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    • block information
    • Recent Past
    • BLOCK 2019/I UNSETTLED STUDY curated by Vladimir Miller
      03 January 2019
      posted by: Vladimir Miller
    • 07 January 2019
    • 31 March 2019
    • case of: Vladimir Miller
    • BLOCK 2019/I UNSETTLED STUDY
      Continuing the line of inquiry from Uninvited Research, Block 19/I will again come together around the questions of mobility, logistics and gestures of moving, settling and unsettling. All who research, work and support at apass including the Research Center, the administration, the curators and production support are invited to join the process.
       

      To initiate the building of an institution which can support study a.pass will host Settlement, a practice of being together while building the space for the individual and collective practices of research. Through a series of workshops with Philipp Gehmacher and Moritz Frischkorn and by presenting research to each other during the Half Way Days we will further develop this space into a multitude of individual research situations and scenographies. We aim to be able to move the resulting lecture performance spaces and works to KANAL Centre Pompidou Brussels and open them to the public of the Performatik Festival at the end of the block. We will perform and host this collective Unsettled Study as an intertwined complex space on two consecutive evenings. 
       
      +++
       
      Moten and Harney once described study in an interview in "Undercommons" as the moment of unruly togetherness before the teacher enters the classroom. Etymologically the word can be used for a process of inquiry as well as for the architectural space designated to this process within a building. In Moten and Harney study happens besides, in between, despite the institutional and curricular framework of a university and is deeply related to the unseen connectedness of the undercommons. They establish study as a valuable political tool and process within educational systems, a commoning practice which universities came to actively suppress instead of supporting it. Marginalized by the institution, study becomes the excess, the unseen extra of school. How can we undo this order and bring study back to be the common center of what we do?

       

      As partner of the Performatik Festival 2019 a.pass has been asked to contribute a larger project to the upcoming festival. The invitation of Performatik comes with/from a curatorial proposal to engage with Bauhaus and its implications, therefore the question of what is a school and how does it perform itself is equally interesting to the festival and to us. In response, we would like to continue the line of inquiry that the School of Love by the guest curator Adva Zakai has initiated and position study as unruly undercommons, an inquiry and a space in the center of a contemporary idea of school, which we claim should be an institution in support of study. 
       
      Moten and Harney envision study as a being-together framed by the classroom, even if the classroom is fugitive or imaginary. At a.pass this classroom is a gathering which¬†is based in the mutual and the mutant, and in an engaged not-knowing that is decidedly non-academic, one that includes all the hear-say, weird intuitions and obsessing over a question that we sum up with the¬†‚Äěartistic" in ‚Äěartistic research‚Äú. We are taking this block to look again at¬†the spatial manifestation of research in its architectural, material and components and their movement. We look at logistics of thought and material coming together to formulate a particular study, we look at the logistics of settling and unsettling again, of making and taking apart and re-making again with the hope of making a non-academic space to support our non-academic study.
       
    • a.pass concept
    • Recent Past
    • Research Center
    • RESEARCH CENTER Cycle 18/19 Block I Curated by Vladimir Miller
      11 September 2018
      posted by: Joke Liberge
    • 03 September 2018
    • 30 November 2018
    • RESEARCH CENTER Cycle 18/19 Block I

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

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

      For the period of September ‚Äė18 to August ‚Äė19 we are happy to welcome following Associate Researchers to the a.pass Research Center:

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

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

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

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

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

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


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

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

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


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

      Settlement 11 Collective Schedule

       

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


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

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

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

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

      SETTLEMENT


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

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

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

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

      The politics of practice in terms of co-habitation and co-working, of claiming one‚Äôs own space, inviting or excluding the outside, communication of ideas, inviting change and influence are all there to be questioned within this setup. As a practice is (in some ways) ‚Äěre-built‚Äú during Settlement, one can come to question its very construction.

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

    • Workshop
    • Block 16/III
    • THEORIES UNDER THE COMMONS 24 August 2016
      posted by: Nicolas Y Galeazzi
    • Vladimir Miller
    • 26 September 2016
    • 30 September 2016
    • THEORIES UNDER THE COMMONS

      In the past several years, we have witnessed are resurgence ¬†of artistic and academic discourse around the notions and practices of commoning. The commons is the central theme of the current apass block, and, over the years, it has arguably been one of the central models for many forms of collectivity practiced at apass. This workshop will be an attempt to ‚Äěcome to terms‚Äú, to create shared reference points within the commons discourse among the workshop participants. We will read discuss and map a selection of texts which lay the groundwork for understanding the commons debate today and we will make ourselves familiar with a reader, which can be a further reference for discussions and in depth reading throughout the block.

      To ground our discussions we will look at apass itself as a space of commoning with the help an a project Annette Krauss During the last two years she has worked with CASCO on processes of commoning within the institution. The results of their collective discussions and work take the form of posters, each proposing an exercise in unlearning. Annette Krauss proposes to use the posters as tools for unlearning the practices that uncommon us. 

    • Workshop
    • Block 16/II
    • FORGED THEORY 20 April 2016
      posted by: Nicolas Y Galeazzi
    • Vladimir Miller / Peter Stamer
    • a.pass
    • 05 July 2016
    • 07 July 2016
    • case of: Vladimir Miller
    • FORGED THEORY
      ‚ÄěI remember this workshop where we were asked to write theory in support of our research. Not to go and read and quote existing work but to make it up, to quote from a fictional pile of books. What would be such a fictional body of writing to situate our work in? What kind of fanstasy discourse does our work exist in? To be honest: Is our work not already producing a potential yet unwritten discourse? We keep looking until we find that ghost in someone else‚Äôs writing, calling it¬†research, no? Its divination, ghost hunting,¬†s√©ances.¬† Can we go one step further and conjure up those voices we are looking for?
      In that workshop we looked at the many fragmented ways those voices appear in a piece of writing: blurbs on the back page, quotes from form other literary works, footnotes, citations, bibliography lists and lists for further reading. All the ways a supporting structure of precedents is woven into and around an academic text. Mere fragments in themselves, they point to whole architectures of thought. Their distinct style, their no-nonsense-brevity speak volumes. How does an archeologist distinguish between a shard and a piece of pottery made to look like one? He cant help but imagine the vase.“
       Richard Crane, Territorial Discourses Michigan University Press, 1998
       
      "Contemporary art has two major problems. One is that it‚Äôs absolute meaningless when it comes to a larger scale. Whatever is being produced, performed, presented has no potency to leave the bubble of those who are in one way or the other involved in the respective field. The artistic practice is absolutely irrelevant and will have nothing to contribute in the forthcoming years to the challenges globalism already presents to our societies. The other huge problem even has a dramatic touch. There is not one single theoretical concept, not one philosophical idea that has been articulated or even thought within the contemporary arts that would have an impact on the ‚Äöworld out there‚Äô. Nothing that would provoke social discourses to rethink the accepted horizon of knowledge, nothing to at least create confusion in scientific environments. Instead, contemporary art theory is as stale as the beers the visual artists drink after they have opened their futile exhibitions, as silly as the babble theatre makers come up with in their meaningless funding applications, as impotent as the pieces dancers fabricate in their unattended off-off garages. Theory which has developed into the well-fed heir of contemporary artistic practice is in fact a motherless, dead-born child, and I couldn‚Äôt think of anything that would reanimate that poor and hopeless creature. What ‚Äötheory‚Äô is rather in dire need of is to be turned around in order to be taken from behind‚Ķ‚Ä̬†
      Gianluca di Fratelli, "Standing on one leg while holding one’s breath. The Apocalypse of the Now". Riders in the Storm. The Act of Nothing. Ed. by Meyers P. and Bozac S., Rome/Warsaw 1997. p. 233-234.
    • Workshop
    • Block 16/II
    • FEEDBACK 20 April 2016
      posted by: Nicolas Y Galeazzi
    • Elke van Campenhout / Vladimir Miller¬†
    • a.pass
    • 03 May 2016
    • 06 May 2016
    • case of: Vladimir Miller
    • FEEDBACK

      As part of the Opening Week this workshop we address the topic of feedback. Since a.pass is a shared environment, we depend a lot on each other as sparring partners in our researches. Often the work is presented within a group and the quality of the feedback is lacking in precision, understanding or communicative strength. What is important in giving or receiving feedback is that both positions are clarified: what position do I speak out of? What kind of feedback would be useful for my research?

      In this workshop we try to construct very diverse feedback techniques: spoken critique, non-negotiated critique, direct feedback, indirect feedback, written, walking, one-on-one or transformative feedback.

    • Workshop
    • Block 15/III
    • collaboration
    • Commons
    • spatial research
    • Settlement VIII TOWARDS FRAGILITY
      01 August 2015
      posted by: Elke van Campenhout
    • Vladimir Miller
    • a.pass studio
    • 14 September 2015
    • 02 October 2015
    • Settlement VIII

       (fragile: unstable, disintegrating, malleable, temporary, sketchy, self-sabotage, needs care, gone when not needed, anti-territorial, only there as long as invested in, can’t hold)

       

      I have some questions:

      What can be a truly feminist architecture? One that does not create territory, does not claim, does not exclude. (Will society be different if it builds in another way,¬†or is it the other way around, or are they actually¬†inseparable form one another?). How much of the utopia of Occupy is due to the haphazard conditions of camping and DIY? Should we be sad that it‚Äôs gone? Or is its ability to disappear¬†its most precious, most pioneering trait? Every social movement must find, claim and hold a space or perish, yes? ‚Äď become an institution or die.

      But how to keep on dying?

      Processes of institutionalization are also processes of architectural shifts away from the fragile: from sticks and fabrics to metal and concrete, from sit-ins on the floor to tables and chairs, from open spaces to chambers with doors, from expanding circles to sitting arrangements. All of these we justify with productivity concerns. So maybe the question is: how to be productive and fragile at the same time?

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

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

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

      By starting from scratch Settlement invites a re-negotiation of the specific conditions of each practice.¬† In the course of the three weeks Settlement lets your particular method of production and sharing find its own intrinsic spatial conditions, free from the encoded behaviors of ready-made spaces such as ‚Äútable‚ÄĚ, ‚Äústudio‚ÄĚ, ‚Äúmeeting‚ÄĚ, ‚Äúgallery‚ÄĚ, ‚Äúvenue‚ÄĚ, ‚Äúlibrary‚ÄĚ, etc.¬†The politics of practice in terms of co-habitation and co-working, of claiming one‚Äôs own space, inviting or excluding the outside, communication of ideas, inviting change and influence are all there to be questioned within this setup. As a practice is (in some ways) ‚Äěre-built‚Äú during Settlement, one can come to question its very construction.¬†

    • This January marks the beginning of the second one-year-cycle of the a.pass¬†Research¬†Center. Initiated¬†out of a desire to be a shared platform of exchange, support and publicness for the Associate¬†Researchers¬†this year long initiative will continue to support and publish advanced¬†research¬†and investigate its trajectories within a.pass.¬†¬†The Associate¬†Researchers¬†will be hosted and supported during Cycle 2 ¬† by the¬†Research¬†Center¬†curators: Vladimir Miller (Block I/20), Lilia Mestre (Block II/20) and Pierre Rubio (Block III/20).
       
      For the period of January to December 2020 we are happy to welcome following Associate Researchers to the a.pass Research Center:
      Breg Horemans, Davide Tidoni, Esteban Donoso, Pia Louwerens and Lili Rampre.
       
      During the upcoming block we will start and at the same time continue our work by imagining and negotiating the individual contracts between the researchers and the Research Center, which will speculate on the individual research process and the support needed during the year cycle. 
    • Settlement 14 schedule 08 January 2019
      posted by: Vladimir Miller
    • 07 January 2019
    • 26 January 2019
    •  

      MON 7th

      14:00 meeting

      17:00 cleaning, emptying the collective space

      19:00 dinner

       

      TUE 8th

      10:00 Materials and Tools

      WED 9th

      10:30 Scheduling

      11:00 Katinka van Grokum, a.pass opening week presentation: SketchUp as an Interior

      12:00 Caterina Mora: Translating Ballet to Regaton

      13:00 Living Together: organising cooking cleaning up

      14:00 Research and Space (conversation with new a.pass researchers and LM and VM)

      16:00 Ezster Nemethi TBC

       

      THU 10th

      9:00  Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)

      10:30 Scheduling

      11:00 Deborah Birch, a.pass opening week presentation: Caves II. Re-entry

      14:00 Katinka van Grokum: Trash Talk, recycling in Belgium 

      16:00 Chloe Chignell, a.pass opening week presentation: Choreographic Strategies for Writing

      17:00 Christina Stadlbauer, a.pass opening week presentation: Sharpening the Narrative

       

      FRI 11th

      12:00 Signe Frederiksen,  a.pass opening week presentation

      Cooking: Amelie van Elmst

      15:30 Maurice Meewisse, a.pass opening week presentation

      17:00 Meri Ekola, Light Observations

      18:00  Caterina Mora: Training, Translation (Ballet and/or/vs Regaton) with  a guest dancer

       

      SAT 12th

      SUN 13th

       

      MON 14th

      9:00  Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)

      11:30 Diego Echegoyen, a.pass opening week presentation

      12:30 Goda Palekaite,  a.pass opening week presentation: Legal Implications of a Dream

       "Legal Implications of a Dream" is the title of Goda's research and her solo exhibition which just opened in Tel Aviv and Jerusalem. Let us think of settlement as an occupied space which materializes as a consequence of a collective dream.

      14:00 Scaffolding Introduction (how to and safety instructions)

      16:00 Human Condition Reading Club part I

       

      TUE 15th

      10:00 Scheduling

      10:30 Outside Walk (Mathilde Maillard) 1h

      12:00 Alex Arteaga, Input: Architecture of Embodiment and destabilizing an architectural object

      Disclosing an Architectural Object is an artistic research framework that allows an approach to a twofold object of inquiry: the architectural organization of material and the cognitive agency of aesthetic media, practices and artifacts.

      14:00 Meeting with Michele Meesen and Joke Liberge: organisational, budget, etc for first block researchers (end 16:00)

      16:00 Laura Pante, apass opening week presentation: On Metaphorology

      18:00  Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)

       

      WED 16th

      10:00 Mathilde Maillard:  a.pass opening week presentation: Work Club / Club Travail

      11:00 Peggy Pierrot, Do You Belong ?

      Artistic activities are shaped by continuous trips, international workshops and residencies abroad. In this context, each work session operates like a colonization of some people space, means and life by the artistic presence and vision. The artist settles in different environments, whether his work aim to relate directly or not at all to the different creation contexts. In this international scene of seesaw motion, how can one’s cultivate his sense of belonging, of beeing from, of being rooted, without a nationalist content, but without being a post modern nomad of emptiness?  How do YOU, settler, react to this constraints (langage, food, bodies, papers...).  What do you take or leave ? What do you gain from this artistic nomadism ? Do you belong somewhere ? We’ll question these assumptions through an insight on the work of  the artist Pierre Creton.

      14:00 Flavio Rodrigo, a.pass opening week presentation: Sensations, Paths and Rituals of Work with the Creative Imagination (establishing the initial relations of my research). Please bring you mobile phone and headphones, you will need them during the presentation.

      18:00  Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)

       

      THU 17th

      9:00  Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)

      11:00 Elen Braga: The World to Come

      If we have a history-line, what are the most important events of the last 30 years of human life that come to our mind? Is there a connection between those events and the context of our artistic research? What are the symptoms of those events and how to prophesize the world to come? We will start the exercise using the allegory of Nebuchadnezzar's dream. And by creating symbolic images, we will try to transform those events into an allegory of apocalypse. "And in the days of these people shall we set up a world, which will never be destroyed?"

      12:00 Nassia Fourtouni, a.pass opening week presentation: Neither Distance nor Empathy

       

      FRI 18th

      9:30 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)

      13:00 Philipp Gehmacher, mentor's presentation (skype) 

      14:00 Amelie van Elmbt, a.pass opening week presentation: Dreaming Walls

      15:00 Scheduling next week

      15:05 Space and Scenography review and preview w. Vladimir

       

      SAT 19th

      SUN 20th

       

      MON 21st

      13:00 Experimental Film Scratching Workshop

      14:30 Muslin Brothers, a.pass opening week presentatio

      16:00 Human Condition Reading Club part II

       

      TUE 22nd

      9:00 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)

      12:00 Engaging the Spectacle: Aspects of Contemporary Ideology, a Brazilian Case Study.

      Roberto Winter shares his thoughts and artistic practice - with an introduction and lunch prepared by Adrijana Gvozdenovic.

      "Our time is critical, we seem to be finishing the transition to a new era (and maybe we already have), call it the "New Dark Ages", "Hypernormal", "Semiocapitalist", or "Capitalist realist", under the empire of total spectacle, we are ruled by images. [...]  Art’s potential role in untangling the situation is privileged and fragile: if it can resort to fiction, it must also deal with fake news; if it can resort to a long tradition of making and understanding images, it must also deal with the emptiness of memes and social networks; if it can resort to aesthetics, it must understand the new role of images and the obligation to (self-)design. The question remains: how to engage in the production of things that could make the current state of affairs graspable, explicit, unbearable and, eventually, help lead to their overcoming?"

       

      14:30 Mathilde Maillard and Flavio Rodrigo, Lets Talk about Brasil

       

      WED 23rd

      10:00 We meet at KANAL Centre Pompidou to have a look at the space for the upcoming Unsettled Study. Afterwards we will talk about the space and the process of the block

      14:00 Bauhaus and School, Input from Moritz Frischkorn + Heike Bröckerhoff

      Based on their own research for an artistic project, Heike and Moritz will give a short introduction about the Bauhaus as an art-academy. It seems as if the very idea of an art-school as a "total work of art", based on principles of performance, inter-disciplinarity and process-orientation, where one invests oneself fully, combines technology and art, and thus manufactures a new subject for a democratic society was invented at the Bauhaus. We would like to discuss how to relate to those ideas and concepts from a contemporary point of view. 

       

      THU 24th

      10:00 Lilia Mestre: On Scoring, To Forge Temporary Communities

      11:30 Alex Arteaga: On my Intervention in/with the Settlemen

      20:00 Cine Club: Time Indefinite

       

      FRI 25th

      11:00 Settlement review and block organisation (whats next?) w. Vladimir

       

       

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

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

       

       

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

       

      Unsettled Study Open Studio

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

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

       

      Unsettled Study Performative Research Environment

      Friday 22nd of March 16h

      Saturday 23rd of March 18h 

      at Kanal Centre Pompidou Brussels

      duration ca 3h

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

       

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

    • Recent Past
    • Workshop
    • the Lecture, the Performance workshop with philipp gehmacher
      03 January 2019
      posted by: Vladimir Miller
    • 04 February 2019
    • 08 February 2019
    • the Lecture, the Performance

       

      This week‚Äôs focus lies on the idea and genre of the lecture performance in the performing and visual arts. Speaking out will be looked at as a performative act of sharing thoughts and concerns about ones own research and work. The questions often arising are: Why speak out about things at all? Why not let the work speak for itself, the research be mapped out and available? Is the speaking an extra layer of added information, at times rendering the ‚Äöshown‚Äô and presented more informal, even personal? Whilst in fact pointing at its surrounding, as much as the institution, is there a self-referentiality involved in speaking that we cannot escape whether we speak about ourselves, our concerns or just matters seemingly ‚Äöworldly‚Äė and not personal? Speaking is however also about utterance and the speech act, performative as such, in the now, whether scripted or not. Speaking points out, maps out, accompanies actions and discursifes often all at once.

      All in all the lecture performance combines notions of speaking with notions of showing, doing, and demonstrating, side by side or all at once. It seems to be a format where something needs to be told, literally. All of the above however in relationship to physical actions or the presentations of any kind of materials. As much as at the lecture, the doing, mapping out, constructing and building with materials or any medial visualizations will also be looked at. What does the performance allow as a time based procedure to present and make available besides verbal utterance? The performative seems to lie as much in the words as in the objects and thoughts. We’ll find out.

       

       

      Philipp Gehmacher
      Choreographer, dancer and visual artist, lives and works in Vienna. Gehmacher’s artistic works implement the body and language as forms of expression, erected and institutional space, as well as object and sculpture. Philipp Gehmacher has presented these works between black box and white cube internationally at theatre festivals and in exhibition spaces. Recently, among others at Museum der Moderne Salzburg, steirischer herbst (Graz), the Biennale of Sydney, Baltic Circle International Theatre Festival (Helsinki), Leopold Museum and mumok in Vienna, and Griffith University Art Museum in Brisbane and Kunstenfestivaldesarts, Brussels. Philipp Gehmacher is a mentor and teacher at P.A.R.T.S and ISAC in Brussels, HZT in Berlin, DOCH in Stockholm, Impulstanz Vienna and the University of Salzburg.

       

      philippgehmacher.net

      more on the lecture performance series Walk+Talk:

      http://sarma.be/pages/Anthology_walk+talk

    • common moment
    • gathering
    • Intensive
    • Recent Past
    • Settlement 14 03 January 2019
      posted by: Vladimir Miller
    • a.pass
    • 07 January 2019
    • 26 January 2019
    • case of: Vladimir Miller
    • Settlement 14
      During the days of Jan 7th-26th 2019 a.pass will come together and host an open workspace called SETTLEMENT. In the course of these three weeks we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.pass SETTLEMENT and sharing some of your ideas, practices or works with others. The materials and structures available at the a.pass main space will be a common resource for all who join to create whatever is needed to facilitate this process. The schedule for these three weeks will be developed on site by its participants and shared online on the a.pass website.
       

       
      Here are some key ideas which have informed similar spaces before:
       
      encountering processes
      The potential of this setup is that it allows us to encounter each others processes instead of products of our artistic work. Processes are much more difficult to make visible and to see as they require a different mode of attention and participation. The attempt to witness a process requires a change in the temporal mode and in the mode of being-together in the collective space.
       
      no spectators
      The space we are trying to facilitate is open, but it is not an exhibition. There is no ‚Äěspectator mode‚Äú, and no institutionalised responsibility for hosting. However any participant (including possible newcomers) is welcome to invite and host anybody according to the logic of her/his work process. Anybody is welcome to joint the collective space for any timespan, respectful of the fact that Settlement is a predominately a workspace. The (growing/changing) group will try to provide enough information at the entrance, so that everyone feels welcome and knows how to join and share.¬†
       
      productive instability
      We will collect most of the materials for the space from the apass storage and re-accommodate them towards our purposes. This strategy produces a¬†space that is fragile, self-made, and constantly changing. We believe that such a¬†space influences the sociability within it towards similar qualities ‚Ästtowards a¬†more fluid social contract. In asking for a¬†hands-on construction and deconstruction of its makeshift set-ups, such a¬†space allows for a¬†quicker change of settings and a¬†decentralised mode of (self)organisation. For this reason, we suggest to refrain from using usual furniture (tables and chairs) and improvise new set ups for ‚Äěwork-stations‚Äú and collective moments out of what we can scavenge from around the academy.
       
       
      Settlement
      Settlement is spatial proposal that tries to sustain its architectural fragility hoping in this way to initiate a temporary social, organizational and ideological one.  Simply put it is a collective workspace, a camp and a hangout, open to all who stop by and would like to contribute to it. Like many other such meetings it is a place of informal exchange and presentation. It is a space for practices instead of products, a place where our individual ideas and processes have not yet achieved a solid state and can flow into each other.
       
      Settlement starts with a haphazard collection of materials in an otherwise empty space. Everything one might need for one’s work has be be built and (re)invented there. There are no tables, no chairs, and the materials and objects resist easy categorization and usability. They have to be mis-used, adapted, they have a will on their own. The built environment has to be negotiated -with on the level of the object. There is potential in a thing being one thing one day, and a totally different thing the day after. There is also potential in that thing changing hands. (You will be surprised how quickly ownership is established from communal beginnings: one just has to pick up a thing and put it somewhere.)
       
      Settlement is a space that tries very hard not to settle. Its instability works against the establishing of clear boundaries between ‚Äěyour space‚Äú and ‚Äěmy space‚Äú, what hopefully follows from that is that it is very difficult to establish boundaries between ‚Äěyour work‚Äú and "my work‚Äú. ¬†It asserts that practice is bound by space, and if space gets shaky, unstable, shareable, so does the practice.
       
      By starting from scratch Settlement invites a re-negotiation of the specific conditions of each practice. ¬†In the course of the three weeks Settlement lets a particular method of production and sharing find its own intrinsic spatial conditions, free from the encoded behaviors of ready-made spaces such as ‚Äútable‚ÄĚ, ‚Äústudio‚ÄĚ, ‚Äúmeeting‚ÄĚ, ‚Äúgallery‚ÄĚ, ‚Äúvenue‚ÄĚ, ‚Äúlibrary‚ÄĚ, etc.
       
      The politics of practice in terms of co-habitation and co-working, of claiming one‚Äôs own space, inviting or excluding the outside, communication of ideas, inviting change and influence are all there to be questioned within this setup. As a practice is (in some ways) ‚Äěre-built‚Äú during Settlement, one can come to question its very construction.
       
      Settlement is a collective project which was facilitated over several years on different occasions. The project takes the form of a workshop and creates and inhabits a space full of fragile and precarious structures. Since Settlement starts from a space devoid of habitual work setups, with all materials present considered a common resource, all the structures are built from the necessities of the individual and collective practices of its participants. A kind of a re-start on the physical level and an attempted re-start on the level of the habitual and institutional structures governing our spaces of production. The title is used as a provocation, as Settlement is a space which, over the course of several weeks, tries very hard not to settle.
      Settlement puts a spatial perspective on practice, identifying modes of institutionalisation and habit which keep the spaces of artistic production and education from becoming spaces of commoning. These modes of ‚Äėsettling‚Äô are embedded in many things: they are there in the ways the spaces are designed and organised towards stability (supporting habit and the given hierarchy of organisation), they are there in the institutionalised processes of access and exclusion, and they are there in our social habits (which structure the most empty and open space imaginable). Looking at how the spaces of our practice prioritise the habitual, Settlement introduces architectural fragility as a mode of destabilizing practice and the social agreements between the participants. The spaces created within Settlement are make-shift and precarious and therefore never suited to support a certain social constellation or a process indefinitely. That introduces another timing into the space, rendering all structures inherently temporary and unreliable. The habit of regarding products of work as property becomes destabilized, as all structures in the space are short-lived and can become ‚Äėmaterial‚Äô again very quickly. These and other changes occur through fragility of the built environment and work effectively against the habitual ‚Äėsettling down‚Äô. The transition of a structure back to the common resource through collapse or re-appropriation is always a possibility, producing the common as a constant perspective onto the emerging territories, constellations and rules in the Settlement space.
    • Recent Past
    • Workshop
    • The Choreography of Objects: Logistics vs. Entanglement Workshop with Moritz Frischkorn
      03 January 2019
      posted by: Vladimir Miller
    • 25 February 2019
    • 28 February 2019
    • The Choreography of Objects: Logistics vs. Entanglement
       
      In recent years, theoreticians both from political sciences and cultural studies have become more and more interested in the business field of logistics. Besides finance (and new logics of extraction, some authors claim), logistics seems to be one of the key notions to understand global capitalism today.
       
      Today logistics considers itself the totalized management and governance of all flows of capital, labour and commodities. And more than ever, logistics is administered and steered by algorithms ‚Äď auto-managed and automated, implementing a computational governance that subjects labour as much as all material resources of the globe to its regime. Fred Moten and Stefano Harney, in their essay 'Fantasy in the Hold', thus write: 'The rise of logistics is rapid. Indeed, to read today in the field of logistics is to read a booming field, a conquering field. In military science and in engineering of course, but also in business studies, in management research, logistics is everywhere.

      Logistics as choreography describes the faculty of being able to transport 'mountains of goods' (Maersk) just in time. The use of 'choreography' as marketing metaphor is then mirrored also in expert papers speaking about Supply Chain Choreographies as ways to interface diverse informational systems.
       

       

      Reading about the confluence and interrelation of logistics and choreography together, we will try to unfold some of the historic as much as contemporary political problematics related to this totalizing choreography of power operating by extraction, abduction and containerization. At the same time, we can discuss in how far this 'other' choreography of objects, based on efficiency and seamless interfaces, reflects back on recent discourses about an 'expanded choreography' in the field of contemporary performing arts and Performance Studies. How can an understanding of the history and contemporary over-practice of logistics inform our own choices when moving stuff? What are the political dimensions that are at play here ‚Äď especially if we do not concede to maximizing claims for efficiency, but to an ethics of 'following the materials' or of attending and attuning to manifold entanglements?
       
      In a second step, we will try to play around with logistical concepts in order to re-formulate our own artistic practices. We will draw maps of the diverse material and semiotic resources that go into our work: From where do they enter, and at what point do our practices interface with these resources? Could we imagine ways of working with material or information, where 'value is added at each step'? What would be more efficient ways of thinking about our own 'supply chains', both in terms of research and artistic production? When, on the other hand, are the moments in which we are overwhelmed by materials, where we can only try to follow their itinerant logics of entanglement and proliferation? Presenting these 'total cost analysis' and 'supply chain diagram' to each other, we may find out how our own and others practices rely on a fine balance between logistical efficiency and itinerant, entangled hyper-chaos.
       
      On another, more physical level, we can assess our own work-spaces from a logistical point of view. In Amazon distribution centers, for example, goods are shelved chaotically, according to algorithmic procedures. In the same way, we can think of workspaces as processual logistical choreographies based on the in- and out-flux of materials and information. What if we thought of our workspaces thus as a form of archive of the logistics that made it come to be in its current shape? Does that give us valuable information about our practices? On the horizon, then, we come to articulate an even bigger question: Can we formulate an ethics of how to work with materials, whatever form, coherence, shape or agility they may have?
       
       
      Moritz Frischkorn is a choreographer and researcher working within contemporary performing arts. He is based in Hamburg, where, since 2015, he is part of the artistic-theoretic graduate school 'Performing Citizenship' at HafenCity University. His artistic research deals with ethical and social questions related to choreographies of objects. In his artistic work, he looks for bodily practices of attuning to non-human movement and researches ways of moving beyond self-expression and intentionality. 
       
      In the last years, he is interested, mainly, in the relation of choreography and logistics, a topic that he will deal with in detail within a new performance project entitled 'The Great Report'. His artistic work is regularly presented at Kampnagel, Hamburg. Furthermore, he often collaborates with, among others, Manon Santkin (Brussels, Stockholm), his Hamburg colleagues Heike Bröckerhoff and Jonas Woltemate, and performance collective geheimagentur. Sporadically, he writes for 'Plateau - Performing Arts in Hamburg' and works for Sarma/Oral Site web-journal. 
    • excursion
    • Untitled Excursion 22 October 2017
      posted by: Vladimir Miller
    • Sven Dehens
    • 27 October 2017
    • Critical voicing, reading, enactment of Alien (1979). Process of audio-visual documentation. Generation of a subtext to the script.

      Meeting at Rue Manchester at 10h. Finishing at 15-16h.

    • excursion
    • If the past is really passed?! An introduction to co-experincing the others‚Äô trauma
      22 October 2017
      posted by: Vladimir Miller
    • Hoda Siahtiri
    • 25 October 2017
    • The city of Brussels is holding a part of my past. I will take you to one of the most historical places of Brussels. Please bring headphones if you have. It would be nice to have a piece of paper and pen. thanks.

      meeting point: apass

      time: 14h

      duration: 3-4h

       

    • excursion
    • Flemish Marine Institue: Marine Station Ostend (MSO) 20 October 2017
      posted by: Vladimir Miller
    • Marialena Marouda
    • 17 November 2017
    • Flemish Marine Institue: Marine Station Ostend (MSO)

      The excursion is a first encounter with the Flemish Marine Institute and its work. It includes a tour of the Marine Station and the Research Vessel Simon Stervin in the port of Ostend. Our guide will be André Cattrijsee, who is the "research infrastructure manager" of the FMI.

      During this excursion, I propose for us to focus our attention on how the ocean is studied in a scientific context. What kind of language is used to describe it? And what kinds of instruments are used to measure it? What are the categories that result from those measurements? And what kind of ocean is produced as a result? As a score for this excursion, I therefore propose to shift slightly the way we listen and experience this tour of a marine research institution. Instead of simply following the content of what is said, could we also discern the knowledge dispositive within which this tour takes place? And how does this dispositive affect, finally, the "object" of its study?

      In the framework of my research project "Oceanographies" I am interested in finding ways to summon the ocean by means of storytelling and performance. The project in inspired by a personal fascination with this liquid space and its properties. Its materiality, the traces it leaves on the body, its infinite blue transparency, the way it reflects the light, the physical ‚Äďand temporal‚Äď limits it imposes are some of the ways the ocean can ‚Äúspeak‚ÄĚ to me. In my research I study this ‚Äúlanguage‚ÄĚ of the ocean by collecting stories from different people‚Äôs encounters with it. The focus of the research is therefore not about the ocean ‚Äúin itself‚ÄĚ, devoid of the human presence. Rather it is the relation of the hands to the mud, the ears to the breaking of the waves, the feet to the feeling of sinking, that the work focuses on. The research project weaves the complexity that arises from those interactions into the tellings of stories and their demonstrations.

      I perceive the excursion to the flemish marine institute as a first step towards a longer term collaboration with this institution. I intent to also introduce the researchers of the institute to my oceanic research and hope that I can enter into conversations with them about their experiences of the ocean and the storytelling of those experiences.

    • excursion
    • War-/-Lace and Vertigo 20 October 2017
      posted by: Vladimir Miller
    • Eszter N√©methi
    • 03 November 2017
    • War-/-Lace and Vertigo

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

      Part 1: Koninklijke Sinte-Maria Straat 106 + time to be confirmed (waiting for a confirmation!)
      Part 2: 7 - 8.30pm @ a.pass

      Duration: 5 hours + 1.5 hours (with a break in between)

    • excursion
    • A collection of Impressions 20 October 2017
      posted by: Vladimir Miller
    • Luisa Fillitz
    • 02 November 2017
    • Coming together in a place. Where and how do our perceptions, according to the surrounding/the place and the situation where we are, manifest themselves? Where and how can we locate them in our body? How is our intuitive reaction? Linked together in groups, we would then ‚ÄĒ following a score-proposal ‚ÄĒ try out how everybody`s own intuitional desire of where and how he/she wants to move is affecting the movement of the others in the group as well as their movement is affecting each one. Afterwards everybody is invited to create a zine in any form ‚Äď according to ones wish ‚Äď trying to remember the different impressions and the thoughts, feelings, that they provoked.

      2pm: Cit√© administrative de l'√Čtat ‚Äď Bruxelles, close to botanique. (TBC)
      Duration: approximately 2,5h

       

    • excursion
    • The time it takes to think 20 October 2017
      posted by: Vladimir Miller
    • Leo Kay
    • 01 November 2017
    • The time it takes to think

      How can we think together? How can we make Space for deep reflection on complex issues? How can we come close enough without intruding? How can we engage in group dialogue and take the time that is needed to think before producing more, contributing more to the system we are locked within?
      A day of observing, listening, walking, kneading, thinking, talking and baking, as we navigate a critical socio/political issue that effects us all and will continue to affect us in the forceable future.

      14h to 18h (approximately) Meeting place: 14h apass 4th floor

      Bring Warm clothes, a smartphone with WhatsApp, Headphones
      [if you do not have a smartphone/whatsApp/headphones please inform me prior to the day of the excursion and I will supply an alternative]

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

      14h - starting point: Microfactory (Quai Fernand Demets 55, 1070 Anderlecht) - Duration: 2 or 3 hours - obs: wear comfortable shoes

    • excursion
    • For to Know Nothing Is Nothing 20 October 2017
      posted by: Vladimir Miller
    • Shervin Kianersi
    • 30 October 2017
    • For to Know Nothing Is Nothing

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

      Starting at 14:00 - Greenway Veggie Resto Leuven (Parijsstraat 12) 

      4 hours

    • excursion
    • La Flandre Profonde / Into The Heart Of Flanders 20 October 2017
      posted by: Vladimir Miller
    • Geert Vaes
    • 26 October 2017
    • La Flandre Profonde / Into The Heart Of Flanders

      'Het Gezin Van Paemel' (The Family Van Paemel) by Cyriel Buysse is a 114-year old theatre piece that's still showing the flemish what it means to be flemish. The excursion will bring us to an amateur theatre company rehearsing the piece. Why are they, and with them lots of other amateur companies, still so interested in this piece? Why am I? My questioning will be mainly about one scene in particular: the son who goes to tell his father he's leaving for America. An America he only knows through stories, an America that personifies a better life. How is this flemish identity created (the I) by the staying and the leaving? And how is America (the other) created? And isn't all emigrating originating in 'The America of the Soul'? How is this construction of I a mask/conditioning? How is history as a re-construction keeping all these notions in place? How will I go from here to using masks again? And how will I finally get out of Flanders?

      Meeting point a.pass 4th floor at 16:30.

      Two cars leave at 18:00 to drive to Tejater De Orchidee in Tielen.

      At 20:00 starts the rehearsal, following that an interview. Then ride back to Brussels.

      Back in Brussel latest by 23:30.

    • excursion
    • From I to we Excavating reality together, at home
      20 October 2017
      posted by: Vladimir Miller
    • Pia Louwerens
    • 24 October 2017
    • From I to we

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

      The structure of the excursion will consist of two parts; first a performance and introduction to my practice, followed by a participatory performance/workshop. Right now at a.pass my biggest challenge is to ‚Äúbreak open‚ÄĚ my own research practice, to make it open and shareable. In general you could say that my work attempts to go inside, towards some kind of ‚Äúessence‚ÄĚ or fundamental understanding of reality and/or the self. First I try to deconstruct a context, digging towards some kind of subjective center or essence (a true center which is, even in this subjective form, never to be found). Then I try to reattach these findings back to the context, communicating them, telling stories about them, making them real. In my performance I will introduce myself and some of these lines of thought.

    • excursion
    • The World Today All In The Mind 20 October 2017
      posted by: Vladimir Miller
    • Eleanor Weber
    • 23 October 2017
    • The World Today All In The Mind

      ‚Äú‚Ķa 100% probability of nothing happening, and that‚Äôs often when it‚Äôs more interesting‚Ķ‚ÄĚ
      ‚Äď Peter Ryan, ABC Senior Business Correspondent, 2 October 2017

      On Monday 23 October 2017, several todays, today. An instruction-based, public yet solo, listening & reading exercise, derived from radiowaves. Thinking about the public mind and testing what is produced from chance and structure. How language functions on different registers, at once, in time, and beyond us.

       

      //// Please bring ID for library registration, a smartphone/laptop (with charger) and head/earphones.

       

      meeting:

      Koninklijke Bibliotheek van Belgi√ę / Biblioth√®que Royale de Belgique (kbr.be), Kunstberg / Mont des Arts, 1000 Brussels (Central Station). Meet Eleanor in the lobby, please advise the time you will come, between 11h and 12h. Piece lasts approximately 5 hours (including regular breaks).

       

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

       

      26. Okt

      Eleanor Weber

      The World Today / All In The Mind

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

       

      24. Okt

      Pia Louwerens

      From I to we - Excavating reality together, at home

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

      25. Okt 

      Hoda Siahtiri

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

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

       

      26.Okt 

      Geert Vaes

      La Flandre Profonde/Into The Heart Of Flanders

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

       

      27. Okt

      Sven Dehens

      Untitled Excursion 

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

       

      30. Okt

      Shervin Kianersi

      For to Know Nothing Is Nothing

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

       

      31.Okt

      Elen Braga

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

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

       

      1.Nov 

      Leo Kay

      The time it takes to think

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

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

       

      2. Nov

      Luisa Filiitz

      A collection of Impressions

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

       

      3.Nov

      Eszter Némethi

      War-/-Lace and Vertigo

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

       

      17. Nov

      Marialena Marouda

      Flemish Marine Institue: Marine Station Ostend (MSO)

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

       

       

       

       

       

       

    • The Schedule will be updated daily

      for more information visit https://apass.be/settlement-11/

       

      MON 22.05

      14:00 Introduction and Clearing out the Space

      18:00 Improvised Dinner

       

      TUE 23.05

      10:00 Warm Up Practice

                 Esther Rodriguez-Barbero

      14:00 Peer Critique Leo

                  Leo Kay

      15:00 Spaces of Commoning

                 Zeljko Blace, Time Lab (Ghent), Vladimir Miiller

      17:00 1 Minute Festival

       

      WED 24.05

      10:00 Warm Up Practice

                 Esther Rodriguez-Barbero

      14:00 Peer Critique Eszer

                 Leo Kay

      13:30 Collaboration Interview

                 Eszter and Esther

      14:00 Marie Van Leeuwen (ArtEZ) 

                 Conversation with Lilia Mestre

      15:00 Session #1 Planning nothing

                 Where we collectively work out the rules surrounding session #2

                 Leo Kay

       

       

      THU 25.05

      09:30 Sensation as Score (Movement Practice)

                 Anouk Llaurens

      11:00 Reading Group

                 Lilia Mestre and Score participants

      13:00 2 Minute Festival

      17:00 Medium Score 2

           |     Lilia Mestre

       21:00

       

      FR 26.05

      10:00 Warm Up Practice

                 Esther Rodriguez-Barbero

      10:30 Cleaning

      11:30 Peer Critique slot

                 Leo Kay

      13:00 Making Space For

                 Collective practice of framing and naming spaces

                  Esther Rodriguez-Barbero and Leo Kay

      14:30 Session #2 Doing Nothing

                 We gather, head out to a chosen spot and using the ground rules from session #1, do nothing.

                 Leo Kay

      15:30 Session #3 Planning Something

                  We spend half an hour as a group planning what we will do the following week.

                 We aim to be prescriptive and impose structures that allow us to fulfil our aims.

                 Leo Kay

       

      SAT 27.05

       

      MO 29.05

      11:00 Architecture and Movement 

                 Creating and experimenting with space by moving simple forms /structures.
                 Duration 45min

                 Luisa Fillitz

      15:00 Playground

                 Eszter Némethi

       

      TUE 30.05

      11:00 Play-ground
         During a short and playful workshop, we will explore the materials and existing geographies of the Settlement to create instructions and scores; while also exploring how dynamics, forms and narratives are conjured through this process. 
                 Eszter Nemethi

      13:00 Planning a.pass block III/2017

                Vladimir Miller

      15:00 Dialogue with Alex Arteaga 

      What does it mean to think? What does research mean? What can be the cognitive function of aesthetic practices? How should be these practices organized and performed in order to ‚Äúdo research‚ÄĚ? And on this basis, what can be the contribution of artistic research to the epistemic field? These, an other related, are the questions that will be addressed in an open dialogue framed by Alex Arteaga.
      17:00  Feminist Benjamin Reading Group

      What does it mean to read as a feminist? The question may seem odd, or even trivial, but it engages the very ground of our work as artists and thinkers. Indeed, how is our reflection oriented, if not by the very way in which we turn to the text? And yet, when we think about methodologies and epistemologies, we rarely interrogate the practice of reading itself.

      Caroline Godart and Marialena Marouda

       

      WED 31.05

      11:30 Session #4 Doing Something

                We gather to do whatever we, as a group, decided that we wanted to do in the previous session.

                We will have decided all the parameters of the experience (or lack of them) in the 3rd session. In this last session we just do them.

                Leo Kay

       

      THU 01.06

      9:30 Sensation as Score (Movement Practice)

               Anouk Llaurens

      11:00 Reading Group

                 Lilia Mestre and Score participants

      17:00 Medium Score 2

           |     Lilia Mestre

       21:00

       

      FR 02.06

       

      SAT 03.04

      12:00 Settlement Review

      14:00 Build Down

    • excursion
    • Workshop
    • Visiting the (un)safe 08 July 2016
      posted by: Vladimir Miller
    • Xiri Tara Noir
    • apass
    • Visiting the (un)safe
       
      The Excursion-workshop Visiting the (un)safe is an individual travel through some specific spaces of Brussels. The excursion will ask of its participants to question how our identity(ies) are constantly formed and transformed by our physical surroundings and environment.
       

      Safe space is a term used for an area or forum where either a marginalized group are not supposed to face standard mainstream stereotypes and marginalization, or in which a shared political or social viewpoint is required to participate in the space. For example, a feminist safe space would not allow free expression of anti-feminist viewpoints. Physical safe spaces are often reserved only for members of the oppressed group.

      This excursion wants to question what places in the city can be considered as safe- and un-safe-spaces, and if our interpretation of our own identity(ies) affect this definition. Does age, race, gender, national origin, religion, physical or mental ability, sexual orientation, class etc apply to our connotation of a safe-space. Do we sometimes reconstruct our own identity(ies) in different spaces in order to be safe, or in order to keep the space safe for others. What makes a space safe for some while un-safe for others. Do we unconscious search or attract these safe spaces and avoid the un-safe spaces. What uninvited situations would occur if we consciously turned this around for a day.

       

      Practical information: The excursion is an individual travel through some specific spaces of Brussels and can be done anytime, if you contact Xiri.

      Participation and time schedule:  Participants outside of the A.pass program is very welcome to join this excursion, but as its an individual route (you can not walk with other people), you will have to subscribe individually on this email: xiritaranoir@gmail.com

      To subscribe for the excursion please write to the above mentioned email with the time and day you wish to make the excursion (around 1-2 hours any day between 9-18).

      When you subscribe for the excursion you will receive your own individual time scheduleIf you have a specific wish for the time schedule please mention it in your subscription and it will be taken into account.

      All participants will receive a personal letter by email containing the map of your route and some personal instructions during the route.

    • excursion
    • Workshop
    • Place yourself to receive 05 July 2016
      posted by: Vladimir Miller
    • Esta Matkovic
    • apass
    • 11 July 2016
    • 11 July 2016
    • Place yourself to receive

      My suggestion for excursion is to try perceive particular space, as still-non-defined-space. We will go to this kind of space, which has potential to stimulate different directions in conversation. We will stand in a waiting line with other participants and¬† ‚Äúreceive‚ÄĚ what this space gives to us. How do we perceive and measure this? What we are perceiving and how does this influence our behavior. Body position, relation, potential to become statement. ¬†

      The way we are going to observe this space will give us information, which will be starting point to get involve into conversation with others. Which gesture that space suggests? We will chose and be able to change position in the space, making relations. Question is how conversation grows and how do we mediate that space, and space between us. Conversation (speech and body language) will be main tool of being influenced. We are part of the context and are becoming its content. We will let political to appear.

      In conversation, we will try to avoid introducing or presenting ourselves. Focus should stay with starting point and affect of the space. We are creating behavior that could be content supported by space as its context.

      Everything is going to be recorded and transmitted by skype, as silent observer. There is notion of heterotopia, which pertains into space we are in. How all this influences our behavior?

    • excursion
    • Workshop
    • Hoarding and Hiding 05 July 2016
      posted by: Vladimir Miller
    • Christian Hansen
    • Station Haren Zuid
    • 16 July 2016
    • 17 July 2016
    • Hoarding and Hiding

      Together we will walk from Station Haren Zuid towards Brussels along the railways.
      Underway we will exaggerate and share our urge to pick up and play with any things that trigger our curiosity and find temporary homes possible new belongings. After the walk we will set up a studio camp in a field between Gare de Schaerbeek and Gare du Nord where we can work with our findings and get some sleep.

    • excursion
    • Workshop
    • EXCURSION TO CEN 30 June 2016
      posted by: Vladimir Miller
    • Sina Seifee
    • apass
    • 12 July 2016
    • 12 July 2016
    • EXCURSION TO CEN
      (in the direction of my research; hastily opening the ontological envelope that saves a heart full of "list of specifications"...)
      the visit will be to the 'European Committee for Standardization' (CEN, French: Comité Européen de Normalisation), one of the EU fostered nonprofit public institutions of the cutting-edge development regarding ambitious notion of 'data', 'systematic knowledge', and 'specifications'. the excursion will be oriented towards a meeting between the participants of APASS and the representatives of CEN; and encourages a run between the ontological demands of international economy and contemporary art, their disastrous split, and where their epistemological formations meet and intersect.
       
      KEYWORDS: cosmology, experimentation, existence, specification, future, knowledge, irrationality, permanence and substance; technological acts (of naming); suspicious partnership of "advanced democracies" and "high technology" (what allows their mutuality?); standard-testing (which sectors of existence it traverses?); the very little difference between specification and "the real thing"; the origin of the demand for rigorous specification; migration of questions in or out of the areas of instrumental fitness; a path of becoming (on the grid of technological dominion); 
    • excursion
    • Workshop
    • UNRAVELING INSTITUTIONAL DYNAMICS 30 June 2016
      posted by: Vladimir Miller
    • Luiza Crosman
    • apass
    • 13 July 2016
    • 13 July 2016
    • UNRAVELING INSTITUTIONAL DYNAMICS

      A one day practice-based and experimental excursion-workshop that will focus on reflecting on Art Institutions - how they present themselves and how we, as artists,art workers or general public, would act upon them, given the power to make decisions. During the excursion-workshop we will visit an Art Institution and, through a staff‚Äôs guided tour, we will learn about the ‚Äúnon visible‚ÄĚ work that maintains and moves it‚Äôs dynamics, making it possible for its structure to be ready to receive art shows, projects, presentations, etc. During this encounter we will address issues such as:

      - what kind of decisions are underneath the proposed experiences? - which operational dynamics could be different, and which are to be preserved? - where does that which is visible and not visible intersect?

      Afterwards, the group of participants will work expressing thoughts, desires, and ideas, by re- imagining the problematics through diagram drawing; in order to propose the operations, systems, and movements we would like to put in place if we were to create an Art Institution.

      This workshop invites the participants to step out of a passive critical position and engage in an active role in the making of an Art Institution. Subjective ideas and points of view will be able to inform an institutional and collective structure:

      - if I was to do it, how would I do it? - for me, what should be a priority within an Art Institution? - is there anything I would like to know about an Art Institution before experiencing its Art? - for who is this Institution for and what does it do?

      By making use of visual language to express the group’s vision of possibilities, the workshop aims to dislocate the common use of discursive language used to address institutional issues and re-imagine it’s possible structuring. Drawings made during the workshop will be collected and made into a poster to be distributed both to the participants and to the receiving Art Institution as a collective feedback tool.

    • excursion
    • input
    • Workshop
    • A visit to the social cultural centers of Molenbeek 27 June 2016
      posted by: Vladimir Miller
    • Einat Tuchman
    • a.pass
    • 29 June 2016
    • 29 June 2016
    • A visit to the social cultural centers of Molenbeek

      Wondering around the community of Molenbeek we will enter four different social cultural centres. In each one we will get to know their activities , their aims and their relation to the political economical conditions of a community like Molenbeek. 

       

      prelimnary Schedule

      at 10:00 we meet at a.pass (gate)

      at 10:30 Raquel will receive us in the new space of maison des cultures 

      at 11:30 we  be hosted in GC de Vaartkapoen 
      at 12:30 we can eat in a kind of social restaurant in Centre  maritime 
      at 13:30 we will get a tour and explanation about Centre  maritime 
      at 14:30 we will go the maison de Quartier Liberateur 

       

    • excursion
    • Workshop
    • Block 16/II
    • Excursion
    • PROTEST! 19 May 2016
      posted by: Vladimir Miller
    • Maarten Van Den Bussche
    • apass
    • 24 May 2016
    • 24 May 2016
    • PROTEST!

      Next Tuesday, the 24th of may, the three biggest labour unions of Belgium are calling for a collective demonstration through Brussels. They march against austerity measurements that weigh heavy on the general public but refuse to demand a similar effort of the top percent. They march against a deregulation of the working hours that would push burn-out and stress statistics to all time highs. 

      As an artist and researcher at a.pass, I want to explore how I as an artist can be there. Do I protest, or stage a performance? Can a group of artists take part in this manifestation, as a block, a community, with their own sincere slogans? The dockers, the metal workers, the office clerks, the artists, as different perspectives and simultaneous retellings of the same discontent and j'accuse.

      This is an open invitation to participate in this experience/experiment. Everyone who wants to join our artist block is welcome the 24th of may, at 10:00, in the a.pass studio, rue Delaunoy 58, 1080 Sint-Jans Molenbeek, Brussels. There we will shortly discuss our participation, slogans, and movement as an artist block within the manifestation, to then from there walk to the North Station and join the manifestation.

    • excursion
    • Workshop
    • Block 16/II
    • Excursion
    • Hot bodies of the future <3 22 April 2016
      posted by: Vladimir Miller
    • Gerald Kurdian
    • Barlok, 9pm
    • 08 July 2016
    • 09 July 2016
    • Hot bodies of the future <3

      Hot bodies of the future <3 is a scored investigation of body states in parties and clubs contexts. Experienced one night through and under coloured lights, it consists in a very sensuous and playful exploration, with scores, of some or our physiologic, erotic and imaginative relationships to sounds, body movements and space while club dancing. It is also an attempt to understand and/or feel, the conditions of sexual arousal and the factors that trigger it. It results in a compilation of short written science-fictional texts recounting the different shifts, drives and metamorphoses that occurred during the participants’ experiences.

    • excursion
    • Workshop
    • Block 16/II
    • Excursion
    • Excursion 22 April 2016
      posted by: Vladimir Miller
    • Sana Ghobbeh / Juan Duque
    • meeting at a.pass
    • 10 June 2016
    • We are interested in narratives, narratives that are not exclusively expressed as text or writing material but above all narratives that we can construct and develop as artistic practice.
      We propose to go to Sunday market at Gare du Midi.
      The market is set up on a location that operates in every day life as urban infrastructure for different functions, side walks, city streets, viaducts, rail way tracks; every Sunday those concrete and asphalted surfaces become the platform and support for the market.
      We propose as an activity to gather at Gare du Midi market on Sunday and each of us, after finding a place, remain still in the same spot for about 45 minutes (or as much as the high activities of the context allow) before the finishing activity and dismantling of the market.
      A main question we want to explore: For how long can we remain? In which ways can our bodies be affected when we decide to take a position that is opposite to the majority of people surrounding us in such a busy place?

    • excursion
    • Workshop
    • Block 16/II
    • Excursion
    • Civic integration at Thermae Grimbergen 22 April 2016
      posted by: Vladimir Miller
    • Thiago Antunes
    • meeting at a.apass
    • 18 May 2016
    • Civic integration at Thermae Grimbergen

      I propose a visit to Grimbergen Thermae, a spa in the village of Grimbergen, next to Brussels. I want to invite the participants to imagine this SPA as an official civic integration machinery. A fictional government would oblige newcomers to undergo a program of integration that consists in sharing saunas, swimming pools, and scrubbing sessions with locals, in a silent and relaxing environment. As to increase a familiar taste for most of the migrants, there are different thematic saunas ‚Äď such as the ‚ÄúAfrican Lodge‚ÄĚ, the ‚ÄúMediterranean sauna‚ÄĚ, and the ‚ÄúTurkish bath‚ÄĚ ‚Äď incorporating visual and sensorial elements of different cultures.

      Departing from this fictional frame, the participants will receive scores to be performed/experimented in this spa. These scores will challenge the ordinary way that we deal with physical proximity, politeness, and nudity.

      What kind of choreography appears from that situation? And how does it interact with our beliefs around private and public?

      Time schedule:

      11:00 am - gathering at Ribaucourt bus stop (direction cathedral) close to metro station Ribauccourt.

      11:25 am - departure by bus DeLijn 231

      12:06 pm - arrival at Grimbergen. Talk with snacks. Walking around the village. Maybe a warm up in the Church.

      13:48 pm - Entry in the spa.

      16: 07 pm - Return to Brussels. (yes, you can leave before if you pay the fine ;-)

       

      Please bring:

      - towel(s) - otherwise you must rent them for 5 euros

      - snacks

      - (fancy) slippers - optional

      - (fancy) swimming suit(s) - optional





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