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    • postgraduate program
    • seminar
    • block 2023/I
    • Whose collection?   Assembly of Practice
      20 February 2023
      posted by: Kristien Van den Brande
    • Jubilee/Emptor
    • 03 March 2023
    • Whose collection?  
       
       
       
      In the next Assembly of Practice, Emptor proposes the a.pass participants to examine collections as potential places of shared interest, zooming in on questions that come to the surface with the complexity of collecting contemporary art practices, which are increasingly immaterial, performative, situated, ongoing and collaborative in natureThe integration of such contemporary art practices in collections by means of documentation, reactivation protocols and complex contractual relationships may satisfy desires of collection(er)s but don't seem to create change in terms of care attributed to the needs of a practice, its ecology and sustainability. Conservation and reactivation often stay disconnected from the driving forces, methodologies and contexts of the collected material elements, thus allowing the pieces nothing more than exposure in a curated frame.
       

       
       
      During a day of closed collective reflection we will go into different practices, researching and/or implementing strategies to own, activate and conserve differently. The group opens up to the public at 17h with the intention to share concerns, questions, insights and ideas collected.
       
      10am-4pm: closed collective reflection. With (tbc): Teresa Calonje, Agency, Jennifer Beauloye, Raphaël Pirenne, Heide Hinrichs
      5pm-8pm: public programme. With: Eline De Clercq, Stijn Van Dorpe
      @ a.pass 4th floor
       
      More about Emptor
       
       
    • postgraduate program
    • workshop
    • block 2023/I
    • Fantasmical Anatomy lesson Workshop
      11 January 2023
      posted by: Kristien Van den Brande
    • Anne Juren
    • 06 March 2023
    • 10 March 2023
    • With Anne Juren and her lessons on fantasmical anatomy (March 6-10), we turn to the body as a familiar and unfamiliar site of experience, epistemology and eventually altered potentiality. If the body is a biological product, conditioned by medico-social practices and generational transmissions that precede our experience, how can we simultaneously approach our closest friend and/or foe as ‘a body project’, i.e. as a poetic, fantastical, speculative, imaginative and even monstrous site of investigation that settles and unsettles the conceptions we might have of ourselves, the world and the relations between us? In which way are metaphors influencing the imagination of the body? How is the speculative addressing of somatic practice disfiguring concepts of anatomy? Can horror imaginaries offer a mood to investigate and release our corporeal disorder and vulnerability?

      Morning class 11am-1pm. + individual sessions in the afternoon.

      Bring warm clothes, yogamat and blanket, some pencils, as well as something (a concept, an object) related to your research work. The class might include non-intrusive touch.

      The morning class has some spots open to non-apass people. Please email if interested to participate. 75€/5 days.

       


       

      BOOK LAUNCH, 9th of March @ rile*

      Rile* and Varamo Press invite us for the book launch 'Lesson on gravity', with a performance. 

      More about the performance.

      More about the book

       

       


       

      Anne Juren is a choreographer, dancer, and Feldenkrais practitioner.  She lives and works in Vienna. In 2003, she co-founded the Wiener Tanz- und Kunstbewegung association. Juren’s choreographic pieces and artistic works are shown worldwide in theatres, festivals, museums, and art venues. Since 2013, Juren has been a Feldenkrais® practitioner. Between 2014 and 2018, she was a member of the Artistic Committee of the Master Programme in Choreography at DOCH in Stockholm. Recently, she finished her PhD at the Stockholm University of the Arts under the supervision of André Lepecki and Sandra Noeth.

      More about Studies on Fantasmical Anatomy

    • workshop
    • block 2023/I
    • disseminated escapes Workshop in the library
      11 January 2023
      posted by: Kristien Van den Brande
    • Heide Hinrichs and Vijai Maia Patchineelam
    • 31 January 2023
    • 01 February 2023
    • disseminated escapes

       

      10am - 5pm @ a.pass, 3rd floor

      The workshop disseminated escapes focuses on the intertwining between art practice, publishing and library keeping, as means to ensure a suitable knowledge context for research-based art practices to exist. With the imminent future of the post-graduate program in doubt, we take a.pass library as a contextual framework, in order to reflect on questions regarding the responsibility of maintaining spaces and networks that foster a more diverse, queer, feminist, and non-hegemonic set of references and knowledge. We will deal with issues such as collectivity, connection, knowledge production, maintenance, responsibility, generosity, boundaries, funding cuts, continuation, letting go, and deaccession, and how they could be considered and dealt with as part of one’s practice.

       

       

      Part of the workshop will be dedicated to the slow work of accessing the current state of a.pass library, meaning the gathering, sorting, checking against the catalog and placing the collection of books back in their bookshelves. While handling the books and through the repetitive task that is maintaining a library we search for pencil marks, underlined sentences and paragraphs, notes, doodles, as well as folded page corners left by previous participants over the years. The search for traces becomes then an exercise in reflecting on the effort and work that has taken place by others and for others. But also speculation on the potential messages these traces communicate as the library faces an unknown future with its potential relocation and/or dissolution.

      Aside from the work with the collection of books, we start the two days with an introduction to the library’s history by artist and a.pass technical support Steven Jouwersma, and his experience while administering different systems for lending books, building shelves, cataloging books and maintaining the library for years. On the morning of the second day, we will be joined by the artist duo Nasrin Tabatabai and Babak Afrassiabi for a presentation on their project Pages (https://www.pagesmagazine.net), a bilingual, Farsi and English, artist magazine initiated in 2004, concerned with rethinking the politics and practice of archiving and publishing. Pages approach publishing as a collective practice of generating an open, permeable archive.

      Heide Hinrichs and Vijai Maia Patchineelam met while working and researching at the Royal Academy of Fine Arts Antwerp. Heide was leading the two-year research project second shelf (2018-19) which explored the influence of the culture of the art world dominated by the concept of the lone genius, autonomous, white male creator on the library of the Royal Academy of Fine Arts Antwerp by asking how alternative canons can be generated in the library. The core of the project was the formation of a new collection of books in the library of the Royal Academy that document the work of female, non-white and non-heterosexual artists and related theoretical texts. Back then Vijai had just started his doctoral research project The Artist Job Description, a practice led research for the employment of the Artist, as an Artist, Inside the Art Institution (2016-22), which looked at the relationship between artists and art institutions. With the overlap of interests both artists entered into an ongoing dialogue that has led to moments of research and teaching collaborations.

      Heide Hinrichs is an artist based in Brussels, who works with found and existing materials. She responds to situations and continues to draw lines. She was awarded the Villa Romana Fellowship for 2013. In 2014, she was a fellow at the MMCA Seoul International Residency Program, where she continued to work on her long-term project Silent Sisters / Stille Schwestern, an unauthorized translation in text and art works in conversation with Theresa Hak Kyung Cha’s book, DICTEE, brought to completion in 2018. For the first Kathmandu Triennial, 2017 (curated by Philippe Van Cauteren) Hinrichs developed the project On Some of the Birds of Nepal (Parting the Animal Kingdom of the East). Between 2018 and 2020 Hinrichs worked on the collaborative project second shelf ( https://second-shelf.org/shelf/) located at the library of the Royal Academy of Fine Arts Antwerp. The project concluded with the publication shelf documents: art library as practice, Track Report, Antwerp and b_books, Berlin, 2021, which Hinrichs co-edited with Jo-ey Tang and Elizabeth Haines. posture editions, Ghent published at the end of 2019 Morning Change, a book on movement, location and nomadism within the artist’s intuitive conceptual oeuvre. Since 2015 she has been teaching and researching at the Royal Academy of Fine Arts Antwerp.

      Vijai Maia Patchineelam’s artistic practice focuses on the dialogue between the artist and the art institution. Placing the role of the artist as a worker in the foreground, Vijai’s research-driven artistic practice experiments with and argues for a more permanent role for artists — one in which artists become a constitutive part of the inner workings of art institutions. This displacement of roles is part of a larger trajectory of his recently concluded Ph.D. research titled, The Artist Job Description: A Practice Led Research for the Employment of the Artist, as an Artist, Inside the Art Institution at the Royal Academy of Fine Arts Antwerp, the University of Antwerp and a.pass, advanced performance and scenography studies, Brussels. As a final outcome of his doctoral thesis, Vijai has published the book The Artist Job Description: for the Employment of the Artist, as an Artist, Inside the Art Institution with Track Report (Antwerp), in collaboration with OAZA (Zagreb) and a.pass (Brussels).

    • postgraduate program
    • block 2023/I
    • The ingredients of fear Day of study
      11 January 2023
      posted by: Kristien Van den Brande
    • Peggy Pierrot
    • 27 January 2023
    • 27 January 2023
    • Horror stories tell us a lot about our embodied cognition, our ways of seeing, thinking and feeling the world. Without being too functionalist, these literary, comic or cinematographic stories and kids tales are staging fundamental needs linked to our survival: to be able to anticipate danger, to remain on the lookout, to defend oneself, to find resources, to eat, to protect one's own - in short, to find adequate responses to the conditions of existence that have been ours since the dawn of humanity. At the root of anxiety and fear: is there someone following me? Is the Other a friend or a foe ? Can I trust this person? Will I recover from this unknown weird diseases? Can i trust new sciences ? Is there such thing as pure evil ? Will I be able to survive in inhuman or violent conditions? Have I chosen my home well? What is this shadow that follows me? 

      11am - 5pm @ a.pass

      We will talk about otherness, cognition, emotions. Our dichotomous view of our bodies has made us relegate the question of fear and disgust for the unknown to unloved genres that titillate our deepest human physical side. What are we looking for in genre stories? What themes and situations activate and titillate our anxieties? What is staged in a good horror story? 

      Peggy Pierrot teaches media theory and narration at ERG in Brussels. At fifty years old she decided to assume what she has always been: a fan. Of literature, comics and film sub-genres (thrillers, science fiction, fantasy, horror, romcom…), strategy and role playing games, technical devices of all kinds, and music. She talks about it, writes about it and thinks about it, a lot. 

    • Happy Endings On horror and/in collections

       

      Wintertime in the Northern hemisphere, night falls early, huddled around one stove, a dog starts barking, birds flutter, an invisible presence, maybe, a figment of our imagination. The penultimate block of a.pass’ current lifecycle is dedicated to ‘horror and/in collections’, to familiar stories yet untold, or unknown tales needing to be retold. 

       

       

      During the workshop Contingent Weirdness (Jan 10-13), Adrijana Gvozdenovic and Sina Seifee invite us to present our research practices through the filter of horror. With the help of the genre-specific conventions of horror, they challenge us to look over our shoulders into what lurks in the shadow of our own art practices, and eventually to give form - however blurry or murky - to what might be hiding in plain sight. “A particular interest of the workshop is in those scales that are not necessarily correct and of good intention. How can we train ourselves in different kinds of reasoning? We propose to exaggerate consciously how great art practices are also awful, how the things we do are also often laden with damage and death, to trace our works in the matrix of rage, lure, and desire (and not necessarily in the matrix of truth, urgency, and achievements).”

      Peggy Pierrot extends the horror-proposal with additional reflections on genre tropes and modes of attention. Under the rubric The ingredients of fear (Jan 27), she addresses questions of horror stories, anxiety, otherness, cognition and emotions. What do we look for in these genre stories? When do they press upon us as potent receptacles? What themes and situations activate and titillate our anxieties? What is staged in a good horror story? Why have these genres been the outcast recipient of unspeakable but very human sensations?

      Ghosts abide particularly well in ruins and nascent decay. In the workshop disseminated escapes (Jan 31-Feb 1), Heide Hinrichs and Vijai Maia Patchineemam propose to spend time in the library and to thumb through the history of a.pass by browsing its book shelves. How did this collection come into being? What has been its modes of growth, administration, caretaking and accessibility? What stories have been lost, and which entries have been neglected all together? The impending closure of the library, haunted by a battlefield or specters - those of unattainable specificity and totality, unlimited repair and loss, illusory control and contingency, imminent enlightenment and opaqueness, interminable product and process - becomes a meeting place, if not for conquest or resolution, then at least for coexistence, deferral, and even an embrace of the anxieties of critical theory and knowledge production. The artist duo Nasrin Tabatabai and Babak Afrassiabi (Pages) join the workshop for a conversation around publishing as a collective practice of generating an open and permeable archive. 

      With Anne Juren and her lessons on fantasmical anatomy (March 6-10), we turn to the body as a familiar and unfamiliar site of experience, epistemology and eventually altered potentiality. If the body is a biological product, conditioned by medico-social practices and generational transmissions that precede our experience, how can we simultaneously approach our closest friend and/or foe as ‘a body project’, i.e. as a poetic, fantastical, speculative, imaginative and even monstrous site of investigation that settles and unsettles the conceptions we might have of ourselves, the world and the relations between us? In which way are metaphors influencing the imagination of the body? How is the speculative addressing of somatic practice disfiguring concepts of anatomy? Can horror imaginaries offer a mood to investigate and release our corporeal disorder and vulnerability?

      The scenography of the block is provided by Steven Jouwersma, infused by material and immaterial remnants of the past: light, smoke, shadows, reflections and other translucencies.

       * From ‘A glossary of haunting, by Eve Tuck and C.Ree (in Handbook of Autoethnography, 2013)

    • workshop
    • block 2023/I
    • Contingent Weirdness workshop on horror
      08 January 2023
      posted by: Sina Seifee
    • Sina Seifee and Adrijana Gvozdenović
    • 10 January 2023
    • 13 January 2023
    • Contingent Weirdness

      For the Opening Week of a.pass block 2023 I, Adrijana and Sina propose training/hanging-out/sharing/practice for artists researchers that focuses on the specific genre of horror to understand each other’s artistic commitments in a constraint and therefore generative way. Adrijana and Sina will introduce some of the historical elements of the genre, such as zombies, gore and torture of ghostly demons, vicious animals and cannibal witches, as well as medieval serial killer monsters, unnatural disasters, Frankenstein projects, and so on. Parallelly foregrounding different scales and registers of horror for reconsideration, ranging from speculative fiction, and sci-fi cinema, to medieval bestiaries, inducing “bad feelings” such as fear, uncanny, awe, mania, panic, loss, tension and anxiety.

      The workshop starts by choosing an aspect of our individual artistic practices and imagining it as a horror story. Further abstracting the values and ethics that the practice promotes, and deciding what can be turned into horror with the help of the group. Doing so, the workshop explores the parts of our practices that are fucked-up, which means to what extent what we do can become disastrous, gruesome, and torturous. Starting from where one’s practice produces damage and from the point where thinking disintegrates and disorients, we will map what lurks in the peripheral vision. We will concentrate on both, to create horrors but also a specific setting, those which are important for the genre. Not only to set up the mood but to create an ambiance of the expectation of horror. In the workshop, we will provide basic accessories and tools to create settings – an ambiance of ‘expectation’ pregnant with horror. In relation to this, we will prepare references for the reading and/or watching selected films together. For the last day, we focus on composing singular pieces (around individual proposals or in small groups) which we will share at the end of the day in the setting of a ‘scary night storytelling.’

      The workshop is interested in horror as a genre. Because looking at genre can teach us how stories gather and stage their matters of care and teach a negatively affected audience to inhabit their world. Adrijana and Sina are interested in what comes from an atmosphere of contingent weirdness, creating experimental and personalized monsters of artistic work. A particular interest of the workshop is in those scales that are not necessarily correct and of good intention. How can we train ourselves in different kinds of reasoning? We propose to exaggerate consciously how great art practices are also awful, how the things we do are also often laden with damage and death, to trace our works in the matrix of rage, lure, and desire (and not necessarily in the matrix of truth, urgency, and achievements).

       

      Sina Seifee and Adrijana Gvozdenović were both associate researchers at a.pass Research Center (2018-2020) when this workshop was first conceived in the crossline between Sina’s medieval bestiaries and Adrijana’s artistic anxieties.

      Using storytelling, video, and performance, Sina explores and teases with the heritage of zoology in West Asia. His work picks up on how epistemologies, jokes and knowledges get shaped in the old and new intersections of techno-media and globalism. (www.sinaseifee.com)

      Adrijana employs artistic methods to create ambiguous distinctions between practice and theory, theory and confession, documentation and production, artistic and curatorial, oral exchange and artistic form. (www.gadi.me)





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