (CIVA) - contribution on Proxemics:

      In the Turkish Empire, the shade of a tree you planted determined the amount of land you owned. Tree shades defined villages' sprawls. You could also calculate how old was a city, not necessarily by its buildings but by looking at the height of the trees.

      Architecture can be seen as the practice situated between the built space, human beings and actions. It can become the container of politics, history and civilizations. However, no single discipline nor research technique can help us understand how we perceive and associate with space. The science of Proxemics acknowledges this impasse; it addresses basic human situations in a subconscious area of society. It studies the many sensory inputs and emotions related to culture and its environment. Through scientific research, combined with "learning-by-doing" and the starting point that we are all experts in "being", Proxemics creates a broad field of experimentation that gives us a hidden take on our relationship to the world.”

       

      Jozef Wouters 

      "I will open and share my research as part of The Unbuilt School of Architecture. Part of Decoratelier, The Unbuilt School of Architecture is a platform for research about scenography and ephemeral space. For the Poliset days, I will share my research on spaces that are made of care and words more than of space and square meters. The ways of sharing are twofold; on Mon Feb 7th from 4pm I will open for a reading group and at 6pm it will be a film or a talk."

       

      Conversation with David Vercauteren on his book “Micropolitiques des Groupes” (tbc)

       

      To be expanded by the participating researchers

      an updated agenda of presentations, sharings, workshops and screenings will be posted here as it develops

      This text is not only an announcement, but also an invitation to come and spend time in the space and to usedesign it on your own terms. please use the link below to sign up and coordinate so that we can welcome you in.

      covid safety protocols will be followed in the collective space.

       

    • conference
    • On Coloniality Chloë Janssens, Amy Pickles and Túlio Rosa
      18 October 2021
      posted by: Sina Seifee
    • KBK Brussels
    • On Coloniality
       
      Date: 10-13th of November 2021
      Location: KBK Brussels, Boulevard d'Ypres 20, Sainte Catherine, Brussels
       
      ‘On Coloniality’ is a proposition by a.pass participants Chloë Janssens, Amy Pickles and Túlio Rosa of a temporary context for collective study. Through different artistic and theoretical speculations we will study coloniality and its manifold dimensions.
      Our understanding of coloniality departs from ideas developed first by Peruvian sociologist Anibal Quijano, and later expanded by many others, such as the semiotician Walter Mignolo and feminist philosopher Maria Lugones. Coloniality is an idea that points to the modes of organisation of power in so-called colonized territories, and how this extends out into supposedly postcolonial states. It differentiates colonialism, as a historical process, from its legacies. We have been thinking about ways to describe how the colonial rationale is at the very basis of our modes of social and political organisation, how those supposed histories have collapsed into, resonate with, and form our present.

      There is a shared desire between the three of us to learn how to articulate coloniality through artistic practices. Our collaboration has grown out of our individual motivations to discuss and re-narrate the colonial practices of the countries where we were born -  Belgium, Brazil, UK - and challenge the dominant narratives that compose these histories.
       
      We are drawing connections between different times and locations by following closely methods of appropriation and extraction of land, resources, labour and data. Through different artistic practices we want to draw parallels, observe symmetries and find correlations across colonialism as it exists across all aspects of our lives; institutionally, economically, in corporations, governance, everyday structures of living and our bodies.
       
      ‘On Coloniality’ will be hosted in KBK, an alternative space near Saint Cathrine, in Brussels. It is a porous programme open to the public. An exhibition will host the programme that consists of reading and listening sessions, screenings, a performance, workshops, public conversations and discussions.
       
      The full programme can be downloaded here: https://we.tl/t-3HCh0e58Fj
       
       
      Public Programme
       
      Day 1: Wednesday November 10th, Positioning ourselves.
      11-13h: Visit to the Institute of Colonial Culture
      15h: Presentation of the programme
      16h: Presentation of the publication: Who’s still doing minimal design? A conversation between Nontsikelelo Mutiti and Chloe Janssens
      17h-18:30h: Helena Vieira [Listening Session]
      18:30h: Open conversation
       
      Day 2: Thursday November 11th, Accountability, Extraction and Ownership
      11-13h: Elodie Mugrefya [workshop]
      15h: Presentation Vermeir & Heiremans
      15:45: Presentation Line Algoed
      16:30: Open conversation with Vermeir & Heiremans and Line Algoed
      19h-21h: Juan Pablo Pacheco Bejarano [workshop]
       
      Day 3: Friday November 12th, Counter Narratives and Remembering Otherwise
      11h-13h: Visit Art and History Museum and reading of 'Curar o Mundo', by Glicéria Tupinambá
      14h: Presentation Sami Hammana
      14:45h: Presentation Satch Hoyt
      15:30h: Open conversation with Sami Hammana and Satch Hoyt
      20 - 22:30h: Arquivo Atlântico Film screenings at Pianofabriek: Rue du Fort 35, 1060 Saint Gilles, Brussels
       
      Day 4: Saturday November 13th, Alternative Relatings to (and through) identity, borders and knowledge redistribution
      11h-14h: WORKNOT! X Sarmad [workshop]
      15h: Presentation Daniela Ortiz
      15:45h: Presentation Saddie Choua
      16:30h: Open conversation with Daniela Ortiz and Saddie Choua
      20h: Satch Hoyt [Sound Performance]
       
       
      The programme is open to anyone who wants to learn collectively about coloniality and artistic practices, who wants to engage in a conversation around this theme. Registration is not necessary. The website of a.pass will have the latest updates on time and locations.
       
      KBK has a wide entrance directly from the main street. There are no steps to enter the building. There is one toilet at the back of the space, on the same level. The space is illuminated with strip lighting on the ceiling, and a number of screen based artworks will be in the space. Hot drinks will be available for free, and there is access to drinking water. We will host a self made seating structure on which you are welcome to sit or lie down on.
       
      If you have questions on accessibility and/or the programme, you can reach us on the following email addresses: Chloë: chloejanssens@protonmail.com, Amy: amymaypickles@gmail.com, Túlio: rosa.tulio@hotmail.com

       

       
    • postgraduate program
    • bleed is inevitable
    • block 2021/III
    • Role Play Intensive
    • bleed is inevitable curatorial assemblage facilitated by Kristien Van den Brande
      20 September 2021
      posted by: Sina Seifee
    • 06 September 2021
    • 30 November 2021
    • bleed is inevitable

      The block “Bleed is inevitable” starts from the premise that we are inhabited by several voices - be them spiritual, psychological, political, juridical, institutional, identitarian, non-human, culture-historical, assigned or acquired, short or long term,… - and that we are subject to environments that bring these voices into dialogue or conflict, or muffle them. During the block, the a.pass researchers are invited to think their interactions from the perspective of role play, and to create artificial environments in which to experiment with and dis-equilibrate an individual or collective constitution of voices. It is a guided exercise in letting go of what one knows or thinks to know and a prodding for delineated and contrived spaces to speculate on different modes of being together in the world.

      History will always be in the room though. In LARP (Live Action Role Play)-vocabulary ‘bleed’ refers to the experience of transferral between real-life and game-world. In-game experience inevitably spills back into life, and vice versa, one’s game character and world is inevitably inspired by real-life experiences and self-perception. LARPers have developed techniques to halt or hold this zone of oscillation, between what is and what could be. While closure of play might be a necessary tool to keep up with ‘real-life’, we could also question the ‘right to a proper end’ as particular to Western storytelling tradition, with consequences for what we think a proper life or story is. ’Bleed is inevitable’ invites the a.pass participants to question and reinvent assigned roles, investigate the ideological space of ‘bleed’, as well as experiment with techniques of game-design within artistic research.

      “Bleed is inevitable” is an assemblage of different curatorial proposals that have been in conversation for a longer period of time. Not seamless, but definitely more than tangentially connected, therefore with the ongoing challenge to superimpose and retrace how they spill into each other.

       


       

      First, Ronny Heiremans and Katleen Vermeir take us for two walks in SPA in the context of their research ‘7 WALKS (resolution)’. The context of SPA offers the unique opportunity for a series of itinerant reflections on water and art. Drawing inspiration from the intangible legacy of historical walkers — kings and czars, political refugees, artists and philosophers — and, strongly anchored in a local context, Heiremans and Vermeir propose us to explore a balance between private property of and access to resources that we hold in common as a society. Can SPA inspire to unbundle the proprietary rights that have been stacked around authorship and (land) ownership, i.e. two paramount features of Western subjectivity?

      Guests: David Aubin, Scott Raby, Steyn Bergs, Jens Van Lathem, Tobias Van Royen.

      September 16-17

       


       

      Second, block curator Kristien Van den Brande organizes a two week Role Play Intensive. The Intensive combines immersive experiences, showcases, reading, film, discussion with invited guests, and this input is alternated with open slots where we translate and experiment for ourselves what role-play can bring to our work. Discussions around consent, boundaries, co-authorship and a willingness to suspend the self into play will be key. We will take role-play as a space for investigation, confrontation and speculation rather than escapism. What conversational, contractual and/or architectural techniques have LARPers, BDSMer or therapists developed to mark the transition between real-time&space and play-time&space? What are ethical limits of engaging in role-play, regarding the politics of appropriation and trauma? What are the conditions for role-play to offer a safe/brave space to practice critical empathy (Ed Fornieles), un-recognizing (Elvia Wilk), disidentification (Jose Esteban Muñoz), or for suspending the cops in the head (Augusto Boal)?

      Guests: Amélie Orsel with the LARP Identities; Olivier Stein with an introduction to different Role-Play cultures and techniques; Carolien Stikker with a demonstration of Voice Dialogue Therapy; Femke Snelting with an attempt at a new authorship license; Sarah Vanhee’s film The Making of Justice; Wouter De Raeve and Lietje Bauwens with the film WTC A Love Story; Kobe Matthys / Agency with an assembly about a copyright controversy around reality-tv.

      September 27 - October 8

       


       

      Third, a.pass participants Chloë Janssens, Amy Pickles and Túlio Rosa are organizing a temporary context for collective study: ‘On Coloniality: a public gathering’. Through different artistic and theoretical speculations they invite us to study coloniality and its manifold dimensions. The term ‘coloniality' differentiates colonialism, as a historical process, from its legacies. It refers to the modes of organisation of power in colonized territories, and how this extends out into supposedly post-colonial states. How is the colonial rationale at the basis of current modes of social and political organisation? How have these supposed histories collapsed into, resonate with, and form our present? Departing from critical reflection on the countries where they were born — Belgium, Brazil, UK — they invite us to draw connections between different times and locations by closely following methods of appropriation and extraction of land, resources, labour and data. Through different artistic practices we will draw parallels, observe symmetries and find correlations across colonialism as it exists across all aspects of our lives; institutionally, economically, in corporations, governance, everyday structures of living and our bodies. 'On Coloniality: a public gathering' will be hosted inside and outside of a.pass, a porous programme open to the public. There will be an exhibition that hosts artist work, reading and listening sessions, screenings, public conversations and discussions.

      Guests are announced shortly.

      November 10-13

       
    •  

      Welcome in De Markten, Friday, 11th of June 2021.

      18-22h

      Subscribe for attendance. Or join us online. Details will follow.

      Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens

      will read, perform, discuss:

      a book as a prop for future performance, a poster that unfolds into a speculative discussion board game, a timed articulation in an archive that reiterates its own traces, a set of interviews that binds four generations of activism, a performative research method that paves the way for academic writing, and a collective online score that narrates how research interests were influenced by each others presence.

      *

      The researchers in Research Centre Cycle II — Breg Horemans, Davide Tidoni, Esteban Donoso, Lili M. Rampre and Pia Louwerens — are ending their one year trajectory at a.pass with the launch of a series of (performative) publications.

      Publishing is rarely something that concludes a confined process of solitary thought. It is a social process that — abstractly and manifestly — involves collaboration along the way. Rather than a book or printed matter as a finite goal, the researchers took publishing as a pretext to build ongoing social gestures, a space for the continued production of meaning and reverberance.

       


       

      Programme:

       

       

      Pia Louwerens presents the artistic research novel I’m Not Sad, The World Is Sad. I’m Not Sad, The World Is Sad is an autotheoretical, semi-fictional account of a performance artist who lands a part-time job as an Embedded Artistic Researcher in an art institution. Invested in queer theory and institutional critique, she sets out to perform the artist ‘differently’ through a process of negation and passivity, inadvertently causing her relationship with the institution’s curator to grow increasingly speculative and paranoid. Louwerens' labour as tour guide, security guard, artist, hostess and researcher at different institutions begins to overlap and blend under the name of ‘performance.’ I’m Not Sad, The World Is Sad is a fragmented story of paranoid and reparative reading, script and utterance, exposure and vulnerability.

       

      Pia Louwerens is a performance artist and researcher from the Netherlands, living in Brussels. Her research revolves around the becoming of the artistic subject, the I who writes, speaks and makes, in relation to the (institutional) context. From 2019 - 2020 Louwerens was working as embedded artistic researcher at a big research project, for which she was embedded in an art institution. Through this research she attempted to perform or practice the artist, and thereby the institution, differently. Her work usually takes the shape of a performance in which she speaks, switching between registers of the actual, the possible, the professional and the anxious artist.

       


       

       

      Pop-Fi poster is a “choose your own adventure” game, developed by Lili M. Rampre in collaboration with Júlia Rúbies Subirós. The game is tracing pre-public discourse, semi-private collections of thoughts that, once shared and circulated, can shift a wider agenda on what matters to artists the most. The game aims to popularise common fictions and pop the bubble of others. Collectivising half-digested thoughts potentially means bridging between personal and structural to effectuate change. Pop-Fi poster is part of Pop-Fi; a multifaceted project, that entails a performative workshop ventriloquising popular movie icons, video installations and script-readings. Pop-Fi foregrounds concerns of an artistic community, through variety of formats that act as discourse prism. Pop-Fi poster is both a visual aid for the workshop and an autonomous object. Pop-Fi’s next step is developing strategies to funnel from anecdotal to factual and think about data and its visualisation techniques informed by direct experience, commitment to action and intersectionality.

       

      Lili M. Rampre is researching strategies to highlight “off stage”; processes, practices and actors behind, off, under or above the stage. Her focus lies on power relationships and the dynamics of disparities in cultural capital (audience-performer, fan-star, producer-artist). Her work has often a role-reversal in its core proposal, ventriloquism of a kind, or unreliable narration. Most recently Lili is looking into fandom and fandom civic practices authorising fiction to affect political action as an artistic methodology, to re-articulate essential parts of artistic production and circulation as fictional or factual aspects.

       


       

       

      Esteban Donoso presents Mand/inga. Mand/inga is a performance that entails a reading of a script, and a screening of a film at once. It’s an instantiation of a collaborative process with Thiago Antunes in which we re-visit our own family stories, tracing along our relation to such issues as gendering, religion, spirituality and race. The script and film register an ongoing conversation between friends, as well as a conversation with our own lived memory. This process is also an attempt to trace out a methodology for working with self-narrated queerstories and their interconnected resonances. Mand/inga is a term that takes many colloquial meanings in Latin America, in Brazil it usually refers to ‘black magic’ whereas in Ecuador it denotes the racial mixtures between black, indigenous and white backgrounds.

       

      Esteban Donoso is a choreographer, researcher and Performance Studies fan living and working between Brussels, Quito and Toronto. Currently towards the end of a PhD in Performance Studies, he is juggling to put together a practice-based methodology, his interest in feminist cinema and the writing of a dissertation about dance narratives and cultural memory in Quito-Ecuador. He researches the medium of film as a self-narrative device and as an interface for collective writing. In as much as it enables our appearance in a virtual space, it also allows us to create a third space in which we can look at our shared entanglements.

       


       

       

      Davide Tidoni presents Where Do You Draw the Line Between Art and Politics, a series of interviews with individuals who have been active in various capacities at the intersection of art and politics. Between historical documentation, political memory, dialogic reflection, and motivational support, the publication examines the experiences, commitments and feelings that operate and inform aesthetic priorities in social spaces outside of art institutions; it’s a repository designed to inspire and encourage the politicization of aesthetics, as opposed to the aestheticization of politics.

       

      Davide Tidoni is an artist and researcher working with sound and listening. With a particular focus on direct experience, observation, and action, he creates works of different formats that include live performance, intervention, walk, video, audio recording, and text scores. He is interested in the use of sound and music in counter-culture and political struggles and has published a sound based field research on the northern italian ultras group Brescia 1911 (The Sound of Normalisation, 2018). Davide’s work can be accessed at: davidetidoni.name

       


       

       

      Breg Horemans presents Siting Discourse, a dialogical diary that explores the protocols, politics and accessibility of a digital architecture-as-archive (www.taat-projects.com). Breg shares the writing process through a recorded sequence of screen captures. Siting Discourse exposes the Live Archive´s digital spatiality and the implicit gestures, attitudes and coincidences of discourse making that it aims to facilitate. The title is a reference to the Live Archive as a (web-)site for discursive documentation and it addresses the academic citing mechanism as a form of ‘structural misquoting´. Siting Discourse is a collaboration between Siebren Nachtergaele (Social Sciences HOGENT, Theatre Studies UGENT, BE) and Andrew Filmer (Theatre Studies, Aberystwyth University, WA). Their first encounter was shaped by means of a drift.

       

      Breg Horemans is co-founder of TAAT, a liquid collective of artists working on the verge of performance, research and installation art. Since 2011, he renegotiates his relation to the architecture discipline through transdisciplinary collaborations. The desire of his research lies in shaping the spatial conditions for ‘sites of encounter’ that invite human and non-human entities to co-constitute each other. The projects initiated by TAAT generate spaces for co-activity and instigate fluid prototyping processes as ‘becoming spaces’. In the last two years, Breg is co-developing an online environment that enhance processes of open source writing, archiving and publishing.

       


       

      And last but not least:

      What your research did to me, a collective online publication by a.pass Research Centre Cycle II, with excerpts printed in *The Annex*. What your research did to me is an online assemblage of conversations, film clips, letters, autotheoretical writings and a storytelling/feedback game, produced in response to a self-defined score. Published on madewitholga.be
       
       

       
    • performative publishing
    • RRadio Triton
    • Trouble on Radio Triton
    • RRadio Triton audio publication
      18 January 2019
      posted by: Lilia Mestre
    • online: https://rradiotriton.apass.be/
    • 01 July 2019
    • case of: Pierre Rubio
    • RRadio Triton

       

       

       

      RRadio Triton is an intentionally hybridised dispositive, operating within a grey zone between archiving, documenting, publishing, performing and broadcasting. Different modes of relating to the past events are called for, and these modes determine different definitions of the very nature of present time, future outlook, and of what an archive can be. The diverse audio objects it produces all relate to the politics of imagination and speculation, here envisaged as cultural and ecological instruments operative on the real.

       

      RRadio Triton is supported by a.pass (advanced performance and scenography studies - platform for artistic research), a young institute for artistic research based in Brussels, that currently reflects on experimental modes of documenting, archiving, publishing and sharing. These modes try to mirror the institute’s criticality, its singular modes of operation, agonistic environment and ongoing reformulation of tools, practices and research. Moreover, the institute is concerned with a complex equation: how to develop a specific attitude towards archiving and dissemination that combines both a critique of the usual institutional ‘archival reason’ and the production of readable (structured) ‘forms of knowledge’? Or, in other words, how to avoid and/or assume commodification, reification and authority while documenting and publishing polymorph artistic research practices and discourses? Ultimately a.pass engages with documenting, archiving and disseminating independent and experimental artistic research practices to produce an ecology of text critique and to find inventive modes of co-operation and fair technological practices interlacing politically in ways that are non-innocent and the least toxic as possible.

      The project RRadio Triton is one of the many current expressions of this endeavor.

       

      Nourished by its participants, RRadio Triton is an after effect of the artistic research seminar named Trouble on Radio Triton ((((((( changing (the) world (s) )))))) that was held in Brussels between January and April 2017 curated and organised by Pierre Rubio within the institution a.pass. The seminar gathered artists-researchers, lecturers, cultural workers and curators around the thorny problem of the relations between imagination and political agency and was concerned with issues addressing the potential (in)capacity of art in general to produce actual social changes and the (im)possible contribution of art to collective empowerment by means of artistic imagination and fictional speculation. Among other research topics, the seminar at large focused on a few main transversal questions : Do you -as artists- through your research contribute to changes in contemporary culture? And if so, what are the cultures generated by your research? Which alternative worlds does your artistic research/practice contain? What is the operative link between your artistic research and the future?

       

      A full list of involved practices and participants in the seminar includes: +++The artists-researchers who participated in the seminar with their projects, ideas and practices as Aela Royer, Luiza Crosman, Sina Seifee, Zoumana Meite, Sana Ghobbeh, Sven Dehens, Marialena Marouda, Ekaterina Kaplunova, Juan Duque, Esta Matkovic, Sébastien Hendrickx, Pierre Rubio, Eunkyung Jeong, Lili M. Rampre and Esther Rodriguez Barbero. +++ Lectures and reading sessions with Sol Archer, Peggy Pierrot, Edward George, Laurence Rassel, Fabrizio Terranova, Sina Seifee, Sébastien Hendrickx, Michiel Vandevelde, Wouter De Raeve, Marialena Marouda and Caroline Godart. +++ Workshops and ateliers with Myriam Van Imschoot, Alice Chauchat, Helena Dietrich and Christian Hansen that intersected sound art, speculative embodiment and worlding. +++ Theoretical references on speculative fiction with Suvin’s Cognitive Estrangement, Goodman and Eshun’s Afrofuturisms, Gilroy’s Black Atlantic identity politics, Le Guin’s feminist and anarchist science fiction, Donna Haraway's notion of the tentacular, situated knowledges and reparative strategies, Accelerationism, and Benjamin’s theory of language as magic. +++ Screenings revisiting SF cinema curated and hosted by Ekaterina Kaplunova and Sven Dehens.+++ Inputs by the seminar mentors Veridiana Zurita, Kristien Van den Brande, Peggy Pierrot and Caroline Godart.

       

      Not merely archiving, rather activating a labor-intensive work of memory elaborated by the notion of radio as an instrument operative on the real, the RRadio Triton project is a compost of all these contributions and their transformation in the present time. The broadcasting agenda of the RRadio Triton to come will be structured around by three kind of shows. Three main programs. Three playlists. The first consists of multiple forms of interviews with the numerous actors of the seminar. The second of more or less fictional experimental sound pieces produced with or by the seminar’s participants. The third being a series of edits of the lectures, reading sessions and workshops that were part of the theoretical/practice based body of the seminar. The radio will be online soon on a digital interface that will assemble in an elegant and complex way all the “pieces” and will perform live in different contexts different kind of broadcasts in collaboration with different institutions/hosts. . Determining fluidly the critical nature of the fictional radio and within its intentionally heterogeneous and plastic landscape, all the RRadio Triton 'pieces' will collectively activate different types of issues engaging the problems of the operativity of speculative fiction and of, at large, political art. But not only.

       

      The audio publication RRadio Triton is the outcome of the voluntary contributions of all the actors of the 2017 seminar and their recomposition in the present time. RRadio Triton is an a.pass production initiated, curated and hosted by Pierre Rubio, and is technically, artistically and dramaturgically supported by Christian Hansen and Sina Seifee.

       

      A beta version of RRadio Triton audio publication here

      A comprehensive presentation of the 2017 seminar here .

       

       

    • Newsletter March 2017 13 November 2017
      posted by: Kristien Van den Brande

      newscaption

       

       

       

      a.pass proudly invites you to its homebase

      for a cluster of talks, discussions, screening and performance-essay

      with special guests Edward George, Laurence Rassel, Fabrizio Terranova and Sina Seifee.

      on March 8-9-10 @ a.pass, 4th floor

       


       

      SCREENING & PRESENTATION BY Dr EDWARD GEORGE

      THE LAST ANGEL OF HISTORY

      Wednesday March 8th (7.00pm-10.00pm)

      The Last Angel of History is a groundbreaking video-essay from the 1990s that influenced filmmakers and inspired conferences, novels and exhibitions. Black Audio Film Collective’s exploration of the chromatic possibilities of digital video is embedded within a mythology of the future that creates connections between black unpopular culture, outer space and the limits of the human condition. Interviews with esteemed musicians, writers, and cultural critics are interwoven with the fictional story of the “data thief,” who must travel through time and space in search of the code that holds the key to his future. Edward George, writer, researcher, presenter of this ground breaking science fiction documentary, will present and discuss the film and its themes of music, Diaspora, science fiction, and its engagement with Afro futurism.

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

      More information and subscription: here

       


       

      TALK BY LAURENCE RASSEL

      STITCHED & SPLIT HOSPITALITY

      #6 in Book Club Series

      Thursday March 9th (10am-1.30pm)

      Cultural worker Laurence Rassel has long ago diagnosed the vacuity of artistic practices when its formats of knowledge-production are not 'situated’ in an ecology of art that encompasses social and psychological factors. Paradoxically she considers fiction as a paramount tool to achieve that goal. Laurence Rassel will address the notion of ‘Radical Hospitality’ by revisiting some of her past curatorial operating principles and practices developed in Fundació Antoni Tàpies in Barcelona. Her science and fiction approach in Stitch and Split is an early exemplarity of hybrid curatorial practice that steers towards a politics of imagination-as-critique and alternative forms of life and work ‘invented’ in common.

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


      More information and subscription: here

       


       

      TALK BY FABRIZIO TERRANOVA

      POLITICS OF SPECULATIVE FABULATION

      #7 in Book Club Series

      Friday March 10th  (10.00am-1.30pm)

      In this talk/reading session, Fabrizio Terranova revisits a recent text by Donna Haraway, “Sympoiesis - Symbiogenesis and the Lively Arts of Staying with the Trouble” and presents the different projects he is involved in where activism, speculative fiction and pedagogy merge.
      "We need new types of narratives and techniques. Stories that reclaim the earth and the commons that capitalism has stolen from us. Stories that invite us to take up and create trans-species sensitivities, trans-matters vitalities and trans-cerebral unrests. And it’s not enough imagining them, these stories have to be made and experienced."

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


      More information and subscription: here

       


       

      PERFORMANCE-ESSAY BY SINA SEIFEE

      AN ANIMAL ESCAPE CASE

      #7 in Book Club Series “Special event”

      Friday March 10th (2.30am-3.30pm)

      The essay-performance plays with some standards​ of cross-species identification according to an Indo-Iranian mode of subjectivity and Sina Seifee own animal-findings in contemporary Tehran. We zoom in what the idea of "wilderness" withholds in technologically mediated stories and rumors that populate domestic life of this neighborhood. Through fairy-tale associations the lecture investigates operative non-understandings in old and new threads of cosmology that formulate reciprocity and being-with of the mediated non-humanity and investigates the cases of failed collaboration between species.

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


      More information and subscription: here

       


       

      The Book Club Series during 'Trouble on Radio Triton'

      During the Book Club a.pass invites engaged practitioners (Sol Archer, Peggy Pierrot, Laurence Rassel, Fabrizio Terranova…) for a series of reading sessions, talks and discussions about their efforts to create conditions for imagining otherwise. The series is initiated by Pierre Rubio and realised in collaboration with some of a.pass’ artist-researchers. For the most part Book Club is scheduled on Thursday mornings and are open to the public.

      Trouble on Radio Triton (Jan-March 2017) is the name of the current a.pass block curated by Pierre Rubio. It is a ‘Sci-Fi terraforming mode of attention’, a metaphoric multipolar dispositive that challenges our abilities as artist-researchers to ‘render our world habitable again’. Far from proposing innocuous escapism in a false paradise of disembodied utopia, the dispositive seeks to invent and activate political potentialities of artistic research through an immersion in different types of (speculative) fiction.

      Check here for more about the current a.pass-block.

       


       

       Save upcoming dates:

      March 14-15: The Tea Party (workshop by Helena Dietrich)
      March 16: Book Club #8 : Accelera.pass! (with Vandevelde & De Raeve, cur. by Sébastien Hendrickx)
      March 17: Book Club #9: “On language as such” (with Caroline Godart, cur. by Marialena Marouda)

       



       a.pass

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

       

       

    • Trouble seeing this email? Online version here.

      newscaption

       

       

       

      You are warmly Invited to 

      ____

      The
      Document

      Trans-
      formed

      ____

       Masterclasses and Seminar
      +
      Book launch 'Dirty room' Juan Dominguez
      a.pass research centre publication

      JUNE 22-23-24 @ LA BELLONE
      Rue de Flandre 46
      Brussels

       

       


      Curated by Sofia Caesar and Lilia Mestre, the public program “The Document Transformed” invites four practitioners that offer very distinct questions, methods, and proposals to problems related to documentation. Join Femke Snelting, Olga de Soto, Vincent Meessen, and Agency (Kobe Matthys), and others, for three days of presentations, screenings, performances and conversations. How does the document affect practices, bodies, histories, and experiences? The event brings together practices that not only give sight to the power relations engendered by apparatuses of documentation, but also move towards the transformation of the systems in which we produce history, law, art, and the body. Held in the context of The Problem of the Score, block curated by Lilia Mestre in the a.pass post-master research program and supported by a.pass. 

      In the frame of the seminar the book Dirty Room will be presented. It is the fourth and last phase of Juan Dominguez’s research, developed during 2015-16 as a.pass associate researcher.

       

      This seminar is organized in collaboration with La Bellone

      PROGRAM 

      Thursday 22 June 

      10:00 > 13:00    Masterclass Agency (Kobe Matthys)

      14:00 >17:00     Masterclass Possible Bodies (Femke Snelting and Adva Zakai)

      Friday 23 June

      10:00 >13:00     Exhibition visit ( Bozar ) and discussion with Vincent Meessen

      14:00 >17:00     Masterclass Olga de Soto

      To inscribe to the master-classes please send an email to production@apass.be
      1 Masterclass: 15 Euro, 2 Masterclasses: 20 Euro, 2 days: 30 Euro.
      Free for (ex) participants of a.pass

      Saturday June 24th 12:00 > 18:00 
      FREE, reservation appreciated 

      In this afternoon of presentations, screenings, and performances, the four invited practitioners will take us to dive deeper into different case studies.

      12:30    Sofia Caesar: Introduction talk
      13:00    Femke Snelting
      14:00    Olga de Soto
      PAUSE
      15:30    Vincent Meessen
      16:30    Agency (Kobe Matthys)
      17:30    Book launch with Juan Dominguez and Victoria Perez Rojo


      Don't forget to reserve for your Masterclass by sending an email to : production@apass.be

      DETAILED PROGRAM DOWN BELOW

       

       

      Detailed program:


       

      Thursday June 22nd

      10:00 > 13:00        Masterclass Agency (Kobe Matthys)

      What if ephemeral things become included within art practices? Intellectual property seems to be mostly reserved for “fixated” things. Although the European copyright law doesn’t exclude variability, during jurisprudences judges consider movements that are “recordable” in some way or another. Agency calls forth different controversies from recorded movements in dance and performance and sport. By paying attention to the consequences of the apparatus of intellectual property right for the protocols inherent to practices, the fragility of the mode of existence of singular art practices is made explicit.

       

      14:00 >17:00     Masterclass Possible Bodies (Femke Snelting and Adva Zakai)

      This edition will be dedicated to a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. It was developed in the mid-nineties and remains one of the most commonly used file-formats for transposing movement captured in physical space, to a computational environment. Around this relatively legible format, a rich ecology of software tools developed. The file-format functions as a boundary object between practices and bodies, as it is used by animators, game developers, interface researchers, medical professionals, dance-historians, sports-analysts and engineers.

      Together we will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.

      The reading of the .bvh file format is developed with Adva Zakai in the context of Possible Bodies, a collaborative research initiated by Jara Rocha and Femke Snelting on the very concrete and at the same time complex and fictional entities that “bodies” are, and the matter-cultural conditions of possibility that render them present.

       

      Friday June 23rd

      10:00 >13:00        Exhibition visit (Bozar) and discussion with Vincent Meessen
                                       
      Starts at Main entrance of Bozar.

      In this afternoon, artist Vincent Meessen will take us through his Bozar show, that comes from his recent practice that involves research, historicization, and speculation about congolese works of art that have been commissioned and (re-)contextualized in the early 30’s. Starting from there, we can raise some issues about what a work of art is expected to be and how it can shift meaning with context and neighbouring artefacts.

      More about the show Patterns for (Re)cognition by Tshela Tendu & Vincent Meessen, Opening 16th June at BOZAR: http://www.bozar.be/nl/activities/124891-tshela-tendu-vincent-meessen

       

      14:00 >17:00       Masterclass Olga de Soto

      Olga de Soto will share her research project that has Kurt Jooss’ The Green Table (1932) as a starting point. She will display the process, methods, research protocols and strategies that she has developed over time, and through which she addresses the question of reconstruction, re-enactment and revival from the perspective of the trace, both material and immaterial, in order to analyse the several charges the work contain (social, political, dramatic, emotional…).

      She will share with us how she approached Jooss’ work through the archive, the trace and the document, proposing to circumvent the traditional modalities of transmission in dance, in order to probe the archive’s “capabilities” to say the work, as well to examine the archive’s “becoming-work”.

      We will observe how the project and its process unfolded simultaneously into two levels: on a documentary research level and on a creation level. With the help of several documents, we will observe how the documentary research was developed, dedicated in part to researching and documenting the perception and transmission of The Green Table, seeking out iconographic material (through the gathering of numerous documents of different kinds), analysing the choreographic characteristics of the work and looking for witnesses – dancers and audience members from different origins and generations, in order to study the perception of the work through the prism of the viewer’s gaze (using the interview as a tool to collect memories, focusing on the importance of the testimony and oral sources).

       

      Saturday June 24th 12:30 > 19:00

      In this afternoon of presentations, screenings, and performances, the four invited practitioners will take us to dive deeper into different case studies.
       
      12:30   Sofia Caesar: Introduction talk

      13:00  Femke Snelting

      Femke Snelting will present a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. Together they will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.

      14:00 Olga de Soto

      Olga de Soto will share some excerpts of Débords, work presented at Les Halles in 2012, as well as some excerpts of the installation she is currently working on, and that was partially presented this Spring at Museum für Neue Kunst, in Freiburg. The presentation will be punctuated with a discussion on the work.

      PAUSE

      15:30  Vincent Meessen

      Vincent Meessen will screen “One. Two. Three.”, piece presented in Wiels in 2016, followed by a talk about his strategies of re-composition and counter-narratives.

      16:30 Agency (Kobe Matthys)

      What if ephemeral things become included within art practices?” Thing 001678 (Le Jeune Homme et la Mort) concerns a conflict between on the one hand Roger Eudes, Théâtre Champs-Elysées, and on the other hand Jean Guttmann (Babilée) and Jean Cocteau about the performance Le Jeune Homme et la Mort. On June 8, 1960, the court case Eudes c. Gutmann, Cocteau et autres took place at the Cour d’appel de Paris. Judge Rousselet had to decide who owned the rights over the movements of the performance, Eudes who hired Jean Gutmann to “translate” Jean Cocteau his drama into ballet movements or Cocteau who wrote the script of Le Jeune Homme et la Mort.

      17:30 Book launch with Juan Dominguez and Victoria Perez Rojo

      The book Dirty Room is the fourth and last phase of Juan Dominguez’s research, developed during 2015-16 as a.pass associate researcher. Dirty Room is a collection of outlines, notes, ideas, reflections, photographic materials, maps, manifestos, fragments from diaries, transcriptions of conversations, interviews, email exchanges, memoirs, memories and scripts, among other documents from the working and research process that led to Clean RoomClean Room was a project based on the concept of seriality with a pilot and 3 more seasons of 6 episodes each that took place from 2010 to 2016.

      Dirty Room offers the readers an immersion in the process of the project Clean Room. It is a book in which there are no critical essays, or texts speaking only from the external position of the spectator. All of the contributions are part of the ongoing research and working process of Clean Room, either continually accompanying it over long periods or as one-off contributions at a specific moments. This decision highlights the great potential of the process in its fragmentary, undefined and open nature not only for the transmission of knowledge and ideas, but above all for stimulating imaginative processes to connect with the concerns that set the series in motion.

      Dirty Room

      Edited by: Juan Domínguez and Victoria Pérez Royo

      Editorial: Continta me tienes

      Executive Production: manyone

      Madrid, May 2017

      Translations by Ana Buitrago, Simon Malone and Catherine Phelps

      This is a publication by the a.pass research centre.

       


       

      About the participants:

      Vincent Meessen

      Through the use of various media, Meessen aims to ‘experience the document and document the experience’. His investigations lead to associations and appropriative gestures that are rewritten into critical narratives, pointing to the colonial matrix of western modernity. Meessen reactivates hidden traces of the colonial in the present and opens up new speculative scenarios.

      Both in his work as an artist and in his para-curatorial activities, Meessen likes to use procedures of collaboration that undermine the authority of the author and emphasize the intelligence of collectives. With ten guests artists, Meessen represented Belgium at the 56th Venice Biennale. Recent solo exhibitions include: OK/KO in the frame of Dans la pluralité des mondes / Printemps de Septembre, Toulouse (F), 2016; Sire je suis de l’ôtre pays in WIELS, Brussels 2016 and Patterns for (Re)cognition at the Kunsthalle Basel, 2015. Recent group presentations include Gestures and archives of the present, genealogies of the future, Taipei Biennale, Taiwan and The Family of the Invisible at the Seoul Museum of Art (SeMA).
       

      Agency

      Agency is a Brussels-based initiative founded in 1992, which constitutes a growing list of ‘things’ that resist the radical split between the classifications of “nature” and “culture” and consequently between expressions and ideas, creations and facts, subjects and objects, humans and non-humans, originality and common, mind and body, etc.

       

      Femke Snelting (Possible Bodies)

      Artist and designer, developing projects at the intersection of design, feminism and free software. She is a core member of Constant, the Brussels-based association for arts and media, and co-initiated the design/research team Open Source Publishing (OSP). With delegates Jara Rocha, Seda Guerses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools. She formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring and recently co-ordinated the Libre Graphics Research Unit, a European partnership investigating inter-relations between free software tools and artistic practice. Femke teaches at the Piet Zwart Institute (Master Media Design and Communication).

      Possible Bodies is a collaborative research on the very concrete and at the same time complex and fictional entities that “bodies” are, asking what matter-cultural conditions of possibility render them present. This becomes especially urgent in contact with the technologies, infrastructures and techniques of 3D tracking, modelling and scanning. Intersecting issues of race, gender, class, age and ability resurface through these performative as well as representational practices. The research is concerned with genealogies of how bodies and technologies have been mutually constituted. It interrogates corpo-realities and their orientation through parametric interfaces and looks at anatomies that are computationally constrained by the requirements of mesh-modelling. It invites the generation of concepts and experimental renderings, wild combinations and digital and non-digital prototypes for different embodiments. Collectors: Jara Rocha + Femke Snelting.

      Her collaborator Adva Zakai is a choreographer, performer and curator who explores how body and language are perceived through each other.
       

      Olga de Soto

      Olga de Soto Olga de Soto is choreographer and dance researcher, born in Valencia, she lives in Brussels. She graduates from CNDC / Centre National de Danse Contemporaine d’Angers, after having studied classical ballet, contemporary dance and music theory in Valencia and in Madrid. Her creation work begins in 1992, and includes the creation of numerous works of different formats. Since the end of the ’90, her work focuses on the study of memory, and it questions the impact of live art, its usefulness its lasting quality, deploying itself along two axes. The first centres on the study of the body’s memory through the creation of works, aiming at a pluralistic approach to dance and the body, in works creations such as anarborescences (Théâtre de la Cité internationale, Paris, 1999), Éclats mats (Centre Pompidou, Paris, 2001), INCORPORER ce qui reste ici au dans mon cœur (Centre Pompidou, Paris, 2004-2009). The second axis explores works from the history of dance as part of an approach governed by the study of perceptual memory, that of spectators and dancers. The resulting projects emphasize the importance of the processes and pay particular attention to documents, to the process of documentation, to testimony, to archives and oral sources, narrative and storytelling, particularly in works such as histoire(s) (Kunstenfestivaldesarts, Brussels, 2004), An Introduction (Tanz Im August, Berlin, 2010) or Débords (Festival d’Automne, Paris, 2012). These projects are interested in the experience of the viewer and in the anthropology of the spectacle, while developing through an approach that studies the aesthetic experience based on the oral history of works from the past. Her last projects genuinely mix the languages of choreography with those of documentary, performance, visual arts and installation, playing with the porousness of these disciplines. The work of the choreographer also reveals the strong links between art history, social and political history, and personal paths. Olga de Soto’s work has been shown in some twenty countries, an she is regularly invited to teach and to lead workshops and classes in various universities, as well as to collaborate in conferences where she shares her research methodology and her documentation work. She was awarded the SACD Prize 2013 in the category of Performing Arts for both her trajectory and her research work on Dance History, and specially for her research and creation work on The Green Table.

       
       

      THE
      DOCUMENT

      TRANS-
      FORMED


      JUNE 22-23-24
      @ LA BELLONE
      Rue de Flandre 46
      Brussels

       
       


       a.pass

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

       

       


    • Curated by Sofia Caesar and Lilia Mestre, the public program “The Document Transformed” invites four practitioners that offer very distinct questions, methods, and proposals to problems related to documentation. Join Femke Snelting, Olga de Soto, Vincent Meessen, and Agency (Kobe Matthys), and others, for three days of presentations, screenings, performances and conversations. How does the document affect practices, bodies, histories, and experiences? The event brings together practices that not only give sight to the power relations engendered by apparatuses of documentation, but also move towards the transformation of the systems in which we produce history, law, art, and the body. Held in the context of The Problem of the Score, block curated by Lilia Mestre in the a.pass post-master research program and supported by a.pass.

      This seminar is organized in collaboration with La Bellone - Brussels

      To inscribe to the master-classes please send an email to production@apass.be


      JUNE 22-23-24 @ LA BELLONE
      Rue de Flandre 46
      Brussels

      Detailed program:

      Thursday June 22nd

      10:00 > 13:00        Masterclass Agency (Kobe Matthys)

      What if ephemeral things become included within art practices? Intellectual property seems to be mostly reserved for “fixated” things. Although the European copyright law doesn't exclude variability, during jurisprudences judges consider movements that are “recordable” in some way or another. Agency calls forth different controversies from recorded movements in dance and performance and sport. By paying attention to the consequences of the apparatus of intellectual property right for the protocols inherent to practices, the fragility of the mode of existence of singular art practices is made explicit.

       

      14:00 >17:00     Masterclass Possible Bodies (Femke Snelting and Adva Zakai)

      This edition will be dedicated to a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. It was developed in the mid-nineties and remains one of the most commonly used file-formats for transposing movement captured in physical space, to a computational environment. Around this relatively legible format, a rich ecology of software tools developed. The file-format functions as a boundary object between practices and bodies, as it is used by animators, game developers, interface researchers, medical professionals, dance-historians, sports-analysts and engineers.

      Together we will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.

      The reading of the .bvh file format is developed with Adva Zakai in the context of Possible Bodies, a collaborative research initiated by Jara Rocha and Femke Snelting on the very concrete and at the same time complex and fictional entities that “bodies” are, and the matter-cultural conditions of possibility that render them present.

       

      Friday June 23rd

      10:00 >13:00        Exhibition visit (Bozar) and discussion with Vincent Meessen
      Starts at Bozar Main entrance

      In this afternoon, artist Vincent Meessen will take us through his Bozar show, that comes from his recent practice that involves research, historicization, and speculation about congolese works of art that have been commissioned and (re-)contextualized in the early 30’s. Starting from there, we can raise some issues about what a work of art is expected to be and how it can shift meaning with context and neighbouring artefacts.

      More about the show Patterns for (Re)cognition by Tshela Tendu & Vincent Meessen, Opening 16th June at BOZAR: http://www.bozar.be/nl/activities/124891-tshela-tendu-vincent-meessen

       

      14:00 >17:00       Masterclass Olga de Soto

      Olga de Soto will share her research project that has Kurt Jooss’ The Green Table (1932) as a starting point. She will display the process, methods, research protocols and strategies that she has developed over time, and through which she addresses the question of reconstruction, re-enactment and revival from the perspective of the trace, both material and immaterial, in order to analyse the several charges the work contain (social, political, dramatic, emotional...).

      She will share with us how she approached Jooss' work through the archive, the trace and the document, proposing to circumvent the traditional modalities of transmission in dance, in order to probe the archive’s "capabilities" to say the work, as well to examine the archive's "becoming-work".

      We will observe how the project and its process unfolded simultaneously into two levels: on a documentary research level and on a creation level. With the help of several documents, we will observe how the documentary research was developed, dedicated in part to researching and documenting the perception and transmission of The Green Table, seeking out iconographic material (through the gathering of numerous documents of different kinds), analysing the choreographic characteristics of the work and looking for witnesses – dancers and audience members from different origins and generations, in order to study the perception of the work through the prism of the viewer’s gaze (using the interview as a tool to collect memories, focusing on the importance of the testimony and oral sources).

       

      Saturday June 24th 12:00 > 18:00

      In this afternoon of presentations, screenings, and performances, the four invited practitioners will take us to dive deeper into different case studies.

       

      12:30   Sofia Caesar: Introduction talk

      13:00  Femke Snelting

      Femke Snelting will present a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. Together they will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.

      14:00 Olga de Soto

      Olga de Soto will share some excerpts of Débords, work presented at Les Halles in 2012, as well as some excerpts of the installation she is currently working on, and that was partially presented this Spring at Museum für Neue Kunst, in Freiburg. The presentation will be punctuated with a discussion on the work.

       

      PAUSE

       

      15:30  Vincent Meessen

      Vincent Meessen will screen “One. Two. Three.”, piece presented in Wiels in 2016, followed by a talk about his strategies of re-composition and counter-narratives.

      16:30 Agency (Kobe Matthys)

      What if ephemeral things become included within art practices?” Thing 001678 (Le Jeune Homme et la Mort) concerns a conflict between on the one hand Roger Eudes, Théâtre Champs-Elysées, and on the other hand Jean Guttmann (Babilée) and Jean Cocteau about the performance Le Jeune Homme et la Mort. On June 8, 1960, the court case Eudes c. Gutmann, Cocteau et autres took place at the Cour d’appel de Paris. Judge Rousselet had to decide who owned the rights over the movements of the performance, Eudes who hired Jean Gutmann to “translate” Jean Cocteau his drama into ballet movements or Cocteau who wrote the script of Le Jeune Homme et la Mort.

      17:30 Book launch with Juan Dominguez and Victoria Perez Rojo

      The book Dirty Room is the fourth and last phase of Juan Dominguez’s research, developed during 2015-16 as a.pass associate researcher. Dirty Room is a collection of outlines, notes, ideas, reflections, photographic materials, maps, manifestos, fragments from diaries, transcriptions of conversations, interviews, email exchanges, memoirs, memories and scripts, among other documents from the working and research process that led to Clean Room. Clean Room was a project based on the concept of seriality with a pilot and 3 more seasons of 6 episodes each that took place from 2010 to 2016.

      Dirty Room offers the readers an immersion in the process of the project Clean Room. It is a book in which there are no critical essays, or texts speaking only from the external position of the spectator. All of the contributions are part of the ongoing research and working process of Clean Room, either continually accompanying it over long periods or as one-off contributions at a specific moments. This decision highlights the great potential of the process in its fragmentary, undefined and open nature not only for the transmission of knowledge and ideas, but above all for stimulating imaginative processes to connect with the concerns that set the series in motion.

      Dirty Room

      Edited by: Juan Domínguez and Victoria Pérez Royo

      Editorial: Continta me tienes

      Executive Production: manyone

      Madrid, May 2017

      Translations by Ana Buitrago, Simon Malone and Catherine Phelps

      This is a publication by the a.pass research centre.

       

      About the participants

      Vincent Meessen

      "Transform documents into experiences and vice versa". This phrase by Aby Warburg could definitely be used to introduce Vincent Meessen's speculative realism, or as he calls it: 'documents d'expérience'. His archival investigations always lead to loose associations and appropriative gestures that are rewritten into critical narratives.

      In his latest modular installations he combines films with printed matter and sculptures. Meessen produces narratives that question our ability to deal with the colonial ghosts of modernity. In his recent Vita Nova, he makes use of the filmic essay to re-read Roland Barthes in various postcolonial African situations, applying Barthes's deconstruction tools to some of his famous texts. Vincent Meessen likes to use procedures of collaboration that undermine the authority of the author and emphasize the intelligence of collectives and of conceptual characters. He is a founding member of the artist collective Potential Estate and of the platform for artistic research and production Jubilee (jubilee-art.org).  

      Recent shows include KIOSK (Ghent), ARS 11, Kiasma Museum (Helsinki), Stedelijk Museum Bureau (Amsterdam) and Contour Biennial for Moving Images (Mechelen). He worked together with the collective Potential Estate for the Brussels Biennial and M HKA (Antwerp). His filmworks were screened at Jeu de Paume, at Cinémathèque française (Paris), at Museo Reina Sofia (Madrid), at the Swiss Institute (NY) and at international festivals such as IDFA (Amsterdam), IFFR (Rotterdam), Cinéma du Réel (Paris) and Transmediale (Berlin). His films are distributed by Argos center for art & media (Brussels) (see also section on Art Organisations). Meessen has curated several film programs and exhibitions for various institutions including Extra City (Antwerp), Argos (Brussels), C.E.A.C (Xiamen, CH), E.R.B.A (Valence, F).

       

      Agency

      Agency is a Brussels-based initiative founded in 1992, which constitutes a growing list of 'things' that resist the radical split between the classifications of "nature" and "culture" and consequently between expressions and ideas, creations and facts, subjects and objects, humans and non-humans, originality and common, mind and body, etc.

       

      Femke Snelting (Possible Bodies)

      Artist and designer, developing projects at the intersection of design, feminism and free software. She is a core member of Constant, the Brussels-based association for arts and media, and co-initiated the design/research team Open Source Publishing (OSP). With delegates Jara Rocha, Seda Guerses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools. She formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring and recently co-ordinated the Libre Graphics Research Unit, a European partnership investigating inter-relations between free software tools and artistic practice. Femke teaches at the Piet Zwart Institute (Master Media Design and Communication).

      Possible Bodies is a collaborative research on the very concrete and at the same time complex and fictional entities that “bodies” are, asking what matter-cultural conditions of possibility render them present. This becomes especially urgent in contact with the technologies, infrastructures and techniques of 3D tracking, modelling and scanning. Intersecting issues of race, gender, class, age and ability resurface through these performative as well as representational practices. The research is concerned with genealogies of how bodies and technologies have been mutually constituted. It interrogates corpo-realities and their orientation through parametric interfaces and looks at anatomies that are computationally constrained by the requirements of mesh-modelling. It invites the generation of concepts and experimental renderings, wild combinations and digital and non-digital prototypes for different embodiments. Collectors: Jara Rocha + Femke Snelting.

      Her collaborator Adva Zakai is a choreographer, performer and curator who explores how body and language are perceived through each other.

       

      Olga de Soto

      Olga de Soto Olga de Soto is choreographer and dance researcher, born in Valencia, she lives in Brussels. She graduates from CNDC / Centre National de Danse Contemporaine d’Angers, after having studied classical ballet, contemporary dance and music theory in Valencia and in Madrid. Her creation work begins in 1992, and includes the creation of numerous works of different formats. Since the end of the ’90, her work focuses on the study of memory, and it questions the impact of live art, its usefulness its lasting quality, deploying itself along two axes. The first centres on the study of the body's memory through the creation of works, aiming at a pluralistic approach to dance and the body, in works creations such as anarborescences (Théâtre de la Cité internationale, Paris, 1999), Éclats mats (Centre Pompidou, Paris, 2001), INCORPORER ce qui reste ici au dans mon cœur (Centre Pompidou, Paris, 2004-2009). The second axis explores works from the history of dance as part of an approach governed by the study of perceptual memory, that of spectators and dancers. The resulting projects emphasize the importance of the processes and pay particular attention to documents, to the process of documentation, to testimony, to archives and oral sources, narrative and storytelling, particularly in works such as histoire(s) (Kunstenfestivaldesarts, Brussels, 2004), An Introduction (Tanz Im August, Berlin, 2010) or Débords (Festival d’Automne, Paris, 2012). These projects are interested in the experience of the viewer and in the anthropology of the spectacle, while developing through an approach that studies the aesthetic experience based on the oral history of works from the past. Her last projects genuinely mix the languages of choreography with those of documentary, performance, visual arts and installation, playing with the porousness of these disciplines. The work of the choreographer also reveals the strong links between art history, social and political history, and personal paths. Olga de Soto’s work has been shown in some twenty countries, an she is regularly invited to teach and to lead workshops and classes in various universities, as well as to collaborate in conferences where she shares her research methodology and her documentation work. She was awarded the SACD Prize 2013 in the category of Performing Arts for both her trajectory and her research work on Dance History, and specially for her research and creation work on The Green Table.

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

       

       


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

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


      Kempinski
      2007/France/14'
      Neil Beloufa

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


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

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

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


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

      An adaptation of Mikhail Bulgakov’s dystopian and comic sci-fi novel Sobache Serdtse about a Soviet experiment of turning a dog into a human, set in Moscow in 1925, not long after the Revolution of 1917.
      Old Prof. Preobrazhensky and his young colleague Dr. Bormental inserted the human's hypophysis into a dog's brain. Couple of weeks later the dog named Sharik became a slovenly and narcissistic incarnation of the New Soviet Man.
    • postgraduate program
    • reading session
    • Trouble on Radio Triton
    • YOU CALL THIS PROGRESS?! 3/4 (Revisiting SF Cinema) curated by Dehens & Kaplunova
      03 March 2017
      posted by: Pierre Rubio
    • 06 March 2017
    • YOU CALL THIS PROGRESS?! 3/4

       

       

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

       

    • Newsletter Feb 2017 13 February 2017
      posted by: Kristien Van den Brande

      newscaption

      line650

       

       TALK BY PEGGY PIERROT

      Sacred Drift, a journey into political consciousness of sound

      #5 in Book Club Series, curated by Pierre Rubio

      February 16 (9.30am-1.30pm) @ a.pass 4th floor (Rue Delaunoystraat 58-60 Brussels)

       

      In the next Book Club a.pass welcomes Peggy Pierrot for an animated reading and listening to echoes of submarine writing. She steers the slave/space/ship for a time travel into modern cultures and music. Is there something to hear between the 0 and the 1 of digtised compressed music? Is there something to de-cypher in our coded Nyabinghi drums? What is the message hidden between themes, rhythms, intonations, improvisations, the samples, the drum, the bass, the cuts and the pastes?

      Peggy Pierrot is a Brussels based sociologe, journalist and lecturer connected to erg (École de Recherche Graphique, Brussels) and les Ateliers des Horizons (Grenoble - France). Influenced by science-fiction and African-American and Caribbean literature and culture, she engages in projects that link information, media, activism, radio art and technology.

      More information and subscription: here

       


      The Book Club Series during 'Trouble on Radio Triton'

      During the Book Club a.pass invites engaged practitioners (Sol Archer, Peggy Pierrot, Laurence Rassel, Fabrizio Terranova…) for a series of reading sessions, talks and discussions about their efforts to create conditions for imagining otherwise. The series is initiated by Pierre Rubio and realised in collaboration with a.pass’ artist-researchers. For the most part Book Clubs are scheduled on Thursday mornings and are open to the public.

      Trouble on Radio Triton (Jan-March 2017) is the name of the current a.pass block curated by Pierre Rubio. It is a ‘Sci-Fi terraforming mode of attention’, a metaphoric multipolar dispositive that challenges our abilities as artist-researchers to ‘render our world habitable again’. Far from proposing innocuous escapism in a false paradise of disembodied utopia, the dispositive seeks to invent and activate political potentialities of artistic research through an immersion in different types of (speculative) fiction.

      Check here for more about the current a.pass-block.

       


       Save upcoming dates:

       

      February 16: You call this progress!? #2 (sci-fi films curated by Ekaterina Kaplunova & Sven Dehens)
      February 27 - March 3: Wordling from this World (workshop with Alice Chauchat)
      March 8: Edward George presents The Last Angel of History (film screening and talk)
      March 9-10: Laurence Rassel, Fabrizio Terranova, Edward George (book club #7 and #8)
      March 14-15: The Tea Party (workshop by Helena Dietrich)

      Subscribe to workshops, book clubs and screenings via our website & come!

       



       a.pass

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

       

       

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

       

       

      Program for Thursday 16/02, 19h30
       

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

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


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

      The selection includes:

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

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

      Transeltown - Myra Paci 
      Dante transported to Times Square.




      NOTE: The event is open for limited public. Feel free to invite some friends. 
      Before the screening at 7.30pm, around 6pm we will cook some vegetarian pasta and eat together. 
       
      WELCOME!
       
       
       
    • postgraduate program
    • reading session
    • Trouble on Radio Triton
    • YOU CALL THIS PROGRESS?! 1/4 (Revisiting SF Cinema) curated by Dehens & Kaplunova
      29 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 30 January 2017
    • YOU CALL THIS PROGRESS?! 1/4

       

       

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

       

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

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

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

      Have a look at the schedule below.

       

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

      http://oralsite.be/pages/Myriam_Van_Imschoot_Digital_Portfolio

      http://oralsite.be/pages/WNS

      www.oralsite.be

      http://oralsite.be/pages/VolumeSP

       

       

      Schedule of the workshop

      Tuesday 7th from 3pm to 10pm

      Wednesday 8th from 10am to 5pm

      Friday 10th from 10am to 5pm

       

      Location of the workshop

      a pass / Studio 4th floor

      rue Delaunoystraat, 58-60

      1080 Brussels

       

       

    • performative publishing
    • Volver
    • Volver 20 November 2016
      posted by: Nicolas Galeazzi
    • Samah Hijawi, Philippine Hoegen, Cecilia Molano, Sara Santos, Gosie Vervloessem and Veridiana Zurita
    • 29 May 2015
    • 30 May 2015
    • Volver

      In the frame of Aleppo‘s research project ‘Back to the Order’, six artistic researchers of a.pass will discuss, perform, exhibit and share their different takes on notions of ‘order’ and its simultaneous resonances of ease and discomfort, of political rigidity and potential, of aesthetic boredom and political reconsideration. Samah Hijawi, Philippine Hoegen, Cecilia Molano, Sara Santos, Gosie Vervloessem and Veridiana Zurita were exploring the shifting territories of an order to be reconstructed, a.pass proposes ‘volver’ as an incentive to become involved, to revolve around recurring and shared interests, to recompose history in the aftermaths of an imploded revolution.

      This brochure contains texts and interviews by the presenting participants and the other contributors of the VOLVER conference that took place on the  29th and 30th of May 2015. Performances, film screenings, installations workshops were presented to share in the artistic research processes that participans followed during their year at a.pass, alongside with  lectures and presentations by the guests of the researchers: Patricia Reed, Gonçalo Pena and Petra van Brabant.

      You can read the PDF of the full publication HERE

      More information here.

      volver_2 volver_4

    • postgraduate program
    • workshop
    • block 2016/I
    • Sub -(e)ject
    • VOCAL CIRCUITS (working title for a workshop at Apass)
      02 December 2015
      posted by: Nicolas Galeazzi
    • Myriam Van Imschoot
    • a.pass
    • 07 March 2016
    • 11 March 2016
    • VOCAL CIRCUITS

      In this one-week workshop we will use various forms of voicing and singing to co-write thoughts, ideas and presence in the multiple spaces of social interaction, communication and their architectural and acoustic envelopes. The week follows two tracks that at first seem different yet might intertwine as we go along: we explore sensorial awareness and possibilities of vocal sound production within moving constellations (distance, proximity, humming, vibrating, micro-sound
      and deep listening); and we engage in impromptu singing as a way to convey thoughts and ideas about ourselves and the world (Silly Singing)). No musical background is required: we don't aspire to be musicians, yet, like to unsettle, mobilize the rules that govern discourse, and our mindsets.

      The week encompasses warm-ups, improvisation, scores, listening sessions or screenings of support material. Participants are encouraged to develop their own compositional proposals and strike a note.


       

       

      Biography

      Myriam Van Imschoot is a performer and sound artist who explores the potential of speech, address and utterance. Her installations, videos and performance work often integrate interviews, spoken words, shouting or gestures that bridge large distances in time or space. Often she works with
      'found vocal techniques', open for reorganization as she looks for new charges and significances, cf. her work with yodeling, Arabic cries, or nature calls. Her last group piece, What Nature Says, investigated the phenomenon of audio-mimesis, with sliding lines between culture and nature, human and other entities.

      Link: http:// oralsite/pages/Myriam_Van_Imschoot_Digital_Portfolio/

      (to be consulted with firefox)

    • Having trouble seeing this email? Please see the online version here 

      apass_logo_sm

      volver_logoPerformative Conference and Presentations

       
      29/5 - 17.00 to 22.00h
      30/5 - 12.30 to 22.00h

      For the full program click here

      Samah Hijawi, Philippine Hoegen,
      Cecilia Molano, Sara Santos,
      Gosie Vervloesem & Veridiana Zurita


      @ Aleppo

      laboratory of experiments in performance and politics, in residency at Acadeémie Royale des Beaux Arts Bruxelles (ARBA-ESA)

      Dexia Art Centre -Schildknaapstraat/Rue de l’Ecuyer 50, 1000 Brussel 

       

      >>><<<<

      In the frame of Aleppo's research project ‘Back to the Order’, six artistic researchers of a.pass will discuss, perform, exhibit and share their different takes on notions of ‘order’ and its simultaneous resonances of ease and discomfort, of political rigidity and potential, of aesthetic boredom and political reconsideration. Exploring the shifting territories of an order to be reconstructed, a.pass proposes ‘volver’ as an incentive to become involved, to revolve around recurring and shared interests, to recompose history in the aftermaths of an imploded revolution.

      Departing from the individual projects, concepts such as the domestic, evolving identities, (the act of) display(ing) and artistic production will be approached as the shifting ground on which the idea of order and its consequences can be explored and activated. 

      On Friday the 29th and Saturday the 30th of May, we invite you for performances, film screenings and installations, to share in the artistic research processes, participate in workshops and attend lectures and presentations by the guests of the researchers: Patricia Reed, Gonçalo Pena and Petra van Brabant.

      program:

       

      Samah Hijawi
      The Wandering Singer of Tales

      lecture performance

      samah

      This work is an exploration of the aesthetics of loss, and the images recreated - by the looser - of a place and a time that perpetuates through fragile narratives, utopic images, and nostalgic songs - tokens and emblems for preserving memory. Located in political and artistic histories around Palestine, 'The Wandering Singer of Tales' questions the temporality of images reproduced of lost places, and how these function in the present following a ruptured historical trajectory of dislocation, trauma and exile in the last century.

       

      line650

      Cecilia Molano
      Story Lines

      one-to-one performative installation

      cecilia

      Writing becomes trace. An unthinkable process of alchemy. Each word is, again, what it was before becoming a word: an image, a hesitation, a movement.

      Narrative melts into drawings. Life remains there, in the paper, as a footprint. The diary is an invented document: the fiction of oneself.

      In this work we turn back to the place of words before being articulated. 

      This installation is an experiment in co-writing, reading and (re)creating.

       

      line650

      Philippine Hoegen
      Versions and Displays 

      video installation, performative interventions

      philipine

      Versioning - as in: regarding objects in the way they appear to us as versions of themselves - means that other versions are possible, probable. Different versions are present simultaneously and may become perceptible through a slight shift of perspective or a change in the gaze. The point of this exercise is a rearrangement of relations between things. Traits, qualities and characteristics that were assumed to be constitutive for ‘our’ of ‘their’ selves, are questioned and relativized; they may in fact simply be a consequence, an outcome, of the angle at which you are looking. This implies fluidity in the nature of relations, it destabilises presumptions and assumptions. It is a way to understand the constant flux in the order of relations between things.

      Undergoing (Another Version, 2015), or trying to embody (Regarding David and Dividing David, 2 performances, 2015) are ways in which I attempt to see or experience things –objects, situations, myself- from more or other sides than the given frame allows. Unraveling through history different narratives about an object constructed and deconstructed through display (The Borneo Trophy, performance, 2015) or re-ordering the display (Arena, video installation, 2015) are strategies to shift or look beyond the frame, producing different objects, or more precisely different versions: the object as a different version of itself. 

       

      line650

      Sara Santos
      Excavate

      films 

      sara

      deuses vadios (stray gods)
      16mm, approx. 8', color, sound

      BORGES' poems
      (mirrors),
      S8, approx. 3', b&w, silent

      Borges' poems
      (heaven and hell),
      S8, approx. 4', b&w/color, silent 

      Excavate (‘ekska, veit) vb excavates, excavating, excavated. 1 to remove (soil, earth etc.) by digging; dig out. 2 to make (hole or tunnel) in (solid matter) by hollowing. 3 to unearth (buried objects) methodically to discover information about the past. (C16: from L. cavãre to make hollow, from cavus hollow).

      The dead heroes are closer to a ruin-state than to glorious, tragic death. Putting aside the epic patina, ruin is a romantic process of decay. The hero itself is the embodiment of a zombie ideology, a living-dead, a transition. By ideology, I mean immaterial constructions (symbolic ‘texts’) that impact and condition our experience of the world, and ultimately become materialized in it. 

      Coming back to ‘an order’ unfolds a discussion about how the common experience of a crisis (war, uprising, revolution, disaster..) becomes inscribed, or eventually, cultural. My research focusses on the left-over materials of a given crisis, on the symbolic objects of those experiences, and their trajectory towards an eventual stabilization into oblivion.

      How do they change into something else, or stay resilient? Resonating for decades, they appear as distortions of contexts long gone.

       

      line650

      Gosie Vervloesem
      Tupperware

      performance workshop 

      gosie

      The answer on how to cope with the chaos in our daily lives lies at the bottom of a Tupperware box. 'Recipes for Disaster / The Magazine/Tupperware Party’ cooks up crucial questions: how to argue for messy and less sterile life in times of Ebola? And, how to free ourselves from the quarantine of our own bathroom?

      Everybody knows Tupperware, the handy plastic boxes to store and conserve food, for eternity. 'Recipes for Disaster” uses the format of the Tupperware Party (women getting together around the kitchen table to attend demonstrations of shiny plastic boxes.) And at  the same time disrupts the idea that everything can be nicely stored away. 

       

      line650

      Veridiana Zurita
      Televizinho #1 

      talk  

      veri

      For 3 months I have been working together with a riverside community in the Amazon on re-enactments of Brazilian soap operas. I spent 3 days with each family and used their house as the studio for filming. Eating what they eat, sleeping as they do, watching what we watch: soaps. Every night we looked at the soap and picked a scene to re-enact the next day. While re-enacting different logics of appropriation were inaugurated. The way soaps seem to order language and physicality were disturbed by those re-enacting it. 

      During a talk I will share some of the footage, the working methodologies, the context and ideas around the first edition of this ongoing project. 

      image

      workshops & lectures

      >>><<<<

      Petra Van Brabandt
      Disruption is still to come

      table talk - Fri 7pm

      The disruptive movements of the last years were hardly a threat to the state of order. They might be the first signals of a disruption to come; therefore to entertain the idea of 'back to an order' is far too precocious, even pernicious to the imaginative process of unworking the order. I want to focus in this table-conversation on the order of Fort Europe, which hasn't been radically contested. Our obsessions with order and stability seem to warrant the mass grave outside our safety gates. This is the horror of order showing its face, again. Inspired by the work of Gosie Vervloessem, I want to compare Fort Europa to the dynamics of fear of the kitchen, and question its order, hygiene, productivity and purpose.

      >>><<<<

      Patricia Reed

      Mobile Orders

      lecture - Sat 4.45pm

      ‘Order’ in and of itself, is a structural proposition in which sets of functions, behaviours, relations and norms can play out (while making other operations impossible or extremely difficult to carry out). Within the ‘social’, order is largely cultural, meaning productively artificial, subject to infinite mutability. So to demand ‘order’ is not (necessarily) to seek to submit oneself to relations of authoritarian dominance, but to seize upon structural possibilities as a project for construction. ‘Order’, in this way, is mobilised as an affirmative project - a freedom to construct new systems of cohabitation (rather than simply a freedom from something).  read more

      >>><<<<

      Gonçalo Pena
      Drawing Askew

      Master Class - Sat 12.30 to 3.30pm

      Within a conscious danger of falling back into romanticist politics and trying to avoid this trap, I would take this idea of an ethical or even several ethical lines to think drawing as one of the tools we have to challenge politics of smoothing and soothing the collective body onto mindless consumerism. It is important to state that this collective body has still a human multitudinous and restless soul, from which the annoying and frequent twitches call for permanent police vigilance. Moreover this body comes from the box including with it technology and complete ecosystems. So it comes the time where this soul struggles and seem itself forced to draw her painful lines of choice, discovery, recovery of concepts and criticism. read more

      a.pass
      p/a de Bottelarij

      Delaunoystraat 58-60/p.o. box 17
      1080 Brussels/Belgium

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

       

       

    • FRIDAY 17.00-22.00

      17.00-end: Video installations: ‘Excavate’ by Sara Santos, ‘Arena’ by Philippine Hoegen

      17.30-19.00: ‘Story Lines’ one-to-one performative installation by Cecilia Molano

      18.00-18.30: Welcoming

      18.30-19.00: ‘Tupperware’ performance workshop by Gosie Vervloesem, food introduction

      19.00-19.45: ‘Disruption is still to come’, table discussion with Petra Van Brabandt

      19.45-20.00: Screening ‘deuses vadios’ (stray gods) 16mm film by Sara Santos

      20.00-20.30: Break

      20.30-21.30: ‘Televizinho #1’ talk by Veridiana Zurita

      21.30-21.45: ‘Another Version’ performance by Philippine Hoegen

      after: Bar Talks

       

      SATURDAY 12.30-23.00

      12.30-15.30: ‘Drawing Askew’ Master class/workshop by Gonçalo Pena

      14.00-end: Ongoing video installations ‘Excavate’ by Sara Santos, ‘Arena’ by Philippine Hoegen. Documentation installations by Gosie Vervloessem and Cecilia Molano

      16.00- 16.15: Screening ‘deuses vadios’ (stray gods) 16mm film by Sara Santos

      16.15-16.45: ‘Borneo Trophy’ performance by Philippine Hoegen

      16.45-17.30: ‘Mobile Orders’ lecture by Patricia Reed

      17.30-18.00: Break

      18.00-18.30: ‘Regarding David’ performance by Philippine Hoegen

      18.30-19.30: 'The Wandering Singer of Tales’ lecture performance by Samah Hijawi

      19.30-20.00: Break 

      20.00-20.15: Screening ‘Screening ‘deuses vadios’ (stray gods)’ 16mm film by Sara Santos

      20.15-20.30: ‘Dividing David’ performance and participative installation by Philippine Hoegen, with Kristien Van Den Brande

      20.45-21.45: Discussion with guests and participants

      22.00 END

    • end presentation
    • performative publishing
    • postgraduate program
    • Volver
    • VOLVER 06 May 2015
      posted by: Elke van Campenhout
    • Samah Hijawi, Philippine Hoegen, Cecilia Molano, Sara Santos, Gosie Vervloessem and Veridiana Zurita
    • aleppo.eu
    • 29 May 2015
    • 30 May 2015
    • VOLVER

      performative conference and presentations by 

      SAMAH HIJAWI, PHILIPPINE HOEGEN,
      CECILIA MOLANO, SARA SANTOS, 
      GOSIE VERVLOESEM & VERIDIANA ZURITA

      29 (5-10pm) - 30/5 (12.30-11pm)

      (click here for detailed program)

      Aleppo - Dexia Art Centre - Schildknaapstraat/Rue de l’Ecuyer 50, 1000 Brussel

      For Volver, a.pass is a guest at Aleppo, a laboratory of experiments in performance and politics, in residency at the Académie Royale des Beaux Arts Bruxelles

      In the frame of Aleppo's research project ‘Back to the Order’, six artistic researchers of a.pass will discuss, perform, exhibit and share their different takes on notions of ‘order’ and its simultaneous resonances of ease and discomfort, of political rigidity and potential, of aesthetic boredom and political reconsideration. Exploring the shifting territories of an order to be reconstructed, a.pass proposes ‘volver’ as an incentive to become involved, to revolve around recurring and shared interests, to recompose history in the aftermaths of an imploded revolution.

      Departing from our individual projects we will dive into our researches, and approach concepts such as the domestic, evolving identities, (the act of) display(ing) and artistic production as the shifting ground on which the idea of order and its consequences can be explored and activated.

      On Friday the 29th and Saturday the 30th of May, we invite you for performances, film screenings and installations, to share in the artistic research processes, participate in workshops and attend lectures and presentations by the guests of the researchers: Patricia Reed, Gonçalo Pena and Petra van Brabant.

       

       

      program:

      SAMAH HIJAWI
      THE WANDERING SINGER OF TALES

      performance lecture

      This work is an exploration of the aesthetics of loss, and the images recreated - by the looser - of a place and a time that perpetuates through fragile narratives, utopic images, and nostalgic songs - tokens and emblems for preserving memory. Located in political and artistic histories around Palestine, 'The Wandering Singer of Tales' questions the temporality of images reproduced of lost places, and how these function in the present following a ruptured historical trajectory of dislocation, trauma and exile in the last century.

      >>><<<<

      CECILIA MOLANO
      STORY LINES

      one-to-one performative installation

      Writing becomes trace. An unthinkable process of alchemy. Each word is, again, what it was before becoming a word: an image, a hesitation, a movement.

      Narrative melts into drawings. Life remains there, in the paper, as a footprint. The diary is an invented document: the fiction of oneself.

      In this work we turn back to the place of words before being articulated.

      This installation is an experiment in co-writing, reading and (re)creating.

      >>><<<<

      PHILIPPINE HOEGEN
      VERSIONS AND DISPLAYS 

      Video Installation, Performative Interventions

      Versioning - as in: regarding objects in the way they appear to us as versions of themselves - means that other versions are possible, probable. Different versions are present simultaneously and may become perceptible through a slight shift of perspective or a change in the gaze. The point of this exercise is a rearrangement of relations between things. Traits, qualities and characteristics that were assumed to be constitutive for ‘our’ of ‘their’ selves, are questioned and relativized; they may in fact simply be a consequence, an outcome, of the angle at which you are looking. This implies fluidity in the nature of relations, it destabilises presumptions and assumptions. It is a way to understand the constant flux in the order of relations between things.

      Undergoing (Another Version, 2015), or trying to embody (Regarding David and Dividing David, 2 performances, 2015) are ways in which I attempt to see or experience things –objects, situations, myself- from more or other sides than the given frame allows. Unraveling through history different narratives about an object constructed and deconstructed through display (The Borneo Trophy, performance, 2015) or re-ordering the display (Arena, video installation, 2015) are strategies to shift or look beyond the frame, producing different objects, or more precisely different versions: the object as a different version of itself.

      >>><<<<

      SARA SANTOS
      EXCAVATE

      films

      Excavate (‘ekska, veit) vb excavates, excavating, excavated. 1 to remove (soil, earth etc.) by digging; dig out. 2 to make (hole or tunnel) in (solid matter) by hollowing. 3 to unearth (buried objects) methodically to discover information about the past. (C16: from L. cavãre to make hollow, from cavus hollow).

      The dead heroes are closer to a ruin-state than to glorious, tragic death. Putting aside the epic patina, ruin is a romantic process of decay. The hero itself is the embodiment of a zombie ideology, a living-dead, a transition. By ideology, I mean immaterial constructions (symbolic ‘texts’) that impact and condition our experience of the world, and ultimately become materialized in it.

      Coming back to ‘an order’ unfolds a discussion about how the common experience of a crisis (war, uprising, revolution, disaster..) becomes inscribed, or eventually, cultural. My research focusses on the left-over materials of a given crisis, on the symbolic objects of those experiences, and their trajectory towards an eventual stabilization into oblivion.

      How do they change into something else, or stay resilient? Resonating for decades, they appear as distortions of contexts long gone.

      >>><<<<

      GOSIE VERVLOESEM
      TUPPERWARE

      performance workshop

      The answer on how to cope with the chaos in our daily lives lies at the bottom of a Tupperware box. 'Recipes for Disaster / The Magazine/Tupperware Party’ cooks up crucial questions: how to argue for messy and less sterile life in times of Ebola? And, how to free ourselves from the quarantine of our own bathroom?

      Everybody knows Tupperware, the handy plastic boxes to store and conserve food, for eternity. 'Recipes for Disaster” uses the format of the Tupperware Party (women getting together around the kitchen table to attend demonstrations of shiny plastic boxes.) And at  the same time disrupts the idea that everything can be nicely stored away.

      >>><<<<

      VERIDIANA ZURITA 
      TELEVIZINHO #1 

      Talk 

      For 3 months I have been working together with a riverside community in the Amazon on re-enactments of Brazilian soap operas. I spent 3 days with each family and used their house as the studio for filming. Eating what they eat, sleeping as they do, watching what we watch: soaps. Every night we looked at the soap and picked a scene to re-enact the next day. While re-enacting different logics of appropriation were inaugurated. The way soaps seem to order language and physicality were disturbed by those re-enacting it.

      During a talk I will share some of the footage, the working methodologies, the context and ideas around the first edition of this ongoing project.

      workshops & lectures

      >>><<<<

      PATRICIA REED
      MOBILE ORDERS

      lecture - Sat 4.45pm

      ‘Order’ in and of itself, is a structural proposition in which sets of functions, behaviours, relations and norms can play out (while making other operations impossible or extremely difficult to carry out). Within the ‘social’, order is largely cultural, meaning productively artificial, subject to infinite mutability. So to demand ‘order’ is not (necessarily) to seek to submit oneself to relations of authoritarian dominance, but to seize upon structural possibilities as a project for construction. ‘Order’, in this way, is mobilised as an affirmative project - a freedom to construct new systems of cohabitation (rather than simply a freedom from something).  read more

      >>><<<<

      GONÇALO PENA
      DRAWING ASKEW

      Master Class - Sat 12.30 to 3.30pm

      Within a conscious danger of falling back into romanticist politics and trying to avoid this trap, I would take this idea of an ethical or even several ethical lines to think drawing as one of the tools we have to challenge politics of smoothing and soothing the collective body onto mindless consumerism. It is important to state that this collective body has still a human multitudinous and restless soul, from which the annoying and frequent twitches call for permanent police vigilance. Moreover this body comes from the box including with it technology and complete ecosystems. So it comes the time where this soul struggles and seem itself forced to draw her painful lines of choice, discovery, recovery of concepts and criticism. read more

      >>><<<<

      PETRA VAN BRABANDT
      DISRUPTION IS STILL TO COME.

      table talk - Fri 7pm

      The disruptive movements of the last years were hardly a threat to the state of order. They might be the first signals of a disruption to come; therefore to entertain the idea of 'back to an order' is far too precocious, even pernicious to the imaginative process of unworking the order. I want to focus in this table-conversation on the order of Fort Europe, which hasn't been radically contested. Our obsessions with order and stability seem to warrant the mass grave outside our safety gates. This is the horror of order showing its face, again. Inspired by the work of Gosie Vervloessem, I want to compare Fort Europa to the dynamics of fear of the kitchen, and question its order, hygiene, productivity and purpose

    • conference
    • end presentation
    • performative publishing
    • postgraduate program
    • NOT_index
    • Volver
    • Back to the order 29 March 2015
      posted by: Nicolas Galeazzi
    • Samah Hijawi, Philippine Hoegen, Gosie Vervloessem, Sarah Santos, Silvia Pereira, and Cecilia Molano
    • Aleppo
    • 29 May 2015
    • 30 May 2015
    • Samah Hijawi, Philippine Hoegen, Gosie Vervloessem, Sarah Santos, Silvia Pereira, and Cecilia Molano will share their practices and perspectives of their research in form or a symposium and bring them in relation to those of guests and collaborators. A symposium that consists of performances, lectures, film screenings and workshops.

      This event is a collaboration with, and will take place at Aleppo.

      Relating to Aleppos current thematic program which is termed ‘Back to the Order’, we understand order and revolution as integral parts of each other, the interdependent counterweights of the device that drives, and is driven by, contemporary society.

      Departing from the different preoccupations of our separate researches we will make inroads towards shared perceptions. We will approach concepts such as the domestic, identity, display and artistic production as complex territories through which the nature of order and its potential counterparts can be analysed and activated.

       

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

       

       

       

      Researchers Participants in the Postgraduate Program

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

       


      Research End Presentations

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

       

       

      Partners

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

       


      Contributors for workshops

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

       

      Coordinators a.pass

      Bart Van den Eynde
      Elke van Campenhout


      Mentors

      Anette Baldauf
      Laurent Liefooghe
      Nicolas Galeazzi
      Pierre Rubio

       

       

       

      30 / 08 - 03 / 09 / 2010


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


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

       


      04-09 / 09 / 2010


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


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

       

       

      13-18 / 09 / 2010


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


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


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

       


      19-26 / 09 / 2010


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


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

       


      20-24 / 09 / 2010


      ‘STORYBOARDING’
      workshop by Jeremy Wade


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

       

       


      04-10 / 10 / 2010


      ‘THE GAZE 2.0’
      workshop by Sven Goyvaerts


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

       


      11-15 / 10 / 2010


      ‘PERFORMATIVE SPACE’
      workshop by Laurent Liefooghe


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

       


      18-22 / 10 / 2010


      ‘BROODTHAERS & KAUFMAN’
      workshop by Sara Manente


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

       

       

      25-30 / 10 / 2010


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


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

       


      01-12 / 11 / 2010


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


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

       

      15-19 / 11 : 2010


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


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



      22 / 11 / 2010


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


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

       

       

       

       

    • postgraduate program
    • research center
    • a.p.t.-a.s.-a.r.c.
    • 2008 BLOCK III 01 September 2008
      posted by: Pierre Rubio
    • 01 September 2008
    • 31 December 2008
    • 2008 BLOCK III

       

       

       

      Researchers Participants in the Postgraduate Program

      Ariane Loze
      Bruno Stappaerts
      Christophe Engels
      Constanze Schellow
      Gable Roelofsen
      Hanne Jacobs
      Karolien De Schepper
      Kim Lien Desault
      Klaas Devos
      Lieselot Jansen
      Lore Rabaut
      Luk Sips
      Marcos Simoes
      Michel Yang
      Sara Manente
      Sungmin Hong
      Vick Verachtert

       

      Partners

      LOPITAL, Antwerpen
      PAF (Performance Art Forum, Reims, France)

       

      Collaborators for workshops

      Alessandra Bergmaschi (Brazil)

      Sandra Noeth (Germany)

      Tristan Honsinger (Germany)

       

      Coordinator a.pass

      Elke van Campenhout

       

       

       

      The block is curated by Elke van Campenhout and the researchers participants

       

      24-25 / 09/ 2008

      ‘(RE)CHANNELLING THE SINGULAR’

      (The solo in contemporary dance and performance)

      self-organised seminar by Kim Lien Desault and Sandra Noeth, University of Hamburg, Research Department, Performance Studies

      Two days of theory following the doctoral research of Sandra Noeth about the philosophical and historical significance of the solo in dance.

      Sandra Noeth and Kim Lien Desault invite the participants to ‘think’ the dance solo as an object of knowledge production.

       

       

      01-08 / 10 / 2008

      ‘PEACE PROJECT’

      self-organised project by Gable Roelofsen.

      The participants take part in the Peace Conference "Utopia or Distopia', organized by the philosophy department of the “Technische Universiteit” in Berlin. While they develop their own artistic researches to open  perspectives on the ‘question of peace' and ‘what peace can mean in a contemporary society today’, the projects are archived and exhibited at the gallery Arttransponder.

      The PEACE Project stands for the development of personal projects and of multiple collaborations between participants.

      'Mount Berlin', the 'Peace Walk’ through Berlin and the 'Sleep Inn' (a sleep-in initiative for the exchange of narrative) constitute the core of the research.

       

       

       

      09-10 / 10 / 2008

      ‘AROUND ALESSANDRA BERGMASCHI’

      meeting and working with Alessandra Bergmaschi

      self-organised and curated by Sara Manente

      Alessandra Bergmaschi, a Brazilian photographer, and artist-researcher Sara Manente develop the project "Democratic Forest”.

      who uses the camera?

      who do you want to bring into the picture?

      in what way?

      what do you communicate?

      Sessions alternate between presentation of Alessandra Bergmaschi’s work, documentary films screenings and texts readings.

       

       

       

      03-07 / 11 / 2008

      ‘TRANSDISCIPLINARY IMPROVISATION’

      self-organised workshop by Tristan Honsinger

      curated by Kim Lien Desault

      A group including dancers, actors, musicians and visual artists will work together on free jazz improvisation techniques to come to a common understanding of impro-building and group balance in transdisciplinary improvisation situations.





APPLY TO THE A.PASS PROGRAMMES

Unfortunately we no longer have applications. Both programs: the Postgraduate as well as Research Center have come to an end due to the decision of the ministry of education to stop financing a.pass. At the moment we look into new plans for the future. More news soon on our website.

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