SUBSCRIBE TO OUR MAILING LIST



index 📚


category /68


    • Recent Past
    • Workshop
    • Sounding Situations 03 September 2019
      posted by: Sina Seifee
    • Milena Kipfmüller & Klaus Janek
    • a.pass
    • 09 October 2019
    • 07 November 2019
    • Sounding Situations
       
      The duo [SNDNG STTNS] Milena Kipfmüller & Klaus Janek, seeks for the reciprocity of the auditive and its staging. Semantics, appearing sounds and music elements form musical gestures and meaning, the composition is in tight correspondence with its staging.  Challenging the line between discourse and aesthetics, the focus on conflicting situations animates interpretation and questions in a subtil and humble way.

      The territories of interests of sounding situation are prospected from worldwide sociopolitical dynamics and the romantic utopia of truth. Attributes are side-specific-ness, perception in motion, Radio waves, reformulated beauty -  formats are concert, installation, music theater. [SNDNG STTNS] was formed in 2014. Since then works were commissioned by Goethe Institut Montreal, Salvador, Sao Paulo, Haus der Kulturen der Welt-Berlin, various German Radio Stations, Musrara Mix Festival, Jerusalem and more. The duo was invited to Vila Sul earning a scholarship with Robert Bosch Stiftung and won the 2018 Music Theatre Now competition. sounding-situations.com
       
      During oct 2019 [SNDNG STTNS] are resindents at Q0-2 and will further-exam aspects of staging sound and its force and properties. A further concern will circulate around the stochastics of sound-appearance and its inclusion in the claim of the Werkbegriff. The two open the research up to side aspects and field and invite co-researchers to exchange and be involved. 
       
      Dates:

      October: 9 / 10 / 11 / 24 / 25 / 30 / 31
      November: 1 / 6 / 7

    • Recent Past
    • Workshop
    • Workshop 2 :: Westland / BUITEN/DEHORS straying
      29 April 2019
      posted by: Nicolas Y Galeazzi
    • Vincent P. Alexis
    • case of: Nicolas Y Galeazzi
    • Workshop 2 :: Westland / BUITEN/DEHORS

      Not far from the Zenne Garden a wasteland area expands along the canal. It is one of those areas looking empty, lost and not taken care for. BXL WILD LIFE and BUITEN/DEHORS is a collective of research and experimentation which proposes to consider the urban as the natural environment of man. Since 2012 the collective focuses on the relationships between maintenance, property and inhabitation of areas. This year BUITEN / DEHORS decided to start on a piece of land located between Digue du Canal and rue des Goujons in Anderlecht, the establishment of what is called an adventure playground*.
      This project is part of a broader research questioning the place of children in the city, the practice of an anti-authoritarian education, the citizen's auto-construction of the city, radical ecology as a reconsideration of the relation between man and his environment. As so it can be seen as an outcome as well as the beginning of something unexpected.
The adventure field is as much about the physical structure that we try to put in place as its context.
The land, located in an area in of current "urban renewal" belongs to a private developer, Atenor, lurking for the right moment for exploitation. Officially considered as a wasteland, it is one of those areas looking empty, lost and not taken care for. Its current inhabitants are most invisible, the soil polluted and the (non-)maintenance very diverse. BUITEN/DEHORS is occupying it with no authorisation.
The structure is made of second-hand wood, thrown by people in the street, collected daily in the surrounding neighbourhood, Cure-ghem. Like our knowledge of the site, it is gradually built up according to our weekly onsite visits. It is built and destroyed, with no preconceived plans, by us and the children passing by. An ongoing process, to be continued in many different ways.


      *The first junk playgrounds were based on the ideas of Carl Theodor Sørensen, a Danish landscape architect, who noticed that children preferred to play everywhere but in the playgrounds that he designed. In 1931, inspired by the sight of children playing in a construction site, he imagined "A junk playground in which children could create and shape, dream and imagine a reality". He aimed to provide children living in cities the same opportunities for play that were enjoyed by children living in rural areas. The first adventure playground was set up by a Workers Cooperative Housing Association in Emdrup, Denmark, during the German occupation of the 1940s. The playground at Emdrup grew out of the spirit of resistance to Nazi occupation and parents' fears that "their children's play might be mistaken for acts of sabotage by soldiers". Source wikipedia -adventure playground, 12/04/2019

       
    • Recent Past
    • Workshop
    • Workshop 1 :: Zenne Garden digging
      29 April 2019
      posted by: Nicolas Y Galeazzi
    • Kobe Mattihys
    • case of: Nicolas Y Galeazzi
    • Workshop 1 :: Zenne Garden

      This is an elaborate permaculture garden with many small experiments from water cleaning plants to interspecies labour. Kobe, who will also be one of the dedicated mentors - is working in this garden for 12 years together with a collective of various artists and activists. It is quite a sensitive ecosystem. Not only these human relationships and diverse projects but also the wild animals and insects that are populating the area have to be taken care for while entering this garden. What does this mean for us how can we become their companions?
      We will engage and relate to this 'refuge' situated somehow hidden behind industries along the neglected Zenne river throughout the whole block. It will be our primary place of gathering, and therefore we will also physically support the collective in gardening and construction work

       
    • Recent Past
    • Workshop
    • Workshop 3 :: Unlearning Center / Terrestrial Building crafting
      29 April 2019
      posted by: Nicolas Y Galeazzi
    • Martin Schick / construct lab
    • Fribourg (CH)
    • 24 June 2019
    • 29 April 2019
    • case of: Nicolas Y Galeazzi
    • Workshop 3 :: Unlearning Center / Terrestrial Building

      To meet this Workshop, I propose a trip. For the cultural program of the blueFactory in Fribourg Martin Schick is developing a concept for an Unlearning Center - an open sphere for re-practice learning in times of climate change. The blueFactory is a new economic zone for circular and environmental business. It expands in the former industrial site that is now used for green entrepreneurship, engineering research companies, communal gardening, amongst others. The Unlearning Center aims to give space for a fundamental rethinking of the knowledge needed to face different and difficult visions of building for the future with all its personal, economic, political, technical and aesthetic implications.
      Together with the ConstructLab - a network of architects, that constructed the unlearning furniture - we will engage in this „Terrestrial Building Site“ by a parallel reading of Bruno Latour’s manifesto ‚Down to Earth: Politics in the New Climatic Regime‘.

       
    • 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’s 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 ‚shown’ 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 ‚worldly‘ 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

    • 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 – 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 – 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. 
    • Workshop
    • Block 16/I
    • VOCAL CIRCUITS (working title for a workshop at Apass)
      02 December 2015
      posted by: Nicolas Y Galeazzi
    • Myriam Van Imschoot
    • a.pass
    • 07 March 2016
    • 11 March 2016
    • VOCAL CIRCUITS

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

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


       

       

      Biography

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

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

      (to be consulted with firefox)

    • Documentation
    • High Performance! Glossary workshop day 1
      03 March 2015
      posted by: Nicolas Y Galeazzi
    • 08 May 2012
    • The current economic crisis is not only a result of some major failures in speculating practices, but the outbreak of a constant crisis inherent to the system. Exploitation of the society and the environment through a reliance on constant growth, the possibility of infinite creation of money for some through the creation of debt for the majority, and the binding of most life-procedures to procedures of money are creating a precarious and dangerous economic climate.

      Starting a glossary on Economics

      Working on THE SQUARE : a delimited area in the workshop space, where we can experiment and model thoughts around interactions related with art and economy.
      It is supervised by a camera which films the situation from above. It looks like a surveillance system ;) but it is not only that.

      Jorgos Papadopoulos, Greek Economist, is intervening to clarify notions and concepts.
      We spent time defining what means UTILITY and the notion of enjoyment linked to it.
      The notion of Apparatus was introduced through a text by Lepecki.

      We also mentioned different existing types of economies :
      general economy
      gift economy
      economy of the body
      blood economy
      etc.
      and how they work respectively.

      In the arts field, can we talk about a gift economy?





APPLY TO THE A.PASS PROGRAMMES

post-master program
pre phd-program
phd-program
to be discussed

please upload your Research proposal, Portfolio, CV and other documents here.

Maximum file size: 15 MB / total size: 60 MB

X  

add file..
SIGN UP TO EVENT
selected :
yes
no
ex-participant
ORDER