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    • In this block we were invited to imagine our research as an ecosystem. This was actually relatively easy, because since some I imagined my practice along these lines, although I prefer to use the term oikos.

      My attitude and relationship to the a.pass curatorial program has been different every block. Because the end is approaching I decided to use this block as an experimental playground and to start preparing my end-communication. It resulted in a series of small interventions and explorations in which the curatorial program was secondary. My focus was pointed at how to relate to specific perceptions of reality, and what became apparent during my period at a.pass, explore and question my own perception of reality. This block I explored the agency of smaller gestures then I used before.

      The concept of making kin from Donna Harroway was the bases of the adoption project that I found most interesting in this block. We were asked to give up for adoption a part of our research. I brought in a flag that was partly deconstructed and primarily based on naval signal flags to explore the ambiguity of those things. But since I gave this up for adoption, it doesn't play a role in the current narrative.

      Laura Pante gave me a lot of material for adoption, she gave nature, fascism, Jane Fonda, the pink, and other items and concepts. The big amount of the materials that I received forced me to select and edit, sometimes follow an idea, and sometimes store it for later. I was looking for connections and meaning through working with them, I presented those as rehearsal for a small exhibition. (I was asked to do something on the doorstep of NL=US, a gallery in Rotterdam, I used my adoption findings as the exhibition that was inside)

      During the halfway days we swapped adoptees, I recieved my new one from from Nicolas Y Galeazzi

      Who received 'Yggdrasil' from from Flavio Rodrigo. He gave me the number 1425, as a reference to a date imagined by Donna Harroway. Accidentally he talked about a 1000 years. I decided to not physically bring the number with me, even though I found out later that the proffered wood for an axe handle is actually ash. My explorations resulted into a presentation in 'Valhalla'.

      During dinner I spoke about the steps from tree and wood to lumber and timber, I made a huge 'buddha-bowl' which was mixed up to become pig-food, I showed a timber sample box with over 50 samples of wood from all over the world, of which some are now endangered, I did an experiment with some generated sound and I gave my adoptee to Nicolas is the form of a facses, and ancient ambigoues object.

      Some small gestures during

      I made and served jam made from Japanese Knotweed

      I weaponized the children that lived on the wasteland where part of the block was happening

      And when we asked to leave a trace at the unlearing centre we visited in Switserland, I cut of some centimeter from a chair so it would wobble.

      (some photo's of my intervention at NL=US)

      the cloths are adapted by the Muslin Brothers

       

    • postgraduate program
    • project
    • Looming Score
    • A looming score - we share your politics of damage Block 2019/III curators Lilia Mestre and Sina Seiffee
      27 August 2019
      posted by: Lilia Mestre
    • 02 September 2019
    • 01 December 2019
    • case of: Lilia Mestre
      case of: Sina Seifee
    • A looming score - we share your politics of damage
       
      Why loom? We were thinking about the loom’s invocation of the closeness of the textile sense, fabrics that bind our desires and bodies. The loom means also the threatening feeling of an inevitable terrible thing as it approaches. And the possibility of b-looming, from the rest, waste, residue, remainders of the storm. Furthermore, loom echoes a gendered practice of writing textile; in the making of fabric like Arachné, that talented mortal weaver who challenged the god of wisdom, as well as Penelope, who weaved and weaved (a mournful making and unmaking fabrics) to postpone her arranged marriage. The loom is a metaphor that invites us to think of reality as something deeply embedded within context, like “the weaver's loom that is discerned within the cloth it weaves” (Veena Das). That means, modes of knowing constitute the objects of knowing in a manner that profoundly affects how one comes to inhabit a new reality.
       
      That is just the conceptual backdrop for us. In this block we want to focus on a support structure that will help each other research and continue what has been initiated in the past block, ‘Troubled Gardens.’ We transport what has been found out there and elsewhere into looming (transposed into weaving + feeling the darkness of it). That is to sustain being immersed in the subjects of ecology, feminism and their possible political agency in this unpredictable and precarious world we are living in. In the coming block, we’ll take these lines thought while going back “home” (we will land somewhere in a.pass studios hosting three scenographies from Laura, Maurice and Caterina for their End-Communication). We would take the movement of going inside as the one to prepare for winter: gather, digest, tell stories, imagine futures. As a curatorial approach we are not interested in obsessing on these concepts per se, but working in and through the particular challenges of our researches.

      We are structuring the block around three ‘scores’ (i.e. structures for enabling the plural): “what do you eat? what do you think? what do you do?” The score here is seen like the loom (a trope of text and textile): thinking made in the context of its weaving in the criss-crossing of one another's desires. Like patterns of giving and receiving affect, concepts, panics, worries, concerns, literacies, curiosities, play, know-ofs, as-ifs, why-nots, sometimes obvious sometimes cryptic sites that you and your colleagues are caught in long enough. By ‘playing’ one integrates, takes care of things that one might not be interested in, engages in an ongoing pattern of feeding and being fed. This joins the power of the transformative by paying attention to things that one does not notice alone. ‘One is alone together.’ What kind of monsters are we?!
       

       

       

      The score is structured on a weekly basis. We will gather one morning and one afternoon only once a week, as follows:
       
      Mondays from 10:00 till 15:00
      what do you eat? is about bringing your food--we feast, making lunch, not cooking, eating together, extended breakfast, with reading practices. Bring something you want to share: text, problem, theme, practice, concern, old question, new question, film, … in case you have nothing, Sina and Lilia have a bag of goodies. 
      what do you think? has to do with the harvesting fields of interest, readings, questions you have in your work and what has been provoked in the last block. Asking what was the sort of knowledge about the ecological thought that you inhabited in ‘Trouble Gardens’?

       

      Tuesdays from 14:00 till 18:00
      what do you do? has to do with what are the residues of the kinds of knowledge, imagination, relations that you are bringing into your current work. There is a list of existing scores in the a.pass website, if you want to know more go here. Performing Back Score, Medium Score, Bubble or Writing, Fragile Community Score, each with its own different nuances of attention, writing and composing. We will present them during the opening week and work with one score throughout the block.
       
      Participants
      Muslin Brothers, Amélie van Elmbt, Rui Calvo, Ana Paula Camargo, Chloe Chignell, Diego Echegoyen, Deborah Birch, Lucia Palladino, Piero Ramella, Adriano Wilfert Jensen, Quinsy Gario, Kasia Torz, Magda Ptasznik ,
       
      Dedicated mentors
      Sara Manente, works with digestion and fermentation processes and feminist theory. Choreographer and performance artist working on ethics and aesthetics of fermentation in relation to artistic research.
      Jeroen Peeters, writer, dramaturg and performer, part of the artistic team of Sarma, a laboratory for discursive practices and expanded publication. The topics of his work includes: performing arts as a site for social experiments, embodied knowledge, languages of making, visual regimes, and ecologies of attention.
      Nicolas Galeazzi, in the cross over through media, methodologies, materials and theories, he works as an actor, teacher, theater director, concept artist, and performance artist. Galeazzi works with Mise-en-Discourse - performative research frameworks where public can experiment with political and social conditions.

       

      Guests
      Milena Kipfmüller and Klaus Janek, artist duo resident at Q-O2, working on development of theatrical, radio and soundwork that deals with aspects of staging sound in specific situations, the processing of musical material, field recordings and language based sound. They will give a workshop in a format of a practical research about how sound acts by itself in a context of performative dramaturgies. Their contribution to the block coincides with the a.pass engagement in defining its own notion of making public, performative devices and working with sound.

       

      Curators
      Lilia Mestre, is a performing artist and researcher based in Brussels. She is interested in art practices as a medial tool between several domains of semiotic existences. Coming from a choreography and dance background, Mestre now researches on Scorescapes, a research she started in a.pass questioning support structures and artificial friendships in artistic research environments.
      Sina Seifee, artist-researcher-storyteller works on the poetics of animal description, the ecological cosmologies of nonhumans-with-history. His artworks illustrate research trajectories that traverse the questions of technology, storytelling, globalism and intercultural mythologies, with an eye on the premodern techno-culture in the Middle East.

       

       

       

       

       





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