On Coloniality Chloë Janssens, Amy Pickles and Túlio Rosa
- KBK Brussels
Research Futures Conference Report 15 October 2020
- case of: Vladimir Miller
- what are the advantages of being part of a bigger (academic)structure? What are the possibilities of acting quasi independent within such structures? what are the needs to create frameworks beyond these structures ? How 'independent' are these frameworks beyond the structures?
- how do "individual learning paths" that actually enable transversal processes relate to on one hand to "ideology of individual excellence" on the other hand "collectivity"?
- how to institute transformation?
- What will be the resilient future structures for artistic and academic development beyond the categorizations of culture, education, science and within the framework of social and environmental change?
- Institutional challenges in the neo-liberal context: autonomy, self-organisation, "swamp-ness"
- what can be institutional practices that can resist and reshape the complex of excellence, quality, authorship and individuality associated with academic research?
- Institutional Autonomy within Larger Systems
- Internal Relations
- How to be Public? Where to be public?
- Instituting Transformation
- categorisation and segregation of fields within arts (educational, artistic, social practices, etc) are working against the transdisciplinary conception of artistic research
- what are the advantages of being part of a bigger (academic)structure? What are the possibilities of acting quasi independent within such structures? What are the needs to create frameworks beyond these structures ? How 'independent' are these frameworks beyond the structures?
- what are the expectations and questions of the cultural / educational sector towards institutions and practitioners of artistic research?
- How to create feedback-loops between the institutions and the larger system? How to be critical towards our own support structures?
- How can we create and foster solidarity among the institutes?
- Who are the future allies for artistic research?
- What is the mission and task of artistic research as a publicly funded field?
- Not only institutions position themselves, they already welcome distinct positions from participating artist researchers. What are the modalities of formulating a collective position within the institution?
- Questions of neo-liberalism in connection to education, regulatory dependencies and access
- How to create not only critical but transformative feedback processes within our institutes?
- Trust or control: An inclusive access policy relies on an elaborate regulatory structure within the institution. Deregulated institutions can run the danger of perpetuating status quo
- Publicness often serves as a "proof of work" and a measure of validity of the cultural sector and specifically artistic research
- Growing importance of the countryside vs the city. In the past cultural production was more decentralised. Decentralisation is becoming more important also in response to climate change. Should artistic research dislocate from the urban and if yes, how?
- Growing importance of regionalism and its emphasis on parallel and other histories, on subcultures
- Visibility and need to be visible vs. the need for invisibility: how and how long to stay invisible?
- Visibility versus performativity: what can artistic research do besides being visible?
- How to communicate in process?
- decolonial politics
- growing importance of social and civic movements (MeToo, BLM,...) as future-shaping agencies. how are they different from institutions, how can we welcome their potential?
- Transformation in the context of sustainability
- Conditions of perpetuating of precarity: precarious institutions "pass on" the conditions to workers
- How long does an institution need to live? When should it dissolve?
- How to create adaptable / plastic (in the sense of plasticity) frameworks?
- The question of activism of and within the institution and resistance from within.
- We must be aware of the different understandings of AR present in the room
- What do we mean by collectivity and inclusion?
- In connection to the PhD in the Arts boom: is academia a refuge for the artist?
- How and why are theaters, museums and other art institutions committing to AR?
- What different culture of/for AR to cultivate?
- categorisation and segregation of fields within arts (educational, artistic, social practices) are working against the transdisciplinary conception of artistic research
- The condition of partial identities: being a part of multiple systems at the same time
- What are the expectations and questions of the cultural/educational sector towards institutions and practitioners of artistic research? eg: a theatre: why do they engage with AR?
- What are the (dis)advantages of being part of a bigger (academic) structure?
What are the larger systems? (funding bodies, a bigger academic structure, art/social work/science, allies of AR). Why do we call them ‘larger’?
Is the word ‘autonomy’ creating an interesting horizon for the discussion? (Institutions are de facto mediators between (related) individuals who belong to other or larger systems. Autonomy as the awareness of non-autonomy.)
- Larger systems
- complete commodification: no more public space, no more commons, instrumentalisation of art, art as a dialogic practice no longer recognized as art, false beliefs in the politics of images (protest is fashionable), always be positive (instagram culture) and gaslighting, neutrality of data, prevalence of entertainment industry
- Radical exclusivity (segregation, nationalism, art having to express predefined values, ‘inclusive’ and ‘participatory’ becoming a facade for its opposite
- Dominance of the virtual (over the sensorial, surveillance capitalism, ip-ification)
- Money making more money
- Mass unemployment
- Wrong horizon of the word ‘autonomy’
- What instituting is needed: turning bureaucratic requirements from funding bodies into occasion for conceptualizing positions (eg this conference, relation to ones own board and GA: how to put it together, how to sustain and undermine its authority)
- Role play in reality: the question of ‘who do you work for?’. Positioning the discourse/question to make visible ones alliances.
- Methodologies of production (that include relation) is what is being produced in AR (eg: contracts)
- Building the archive of methodologies, strategies - who owns the archive?
- AR itself (if AR includes the production of methodologies of production)
- Funding bodies that understand how we establish and practice interdependence
- Movements like #metoo, blm, collaborative structures that are not recognized by the board (eg: witte de with, netwerk aalst)
- (Self)-evaluation. One situation sketched was: there are various structures for self-evaluation in place, but follow-up on the outcomes, and therefore actual change, is lacking. Another situation: there are many moments of feedbacking or evaluating the own organisation, but they are not formally structured. So, follow up is haphazard rather than structural.
- Continuity. In both cases, the search for time and money for the institution with which to ensure continuity – not only of the institution itself, but also of the work/knowledge flowing into and out of the institution – were not self-evidently part of the set of ambitions, let alone them being a founding concept or a practice. Continuity here is meant in various senses: contracts of staff members, long term plans / vision and follow up, longer relationships with alumni....
- Institutional engagement and responsibility. Informal relationships, collegiality, and frequent meetings amongst staff members, as well as personal and frequent contact with and amongst participants, are valued highly in both the larger and the smaller institutions. But this also assumes a high level of engagement and responsibility, in other words TIME, not always remunerated, or (in the case also of participants) not necessarily available or on offer. Instituting artistic research requires formal structures for informal organisation to take place. And it needs time management, something we are notoriously bad at in the art field, lavishly spending our own and each other's time.
- a big piece of paper hung up against a wall
- some chalk markers to draw or write on it
- a bench to sit on and take some distance to look at the collaborative map-in-progress
- a laser pen to highlight speciﬁc details of the map during the group discussions which alternated with the more silent drawing and writing sessions
- Inequality The notion of inequality was mainly understood and raised as financial inequality. And this was exemplified regarding the national borders of the European states where these institutions are located. Some of the participants postulated the implicit location of education within Europe's foreign policies. That means, how educational organizations becomes part of the decisions of inclusion/exclusion. One of the frontiers where this inequality was clearly felt in this discussion was visa applications and visa processes. This issue was raised in a wider series of questions regarding the distribution of wealth and privileges beyond national borders. Many involved institutions are ethically transnational, but contribute to the local. We talked about how the idea of "local" is shattered.
- Scale (of administration) From the point of view of the administration workers present at the discussion, it seemed that larger organizations have more problems with the politics of inclusion/exclusion, with getting things done bureaucratically. The logistics and concerns of institutions dealing with inclusion change with their scale. Institutions are built within institutions, in a nested structure, causing the regulations to be conceived inside regulations. As the result of scaling up processes they do not always fit or continue to fit together. For instance, frictions occurs as one has transnational inclusion ethics, while the other has more domestic politics in mind. This friction can be felt in the ambivalence of support and limitation. As an institution gets larger in size (i.e. change in quantity), this leads to sometimes to a different logic (i.e. change in the quality of how it understands its world).
- Solidarity and alignment. Working with the metaphors of "radical fairytale" (a form of radicalization, small but provoking thoughts), "flipping the coin" (how easy things can change to its opposite), and the "Fortress Europe" (the oversimplified question of "how to open Europe to foreigners"). This view operates by contentious direct-action approach to geopolitics in artistic research. Suggesting that we have to formulate the future and in doing so transcend our bad internationalism. The mentality of pushing our demands against the external social/systemic forces.
- Actor network perspective. Sometime having a "contact person" in the other institution from a different scale can do a lot for you. This contact person has to be cultivated and is achieved through heuristic talents of networking. In this view, you invest on networking and networks of relationships. The label "bureaucrat" was suggested as an inaccurate name for people with particular views and people with different privileges. Because you have to take feeling and emotions into account. For example you might find ways to have their "view" layered, and not necessary radically transform them.
RESEARCH FUTURES Conference
- 08 July 2020
- 10 July 2020
- case of: Vladimir Miller
Parallel Parasite Research center 18/II curated by Lilia Mestre
- 04 June 2018
- 30 September 2018
- case of: Lilia Mestre
The Document Transformed + Book Launch Dirty Room /Juan Dominguez a.pass seminar and master classes
- La Bellone, Brussels
- 22 June 2017
- 24 June 2017
- case of: Lilia Mestre
Between what is no longer and what is not yet 10 November 2016
- 26 November 2016
The Artist Commoner : Public Meeting (self) Education of new subjectivities
- a.pass, KaaiTheater
- KaaiStudios - Onze-Lieve-Vrouw van Vaakstraat 81 // 1000 Brussel.
- 25 November 2016
- 26 November 2016
- case of: Nicolas Galeazzi
case of: Vladimir Miller
case of: Lilia Mestre
Back to the order 29 March 2015
- Samah Hijawi, Philippine Hoegen, Gosie Vervloessem, Sarah Santos, Silvia Pereira, and Cecilia Molano
- 29 May 2015
- 30 May 2015
PHARMAKON Pharmakon: whitch culture?
- 01 October 2014
- 30 November 2014
- case of: Lilia Mestre
Tender Institute 08 September 2012
- international conference
- 07 September 2012
- 08 September 2012
Pharmakon 10 March 2015
- a.pass conference
- 28 November 2014
- 30 November 2014
- in production
posted by: Nicolas Galeazzi
Edited by Elke Van Campenhout, Lilia Mestre
Texts by Alexandre LePetit, Lilia Mestre, Flora Pilet, Veridiana Zurita, Mischa Twitchin, Michiel Reynaert, Elke Van Campenhout and others.
To be published in autumn 2015.
APPLY TO THE A.PASS PROGRAMMESSIGN UP TO EVENTORDER
posted by: Pierre Rubio
international conference by a.pass
After finishing the artistic research post-graduate program at a.pass, 8 participants open up their researches in a performative and multi-layered setting.
Sharing their insights into questions that are on the table for contemporary artists every day: what is the notion of work? How to deal with intuition today? What is the performative power of the object? How can the city be the witness of time?
8 cases open up as many different strategies, diverse invitations to engage and experience artistic research from 8 wholly different perspectives.
During a residency period of 3 weeks, a space is constructed that invites you into all these different cases, constructing crossing points and welcoming the visitors into the research trajectories.
At the same time, a.pass organizes the conference 'The Tender Institute': an active meeting around the notion of the 'institute' in artistic practices today.
In the last ten years, more and more artist initiatives have been re-thinking the institute once again as a point of address: a place where people share their concerns and interests, where you can find topical information and engage with it, where knowledge is archived and opened up to public interest and scrutiny. Compared to the more established Institutes these initiatives seem less concerned with classical knowledge conservation than with a dynamic reformulation of knowledge processed in situ. Opening up the monolithic space of recognition and representation into a heterotopic space of engaged interest.
In these two days, a.pass invites speakers, artists, and administrators to construct new imaginations of what the institute today might look like: how to think of an institute with flexible walls, how to administer an organic institute that grows out of the interests of the people working in it? What is the place of this kind of institute in today's society? In other words: how can an institute still stay an institute when it is embracing its 'tenderness': when it recognizes its dependency on the interest of its users? The risk to become obsolete in the whirlwind of heterotopic interests? The challenge to re-invent its administration to shift from a politics of categorization to one of attention and engagement?
13 January 2015
posted by: Elke van Campenhout
This Thematics project builds on the notion of ‘pharmakon’ as coined by the contemporary philosopher Bernard Stiegler. In ancient Greece, ‘pharmakon’ was understood both as ‘poison’ and ‘medicine’, and in some cases also as ‘scapegoat’.
The word might mean either the one or the other depending on the context, which implies a certain knowledge, or ‘knowledge-ability’. A skill of dosage and use, witchcraft involving insight and imaginative contextualization.
At the ‘Pharmakon: whitch culture?’ conference, a group of artists and theorists will investigate the notion of ‘pharmakon’ in our society. As Stiegler suggests in his analysis of the need for a ‘pharmacology’ to counter the poisonous fumes of economic, ethical and cultural impoverishment, it is clear that the fabrication of our culture(s) has urgently to be (re)questioned. What are the categories we use to produce and develop the culture in which we ‘individuate’ ourselves? What is the change in ‘technics’ that is needed to re-imagine our desires, stepping out of ourselves, as ex-isting in the public sphere? What sort of witchcraft is demanded from us, as artists, citizens and thinkers, to come up with the right spells and potions, and to dose our practices to transform poison into medicine.
The ‘Pharmakon: whitch culture’ conference is part of the Thematics two-month research residency project, organized by Bains Connective, which brings together artists and theorists to work on, share and perform their concerns on this matter. They experiment on developing artistic remedies and toxic fumes, in search of a reformulation of the agency of the artist in contemporary society. In this way the Pharmakon project inserts itself into a growing movement of artistic initiatives that engage more directly in the political sphere, that want to make the public, the other, the citizen, part of their researches, that question how the artistic relates to the world we live in. These artistic interests speak of the willingness to restate desire in its fullness as a societal driving force. A desire that is not reduced to economic drives, but that is structured and transformed in accordance with the practices and thoughts of its members. Or more simply: we speak about set-ups that could inform and produce knowledge, and which could question the drives and urgencies that produce our social agencies.
Participants in the Thematics residency: Alexandre Le Petit, Flora Pilet, Sophie Quénon, Lilia Mestre, Elke Van Campenhout, Joséphine de Weck, Michiel Vandevelde, Michiel Reynaert, Veridiana Zurita, et al.
Guests invited to the conference: Bernard Stiegler, Pieter de Buysser, Maria Lucia Cruz Correia, Maika Lond , ...
‘Pharmakon: whitch culture?’, was a Thematics artistic research residency project, taking place in Brussels from the 15th of October until the 15th of December 2014. This residency is one of the stages in the development of the broader, transnational ‘Pharmakon’ research project undertaken by Institut Nomade. The ‘Pharmakon: whitch culture?’ conference will last three days and will explore the theoretical and artistic approaches to dealing with an increasingly toxic economic, ethical and cultural environment, in search of other techniques by which to connect, share and imagine the fabric of our togetherness. As a ‘performative conference’, this meeting involves artists as well as theorists, dissolves the boundaries between ‘specialists’ and ‘public’, and between ‘performers’ and ‘theorists’, and opens up a space for desire and reflection.
Thematics was organized by Bains Connective, in collaboration with Institut Nomade, the a.pass research center and Kaaitheater.
Partners of the project :
(1) Bains Connective
Thematics is a two-month residency program for artists and theoreticians, curated by Lilia Mestre within the framework of Bains Connective. Every time the residency addressed another topic, deemed to be urgent or relevant for the current state of (artistic) affairs. During this period, different artists and thinkers share their works, strategies and ideas. The work space Bains Connective creates the initial context and set-up, and offers work spaces and a communal starting point by inviting artists, theoreticians, academics, politicians and activists to add and contribute to the research. As a basis for the exchange, we organize weekly meetings as well as two public encounters, where the participating artists can share their work in a format of their choice. Starting from these basic principles, we work closely together on developing ways to share interests and processes of work.
Thematics develops for each residency project a strategy of questioning and interviews that follow up and register the artistic processes so as to create a written publication that reflects every Thematics residency. These publications are also a working tool that expresses to necessity to communicate, to speak out, to share the practices, methodologies and artistic trajectories with each other and a larger public.
(2) Institut Nomade
The activities of the Institut Nomade are fundamentally trans-disciplinary in nature. Concerned with how the notion of "performativity" resonates in both artistic practices and cultural constructions, the Institut conducts research into the ontology of performative language, the relationship between the performer/author and the stage, and the stage itself as a scene of collective individuation and thus a form of micro-politics. The global project of the Institut could be described as an inquiry into "modern culture", that mobilizes the conceptual tools provided by the performative arts, the heritage of J.L Austin's concept of performativity, and Bernard Stiegler's contemporary elaboration of the idea of the "pharmakon". The Institut is concerned with all forms of writing that compose our public voice– forms that we create by and for ourselves. This research takes on a variety of formats including interviews, performances, texts, images, videos, installations, soundscapes, etc. The interaction between these media is organized by rhizomatic systems of writing and by experimental loops of representation that participants are invited to appropriate and reconstruct.
(3) a.pass research center
a.pass is an artistic research environment that develops research on performativity and scenography, in an international artistic and educational context. a.pass offers a one-year artistic research training program at post-master level for artists and theoreticians, based on the principles of self-organization, collaboration and transdisciplinarity. a.pass participants develop an independent artistic research project, with a personalized curriculum in a shared and collectively created research environment.
The a.pass research center develops, documents and archives tools for qualitative and relevant artistic research practices. The research center uses this growing archive to communicate and interact with the artistic and educational field and functions as a forum for the development of a critical approach on
artistic research. a.pass emphasizes the relation between the research practices and a broader societal field, and encourages engaged transdisciplinary practices.
In the context of its artistic research center, a.pass offers a tailor-made PhD trajectory for doctoral students that gives the possibility to develop the practice-based part of their PhD research in collective research environment.
The Kaaitheater is a Brussels and international arts centre which has been a leader in theatre, dance, music and performance for over thirty five years.
A number of artists and companies have been closely associated with the Kaaitheater for many years: Anne Teresa De Keersmaeker & Rosas, Jan Decorte, Jan Lauwers & Needcompany, Meg Stuart & Damaged Goods, Ictus, tg STAN and Tristero, and from abroad Jérôme Bel, Raimund Hoghe, Toneelgroep Amsterdam, Jonathan Burrows, The Wooster Group and others. From 2013 to 2016 Eleanor Bauer, Kris Verdonck, Mette Ingvartsen and Ivo Dimchev are our artists in residence.
Social and ecological topics are a prominent element in Kaaitheater’s work. The Kaaitheater is part of two European networks: Imagine 2020, that focuses on art and climate change, and House on Fire, supporting productions that are intended to contribute to a critical debate on political and social issues.
The Kaaitheater presents about 75 productions each season and welcomes its visitors to two locations in the canal zone in Brussels: the Kaaitheater itself (the large theatre, on Sainctelettesquare) and the Kaaistudio’s (small theatre and rehearsal studios, near Dansaertstraat).
posted by: Nicolas Galeazzi
Samah Hijawi, Philippine Hoegen, Gosie Vervloessem, Sarah Santos, Silvia Pereira, and Cecilia Molano will share their practices and perspectives of their research in form or a symposium and bring them in relation to those of guests and collaborators. A symposium that consists of performances, lectures, film screenings and workshops.
This event is a collaboration with, and will take place at Aleppo.
Relating to Aleppos current thematic program which is termed ‘Back to the Order’, we understand order and revolution as integral parts of each other, the interdependent counterweights of the device that drives, and is driven by, contemporary society.
Departing from the different preoccupations of our separate researches we will make inroads towards shared perceptions. We will approach concepts such as the domestic, identity, display and artistic production as complex territories through which the nature of order and its potential counterparts can be analysed and activated.
17.00-end: Video installations: ‘Excavate’ by Sara Santos, ‘Arena’ by Philippine Hoegen
17.30-19.00: ‘Story Lines’ one-to-one performative installation by Cecilia Molano
18.30-19.00: ‘Tupperware’ performance workshop by Gosie Vervloesem, food introduction
19.00-19.45: ‘Disruption is still to come’, table discussion with Petra Van Brabandt
19.45-20.00: Screening ‘deuses vadios’ (stray gods) 16mm film by Sara Santos
20.30-21.30: ‘Televizinho #1’ talk by Veridiana Zurita
21.30-21.45: ‘Another Version’ performance by Philippine Hoegen
after: Bar Talks
12.30-15.30: ‘Drawing Askew’ Master class/workshop by Gonçalo Pena
14.00-end: Ongoing video installations ‘Excavate’ by Sara Santos, ‘Arena’ by Philippine Hoegen. Documentation installations by Gosie Vervloessem and Cecilia Molano
16.00- 16.15: Screening ‘deuses vadios’ (stray gods) 16mm film by Sara Santos
16.15-16.45: ‘Borneo Trophy’ performance by Philippine Hoegen
16.45-17.30: ‘Mobile Orders’ lecture by Patricia Reed
18.00-18.30: ‘Regarding David’ performance by Philippine Hoegen
18.30-19.30: 'The Wandering Singer of Tales’ lecture performance by Samah Hijawi
20.00-20.15: Screening ‘Screening ‘deuses vadios’ (stray gods)’ 16mm film by Sara Santos
20.15-20.30: ‘Dividing David’ performance and participative installation by Philippine Hoegen, with Kristien Van Den Brande
20.45-21.45: Discussion with guests and participants
30 August 2016
posted by: Nicolas Galeazzi
When we talk about commoning in the arts, or of artistic production as a site of commoning, or the arts as a common good, we evoke economies of material and immaterial labour within the field of art. But we seldom consider the changing understanding of what an artist is, and how this historic subjectivity possibly undergoes a dramatic shift in response to the resurgence of the commons debate in the last few years. Not only do we need to ask ourselves how to be an artist and a commoner today, and how to produce art within commoning processes, but also what kind of a new artist subjectivity is summoned by the commons. Long gone is the conception of the artist as a craftswoman, long gone the conception of a solitary genius, yet the market still welcomes the individualistic producer, enamoured with the beautified reflection the neo-liberal consumer finds in the persona of the free-to-do-anything, singular novum-art-maker. At the same time the contemporary art market (at least its attention, if not its monetary economy) has embraced commoning as a method for artistic production and encourages the artist to engage with the surrounding world. But is it really the same type of artist that emerges in the (economic) contexts traversed by the artist commoner? She travels from commoning to capitalism, to gift economy, and back. How are those subjectivities negotiated with the citizen of capitalism who she inadvertently also is?
Does commoning, as a means of artistic practice, require a radically different self-conception of the artist? And if we see the emergence of a different artist subjectivity, what role does (self-)education in the arts play in fostering and welcoming this subjectivity? What kind of (educational) institutions can the artist-commoner take root in? How can these institutions engage not only in educating the artist about the commons but in developing radical methodologies of commoning education?
During a two day event, a.pass welcomes a gathering of researchers, artists, a.pass program participants and public to engage with the struggle of being an artist commoner today, and the role of (educational) institutions in bringing this subject about.
Two days of presentations, exchanges and commoning practices. Two days of ateliers, books launches, performances, workshops and discussions.
free admission - except the performance of Juan Dominguez - tickets
Friday November 25
10:00-16:00: Open space / habitat, with: a.pass participants. (@dance studio)
with Femke Snelting, Kate Rich, Magda Tyzlik-Carver.(@concert studio)
15:30-17.30: Regime Change, presentation after office-work,
with: Femke Snelting, Kate Rich, Magda Tyzlik-Carver. (@concert studio)
18:00-23:00: Common Sweat sauna,
with Steven Jouwersma.
18:00-19.30: Turn, Turtle! panel,
with: Vladimir Miller, Nicolas Galeazzi, Daniel Blanga-Gubbay. Followed by The Missing Chapter, by Guy Gypens & SPIN.
Food: catering at Kaaistudio-bar
with: Vladimir Miller, Lilia Mestre, Pierre Rubio, Kristien Van den Brande & Cecilia Molano, Steven Jouwersma, Nicolas Galeazzi, Philippine Hoegen & Einat Tuchman (@concert studio).
21.30-02:00: PRACTICES. Mobile Interviews + City of Commons + Reading out loud & von unten + Common Sweat Sauna + ArtsCommons rehashed
Saturday November 26
12:00-15:00: Open space / habitat, with: a.pass participants. (@dance studio)
15:30-16:30: Figures of commoning,
introduction by Rudi Laermans
16:30-18:00: Launch Bubble Score publication,
with: Lilia Mestre, Philippine Hoegen, Miriam Hempel
17:00-21:00: Common Sweat sauna,
with Steven Jouwersma.
18:00-19:30 : Presentation of the ThK Journal #23, ‘Commons / Undercommons in art, education, work…’,
with: Bojana Cvejić interviewed by Pierre Rubio.
Food : catering by Kaaistudio-bar
20:30-22:30: Between what is no longer and what is not yet,
performance by Juan Dominguez - ticket requiered
22:30-02:00: introduction Dino Sound System + DJs: party!
OPEN SPACE / A COMMON HABITAT FOR ARTISTIC RESEARCH
with Nicolas Galeazzi and a.pass-participants
Friday 25 November: 10:00-16:00
Saturday 26th November: 12:00 - 15:00
Every Friday of the last three month a.pass participants met for a concentrated commoning experiment.
With this practical inquiry into artistic research as a commons we try to establish an Open Space practice, that allows pursuing the individual researches while observing at the same time the general picture that these activities generate together. Every artistic element within that space is considered as a common good. Training the simultaneity and interdependence of individual and common interests not only puts our commons economy at work, but also lets us investigate the personal and collective effects of this structural shift.
For the ‘The Artist Commoner‘ meeting we move the Open Space Practice to the KaaiStudios and continue our work under the new spatial conditions, inviting you as a potential Open Space commoner into these investigations. You are welcome to explore, expand, dismantle and recharge this space with whatever you consider as your current work. Please bring at least a vegetable for the common cooking.
10:00 to 11:00 warm up; 11:00 to 13:00 practice; 13:00 common soup and discussion; 14:30 to 15:30 logging.
with Kate Rich, Femke Snelting and Magdalena Tyzlik-Carver
Friday 25 November, office hours: 11:00-15:30
A day long session, aimed at aligning the a.pass computing infrastructure with the ambitions and aspirations summoned by the commons. Tech giants currently dominate all forms of digital communication, from cloud-storage to production tools and archiving systems. For cultural institutions like a.pass and many kindred spirit organisations, there is potential for resistance. Kate, Magda and Femke will use the common power of their intersecting practices in art, technology and theory, to break the spell of this paralysing digital regime. With the aid of Free, Libre and Open Source software, the transposition agents will begin to transform the relation of a.pass to its computing technology. Throughout the day the trio will conduct fieldwork, draw up solemn oaths & commit the institution to a rite of passage: from efficiency to curiosity; from scarcity to multiplicity and from solution to possibility. Champagne served all day.
TURN, TURTLE! PANEL
with Vladimir Miller, Nicolas Galeazzi, Daniel Blanga-Gubbay, Guy Gypens, SPIN.
Friday 25 November, 18.00-19.30
We would like to draw your attention to the publication of the book ‘Turn Turtle, Turn!’, a creative and intellectual analysis of the new turn in the perception and workings of institutes in the performing arts.
What has become apparent in the last ten years or so is a move towards an engaged re-appropriation of of arts institutions in artistic (performance) practices, and a more in-depth collaboration between institutes and artists in rethinking the functioning, position, and decision-taking structures of these organisations. We asked several artists, programmers and thinkers to contribute to this publication from the viewpoint of their practice and experience within the institutional framework. Turn, Turtle! Re-enacting the Institute is the second part of the publication series Performing Urgency, commissioned by European theatre network House on Fire which will continue half-yearly.
For this edition launch in Brussels, the artists Vladimir Miller, Nicolas Galleazzi and Daniel Blanga-Gubbay will debate on these questions. The panel is followed by The Missing Chapter, a discussion between SPIN and Guy Gypens.
with Vladimir Miller, Lilia Mestre, Pierre Rubio, Nicolas Galeazzi, Kristien Van den Brande, Steven Jouwersma, Philippine Hoegen & Einat Tuchman.
Friday 25 November, 20:30-21:30
Collective scheduling and set-up. The first evening of The Artist-Commoner meeting is structured as an overlap of practices, talks and mini-workshops. We would like to provide a space and time for the audience to engage in the politics, pragmatics and poetics of collective scheduling and setting up, believing that commoning begins where stakes and engagement are developed within a framework that is open to change by its outsiders. On Friday evening we come together to introduce and situate our main concerns and give space to a self-organization of the evening. Guided by open space principles, the audience is invited to take active part in existing proposals and schedule other circles and meetings around possible emergent topics. All proposals will be organized and communicated on a central wall paper. This sprawling exploration of the conference themes will be injected into the discussions and presentation of the second day.
with Vladimir Miller, Kristien Van den Brande & Cecilia Molano, Steven Jouwersma, Pierre Rubio, Nicolas Galeazzi, Philippine Hoegen & Einat Tuchman.
Friday 25 November, at 21.30pm-02:00
Mobile interviews - Pierre Rubio
Pierre Rubio will conduct several nomadic interviews with the participants and with the audience throughout the two-day event. They will revolve around preconceptions about and definitions of the very terms of the a.pass event. What does ‘commoning’ mean? Who is the ‘subject’ producing and operating the commons? What is a ‘commoning practice’? What can ‘commoning’ do? What is the relation between the production of subjectivity and the production of a commoning theatre of operations?
City of Commons - Vladimir Miller
In 2015 Stefan Gruber and Vladimir Miller began working on a series of speculative vignettes imagining and discussing a city (or rather a multitude of cities) where certain key institutions are based on practices of commoning. These fragmented utopian visions do not necessarily function or come together as one proposal, but are tools to explore critical positions towards the commons. The texts approach commoning not from the present state of things but speculate from within an imaginary state of commoning as a status quo, thus shifting critique towards a position of inner logics. Rather than discussing commoning practices by comparing or contrasting them with present day structures we jump to a discussion of commoning from within its own possibilities and contradictions, on its own terms. Vladimir Miller will facilitate a work session where together we will develop and discuss visions of institutions as radical spaces of commoning.
Reading out loud & von unten - Cecilia Molano & Kristien Van den Brande
Out of the clear, critical light of day, where black night is falling, let's do something as simple as reading a novel to each other. From beginning to end, von unten and out loud, with no particular perspective in mind. Vocalizing writing in order to actualize it, like visualizing it, is not without danger, says Lyotard. Let’s see. If on your bookshelf you have a copy of anti-bildungsroman Jakob Von Gunten by Robert Walser please bring it. Books-with-scribbles-in very much appreciated. Starting at 9.30 pm, until the last page is turned.
Common sweat sauna - Steven Jouwersma
extra session on saturday 17:00-21:00
The Common Sweat Sauna is a real working sauna made only from recuperated materials. It was built in the public space of Brussels and immediately opened up to the public. The project intends to create a free nomadic urban sauna space that diverts from the logic of commercial and individualized wellness and that de-colonizes the public space. The sauna moves from place to place in Brussels and gathers a growing crowd that takes care of the sauna.
please bring your sauna gear.
ArtsCommons - rehashed & common zapping (Philippine Hoegen & Einat Tuchman & Nicolas Galeazzi)
Based on their experience with an attempt to create a commons for the arts, Einat Tuchman, Philippine Hoegen, Nicolas Galeazzi will discuss the difficulties in practicing the commons as an artistic form. Their discussion is ongoing, temporarily settled at a table next to the bar, open for everyone and will be supported by a common zapping through YouTube clips.
Figures of Commoning
with Rudi Laermans
Saturday 26 November, 15:30-16:30
Commoning, or the collective production of a common (a commonality, a common good), is the essential practice through which the social instantiates the political, be it on the macro or the micro level. Evidently, there exist various modes of commoning - of being with and for, social giving and taking, sharing and co-creating. The presentation focusses on some of these practices, ranging from discussing to complicit action to doing nothing.
LAUNCH: BUBBLE SCORE
with Lilia Mestre, Philippine Hoegen, Miriam Hempel, and a.pass-participants
Saturday 26 November, 16:30-18:00
As a program curator of a.pass (advanced performance and scenography studies), Lilia Mestre has since 2014 developed ScoreScapes, a research on scores as pedagogical tools. Her theoretical interest focuses on performativity as a discursive practice leading to a method based on dialogical and intersubjective formats that function as enablers of exchange within artistic research. Working with this method led to various ways of reflecting on the participants’ work, such as the question of authorship within a scored situation and the bearing of individual creativity within a collective. Bubble Score is the third score created for this context; on the occasion of ‘The Artist Commoner’ a publication will be launched to share and open up the discussion ‘of’ methodologies of commoning education.
‘COMMONS / UNDERCOMMONS IN ART, EDUCATION, WORK...’
with Bojana Cvejić (ThK - Walking Theory), Pierre Rubio (a.pass)
Saturday 26th , 18.00-19.30
a.pass welcomes Bojana Cvejić to discuss the last issue of the journal TkH/Walking Theory : ‘Commons / Undercommons in art, education, work…’ (2016).
In an interview by Pierre Rubio, co-curator of the apass program, Bojana Cvejić, co-editor of the journal, will address a few problems and questions following from 'The Public Commons and the Undercommons of Art, Education, and Labour’ conference (Frankfurtlab 2014).
Taking a cue from Jason Read’s contribution to the conference and journal: ‘Individuating the Commons’, Cvejić will account for the approaches and arguments around the Common, its practices and plea for new subjectivation. Her own stance recasts collectivity through the questions of the preindividual and transindividual (in Gilbert Simondon, Paolo Virno, and Jason Read). Cvejić recently gave a lecture using these very concepts ( ‘Radicalising a condition into a practice : Transindividuality’ London, Sept. 2016) to critically problematise art as “a site of intensive expression of individualism”.
Why do concepts like ‘individuation’ or ‘transindividuality’ seem operative today for Bojana Cvejić to expand the narrow individual interest to a broader horizon of collective transindividual solidarity?
BETWEEN WHAT IS NO LONGER AND WHAT IS NOT YET
with Juan Dominguez
Saturday 26 November; 20:30-22:30
Juan Dominguez suspends events and creates an interval of time in which he tries to integrate his past into his future. He translates his visions and his desire to encounter the unknown through language. For the first time in 14 years Dominguez is working alone, giving rise to a self-portrait that cites himself and some of his friends.
Dance with the DINO SOUND SYSTEM
with Christophe Meierhans and Ant Hampton
Saturday 26 November, 22:30-02:00
To round up this public meeting, we will party. The sound will be produced by a sound system that is considered a common good – the ominously famous "Dino Sound System". Driven by the need to dance - a group of artists, djs and friends around Christophe Meierhans and Ant Hampton joined forces to construct an extraordinary loudspeaker system that can be used by any of the contributing ‘Dinos' for whatever event they’re planning. For our party, the system will experience its second test phase and official inauguration, with music played by a many-armed, collective DJ. Bring your ears for a listening event at 22.30 and you’ll not be able to hold your legs back!
A.pass books on display / for sale
The stock of books, artist-publications, posters, leaflets produced by a.pass-curators, researchers and participants will be on display and for sale during the Artist Commoner public meeting.
posted by: Nicolas Galeazzi
Performance in the context of a.pass’ public meeting The Artist Commoner. (Self) Education of New Subjectivities
Dominguez wants to suspend events and create an interval of time in which he can try to integrate his past into his future. He will translate his visions and his desire to encounter the unknown through language. Dominguez is working alone for the first time in 14 years. Back then, he choreographed his work with labeled cards. Now, he’ll speak himself and give rise to a self-portrait that cites himself and some of his friends.
Limited capacity! 8/10/12€.
Tickets via Kaaitheater:
11 May 2017
posted by: Lilia Mestre
Curated by Sofia Caesar and Lilia Mestre, the public program “The Document Transformed” invites four practitioners that offer very distinct questions, methods, and proposals to problems related to documentation. Join Femke Snelting, Olga de Soto, Vincent Meessen, and Agency (Kobe Matthys), and others, for three days of presentations, screenings, performances and conversations. How does the document affect practices, bodies, histories, and experiences? The event brings together practices that not only give sight to the power relations engendered by apparatuses of documentation, but also move towards the transformation of the systems in which we produce history, law, art, and the body. Held in the context of The Problem of the Score, block curated by Lilia Mestre in the a.pass post-master research program and supported by a.pass.
This seminar is organized in collaboration with La Bellone - Brussels
To inscribe to the master-classes please send an email to firstname.lastname@example.org
JUNE 22-23-24 @ LA BELLONE
Rue de Flandre 46
Thursday June 22nd
10:00 > 13:00 Masterclass Agency (Kobe Matthys)
What if ephemeral things become included within art practices? Intellectual property seems to be mostly reserved for “fixated” things. Although the European copyright law doesn't exclude variability, during jurisprudences judges consider movements that are “recordable” in some way or another. Agency calls forth different controversies from recorded movements in dance and performance and sport. By paying attention to the consequences of the apparatus of intellectual property right for the protocols inherent to practices, the fragility of the mode of existence of singular art practices is made explicit.
14:00 >17:00 Masterclass Possible Bodies (Femke Snelting and Adva Zakai)
This edition will be dedicated to a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. It was developed in the mid-nineties and remains one of the most commonly used file-formats for transposing movement captured in physical space, to a computational environment. Around this relatively legible format, a rich ecology of software tools developed. The file-format functions as a boundary object between practices and bodies, as it is used by animators, game developers, interface researchers, medical professionals, dance-historians, sports-analysts and engineers.
Together we will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.
The reading of the .bvh file format is developed with Adva Zakai in the context of Possible Bodies, a collaborative research initiated by Jara Rocha and Femke Snelting on the very concrete and at the same time complex and fictional entities that “bodies” are, and the matter-cultural conditions of possibility that render them present.
Friday June 23rd
10:00 >13:00 Exhibition visit (Bozar) and discussion with Vincent Meessen
Starts at Bozar Main entrance
In this afternoon, artist Vincent Meessen will take us through his Bozar show, that comes from his recent practice that involves research, historicization, and speculation about congolese works of art that have been commissioned and (re-)contextualized in the early 30’s. Starting from there, we can raise some issues about what a work of art is expected to be and how it can shift meaning with context and neighbouring artefacts.
More about the show Patterns for (Re)cognition by Tshela Tendu & Vincent Meessen, Opening 16th June at BOZAR: http://www.bozar.be/nl/activities/124891-tshela-tendu-vincent-meessen
14:00 >17:00 Masterclass Olga de Soto
Olga de Soto will share her research project that has Kurt Jooss’ The Green Table (1932) as a starting point. She will display the process, methods, research protocols and strategies that she has developed over time, and through which she addresses the question of reconstruction, re-enactment and revival from the perspective of the trace, both material and immaterial, in order to analyse the several charges the work contain (social, political, dramatic, emotional...).
She will share with us how she approached Jooss' work through the archive, the trace and the document, proposing to circumvent the traditional modalities of transmission in dance, in order to probe the archive’s "capabilities" to say the work, as well to examine the archive's "becoming-work".
We will observe how the project and its process unfolded simultaneously into two levels: on a documentary research level and on a creation level. With the help of several documents, we will observe how the documentary research was developed, dedicated in part to researching and documenting the perception and transmission of The Green Table, seeking out iconographic material (through the gathering of numerous documents of different kinds), analysing the choreographic characteristics of the work and looking for witnesses – dancers and audience members from different origins and generations, in order to study the perception of the work through the prism of the viewer’s gaze (using the interview as a tool to collect memories, focusing on the importance of the testimony and oral sources).
Saturday June 24th 12:00 > 18:00
In this afternoon of presentations, screenings, and performances, the four invited practitioners will take us to dive deeper into different case studies.
12:30 Sofia Caesar: Introduction talk
13:00 Femke Snelting
Femke Snelting will present a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. Together they will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.
14:00 Olga de Soto
Olga de Soto will share some excerpts of Débords, work presented at Les Halles in 2012, as well as some excerpts of the installation she is currently working on, and that was partially presented this Spring at Museum für Neue Kunst, in Freiburg. The presentation will be punctuated with a discussion on the work.
15:30 Vincent Meessen
Vincent Meessen will screen “One. Two. Three.”, piece presented in Wiels in 2016, followed by a talk about his strategies of re-composition and counter-narratives.
16:30 Agency (Kobe Matthys)
“What if ephemeral things become included within art practices?” Thing 001678 (Le Jeune Homme et la Mort) concerns a conflict between on the one hand Roger Eudes, Théâtre Champs-Elysées, and on the other hand Jean Guttmann (Babilée) and Jean Cocteau about the performance Le Jeune Homme et la Mort. On June 8, 1960, the court case Eudes c. Gutmann, Cocteau et autres took place at the Cour d’appel de Paris. Judge Rousselet had to decide who owned the rights over the movements of the performance, Eudes who hired Jean Gutmann to “translate” Jean Cocteau his drama into ballet movements or Cocteau who wrote the script of Le Jeune Homme et la Mort.
17:30 Book launch with Juan Dominguez and Victoria Perez Rojo
The book Dirty Room is the fourth and last phase of Juan Dominguez’s research, developed during 2015-16 as a.pass associate researcher. Dirty Room is a collection of outlines, notes, ideas, reflections, photographic materials, maps, manifestos, fragments from diaries, transcriptions of conversations, interviews, email exchanges, memoirs, memories and scripts, among other documents from the working and research process that led to Clean Room. Clean Room was a project based on the concept of seriality with a pilot and 3 more seasons of 6 episodes each that took place from 2010 to 2016.
Dirty Room offers the readers an immersion in the process of the project Clean Room. It is a book in which there are no critical essays, or texts speaking only from the external position of the spectator. All of the contributions are part of the ongoing research and working process of Clean Room, either continually accompanying it over long periods or as one-off contributions at a specific moments. This decision highlights the great potential of the process in its fragmentary, undefined and open nature not only for the transmission of knowledge and ideas, but above all for stimulating imaginative processes to connect with the concerns that set the series in motion.
Edited by: Juan Domínguez and Victoria Pérez Royo
Editorial: Continta me tienes
Executive Production: manyone
Madrid, May 2017
Translations by Ana Buitrago, Simon Malone and Catherine Phelps
This is a publication by the a.pass research centre.
About the participants
"Transform documents into experiences and vice versa". This phrase by Aby Warburg could definitely be used to introduce Vincent Meessen's speculative realism, or as he calls it: 'documents d'expérience'. His archival investigations always lead to loose associations and appropriative gestures that are rewritten into critical narratives.
In his latest modular installations he combines films with printed matter and sculptures. Meessen produces narratives that question our ability to deal with the colonial ghosts of modernity. In his recent Vita Nova, he makes use of the filmic essay to re-read Roland Barthes in various postcolonial African situations, applying Barthes's deconstruction tools to some of his famous texts. Vincent Meessen likes to use procedures of collaboration that undermine the authority of the author and emphasize the intelligence of collectives and of conceptual characters. He is a founding member of the artist collective Potential Estate and of the platform for artistic research and production Jubilee (jubilee-art.org).
Recent shows include KIOSK (Ghent), ARS 11, Kiasma Museum (Helsinki), Stedelijk Museum Bureau (Amsterdam) and Contour Biennial for Moving Images (Mechelen). He worked together with the collective Potential Estate for the Brussels Biennial and M HKA (Antwerp). His filmworks were screened at Jeu de Paume, at Cinémathèque française (Paris), at Museo Reina Sofia (Madrid), at the Swiss Institute (NY) and at international festivals such as IDFA (Amsterdam), IFFR (Rotterdam), Cinéma du Réel (Paris) and Transmediale (Berlin). His films are distributed by Argos center for art & media (Brussels) (see also section on Art Organisations). Meessen has curated several film programs and exhibitions for various institutions including Extra City (Antwerp), Argos (Brussels), C.E.A.C (Xiamen, CH), E.R.B.A (Valence, F).
Agency is a Brussels-based initiative founded in 1992, which constitutes a growing list of 'things' that resist the radical split between the classifications of "nature" and "culture" and consequently between expressions and ideas, creations and facts, subjects and objects, humans and non-humans, originality and common, mind and body, etc.
Femke Snelting (Possible Bodies)
Artist and designer, developing projects at the intersection of design, feminism and free software. She is a core member of Constant, the Brussels-based association for arts and media, and co-initiated the design/research team Open Source Publishing (OSP). With delegates Jara Rocha, Seda Guerses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools. She formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring and recently co-ordinated the Libre Graphics Research Unit, a European partnership investigating inter-relations between free software tools and artistic practice. Femke teaches at the Piet Zwart Institute (Master Media Design and Communication).
Possible Bodies is a collaborative research on the very concrete and at the same time complex and fictional entities that “bodies” are, asking what matter-cultural conditions of possibility render them present. This becomes especially urgent in contact with the technologies, infrastructures and techniques of 3D tracking, modelling and scanning. Intersecting issues of race, gender, class, age and ability resurface through these performative as well as representational practices. The research is concerned with genealogies of how bodies and technologies have been mutually constituted. It interrogates corpo-realities and their orientation through parametric interfaces and looks at anatomies that are computationally constrained by the requirements of mesh-modelling. It invites the generation of concepts and experimental renderings, wild combinations and digital and non-digital prototypes for different embodiments. Collectors: Jara Rocha + Femke Snelting.
Her collaborator Adva Zakai is a choreographer, performer and curator who explores how body and language are perceived through each other.
Olga de Soto
Olga de Soto Olga de Soto is choreographer and dance researcher, born in Valencia, she lives in Brussels. She graduates from CNDC / Centre National de Danse Contemporaine d’Angers, after having studied classical ballet, contemporary dance and music theory in Valencia and in Madrid. Her creation work begins in 1992, and includes the creation of numerous works of different formats. Since the end of the ’90, her work focuses on the study of memory, and it questions the impact of live art, its usefulness its lasting quality, deploying itself along two axes. The first centres on the study of the body's memory through the creation of works, aiming at a pluralistic approach to dance and the body, in works creations such as anarborescences (Théâtre de la Cité internationale, Paris, 1999), Éclats mats (Centre Pompidou, Paris, 2001), INCORPORER ce qui reste ici au dans mon cœur (Centre Pompidou, Paris, 2004-2009). The second axis explores works from the history of dance as part of an approach governed by the study of perceptual memory, that of spectators and dancers. The resulting projects emphasize the importance of the processes and pay particular attention to documents, to the process of documentation, to testimony, to archives and oral sources, narrative and storytelling, particularly in works such as histoire(s) (Kunstenfestivaldesarts, Brussels, 2004), An Introduction (Tanz Im August, Berlin, 2010) or Débords (Festival d’Automne, Paris, 2012). These projects are interested in the experience of the viewer and in the anthropology of the spectacle, while developing through an approach that studies the aesthetic experience based on the oral history of works from the past. Her last projects genuinely mix the languages of choreography with those of documentary, performance, visual arts and installation, playing with the porousness of these disciplines. The work of the choreographer also reveals the strong links between art history, social and political history, and personal paths. Olga de Soto’s work has been shown in some twenty countries, an she is regularly invited to teach and to lead workshops and classes in various universities, as well as to collaborate in conferences where she shares her research methodology and her documentation work. She was awarded the SACD Prize 2013 in the category of Performing Arts for both her trajectory and her research work on Dance History, and specially for her research and creation work on The Green Table.
03 September 2018
posted by: Lilia Mestre
A month residency at ZSenne ArtLab : On Anarchiving > On Love > On Score -ing > On the spot > On presence
Gatherings of parallel parasite platforms for practice based research in the arts > If you want to know, come!
From the 4th till the 30th of June the a.pass Research Centre (RC) will be in residency at ZSenne ArtLab and will constitute itself as people meet, as thematics emerge, as the environment conditions, as the weather manifests, as the bodies form, as toxicity persists, as we drive ourselves towards multiplying perspectives for thinking and experiencing phenomena emerging from artistic research practices.
The RC will function as a meeting point for the convergence of concerns, interests and the pleasures of learning together. It will research itself and its modus operandi in terms of hospitality, dissensus and criticality through the various research practices proposed.
The propositions start from reading groups, activating thinking/doing practices, score -ing, speculative talks, and registration/documentation formats in order to converge multiple insights that might (and not must) infuse other formats of reflecting/experiencing framed by the quasi public environment of the gallery space.
The Research Center in residency invites several guests which are thinking and experiencing ‘gathering’ as a form of knowledge processing bridging theoretical and experiential approaches. These gatherings don’t depart from personal concerns but aim to mine inter-subjective frame works to question artistic research as a learning together practice.
This point of address for the a.pass RC next block, comes from two main curatorial concerns. The first is about the publicness of a Research Centre for artistic research and its visibility, accessibility and share-ability. What are the internal and external demands and needs of such environments? The second comes from an observation on what I’m calling parallel-parasite platforms for practice based research in the arts.
a.pass is constantly questioning the positionality and share-ability of what we learn and interrogating the political implications of the research practices. In response to those problematics, as RC curator, my proposition is the dislocation of the RC to a semi-public environment and to locate it temporary in a gallery space, one of the per-se spaces for the exhibition. The question driving this movement (from the inside to the outside) is: can the a.pass RC in dis-location generate a hub for the study of some of its practices? can this movement instigate other forms of share-ability and access that are informal and porous? We’ll be addressing the agency of such public-ness and how it will be giving perspective to the critical doing and the critical thinking in artistic research and what forms of sociability will be generated.
The three main proposals are: SOL (School of Love) proposed by Adva Zakai, The way of the Anarchive proposed by Erin Manning (SenseLAb) and ScoreScapes proposed by Lilia Mestre (a.pass). These invited quasi – institutional setups affiliated in one way or another with the academic environment are experimental formats of learning processes that are critically challenging modes of knowledge production in artistic research. All these ‘parallel-parasite platforms’ or ‘ways of doing’ are engaged in thinking-doing practices that converge theoretical and artistic research practice approaches in the arts.
SOL / School Of Love is an initiative of students and teachers from the Autonome Vormgeving department at KASK. SOL came to existence spontaneously as a school inside a school, in March 2016, out of a workshop that explored the notions of Love and School as modes of attention. SOL has no predetermined curriculum. It avoids defining itself and its goals in order to allow activities to emerge through the presence and interest of its participants, who come from inside KASK as well from outside of the institution. Anyone can be a part of SOL, anything can become a project in it, and it can take place anywhere, as long as it’s stimulated by the will to re-think both school and love as charged with potential for change and engagement in society. It is what we make it to be.
The SenseLab is a laboratory for thought in motion.
Based in Montreal, the SenseLab is an international network of artists and academics, writers and makers, from a wide diversity of fields, working together at the crossroads of philosophy, art, and activism.
Participants are held together by affinity rather than by any structure of membership or institutional hierarchy. The SenseLab’s event-based projects are collectively self-organizing. Their aim is to experiment with creative techniques for thought in the act. The SenseLab’s product is its process, which is meant to disseminate. The measure of success is the creative momentum that spins off into individual and group practices elsewhere, to seed new processes asserting their own autonomy. The SenseLab makes no claim to ownership, operating as much as possible on the principle of a gift economy.
This block will follow up on the thinking the archival concerns of artistic research at a.pass. The interest crawls out of the virtual into the physical public sphere wanting to add another aspect to it. The Zsenne will be taken as a sensor environment for the working upon collective processes of archive and anarchive. For this precise question we’ll be working with Erin Manning and her knowledge on the Anarchive as part of the Immediations project in SenseLab.
1.The anarchive is best defined for the purposes of the Immediations project as a repertory of traces of collaborative research-creation events. The traces are not inert, but are carriers of potential. They are reactivatable, and their reactivation helps trigger a new event which continues the creative process from which they came, but in a new iteration.2.Thus the anarchive is not documentation of a past activity. Rather, it is a feed-forward mechanism for lines of creative process, under continuing variation.
3.The anarchive needs documentation – the archive – from which to depart and through which to pass. It is an excess energy of the archive: a kind of supplement or surplus-value of the archive.
In this movement between having to retreat from the world and then go back to the world as both places to make sense (study) of our relation with things, various questions start to appear: What is the importance and articulation of doing/thinking practices? And what kind of positionality would this create in the semi-academic frame work?What kind of environments and practices can we envisage to share political/ aesthetic concerns? what kind of ‘library’ would we build to address these concerns?
Each practice will have a specific way of opening to the public and more specific formats will be announced in detail as we go along. For now the basic structure is a daily private practice fora group of invited artistic researchers and an open door practice everyday from 17:30 till 20:00 where public conversations and doings welcome the interested and the passerby.
The RC is mainly working with alumni and associated researchers linked with the a.pass Research Centre. For Parallel Parasite we are: Alex Arteaga, Silvia Pinto Coelho, Bojana Cvejic, Nikolaus Gansterer, Nicolas Galeazzi, Adrijana Gvozdenović, Nico Dockx, Steven Jouwersma, Halbe Kuipers, Pia Louwerens, Sara Manente, Marialena Merouda, Erin Manning, Brian Massumi, Lilia Mestre, Martino Morandi, Pierre Rubio, Sina Seifee, Eric Thielemans, Femke Snelting, Eleanor Ivory Weber, Adva Zakai, Veridiana Zurita with Petra Van Dyck and Lea Dietschmann .
and the post-master researchers: Elen Braga, Nasia Fourtouni, Leo Kay, Laura Pante, Geert Vaes, Maurice Meewisse, Caterina Mora, Ezther Nemethi, Hoda Siahtiri, Goda Palekaite, Katinka Van Gorkum.
Forms of learning together is a central approach in the post-master’s program of a.pass (platform for artistic research practices) and has a background in art run organisations as models of self-organisation and collaboration. It views art practice and artistic research as situated, critical and autonomous processes contributing for the politisation of modes of gathering and learning together.
ScoreScapes is a research on how to create frameworks for bringing together diverse artistic practices to ‘speak’ to each other without having a common constraint in terms of content or form. To find systems of interaction where different aesthetic experiences cohabitate, complement, disagree and motivate thirdness together with the possibility to trace it. Like a maze of potentials hovering over us participants of the score.
A central concern in the ScoreSacpes research is the development of modes of being together with our individual backgrounds, moods, sensibles, political concerns, theories, … Through a system of questions and answers set in time, the scores propose regular encounters as a mode of intensive exchange about individual experiences that interconnect with others. In this sense the score proposes a form of sociability. To work with scores allows to follow up and evaluate these relationships constantly. The score evolutions are guidelines for the progress of the study and facilitate a chronological trajectory of the research. To make scores is also to produce documents in order to observe the paradigms that are at stake while making art. The unexpected and unforeseen event is always a surprising call to pay attention to the performative aspect of things, to the condition of all existence as experiential events. The score becomes a life art laboratory for multidisciplinary practices and pluri-focus presences. An attempt to shift from an art-to-look-at to an art to experience.
27 June 2020
posted by: Vladimir Miller
As a publicly funded educational platform, a.pass is reviewed by the ministry of education in regular five-year intervals. With the next review process underway, a.pass took the opportunity to propose a collaborative process of self-evaluation to four other educational institutions - DAI - Dutch Art Institute, NL; Jan Van Eyck Academy, NL; Royal Academy of Fine Arts Antwerpen, BE and Uniarts Helsinki, FI in the field of artistic research. This process is motivated by a desire to establish a platform for mutual criticality where institutions of artistic research are not pushed to compete against each other, but can meet as partners sharing many of the same stakes. This critical intra-vision is also a balancing measure to the tendencies of such evaluations to produce an equalizing standard in a respective field of cultural production. Instead we aim to understand, compare and strengthen our differences, in order to create greater specificity and add complexity to the developing field of artistic research.
The upcoming conference "Research Futures" will bring representatives from five institutions of artistic research together with professionals working in the field of education, arts, culture, artistic research, curation and activism to engage with a series of questions emerging from this comparative (self)-study. We want to understand better what is the range of educational and institutional strategies and practices operating in the field of artistic research today. Where do we see common struggles, pitfalls and current problematics with respect to our concerns with inclusivity, sustainable support structures, institutionalization of artistic research and politics of publication. And finally we would like to compare ourselves to the future: what are possible scenarios for artistic research to continue its contribution to the field of artistic production, and how can these contributions respond to the changing social realities of a challenging future?
The conference will proceed in three steps, growing from a meeting to a debate.
On day one the representatives of the contributing institutions will meet to review the process of self evaluation. Moderated by Delphine Hesters, we will look for commonalities and differences between our institutions and how they operate and address the challenges we outlined together in our shared reports. This meeting will develop areas of concern to pass on to the next round of discussions the following day.
For step two we invited ca. 20 practitioners and professionals from the field of cultural production, education and artistic research to come together with us in a working session dedicated to the topics proposed on day one. Gathered around the topics in groups, the main objective will be for each group to critically develop relationships between present conditions and implications and future scenarios. Which relevance will this particular concern have in the future, how will it change in response to the developments of its social, economical and political context, what will be possible responses, adaptations and strategies to address those changes? Each group will be accompanied by a "reporter", someone who will take notes and compile an ad hoc report for the debate the next day.
At step three we will open the content developed in the groups to a collective process. With the help of the "reporters", the groups will present their findings to all present. The subsequent discussion, will be open to questions, comments, critique and contributions from all sides. This part will also be documented in audio and writing, and, together with the reports from preceding steps, contribute to a joined workshop conference report, that will be published and made available later in the year.
List of participants (tbc):
KASK - Heike Langsdorf, Frederique Le Roy; Adva Zakai; RITS - Geert Opsomer, Klaas Tindemans, Action Plan Europe - Tere Badia; PARTS - Bojana Cveijc, Charlotte Vandevyver; ROYAL ACADEMY FINE ARTS ANTWERP - Els De Bruyn, ERG - Laurence Rassel; CAVEAT - Ronny Heiremans, Kathleen Vermeir; KAAITHEATRE - Agnes Quackles; KANAL - Centre Pompidou - Guy Gypens; BUDA Kortrijk - Mathilde Villeneuve; LA LOGE- Laura Herman; WIELS Eva Gorsse; INDEPENDANT RESEARCHERS: Philippine Hoegen , Sébastien Hendrickx, Kristien Van den Brande, Sina Seifee and the Post-Graduate and Associated Researchers of a.pass; Benchmark participating institutions: Hicham Khalidi (Jan Van Eyck Academy), Elo Mika (Uniarts Helsinki), Gabriëlle Schleijpen (DAI), Nico Docks and Els De Bruyn (Royal Academy Fine Arts Antwerp); Moderator - Delphine Hesters
Curated by Lilia Mestre and Vladimir Miller
July 10th 2020, 14h-18h, online
a.pass cordially invites you to join the workshop presentations and public debate of the conference Research Futures on the 10th of July at 14h (online )
The three day conference will take the form of a gradually expanding meeting of practitioners in the fields of art, education and artistic research. On Friday the 10th, the result of the previous day's workgroups will be presented and the conference will open up to a public Q&A and debate. The link for online attendance will be posted on the a.pass website on the 10th of July.
The link for online participation will be placed here:
you will be prompted if you want to use your microphone by the BBB software.
You can click yes. if you wish so.
Please mute your microphone when you enter the room. (bottom of the screen)
please find the full conference announcement here
posted by: Sina Seifee
Please note that all replies and comments in this report are not verbatim transcriptions but thematic summaries. For full statements made on the public Day 3 please see the video recordings.
On July 8-10, 2020 a.pass has hosted the conference Research Futures. The conference took the form of a gradually expanding meeting of practitioners in the fields of art, education and artistic research. The conference was initiated by a.pass in collaboration with four other institutions of artistic research participating in a.pass' comparative benchmarking study: Dutch Art Institute, Jan Van Eyck Academy, UNIARTS Helsinki and Royal Academy of Fine Arts Antwerp. The conference brought representatives from these five institutions together with professionals working in the field of education, arts, culture, artistic research, curation and activism to expand the result of the comparative study towards a series of questions concerning the futures of artistic research in relationship to its institutions.
As a publicly funded educational platform, a.pass is reviewed by the ministry of education in regular five-year intervals. With the next review process underway, a.pass took the opportunity to propose a collaborative process of self-evaluation to four other educational institutions in the field of artistic research. This process was motivated by a desire to establish a platform for mutual criticality where institutions of artistic research are not pushed to compete against each other, but can meet as partners sharing many of the same stakes. This critical intra-vision is also a balancing measure to the tendencies of such evaluations to produce an equalizing standard in a respective field of cultural production. Instead we aimed to understand, compare and strengthen our differences, in order to create greater specificity and add complexity to the developing field of artistic research.
By proposing the conference we wanted to better understand what is the range of educational and institutional strategies and practices operating in the field of artistic research today. Where do we see common struggles, pitfalls and current problematics with respect to our concerns with inclusivity, sustainable support structures, institutionalization of artistic research and politics of publication? By posing these questions we wanted to compare ourselves to the future: what are possible scenarios for artistic research to continue its contribution to the field of artistic development and production, and how can these contributions respond to the changing social realities of a challenging future?
Day 1, July 8th
On day one the representatives of the contributing institutions met to review the process of self evaluation so far. Moderated by Delphine Hesters, the independent researcher who compiled the comparative study, we looked for commonalities and differences between our institutions and how they operate and addressed the challenges we outlined together in our shared reports.
The day started with a presentation of Delphine Hesters on the main conclusions of the comparative benchmark study. Delphine summarized her findings around following main areas, here quoted with brief excerpts:
"Defending or maintaining this open approach of artistic research is not self-evident. [...] Another kind of challenge is that the institute’s open approach of artistic research does not necessarily meet an equally open definition within the funding bodies upon which artistic research projects are dependent.
If we recognize that breaking from the predefined and segregating boundaries between disciplines, professions and fields of knowledge is an essential part of artistic research, it is clear that finding strategies for dealing with conflicting norms and for crafting autonomous spaces is important for the future of artistic research."
Individuality and collaboration
"The dominant belief within the art field remains that artists are first and foremost individual creators or authors. Similarly, academic researchers testify to an individualized learning path from the bachelor’s degree to the PhD and beyond." Delphine concludes that among the participating institutions exists range of collaborative approaches to break away from this ideology of individual excellence and stimulate the collectivity of artistic and research practices alike.
Selection of candidates
"The selection procedures of the five institutes are rather similar and based on written applications, including a research proposal, CV, portfolio and motivation letter from the candidate.
The selection in all the institutes is primarily based on the quality of the proposals and the artistic trajectory of the candidate. This ‘quality’ has no formal measure and is judged by selection committees (in different set-ups) with expertise in the field."
Archiving, documenting, publishing and dissemination
"The public events organized by the institutes, which equally take multiple forms, are important drivers for the dissemination of research, both as inherent parts of the research process and as markers of its end. They are also important for the creation of a critical community of participants, ex-participants and external people – researchers, practitioners and engaged others."
Evaluation, sustainability and sustainable management
"For independent institutions like a.pass or the Jan van Eyck Academy, building their own archives, administrational procedures or publication tools allows them to invent tailor-made solutions to their own questions about documentation, administration and publication and the ways in which they are interwoven. However, it demands a considerable investment of time and money, as well as in the knowledge of their teams. These institutes can establish diverse partnerships with other organizations, but they need to build them up and maintain them solely by their own effort. This is also true in regard to the development of procedures for preventing and responding to possible cases of discrimination or harassment. [...] The larger institutes also have more elaborate protocols available in regard to prevention of and response to forms of discrimination or harassment (while it remains up to each research or education unit to bring them into practice)."
" [...] In short, the promises of working autonomously are powerful and important, especially given the core of these institutes is to create an open and adaptable context in which artistic research can be developed and expanded. However, whether this potential is realized and whether the institutions can bring their practices in line with their principles, depends on the means they are able to secure to invest on all of these levels."
The shared overall outcome was that although the institutions represent a wide range of positions and practices on all of these topics, the study and the meeting showed that there exist a great commonality of sharing them as concerns.
The subsequent discussion revolved among others around questions like:
The second half of the meeting was devoted to developing four topics to pass on to the next round of discussions the following day. The over-arching concern shared by all participants of Day 1 was the question of how to institute artistic research. The four topics were formulated in order to allow the table groups of Day 2 to speculate on possible and impossible futures: which contexts of artistic research will persist, which will change in the future? Which directions will current developments and status quo take? In short: which futures do we want to compare ourselves to? The four topics that were developed for Day 2 are:
The topics themselves are reported on below, as they were included in the public introduction to the day.
Day 2, July 9th
For Day 2 of the conference we invited ca. 20 practitioners and professionals from the field of cultural production, education and artistic research to come together with us in a working session dedicated to the four topics proposed on day one. Gathered around the topics in groups, the main objective was for each group to critically develop relationships between present conditions and implications and their future scenarios. Each group was accompanied by a Reporter, an artistic research practitioner whom we asked to develop and facilitate a specific mode of conversations among the participants of their Table, and who took on the task of compiling a report on the work of the Table for the public discussion of Day 3.
At the start of the day, Delphine Hesters introduced the results of the comparative study, the discussion of Day 1 and the four topics for the Tables. The Day proceeded by coming together in four groups around the table practices and topics. The following list combines the proposed topics with a brief overview of the proposed practice. The Day concluded with a collective feedback on the process and further questions.
The reports of the Tables process and discussion were presented publicly on Day three and will be discussed in this report there.
TABLE 1: Institutional Autonomy within Larger Systems
What relations to build to 'the larger system'? How to position ourselves within the larger whole?
Reporter: Kristien Van Den Brande
To facilitate these questions Kristien Van den Brande proposed a roleplaying game: The rise and fall of a dystopian regime for (institutional) artistic research. “Rise and Fall” is a role-play in which players create a dystopia, explore its rise to power, experience how everyday life operates during its tenure, identify how the regime is brought down and envision the reemergence of life in and beyond its ruins.
The role-players were invited to explore the question: What are the roots of (institutional) artistic research during each of these phases, concretely or metaphorically?
TABLE 2: Internal Relations
How to build the relationships between the institutes and their participants?
Reporter: Philippine Hoegen
Phillippine Hoegen proposed to work with an online mapping tool. Several mechanisms of collecting keywords and grouping them into common concerns served as a visual tool to facilitate a self critical look at the organisation of internal structures and relations between participants and all persons working within the institution.
TABLE 3: How to be Public? Where to be public?
Reporter: Sébastien Hendrickx
Séba Hendrickx’ practice aimed at speculative collaboration open to neurodiversity. The participants of this Table were invited to make a pluralistic mind-map in form of a collective wall drawing. Each participant could elaborate on the drawings, diagrams and writings of the others. Misunderstanding and being lost in translation were inherent to the practice. With drawings or remarks of his own, the Reporter of this Table tried to push the map- and discussion-in-progress in speciﬁc directions.
TABLE 4: Instituting Transformation
How to institute transformation and what resists instituting?
Reporter: Sina Seifee
Sina Seifee proposed a Table-session as a moderated conversation around the central question of transformation in regard to artistic institutions and their sustainability. In the process of transformations whole classes of questions, phenomena and forms of knowledge may be lost or rendered unthinkable. Institutional transformations can reorder our sense of value and structure in the world, as well as change the way we embed social norms. The aim of the conversation was to give more specificity to the different kinds of transformation. The session began by asking the participants: what new forms of organization and community are emerging in your particular institutions? What power relations do they rely on, create, or destroy?
Day 3, July 10th
For this day a.pass invited all participants of the previous days and the public into the process. The link for online participation via a video conference platform was published online, and an invitation was sent out. After an introduction by Delphine Hesters, the Reporters of the Table groups presented their reports to the public. Each presentation was followed by a discussion and was open to questions, comments.Introduction to Day 3
[video width="1920" height="1080" mp4="https:///www.apass.be/wp-content/uploads/2020/10/Future-Research-Conference-introduction.mp4"][/video]
The Introduction brought back some question and topics of the Groups of Day 2 to Day 3:
Reports by the Reporters
[video width="1440" height="1080" mp4="https:///www.apass.be/wp-content/uploads/2020/10/future-research-conference-Tables-smalll-2-1.mp4"][/video]
Table 1 Report
Kristien Van Den Brande
INSTITUTIONAL AUTONOMY WITHIN LARGER SYSTEMS
Tackled through a role playing game.
dreamer (instagram influencer with a fashion line)
uber-socialist (young artist)
rebel (black-block activist seen as vandal)
archivist (big data manager)
Instead of making an exhaustive list of ‘larger systems’, we created a (more or less) fictitious dystopian* world in which to position the question of (institutional) autonomy. The idea was to create 3 stages (rise, establishment, fall) of a dystopia, and to see how (individual and institutional) resistance and collaborations* operate in every stage.
*relative term (where does it touch on utopia? Rise and fall have interwoven features.)
*in the double sense: in the positive sense, and in the sense of (un)consciously being on the side of what is criticized.
What were the features of the world:
Over-bureaucracy and looming of legal threats (seeking legal representation for conflict in the absence of a society of trust)
Philosophically we are probably aligned in thinking entanglements rather than autonomy (Rancière, Donna Haraway, Tim Ingold). The only autonomy is an awareness of our non-autonomy.
Creates a shift in the questions we can/should ask?
Instead of thinking the borders of an institute, focusing on connecting lines: how to generate feedback-loops between ARers - the institute - other systems?
! Time-factor: what is the life span of an artist-run organisation, a research institute, a board.
How to deal with the double threat of annihilation of the institute (it wants to be open to change) + the institute that takes care of itself when it panics?
Threat comes from
Open discussion after the presentation:
> “Me too” harassment, Black Lives Matters are all examples that need quick institutional responses but we are confronted with the SLOWNESS OF THE INSTITUTION. There is the threat of annihilation but also the institute takes care of its own survival. The moment of panic is very tricky! Which strategies do institutions have to deal with those panic moments? Example of criticism: Witte de Wit had to deal with its colonial past: they spend a long period of time in attempt to change the name and then director put out a new program. But corona and black lives matter happened and things escalated because institutions were too slow and got heavily criticized. An Institute is slow to react and there is a precarity within an institute that needs to be sustained by its partners.
> What strategies can we think of to make such transitions possible, considering the kind of forces in question? Institutional memory should trace those moments and share the archive of these transitions.
> All institutions are hierarchical so we could talk of institutional schizoanalysis. For my experience, at X university, when there is a personal change, everything changes . It's faster if the person at the top takes decisions already because of peer pressure: sometimes it can be interesting for peers to point out the weak points. At X academy there were ongoing debates and in two days the director reacted. We have to help each other (peers to director etc...). How do you become a better director and person?
> What kind of feedback loops do we organize in order to catch up?
> I'm happy that institutions are slow. Change is also slow. We are looking for ways to move together. The legal paradigm in which we need to inscribe in is organized hierarchically. To balance insecurity of AR and have an institution that gives you the opportunity to do the research.
> People are divided in the classroom and I have the responsibility as a professor. We still don't recognize structural racism etc.. there's a lot to do. How fast can we catch up without making a quick fix? “Not too know” it's not good from my position while the world is on fire!
> It is problematic having to respond fast because you are giving yourself the authority to do it. How to create a place of discussion instead of decision?
> A level of transparency is needed so one can see the progresses. With opacity of institutions, there is no sense of what is possible.
> there is a double bind of slowness/fastness. Slowness is resistance but “the world is on fire” and how do you respond? Maybe a way forward is in relation to what's happening to representative democracy (in Belgium). How to make it more participatory? You don't abolish existing institutes but you establish a faster reacting extra part of it. Could there be a way to make debate platforms in a more continuous manner and not ad hoc as a way to combine qualities of fast and slow.
> “you have to be fast and you can't be wrong!” doesn't sound very interdependent.
> don't forget that certain regulations come from a want, they are there for a reason.
Table 2 Report
Internal Institutional Structures for Instituting Artistic Research
The aim of the discussion about internal institutional structures for instituting artistic research was to take a (self) critical look at the organisation of internal structures and relations between participants and all persons working within the institutions. We spoke through 3 categories: 1. structures of decision making and organisation, (including formal and informal hierarchies). 2. Structures and instruments of self- and external evaluation. And 3. Relations with participants and their agencies.
Discussion Thursday 9th
There were representatives from 2 different institutions at the table, in some ways opposites, especially in scale. One institution, although it doesn't see itself as big, is of a much larger scale than the other, and with that, there is automatically more formal structuring. One is coming from specialisation and moving towards interdisciplinary, while the other is interdisciplinary by nature. One contains BA, MA and PHD, the other is post-MA.
None the less there were significant overlaps. And from this first glimpse it would appear that there are a lot of elements already present in the institutions which would be continued in a desirable future institution, but in some cases those are now present as concepts but not as practices. Or they are ambitions but not yet founding concepts. Other things are simply lacking, either as founding concepts or as practices. The most acutely missed factors are those that aren’t yet present within the ambitions of the institute.
Several subjects surfaced of which three stood out:
Discussion Friday 10th
For the third day of the conference on Friday the 10th of July, different scenarios for each subject were projected, showing possible trajectories to engage with the different issues. The scenario for the problem of self-evaluation was: institutional (self)-evaluation / critique becomes an integral part of artistic research processes. Both staff and researchers / participants are allotted time for that, and also for proposing / effectuating follow up and change.
For the issue of continuity, the scenario was simply: continuity is put firmly on the agenda of the institution. As simple as it sounds, it does come with the risk of further entrenchment in the neo-liberal conditions surrounding education as more money means more justification demands. The scenario that we discussed in particular was the one addressing institutional engagement and responsibility:
Scenario: The extra time needed for engaging with the institution by all parties is taken into account in the budget, there are rotating shifts for taking different responsibilities, meetings are well structured, time is allotted and roles planned ahead.
Questions and problems: -How to avoid becoming ensnared in tedious procedures? -How to measure what is a 'correct' spending of time? -The paradox of the formal and the informal.
The question of measuring time led to a debate, with on one side those people who are convinced that the monetary measurement of time is a waste of time and an unholy quest.
On the other hand, there were those who pointed out that remunerating time is simply fair practice, and a plea was made for considering administration as a form of care.
About the roles and agencies of participants, most people felt participants should and do have an important say in how an institution is run, but also that they are sometimes blind to the struggles of the institution, and for what it can and can’t do.
What we didn’t have time for, but might have been a necessary part two of that conversation is the other side of the coin: is potential of existing institutional blindness to some particular needs or struggles of participants.
Open discussion after the presentation:
> Paradox of inclusion: inclusion asks also for diversity in abilities, backgrounds etc, but at the same time it requires that we treat everybody equally. Difficult!
> What is the lifespan of the engagement with an institution?
> What is slow, what is fast?
> Question to other institutions: do you involve the other participants in the way the organization is made?
> on the slowness of regulations: for example legislation was made for the PhDs in the Arts to exist, but labour regulations (time, wage) are still rooted in a Fordist era. They not adjusted to the artistic reality and administration needs to deal with that.
> There is a lot of passion at institution Y, for the good and for the worst. There are practices of living together for a week, including the after-hours. Participants are living together, a group of 7-8 people. Different visions of roles, of labour and invisible labour co-exist. Covid was a bomb making those discussions blow up. Students positions are not that different from those of workers (crew/staff and tutors/guests). Alumni become crew and tutorial staff. We have political consciousness but budgets, regulations, hierarchies are also there. There's an urgency of many discussion. For instance, students have to work outside to pay the fee for Institution Y, but now they realized that their role is not so different from the guests and contributors. The director of Y is the only person with a full time wage and they have to do all the work that the others don't want to do. There is a difference between students and participants. There is a higher demand for accountability from students while they have to pay a fee.
How to move away from neoliberal approach of the student's demand to the institution to "serve"? But we all share other ideals so this discussion became very explosive.
>> counterargument: calculating time can save time. Taking care that tasks allocation is fair and equal.
>> Is emotional time considered in this calculation of time?
>> In Institution Z the age difference spans from 29 to 67 years old. Administrative care is needed. There is pressure on the institute to change: to enhance feedback process and evaluations. What is even possible?
Table 3 Report
On the ﬁrst day of the conference, four main topical ﬁelds were deﬁned as a basis for the following day. Our table - table 3 - was going to deal with the publicness of artistic research: how and where should it be made public, if at all?
The proposed practice aimed at speculative collaboration open to neurodiversity. Minds imagine differently: some tend to cohere, others to open up, analyze, criticize, associate, visualize, textualize, daydream, etc. There are advantages and disadvantages to mental slowness as well as to mental speed. We made a pluralistic mind-map: each participant could elaborate on the drawings, diagrams and writings of the others. Misunderstanding and being lost in translation were inherent to the practice. In order to prevent the whole group from falling off a cliff into a Sea of Randomness, a moderator lightly intervened from time to time. With drawings or remarks of his own, he tried to push the map- and discussion-in-progress in speciﬁc directions.
The practice consisted of the following elements:
We started from four distinct questions, which could be interrelated in various ways:
(1) Can artistic research just be without being public? Why / not?
(2) What are the advantages of secrecy for artistic research?
(3) How could artistic research relate to traditional knowledges and practices?
(4) Where to make artistic research public in 5 years from now?
On the third and last day of the conference, the moderator transformed into a reporter who, with the help of the laser-pen, guided the audience along his subjective trajectory through the map. He more or less said the following:
As our table dealt with the question of publicness, it is maybe not so surprising to see so many eyes show up on the map (which is actually, thanks to the horizon line, more of a landscape drawing - an image not drawn looking from the top down but while standing in the landscape itself). There is the many-eyed-monster who could be seen as a symbol for collective intelligence (or collective confusion, if you wish); there are the hollow non-eyes of a skull predicting the end of artistic research in the world to come; for some mysterious reason the dilettant is drawn with a pair of profoundly sad eyes; I particularly like the eye within the vague circle, which to me stands for the participant-observer, the researcher who’s more or less part of a ﬁeld (with all the messiness, paradoxes and complexities such an involvement can entail); very different is the distant, so-called objective or scientiﬁc eye right next to it - maybe that one refers to the gaze of the Academicized Fartist, the proliferating mock-version of the artistic researcher - whose worst emanation could approach the God-like Gaze (also to be found on the map). Most of these eyes, however, seem to represent the eyes of artistic researchers, while our main questions were related to the issue of publicness, so to the eyes of others. One of those eyes can be found looking at a tower. The ediﬁce itself has an eye drawn on it. The image suggests the tower can see while hiding from view what is happening inside of its walls. Artistic research could be a phase of invisibility for an artistic practice, a break in its publicness, a space for an artist to observe, try things out, transform, develop a praxis, all of this free from the pressure to be successful and productive, or to make sense immediately. As a basis for experimentation, the tower could be ﬁlled with lots of unﬁlled time, as is mentioned right underneath the image. Let us now move our attention to what some participants suggested could be called the Fartbox, even though the arrows clearly point out the cloudlike shape doesn’t forcefully leave but enters or envelops another entity. The box looks like a Russian doll: in the worldbox we can ﬁnd the artworldbox, and in the artworldbox there is the artistic research niche or ghetto. When artistic research is made public, in which of these boxes does it appear? And how? In order to become public, does it have to adapt, does it have to become a box itself, a form that ﬁts in? Or can it change - cloudify, melt or mould - the structures that be? The ghetto and the niche have another well known metaphor in their vicinity: the one of the church. Does artistic research only preach to the converted? Is its proud cosmopolitanism not much more than a rootless and at the same time profoundly provincial way of inhabiting the world? Considering the larger spheres of the Fartbox - the artworld and the world - one may wonder if artistic research ﬁrst and foremost feeds into an artist’s career or rather into his or her life. The map also suggests that any possible answer to the question of publicness strongly depends on one’s deﬁnition of artistic research. Some proclaimed artistic research is not a phase, but more something like a form or a type of practice - maybe even a discipline? According to them, in a world in turmoil, this form or type or discipline could beneﬁt from a more speciﬁc description. What if social innovation would be its main characteristic? Or social change (including tradition, next to innovation)? In that case, publicness wouldn’t mean becoming visible in the eyes of others, but acting (possibly in concert with others) upon the world. Could artistic research go viral? Could it be a tool for action and intervention - socially and culturally - or could it produce such tools? And which tools would be needed for this production? How would artistic research making use of rakes and spades and hammers and sickles instead of MacBook Pros, look like? What if artistic researchers would all give up on their latte frappe macchiato and massively migrate to the countryside to make their soft hands rough and dirty? The question each of them could at least ask him or herself is: if my research is a pebble, in which pond do I want it to make ripples?
Open discussion after the presentation:
> Is AR an attitude or practice? And how much do we take contemporary art as synonymous with AR? There are examples where art is deliberately instrumentalized for a research that is artistic in its methodology or genealogy and has political effects: Forensic Architecture, Chimurenga Collective and Wochenklausur in Austria. Are we then on the verge of passing into social work? Hijacking art could mean that if we cannot have political effect, can use the position of artists as joyful dilettante, can we use the naiveté of not being burdened by specialization or by bureaucratic difficulties to oppose political and social problems differently? How can artistic techniques be hijacked for that purpose? There is also an epistemic benefit, because we learn something about learning. The question remains why we still call it art and not activism? Should it be social work?
>> I change my mind about that question every day, on the days where I am more critical I see as Risk of diverging of political potential from real politics to symbolic places. From which position is that done? From a place of privilege?
> How far is secrecy is helping? Secrecy as a power position is different than invisibility of being powerless, of non agency. In my professional experience of many years I used working systems, loving systems, reading systems without talking about AR. Lately I have been doing AR in a big institutions with money but the care or time was not being given for discussing of what is what. “We don't want a debate about AR”. The whole discussion become a political field. Opacity/Tower of AR is a problem: AR is elitist or considered as such.
> there are different cultures of research: it gives space/time to certain practices, to different gestures, to safe spaces.
> teaching as artistic researcher in Institution A, in relationship to the question of secrecy as potential (from Table 3): Maybe the question of making AR public is a question of how it positions itself within a social environment not of how AR makes itself visible. If we think of AR as something that acts upon the world then AR is already public because it is in an environment. If we think about it as some kind of a pause, it carries some kind of secret knowledge. It is problematic if AR is a secret knowledge that is being produced and served as a finished dish. AR has the power to dwell in a non-articulated phase, but also share from that phase. Seen like this AR is maybe an attitude. I prefer calling is pre-articulation.
> Focused on AR, productions and fair practices within the arts. There is not an opposition between the public and AR, but it can be a weaving together with the public. One should not stay too long in the room, but share, get feedback and develop together with the public. Being artist and researcher is not a decoration, I think it's clear that is a real necessity of life. Neoliberal times makes seem the arts and AR useless. If so, then you can ask what is the legitimacy of all human endeavours (philosophy...), in the arts not everything should be productive.
Table 4 Report
The session was proposed in the spirit of conversation around the central question of transformation in regard to artistic institutions and their sustainability. In the process of transformations whole classes of questions, phenomena and forms of knowledge may be lost or rendered unthinkable. Institutional transformations can reorder our sense of value and structure in the world, as well as change the way we embed social norms. The aim of the discussion was to give more specificity the different kinds of transformation in question. The session began by asking the participants: what new forms of organization and community are emerging in your particular institutions? What power relations do they rely on, create, or destroy?
During the session we talked about role of educational organizations in geopolitics as international relations influenced by geographical factors. The aspect of geopolitics relevant to this context can be defined as the question of who gets to move where at what cost. These topics were raised:
Two distinct positions were articulated in the session:
In this session we visited two modes of thinking togetherness in Europe: (1) internationalism, as mode in which one connects "among" the other actors. This position recognizes distance and domestic borders, but works in interaction with them. And (2), transnationalism, in which one thinks "beyond" what constitutes as difference and distance. The institution is invested in foreign operation, and acts beyond or across national boundaries.
Open discussion after the presentation:
> Notion of the (g)Local was important for the discussion. There were several positions on how to see this.
> Framing was discussed, bad local and good local are possible. Not traveling makes us rethink the idea of local. But it is also food for a nationalist approaches. How would we work with this idea?
>> this conference is a good example of how to think this
> Good and bad digital was mentioned. In the future scenarios mobility will be restricted to the 1%, and big tech will have the only means to educate. There is a danger of not coming together anymore. Mobility is already exclusive if you consider visa restrictions.
> How to create longer phases of engagement and alternatives time zones in order to engage deeply with a place? Nationalism is not about the local, but about a specific layer of the society.
> Institutions are nodes of international attraction. Can we think further than that? There is no culture of AR in many places (example Italy). It is important to include other localities which do not have cultures of AR.
>> for example the rural vs the urban, to include the rural.
> Trans means to go *(active movement) beyond, while inter is inbetween *(stuck, passive). Transnational and not International
> Institutions have a wish for inclusivity as long as it does not change the culture of AR. Inclusion must come with the courage to change standards.
> An open definition of AR is not open in the sense of "whatever", but in the sense of being open to actualization and transformation.
Summary of Day 3
[video width="1920" height="1080" mp4="https:///www.apass.be/wp-content/uploads/2020/10/Future-Research-Conferencefinal-overview-and-Q.mp4"][/video]
In the last hour of this debate, Delphine Hesters presented her summary of the discussions of the day and outlined trajectories of the debate so far. She proposed a mapping (see picture) where she outlined and grouped the topics discussed during the Reporter's presentations along a future timeline for a speculative year 2035. Her main groupings were:
Practices to give up:
Institutions as service provider
hiding behind slowness
being in the position in which we have to legitimate ourselves
constant measuring of time in order to remunerate
Practices to nurture:
set up continuous debates that don't have to be conclusive
take advantage of the slowness of institutions - possibility of thorough-ness, resistance, dialogue. (debates need slowness)
administration as care
having principles of self-evaluation
(formal) structures to make informality happen
accommodate different „time zones“, also the different requirements of time that different practices need. (but the question of how to measure time stays, we still are in an approach to time as labour and labour as time. it is a trap for AR and arts)
tweaking of the bureaucratic requirements, pirate versions of existing models
ask yourself - who has to move where at what cost
the institution should be public - share your archive, show how you change, how you work
ask yourself - in which pond do you make ripples? which circles you want to create?
map your entanglements, know your dependencies and autonomies
weaving with the public
Think what could annihilate your institution
Balance self care & being ready for change
'being public' as acting upon the world
Think in terms of currencies instead of positions and hierarchies
approach to AR as both open and specific
The day concluded with reactions, feedback and proposals for next steps. Here is a transcript of that discussion, without naming the contributors. Direct reactions are marked with >, responses to comments with >>
> Repetition of wealth - for you a visa is a right but that doesn't count for everyone
> Transparency adding nuance - an institution is not a homogeneous space, which moves within different worlds, there is also the importance to resist having to share everything,
>> The demand for transparency comes from a lack of trust.
>> Maybe also the idea of visibility and transparency as a system of control
>> Transparency has to do with control, but also it is about complexity. For a lot of administrative people this is a mountain they have to move. Trying to communicate the artistic field to the administrative field, and the other way around. Like speaking different languages. Not necessarily about ill will. Maybe something for administrative artistic research.
> The notion of safe space was dropped a couple of time, and I wonder to what extent the need for safe space is reserved for AR, or if it is intrinsic to the field of education.
> Maybe all these things relate to institutions in general, any of these relate to artistic research as a discipline?
> When we talk about visibility and communication it raises a lot of question about responsibility, who holds this safe space? Art is also social, modes of representation is really a task within AR. This is also a question of practices. It sounds abstract - bringing practices together. This is a selection process, if we are in the pre-articulated space, bringing practices together, articulating to each other.
>> As an artistic researcher at a.pass my personal motivation was the possibility of taking a break. The shelter was needed to fail, if things were visible all the time, this would have been impossible. Being visible and producing artworks that nobody needs
> Maybe we could think beyond binaries visible-invisible, etc, more think along the lines of what visibility should be, or transparency should be, determining what according to us is visibility, instead of letting it be determined for us
> Measure of having no family or role model to look up to, in a queer way, from someone who mainly does research through queer perspectives. In these queer times it is interesting to be more radical, think more about negative decision making, thinking what is no longer sustainable, in the last ten years these MA PhDs didn’t give us perspectives that are useful in current years. Continuing is a luxury that very few will have.
> First of all my gratefulness, because I didn’t want to go to AR conferences anymore. I really enjoyed the optimism. We missed the word queer in the last 3 days, but it is important to keep these spaces safe and open at the same time. Heard something many times and mentioned often in other AR conferences: also academics are coming our way to do artistic research. Important not to think within categories, we really have something to offer that transcends what we consider to be artistic research.
> One aspect that I want to bring in or back, is that the future of AR has to rethink its notion of access in a radical way. What we have, no matter how hard we try its always based on conditions. What could be modes of unconditional access for researches, which doesn’t jeopardize the safe space and secrecy. Maybe this can cross the binary of the institution
>> ’(digital) commons' :)
>> what makes us want to say yes to this environment, and what do we lose with this unconditional access?
>> something about the unconditional. There is multiplicity of societies that need specific access points. If we streamline we use very broad terms that a lot of people don't feel connected to.
> Back to the question of transparency. We should define for ourselves, what it means for us. Delphine already mentioned it: sharing our vulnerability. Sharing of vulnerability brings us closer to the ethics of artistic researchers. Often we feel a big gap between the way the institution functions and the ethics of researchers inside of it. Institution introducing itself as a research in itself. There the ethics of the institution and the researchers in it come together. In that respect some us wouldn’t need to enter an institution in order to protect ourselves, because there would be a culture of risks, we wouldn't need to withdraw.
> I was wondering about the notion of academia. I have read papers and essays from people at universities and they really transformed my thinking. How, if academia is so bad, they produce such amazing things?
what happens to the sleepwalker if the world is on fire?
Delphine Hesters than asked into the round:
What can we do together? Continue to do together? And for what purpose?
> We need to talk about the selection process at the part of the institution. It counteracts unconditional access.
> Getting rid of labour or reformulating labour relations - if we open up the floodgates of imagination there are some things we will lose is social production.
> Something institutions can consider is conditions of production. People don’t pay attention to what we are producing but the way we are producing. If we remember that the Israeli army reads situationist international: What are we contributing to neo-liberalism. It needs to be politicized. We have an expanded form of democracy coming our way, and we should think about how we are going to contribute to that, as researchers.
> We need not only researchers or institutions people in our work groups, also managers and administrators.
> What we need from both sides is a bit of courage. Art is in underdog position vs a terminator.
> We started from an unspoken understanding of Artistic Research is and now have arrived at the question of not only what "artisitc" is but of what it should do. Independent of our disagreement about what Artistic Research is, its definitions should keep transforming for the future similar to the way in which art also always transforms.
> Translations always have obscure sides and transparencies. I think it is important to talk together. AR's responsibility of searching it's own limits, and it this sense it's a contribution to the world.
A much needed conversation
The three days of the conference were a multifaceted, engaged discussion on Artistic Research Institutions, an impression which was supported by many contributors and participants in the their feedback. The perspective of the institutions, installed here as a result of the benchmark process, created a much needed productive conversation around common concerns. There was a shared feeling that institutions do not exchange enough on that level: eye to eye as organizers and facilitators. Being able to discuss, self-critique, be open and constructive about the difficulties and pitfalls of organizing institutions is important to the field of artistic research and its current economical, educational and administrative context.
While this institutional perspective allowed for a discussion among institutions and was a welcome change from discussions within their singular hierarchies of art education, there was also a shared agreement that this institutional perspective can only be a start of a larger series of conversations. An area of discussion that deserves its own focus is the question of how Artistic Research enters into the larger context of art and cultural institutions and the broader social context. Representatives from the broader field have participated in this conference and there is an urgency to continue to understand the work of Artistic Research as it ventures beyond the institutions which support it. The other important topic would be the artists' and students' perspective on Artistic Research and the institutions they take part in. This perspective should become the main focus of a next conference.
A common point during conference was to pay more attention to the responsibilities of institutions of artistic research as community instigators. How can we continue to care for the researchers and concerns which leave the institution? How can we support the emergent community of artistic researchers and their professional networks? How can we support them as they in their turn instigate and interact with the communities outside the educational field? To accomplish this the institutions should not only connect among themselves, but foster a larger cultural network of Artistic Research that includes cooperatives, venues, social and activist initiatives.
Administration as Care
The perspective of care was also important in the discussions around administrative concerns. In these discussions administration was often framed as care. Administration actively co-creates the space of indeterminacy which Artistic Research relies on to be able to find its own limits, definitions and processes. This space is constantly foreclosed by educational regulations which operate from more traditional assumptions and policies of art education and research. To push against those boundaries and to reshape the regulatory structures from within is the work of administration in the institutions.
Accessibility needs to be continually addressed as we develop these conversations. Here the administration also plays an important role, as it is the place where not only the conditions of access to the institution are being defined but also where the work of making them more permeable happens: negotiations around insurance, visa- and administrative regulations allow for the legal persona of the artistic researcher to exist within the administrative frameworks. Other processes of institutional access have to do with an understanding of the institutions as a resource for the larger community. How can institutions continue to develop modalities of sharing this resources alongside with the already existing admission policies? Admission policies are themselves in question: we have to pay even more attention to whom does our call for proposals reach and on which basis do we prioritize certain proposals over others in a field that is as amorphous as Artistic Research. To work on access we could question the call procedure as an accepted standard and discuss other potential models.
The processes of making visible of artistic research is at the center of the questions of its relationships to a larger context and also contributes a further point to the discussion of access. On the one hand institutions of Artistic Research are seen as precious safe spaces, away from visibility and allowing for time and a place to experiment, fail and explore. On the other side of this argument is the question of contribution to the social and political sphere. How can we not lose sight of both necessities? Can a rethinking of publication as a modality of entering the public sphere contribute to this discussion? What kind of collaborations can be formed to share processes of investigation that go beyond production of art and the academic paper?
Practice, Discipline, Methodology, Field
The conference clearly showed (again) that many paralleled conceptions of what Artistic Research is and what it should do exist in the field. There were several calls to try and agree on a preliminary common idea of what we are talking about, while already going forward with the discussion of the implications of this practice in the field. Any further meeting on this topic should address a specific conceptualization of Artistic Research as a temporary proposal in order to facilitate deeper and more contextualized discussions of its processes and politics.
During the conference two parallel modes of reaching this temporary commonality became apparent: One perspective argued that Artistic Research is inseparable from its search for its limits and meaning. This argument stems from a similar process of continued transformation of art as a cultural practice. It could be argued from this perspective that it is more important to share how artistic research is done that what it is. This "doing otherwise" is itself a valuable contribution to artistic, social and political fields. The other perspective on commonality or diversity of definitions is oriented by the question whether Artistic Research is an emergent discipline in its own right or a methodology which can be applied within exiting (research) disciplines. This might be a foundational question for institutions of artistic research and their self conceptualization, as it works in different ways within the tensions between their conceptual and artistic autonomy and educational policies.
For a.pass, as the instigator of this conference, some immediate and some longterm outcomes and commitments follow from this conference. This report will become a part of our evaluation process and application for funding for the next five years. We have proposed a so-called Steering Group to become a part of the a.pass structure. Our wish is that this group will – in two annual meetings – become a satellite of the institution and create a space for shared reflection, critique and continuity for a.pass as a research in education. The Steering Group is a step towards a greater permeability and will be a critical dialogue partner for the institution. It will engage a group of potential a.pass contributors from the larger field of artistic research including representatives from partner institutions, social initiatives and alumni.
The institutions participating in this conference have expressed a clear desire to continue this conversation. A next step would be to make proposals of how this continuity could be installed. a.pass will engage in exploring the topics of these discussion in further conferences and contribute to a continued process of collaboration with the participating institutions.
We would like to finish this report with a big "Thank You!" to all contributors and the engaged audience of this conference. We appreciated the commitment to discussion, doubt and supportive critique in the complicated circumstances of this year. We are looking forward to continue and to meet again!
As a small outlook, we have recently asked the a.pass researchers why they chose Artistic Research as their field of work. Here is a small list of answers. We take them as seeds for a future conference on artists' perspectives on Artistic Research.
To have time for a process, and work in a collective setting.
To work with the patterns that research creates in artistic practice
To be in dialogue with other researchers and colleagues.
To share resources: in art practices resources are often use for the purpose of a singe artist or a singe project. In artistic research institutions resources can be shared and benefit more people.
To understand our own process better: a self-anthropology of artistic labor.
To practice clairvoyance
To question the performance of authorship
Hosting and crossing of disciplines, to engage in transdisciplinary practice. To engage with disciplines as conflictual zones.
To engage in and share failures
To unlearn productivity, to understand productivity not as a goal but as a contingent pattern of practice, a moment of crystallization. To split productivity from practice.
To position artistic practices within society and away from producing products for society
To understand the agency of a cut.
Please leave your comments and feedback in this collective pad
18 October 2021
posted by: Sina SeifeeDate: 10-13th of November 2021Location: KBK Brussels, Boulevard d'Ypres 20, Sainte Catherine, Brussels‘On Coloniality’ is a proposition by a.pass participants Chloë Janssens, Amy Pickles and Túlio Rosa of a temporary context for collective study. Through different artistic and theoretical speculations we will study coloniality and its manifold dimensions.Our understanding of coloniality departs from ideas developed first by Peruvian sociologist Anibal Quijano, and later expanded by many others, such as the semiotician Walter Mignolo and feminist philosopher Maria Lugones. Coloniality is an idea that points to the modes of organisation of power in so-called colonized territories, and how this extends out into supposedly postcolonial states. It differentiates colonialism, as a historical process, from its legacies. We have been thinking about ways to describe how the colonial rationale is at the very basis of our modes of social and political organisation, how those supposed histories have collapsed into, resonate with, and form our present.There is a shared desire between the three of us to learn how to articulate coloniality through artistic practices. Our collaboration has grown out of our individual motivations to discuss and re-narrate the colonial practices of the countries where we were born - Belgium, Brazil, UK - and challenge the dominant narratives that compose these histories.We are drawing connections between different times and locations by following closely methods of appropriation and extraction of land, resources, labour and data. Through different artistic practices we want to draw parallels, observe symmetries and find correlations across colonialism as it exists across all aspects of our lives; institutionally, economically, in corporations, governance, everyday structures of living and our bodies.‘On Coloniality’ will be hosted in KBK, an alternative space near Saint Cathrine, in Brussels. It is a porous programme open to the public. An exhibition will host the programme that consists of reading and listening sessions, screenings, a performance, workshops, public conversations and discussions.The full programme can be downloaded here: https://we.tl/t-3HCh0e58FjPublic ProgrammeDay 1: Wednesday November 10th, Positioning ourselves.11-13h: Visit to the Institute of Colonial Culture15h: Presentation of the programme16h: Presentation of the publication: Who’s still doing minimal design? A conversation between Nontsikelelo Mutiti and Chloe Janssens17h-18:30h: Helena Vieira [Listening Session]18:30h: Open conversationDay 2: Thursday November 11th, Accountability, Extraction and Ownership11-13h: Elodie Mugrefya [workshop]15h: Presentation Vermeir & Heiremans15:45: Presentation Line Algoed16:30: Open conversation with Vermeir & Heiremans and Line Algoed19h-21h: Juan Pablo Pacheco Bejarano [workshop]Day 3: Friday November 12th, Counter Narratives and Remembering Otherwise11h-13h: Visit Art and History Museum and reading of 'Curar o Mundo', by Glicéria Tupinambá14h: Presentation Sami Hammana14:45h: Presentation Satch Hoyt15:30h: Open conversation with Sami Hammana and Satch Hoyt20 - 22:30h: Arquivo Atlântico Film screenings at Pianofabriek: Rue du Fort 35, 1060 Saint Gilles, BrusselsDay 4: Saturday November 13th, Alternative Relatings to (and through) identity, borders and knowledge redistribution11h-14h: WORKNOT! X Sarmad [workshop]15h: Presentation Daniela Ortiz15:45h: Presentation Saddie Choua16:30h: Open conversation with Daniela Ortiz and Saddie Choua20h: Satch Hoyt [Sound Performance]The programme is open to anyone who wants to learn collectively about coloniality and artistic practices, who wants to engage in a conversation around this theme. Registration is not necessary. The website of a.pass will have the latest updates on time and locations.KBK has a wide entrance directly from the main street. There are no steps to enter the building. There is one toilet at the back of the space, on the same level. The space is illuminated with strip lighting on the ceiling, and a number of screen based artworks will be in the space. Hot drinks will be available for free, and there is access to drinking water. We will host a self made seating structure on which you are welcome to sit or lie down on.