SUBSCRIBE TO OUR MAILING LIST



index ūüďö


Kristien ÔĽŅVan den Brande /5


    • Trouble seeing this email? Online version here.

      newscaption

       

       

       

      You are warmly Invited to 

      ____

      The
      Document

      Trans-
      formed

      ____

       Masterclasses and Seminar
      +
      Book launch 'Dirty room' Juan Dominguez
      a.pass research centre publication

      JUNE 22-23-24 @ LA BELLONE
      Rue de Flandre 46
      Brussels

       

       


      Curated by Sofia Caesar and Lilia Mestre, the public program ‚ÄúThe Document Transformed‚ÄĚ invites four practitioners that offer very distinct questions, methods, and proposals to problems related to documentation. Join Femke Snelting, Olga de Soto, Vincent Meessen, and Agency (Kobe Matthys), and others, for three days of presentations, screenings, performances and conversations. How does the document affect practices, bodies, histories, and experiences? The event brings together practices that not only give sight to the power relations engendered by apparatuses of documentation, but also move towards the transformation of the systems in which we produce history, law, art, and the body. Held in the context of The Problem of the Score, block curated by Lilia Mestre in the a.pass post-master research program and supported by a.pass.¬†

      In the frame of the seminar the book Dirty Room will be presented. It is the fourth and last phase of Juan Dominguez’s research, developed during 2015-16 as a.pass associate researcher.

       

      This seminar is organized in collaboration with La Bellone

      PROGRAM 

      Thursday 22 June 

      10:00 > 13:00    Masterclass Agency (Kobe Matthys)

      14:00 >17:00     Masterclass Possible Bodies (Femke Snelting and Adva Zakai)

      Friday 23 June

      10:00 >13:00     Exhibition visit ( Bozar ) and discussion with Vincent Meessen

      14:00 >17:00     Masterclass Olga de Soto

      To inscribe to the master-classes please send an email to production@apass.be
      1 Masterclass: 15 Euro, 2 Masterclasses: 20 Euro, 2 days: 30 Euro.
      Free for (ex) participants of a.pass

      Saturday June 24th 12:00 > 18:00 
      FREE, reservation appreciated 

      In this afternoon of presentations, screenings, and performances, the four invited practitioners will take us to dive deeper into different case studies.

      12:30    Sofia Caesar: Introduction talk
      13:00    Femke Snelting
      14:00    Olga de Soto
      PAUSE
      15:30    Vincent Meessen
      16:30    Agency (Kobe Matthys)
      17:30    Book launch with Juan Dominguez and Victoria Perez Rojo


      Don't forget to reserve for your Masterclass by sending an email to : production@apass.be

      DETAILED PROGRAM DOWN BELOW

       

       

      Detailed program:


       

      Thursday June 22nd

      10:00 > 13:00        Masterclass Agency (Kobe Matthys)

      What if ephemeral things become included within art practices?¬†Intellectual property seems to be mostly reserved for ‚Äúfixated‚ÄĚ things. Although the European copyright law doesn‚Äôt exclude variability, during jurisprudences judges consider movements that are ‚Äúrecordable‚ÄĚ in some way or another. Agency calls forth different controversies from recorded movements in dance and performance and sport. By paying attention to the consequences of the apparatus of intellectual property right for the protocols inherent to practices, the fragility of the mode of existence of singular art practices is made explicit.

       

      14:00 >17:00     Masterclass Possible Bodies (Femke Snelting and Adva Zakai)

      This edition will be dedicated to a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. It was developed in the mid-nineties and remains one of the most commonly used file-formats for transposing movement captured in physical space, to a computational environment. Around this relatively legible format, a rich ecology of software tools developed. The file-format functions as a boundary object between practices and bodies, as it is used by animators, game developers, interface researchers, medical professionals, dance-historians, sports-analysts and engineers.

      Together we will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.

      The reading of the .bvh file format is developed with Adva Zakai in the context of Possible Bodies, a collaborative research initiated by Jara Rocha and Femke Snelting on the very concrete and at the same time complex and fictional entities that ‚Äúbodies‚ÄĚ are, and the matter-cultural conditions of possibility that render them present.

       

      Friday June 23rd

      10:00 >13:00        Exhibition visit (Bozar) and discussion with Vincent Meessen
                                       
      Starts at Main entrance of Bozar.

      In this afternoon, artist Vincent Meessen will take us through his Bozar show, that comes from his recent practice that involves research, historicization, and speculation about congolese works of art that have been commissioned and (re-)contextualized in the early 30’s. Starting from there, we can raise some issues about what a work of art is expected to be and how it can shift meaning with context and neighbouring artefacts.

      More about the show Patterns for (Re)cognition by Tshela Tendu & Vincent Meessen, Opening 16th June at BOZAR: http://www.bozar.be/nl/activities/124891-tshela-tendu-vincent-meessen

       

      14:00 >17:00       Masterclass Olga de Soto

      Olga de Soto will share her research project that has Kurt Jooss’ The Green Table (1932) as a starting point. She will display the process, methods, research protocols and strategies that she has developed over time, and through which she addresses the question of reconstruction, re-enactment and revival from the perspective of the trace, both material and immaterial, in order to analyse the several charges the work contain (social, political, dramatic, emotional…).

      She will share with us how she approached Jooss‚Äô work through the archive, the trace and the document, proposing to circumvent the traditional modalities of transmission in dance, in order to probe the archive‚Äôs ‚Äúcapabilities‚ÄĚ to say the work, as well to examine the archive‚Äôs ‚Äúbecoming-work‚ÄĚ.

      We will observe how the project and its process unfolded simultaneously into two levels: on a documentary research level and on a creation level. With the help of several documents, we will observe how the documentary research was developed, dedicated in part to researching and documenting the perception and transmission of The Green Table, seeking out iconographic material (through the gathering of numerous documents of different kinds), analysing the choreographic characteristics of the work and looking for witnesses ‚Äď dancers and audience members from different origins and generations, in order to study the perception of the work through the prism of the viewer‚Äôs gaze (using the interview as a tool to collect memories, focusing on the importance of the testimony and oral sources).

       

      Saturday June 24th 12:30 > 19:00

      In this afternoon of presentations, screenings, and performances, the four invited practitioners will take us to dive deeper into different case studies.
       
      12:30   Sofia Caesar: Introduction talk

      13:00  Femke Snelting

      Femke Snelting will present a collaborative dissection of the BioVision Hierarchy file format. BioVision Hierarchy (.bvh) is an ASCII file format used to import data from various motion capture systems into 3D-animation software. Together they will analyse the .bvh specifications and samples of the file format in order to understand what imaginaries of the body are encoded into it, what a bipedal skeleton hierarchy consists of, and how rotational data for rigid bodies might constitute a movement in itself.

      14:00 Olga de Soto

      Olga de Soto will share some excerpts of D√©bords, work presented at Les Halles in 2012, as well as some excerpts of the installation she is currently working on, and that was partially presented this Spring at Museum f√ľr Neue Kunst, in Freiburg. The presentation will be punctuated with a discussion on the work.

      PAUSE

      15:30  Vincent Meessen

      Vincent Meessen will screen ‚ÄúOne. Two. Three.‚ÄĚ, piece presented in Wiels in 2016, followed by a talk about his strategies of re-composition and counter-narratives.

      16:30 Agency (Kobe Matthys)

      ‚ÄúWhat if ephemeral things become included within art practices?‚Ä̬†Thing 001678 (Le Jeune Homme et la Mort)¬†concerns a conflict between on the one hand Roger Eudes, Th√©√Ętre Champs-Elys√©es, and on the other hand Jean Guttmann (Babil√©e) and Jean Cocteau about the performance¬†Le Jeune Homme et la Mort. On June 8, 1960, the court case¬†Eudes c. Gutmann, Cocteau et autres¬†took place at the Cour d‚Äôappel de Paris. Judge Rousselet had to decide who owned the rights over the movements of the performance, Eudes who hired Jean Gutmann to ‚Äútranslate‚ÄĚ Jean Cocteau his drama into ballet movements or Cocteau who wrote the script of¬†Le Jeune Homme et la Mort.

      17:30 Book launch with Juan Dominguez and Victoria Perez Rojo

      The book Dirty Room is the fourth and last phase of Juan Dominguez’s research, developed during 2015-16 as a.pass associate researcher. Dirty Room is a collection of outlines, notes, ideas, reflections, photographic materials, maps, manifestos, fragments from diaries, transcriptions of conversations, interviews, email exchanges, memoirs, memories and scripts, among other documents from the working and research process that led to Clean Room. Clean Room was a project based on the concept of seriality with a pilot and 3 more seasons of 6 episodes each that took place from 2010 to 2016.

      Dirty Room offers the readers an immersion in the process of the project Clean Room. It is a book in which there are no critical essays, or texts speaking only from the external position of the spectator. All of the contributions are part of the ongoing research and working process of Clean Room, either continually accompanying it over long periods or as one-off contributions at a specific moments. This decision highlights the great potential of the process in its fragmentary, undefined and open nature not only for the transmission of knowledge and ideas, but above all for stimulating imaginative processes to connect with the concerns that set the series in motion.

      Dirty Room

      Edited by: Juan Domínguez and Victoria Pérez Royo

      Editorial: Continta me tienes

      Executive Production: manyone

      Madrid, May 2017

      Translations by Ana Buitrago, Simon Malone and Catherine Phelps

      This is a publication by the a.pass research centre.

       


       

      About the participants:

      Vincent Meessen

      Through the use of various media, Meessen aims to ‚Äėexperience the document and document the experience‚Äô.¬†His investigations lead to associations and appropriative gestures that are rewritten into critical narratives, pointing to the colonial matrix of western modernity. Meessen reactivates hidden traces of the colonial in the present and opens up new speculative scenarios.

      Both in his work as an artist and in his para-curatorial activities, Meessen likes to use procedures of collaboration that undermine the authority of the author and emphasize the intelligence of collectives. With ten guests artists, Meessen represented Belgium at the 56th Venice Biennale.¬†Recent solo exhibitions include:¬†OK/KO¬†in the frame of¬†Dans la pluralit√© des mondes /¬†Printemps de Septembre, Toulouse (F), 2016;¬†Sire je suis de l‚Äô√ītre pays¬†in¬†WIELS, Brussels 2016 and¬†Patterns for (Re)cognition¬†at the¬†Kunsthalle Basel, 2015.¬†Recent group presentations include¬†Gestures and archives of the present, genealogies of the future,¬†Taipei Biennale, Taiwan and¬†The Family of the¬†Invisible¬†at the Seoul Museum of Art (SeMA).
       

      Agency

      Agency¬†is a Brussels-based initiative founded in 1992, which constitutes a growing list of ‚Äėthings‚Äô that resist the radical split between the classifications of ‚Äúnature‚ÄĚ and ‚Äúculture‚ÄĚ and consequently between expressions and ideas, creations and facts, subjects and objects, humans and non-humans, originality and common, mind and body, etc.

       

      Femke Snelting (Possible Bodies)

      Artist and designer, developing projects at the intersection of design, feminism and free software. She is a core member of Constant, the Brussels-based association for arts and media, and co-initiated the design/research team Open Source Publishing (OSP). With delegates Jara Rocha, Seda Guerses and Miriyam Aouragh she takes part in the Darmstadt Delegation, assigned to explore techno-political and socio-emotional relationships between activist practice and tools. She formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring and recently co-ordinated the Libre Graphics Research Unit, a European partnership investigating inter-relations between free software tools and artistic practice. Femke teaches at the Piet Zwart Institute (Master Media Design and Communication).

      Possible Bodies is a collaborative research on the very concrete and at the same time complex and fictional entities that ‚Äúbodies‚ÄĚ are, asking what matter-cultural conditions of possibility render them present. This becomes especially urgent in contact with the technologies, infrastructures and techniques of 3D tracking, modelling and scanning. Intersecting issues of race, gender, class, age and ability resurface through these performative as well as representational practices. The research is concerned with genealogies of how bodies and technologies have been mutually constituted. It interrogates corpo-realities and their orientation through parametric interfaces and looks at anatomies that are computationally constrained by the requirements of mesh-modelling. It invites the generation of concepts and experimental renderings, wild combinations and digital and non-digital prototypes for different embodiments. Collectors: Jara Rocha + Femke Snelting.

      Her collaborator Adva Zakai is a choreographer, performer and curator who explores how body and language are perceived through each other.
       

      Olga de Soto

      Olga de Soto Olga de Soto is choreographer and dance researcher, born in Valencia, she lives in Brussels. She graduates from CNDC / Centre National de Danse Contemporaine d‚ÄôAngers, after having studied classical ballet, contemporary dance and music theory in Valencia and in Madrid. Her creation work begins in 1992, and includes the creation of numerous works of different formats. Since the end of the ‚Äô90, her work focuses on the study of memory, and it questions the impact of live art, its usefulness its lasting quality, deploying itself along two axes. The first centres on the study of the body‚Äôs memory through the creation of works, aiming at a pluralistic approach to dance and the body, in works creations such as anarborescences (Th√©√Ętre de la Cit√© internationale, Paris, 1999), √Čclats mats (Centre Pompidou, Paris, 2001), INCORPORER ce qui reste ici au dans mon cŇďur (Centre Pompidou, Paris, 2004-2009). The second axis explores works from the history of dance as part of an approach governed by the study of perceptual memory, that of spectators and dancers. The resulting projects emphasize the importance of the processes and pay particular attention to documents, to the process of documentation, to testimony, to archives and oral sources, narrative and storytelling, particularly in works such as histoire(s) (Kunstenfestivaldesarts, Brussels, 2004), An Introduction (Tanz Im August, Berlin, 2010) or D√©bords (Festival d‚ÄôAutomne, Paris, 2012). These projects are interested in the experience of the viewer and in the anthropology of the spectacle, while developing through an approach that studies the aesthetic experience based on the oral history of works from the past. Her last projects genuinely mix the languages of choreography with those of documentary, performance, visual arts and installation, playing with the porousness of these disciplines. The work of the choreographer also reveals the strong links between art history, social and political history, and personal paths. Olga de Soto‚Äôs work has been shown in some twenty countries, an she is regularly invited to teach and to lead workshops and classes in various universities, as well as to collaborate in conferences where she shares her research methodology and her documentation work. She was awarded the SACD Prize 2013 in the category of Performing Arts for both her trajectory and her research work on Dance History, and specially for her research and creation work on The Green Table.

       
       

      THE
      DOCUMENT

      TRANS-
      FORMED


      JUNE 22-23-24
      @ LA BELLONE
      Rue de Flandre 46
      Brussels

       
       


       a.pass

      tel: +32 (0)2 411.49.16
      email: office@apass.be
      web: www.apass.be

       

       

    • Publication
    • Landings 18 May 2017
      posted by: Kristien ÔĽŅVan den Brande
    • Varinia Canto Vila; Sofia Gerheim Caesar; Christian Hansen; Brendan Heshka; Anouk Llaurens; Arianna Marcolini; Agnes Schneidewind
    • 20 January 2017
    • 22 January 2017
    • End-communication publication
    • Landings

      price: 8 euro

      More information here.

    • MEDIUM SCORE follows on previous iterations of scores as tools to practice dialogue or intersubjective formats for exchange in artistic research. ScoreScapes is an investigation of how scores can facilitate the relation between artistic research, documentation and knowledge processing.

      If artistic research is an active and methodological search for ways to keep the viability of our relation with the world, then how can this search be mediated by scores? If artistic research engages in processes of awaking unseen phenomenological relations with what surrounds us, then 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? What does that do to our individual practices and to the collective itself?

      This time the practice of The Medium Score will focus on how different formats of communication intertwine in the making and the analyses of each others researches. Each time every participant will contribute with a 5 minutes template of his/her research as a module of knowledge processing within the common environment of a.pass post master.

      The score brings about the importance of art practice and research as a discursive tool. The score pushes for an assemblage of layers ‚Äď philosophical, emotional, aesthetic, economic, critical, social-¬† that form a reflection of the world and the role of art within it. Every art work has a relation with multiple layers and constructs itself upon that basis. The context of each artistic research is variable and is therefor a contribution for a plural approach of relations.

    • At the end of a one year research cycle at a.pass, Luiza Crosman (BR), Juan Duque (CO), Sana Ghobbeh (IR), S√©bastien Hendrickx (BE) and Aela Royer (FR) open their thoughts and practices to a larger audience through (lecture-)performances, installations and performative scores. You are welcome to explore a tentacular collection of interests and concerns, relating to site-specificity, alternative eroticisms, complex narrativities, urban protest and diagrammatic speculation.

       


       

      ____HEARSAY____

       a.pass end-communications by

      Luiza Crosman, Juan Duque, Sana Ghobbeh, Sébastien Hendrickx and Aela Royer

       

      MAY 23-24-25 GREYLIGHT PROJECTS 5-10pm

      Rue Brialmont 11

      1210 Sint-Joost-ten-Node/ Brussels

       

      ____HEARSAY____ is a three day event hosted by GreyLight Projects. Five artist-researchers from the Brussels based post-master program a.pass (advanced performance and scenography studies) make a public presentation of their respective researches.

       

      The end, self-evidently, isn’t the end. ____HEARSAY____ offers space for reflection and informal dialogue, in order to co-imagine possible research futures. In between scheduled performances, a comfortable bar/terrace/library is open to spend some time, share your experiences and questions with the artist-researchers, and get in touch with the research backgrounds through a communal publication and a selection of books and documents. Or simply enjoy a drink, food and listen to some music of your choice.

      Limited capacity: reservation for the (lecture-)performances is recommended. Guarantee your place by subscribing via the doodles.

      ‚Äď Sana Ghobbeh: max 30: DOODLE 1
      ‚Äď S√©bastien Hendrickx: max 30: DOODLE 2
      ‚Äď Aela Royer: max 50: DOODLE 3

       


       

      PROGRAMME

       

      MAY 23-24-25 @ Greylight Projects

       

      5-6pm: performance

      This wall grows at its root. Performance by Sana Ghobbeh. Audience capacity 30; subscribe here.

       

      6-7pm: installations + bar/food/terrace/library

      UNFOLD, site-specific installation by Juan Duque

      Notes on Institutional Fictions and a hypothesis to be developed by practice; INDEX 3/3 ‚Äď ALIBI: ‚ÄúDummies‚ÄĚ; ‚ÄúThe Prophecy of the Ceiling made of Glass‚ÄĚ; ‚ÄúA Space into a Diagram‚ÄĚ, installation by Luiza Crosman.

       

      7-8pm: lecture performance

      Research presentation, by Sébastien Hendrickx. Audience capacity 30; subscribe here.

       

      8-9pm: installations + bar/food/terrace/library

       

      9-10pm: performative lecture

      Eros the Joyful, by Aela Royer. Audience capacity 50; Subscribe here.

       

       

      Thanks to: Greylight Projects &  Bains Connective:

       

       

       





APPLY TO THE A.PASS PROGRAMMES

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

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

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

X  

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