Coming 3 Thursdays April 17& 24 and May 1st - from 11h00 till 13h00
Rue Birminghamstraat 30, 1080 Molenbeek
Let’s put a bunch of leafs together and shake them 🍂
Short texts for Spanish-speaking people in Brussels (but open to everyone) who are interested in talking about ecology and rest. There will be fresh water and hammocks.
Send an '🌱’ by email to topotedeacahual [AT] gmail.com and receive info & pdf's
index
- Birminghamstraat 30
- 17 April 2025
- 01 May 2025
- The a.pass archive is publicly available at AMVB.
- One Field Fallow
- Onderrichtsstraat 60, 1000 Brussels
- 16 October 2024
- 29 January 2025
- session I - October 16: Fallowing and Rewilding
- session II - November 6: On Collective Learning
- session III - November 27: Holding Space: In- and Exclusivity
- session IV - December 18: Polyvocality and navigating conflict
- session V - January 29: Activism rooted in place
- rue Manchesterstraat 17, Molenbeek
- 19 October 2024
- rue Manchesterstraat 17, Molenbeek
- 07 July 2024
- 09 April 2024
- a.pass
- a.pass
- 09 December 2023
- a.pass, Moussem, SOTA, Lagrange Points
- The Whirling Ear - Kunstberg, 1000 Brussels
- 29 November 2023
- case of: Vladimir Miller
- visie en beleid te ontwikkelen voor de organisatie, op korte en lange termijn, teneinde een degelijk kader te hebben voor de a.pass activiteiten (workshops, residenties, voorstellingen, publicaties, onthaal lesgevers, curatoren, mentoren,...)
- administratieve processen te stroomlijnen zodat de activiteiten correct en efficiënt ondersteund worden
- budgetten op te maken en te superviseren, en financiële prioriteiten te stellen
- medewerkers aan te sturen die hiertoe kunnen bijdragen: intern (productie coördinator, scenograaf, artistiek-technisch medewerkers, partners...) en extern (boekhouder, revisor, sociaal secretariaat, verzekeringsagent,...)
- een correcte en kwalitatieve personeelsadministratie te beheren
- ervoor te zorgen dat wettelijke verplichtingen vervuld worden
- de huidige werking en netwerken verder uit te bouwen, financieel maar ook in samenwerkingen
- de noden van studenten en participanten te monitoren en steun aan hen te optimaliseren
- a.pass te vertegenwoordigen binnen het nationale en internationale artistieke werkveld en opleidingsinstellingen, subsidiërende overheden en netwerken (oKo, Sociare, BKO,...)
- heb je enige ervaring in de job of in een non-profit culturele context
- werk je autonoom en flexibel
- is Nederlands je moedertaal, spreek je super vlot Engels (de opleiding gebeurt in het Engels), en Frans en andere talen
- heb je een rijbewijs B
- woon je in het Brusselse
- en heb je vooral heel veel goesting om in een internationale en jonge-experimentele artistieke context aan het werk te gaan
- een 60% contract bij aanvang, eventueel uit te breiden vanaf de lente 2022
- een salaris en extra-legale voordelen volgens het PC329
- opleiding op maat en/of extern voor de taken die bijscholing vragen
- a.pass
- 08 July 2020
- 10 July 2020
- yes
- case of: Vladimir Miller
- 29 April 2019
- 28 July 2019
- Making kin – the web
- Nicolas Galeazzi
- 08 January 2018
- 01 April 2018
- case of: Nicolas Galeazzi
- 21 September 2017
- 23 September 2017
- 01 May 2015
- 31 July 2015
- 09 January 2017
- 30 April 2017
- Block I:2017 S...utline.pdf
- a.pass
- 09 January 2017
- 30 April 2017
- a.pass
- 02 May 2016
- 11 May 2016
- 05 September 2016
- 04 December 2016
- Lilia Mestre
- a.pass
- 04 January 2016
- 31 March 2016
- case of: Lilia Mestre
- a.pass wants to offer a critical and collective practice-based environment for the development of the understanding of the Phd in the Arts.
- a.pass wants to develop tools for the evaluation and assessment of the knowledge that is not developed on the basis of academic or scientific criteria, but that takes seriously the qualities and values of knowledge as developed throughout artistic methodologies, attitudes and frameworks of research.
- Since often the end result in this case is not necessarily the most eloquent part of the research, a.pass wants to stimulate the exchange of methodologies, practices and work sessions in-between researchers and with a larger group of interested ‘outsiders’ as a fundamental part of the PhD communication and assessment process.
- a.pass wants to support radical and experimental PhD-trajectories that critically challenge the status quo of the knowledge production within other environments, and value the transindividual richness of a shared knowledge processing environment.
- a.pass wants to develop PhD trajectories that are self-critical and relating the research to larger economic, political, academic, social, or other realities. a.pass wants to stimulate researchers to step out of their self-referential framework of discourse, professional ambitions and specialization and take on a more challenging position towards the construction of the PhD as a tool in a greater societal reality.
- a.pass wants to support researchers in their ambition to become engaged mentors in the development of tools for sharing of knowledge, and the facilitation of critical research for others, out of a spirit of generosity, interest, experimentality, criticality and artistic sensitivity.
- ABOUT MENTORING(S) 18 December 2014
posted by: Nicolas GaleazziIn a.pass researchers are individually supported by different mentors.1. Dedicated Mentors are mentors proposed by a.pass. Researchers can choose two mentors out of four and are expected to attend four sessions of +/- two hours per block.2. Researchers meet once a block the coordinator to evaluate their research plan and trajectory.3. Personal mentors are chosen by the researchers themselves in discussion with the coordinator.(Researchers have an individual research budget for external engagements with the personal mentors.)
a.pass organizes two programs (the post-master and PhD program) with slightly different goals and end qualifications, which are both sustained, fed and communicated through the efforts of the a.pass research center. In this point we will clarify the organization of the different cells and their aims, and define their specific research goals that are addressed on all these levels.
publications for sale 12 January 2015
posted by: Elke van Campenhout[publications]
a.pass continuously develops and supports different and specific modes of presentation which are emerging from the research practiced at the institution. A large part of the program is based on modes of making-public of research within the program and towards the larger public. These moments are organized systematically within the program and reach a larger audience with the End-Presentations, Research Center publications, seminars, lectures, website publications and the archive.
This page contains printed publicatinos of a.pass, for larger index of all a.pass modes of publishing please visit https://apass.be/archive2/?q=performative+publishing
Team 25 February 2015
posted by: Nicolas GaleazziAt the moment a.pass is in a transition phase, there is no Artistic Coordinator. For all your questions you can contact our general coordinator.
General Coordinator
Responsible for finances, contracts, visa & attestation issues. On a more global level he deals with all legal matters such as the ministry, the board, the building, the insurance.
Scenographic and Technical support:
Technician and practical advisor of scenographic, digital, infrastructural and material questions.
How to find a.pass 25 February 2015
posted by: Nicolas Galeazzia.pass
advanced performance and scenography studies
Posthogeschool voor Podiumkunsten vzw
Delaunoystraat 58-60 bus 17
1080 Brussels (Sint-Jans-Molenbeek)
Belgiumemail us: office@apass.be
talk to us: +32 (0) 486 57 61 01
The office and meeting space are situated at GC Nekkersdal: Emile Bockstaellaan 107, 1020 Laken
The library and workspace can be found at Manchesterstraat 17, 1080 Molenbeek
Library 26 February 2015
posted by: Nicolas GaleazziPlease choose an item and send an email to production@apass.be with your request.
HOW TO BECOME ASSOCIATED AS A RESEARCHER 13 March 2015
posted by: Nicolas GaleazziAssociated researchers can apply three times per year for the upcoming cycle, ideally after an initial conversation with one of the a.pass curators. The next cycle begins in May 2021.The research center invites associated researchers who:- are involved in ongoing advanced artistic research- have a practice-based understanding of artistic research- are associated to multiple platforms of support- have the ability to formulate and follow their own study trajectory- are able to self-organise and contribute to collective processes- have experience with making their research public, and are interested in contributing it to the public program of a.passAn associated researcher involved in a PhD program can propose to develop their PhD researc as a part of their trajectory within the a.pass environment. This can happen at any time during the PhD trajectory. Since a.pass can not formally grant or evaluate PhD certificates, the researcher has to be already associated with a university and a university supervisor.Unfortunately we no longer have applications. Both programs: the Postgraduate as well as Research Center have come to an end due to the decision of the ministry of education to stop financing a.pass. At the moment we look into new plans for the future. More news soon on our website.
Researching in Association 13 March 2015
posted by: Nicolas Galeazzia.pass offers a collaborative environment for the development of artistic research. Five to six researchers join the Research Center for a one year cycle. They are accompanied by three Research Curators that consecutively take care of the center. The activities of the research center are organised around performative publishing, engagement with external research situations and peer reviewing/collective mentoring. Research is developed, shared and performed in public lectures, workshops, conferences, publications, performances and other experimental set-ups. The Research Center meets on a bi-weekly basis to self-organise and share processes. In addition, research curators are available for individual meetings.Associated researchers are seen as partners of a.pass. They have access to the collective activities of the post-master program. a.pass provides technical support, workspace and supports performative publishing. Associated researchers do not pay a fee. a.pass can act as an institutional partner in applications for funding or academic research. The specific terms of the association will be formulated in an individual contract between the researcher and a.pass, delineating the research steps that will be developed within the a.pass environment and their possible public outcomes.
Goals of the a.pass PhD program 13 March 2015
posted by: Nicolas Galeazzi
End Qualifications and Competences of the PhD researchers 13 March 2015
posted by: Nicolas GaleazziAlso on this level, we assume the same kinds of qualifications and competences in the PhD researchers as in the post-master researchers, but with some added qualities.
The PhD program aims to support researchers to become emancipated independent researchers in the fields of performance and scenography, or beyond. We support our researchers to think and work ‘out of the box’, or forget about the box altogether, and to become innovative practitioners and thinkers, that develop their work out of a (self-)critical ability to assess and relate their urgencies to a wider environment (the artistic and educational sector, society, the world). We encourage our researchers to think beyond the current value definitions of knowledge and to reappraise their own practices as precious contributions to society. We help our researchers to connect to the world, by supporting them to network, collaborate with external partners, and communicate their work to an outside audience of artists, public and professionals.
We expect our PhD researchers to have developed a thorough knowledge of the theoretical as well as artistic practice fields they address in their research, and to be capable of sharing the knowledge that has been developed throughout the research within the public realm throughout lectures, conferences, publications, performances or other experimental set-ups.
a.pass also expects its PhD researchers to have developed the social skills, broad societal interests, and pedagogical capacities to pass on the experimental spirit of research to upcoming researchers and interested groups, and to offer the research a public context in which to nourish itself and the world around it. As such, we count it among the end qualifications of the PhD students, that they will be capable to use their research competences later on in their professional life as a lever for change and reappraisal of the status quo of shared knowledge in any given circumstances.
the new structure for dedicated mentorings (3x2 or 2x3)
The dedicated mentors for this block are Abu Ali * Toni Serra, Bart Van den Eynde, Lilia Mestre and Elke Van Campenhout. Since some participants preferred to have a more in-depth contact with their mentors, we changed the set-up of the sessions as follows: out of the four mentors each participant chooses
-3 mentors and has 2 sessions with each of them (regular)
OR
-2 mentors and has 3 sessions with each of them (intense)
Since the dedicated mentors each are responsible for one day during the first Workshop on Artistic Research, we will be able to decide on who, what and how at the end of the first week.
On top of these mentors you will also be mentored a peer participant of your choice who will follow you throughout the whole block, and with whom you meet also at least twice. For this block we would like you to experiment with the mentoring format, and to contribute to our Toolkit for Mentoring, by adding alternative formats for mentoring through practice, movement, double self-interviews, through intermediary pets, objects or cooking sessions, ... Whatever you think might get the juices flowing.
the INTERVIEW SESSIONS
Throughout the block each participant also develops an interview practice, in 3 sessions, based on questions that appeared in their own cases. The three stages of the interview throughout the block can take on different forms: through language, audio or image, addressing one person at the the time, or conducting (small) group interviews. Written or spoken or walked. In the end the three stages of the interview will serve as a starting point for the sessions during End Week in PAF.
The half-way-days - half way through the block - are the second common gatherings in each block. It is the moment where the exchange of practices include the direct involvement of the others into our own practices. We use the others as ‘guinea pigs’, collaborators or interlocutor for our research and play those roles ourselves for the others. This exchange is a practical research moment and a chance to test and develop our methodologies.
Beside that, the half-way-days are also an occasion to think about and influence the making of the following blocks to come. The APC’s are sharing their first thoughts and approaches to construct the next block’s program and ask for your involvement, your ideas and needs.
In 2014 a.pass was evaluated by an international visitation commission to establish the level of quality of the programs on an international level. the a.pass environment was marked as 'excellent' on all levels.
here you can read the report:
a.pass call 2021/III 02 April 2015
posted by: Miriam Hempelcall
for artistic research PROPOSALS
Due to the Ministry's decision we have to put the Intakes on hold until further notice.
Thanks for your interest in a.pass!
post Graduate PROGRAM
DEADLINE: 00/00/0000
TO START IN ....SELECTION TALKS : 00 and 00/ 00/0000
(PLEASE KEEP THESE DAYS FREE!)call for Associate Researchers
DEADLINE: 00/00/0000
TO START IN ....SELECTION TALKS : 00 and 00/ 00/0000
(PLEASE KEEP THESE DAYS FREE!)
a.pass (advanced performance and scenography studies) is an artistic and educational research environment that welcomes research practitioners, from all professional backgrounds in an international self-organized, collaborative and trans-disciplinary program. a.pass includes two complementary structures that operate in parallel and in dialogue: the Postgraduate Program and the Research Center.
This call for applications is inviting researchers who would like to start or continue a research trajectory within an experimental and professional artistic research environment. a.pass offers a one-year post-graduate program or a one-year Associate Researcher affiliation where researchers can develop research proposals in a collective, supportive environment independent from production constraints.
a.pass welcomes proposals which are directly situated and working within existing communities. We strive to develop a greater network between existing communities and become a hub for research methodologies that are grounded and productive in existing contemporary struggles.
Post-graduate program
The a.pass Postgraduate Program organizes a one-year artistic research curriculum for artists / researchers from all professional backgrounds. a.pass researchers develop an independent artistic research trajectory in a shared and collectively created research environment. They engage in presentations and feedback, collective workshops, individual and group mentoring and modular interactions with the curators and other researchers.
As an educational environment, a.pass opens a space for speculative and experimental modes of practice and critical thinking. The content and the practical apparatus of the program are shaped by the proposals of the a.pass curators, the artistic coordinator and the a.pass researchers.
or
Associate Researcher in the Research Center
The a.pass Research Center as a platform for advanced research practices in the arts, invites five to six Associate Researchers for a one-year cycle. They follow a part of their research trajectory in an environment of mutual criticality and institutional support. The Research Center welcomes radical and inventive research methodologies in order to contribute them to the larger a.pass environment and beyond. The Research Center interacts with the a.pass Post-Graduate Program and functions as a resource for methodologies of collaborative research. The Research Center supports and facilitates forms of performative publishing (publications, presentations, exhibitions, etc), experimental research set ups, workshops and collaborations.
a.pass welcomes researchers with non-academic and academic research affiliations and support structures. Researchers with an existing academic research trajectory (for example PhD in the Arts) have the opportunity to develop the practice-based part of their research within the educational environment of a.pass.
MORE INFORMATION AND LINKS TO THE APPLICATION:
post-graduate selection criteria
associate researcher affiliation
a.pass
a.pass - Posthogeschool voor podiumkunsten vzw.
p/a de Bottelarij / Delaunoystraat 58-60/p.o. box 17
1080 Brussels/Belgiumtel: +32 (0)2 411.49.16
email: program@apass.be
web: www.apass.be
CONTACT LIST 21 April 2015
posted by: Nicolas GaleazziFind here the contact list of all participants, mentors and team members of the current and past blocks.
Please keep it updated with the personal information you want to share.
Block Focus: Sub -(e)ject The relation between writing and performance
01 December 2015
posted by: Nicolas Galeazzi
The proposal for this block follows up on scores as a tool to organize dialogical or intersubjective formats for exchange in artistic practice and research. In the past two years I developed in the frame of a.pass a score for writing practice, ‘Writing Scores’ and a score for performance ‘Perform Back Score’, both as discursive tools. Both scores created a platform for the different researches to co-habitate and to reflect back the methods and strategies each of us use in the making and thinking of our practices. The main questions are: How do we compose materials and thoughts? What is the performativity at stake on the sharing of those? What’s the relation between subjectivity and collectivity in a collaborative environment? What does that do to our individual practices and to the collective itself?
I like to think that the becoming of the subject takes place in the experiences s/he partakes in the interiorisation and exteriorisation of the world. The subject as an agent of change that through its own transformation in the collective terrain participates activelly in the collective. I see the arts as a manifestation of that transformation and that transformation as a form of political engagement .
For 2016 I would like to mix both scores and propose to focus on the gestures of performance and writing as gestures of inscription both containing the desire to create surfaces of reflection that beam our experiences out into the world and give tools for reading that same world.
We can think performance as writing as well as writing as performance and the multiple relations the practice of arts have with writing. Language is the common denominator in our super capitalized society, it’s the place of communication/ transmission by excellence, where knowledge (experience and thought) gets legitimized and for the same reasons a place where we cross or establish borders. We all have a deep relation with language from daily life existence to the writing of academic papers, theatre programs, grants applications passing by fiction or poetry. And in a moment or another we have to answer the questions: What are you doing? What is is about? Why?
Through our the block we’ll search for the connection between the word and the event, the resonance of the work into words, also if the work is writing itself, and vice versa. The confrontation between the place of experience and the place of re-telling, the dialogue that runs in between them and makes both evolve. How each of us does it? Which kind of tone, format, lenght, do we use to manifest the experience into words or the words into experience? How do the two practices feed each other? Can a writing about art be art itself?
The score is called “ Bubble Score for multiple languages” and will take place once a week from January till March. We’ll alternate weekly between writing and performing and a publication will be produced afterwards. The score will have several observation stand points: as practice of both, performing and writing, and their relation, as a way to publish events and reflections and as a social environment of authors without territories developing subjectivies/ collectivities. The five workshops will support the individual researches by contributing with tools and strategies coming from different artistic approaches.
OVERVIEW
Here we give a short overview on the workshops spread over the block, which shall bring a
mixture of inputs into the discourses raised through the focus of this block.The first workshop about is about subjectivity and will be given by Elke Van Campenhout as a start up to the philosophical environment of the block. We’ll reed authors such as: ...
After this we will dive into blindness and writing with Lilia Mestre (performance) and Bruno De Wachter (writer). The idea of the workshop is to start a relation between the personal throught working on blindness and writing as a pratice bringing that inside in relation to the outside, the world. The work will take form throught the researches of the participants.
Jack Hauser and Sabina Holzer will give a workshop on scores where each participant will practice scoring in relation to her/his research as much as the collective construction of a score where the different practices can ‘play’ with each other.
Myriam Van Imschoot will use various forms of voicing and singing to co-write thoughts, ideas and presence in the multiple spaces of social interaction, communication and their architectural and acoustic envelopes.
And to end, the choreographer Anne Juren will work with body technics as Feldenkrais to approch different states of the body and write from that perspective taking support on Ecriture Feminine.
MENTORING STRATEGIES Block III/2016 04 December 2015
posted by: Nicolas GaleazziThe dedicated mentors for this block are Femke Snelting, Kate Rich, Geert Opsomer and Philippine Hoegen.
According to your needs, you can choose for either 2 or 3 mentors.
In order to challenge you with a specific context and language of mentoring we would like to suggest for this block, that the team of mentors proposes one of those 2 or 3 mentors to you. We would like to experiment with this possibly confronting, contrasting, or specific support to your research. With each of the 2 or 3 mentors you will have 4 hours of mentoring throughout the block.
Since the dedicated mentors will present themselves in the opening week and will attend all your presentations you will be able to decide on your mentors at the end of the first week.
To subscribe read more:
Please check the time availabilities of the mentors below and subscribe to your mentors here.
Timing of possible mentoring:
Schedule will follow soon.Femke Snelting:Best days for the 1st mentoring are: 22, 23, 26, 29, 30 September;Best days for the 2nd mentoring are: 14, 24, 28 November.Otherwise there's always space around things so we'll make individual appointments and find slots.Kate Rich:Available in Brussels for the 1st mentoring are: 14 - 17 SeptemberAvailable in Brussels for the 1st mentoring are: 26 - 29 OctoberPhilippine Hoegen:on individual appointmentGeert Opsomer:from 15th September on individual appointment.
Opening week Block II/2016 04 December 2015
posted by: Nicolas GaleazziThe basic idea of this week is to share and ‘update’ each other about our researches in order to allow the collaborations in the block. This means that you will be asked to share the concept, some material and thoughts of your personal research with all of us. We will send you a more detailed plan about this very soon.
This is it for now, if you have more specific questions, don’t hesitate to ask.Looking forward to seeing you all!
Substracted seduction reminder! 14 September 2016
posted by: Steven JouwersmaHaving trouble seeing this email? Please see the online version here 
end communications of a.pass
Adrijana Gvozdenović, Pia Louwerens
and Eleanor Ivory Weber@ Hectolitre (MAROLLEN - Brussels)
Rue de Hectolitre 3 - 1000 BrusselsFriday 1 and Saturday 2 February 2019
from 18:00 to 22:00Schedule:
18:00 food & drinks
18:30 Subtracted Seduction
19:00 Subverses I: Play
Break
20:00 7 anxieties and the world
20:30 Subverses II
Break
21:15 Subverses III
21:30 The big gesture is many small gestures dispersed
(doors close before the last performance starts)Performances by Eleanor Ivory Weber, Adrijana Gvozdenović, Pia Louwerens
With contributions by
Subtracted Seduction: sound editing and mixing Teresa Cos
Subverses I & III: performers Lydia McGlinchey, Marcus Bergner
7 anxieties and the world: sound mixing Marko Radišić
LISTEN TO THE TRAILER
On Friday 1 and Saturday 2 February 2019, from 18:00 to 22:00 Adrijana Gvozdenović, Pia Louwerens and Eleanor Ivory Weber present their artistic researches at the former swingers club, La Porte des Senses, today an art space called Hectolitre, to mark the end of their participation in the a.pass program.With Subtracted Seduction, their individual researches are framed through shared concepts such as anxiety, non-consensual collaboration, authorship and institutional critique. In each of the three approaches, narratives created through these symptoms of the contemporary artist are investigated. The romantic artist is negated and the multi-faceted artist materialises as both instigator and instigated, made up of multiple voices. The three researchers engage with the complexity of being both unnameable and contained in the knowledge-network immanent to the institution. There appears Subtracted Seduction.
Read more...a.pass
p/a de Bottelarij
Delaunoystraat 58-60/p.o. box 17
1080 Brussels/Belgiumtel: +32 (0)2 411.49.16
email: info@apass.be
web: www.apass.be
a.pass: The Uncanny 14 September 2016
posted by: Nicolas GaleazziHaving trouble seeing this email? Please see the online version here 
SEMIOTICS OF THE UNCANNYDR. DALILA HONORATO
a.pass Research Center and Isabel Burr Raty
invite special guest Dr. Dalila Honorato.
The talk will be followed by a discussion.
Saturday October 21st 2017, 16h-19h
@ a.pass , 4th floor’
‘Semiotics of the Uncanny’ will approach alternative bodies in art, sexuality and pop culture, that conjugate body alteration, medical fetish, disability aesthetics and creative ritualistic behavior, touching on subjects such as: phobia, paraphilia, teratology, prosthetics and acrotomophilia.
If the body is defined as the sum of all physical parts then individuality is composed by the uniqueness of this structure and the qualities of its elements. In a time when plastic surgery is considered a commodity within the cosmetic industry and the hype for symmetry has reached post-standardized levels, the borders between mass production and eccentricity, in what beauty is concerned, become more obvious. But it is when health issues occur that the equation changes. How can a body be defined if a physical part is missing or if it is supernumerary in the sum? Unlike some types of lizards, starfish, sea cucumbers, earthworms and salamanders, humans have a very limited capacity of self-healing. What happens to a physical part that is removed from a body separated either due to an accident or due to its dysfunction? And how does one cope with this separation as an individual and as a social being?
After Dalila’s talk, Isabel Burr Raty, performance artist, independent filmmaker and associated researcher in a.pass Research Center, will offer some tea and will support a co-learning conversation.
At first, the focus of the conversation will be on the Hybrid Art contemporary positioning, a phenomenon that mixes multiple art forms crossing borders between art, science and technology, contributing to hybrid narratives in performing arts and creating new alternative technological materials and objects aimed to serve as empowering tools for resisting the high-tech capitalist imperialism. Then, Isabel and the public will prolong the discussion with Dalila to bring her approach to a broader artistic research context.
Dr. Dalila Honorato’s research focuses on embodiment at the intersection of performing arts and new media and, as a curator, she is interested in exploring the outlines of art and biology. Dalila is currently Assistant Professor in Aesthetics and Visual Semiotics at the Department of Audio and Visual Arts of the Ionian University in Corfu, Greece. She is one of the founding members of the Interactive Arts Lab where she coordinates the Art & Science Research Group. She is the head of the organizing committee of the conference “Taboo-Transgression-Transcendence in Art & Science” and conceptor-developer of the Corfu Summer School in Hybrid Arts. She is a guest faculty at the PhD studies program of the Institutum Studiorum Humanitatis in Alma Mater Europaea, Slovenia, and a guest member of the Center of Philosophy of Sciences of the University of Lisbon, Portugal.
ionio.academia.edu/DalilaHonorato
Isabel Burr Raty explores the ontological crack between the engineered and the native, between the official facts and the unlicensed knowledge of the resettled, the relocated; in order to think about the memory of the future and dig out chapters left out of scientific and history books. Her artistic research is design based and semiotic, interweaving live/body art, participatory performance, biology and DIY technologies, and is based on the question of how to write in situ Sci-Fi narratives that remain alive, alive as they rely on the participative audience’s faculty to propose dispositives of liberation from a commodified life/body.
When: Saturday October 21st from 16:00 h to 19:00 h
Where: a.pass fourth floor studio.
Free entrance
Directions: https:///www.apass.be/contact/
Please confirm your participation by sending an email to <isabelburr.raty@sacrofilms.com> !
a.pass
p/a de Bottelarij
Delaunoystraat 58-60/p.o. box 17
1080 Brussels/Belgiumtel: +32 (0)2 411.49.16
email: info@apass.be
web: www.apass.be
The half-way-days are the second assembly gathering in each block. It is the moment where the exchange of practices include the direct involvement of the others into our own practices. This intense week of exchanges is a practical research moment and a chance to test and develop our methodologies.
Assemblies, Mentoring, Workshops, Ateliers 03 January 2017
posted by: Pierre RubioThis four months block gives you the opportunity to develop your research individually and collectively.
We organise a very diverse series of activities and possible involvements into a large range of practices for you to deepen your research.
The schedule is divided between mandatory days (30% of the time) as well as optional dispositives for you to compose as you wish what seems right for you and your research.
What is mandatory?
Assemblies (opening week, half-way-days, and end week)
Mentorings (4 dedicated mentors practice days, 2 dedicated mentors individual sessions, 1 a.pass art coordinator individual session)
Workshops (1 workshop on the three which are proposed for this block)
Curated Ateliers (4 days participation in the Trouble on Radio Triton dispositive)
The End Week Days are the last dedicated moments in the block for presenting our researches and for constructing a vision for the rest of our research trajectory. These days are the times for analysing the current block and come up with plans for the future. Beyond individual presentations and feedback sessions everyone is invited to propose other activities in relation to her/his/your/our research(es).
everyone will introduce the state of her research,
a.pass will introduce her new team and organisation,
the curatorial proposal of the current block will be presented and appropriated,
the four dedicated mentors will introduce themselves and present their practice,
we will establish a ‘block research plan’ to decide what to discriminate between all the possible options in a dialogue with us and the group.
Prepare for the 9th of January a written text about you and the current state of your research.
A written synthesis of your research, and of you as a researcher, ‘at time t’.
This text -one to two pages long- will be very useful during the opening days as part of your individual presentation but as well as a communication device to introduce your work to your mentors.
Score:
Imagine yourself in a desirable future some 20 years ahead and imagine the present from there:
who were you?
where did you come from?
what was your research about?
what was the problem/question you wanted to pose with this research?
what was the current state of your research?
what did you want to achieve during that block in a.pass?
what were you speculating for within this period of time?
what were you angry about the world and or your environment?
what did give you hope?
…?
Outline of the current block 04 January 2017
posted by: Pierre Rubioinformations about the organisation and content of the current block here Block I:2017_Skeleton outline
Self-Interview & Peer-to-Peer mentoring 06 January 2017
posted by: Pierre Rubio
SELF / Throughout the block each participant develops a self-interviewing practice. The self-interview develops through the individual 'journeys of practices and researches'. During opening week we will introduce possible strategies for self-interviewing and start up the process. During the End Week we will share our results or work in progress. (for inspiration (and fun)... https://youtu.be/o51RdZBsv0w)
PEER / On top of the dedicated mentoring and the self-interview practice you will also mentor - and be mentored by -a peer participant who will follow you throughout the whole block. You meet with each mentor (at least) twice throughout the block.
This list shows the chains of mebtorings: A mentors B, mentors C ...
Mentored by Mentoring Isabel Burr Raty Thiago Vanja Thiago Antunes Kleoni Isabel Ricardo Santana (PhD) Veronica Esteban Esteban Donoso Ricardo Kleoni Tinna Ottesen Hektor Mavi Mavi Veloso Tinna Yaari Yaari Shalem Mavi Hektor Hektor Mamet Yaari Tinna Audrey Cottin Vanja Adriana Kleoni Manousakis Esteban Tiago Vanja Smiljanic Isabel Audrey Marta Verónica Cruz Campos Adriana Ricardo Adriana La Selva Audrey Veronica
a.pass newsletter september
*Five a.pass researches 21-22-23 september
*Block III 2017 introduction
* Call for application 06/10/2017
No Communication without noise
five a.pass researches
curated by Laura Herman“Mistakes, wavy lines, confusion, obscurity are part of knowledge; noise is part of communication, part of the house.”
(Michel Serres)No Communication Without Noise is a three-day insight in five ongoing a.pass researches that share an affinity with the ambivalences of writing and reading. Interested in communication, or the lack thereof, Esta Matkovic, Lili M. Rampre, Sina Seifee, Xiri Tara Noir and Maarten Van den Bussche address the limitations and untapped potentials of text in proposing new modes of attention.
Save the Date:
21-22-23 September
17:00 to 22:00
a.pass
Bottelarij
Rue Delaunoye 58 - 60
1080 Molenbeek-Saint-Jean
***More information on the full programme soon.***
BLOCK III 2017
4 SEPTEMBER TILL 2 DECEMBER
CURATED BY VLADIMIR MILLER,
This block is concerned with the processes and questions of a mobile,
displaced, untethered research practice. We will use the methodologies
of moving out, taking a trip, going for a walk to reconsider the
building blocks of our research and discover new ones.call
FOR ARTISTIC RESEARCH PROJECTS
POST-MASTER AND PHD LEVEL
DEADLINE: 06/10/2017
TO START IN MAY 2018SELECTION TALKS : 19&20/10/2017
(PLEASE KEEP THESE DAYS FREE!)
MORE information
newsletter2 september 2017 12 January 2017
posted by: Steven Jouwersma
a.pass newsletter september*Block III 2017 introduction
*Five a.pass researches 21-22-23 september
* Call for application 06/10/2017BLOCK III 2017
4 SEPTEMBER TILL 2 DECEMBER
CURATED BY VLADIMIR MILLER,
This block is concerned with the processes and questions of a mobile,
displaced, untethered research practice. We will use the methodologies
of moving out, taking a trip, going for a walk to reconsider the
building blocks of our research and discover new ones.No Communication without noise
five a.pass researches
curated by Laura Herman“Mistakes, wavy lines, confusion, obscurity are part of knowledge;
noise is part of communication, part of the house.”
(Michel Serres)No Communication Without Noise is a three-day insight in five ongoing a.pass researches
that share an affinity with the ambivalences of writing and reading.
Interested in communication, or the lack thereof,
Esta Matkovic, Lili M. Rampre, Sina Seifee, Xiri Tara Noir and Maarten Van den Bussche
address the limitations and untapped potentials of text in proposing new modes of attention.
Save the Date:
21-22-23 September
17:00 to 22:00
a.pass
Bottelarij
Rue Delaunoye 58 - 60
1080 Molenbeek-Saint-Jean
***More information on the full programme soon.***call
FOR ARTISTIC RESEARCH PROJECTS
POST-MASTER AND PHD LEVEL
DEADLINE: 06/10/2017
TO START IN MAY 2018SELECTION TALKS : 19&20/10/2017
(PLEASE KEEP THESE DAYS FREE!)
MORE information
Documentation Handpad 2004-2010
05 February 2017
posted by: Nicolas Galeazzi
- case of: Nicolas Galeazzi
a.pass: End Communucation 2017/III //2 14 September 2017
posted by: Steven JouwersmaHaving trouble seeing this email? Please see the online version here 
No Communication without Noise
curated by Laura Herman“Mistakes, wavy lines, confusion, obscurity are part of knowledge;
noise is part of communication, part of the house.”Michel SerresNo Communication Without Noise is a three-day insight in five ongoing a.pass researches that share
an affinity with the ambivalences of writing and reading. Interested in communication, or the lack of,
Esta Matkovic, Lili M. Rampre, Sina Seifee, Xiri Tara Noir and Maarten Van den Bussche
address the limitations and untapped potentials of text in proposing new modes of attention.Programme
Thursday 21st / Friday 22nd / Saturday 23rd 2017
17:00 doors open
ongoing installations until 22:00performances at
18:00, 19:30 and 21:00Thursday 21st & Saturday 23rd
Ongoing:
Sina Seifee
AN AJAYEB'S
NETWORK MAKING
&
Maarten Van den Bussche
A SENSE OF SELF____________________________
performances:
18:00 Lili M. Rampre
OUT OF THE BLUE
19:30 Xiri Noir
LISTENING BY SPEAKING TO ONESELF
21:00 Esta Matkovic
THE PROJECTFriday 22nd
Ongoing:
Sina Seifee
AN AJAYEB'S
NETWORK MAKING
&
Maarten Van den Bussche
A SENSE OF SELF____________________________
performances:
18:00 Xiri Tara Noir
LISTENING BY SPEAKING TO ONESELF
19:30 Lili M. Rampre
OUT OF THE BLUE
21:00 Esta Matkovic
THE PROJECT
Lili M. Rampre
OUT OF THE BLUE
In “Out of the Blue”, Lili Rampre moves from water to land. Although the transition would seem at first sight to be a safe one, rejoining the shore after swimming in tumultuous waters, it is not: Rampre’s world hails from The Little Mermaid, and much is lost for Ariel when she leaves the ocean waves. What, she asks, would be other ways of constituting ourselves? How can we be made anew? How can we break free from the imperatives of balance, health, and harmony, and still remain subjects? She must find out how movement and voice, the oft-forgotten tools of subjective elaboration, can disrupt the laws of propriety and open the floor for unpredictable selves.
Maarten Van den Bussche
A SENSE OF SELF
RE-QUEST, RE-SEARCH and POETRY
My research became a thing about how the intimate and the political might fuel and propel each other, onwards into interwoven subjective en social change! Though, when it becomes a fixed thing, I feel compelled; forced even – with the intensity of an addict longing for a hit – to change it into something else.
Esta Matkovic
THE PROJECT
a project about love and intimacy
I am presenting a book and i would like to think of it as performative act, a substitute for my process, an aesthetic experience. I am working on our everyday performativity, making a format for Intimacy, Care and Love to be observed, a contract as a meeting space of our borders in an agreed space. The assemblage of documented material consists of messages, email exchanges and meetings with my artist Lovers, through my daily reflects upon the ‘project’.
Xiri TAra Noir
LISTENING BY SPEAKING TO ONESELF
a relational practice
Departing from an activist purview Xiri’s research centers on how particular gestures are captured and interpreted by different groups of women. Across different groups, however, misunderstandings are likely to emerge due to factors of circumstance and prejudice. Xiri uses transcriptions not as a tool to translate what has been said exactly, but how it has been said by returning what gets lost into the realm of the perceptible through amplification. Through a legend of cues – an emotional map of sorts – a reenactment of conversations becomes possible, reconfiguring the field of relations and enabling the appreciation of value systems that are not ours.
Sina Seifee
AN AJAYEB'S NETWORK MAKING
Ajayeb is a site of heritage and research on histories of standards in knowledge production, stories of the inseparability of affect and episteme, passing of obligations from something ghost-like to something felt-with-certainty, from site to parasite. And work on ajayeb is an infrastructural concern about zones of encounter, about the politics of rememberance: the politics and philosophy of classifying certain textual/material activities that constitute what is „past.“
a.pass
p/a de Bottelarij
Delaunoystraat 58-60/p.o. box 17
1080 Brussels/Belgiumtel: +32 (0)2 411.49.16
email: info@apass.be
web: www.apass.be
Block overview plenum & forum
20 December 2017
posted by: Nicolas Galeazzi
This post gives a short overview of the organisation and agenda of the block.
PLENUM
Plenums are gatherings of a.pass as a whole. All participants of the block program take part in each of the 3 plenums to share the state and development of their researches, as do the mentors, the research centre, the daily team and the core members as far as possible.
Plenums are gatherings to exchange about individual researches and practices, and are used to discuss how we, as a group of researchers, and the structure of a.pass can best support them.The plenum doesn't start until everyone announced is present.
FORUM
Forums are timeframes to discuss and work on the topics of MAKING/CONDITIONS, to develop and exchange knowledge or to practice the making of research.
A forum can be a physical gathering from 1 hour to 5 days. Forums can be internal a.pass work gatherings, held publicly in presence of invited guests, or even take place in collaboration with other institutions.
Forums start at the announced time, wether the participants are present or not.AGENDA
Plenum I 8. - 17. January: Displaying Conditions (opening week)
10.-11. January: participation in U-Ghent seminar 'What are we training for?'
by Adriana la SelvaForum I 18.-19. January: 'How do we do the things that we do?'
with Florian FeiglForum II 26. January; 2., 9., 17. February; 1., 8., 16., March: Pattern Language
with Nicolas GaleazziForum III 30. January - 3. February: Critical Administration; or Shaking down the Enterpreneur
with Kate RichPlenum II 19. February - 23. February: Making Conditions (HWD's)
Forum IV 26. February - 2. March: 'How do we do the things that we do?' with Florian Feigl
Forum V 9. March: Performing Knowledge
with Pieter Vermeulen (Antwerpen)Forum VI 16. March: Alternatives to Economy (the Macao Model)
with Alberto CossuForum VII 19. - 23. March: Pattern Testing
with Nicolas GaleazziPlenum III 26. March - 1. April: Reflecting Conditions (end week)
Agenda 04 January 2018
posted by: Guido Lucassen[agenda]
research center 13 January 2018
posted by: Elke van CampenhoutAAAThe Research Center at a.pass is a platform for advanced research practices in the arts. It invites five to six associated researchers per one year cycle to develop their artistic research practice in a environment of mutual criticality and institutional support. In agreement with the individual research trajectory of the associate researchers the apass Research Center supports and facilitates forms of performative publishing (publications, presentations, exhibitions etc) experimental research set ups and collaborations. The Center cohabits with the self-educational processes of the a.pass post-master program and functions as a resource for reflection on methodologies of collaborative research.Rather than consolidating the existing discourse around the notion of artistic research, a.pass is committed to accumulating different understandings of artistic research through practicing its frameworks, archives and vocabularies. By bringing together differently practiced notions of artistic research, apass is assembling an intense reflection on modes of study, knowledge production and knowledge sharing within the artistic field. a.pass is interested in the actualisation of performing knowledge because it considers artistic research as a situated, contextual practice which is the consequence of the ongoing negotiation between its stakeholders, contextual fields and discourses. a.pass interacts with academic, activist, practice-based fields and methods of research, and supports the development of rigorous, inventive forms of artistic research on the intersections between those fields and in tension with academic artistic research as a developing discipline.
The center itself is not a solid institutional body with its associate researchers as satellites, it is rather constructed as a support structure that brings different trajectories and fields of research to a multitude of temporary overlaps. It's institutional and long term structures work towards a repository of methodologies, forms of archive and making public of artistic research practice.a.pass offers a collaborative environment for the development of artistic research. Five to six researchers join the Research Center for a one year cycle. They are accompanied by three Research Curators that consecutively take care of the center. The activities of the research center are organised around performative publishing, engagement with external research situations and peer reviewing/collective mentoring. Research is developed, shared and performed in public lectures, workshops, conferences, publications, performances and other experimental set-ups. The Research Center meets on a bi-weekly basis to self-organise and share processes. In addition, research curators are available for individual meetings.Associated researchers are seen as partners of a.pass. They have access to the collective activities of the post-master program. a.pass provides technical support, workspace and supports performative publishing. Associated researchers do not pay a fee. a.pass can act as an institutional partner in applications for funding or academic research. The specific terms of the association will be formulated in an individual contract between the researcher and a.pass, delineating the research steps that will be developed within the a.pass environment and their possible public outcomes.
MON 7th
14:00 meeting
17:00 cleaning, emptying the collective space
19:00 dinner
TUE 8th
10:00 Materials and Tools
WED 9th
10:30 Scheduling
11:00 Katinka van Grokum, a.pass opening week presentation: SketchUp as an Interior
12:00 Caterina Mora: Translating Ballet to Regaton
13:00 Living Together: organising cooking cleaning up
14:00 Research and Space (conversation with new a.pass researchers and LM and VM)
16:00 Ezster Nemethi TBC
THU 10th
9:00 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)
10:30 Scheduling
11:00 Deborah Birch, a.pass opening week presentation: Caves II. Re-entry
14:00 Katinka van Grokum: Trash Talk, recycling in Belgium
16:00 Chloe Chignell, a.pass opening week presentation: Choreographic Strategies for Writing
17:00 Christina Stadlbauer, a.pass opening week presentation: Sharpening the Narrative
FRI 11th
12:00 Signe Frederiksen, a.pass opening week presentation
Cooking: Amelie van Elmst
15:30 Maurice Meewisse, a.pass opening week presentation
17:00 Meri Ekola, Light Observations
18:00 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton) with a guest dancer
SAT 12th
SUN 13th
MON 14th
9:00 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)
11:30 Diego Echegoyen, a.pass opening week presentation
12:30 Goda Palekaitė, a.pass opening week presentation: Legal Implications of a Dream
"Legal Implications of a Dream" is the title of Goda's research and her solo exhibition which just opened in Tel Aviv and Jerusalem. Let us think of settlement as an occupied space which materializes as a consequence of a collective dream.
14:00 Scaffolding Introduction (how to and safety instructions)
16:00 Human Condition Reading Club part I
TUE 15th
10:00 Scheduling
10:30 Outside Walk (Mathilde Maillard) 1h
12:00 Alex Arteaga, Input: Architecture of Embodiment and destabilizing an architectural object
Disclosing an Architectural Object is an artistic research framework that allows an approach to a twofold object of inquiry: the architectural organization of material and the cognitive agency of aesthetic media, practices and artifacts.
14:00 Meeting with Michele Meesen and Joke Liberge: organisational, budget, etc for first block researchers (end 16:00)
16:00 Laura Pante, apass opening week presentation: On Metaphorology
18:00 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)
WED 16th
10:00 Mathilde Maillard: a.pass opening week presentation: Work Club / Club Travail
11:00 Peggy Pierrot, Do You Belong ?
Artistic activities are shaped by continuous trips, international workshops and residencies abroad. In this context, each work session operates like a colonization of some people space, means and life by the artistic presence and vision. The artist settles in different environments, whether his work aim to relate directly or not at all to the different creation contexts. In this international scene of seesaw motion, how can one’s cultivate his sense of belonging, of beeing from, of being rooted, without a nationalist content, but without being a post modern nomad of emptiness? How do YOU, settler, react to this constraints (langage, food, bodies, papers...). What do you take or leave ? What do you gain from this artistic nomadism ? Do you belong somewhere ? We’ll question these assumptions through an insight on the work of the artist Pierre Creton.
14:00 Flavio Rodrigo, a.pass opening week presentation: Sensations, Paths and Rituals of Work with the Creative Imagination (establishing the initial relations of my research). Please bring you mobile phone and headphones, you will need them during the presentation.
18:00 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)
THU 17th
9:00 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)
11:00 Elen Braga: The World to Come
If we have a history-line, what are the most important events of the last 30 years of human life that come to our mind? Is there a connection between those events and the context of our artistic research? What are the symptoms of those events and how to prophesize the world to come? We will start the exercise using the allegory of Nebuchadnezzar's dream. And by creating symbolic images, we will try to transform those events into an allegory of apocalypse. "And in the days of these people shall we set up a world, which will never be destroyed?"
12:00 Nassia Fourtouni, a.pass opening week presentation: Neither Distance nor Empathy
FRI 18th
9:30 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)
13:00 Philipp Gehmacher, mentor's presentation (skype)
14:00 Amelie van Elmbt, a.pass opening week presentation: Dreaming Walls
15:00 Scheduling next week
15:05 Space and Scenography review and preview w. Vladimir
SAT 19th
SUN 20th
MON 21st
13:00 Experimental Film Scratching Workshop
14:30 Muslin Brothers, a.pass opening week presentatio
16:00 Human Condition Reading Club part II
TUE 22nd
9:00 Caterina Mora: Training, Translation (Ballet and/or/vs Regaton)
12:00 Engaging the Spectacle: Aspects of Contemporary Ideology, a Brazilian Case Study.
Roberto Winter shares his thoughts and artistic practice - with an introduction and lunch prepared by Adrijana Gvozdenovic.
"Our time is critical, we seem to be finishing the transition to a new era (and maybe we already have), call it the "New Dark Ages", "Hypernormal", "Semiocapitalist", or "Capitalist realist", under the empire of total spectacle, we are ruled by images. [...] Art’s potential role in untangling the situation is privileged and fragile: if it can resort to fiction, it must also deal with fake news; if it can resort to a long tradition of making and understanding images, it must also deal with the emptiness of memes and social networks; if it can resort to aesthetics, it must understand the new role of images and the obligation to (self-)design. The question remains: how to engage in the production of things that could make the current state of affairs graspable, explicit, unbearable and, eventually, help lead to their overcoming?"
14:30 Mathilde Maillard and Flavio Rodrigo, Lets Talk about Brasil
WED 23rd
10:00 We meet at KANAL Centre Pompidou to have a look at the space for the upcoming Unsettled Study. Afterwards we will talk about the space and the process of the block
14:00 Bauhaus and School, Input from Moritz Frischkorn + Heike Bröckerhoff
Based on their own research for an artistic project, Heike and Moritz will give a short introduction about the Bauhaus as an art-academy. It seems as if the very idea of an art-school as a "total work of art", based on principles of performance, inter-disciplinarity and process-orientation, where one invests oneself fully, combines technology and art, and thus manufactures a new subject for a democratic society was invented at the Bauhaus. We would like to discuss how to relate to those ideas and concepts from a contemporary point of view.
THU 24th
10:00 Lilia Mestre: On Scoring, To Forge Temporary Communities
11:30 Alex Arteaga: On my Intervention in/with the Settlemen
20:00 Cine Club: Time Indefinite
FRI 25th
11:00 Settlement review and block organisation (whats next?) w. Vladimir
a.past 24 April 2019
posted by: Nicolas Galeazzi
Three Days a Week 24 April 2019
posted by: Nicolas Galeazzi
To engage in gardens and use them kind of as our ‚atelier‘ needs a certain regularity. Therefore, I propose to meet more or less three days per week. To all of these days one or more companion shall be invited. These days may resound the three ecologies proposed by Felix Guattari:
One day we will focus on gardening (the environmental ecology), helping with planting, weeding, constructing etc. whatever is needed to do.
One other day we will engage in weaving the social tissue by exchanging and discussing ideas, experiment with practices, and sharing the work on the adoptions.
On the third day, we want to give space to the development of the individual research ecologies, for a shared reading relevant texts (which might reflect the mental ecologies). Our ‚companions’ will join us on these days, connect to our practices or propose a specific approach from their side.
Of course, these days are not apportionable in ecological categories, and the practices will strongly interrelate. We will have to find out together how these foci can influence the practices and how we develop rituals and methods that help guiding us through the various experience of ecologies and ecosystems.
The workshops of this block will be 'gardens' - and therefore for once of spacial nature. I propose to ask these gardens to be our teachers, to learn from them, to let them put us at work, to ask them to suggest a practice to us, to make them structure our time and our collective research attempts etc. The gardens are the 'education' framework and the 'atelier.'
For this, we need interpreters and people who have tools, figures or behaviours to engage, read and work within the workshops. These interpreters - probably we will call them ‚companions' - will build a network, a web of knowledge, together with us and amongst themselves. I would like to invite quite some of them to accompany us - sometimes alone sometimes in couples or groups.
For further details watch out for following posts.
RESEARCH FUTURES Conference
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:
https://bbb.apass.be/b/nic-
h9a-kdr Welcome!
Note:
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
STREAMING 12 October 2020
posted by: Steven Jouwersma
Lili M. Rampre is researching strategies to highlight “off stage”; processes, practices and actors behind, off, under or above the stage. Lili’s research is focusing on power relationships and the dynamics of disparities in cultural capital (audience-performer, fan-star, producer-artist). Her work has often a role-reversal in its core proposal, ventriloquism of a kind, or unreliable narration. She tends to work from community to make a portrait of dissensus (is there a community, is it real?, portrayal of the limits) and is despite her sociologically coloured interest not employing quantitative methods of humanistic studies concerning analysis of the interviews with the audience which could provide a look into the language that said audience uses when they address the question of dance, but rather looks at the language as a live form that is used in the circle of (its) practitioners – dancers, dance teachers, art researchers and such.
Steven Port 29 April 2021
posted by: Steven Jouwersmaasdasdasdasdjdsvjsv
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VACATURE administratief en financieel anker 25 October 2021
posted by: Sina Seifeeadministratief en financieel anker (60%)m/v/xa.pass is een artistieke onderzoeksomgeving die onderzoek ontwikkelt en ondersteunt naar performativiteit en scenografie, in een internationale artistieke en educatieve context.
a.pass omvat twee complementaire organen die parallel en in dialoog opereren: een post-graduaat programma en een onderzoekscentrum.
a.pass verwelkomt jaarlijks een 20-tal studenten/ participanten van overal ter wereld in haar thuisbasis De Bottelarij in Molenbeek.
a.pass is structureel ondersteund door het Vlaamse departement onderwijs en ontwikkelt activiteiten met talrijke partners in het binnen- en buitenlandse kunstenveld.
Als administratief-financieel anker krijg je de verantwoordelijkheid voor het beheer en de financieel-administratieve opvolging van de organisatie. Hand-in-hand met de artistieke coördinator geef je gestalte aan a.pass, consolideer je de verworvenheden, en bouw je a.pass verder uit tot een toonaangevend internationaal artistiek onderzoeksinstituut.
Ben je gemotiveerd om:
... solliciteer dan asap en ten laatste voor 31 oktober aan de hand van je CV en motivatiemail aan job@apass.be
Idealiter:
a.pass biedt:
Voor bijkomende vragen mag je contact opnemen met Lies, interim administratie & financiën (NL) +32 494 512 676 of Lilia, artistieke coördinatie (ENG) +32 478 31 75 52
In these circumstances: On collaboration, performativity, self-organisation and transdisciplinarity in research-based practices 19 May 2022
posted by: Sina Seifee
In these circumstances: On collaboration, performativity, self-organisation and transdisciplinarity in research-based practices is a publication about artistic research as it is practiced within the co-learning environment of a.pass. This book brings together an assemblage of curatorial, artistic and pedagogical approaches emblematic of an institution that fosters collaboration, self-organisation and transdisciplinarity in research-based practices.
The book presents itself as a printed version of the educational model of a.pass. It enacts its characteristics in a conversational and experimental mode, exposing questions and doubts as much as insights and convictions. It conveys a history of the stakes, qualities and methods of artistic research in the context of both an ongoing academisation of art education, as well as an abrasion of the once unbridled scene of artist-run organisations in Northern Europe. Documented here is how a.pass has carved a space for artistic research to deploy its tentacles with joy, risk and excitement, to imbricate in fields of both art and education, and to stir the sediments of disciplinary enclosures.
To buy the book please visit the publisher's website: https://www.onomatopee.net/exhibition/in-these-circumstances/
The book can be purchased during the launch event hosted by a.pass on the 20.May.2022. For more info about the event visit https://apass.be/the-apass-book/
- case of: Vladimir Miller
A global reading of the Gaza Monologues International Day of Solidarity with the Palestinian People
10 November 2023
posted by: Kristof Van Hoorde
The ASHTAR Theatre in Ramallah is calling on theatres and artistic organisations around the world to perform the Gaza Monologues on Wednesday 29 November and share images of the performances on social media. The play, produced by the Palestinian theatre company in 2010, consists of 31 testimonies from children and young people who lived through the war in Gaza in 2008 and 2009. In short monologues they recount what happened to them during those weeks. As the violence in Gaza has viciously erupted again, the text is as relevant today as it was 13 years ago.
The United Nations General Assembly has declared November 29 as the International Day of Solidarity with the Palestinian People. That is why ASHTAR Theatre is calling for the text to be performed again on that day.
Several cultural houses and many artists in Flanders and Brussels are responding to this call, as well as organisations in 40 other countries. Together with SOTA, Moussem and Lagrange points, a.pass will organise a reading of these monologues in different langues in the public space: at the statue of Godfrey of Bouillon in the heart of Brussels.
In exchange for the use of the text, a financial contribution will be made to ASHTAR Theatre’s fund, which is dedicated to the psychosocial well-being of Palestinian children and trauma therapy.
By reading these monologues, we want to express our solidartity with the Palestian people. Reading can give a voice to those unheard, provide a platform to the voices that are currently being silenced. We have read, heard and seen many testimonies of the victims of the brutal terrorist attack on 7.10.2023. We got to see their faces in the newspapers; on television, we heard their stories and got to know their families. And that is undoubtedly how it should be.
When it comes to Palestinians, however, we only hear numbers: 5.000 killed, 10.000 killed, 15.000 killed. Reading these 31 monologues is a call for putting a face and a voice to the thousands and thousands people, children, who lost their lives. Those that simply can’t remain unheard and unseen.
Wednesday November 29
15h-17h at The Whirling Ear Fountain
between Koningsplein/place Royale & Kunstberg/Mont des Arts 1000 Brussels
In these circumstances: On collaboration, performativity, self-organisation and transdisciplinarity in research-based practices 14 years of a.pass
20 November 2023
posted by: Sina Seifee
In these circumstances: On collaboration, performativity, self-organisation and transdisciplinarity in research-based practices is a publication about artistic research as it is practiced within the co-learning environment of a.pass. This book brings together an assemblage of curatorial, artistic and pedagogical approaches emblematic of an institution that fosters collaboration, self-organisation and transdisciplinarity in research-based practices.
The book presents itself as a printed version of the educational model of a.pass. It enacts its characteristics in a conversational and experimental mode, exposing questions and doubts as much as insights and convictions. It conveys a history of the stakes, qualities and methods of artistic research in the context of both an ongoing academisation of art education, as well as an abrasion of the once unbridled scene of artist-run organisations in Northern Europe. Documented here is how a.pass has carved a space for artistic research to deploy its tentacles with joy, risk and excitement, to imbricate in fields of both art and education, and to stir the sediments of disciplinary enclosures.
Editor: Philippine Hoegen
Editorial support: Lilia Mestre
Contributing authors: Adrijana Gvozdenović, Amy Pickles, Ana Hoffner, Anouk Llaurens, Aubrey Birch, caterina daniela mora jara, Chloë Janssens, Elke Van Campenhout, Femke Snelting, Guy Gypens, Isabel Burr Raty, Kate Rich, Kristien Van den Brande, Krõõt Juurak, Laura Pante, Leo Kay, Lilia Mestre, Livia Andrea Piazza, Loes Jacobs, Mathilde Villeneuve, Muslin Brothers - Tamar Levit & Yaen Levi, Nicolas Y. Galeazzi, Peggy Pierrot, Philippine Hoegen, Pia Louwerens, Pierre Rubio, Rui Calvo, Samah Hijawi, Sara Manente, Sina Seifee, Steven Jouwersma, Túlio Rosa, Vanja Smiljanić, Veridiana Zurita, Vladimir Miller
Text editors: Chloe Chignell, Sarah Cale, Kristien Van den Brande
Proofreader: Sarah Cale
Production coordination: Joke Liberge
Administration: Michèle Meesen, Kristof Van Hoorde
Graphic design: Miriam Hempel, www.daretoknow.uk
Fonts: SangBleu Kingdom, Swiss Typefaces, Standard, Bryce Wilner
Paper: Munken Lynx Rough
Printer: Snel, BE
Images from the a.pass archive, and on their respective pages by:Leo Kay, Femke Snelting, Vanja Smiljanić, Kate Rich, Rui Calvo, Muslin Brothers, Anouk Llaurens, Vladimir Miller, Samah Hijawi, Sina Seifee, Steven Jouwersma
Every effort has been made to contact copyright holders and to obtain their permission for the use of copyright material. If inadvertent infringement has occurred please contact the publisher.
ISBN: 978-94-93148-85-7
Produced by a.pass Posthogeschool voor Podiumkunsten vzw.
First edition, Brussels, 2022
Onomatopee Projects
Made with the support of the Flemish Ministry of Education.
This publication is licensed under a Creative Commons Attribution-NonCommercial-
ShareAlike 4.0 International Licence (CC BY-NC-SA 4.0). To view a copy of this license, visit https://creativecommons.org/ licenses/by-nc-sa/4.0/
Clearance Sale in support of Gaza relief, hosted by Gary Farrelly and special guest Elke Van Campenhout
28 November 2023
posted by: Kristof Van Hoorde
December 9 - Doors open at 11:00 for viewing, auction sale starts at 13:00 - Delaunoystraat 58-60 ** There will be soup and drinks.
a.pass Clearance Sale
in support of Gaza relief
hosted by Gary Farrelly and special guest Elke Van Campenhouta.pass is entering a period of reevaluation, reimagination, and ultimately reorganisation. As part of this process, the institution is liquidating an overwhelming abundance of materials accumulated over the years. Items available for purchase include furniture, fixtures, lighting, art, office supplies, props, cables, electronics, artifacts, curiosities, catering supplies, mystery materials, not to forget the dance floor and much more. The sale will take the form of a garage sale, with larger, high-value items going under the auction hammer. Gary Farrelly will oversee the sale together with special guest Elke Van Campenhout. All proceeds from the liquidation will be donated to aid relief efforts in Gaza. The Cultural Emergency Fund of HOPE foundation offers many local artists and teachers the opportunity to support children who are suffering the consequences of war and destruction. More info: HOPE foundation
a.pass is looking for a new space 27 December 2023
posted by: Kristof Van Hoordea.pass is at the moment in a transition fase, entering a period of reevaluation, reimagination, and ultimately reorganisation. At this moment we are using temporary spaces until September 2024. From September on we hope to find a new space. In case there are other organsiations looking for spaces, we would be happy to share space. All ideas are welcome!
THANK YOU ALL for being present at a.pass Clearance Sale on December 9.
It was a tremendous pleasure to see all of you and to celebrate together the ending of an era. The end of a.pass as we all know it. The auction was for us a very pleasant moment, a ritual to say goodbye, but also a moment to gather and to support the people in Palestine. As we mentioned before, all proceeds from the liquidation will be donated to aid relief efforts in Gaza. And we are very happy to announce that we collected €4.677,50 !!!
The money has already be transferred to the Cultural Emergency Fund of HOPE foundation, this fund offers many local artists and teachers the opportunity to support children who are suffering the consequences of war and destruction. More info: HOPE foundation
This wouldn't have been possible of course without our excellent auction master Gary Farrelly, our special guest Elke Van Campenhout and the concept and scenography by Steven Jouwersma. And of course it wouldn't have been possible without your presence and playing the auction game! THANK YOU!!
With us an end
by caterina daniela mora jara
(excerpt from The Annex, Research Center Cycle IV)“It is of the nature of the rule to desire the death of exception.” Jean-Luc Godard
From May 20 to July 26, 2023
Rotterdam, PAF, Brussels and StockholmDear you:
These words are written with the knowledge the a.pass program will no longer exist. The end for the research program that a.pass was running for 15 years has come, and in your hands, you hold part of this end. It is the last annex of the Research Center, even though The Annex is not the end. It may seem dramatic, but do not forget that I grew up watching telenovelas in Fiske Menuco and Villarica, in the Argentinian and Chilean Patagonia, where I come from.
This letter is a sort of farewell to the Research Center Cycle IV and to a.pass, to which I’m part of, to where I belong. Therefore, the need for a farewell. But what is a farewell? Is it a space where we say, “Oh, goodbye, you have been so critical and helpful; we will miss you”? No, that’s silly on my part. I prefer to say: “With us an end.” A farewell in this case means that some people will lose their jobs, some books will no longer have a shelf, the rooms and offices that a.pass occupied will be empty. It’s crumbling around me right now, it is collapsing around us right now. Yet, we have to give an end to the format. It is not only sad, it is very exhausting and stressful. It is not only a pity, it is hard, it is a fuck you gesture with my finger on this paper, it is a wound because we are losing a space of discussion, a place that stores things of artists, personal stuff and professional stuff, an institution where credits are not determined by how much you read and how much you have demonstrated what you have learned. We lose an educational context in which there is no validation through grades, nor pass/fail course approval.
I have worked in educational institutions for the last 14 years, and I am very aware of how difficult it is to change the curricula and challenge the environmental conditions for promoting knowledge. Therefore, I was deeply amazed by the fact that in the context of a.pass (the postgraduate and the Research Center) the curricula is proposed by the participants and/or being transformed every four months.
Do I have the impression of collapsing with a.pass because I did not expect things to end in Europe? Was a modern imaginary of linear time, progression, expansion and improvement operating somehow with European expectations? Possibly. I am from Argentina and I lived in Buenos Aires for 9 years before coming to Brussels five and a half years ago. In Argentina, I often saw institutions, venues, cultural centers and theaters close and reopen, so I thought I was used to endings. I suppose the difference is that I never expected an educational institution in Europe to lose funds.
In a.pass, I entered with a key, I knew the alarm codes, and I could set up and rearrange the space as my practice required. I moved the dance floor so many times and cleaned it that many times. Through a.pass, I have encountered a network of people that has expanded in various ways in my short life in this part of the world, providing me with a context of travel and/or visibility and/or jobs more than once.
This will end.
I remember when I started the postgraduate program I was very surprised by the fact that, as part of my education, I had to share food, even make the food together, share space, even design the space together, share material resources, and even build my material resources. I remember why I chose to participate in the Research Center: it was because I knew it was coming to an end in its current format, so it was the last opportunity for me to return to this strange and luxurious context where answers are suspended.
Don’t cry for me. (...)
I experienced a.pass as a place where we could hold questions and come back later during dinner time, a context that could embrace the fragility of (my) individual research, which is sometimes full of expectations, fears and anxieties. I do not want to romanticize. It was not all rosy. RC is demanding and confronting, and perhaps even more so given that we knew a.pass would end.Outside of the Bologna logic of BA; MA or PhD, and outside of titles and diploma requirements, a.pass looks for the criticism of the doing of the practice.
Inside the capital of the European Union, a.pass has a fee for the Postgraduate program potentially accessible to countries whose currencies are not in euros. I am referring here to the fact that the South and Central-American community that I have met in a.pass is numerous and grandiloquent: I’ve met people from Brazil, Uruguay, Chile, Argentina, Mexico, Ecuador. There is no fee for the Research Center.
Inside Brussels, a.pass is as diverse as the city which hosts it.
Inside of a bilingual city, a.pass doesn’t speak the official languages of the city nor the country which hosts it. I was so afraid of not knowing how to speak English. As a non-English speaker, imagine an institution which doesn’t care about your level of English.
In the last floor of a building in Molenbeek, a.pass assumes its role as a confronting institution, it engages with conflict and with interdependence.
a.pass for me embodies the exception.
For more suspended questions, fucking ends, ends fucking and shared spaces,
Con amor,
cate
Am I Evil?* Brussels Edition
by Simone Basani and Alice Ciresola with Els Moors
Can erotic writing become a place for decolonial and feminist exploration?How could one embrace the tools of erotic writing to unveil, investigate and question power processes of colonisation, discrimination, nanoracism, marginalization, exoticization, abuse and seduction from diverse perspectives?
These questions are at the core of Am I Evil? process writers of all sorts are invited to embark upon.
On this journey the group of writers embrace erotic writing as a tool to investigate their own desire, and how this relates to the Other and the Unknown.
For the duration of the whole journey they stay in dialogue through a peer-to-peer editing methodology. Actually such a methodology is not ‘just’ editing. It is rather an intimate and radical way of dialoguing through re-writing.
Am I Evil? starts off with a-lecture introduction by Basani and Ciresola open to everyone about the legacy of Jeanne Walschot, the first white female dealer and collector of African art we know, active in Brussels from 1920s.
The figure of Mrs. Walschot works efficiently as a site to explore the way Western European culture desires the Other, and the Unknown. With the research of Gloria Wekker, Audre Lorde, bell hooks and Robin diAngelo in mind, this exploration might reveal for instance how whiteness is constructed (culturally, socially, historically) through the look and the touch on the Other.
The process of text writing and re-writing will take place between the end of April and July 2024, both in collective meetings in person and individual sessions at home.
The texts created during this collective journey will be shared with the audience through a printed publication and will have a first presentation moment during the Art Book Fair at Wiels and at nadine, in October 2024.
The Brussels edition of Am I Evil? welcomes as special guests the writers Gabriela Wiener and Cristina Ubah Ali Farah plus other artists to be confirmed.More info and how to apply click here.
On the 21st of March, the day of Spring and the International Day against racism a.pass joined the TOWARDS APARTHEID FREE ZONES - Cultural Solidarity with Palestine campaign. By doing this we want to express, as an organisation, once more our solidarity with Palestine. We say NO to any form of discrimination, racism, violence and violation of human rights and international law. We say NO to anti-semitism, we say NO to islamophobia. And we say NO to any form of terrorism, including organised state terror like apartheid.
Together with many other organisations in the cultural field from both sides of the language border, we have decided to start our trajectory TOWARDS APARTHEID FREE ZONES. This means that we will do everything we can as an organisation to avoid any complicity with apartheid states and regimes, by choosing not to collaborate with these states, and choosing for companies and service providers that do not invest in these states and regimes, starting with a boycott of Israël. Becoming an Apartheid Free Zone is a step further in our decolonising process and a step further in defending the freedom of speech, defending the universal declaration of human rights and in connecting people without dehumanising any of them. We invite you to take this step together and walk TOWARDS APARTHEID FREE ZONES with us. We have put a sticker on our windows and doors; we have posted this message on our pages, in order to make our joint action visible. We stand in solidarity with Palestine and we say: enough! Ceasefire now!
From now on the a.pass archive is part of the AMVB collection, which has many archives by Flemish cultural institutions in Brussels in their collection. In this way the a.pass archive, with the many publications made during more then 14 years, will be publicly accessible and preserved for future generations.
You can find AMVB here: Arduinkaai 28, 1000 Brussels or www.amvb.be
Spring Drink & Films with a.pass and nadine
02 April 2024
posted by: Kristof Van Hoorde
April 9 at 20h00
rue de Manchesterstraat 17, MolenbeekSpring comes with a fresh new wind: a.pass installs a temporary place in Manchesterstraat 17, Molenbeek, where artists and alumni can organise gatherings and presentations in the coming months. For this spring event, a.pass invited nadine to host together an inauguration drink and an evening with screening of three short films by independent makers living in Brussels.
Join us, together with our friends of nadine, for a free drink and 3 short films!
FILM PROGRAM:- Memories of a Camera Perspective by Anna Lugmeier
- Show Girl by Amari
- shemortelle by Shelbatra Jashari*** Memories of a Camera Perspective by Anna Lugmeier (29 min)
Memories of a Camera Perspective is an audio-visual poem dedicated to the process of film editing as a space of intimacy with sound and image material. It disguises as a home movie that is looking into femme strategies of appropriation of the camera by turning the phallic attributes of the lens inside out and looking into the oystershell as a vessel for a filmic Séance. The film is summoning visions of early feminist filmmakers, seeking for new frameworks of kinship and care in collaboration with the camera. In this DIY-examination of the tragic-comedy we are looking into exhausted images, the role of the female film maker and a desperate love-letter to a camera perspective, yet to come. Memories of a Camera Perspective was part of Anna Lugmeier's End Presentation at a.pass in January 2023.
*** Show Girl by Amari (14 min)A short-film documentary about Michelle, a pole performer from Paris. The film centers an event where she performs for a cabaret night. Amari is a multidisciplinary artist and founder of Unlimited Strip Club, using the symbolic fascination of strip clubs as a medium for film-making, installations and performances. Show Girl was part of Amari's End Presentation at a.pass in September 2023
*** shemortelle by Shelbatra Jashari (15 min)A sensitive vampire decides to leave eternal life behind by actively undergoing euthanasia. She is assisted through a mercy killing ritual, performed by a vampire matriarchy in Brussels. Taking on human form for just a flash of time after years of immortal existence, she talks about her death, life and choice to change. Shelbatra has been active in Brussels since a while - known for the Brûlesk dance events in the past - a project around cabaret and burlesque. She has been using her body, voice and boxing (among others) as a foundation to develop her vision on the history of representations. With shemortelle she tempted into a form where concept, performance, film and narration were put to use to make a contemporary form of a “weeping song” - referring to “pleureuses” practices such as those singing songs of grief in the tradition of Albanian songs. Her research into this practice was accompanied by a performance that has been integrated in the short film.
SUMMER DRINK with a.pass and nadine
19 June 2024
posted by: Kristof Van Hoorde
work in progress by Diego Echegoyen (sound performance) & Davide Tidoni (film)
July 7 at 18h30
rue de Manchesterstraat 17, MolenbeekLet's celebrate SUMMER ! After the Spring Drink nadine and a.pass are very happy to invite you for their Summer Drink ! This time with work in progress (performance, sound and film) by Diego Echegoyen and Davide Tidoni.
Join us, together with our friends of nadine, for a free drink and 2 presentations!
PROGRAM:
– 18:30 - doors open + drink
– 19:00 - Invisible Cities by Diego Echegoyen
– 20:15 - The Birth of a Song/Come nasce una canzone by Davide Tidoni*** Invisible Cities by Diego Echegoyen (work in progress, 50 min)
Invisible Cities is the new performative project by Diego Echegoyen. This sound performance delves into how, when and under which conditions the cities and memories overlap, how they dislocate, appearing somewhere else and coexisting with different landscapes. During his residency at a.pass, Diego explored the transition from sound installation to performative forms, incorporating elements and techniques from sound art, theatre and expanded choreography. The installation shifts to a performative sound piece by unleashing a choreography of shadows and lights as a glimpse of an ever-murmuring fictive city. Is it a matter of memories or perception, or is it about Migration? How can it be that a place reappears in another and then they stick together? How does it speak about the presence/absence? In any case, they all serve as backdrops and catalysts for Diego’s creative process. His relation to Brussels, where he currently resides, and Buenos Aires marks the pace of his work as the memories bridge one city to the other.
*** The Birth of a Song/Come nasce una canzone by Davide Tidoni (work in progress, 75min + aftertalk)
The video The Birth of a Song continues Davide's research on voice, protest songs, and the NoTAV movement (more info). The work shows the clashes between police and NoTAV, which occurred in Valsusa on July 4, 2011, and links them to the song, Il furbo celerino (The Sneaky Riot Cop), created by the NoTAV movement itself a few months after the clashes. The work reflects on protest songs as situated and relational gestures, actions intervening within a specific temporal contexts, expressing force and meaning in response to contingent situations.
AM I EVIL ? - Brussels Edition Public sharing moment
08 October 2024
posted by: Kristof Van Hoorde
Am I Evil?* Brussels Edition
by Simone Basani and Alice Ciresola with Els Moors
Public sharing moment on Saturday October 19 from 16:30 on
Can erotic writing become a place for decolonial and feminist exploration?How could one embrace the tools of erotic writing to unveil, investigate and question power processes of colonisation, discrimination, nanoracism, marginalization, exoticization, abuse and seduction from diverse perspectives?
These questions are at the core of Am I Evil? process writers of all sorts are invited to embark upon.
On this journey the group of writers embrace erotic writing as a tool to investigate their own desire, and how this relates to the Other and the Unknown.Program of the third and last final sharing moments of ᴀᴍ ɪ ᴇᴠɪʟ? (ꜰɪʀꜱᴛ) ʙʀᴜꜱꜱᴇʟꜱ ᴇᴅɪᴛɪᴏɴ
➷ 𝗮:𝗽𝗮𝘀𝘀
𝟭𝟵 𝗢𝗰𝘁𝗼𝗯𝗲𝗿 | 𝗳𝗿𝗼𝗺 16h30
Manchesterstraat 17, 1080 Molenbeek-Saint-Jean
➷ in collaboration with 𝗻𝗮𝗱𝗶𝗻𝗲
16h30
Lecture-performance by Roger Fähndrich
17h30
break & drinks ✨
18h00
Mariken Overdijk
Anastasia Hadjipapa-McCammon
Jule Köpke
Constant
Margot De Grave Loyson
19h15
break & drinks ✨
19h45
H. de S.
Margot Delaet
Lara Muslera
iPhone de cash expressAlex S.
ᴀᴍ ɪ ᴇᴠɪʟ? (ꜰɪʀꜱᴛ) ʙʀᴜꜱꜱᴇʟꜱ ᴇᴅɪᴛɪᴏɴ is 𝗰𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝗲𝗱 by VGC (Flemish community in the Brussels Capital Region), a.pass, nadine, Passa Porta, Moussem, Muntpunt, and radical_hope. 𝗣𝗿𝗲𝘀𝗲𝗻𝘁𝗮𝘁𝗶𝗼𝗻𝘀 at WIELS | Art Book Fair 2024, Muntpunt and a:pass ft nadine.
ᴄᴜʀᴀᴛɪᴏɴ: Simone Basani, Alice Ciresola
ᴡʀɪᴛɪɴɢ ᴍᴇɴᴛᴏʀ: Els Moors
ᴘᴀʀᴛɪᴄɪᴘᴀᴛɪɴɢ ᴀᴜᴛʜᴏʀꜱ: Anne Ballon, Mariken Overdijk, Dvora Ru, Jule Köpke, Anastasia Hadjipapa-McCammon, Sadrie Alves, Alex S., Lara Muslera, Margot Delaet, Constant, Phyllis Dierick, H. de S., Margot De Grave Loyson, Ellen Gillard, Tamar Levit, iPhone de cash express, .tif
ᴘʀᴏᴏꜰʀᴇᴀᴅᴇʀꜱ: Bruno De Wachter, Diana Duta, Abigail Fields
ʙᴏᴏᴋʟᴇᴛ ᴅᴇꜱɪɢɴ: rien_de_nouveau_ici
ʙᴏᴏᴋʟᴇᴛ ᴘʀɪɴᴛᴇᴅ at nadine, 200 copies, September 2024
ɪɴᴠɪᴛᴇᴅ ɢᴜᴇꜱᴛꜱ: Ubah Cristina Ali Farah, Gabriela Wiener
ꜱᴘᴇᴄɪᴀʟ ᴛʜᴀɴᴋꜱ ᴛᴏ: Loes Jacobs, Fabio Bozzato, Kristof Van Hoorde, Sofia Dati, Anna SmolakMore on Am I Evil? (first) Brussels edition here
OPEN SCHOOL Open School III : Holding Space: In- and Exclusivity
08 October 2024
posted by: Kristof Van Hoorde
In the context of their Collective Research Residency, One Field Fallow introduces their OFF Open School - a series of five sessions diving into the internal questions they've been dealing with the past two years. For every Open School, they will dive into one topic. Each time another collectove is invited to bring material to the conversation. Every Open School will be a dialogue between OFF, the invited collective and the audience.
For every open school session, they will dive into one topic. They invite one collective to bring material to the conversation that was meaningful for them in addressing this topic. Every open school will be a dialogue between OFF, the invited collective and the audience, guided by food, artistic material & making as conversation.
Each session runs from 18:00 to 21:00 at One Field Fallow. The school is open to all, but registration is required and limited. Registrations will be open soon.
We’ll be offering soup and bread for a free contribution.
In collaboration with Brussels for Palestine, with this open school, we want to support education in Gaza, where schooling infrastructure has been destroyed. Together with teachers from the Amal Children School in Khuza’a-Khan Yunis, we aim to help set up ‘tent schools.’ By participating in the open school, you’re invited to make a donation to Brussels for Palestine. For more details, swipe to the last slide.[gallery ids="13815,13816,13817,13818,13819,13820"]
From Manchester to Birmingham... but still in Molenbeek! a.pass is moving to a new location.
From Manchester to Birmingham... but still in Molenbeek! a.pass has moved to a new location, from now on a.pass resides at La Bodega, Birminghamstraat 30, 1080 Molenbeek! We share the building with some other art organisations (Habemus Papam, Entropie Productions, Impulsion Dance, ABOUTT and some individual artists). Check out the new space during the events organised by our 2nd collective TOPOTE DE ACAHUAL, or explore the space during Kunstenfestivaldesarts in May.
March 21st at 18h30
rue de Manchesterstraat 17, MolenbeekLet’s celebrate SPRING ! nadine and a.pass are very happy to invite you for another Spring Drink! This time our friends from nadine will launch a new cycle of WAB (Wandering Arts Bienniale) and they will celebrate with us the end of our time at Manchesterstraat 17.
PROGRAM
- 18:30: doors open
- 19:00: work in progress (performance) by Helena Dietrich
- 20:00: work in progress (installation) by Annika Katja Boll
- Launch of a new WAB cycle (Wandering Arts)*** work in progress - Untitled (until it appears) 2025 by Helena Dietrich (30min)
Between gesture and voice, something emerges. Not yet meaning, not yet language, existing in a fragile interval—a crack where meaning seeps through. Before words solidify into definitions, before gestures become codified signs, there exists this shimmering potential.
In this unfolding, each moment expands into its own universe, terrifying in its nakedness. Traveling toward the center of the now—that impossible point where everything meets nothing. An improvisation of scores from the new research Tuning – Resonant Bodies Weaving Emergent Ecologies.*** work in progress - installation by Annika Katja Bol
"I want to share during this year's Spring Drink an exploratory combination of my video and digital-sculptural work. I intend to display looped animations, as Walking Simulator 1 or Simple Simulator 2, which are digital walks in artificial nature scenes. They propose a sort of cyber-flânerie which relates to my interest in ‘Walking as Method’, a concept that suggests walking creates a rhythm of thinking. Juxtaposed to the screens are sculptural pieces as please don’t water me I’m artificial 1 and 2, which are 3D printed plants being re-motioned over rotating jewellery displays, forming a carousel of lifeless plants. I playfully describe this work between nature and artificiality as digital gardening. Through the visual combination of both I will try to reflect on an upcoming work, windmills of shame/ in Bliss, which aims to reflect on renewable energies and their social image: objects used for decoration as toy windmills, Lazy Susans or traditional German Christmas pyramids will be placed in opposition to a screen displaying the landscape of Bliss, the default Windows XP wallpaper from 1998. The title quotes a statement by AfD politician Alice Weidel, who wants to end the use of “the ugly windmills of shame”, when in power." A.K.B
*** launch of a new WAB cycle
WAB was founded in 2014 by nadine as a ‘wandering arts’ biennial, supporting nomadic art practices, and work in public space. This year, WAB will be streched in time, as a seasonal cycle. Each season starts with a (semi-)public event to bring WAB closer to how nadine works (as an arts laboratory), while reflecting on the future of ‘wandering arts’ (as a practice).
>>> Join us, together with our friends of nadine, for a free drink, sharing moments of work in progress and the WAB launch on Friday 21 March at 18h30, Manchesterstraat 17, Molenbeek !
BARULLO de HOJAS Study Group by Topote de Acahual
15 April 2025
posted by: Kristof Van Hoorde
