price: 8 euro
More information here.
price: 8 euro
More information here.
Landings (definition by the M-Webster dictionary): an act of returning to the ground or another surface after a flight. This is an invitation to us visitors to temporarily observe and intentionally touch that ground we continuously step on. Landings brings together 7 a.pass researchers that started and finished their Post Master program at the same time.
Their research engaged in varied practices and tackled different concerns that are inherent to the relationship between the rules of a given habitat and the experiencing of being in it. The 7 trajectories were explored individually and collectively within the a.pass environment for the past year and crossed paths on several occasions. They all share the sense of place as a meeting point where their research questions are practiced through singular interactions with the viewers. The affinities that these encounters propose can be seen as points of reflection for this end presentations and can be the guidelines for you, dear visitor, to join in.
"THE BREATHING ARCHIVE"
The breathing archive sends us back to the basic life’s movement that is an oscillation between concentration and expansion, like the movement of cells breathing and heart beating. The practice invites visitors to edit collectively a poetic and ephemeral document.
"A ROOM FROM HIS CONCEPTUAL HOUSE: THE CABINET OF PSYCHOSCULPTURE"
A quick artist-guided tour through a single room from The House of the Wandering Joyce.
In seeing laws and norms as a matrix that creates divisions and borders –physical and existential – this work attempts to map a territory through choreography. In this legal territory, gesture and movement become the cartographers, making visible how the legal and the normative are preset frames for our paths.
Possible Landscapes -
is a performative setting to play with the intersection between care-taking gestures and the outcome of a Radical Cleaning session. Radical Cleaning is a practice that addresses the circulation of affects involved in the relations we establish with spaces, things, and other people. This time the outcome of the session takes the form of texts. They are performed in the Regular Cleaning, triggering the experience of the affective layer of an environment.
"LONG WE AHEAD & WORLD HAS GONE KOOKOO"
A performative erasing practice investigates the rest: the resting body that lies down horizontally, and also the rest that we leave behind as a trace.
"I AM WELTON SANTOS, 2016"
Visitors enter the backstage of an interview set. In between cameras, sound equipment, and lights, they find books. These contain texts based on transcripts and descriptions of an interview with geo-bio-architect Welton Santos.
By collectively reading the books, the visitors are invited to a generative reconstruction of the interview, a space for rewriting the operation of documentary and narrativity and its tools, tropes, and methods.
(varinia, 15/09/16) If my resource is the passage btw the invisible to the visible, it sounds a bit paradoxical to have as a gap the non-understandable. I guess this shows more like a desire: i want to see what i can not understand. I want to be able to see, apprehend and include in my life what i can not understand. Something like that. (I don't say i manage).
(varinia 15/09/16) They say that, as a concern in art, the passage btw the invisible to the visible is sort of absolet. Too many works have been based on this issue. A mentor in the first block told me that the West is obsessed with "unveilling"....yeah maybe there is something liberation-like in this. But i am not interested in liberation, (i should think of another word for liberation), i guess i am after the visual, not necessarily the denunciatory. So think of the visual. How can you make things visual....
Foucault wrote a text on this (don't recall it exactly) and in dance/theater jargon we use a lot this word when we refer to a structure meant to reveal something else that what is showing. It is like a performative strategy that in a way tells you "what you see is not what is happening" or "what is happening is in the excess of what you see".