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    • end presentation
    • postgraduate program
    • Collective Channeling Exploration through research, play and art
      21 September 2023
      posted by: Kristien Van den Brande
    • Amari, Carina Erdmann, Mlondiwethu Dubazane, Lore D Selys
    • a.pass
    • 29 September 2023
    • 30 September 2023
    • Collective Channeling

      September 29-30
      Doors open at 5.30. Delaunoystraat 58.** There will be food and drinks.
      6pm-12pm: welcome at a.pass for music, film, conversation, spoken word and a dream dungeon.
      Closing party on the 30th!

      mlondiwethu, Carina, Amari and Lore conspire a presentation to conclude the end of a year spent together at a program for advanced performance and scenography studies. They decide to play a game and while they take a walk through the building that hosted them, they slip into character, speaking in the tongue of their research. Through this game they look at the implicit support structures and restrictions in place. They address and sound  the different languages and methods they need to adapt to move on an uneven playing field, comparing their different needs, skills, and energy levels, discussing how they can share time and space, the rules they would like themselves and others to play by. This also becomes a metaphor for the spoken and unspoken rules of institutions, of group-making, of ongoing or not yet inscribed forms of collectivities.


      Welcome. We'll begin with a character introduction. Who are you? Why are you here? What is your quest? Starting to my right.

      mlondiwethu: Hi, my name is mauve. I am a sound. I exist as a sound. I sound as a sound. As you hear me now you hear me in my essence, sound. I communicate with sound. Only sound, just sound. Sound, sound, sound, sound. But if you look into my eyes, if you look into my sound, I'm probably telling you a truth about myself. I came here to be heard. I hope you listening. I came here to be heard. I came here for love to be loved. I came here for me. I want to burn everything to the ground, but I need everything to stay up. My motto is to sound what I believe in or what other great masters believed in. I sound. I pop off. I smile frown. I'm shy loud, big small, pretentious, lover. Big eyes no see. I'm angry-soft. I am flow. I am muddy. The name is mauve.

      Carina: I am Olga Terre. It's kind of an old name. It's an anagram of Alter Ego, which is a bit lame, but somehow it got stuck, got stuck in my own webs. I often appear as a game designer, but actually I'm a spider, spinning webs to catch you, but catch you feeling carried. The threads are thin and fragile. They're spun from your own thoughts. If you get tied up, your quest is to question the rules of the game. See that your struggles are not your own. Recognize the patterns and that you will not solve them alone. My tone is playful. Sometimes a bit grave. Language is a game to me and I make games as a language to speak to these elephants that are marching through the rooms. Catch them on the web. My refrain is a slogan because I want to sell you your own body as technology, for free. 

      Amari: My name is Anti Hero. I blurred the line between good and bad. I created bridges between what should and what shouldn't. Now, my question is, how to learn from the shadows? How does light exist in darkness? Where is dark? Where is light? I know lawful skills and unlawful tools, I know plays and games for thoughts, I have ways to care or don't care. My attitude is true to myself. My tone is love. A love that doesn't bend. A love that is bold. I face the fears that make your body shake. That make your demons awake. Those that make your mom and dad regret they make you live in such a place. With deepest fear comes deepest desire. I'm full of paradoxes. Ghosts and prayers support me. I'm limitless.

      Lore: I'm superb SP(UB). I am spongy and Kuti (cutty). Sponging to others, sponging in the supposed outside. Cut T often through speech, gaze, movement, silence, anxiety, distraction and agitation. I cut the crap by maybe creating some more crap. I move the crap. I can be bratty as refrains, mucho mantra. Well, scrubbing scrubbing with two Bs I superb use pub. She he they spoke, we spoke spaces the place as with every process, I kind of follow and cut, Follow. Follow. Follow Follow matrix. I encasement and clothes meant I like to perceive beyond certain types of presence. I touch myself and the room a lot. You will be iceberg only a few things about us. I cross subjects and spaces. I know no grammar.


      Full script/game to be listened : 

      On September 29 and 30, mlondiwethu, Carina, Amari and Lore open the a.pass doors one last time, channeling voices, rhythms, and refrains – collapsing worlds that have been into worlds that might come.

      Collective Channeling is co-curated with Simone Basani.



      ** Accessibility: a.pass is currently situated at the former industrial site ‘de Bottelarij’ in Molenbeek (Brussels). Activities take place mostly in two different spaces on the 3rd and 4th floors of the building. Due to ongoing repair works in the building the elevators are currently not accessible unless we make a special request. If accessibility presents a concern, please contact us beforehand so we can organize access to the different floors to the best of our abilities. Apologies for this inconvenience. The events in September will likely contain spoken text and performance-based activities. If there are accessibility requests or questions please contact

    • end presentation
    • postgraduate program
    • Enter the DreamDungeon Call for participants
      18 September 2023
      posted by: Kristien Van den Brande
    • Carina Erdmann
    • a.pass
    • 20 September 2023
    • Enter the DreamDungeon

      For Carina Erdmann’s end-presentation, you will be invited to enter the DreamDungeon, a role-play game set in a subliminal architecture built from the merged dreams and associations of players and attending public. Train your mind in dream recall and submit your dream to become part of the collective memory space and soundscape. Submission will be anonymous.

      Want to dive in deeper? We are looking for a small group of core players that attend the dungeon building on September 26/27 and proceed to play the game with the public present on September 29/30. No prior knowledge needed, small compensation, places are limited. Write to Carina (before September 20) if you are interested or have questions:

    • end presentation
    • postgraduate program
    • End Communications 07 September 2023
      posted by: Kristien Van den Brande
    • Marian Rosa van Bodegraven, Andrea Brandão, Alyssa Gersony, and Marko Gutić Mižimakov
    • a.pass
    • 15 September 2023
    • 16 September 2023
    • End Communications

      In-between researcher and research, one finds:


      overlap, interests, themes, fiction, text, reading, body, duet, partner, “doctoring”, object, performance, bodies, relationship, questions, researchers, looking, things, going, us, traces, deposits, authors, architectures, dealing, bed, laying, bleeding, seeping, noticing, noting, narrating, unveiling, something, happening, discovery, methodologies, conditions, agent, asking, producing, responses, lethargy, collapse, training, experience, moment, future, here, now, concept, life, rhythm, goals, worth, cheese, workshop, ancestry, trajectories, senses, intimacy, strength, power, assertion, insistence, compassion, idea, artistic practice, descaling, focus, layers, dislocating, destabilizing, conditions, conditioning, negotiating, ways, humanization, humans, violent category, systems, disability, concrete, reference, ableism, contemporary, dance, thinking, practices, phenomena, embodiment, dancer, vessel, object, bodies, Marley, memory, erasure, obliteration, intangible, incomprehensible, determined, social, aesthetic, queer, sexualized, opening, gendered, human body, crossing, cultures, genders, generations, narrative, storytelling, voice, transmission, conditions, vs, context, decontextualizing, evaluation, affects, pieces, autofiction, mundane, erotically, charged, space, trip, supermarket, cup, coffee, Monday, morning, laying, down, convergence, blind/low vision, rehabilitation, ‘co-habilitation’, patient-therapist, flooring, prosthetic, patient, therapist, audiences, invitations, systems, dance, disability, together, final, transmission, trespassing, somatic, work, curation, drifting, vicinity, quantum physics, OOO, socio-ecological, hopelessness, seemingly, desperate, galactic points, gayness, history, AIDS, transgenerational, speculative fiction,  spoken word, theoretical, dramaturgical,  methodological, suggestions, Black Holes, celestial, entities, writer, producer, sexuality, vehicle, political ideology, drafts, prosaic, nature, political, administration, structure, Brazil, urban planning, Netherlands, 2019, masters, Moving Images, Belgium, 2022, interdisciplinary, Brussels, Rīga, New York City, orientation, mobility specialist, ‘the clinic’, ‘the studio’, western, lineages, contact improvisation, medical, models, disability, therapeutics, interabled, collaborations, experimental prosthetics, development, form, theatrical performances, electronic, sound, composition, 1:1, instruction, multimedia, installation, MFA, choreography, intermedia, 2021, 2022, adjunct, faculty, department, blindness, visual impairment, living, working, Zagreb, shaping, sensory materials, intimate, social processes, digital, palpable objects, animated, choreographed, sung, non-orientable, forms, different media, processes, translation, queer science fiction, speculative technology, mutual transformation, MA, animated, film, new media, rest, caves, shape, language, performativity, self, scores, ...


      If one makes a list of things, a list of all the things, if one were to try an embracive list of things that arise between being and doing, let’s say a dog and barking, and if one were to apply this question to artistic research, and aim at listing all the things that emerge between researcher and research, if one were to aim for the bottom of this list, what would emerge would be immeasurable distance, a very long line of things. At the end of the exercise, the question of what it intended, if not length, if not depth, if not stretch, perhaps could be: what is at stake between researcher and research?


      For the four artist-researchers Marian Rosa van Bodegraven, Andrea Brandão, Alyssa Gersony, and Marko Gutić Mižimakov, it is the conflation of research and researcher via the subject. Letting go of notions of distance in relation to their research subject, they opt for a generative entanglement between the subject of research, researching and the researcher.


      Understood as a sharing practice, artistic research involves attention, and awareness, and discipline, and effort, and being able to care about other people and to suspend oneself, over and over, every day, and at times in unflattering ways. For about a year this day-in-day-out practice positioned Marian, Andrea, Alyssa, Marko, as well as their other peers, towards each other as collaborators, witnesses, peers, co-conspirators, role-players, workshop facilitators and guinea pigs. Now, at the end of a joint trajectory, it involves making public, i.e. curating an event together, setting overlaps into printed matter, and extending their research intentions and questions to others.


      End Communications, invites the audience to attune to the specific intensities produced by these research entanglements as they are shared and made public.




      Marian Rosa van Bodegraven

      The Final Exam: this research considers how an artistic practice affects and is affected by the body of the researcher through pieces of autofiction that contemplate the mundane as an erotically charged space: a trip to the supermarket, a cup of coffee, a Monday morning spent laying down. The research will be presented through a reading of three texts: Clementine, Monday Blues (written by S. and researched in the context of the Am I Evil? Workshop, by Alice Ciresola and Simone Basani), and the eponymous The Final Exam.


      Alyssa Gersony

      co-habilitation: at the convergence of choreography and blind/low vision rehabilitation, this research proposes ‘co-habilitation’ as a way to reconfigure the patient-therapist relationship. Dance flooring (Marley) is taken as a duet partner, as a prosthetic, as a patient and a therapist, while audiences are invited into a deconstructed studio-clinic where bodies directly implicated in the systems of dance and disability perform together.


      Marko Gutić Mižimakov

      Less Than the Sum of Its Parts — Final Transmission is drifting in the vicinity of quantum physics, OOO, socio-ecological hopelessness and the seemingly desperate galactic points of gayness, the history of AIDS and its transgenerational affects. Trespassing performance, somatic work and curation, comes a spoken word duet speculating on the theoretical, dramaturgical, and methodological suggestions emerging from the idea of Black Holes as celestial bodies in proximity to touch and memory.


      Andrea Brandão

      first continue, then start (primeiro continuar, depois começar): Andrea’s research* lies within spaces of drifting, where rest, sleep, and the in-between start to carve out an embodied language that shapes the score of a performativity of the self. Through dislocating these transitory spaces into active, participatory experiences, Andrea aims to bring about the seemingly still nature of a state of consciousness that is informed by a rhythm that productively moves us through dark and liquid subterranean strata.

      ** At this moment, Andrea’s research will only be presented at a private scale, with a public moment at a later stage.


      End Communications is co-curated by Marian Rosa van Bodegraven, Andrea Brandão, Alyssa Gersony, and Marko Gutić Mižimakov, together with artist-researcher Vijai Maia Patchineelam. 





      7pm, 3rd Floor The Final Exam, a reading by Marian Rosa van Bodegraven


      -break- food & drinks available*, 4th Floor


      8:15pm, 4th Floor co-habilitation, a performance by Alyssa Gersony


      -break- drinks available, 4th Floor


      9:15pm, 4th Floor Less Than the Sum Of Its Parts — Final Transmission
      a performance by Marko Gutić Mižimakov in collaboration with Petar Sarjanović 


      Friday till 11:00 pm post-performance mingle, food & drinks available* 

      Saturday till 1:00 am post-performance party, drinks available 


      *On both days, a.pass alumni and culinary artist Aslı Hatipoğlu will prepare vegetarian bibimbap and sweet bites for sale over the course of the evening (gluten free, vegan option available).




      Marian Rosa van Bodegraven is a Brazilian-Dutch researcher, writer and producer. Marian’s body of research moves around sexuality as a vehicle for political ideology. Through writing and readings, she drafts on the prosaic nature of sexuality, and the seemingly en passant layers of a political administration of desire that structure it. Born and raised in Brazil, where she studied Architecture and Urban Planning at Escola da Cidade, she moved to the Netherlands in 2019, where she did her MA in Moving Images at the Sandberg Institute. 


      Alyssa Gersony is a Jewish-American interdisciplinary artist currently working in Brussels, Rīga and New York City. Trained as a contemporary dancer and orientation and mobility specialist, Alyssa regularly traverses ‘the clinic’ and ‘the studio.’ Across these spaces, Alyssa practices within western lineages of contact improvisation, medical models of disability therapeutics, interabled performance collaborations, and experimental prosthetics development. Her work takes the form of theatrical performances, electronic sound composition, artistic development workshops, 1:1 individual instruction, and multimedia installation. Alyssa holds an MFA in choreography and intermedia performance, is a 2021-2022 Fulbright awardee in dance research, and is currently an adjunct faculty in the City University of New York, Hunter College department of blindness and visual impairment. 


      Marko Gutić Mižimakov is a visual, performance and text based artist and researcher living/working between Brussels and Zagreb. He is interested in shaping sensory materials through intimate, collaborative and social processes. In his work bodies as well as digital and palpable objects, are animated, choreographed and sung into non-orientable forms via different media and processes of translation. Often borrowing from queer science fiction he sees his work as a speculative technology of mutual transformation. He has an MA in Animated Film and New Media from the Academy of Fine Arts in Zagreb and is currently an adjunct faculty member at Paris College of Art in the department of Transdisciplinary New Media.


      Andrea Brandão is a visual and undisciplinary artist living and working between Brussels and Lisbon. Working in the expanded fields of visual arts, performance, cinema, and more, Andrea’s research explores notions of sleep, rest, and drifting in relation to participatory experiences facilitated by scores and assisted at times by audio-visual elements. She is interested in interweaving writing, camera-ing, meditating, and dreaming. She was born in Portugal and started traveling at a very young age. She holds a B.A. in Industrial Design from University of Lisbon’s Faculty of Architecture (2000) and has completed the Advanced Course in Visual Arts of Ar.Co - Centro de Arte e Comunicaçāo Visual and attended Studies of body and movement at c.e.m. - Centro em movimento, in Lisbon.




      Gabi Vanek (co-habilitation, lighting design and audio engineer) is a musician and lighting technician based in Iowa City, USA. As a technician she has worked on projects ranging from HBO to Alvin Ailey American Dance Theater, to touring artists including Arooj Aftab, Son Lux, and Jenny Lewis.


      Petar Sarjanović (Final Transmission, performer collaborator) is a dramaturg from Zagreb, now living in Brussels, also active as writer, performer and theater maker. In 2020 Petar premiered ‘Everything I don’t know, I’ve stolen’, a solo work that deals with the processes of mis- and dis-identification and the folklorization of western canon. 




      Vijai Maia Patchineelam’s artistic practice focuses on the dialogue between the artist and the art institution. Placing the role of the artist as a worker in the foreground, Vijai’s research-driven artistic practice experiments with and argues for a more permanent role for artists — one in which artists become a constitutive part of the inner workings of art institutions. Vijai is a former associate researcher at the Research Center, and has since come back on different occasions as a mentor for the Post-Graduate Program at a.pass.


    • performative publishing
    • postgraduate program
    • workshop
    • Printer's Devils
    • MAGAZINES 13 June 2023
      posted by: Kristien Van den Brande
    • Sara Manente and Jaime Llopis
    • a.pass
    • 26 June 2023
    • 27 June 2023

      The 2 days workshop starts from looking into the possibilities given by the magazine as a format for artistic publications. 

      If any publication implies a multiplicity of relations and functions, depending on different expertise in the editing and printing process, a magazine entails as well a variety of authors and sources, a diversity of literary genres, and a large spectrum of relationships between the writer/performer and the reader/spectator. A magazine can also alter and play with the tensions and the hierarchies between the serious and the banal. All these features would overflow the centralized and isolated role of the editor.

      How can the format of the magazine be a template or a tool to rethink and project new distributions in the architecture of our artistic research? How would this editing speculation affect the internal distribution of our work? How would the performative specificities of this format trigger the publication of one's artistic processes? How would it map an ecosystem of accomplice practices as well as trace genealogies?

      We will take as example the magazine ROT Issue Zero/SKIN (2020) and ROT #1/IMMUNITY (still in the making). 

      Working times: 10:30am- 1pm & 2-4pm

      Reach out if you want to participate in the workshop! Send an email to Hans @, before June 23. 

      a.pass is located on the 4th floor inside the Brussels Event Brewery building. The studio is wheelchair accessible via elevator.



      Sara Manente studied dance and semiotics before moving to Brussels, where she works as artist, mentor and researcher. In 2008, she graduated from a.pass postmaster program and later participated in the Research Center Cycle 1. More recently, her work reflects on the possibility of contamination between pedagogy, research, performance and publication resulting in a variety of formats: from the choreographic and sculptural work of MOLD, to the editorial and curatorial practice of ROT magazine and Gardens. The situations she promotes are highly collaborative.

      Jaime Llopis graduated in Drama at ESAD (Valencia) and studied dance and Choreography in EDDC (Arnhem). He has lived in Brussels since 2003, where he graduated in a.pass postmaster program. He is currently studying philosophy at UNED. His artistic research focuses on the body as a hinge between praxis (ways of doing) and perceptive patterns. 

    • performative publishing
    • postgraduate program
    • workshop
    • Printer's Devils
    • Stage so near so far 13 June 2023
      posted by: Kristien Van den Brande
    • Nasrin Tabatabai and Babak Afrassiabi
    • a.pass
    • 29 June 2023
    • 30 June 2023
    • Stage so near so far

      Stage so near so far is a two-day workshop following the newly published issue of Pages and explores forms of reading based on the printed texts in the magazine.

      The new issue consists entirely of plays and performance texts by Iranian women writers living in or outside Iran. Whether based on actual experience, fictional, or drawn from archives, these texts deal in one way or another with the question of the stage. They produce a contested space of performance that is inevitably linked to the performer's body, whose thresholds are stretched and contracted into potentially new forms of staging. 

      Plays or performance texts are by nature anticipatory. They are oriented toward the stage on which they may be performed. One could say that the performance text carries with it the anticipation of a stage but one that is radically outside given condition of staging: as writing it conveys the idea of a performance and an audience that is yet to come. 

      Reading plays and performance texts to an audience perhaps comes closest to invoking this anticipatory nature. Play reading is a particular form of delivery: we listen to the written performance rather than watch it being performed. It highlights the pre-performed status of the text, nonetheless placing us the audience in a contingent relation to the performance of that play. In a sense, the reading calls forth an audience before a stage that is there and not there. 

      During the workshop the participants will experiment with forms of reading a pre-selected number of the published texts to the group. They will read, reinterpret and expand on them through other means, including other texts and voices and material they see fit. The intention is to explore the limits of delivery, its auditory space and the notion of stage that may emerge from that.


      Working times: 10:30am- 1pm & 2-4pm

      Reach out if you want to participate in the workshop! Send an email to Hans @, before June 23. 

      a.pass is located on the 4th floor inside the Brussels Event Brewery building. The studio is wheelchair accessible via elevator.


    • performative publishing
    • postgraduate program
    • workshop
    • Printer's Devils
    • LONG-ING 13 June 2023
      posted by: Kristien Van den Brande
    • Kate Briggs
    • a.pass
    • 05 July 2023
    • 06 July 2023
    • LONG-ING

      The purpose of this workshop is to explore together (through talk, writing, scoring and movement) some key compositional questions. The particular focus is on length, experienced as sequence and duration, and how to achieve it. Long-ing: how to make things that carry on? (If only for a short while?) Once initiated, how and when to make them stop? Our work will involve looking closely at transitions: the links or breaks between the smaller parts of a composition, as well as beginnings and endings, rises and falls in energy and interest. It will draw on the processes operational in our most immediate surrounds (the different durations of the bodies, objects and forces composing our work-space) and use these as both constraints and materials. It will also involve bringing in certain powerful shapes and positions -- social as well as aesthetic shapes such as the circle, the horseshoe or the line –, thinking about the work they do, then testing how to move from the one to other (from the clearing to the path, the scene to the summary). ‘I wish it were longer,’ it is written somewhere in Laurence Sterne’s Tristram Shandy, ‘for I like it truly.’ In the end, the project of long-ing might come down to this: to matters of feeling, liking or not liking, tensions producing curiosities or failing to, and we will consider these vital questions, too. 

      Working times: 11am- 1pm & 2-4pm

      Plus: July 6, 6pm: book launch 'the long form' at rile*

      a.pass is located on the 4th floor inside the Brussels Event Brewery building. The studio is wheelchair accessible via elevator.

    • postgraduate program
    • workshop
    • Dreaming Reality 09 June 2023
      posted by: Kristien Van den Brande
    • Anna Nowicka
    • a.pass
    • 24 June 2023
    • 25 June 2023
    • Dreaming Reality

      In the workshop we will explore our unique languages of imagination. We will notice how images move us, and how our actions transform inner landscapes. We will shift perspectives, switch between giving and receiving, doing and observing, dancing and being still. With the help of shifting the eye within and without the body, we will build realities and let go of them, draw inner landscapes and quest into their mysteries. We will speak worlds into being and listen to how they resonate in the body. From this receptive place, we will form our unique dances.




      Saturday 24th 16h-21h
      Sunday 25th 10.00-15h*

      *Please mind that the workshop has different planned time on both days. A brake for lunchtime is considered.

      →HOW TO JOIN

      The number of participants that can join the workshop is small, non a.pass participants are welcome but registration is required. Do you want to participate in this workshop? Send an email to with [DREAMING] as subject before Tuesday, JUNE 22, 2023.



      "The practice I propose is rooted in the work with dreams I studied at The School of Images and with dr. Bonnie Buckner. We will apply this particular method to choreographic work, plunging into “opening” any image, situation, and form, responding to it from a place of rested, attentive awareness. We will explore night dreams, and dreams that arise in waking reality. We will embody singular images, develop their specific qualities, states they induce and dances they jolt. We will follow the way in which they expand into narratives, using storylines as prompts to flow between qualities and shape shift with ease. We will go deeper into working with patterns, acknowledging the role of time and space in bringing materials to forms. Questions will prompt poetic ways of composing, weaving movements in an associative manner, fostering connections between seemingly unfamiliar materials. Questions will take us beyond the surface level understanding of a dream to reveal its deeper meaning.

      The aim of this work is to become present, dancing with reality with curiosity and ease. With this experiential, deeply embodied perspective one becomes a response-able agent of creation, dreaming the world into being."




      Anna Nowicka (Berlin) is choreographer and performer, plunging into the lush reality of dreaming. She researches the potential of images to expand the body into a state of a continuous becoming. Graduate of the Salzburg Experimental Academy of Dance (SEAD), MA Choreography at the HfS Ernst-Busch / HZT in Berlin and MA Psychology at the Warsaw University, she wrote her practice based PhD on embodied awareness as the foundation for being present. She has completed a basic training in Systemic Therapy. Anna is a certified Saphire® teacher of dr. Catherine Shainberg’s “The School of Images”. She is unfolding dreamwork through an intensive exchange with dr. Bonnie Buckner.



      Dreaming Reality with Anna Nowicka is part of the Participant Assembly Curatorial by invitation of Andrea Brandao and Marko Gutić Mižimakov. 



      {a.pass is located on the 4th floor inside the Brussels Event Brewery building. The studio is wheelchair accessible via elevator.


    • The table is set. 

      What is here is there. What is not here is somewhere, someone is doing something. 


      Martin Sieweke, Martina Petrović, Aslı Hatipoğlu and Nada Gambier invite you on a guided tour of wandering, exploring time, invisible structures, in-betweens, tastes of intimacy, heritage, abrasion, fermentation and reparation that ripple through space to mark the end of their research trajectory at a.pass. 


      There will be food, performances, boredom and a spa. 


      2nd of June

      9h30 welcome

      10h-17h working shift 1 (with Nada Gambier)


      3rd of June

      12h30 welcome

      13h-17h working shift 2 (with Nada Gambier)


      EVENING PROGRAM (2 & 3 June: same program)

      17h30  doors open


      18h  sign up activities: green room (Nada Gambier) 

                                          6 slots for 2 persons every 10 min


                                          time item - publication (Martin Sieweke)    


                                          foot massage (Aslı Hatipoğlu)

                                          1 slot for 20 persons


                                          where: sign up on the 4th floor                                    


      19h  entrée (Martina Petrović)

              where: dining table 4th floor


              cirrendering - performance / sound installation ( Martin Sieweke & Josephine Stamer)

              where: 4th floor


      20h  dinner (Martina Petrović & Aslı Hatipoğlu)

              where: dining table 4th floor


             yeast invasion - lecture performance/ installation (Aslı Hatipoğlu) 

             where: 4th floor


      21h  dessert (Martina Petrović)

             where: dining table 4th floor


             sign up activities: green room (Nada Gambier) 

                                          6 slots for 2 persons every 10 min


                                          time item publication (Martin Sieweke)    


                                          beer spa - walk-in installation (Aslı Hatipoğlu)

                                          max. 8 persons at a time


                                          foot massage (Aslı Hatipoğlu)

                                          2 slots for 20 persons every 20 min


                                          where: sign up on the 4th floor 




      Aslı Hatipoğlu (TH/TR) 

      Aslı Hatipoğlu is an interdisciplinary artist and a self-taught chef who uses food as a focal point to investigate interwoven themes of psychology, science, political ecology, ancestral knowledge, spirituality, and mental health. Her work is influenced by her background growing up with a migrant Thai mother in Turkey where her father had a tourism agency. Asli curates participatory dinners that shed light on food history as well as question how climate change, agricultural politics and current technological developments are changing our contact with food. Through lecture performances with a pinch of satire, Asli brings a critical perspective on the definition of words such as ‘locality’ as a means to re-define them in the complexity of systems. As an antidote to nationalism, she proposes fermentation practices to raise questions around cultural history, locality, tourism and the dogma of economic necessity. Asli believes in the power of psycho-somatic relation to food. She creates interactive installations that bring a layer of humor around self, perception and deception. 

      Through physical engagement with her work, Asli tries to find the boundaries of one’s self with the ‘other’ in a visually appealing setting where questions around disgust are raised. She is interested in how architecture and ecology play a role in her fermentation experiments and how (or if) the space for making/cultivating/brewing influences the way people experience consumption. In addition, her questions around community-building around shared bacterias and yeasts set the tone around social structures, like dining together. Where are the boundaries of the mouth as an organ that lets other living organisms from another person in? Is there a common language that speaks to a consumer in order to convince them into consumption? Taking inspiration from commercial advertising techniques,  Asli pushes the audience to re-question what, how and why we eat what we eat. She likes to engage the audience in food production systems to challenge a technological advancement that erases human presence in food production. 

      Asli’s research presentation consists of lecture performance yeast invasion, combined with a guided installation where her bacterial and yeast collaborators will invite people into a massage parlour that mixes receiving and giving touch, with the brewing of a collective fermented drink. A beer making demonstration takes people along the history of the special Senne valley which hosts the famous “Brettanomyces bruxellensis”, in the past 20 years also known as a wine maker’s worst nightmare. A spa invites people to relax into leftovers of the beer making and think about the outer body experience while sipping the special Belgian lambic brewed by the artist in a conversational set-up.



      Aslı Hatipoğlu (TR/TH, 1990) is a textile culinary artist based in Brussels and Amsterdam. Her work often relates to topics such as ecology and sustainability and the challenges it imposes on our daily lives in complex systems of consumption. She is interested in science and what it can offer as well as the dangers it imposes (such as domination over nature and genetic modifications) that bring ethical questions towards our future as species. Through investigating ancestral knowledge with a community building approach, Asli is also interested in fusing diversity of her knowledge among her experiments in different environments. She often creates interactive installations, video work or uses performative storytelling through conceptual dinners as a way to bring topics of her interest forward.

      After working several years as a self-taught chef, Asli deepened her knowledge with fermentation during her residency at the Food Lab Jan van Eyck Academie 2020-2021, along participating in several festivals such as Food Art Film Festival JVE (NL), Foodculture Days Vevey (CH), Oerol Terschelling (NL), Japanese Knotweed Festival at Mediamatic (NL) and Zamus Theaterhaus Cologne (DE) . Her works were exhibited in places such as Zuiderzee Museum in Enkhuizen, Framer Framed in Amsterdam, Fanfare Amsterdam, Perdu Amsterdam, Het Nieuwe Instituut Rotterdam, Jan Van Eyck Academie Maastricht.


      Special thanks to: Martina Petrović, Martin Sieweke, Nada Gambier and all the a.passers, Martin Flugelman Olmeda, Elli Vassalou and many others for thinking, listening and advising me through this a.pass trajectory.



      Martin Sieweke (DE) 

      Martin Sieweke researches how the use of materials and objects can be prolonged, extended and reformulated in different ways. He proposes a multi-layered relationality, in which the given (the context, the conditions, already existing materials and familiar objects) influences and contributes as a dispositive.

      It’s about searching for affections, altering the use context, exchanging components: to not only consume materials away but to stay and remain close to them. It’s about acknowledging the multiple while reaching for the specific. It’s about structuring a process as a relational response. To follow Erin Manning’s thought in her book The Minor Gesture (Thought in the Act), it’s about implementing the context and its very specific configuration, which influences processes not yet condensed into a form:, “(...) it begins with the in-act and embraces the force of the what-else at the heart of all speculative pragmatisms”.


      In the evening, Martin presents cirrendering (working title), a sound installation in collaboration with Josephine Stamer. It consists of a former vinyl player reduced to its basic operation. Amplified structures, alterations and repetitive textures will dissolve over time, as emerging traces are finding their multidirectional and conversational negotiation in a circular and sonic form.

      TIME ITEM is a research publication by Martin Sieweke that gathers text, images and soft proposals around bag making, reuse and repairment. 



      Martin Sieweke works as an accessory maker and scenographer/costume designer between Brussels, Berlin and Stockholm. He often works with found objects and materials by detaching them from their intentional use context. He is interested in engaging with materials in a way that differs from a close link between artistic production and consumption, to structure creative processes more as a relational response.


      performance: Martin Sieweke, Josephine Stamer

      Special thanks to: Asli Hatipoglu, Martina Petrović , Nada Gambier and all the a.passers, Hannah Krebs, Mary Szydlowska, Tatsuya Inuikawa, May Abnet


      Martina Petrović (SER)

      Martina Petrović’s research focuses on how we, Western and Eastern European society, deal with complex socially generated emotions such as grief and love. How do we face the inevitable loss of parts of our culture and humanity, due to the crisis and disappearance of species and environments, abandonment and fast replacement of technologies and ways of living. And how do we find joy and moments in these circumstances?

      Her sense of misplacement and need to have a strong connection with her culture is amplified with her residing in Belgium for the past 5.5 years. She gravitates towards connecting her artistic interests with traditions and rituals stemming from her Balkan roots. She investigates women’s sacred rituals, handwork, symbols and creativity and their legacy in modern culture and common everyday practices.

      Martina proposes looking deep into our roots, finding strength in the past and support in our surroundings as a way to move forward, to create new rituals and new ways of being. They might enable us to transition from fearing the future and present, and move us towards reconnecting and exploring different ways of forming bonds and relating to each other.

      In the evening Martina proposes gathering around the table, there will be food for the stomach and for the thoughts, shared energy and hopefully sparks of magic. The dinner table has its own politics, how one sets it influences the conversation around it. It can generate questions, introduce different ways of composing a menu, and explore the tools we use. It can unveil the social structures that make the table possible, sometimes unexpected flavors appear on one’s plate and many other delicious subjects can surface on it.

      It will be an evening of celebration, with welcomings, conversation starters, and a format to practice openings and goodbyes. Come as a friend - excited to share our a.pass trajectory. Come as a wanderer - craving to have a taste of each of our practices. Come as a fellow researcher - curious to engage with questioning, rethinking and transforming art research. Come light, with an empty stomach, with an open heart. Come unprepared but ready to engage with different flavors that work together producing unexpected combinations. Come willing to leave some time for digesting processes. 

      We will gather 3 times around the table. Please join on time, celebration waits for no one, it has its own rhythm. The entrée will be served at 19h. The main course is prepared in collaboration with masterful food explorer Asli Hatipoglu and will be shared at 20h. At 21h we will meet for the final gathering before we disperse into our separate celebrative trajectories.



      Martina is currently the art coordinator of art space Hectolitre, Brussels. She is a part of two active collectives, School of love (Brussels) and Garden of Delights(Gent). Her recent artistic projects are: Where do we go from here? (2023), Brussels, Gent, The Last Straw (2020-2022),Gent, Antwerp, Brussels, Belgrade, Moerdijk sculpture project (2022), Belgium, EcoSuites residency (2022), Greece, Terrestrial Odditties II, Belgrade (2021), BUZZ project on Ostavinska gallery, Belgrade (2019); Terrestrial Oddities, HBKsaar, Saarbrucken, Germany (2019).


      Special thanks to: Asli Hatipoglu, Martin Sieweke, Nada Gambier and all the a.passers, Jana Vasiljevic, Adrijana Gvozdenovic, Irena Radmanovic, Petar Sarjanovic, Hijene, Mladen Bundalo, Lucia Palladino, Adva Zakai, Renata Turkes, Gorana Bacevac, Hectolitre community, SOL, GOD, BOSCH, Common Wallet, Emptor/Caveat, Kunsthal and many others for thinking, feeling and being with me through this a.pass trajectory.




      Nada Gambier (FIN / FR)

      At the heart of Nada Gambier’s current artistic research practice is the concept of gentle trespassing. For Nada this is a tool for relationality. Gentle trespassing rests on the premise that crossing separations between people, things and contexts is both a necessity and a pleasure. It stems from a belief that the walls we erect around ourselves and our work should be un-hygienically permeable, implying that trouble and mess are part of the process. Practicing gentle trespassing requires collaboration, listening, flirting with gray zones and instability, revealing confinement, enclosure and accepting disagreement and structured cacophony as grounds for progress. To frame durational proposals Nada works with the idea of working shifts. 


      Working shift 1

      In this shift gentle trespassing is practiced between ideas, practices and questions. To begin, questions will be questioned and answered by new questions until eventually what remains cannot be attributed any longer to an “original” or ”an other”. Instead, what remains embodies the structured cacophony that coming together in (mis)understandings, assumptions, interpretations and imaginations may result in. From there we move into hands-on work, exchanging materials and engaging in a process of estrangement and reinvention.

      This shift is for artists, of any discipline, with a work in progress or research they wish to bring into the room. You must be willing to hand your work over, momentarily, to another person. It does not matter how far into a process you are. What matters is your curiosity to see another person trespassing into your territory. At the end of this process we will do a round of performative presentations, sharing the outcome of the session.

       The shift ends with an informal drink and some light snacks.

       Please register by sending a mail to by the 26th of May latest! If you have a spot in the shift we will confirm it by email together with more details of what to bring and how to prepare.


      Working shift 2

      In this shift, we explore the potential of fiction in relation to gentle trespassing. Through a conversational game in which we engage as “another” version of ourselves we practice strategies of interpretation, exaggeration and collage. The aim here is to experience the simultaneous negotiation between who we are (or think we are) and who ‘we’ might be with a little interference from others.  

      The shift ends with an informal drink and some light snacks.

       Please register by sending a mail to by the 26th of May latest! 


      Evening shift

      In a confined space, anonymous characters live their lives in a loop. Stuck in an endless repetition of mundane events and unable to escape they busy themselves with work-like tasks and sleep, waiting for time to pass. In this work, Nada explores the confinement of spaces, identities, institutions and ideas. Surveillance camera feeds, anonymity and invisibility suits (chroma key green suits used in film when wanting to disappear the body behind an action) come together in this installation in three spaces. On the 4th floor of a.pass you can watch an ongoing video feed.

      On the 3rd floor you are invited into a waiting room area followed by the green room (sign up on site). 



      Nada Gambier roams around in what she calls a crash-disciplinary world where performance, video, writing, curatorial approaches and languages and social concerns merge and collide. Her work often flirts with the borders between theatricality and abstraction and she is drawn to things that she doesn’t understand or cannot grasp. The non-spectacular and the absurd belong to her most known trademarks as an artist. Her work is experimental in nature and very often performative, with some form of live element in it. Since 2014 Nada has been focusing on long-term projects in which the separation between research, creation process and public event can be confused and/or abandoned. In 2020, she began monthly collective research sessions in Brussels, further establishing herself as an advocate for experimentation and research within the (performing) arts. Nada also regularly collaborates on other artists’ projects as a performer and artistic advisor. She has worked a.o. with Kate MacIntosh (NZ/DE/BE), Edit Kaldor (HU/NL), Forced Entertainment (UK), Simone Aughterlony (NZ/DE/CH), Jorge Léon (ES/BE), Maria Jerez (ES), Diederik Peeters (BE), Charlotte Vanden Eynde (BE) and Phil Hayes (UK/CH).


      The evening shift is performed by Nada Gambier, Mark Etchells and Vic Grevendonck and includes writing by Nada and music by Klaus Wunderlich. The research is supported by a.pass, Nada & Co., WpZimmer, Workspacebrussels, Buda Arts Centre and the Flemish Ministry of Culture (research project subsidies). 

      Special thanks to: Martina Petrović, Martin Sieweke, Aslı Hatipoğlu and all the a.passers, Jen Rosenblit and many others for their input in my reflections and experimentations during the past year. 




      A big thank you to everyone who supported us during our a.pass time:

      A.pass team: Lilia Mestre, Kristien Van den Brande, Kristof Van Hoorde, Hans Van Wambeke, Steven Jouwersma, Vladimir Miller

      Block mentors: Jaime Llopis, Anna Rispoli, Samah Hijawi, Goda Palekaite, Sina Seifee, Pia Louwerens, Simone Basani, Vijai Maia Patchineelam.

      Fellow researchers: Marko Gutić Mižimakov, Alyssa Gersony, Andrea Brandão, Amy Pickles, Gary Farely, Chloe Janssens, Inga Gerner Nielsen, Vera Sofia Mota, Jimena Pérez Salerno, Sarah Pletcher, Anna Lugmeier, Aleksandra Borys, Carina Erdmann, Amari, Lore, Marian Rosa van Bodegraven, Mlondi Dubazane and Merle Vorwald.

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

      During a day of closed collective reflection we will go into different practices, researching and/or implementing strategies to own, activate and conserve differently. The group opens up to the public at 17h with the intention to share concerns, questions, insights and ideas collected.
      10am-4pm: closed collective reflection. With (tbc): Teresa Calonje, Agency, Jennifer Beauloye, Raphaël Pirenne, Heide Hinrichs
      5pm-8pm: public programme. With: Eline De Clercq, Stijn Van Dorpe
      @ a.pass 4th floor
      More about Emptor
    • postgraduate program
    • workshop
    • Participants Assembly
    • Two-Day Shift Workshop
      20 February 2023
      posted by: Kristien Van den Brande
    • Nada Gambier & Jen Rosenblit
    • a.pass
    • 15 March 2023
    • 16 March 2023
    • case of: Nada Gambier
    • Two-Day Shift

      Building on from a previous proposal (Night Shift) Nada Gambier in collaboration with Jen Rosenblit now invite you for the Two-Day Shift. 

      In this working shift, we will dive into the problematics that arise from coming together, engage in improvisational games and strategies, have fun with speculation and bathe in inconvenience as a way to look anew at our practices and get to know our researches from another angle. Once again, our attention goes to what it means to be of service to each other and the works and how by attending to parasites we come to another understanding of what we are doing. The question of desire and learning from what we don’t know will also linger as a larger drive and disorganizing method for the group and researches. 

      Through collective mentoring strategies, conversation and experimentation we will exchange ideas, desires, thoughts, materials and reflections. 

      The first day will largely be built around conversation. The second day we roll up our sleeves and get into action. At the end of the first day we will have dinner together. 



      Practical information:

      Location: apass 4th floor 

      Dates and times: 

      15.3 2023 @ 10h (check-in) - 17h30 + dinner at 18h30-20h30 

      16.3 2023 @ 10h (check-in) -17h 

      There are a few places left. In case interested please contact Nada by mail at the latest by 10th of March. 

      For non-apassers we ask a 30 € contribution for the 2 days. Please email Nada Gambier if you're interested to participate.



      Jen Rosenblit (1983. USA) is based in Berlin after many years in New York City. She makes performances inspired by architectures, bodies, text, and ideas stemming from problems that arise inside of agendas for togetherness. Rosenblit’s works lean toward the uncanny and maintenance of care, locating ways of being together amidst (un)familiar and impossible contradictions. Rosenblit’s writing practice spans from the paper to the stage, supporting an expanse of meaning as it emerges between things and toward an unwinding or the inevitably possible collapse. Desire and sexuality have offered reoccurring points of departure without demanding a singular aesthetic or representation. Rosenblit is a 2018 Guggenheim Fellow, a recipient of a 2014 NewYork Dance and Performance “Bessie” Award, a 2023 La Becque (Vevey, CH) artist in residence and has collaborated with artists including Simone Aughterlony, Miguel Gutierrez, A.K. Burns and Philipp Gehmacher. Rosenblit’s newest work,<ElseWhereRhapsody> is a 2023 co-production of Tanzfabrik Berlin and Tanzquartier Wien, offering distraction as a guide to speak toward the illegibility of desire and forgetfulness as a way to shift toward something else, away from the damaging repetition.

      Nada Gambier (1980. Finland) roams around in what she calls a crash-disciplinary world where theater, dance, performance, video, writing, curatorial approaches and languages and social concerns merge and collide. Her work often flirts with the borders between theatricality and abstraction and she is drawn to things that she doesn't understand or cannot grasp. The non-spectacular and the absurd belong to her most known trademarks as an artist. Since 2014 she has been focusing on long-term projects in which the separation between research, creation process and public event can be confused and/or abandoned. In 2020 she began monthly collective research sessions in Brussels, further establishing herself as an advocate for experimentation and research within the (performing) arts. Nada also regularly collaborates on other artists' projects as a performer and artistic advisor. She has worked a.o. with Kate MacIntosh, Edit Kaldor, Forced Entertainment, Simone Aughterlony, Jorge Léon, Maria Jerez, Diederik Peeters, Charlotte Vanden Eynde and Phil Hayes. Nada is currently doing the postgraduate course in a.pass. 

    • postgraduate program
    • workshop
    • Participants Assembly
    • About MILK! Cheese-making workshop with Robin Bantigny
      20 February 2023
      posted by: Kristien Van den Brande
    • 01 March 2023
    • 02 March 2023
    • About MILK!
      For this cheese-making workshop, a.pass post-graduate researcher Marian Rosa van Bodegraven invites artist and cheese maker Robin Bantigny to host a cheese-making workshop at Radical House.

      Robin will introduce you to the transformation of milk into fermented dairy products with a focus on cheese. The workshop will first consist of an errand to a typical Belgian cattle farm to buy milk and get a glimpse of the dairy industry in Belgium. Later in the morning, we will initiate the milk transformation at Radical House with an introduction to the mesmerizing biological reactions behind milk coagulation. The next morning will be dedicated to the feel and touch of curds obtained overnight. Robin will also tell you about the art experiments that led him to cheese-making and Marian will introduce her research on milk. In the afternoon, every participant will bring a container that can be used as a mould; as well as spices, herbs, grains or jams they wish to add to the cheeses. The workshop’s conclusion will be the dinner where we will share food and homemade cheeses.

      Robin is a member of the former art and research collective named The Soft Protest Digest, founded with Nickie Sigurdsson and Jérémie Rentien Lando. The collective worked with different narratives to test how food culture is created and altered. They used fictional traditions, multi-species storytelling, publishing and local knowledge to create kinship, much needed in a time of irreversible environmental breakdown.
      Largely confined to the Jan van Eyck Academie during their 2020 residency, the collective adopted an introspective approach about transition and self-sustenance. Each member took its own path, Robin’s one being cheese-making, with the aim to settle in a matter of 1-2 years.

      Marian’s research focuses on breast, condensed, and powdered milk, considering narratives around the containers that hold these kinds of milk, and how their production shapes the biopolitics embedded in motherhood, sex work, childhood, and forms of governance. Through storytelling, Marian combines methods of investigative journalism and biographic accounts to allow for the liquidity of the subject to form different ways of understanding it.

      The workshop will last two days:  March 1st, from 7 am to 12 am (we will travel together to the farm to observe the milking process at 8am, following their schedules); March 2nd, from 10 am to 8 pm . 5 spots are open for alumni and non-a.pass participants. For the latter, a contribution cost of € 50 is requested, dinner included. If interested, please fill in this form by February 26th.


    • postgraduate program
    • workshop
    • Participants Assembly
    • Non-conventional Lighting Laboratory PA-curation proposed by Asli Hatipoglu
      01 February 2023
      posted by: Kristien Van den Brande
    • Martin Flugelman
    • a.pass
    • 09 February 2023
    • 10 February 2023
    • Non-conventional Lighting Laboratory

      Martin Flugelman, from FLUXLIAN - a collaborative platform focused on light applied in arts, design, performance, and activism - introduces a two-day laboratory. The workshop consists of experiences and activities using the phenomena of light. We will collectively appropriate lighting technologies, hack and improvise devices to shift the appearance of bodies and space. How to integrate lighting to the artistic practice, staging, cyborging, and researching on light as a narrative element. This is a place to drift into alternative lighting aesthetics by using what is around us. How can we translate ideas in lighting terms? How can a light choreography produce an image-experience? What can we illuminate collectively?

      The laboratory is oriented to all kinds of people willing to explore, play and intervene with light: photographers, filmmakers, architects, designers, technicians, educators, researchers, musicians, dancers, artists, performers, and light enthusiasts.
      Thursday 9 February - 12:30 - 16:30
      Friday 10 February - 15:00 - 19:00 + possible bonus track
      The workshop is open to participants not enrolled in the a.pass program. Please send an email if you are interested. Contribution: 30€
    • postgraduate program
    • workshop
    • block 2023/I
    • Fantasmical Anatomy lesson Workshop
      11 January 2023
      posted by: Kristien Van den Brande
    • Anne Juren
    • 06 March 2023
    • 10 March 2023
    • With Anne Juren and her lessons on fantasmical anatomy (March 6-10), we turn to the body as a familiar and unfamiliar site of experience, epistemology and eventually altered potentiality. If the body is a biological product, conditioned by medico-social practices and generational transmissions that precede our experience, how can we simultaneously approach our closest friend and/or foe as ‘a body project’, i.e. as a poetic, fantastical, speculative, imaginative and even monstrous site of investigation that settles and unsettles the conceptions we might have of ourselves, the world and the relations between us? In which way are metaphors influencing the imagination of the body? How is the speculative addressing of somatic practice disfiguring concepts of anatomy? Can horror imaginaries offer a mood to investigate and release our corporeal disorder and vulnerability?

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

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

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



      BOOK LAUNCH, 9th of March @ rile*

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

      More about the performance.

      More about the book




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

      More about Studies on Fantasmical Anatomy

    • end presentation
    • performative publishing
    • postgraduate program
    • vessels End Presentations of Anna Lugmeier & Sarah Pletcher
      11 January 2023
      posted by: Kristien Van den Brande
    • The Green Corridor
    • 27 January 2023
    • 28 January 2023
    • vessels

      What do you get when a female visual storyteller and a non-binary performance artist walk into a postgrad artistic research program?



      vessels brings the two practices of Anna Lugmeier and Sarah Pletcher together in live performance, process sharing, and ephemeral objects that are either a catalyst to or a product of these research practices. Two objects are being investigated specifically in this sharing of research; Anna’s oyster shells and Sarah’s slip-casted porcelain eggs. These objects serve as a vessel for their separate practices but also as objects to collectively work and question with, through, because of, despite of, and in collectivity with. 


      Friday, 27th & Saturday, 28th of January 2023

      GREEN CORRIDOR, Rue de Bosnie Straat 102 in Brussels, Saint-Gilles

      The researchers will be present in the space from 16 pm on, the presentations start at 19:00 pm (2 hour duration), so come earlier to have a drink with them and also because the space has limited capacities.

      There will also be a publication available in limited quantities... ✍(◔◡◔)


      further information

      vessels is a public presentation of Anna Lugmeier and Sarah Pletcher that marks the end of their research trajectory at a.pass (advanced performance and scenography studies). vessels is a container for sharing methodology, motivation, and questions proposed by these two makers over their time at a.pass’ year-long postgraduate artistic research program.

      Having related questions, processes, and concerns, the two researchers interweave their individual approaches towards the labour of “women’s work” and femme bodies picture making processes by addressing and engaging critically with individually developed methods and ways of coming together in art making.

      Both of them have researched in specific performative ways how to establish and weave different dimensions of female reality, that have outgrown the framework of patriarchal structures. In their practices, they intertwine several subjects and materialities such as porcelain eggs, oyster shells, felt, fragments of film, sound recordings, conversations, motherhood, storytelling, collaborative thinking, human and more than human knowledges, all present in the space.

      The presentations will connect these dimensions in multiple ways, each of them calling for the gathered sources and resources intra-action in the moment of the public presentations with the intention to repair what has been forgotten, dismissed, or remains unseen.


      Anna Lugmeier (she/her)

      Anna's research oscillates between seemingly naïve or bluntly formulated narratives and a critical feminist approach towards storytelling in film making, while seeking to examine how collaborators can grow together/with each other through moments of crisis or speechlessness. She elaborates the complexity of the non-visible/not yet visible in collaboration, through a filming and editing process.


      Sarah Pletcher (they/them)

      Sarah is a conceptual performance artist with a background in ceramics, fiber and material studies. Their research investigates the unpaid and unacknowledged labour of “women’s work” particularly pregnancy, childbirth, and child-rearing, and its role within contemporary capitalism. Their practice speaks to body and economic politics of being a femme maker both in artistic and domestic spaces. 




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

      11am - 5pm @ a.pass

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

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

    • Happy Endings On horror and/in collections


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



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

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

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

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

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

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

    • postgraduate program
    • block 2022/III
    • * Home - Street - Earth * BLOCK 2022 III curatorial assemblage Radical_House, Martina Petrovic, Isabel Burr Raty
      07 November 2022
      posted by: Lilia Mestre
    • 05 September 2022
    • 30 November 2022
    • * Home - Street - Earth * BLOCK 2022 III


      Block III of 2022 has a cascading structure. The backbone of the block is a mentoring proposition by Radical_House, who invite us to displace mentoring from a.pass’ communal 4th floor to a residential house that has been renovated to accommodate affinities and relations beyond the family that resides in it. In one-to-one or collective mentorings they propose to take this environment as a setting to look at the inheritances our practices stem from, and vice versa, at how we bring ecological/social/urban issues into our homes. 


      From the private we spiral out to the public. In this block ‘Street’ stands for collective life. How do we organize ourselves in structures made by ‘elective affinity’? The mode of study is a visit to Documenta, and a collective reading practice adjacent to a series of dinners organized by a.pass-participant Martina Petrovic with Brussels based collectives.


      In November, Isabel Burr Raty holds a weeklong workshop ‘EARTH’ focusing on the substance that constitutes and threatens (non)human life: carbon. Together with her guests she will introduce us to very different cosmovisions that make the carbon-spectrum: from deep identification to post-carbon scientific imaginaries.



      People involved in block 2022 III

      Postgraduate Participants: Amari, Marian R. van Bodegraven, Andrea Brandão,  Mlondi Dubazane, Carina Erdman, Alyssa Gersony,  Stephen Graves, Anna Lugmeier, Marko Gutić Mižimakov, Sarah Pletcher, Lore de Selys, Merle Vorwald.

      Block skippers (will rejoin in January 2023): Nada Gambier, Martina Petrovic, Martin Sieweke, Asli Hatipoglu

      Dedicated mentors: Every block has three dedicated mentors that support the participants research, the presentations and feedback moments. For block 2022 III the dedicated mentors are Vladimir Miller (Research Center Curator), Heike Langsdorf (a.pass alumna, choreographer and researcher - Radical_House) and Simone Basani (artist, curator dramaturge- Radical _House). 


      Curatorial assemblage: Lilia Mestre, Isabel Burr Raty, Radical_House, Martina Petrovic

    • postgraduate program
    • Participants Assembly
    • Nightshift PA-proposal
      07 October 2022
      posted by: Kristien Van den Brande
    • Nada Gambier
    • 11 October 2022
    • 12 October 2022
    • case of: Nada Gambier
    • Nightshift

      A multilingual space for working together differently, in the unusual context of the night’s darkness. A shift of in-betweens where space is given to that oscillation between one thing and another, between being awake and sleeping, between doing and imagining doing, between one world and another. 


      10pm: co-mentoring discussion in duo’s around our respective researches. Bring 3 things from your research as a conversation starter: a book, an object, a text, an image that either reveals your research overall or a specific element within it, a question.

      2am: night walk around the block

      5.30-6.30am: breakfast and conclusion of nightshift


      Aside from three collective moments, the time of the nightshift can be used for whatever one needs to do, alone or together: sleeping, writing, painting, meditating, reading, cooking, setting up for HWD, talking, or anything else that sounds like fun.


      (c) Image: copyright simon verschelde - model sylvie declercq - night walks 2022, Nada & Co in collaboration with buda kunstencentrum kortrijk and LieveZusjeStoereBroers

    • postgraduate program
    • Dramaturgies of Care (and other intimacies) A salon and mentoring cycle with jaamil olawale kosoko. PA-guest, invited by Alyssa Gersony.
      07 October 2022
      posted by: Kristien Van den Brande
    • 12 October 2022
    • 17 October 2022
    • Dramaturgies of Care (and other intimacies)

      We are all in need of more care and care is an often invoked concept to cope with today’s global crises. But how do we practice care within performance? In their week at a.pass, artist, author, and curator jaamil olawale kosoko will consider dramaturgy as an act of care within contemporary performance practice. During mentoring sessions, a Friday-evening salon and a rist of other activities, participants and other cultural workers are encouraged to bring examples of care strategies they find useful in creating socially engaged performance actions that stretch textually and discursively across various genres of liveness and time based art forms. jaamil olawale Kosoko’s approach draws on research methods used in the fields of experimental dance/theater making and dance studies to see what the body can tell us about pressing social issues. From the stage, to the living room, to the nightclub, to the screen, to fantasy, to the privacy of one’s own room, we will explore how care rituals animate the physical art of living and creating in an ever changing world.




      Wednesday 12th October, 2022

      7pm: a.pass mentoring dinner @ Radical House


      Thursday 13th

      1-5pm: a.pass mentoring slots @ a.pass

      5-7.30: drinks and dinner @ a.pass 4th floor kitchen

      8.30: Outwalkers @ KVS


      Friday 14th

      1-4pm: a.pass mentoring slots @ Radical House

      7-9.30: public salon @ Radical House


      Saturday 15th

      10pm-6am: visit to Unlimited Strip Club, in Antwerp


      Sunday 16th

      3pm: reading of Black Body Amnesia @ Rile*


      PA-guest during Block III 2022. Invited and organized by Alyssa Gersony. Production support by Sarah Pletcher.




      jaamil olawale kosoko (they/he) is a multi-spirited Nigerian American author, performance artist, and curator of Yoruba and Natchez descent originally from Detroit, MI. jaamil’s practice is conceptual and process based, fluidly moving within the creative realms of live art performance, video, sculpture, and poetry. Through rooted ritual and spiritual practice, embodied poetics, Black critical studies, and queer theories of the body, kosoko conjures and crafts perpetual modes of freedom, healing, and care when/where/however possible.

      Blending poetry and memoir, conversation and performance theory, their book ‘Black Body Amnesia: Poems and Other Speech Acts’, was released Spring 2022.

    • end presentation
    • performative publishing
    • postgraduate program
    • Demolition, Damage, Deviation, Desire a.pass End Presentations of Gary Farrelly, Inga Gerner Nielsen, amy pickles and Jimena Pérez Salerno
      11 September 2022
      posted by: Lilia Mestre
    • MEYBOOM artists-run spaces
    • 29 September 2022
    • 30 September 2022
    • Demolition, Damage, Deviation, Desire

      The a.pass End Presentations of Gary Farrelly, Inga Gerner Nielsen, amy pickles and Jimena Pérez Salerno will take place on the 29 and 30 September 2022 at artist run space Meyboom, Boulevard Pacheco 34, downtown Brussels, from 18:00 to 22:30.

      This public presentation marks the end of their trajectory at a.pass and invites the researchers to share their modes of doing, seeing and making artist research public after following the year-long postgraduate program. amy pickles (UK) is an artist and educator working on colonial infrastructures embedded within everyday technologies. She curated and organised, with Chloë Janssens and Túlio Rosa, a gathering titled On Coloniality []. Gary Farrelly (IE) is a visual artist researching on infrastructure, bureaucracy and the architectures of power. A big part of his work is in collaboration with German artist Chris Dreier with the ongoing project Office for Joint Administrative Intelligence. Jimena Pérez Salerno (AR) is a choreographer and dancer researching on the concept of expanded choreography as a critical modality for political awareness reflecting on linear time and productive behavior. Inga Gerner Nielsen (DK) is a performing artist with a background in sociology, researching immersive performance as an interstice of poetry and institutional critique.

      With singular questions, processes and approaches, the four researches intersect and expand concerns in Demolition, Damage, Deviation, Desire by bridging intimacy and politics in very different ways. Their practices extend from the lecture performance to performative installation, drawing, crossing ritual making and never ending warmups, to research, share and exchange - together with the audience - questions that are embedded in our everyday lives.

      The research of these four artists addresse architecture and administration with their conditionings and protocols; the perpetuation of colonial governance through digital infrastructures and our dependency on them; immersive institutional rational authority and the amazing potential of time to inherit, transform, conduct change and resilience.

      The End-Presentations at a.pass are on themselves a study on curatorial practice, performativity and making public. By being together, these performative situations will shine attention to the context and environment they are in, their relationship with audiences, the materialities that are involved being them visible or invisible and what matters in these circumstances.

      For this occasion they worked with Frédéric Van De Velde on a collective sound publication with vinyls that will be performed and spinned by Frédéric during the event. 


      Gary Farrelly / It is official policy to appear unmoved

      Gary Farrelly's research at a.pass departs from the work of deceased conservative conspiracy theorist William Milton Cooper. Coopers work, through his polemical Hour Of The Time radio show synthesised economic and political ‘research’, occult knowledge, personal grievance, and manic episodes into a paranoid tsunami deployed to undermine confidence in public institutions.

      Cooper's transmissions were characterised by a highly affective voice, at once disdainful, concealed, intimate, furious and hyperbolic, inducing a hypnotic state of susceptibility and acquiescence to the content. A precursor to the corrosive ‘post truth’ ideation that contaminates our current public discourse, Farrelly takes Coopers work as a departing point towards a generative reimagining of the paranoid researcher/ coercive performer.

      His trajectory at a.pass has explored various performative versions of himself, including: the bureaucrat, the crossdresser, the charlatan, the guide, the joker, the devils advocate, the instructor and the Cassandra. The core mission of Farrelly’s research is the affective deployment of body and voice as transmitters of anxiety, desire, disinformation and critical questioning in relation to invasive infrastructure and monumental architecture. Much of the content and material he has brought into play at a.pass was gathered in collaboration with Chris Dreier in the context of Office for Joint Administrative Intelligence. O.J.A.I.'s ongoing mission proposes a reading of the built environment through lenses of coercive power, mind control, transcendence and magic.


      Gary is an Irish artist and educator based in Brussels. His work encompasses drawing, performance, publishing, installation and experimental radio. Exhibitions and performances have been presented by Goldsmiths Center for Contemporary Art (London), Marres Centre for Contemporary culture (Maastricht), Contemporary Art Center (Cincinnati), Centre Wallonie-Bruxelles (Paris) and Salzburger Kunstverein. He is a lecturer at La Cambre ENSAV in Brussels and his work is supported by the Arts Council of Ireland. A significant part of the work takes place in collaboration with Chris Dreier, through their shared practice the Office for Joint Administrative Intelligence.


      Inga Gerner Nielsen / THiS INSTiTUTE

      At a.pass Inga’s artistic research came to be conjured through THiS INSTiTUTE; a structure by which to constitute the sensual mode of her thinking. The past year she has been looking intensely into ահąէ it is a spacious feeling – where an imaginary world of analysis starts appearing through the objects and textures at hand, հօա it opens as a kind of summoning and closes when she is called into presence by matters of everyday life  and  ահվ it feels so urgent for her to institutionalize her artistic research as affect, as symptom, as dream.

      Moving to Brussels from Denmark Inga lost the sociological overview of her environment. Normally, her artistic work unfolds as sitespecifc intervention in a concrete place, in the academic field or in an institutional setting, which she has carefully sensed in order to know how to highlight its features and make the invisible visible, often through an aesthetic and ideological juxtaposition. Her performance series My Protestant Origins and Catholic Fantasies combines her background in Sociology with her artistic work by making performance installations which open up a maximalist, celestial relation to space and objects in the otherwise secular rule of minimalist Danish design. Now, in the myriad of styles and institutions that make up Brussels, she didn't know what to juxtapose and how to intervene. And after quite some confusion, this lack of clarity started to feel good. It granted her permission to just gaze at her own gaze. In many of her previous works she had been exploring with performers how the gaze affects or choreographs the body, and now, with half-closed eyes she started to practice an intense mode of subjectivation. 

      Inside THiS INSTiTUTE she researches how to fall into a medieval perception of space/time; a mode of being in and knowing the world, she fantasizes to be a remaining counterweight to the renaissance's linear perspective once invented by the architect. She practices a bodily felt sense of her close surroundings as an emotional imaginary landscape, where the distinction between the inner and outer world falls away. At the End Presentation Inga will try to open up THiS INSTiTUTE to her community of artistic researchers and people interested in the question of how to build portals for other modes of thinking? And why might we need the institution to uphold and preserve them? 



      Inga comes from a group of performers in Scandinavia, who work with immersive performance installations. Since 2007 she co-founded collectives and focused on developing their work as an activist strategy to give structure to sensuous modes of social interaction in different spheres of society. Today she collaborates with a nursing school in Denmark to introduce performance installations as a way to look into the mise-en-scène of care work. A relation, which the project mirrors with the interaction between performer and audience in one-to-one performance art installations. Inga's art explores how new modes of subjectivity or imaginaries come into existence or are transformed through interactions and refigured institutional settings.


      amy pickles / Chantal and Timothy 

      These two works take their name from human inscription on other than human entities.


      made with George Chinnery and many others

      Timothy is a multi-authored scene comprised of assembled debris from amy's experiments in a.pass. These experiments reconsidered formats for collective learning. The topic in question, colonial infrastructures and how they perpetuate modes of extraction and exploitation in a progressive western narrative, inherent within our communication technologies. Phew. Timothy is carrying a lot. Serendipitously, Timothy's name is taken from a tortoise, so it can accommodate a lot within its shell. Timothy the tortoise was taken by the british navy from a portuguese merchant in 1854, who in turn took her from the shores of turkey. She was kept in different colonising ships till she was moved to an aristocratic home in england, where they etched the family motto into her belly; "Where have I fallen? What have I done"?[1] If you're wondering, a tortoises underside is very sensitive. Timothy, as scene, resonates with the scar tissue of Timothy the tortoise. The scene is a prompt for us to think about ourselves as an accumulation of colonial narratives - these processes involve us all in some way - and to reconsider the "uncontested notion of information technology as freedom"[2].


      made with Max Franklin, Chloë Janssens, Anna Lugmeier & Marko Gutić Mižimakov

      Chantal is a digitized Super8 film, that documents 'relational hood group call', a collective exercise made for a presentation in a.pass. The participants are bound together through a group video call on Signal - an internet based communication app - that is connected to their bodies through headphones, screens, and selfie sticks. They collaborate to form an experience for a primary vessel. This primary vessel is the participant whose head is engulfed inside a hood. 'relational hood group call' was a re-imagining and re-assembling of brazilian artist Lygia Clark’s relational objects, objetos relacionais[3]. The name of the film is from the tree in which the participants move around, Chantal being inscribed upon its trunk.


      1. "Timothy (tortoise)" Wikipedia, Accessed 7 September 2022.
      2. Aouragh, Miriyam & Chakravartty, Paula. Infrastructures of empire: towards a critical geopolitics of media and information studies. Media, Culture & Society. 2016;38(4):559–575.
      3. Butler, Cornelia H. & Pérez-Oramas, Luis. Lygia Clark, The Abandonment of Art, 1948 - 1988. The Museum of Modern Art. 2014. p281


      amy pickles is an artist, organiser and loosely institutionalised educator. In her work, she experiments with ways to hold onto, and consider, pervasive colonial infrastructures we are a part of. In our work, redistribution – of knowledge, tools, finances – and collaboration are ways to refuse individual ownership. She is a member of Varia, Rotterdam NL, an organisation working on everyday technology.


      Jimena Pérez Salerno / Unproductive will

      How can we create a different relation to time than the one the western worldview imposes on us? How can we produce market-wise non-productive things? 

      Unproductive will is a choreographic practice installation that is part of a larger research. It suggests revisiting our relationship with the hegemonic notion of linear time and productive behavior. It proposes thinking of them as collective colonial wounds and impositions that run through our practices, affective bonds, and lives, wherever we are. I am developing exploratory collective practices such as Kung Fu tuning (a counter-normative body practice using simple martial arts warm-up), Collective readings (Payada: a popular folk music genre involving poetic recitations), and Technologies of attention (peeling vegetables following a choreographic score) to name some of them. I work with the idea of a never-ending warm-up to re- think the idea of practice and to engage with everyone who participates as a collaborator. This process does not seek an end but wants to remain in the continuity of the search. 

      I started my trajectory in a.pass exploring the normative notion of linear-productive time and how it is embodied in our behavior because I am interested in its political dimension. I observed how much thinking in a forward direction brings associations that build a certain life perspective. For example, forward-better-future-progress or backward-worst-past-degrowth. This reinforces a system of values creating a sense supported by binary thoughts. In an attempt against this logic, I followed a contradictory path. I will step forward to the past, I said, and I started to investigate, trying to detect how bringing practices from my sentimental and cultural education in Argentina to my current research, could speak of my relationship with a twisted time. I am interested in observing the transformations the project traverses in each place it is presented. To change its language and perspective, that is to say, the thickness that its affective, geographical, and political implications take both for me and those who participate in the experience. This research challenges the definitions of audience-participant, performance-practice, and encounter-training affecting the presentation dynamic that sets all of them in motion.


      Jimena Pérez Salerno is an Argentinian artist, based in Brussels (BE). She works and researches between Brussels and Buenos Aires. She experiments in the performing arts, artistic research, and teaching fields. As a dancer and choreographer, she collaborates and engages continuously with other artists as a fundamental part of her exploration of collective work. She considers choreographic practice like an expanded relations system that enables modes of imagination, attention, and coexistence. It leans towards performative practices that contemplate the activation of an unexpected context to think together through the experience of an implicated body. + info: IG: @sashimishimi


      Frédéric Van de Velde


      Frédéric Van de Velde's artistic practice oscillates between publishing, producing and organising exhibitions and concerts. He worked for WORM and DE PLAYER in Rotterdam and used to run a bedroom-sized music venue called Antenne. In 2019 he founded the record label Futura Resistenza, which operates somewhere on the edges of performance, music and the visual arts.


    • postgraduate program
    • project
    • block 2022/III
    • Where do we go from here - Block 2022 III a proposal by Martina Petrovic
      30 July 2022
      posted by: Kristien Van den Brande
    • 05 September 2022
    • 30 November 2022
    • Is a series of dinner encounters which aims to map and introduce four collectives from the Brussels scene to a.pass participants from the September block 2022. Collectives: Common Wallet, Helectolitre, BOSCH and JUBILEE/EMPTOR, are self-organized, or which have alternative approaches on commons, organization, finances and ways of living and working as artists.

      Through a format of dinner we will explore how these collectives operate, what are the politics behind the modes of being and working together, where are the difficulties and what are exciting new possibilities of working with different structures. Participants of a.pass will come to the dinners of these four collectives, after these four encounters for the final dinner a.pass will take the role of the host.


      Sept 20th, 7pm: Dinner with Hectolitre

      Oct 7th, 7pm: Dinner with Common Wallet

      Oct 27th, 4pm: Reading Room and dinner with Jubilee/Emptor


      The dinner table has its own politics, how one sets it influences the conversation around it, it can generate questions, introduce different ways of composing a menu, question the tools we use, it can unveil the social structures that make the table possible, sometimes unexpected surprising flavors appear on one’s plate and many other delicious subject can surface on it.

      These encounters would allow us to collect tools, inspiration and to learn from existing experience and structures on how to collectivize. Further to question what are the challenges, where to search for help, or what is the strength of working in these alternative ways. It would be amazing if this encounter would spark connections and give opportunity to new, unexpected ways of thinking. Maybe some of these conversations encourage propositions where to begin, which steps to take, what traps to avoid, etc. Maybe they provide inspiration to come together and merge projects or initiate art communities and support systems for each other.


      -----------------------------------------------------------PLANNED DINNERS


      DINNER with HECTOLITRE- 20th of September -  Rue de L'Hectolitre 3.

      HECTOLITRE is a space dedicated to artists who wish to delve deeper into their projects, experiment with transdisciplinarity and connect their art form/research to the neighborhood. The artists living and working at HECTOLITRE are co-joining interconnected community rings, together with involved neighbors, socio-cultural activists, local and international artists/curators. It is also a place where I have been living for 8 months now, which has opened for me a door to an amazing artist community, given me the time and space for research and implemented the seed from which the idea for dinners with collectives blossomed.

      HECTOLITRE is also an unusual building in the heart of the Marolles neighborhood undergoing a radical change of identity. Former swingers club, then storage for antiques, the space is filled with peculiar Art Brut interventions, resembling a kind of «memory forest».Thus, visually and symbolically complex, the surrounding is no obstacle, but rather is perceived as a living system to accept, associate, question, and experience, providing a shared atelier, hosting exhibitions, performances, musical encounters, film projections, debates and other initiatives. The complementarity among artists, curators, creatives and neighbors inhabit the place and catalyze exchange.

      The project’s device is based on open, curious and benevolent exchange. Innovation, perseverance, the desire to undertake guide the approach, all in an atmosphere that is joyful, lively and harmonious. The methodology of co-creation and collective intelligence governs the organization of the life of the place and the design and implementation of projects.

      Meeting of the hectolitre community would take place through a neighborly Balkan traditional activity of roasting papers for preparation of traditional autumn dish Ajvar. Ajvar is a spread made from paprika, oil and spaces which is not only delicious but always takes more than 1 person to make. It invites people to come together, make a summary of the summer experiences, and start preparations for winter. This collective activity also has its economical side, it takes care of rationing the resources,by using one grill and stove for multiple households. Which brings us also to an unavoidable discussion in these times about the advantages of cohousing, living in the collectivity, and sharing working and living spaces. Where and how to search for them and how to start commonizing? Further questioning:  the organic organization of the community, what does it mean, and how does it function?  



      DINNER with COMMON WALLET - 7 October, 7pm @ Rue de L'Hectolitre 3


      Common Wallet is a shared bank account and an experiment of radical trust created by a small community of eight people mainly based in Brussels. The members are artists and cultural producers with different lifestyles, levels of wealth and family conditions. Every income generated by the participants is shared in one common bank account. Any member of the Common Wallet can take money from this account based on their needs and with responsibility towards the group and life’s projects. This means that all everyday and regular expenses such as rent / mortgage, food, clothing, energy, transport are paid for by this common pot of resources. The experiment started in January 2018 without fixed rules but with a shared set of values and the idea to practice a polyamorous relationship with money.

      Common Wallet's polyamorous relationship with money is a provocative experiment in trust. They invite us to have a conversation around our relation to money. How does one deal with income, resources and outgoing costs - how do we tackle the taboo around these issues? When the current capitalistic structures are not very welcoming, where and how could we reach for alternative solutions? The dinner with Common Wallet will tackle these questions through an open conversation around the table and by introducing us to a game made by three common walleters, named Commonopoly. How did the idea come about? How is a common wallet structured? What are its positive sides, opportunities and pitfalls.  

      The dinner is curated by Amy Pickles and Martina Petrovic, in collaboration with  Adva Zakai and Anna Rispoli (from Common Wallet).




      DINNER with JUBILEE/EMPTOR - 27th of October, 4-9pm @ Radical House (Luikenaarsstraat 2 Rue des Liégeois, 1050 Elsene/Ixelles)


      Jubilee is an artist-run organisation that functions as a platform for artistic research. Jubilee is a polyphonic and transdisciplinary structure that supports the work and research of its founding artists, as well as the projects of associated artists within collective reflection trajectories. Jubilee initiates collaborations as a basis for long-term and reciprocal relationships.

      Jubilee is concerned with sustainability of artist practices and pursues viable conditions for an ecology of artistic practices. Jubilee wants to raise awareness among artists and have a positive impact on organisations and policies. It does so both by disseminating critical perspectives on the existing precarization in the arts field through individual artistic projects and collective reflections, and by participating in educational contexts, debates, lectures and working groups on an (inter)national level. Jubilee aims to propose practice-based solutions to reconceptualize solidarity systems.

      Jubilee's most comprehensive collective research trajectories are Caveat and Emptor.


      Caveat and Emptor

      The project title Caveat alludes to the expression caveat emptor (buyer beware) – signaling the research's ambition to raise awareness around financial transfers in the arts and around how money is constitutive for work relationships, on a socio-economic, legal and cultural-institutinial level. 

      Caveat's primal focus is on contracts as a tool for reconfiguring relationships in the field of visual arts. The research project Emptor focuses on property relationships. In the wake of collaborative, performative, internet-based, audiovisual, and immaterial turns in the arts, it is ever more delicate and complex to define what is the artwork, and how it can be exhibited, conserved and sold. Ownership of material objects remains crucial within the visual arts economy, regardless of the challenges that new art practices pose to materialisation and acquisition. How to dislodge the focus on property to ensure the ‘life’ of artworks within collaborative set-ups?

      Emptor proceeds by alternating a series of preparatory Reading Rooms with public-facing Assemblies of Practice, for in-depth presentation and study of practices of associated researchers.


      Reading Room #25, towards the Assembly of Practice ‘Whose institution?’

      Working towards Emptor's third assembly of practice 'Whose institution?', Jubilee invites a.pass to Reading Room #25. We gather around texts from the Handbook that accompanies Documenta 15/Lumbung, an artist-run and collectively structured edition of Documenta which has implied a significant shift in the possibilities of institutional practice. Lumbung is the name for a storage in rural areas for surplus rice that is collectively managed.

      The Reading Room will proceed with a dinner conceptualized by Martina Petrovic.

    • postgraduate program
    • workshop
    • block 2022/III
    • EARTH - a gathering workshop - BLOCK 2022 III proposed by Isabel Burr Raty
      30 July 2022
      posted by: Kristien Van den Brande
    • 15 November 2022
    • 18 November 2022
    • For the topic Earth of this block, Isabel Burr Raty invites to collectively think - Earth - by diving into polarities surrounding the fourth most abundant element in the observable universe and the 15th most common in the Earth’s crust: Carbon. Carbon, which originates in the core of stars, has the power to form life, yet to dissolve life as we know it on this Planet. Carbon is the chemical skeleton, required to shape complex molecules like DNA, needed for the development, functioning and uniqueness of humans and almost all other organisms. However, carbon-based fuels dominate global energy use and in the context of climate change, carbon dioxide is the most important greenhouse gas released by human societies. Challenging transnational green efforts to establish post-carbon economies and cementing trans-human Directed Evolution.

      During a 4 day encounter based encounter and a series of theory readings, we will be in touch with traditional and innovative practices around the carbon spectrum, as well as post-human critical perspectives on the concept - human - and -nature -. Fabulating with variant Sci-Fi myths be-coming-reality, to inspire alternative imaginaries for the role of the human within the Earth’s life cycle.

      On one side of the spectrum we will encounter María Quiñelén, Mapuche medicine woman and Isabel’s close collaborator. The Mapuche is the originary nation in Chile. Self-identified as – the people of the Earth -, they live in a state of resistance fighting for their autonomy. Via a series of ceremonial practices, María will share with us how her cosmovision envisions the human body as an Earth body. A body populated by carbon entities, functioning as connective tissue to establish non-biological kinship with the micro and macro cosmic. And as such, the human is an active, entangled and trans-dependent constituent in galactical systems.

      On another side of the spectrum, Isabel will open up technological and artistic perspectives about xenobiology, a scientific discipline that engineers chromosomes different from carbon based DNA, to create useful artificial sustainable biodiversity. In other words, to design new forms of life on Earth that are not hard ware, but wet ware based. Such as synthetic breathing forests that would be ready to populate post-nature landscapes. A project that began as a bio-engineering experiment financed by the European Commission and today it's supported by first world power states.

      Orbiting around these spectrums, our readings will open up chapters from Geontologies, A requiem to late liberalism by Elizabeth Povinelli, The Relative Native, Essays on Indigenous Conceptual Worlds by Eduardo Viveiros de Castro and Xenofeminism by Helen Hester. Where we collectively reflect on: What makes life be in opposition to and in difference from Nonlife? Can the human embody an integrative meta-physics by welcoming multiplicity through affinity? What makes the concept of nature subservient to essentialism?, etc.


      Tentative Itinerary of EARTH Tuesday 15 to Friday 18 of November 2022 

      From 10:00 to 18:00 hrs.

      Tuesday 15

      Morning: readings & fabulations

      Afternoon: sharing with invitee María Quiñelen

      Wednesday 16

      Morning: readings & fabulations

      Afternoon: sharing with invitee María Quiñelen

      Thursday 17

      Day trip visit to the Garzweiler mine in Germany with María Quiñelen.

      The  Garzweiler hole is one of the biggest surface coal mine in Europe.

      The mine currently has a size of 48 km² and got its name from the village of Garzweiler, which previously existed at this location. The community was relocated in the nearby surroundings, as well as other villages that followed after.

      Friday 18

      Morning and afternoon: About xenobiology, post carbon imaginaries & fabulations




      María Quiñelén is a Mapuche activist medicine woman born in Nueva Imperial, Chile. At the age of 7 her grandmother started training her in the arts of herbs by teaching her, amongst others, how to talk to them in her dreams. Since then, for over 40 years she has been working as a social educator, imparting the Mapuche Cosmovision knowledge and the arts of medicinal herbs through her mobile school. Maria is also expert in natural and humanized birth and a ceremonial facilitator. Actively involved in social media, she has been invited by numerous TV and radio programs and lectured in diverse Indigenous Nations knowledge Congresses in Latin America.


      Isabel Burr Raty (BE/CL) is an artist, lecturer, sporadic curator and sexual Kung Fu coach. With an activist background as a filmmaker working with the Rapa Nui and the Mapuche people in Chile, her artistic research is based in ecological, queer, post-human and de-colonial perspectives, where the sources of inspiration range from Indigenous knowledge to techno-scientific ideas of matter and bodies. For the past years her experiments have focused on creating conditions for embodied Sci-Fiction, where the role of the human is de-centered in commodification processes, opening discussions about “value understandings”, such as the Beauty Kit Farm. In 2018 Amsterdam Arts Fund partnered her to Waag and Mediamatic. She is member of the EU project Staying in Touch, curatorial practices of the Future and teaches New and Post Media Art history at ERG (BE). Her works and collaborations have been shown internationally.


    • postgraduate program
    • Our Practices / Our Extensions - Mentoring practice - Block 2022 III a proposal by Simone Basani and Heike Langsdorf / radical_house
      30 July 2022
      posted by: Kristien Van den Brande
    • Radical_House
    • 05 September 2022
    • 30 November 2022

      With Our Practices / Our Extensions we propose a self-observative and self-critical system for mentoring that acknowledges explicitly the socio-political meaning of such an activity of mentoring and being mentored – a practice in itself: attending to processes not being our own, and vice versa, being attended by eyes and minds outside ourselves.

      Inspired by several conversations with current coordinators, alumni, and participants of a.pass, the mentoring system of places at its core the following questions: What do we talk/work about when we touch upon ecological/social/urban issues? How did those issues touch us/our bodies/our hi-her-stories? From which physical/emotional/philosophical site does our research start from?

      We want to welcome a.pass participants by acknowledging that we all have different experiences and therefore some undeniable hunches, ideas, inheritances we are provided with by the way/s we live our life/ves and relate to others and other matter/s. Here we share a quote relating to this:

      “… inheritance doesn't come from the past. Inheritance is the place we are given in the present in a world structured to care for the existence of some and not of others.” ― Elizabeth A. Povinelli, The Inheritance

      Concretely speaking, we consider our practices being extensions from ‘where we come from’ – how we relate to the journey of our lives through what we do/propose ‘in practice’. For working collectively with our inheritances (and detect if/how/where they found their place within our practices), we propose to work – practice, discuss and exchange – at radical_house: a typical but recently modernized Brussels family house, being developed into a project with the same name during the last few years by radical_hope: Heike, Simone and many other practitioners. This place will be an anchor point, an object for thinking, a site of exploration for us and the participants, to unfold questions connected to their interests and practices.

      radical_house, Luikenaarsstraat 2, 1050 Brussels (bus 95, tram 81: get off Germoir), will have a physical and receptive presence during this block, and be accessible for the participants to meet, be mentored (one-on-one or in constellation), research, rest, cook, present / share their practices etc.

      By reacting, reading, accepting or rejecting this place, we will try to understand it as a dynamic constellation of traces, artifacts, spaces and relationships that might trigger further reflection about the artistic/social/political practices we are currently maintaining.


      Practically speaking, we invite the participants of a.pass at given moments of the week (we will choose them together during the intro-week based on everybody’s availability) into radical_house and share a set of protocols/scores for using a certain space as a site of practice-exploration. Those scores we’ll script or re-script together with the participants themselves on the basis of their interests/needs/desires (heard during the introduction week) and the geography-functioning of the sites we chose.

      radical_house’ proposition resonating with the Streets and the Earth: In the context of a.pass’ block 2022 / 3, while Streets and Earth raise a series of research questions connected to ecology, sustainability of art practices and, more widely, working life in the artistic field, Our Practices / Our Extensions is proposed by Simone and Heike as: 1. a methodology for mentoring & individual + collective reflection/exploration and 2. an explorative usage of a physical place where to stay, think, shelter, rest, continue... This place, radical_house, will be a place to ‘breathe with’ (or digest) the questions coming from Streets and Earth and from the physical-relational spaces of radical_house itself.



      BIOs of Simone, Heike and radical_house

      Simone Basani

      I spent a large part of my life in Milano and its outskirts, where my biological family still is. The last five years of my stay in Italy have been in Venice though, before migrating abroad as many members of my non-biological family have done too. In Milano, I have been trained in community drama, dramaturgy work, performance making in a theatre that was in the last phase of its dying process. In Venice I have studied the lexicon of visual arts, semiotics, curating, and finally started to apply this knowledge to my own public art projects. Once I arrived in Belgium, eight years ago, I started to apply that knowledge to projects of other practitioners as well – out of necessity and out of curiosity. Now I mostly conceive curatorial and performative formats where I invite artists to react on a specific proposition of mine. This is also a way to get to know their work better. Very often, Alice Ciresola (a member of my non-biological family) helps me to produce and communicate these formats. Some of them are: NittyGritty, Galeria Gdansk itd., What Remains of a Rembrandt.. and the most recent ones: Jeanne. Or the Western Touch that she co-curates, and Unrequested Services). I like these formats to have their own life quite soon after their conception, to get out of my control. Besides this, I have been collaborating for almost four years on a stable basis as dramaturg and creative producer with Heike Langsdorf/radical_hope, and David Weber-Krebs. Heike has invited me to edit one book of the series she created with Alex Arteaga `Choreography as Conditioning`. Currently I am working on the dramaturgy of a Post Pandemics version of her performance Mount Tackle. With Heike and other artists I take care of the life in and around radical_house. Hans Bryssinck, Heike, Miriam Rohde and I have initiated a `house of practices` inside radical_house.

      Heike Langsdorf

      I grew up on the German/Austrian border in the very South-East of Bavaria, and after some years in Arnhem/Amsterdam, I ended up in Brussels as my home base. With a background in dance and performance making, I am exploring the performative qualities of choreographing and conditioning within and beyond the art-institutional field. I connect to artistic making, thinking and researching through a continuous exploration of movement and choreographic principles. Since 2010 I developed (starting at a:pass) radical_hope as a working attitude supporting (my) various distinct practices. Today radical_hope identifies as framework/s for artistic research/es and co-creation/s under un/ideal circumstances. Next to realizing various and numerous projects, performances, interventions and programmes throughout the years, I have always been and remain very invested in understanding what gives rise and makes develop practices: how do practices mature, shift, transform, change direction and so on? This made that what I choreographed and co-curated became rather ‘spaces for gathering through practices’ than ‘pieces for stage’. I mention here some: Changing Tents (2011), Sitting With The Body 24/7 (2014/15), Mount Tackle (2017/2019), Un/Settled Residency (2018), …Through Practices (2019). Since 2018, informally, and since 2020 in a more formulated way, with the curatorial and productional support of Simone Basani and Alice Ciresola and in dialogue with other practitioners, I develop the long term project radical_house. Together with Alex Arteaga I co-edited the book series Choreography as Conditioning which was launched end of 2021, together with a long-term project stemming now from the written texts (find here more info and all credits >>>) . The writings of this series are rooted in a cycle of work sessions entitled CASC at KASK, in which students worked together with invited guests and myself. They explore notions of choreography, understood as ways of organising subjects in their surroundings, and conditioning in both art-making and society-making.


      radical_house is a long term project that stems from radical_hope's practices: it presents a physical place, a framework and a reasoning. It is also a possibility for Heike Langsdorf to connect, together with others, her pedagogical experience (which she could gain during the last ten years) back to the artistic field: - How can 'just another' house become a relational tool? What if one frees 'the house' of its usual connotations presenting "neither a property nor territory to be separated and defended against who does not belong there"? (*) It then could be considered "a void, a debt, a gift to the other that also reminds us of our constitutive alterity with respect to ourselves". (**) (*/**) Roberto Esposito, Communitas - the origin and destiny of community, 1998

      The renovation (2016-19) of a Brussels family house, together with architect Tania Gijsenberg, into a place for 'more than family' is a relatively new reality, with three work paths that are temporally and spatially entangeled. Here just a short overview: Luikenaarsstraat 2 is the address of the house -- its physical appearance -- where people can live, work and present together. 'Just another house' (in 'just another neigborhood'). After its renovations this house now has the possibility to host more than their two permanent inhabitants: by opening and reducing the staircase to half its former width, a dark cellar (previously packed with unused stuff) became an atelier and the groundfloor became a studio with guestroom. A big window gives view to the streets, vice versa big parts of the working spaces can be seen from outside. The second floor is now an open co-working space with kitchen. Dismantling some little unused inbetween chambers on the same floor made two outside spaces possible: a little courtyard and a terrasse. Under the roof are two rooms for the permanent inhabitants to withdraw into.

      Some impressions

      Bridging from School: In 2021/22 radical_house develops the framework Bridging from School: first and foremost a way of working with young people, who are still studying or have just graduated, to make their practices not yet introduced to the field: this is done not only by following their work, mentoring or coaching them, giving them feedback but very concretely by setting up projects which need the presence and knowledge acquired in their practices. Like this they are actually introducing themselves while practicing, not by presenting their ideas and philosophies via dossiers and portfolios. Currently, as part of a recently started collaboration with Demos (Arts In Society Award), Simone Basani and Heike Langsdorf are mentoring their candidates.

      House of Practices is exploring permeability: how to make space in existing places? In dialogue, through their practices and those of guests, initially, Simone Basani, Hans Bryssinck, Heike Langsdorf and Miriam Rohde aimed to come closer to what the transformative power of a physical place could be: What does a place with its specific history, former and current inhabitants/users allow for? What makes it relational and permeable and for whom? How do our practices create closeness and distance to one another? What of it contributes to the making of community, and what to avoiding or even destroying it? In 2020/21 House of Practices received a research grant by the Flemish Authorities. In 2022 Simone Basani, Heike Langsdorf and Miriam Rohde continue the quest.


    • performative publishing
    • postgraduate program
    • reading session
    • seminar
    • workshop
    • Autotheory Gathering at ZSenne ArtLab: Public Program In the context of Block II 2022: Scoring Intimacy of Discursive Others
      30 May 2022
      posted by: Lilia Mestre
    • ZSenne ArtLab
    • 27 June 2022
    • 09 July 2022
    • gathering, seminar, performance
    • case of: Lilia Mestre
    • Autotheory Gathering at ZSenne ArtLab: Public Program

      For two summer weeks (June 27 – July 10) a.pass is moving to ZSenne ArtLab in downtown Brussels, where it organizes a gathering around autotheory that brings together several approaches to the term and its relation to artistic research practices. The program includes several working sessions, a reading group, a programme of performances, and is curated by Lilia Mestre and Goda Palekaitė. To set a theoretical framework, a two-day workshop will be offered by Maria Gil Ulldemolins who will facilitate a selected library and methodological tools to be further explored during the two weeks. Associated researchers of a.pass Research Center – Gosie Vervloessem, Simon Asencio, Rareş Crăiuţ and Vijai Maia Patchineelam – will present their current processes. Finally, a.pass alumni who engage with autotheory in their practice will present their recent work in a series of performances and conversations open to the public: Chloe Chignell, Aubrey Birch, Eleanor Ivory Weber, Pia Louwerens, Marialena Marouda with Charlie Usher, Flávio Rodrigo and Philippine Hoegen, Vladimir Miller, Gary Farelly and Adrijana Gvozdenović. 


      28 and 29 June: Workshop Maria Gil Ulldemolins [10:00-17:00]

      30 June: and 1 July: How to say my name Rareş Crăiuţ [June 30 at 11:00 & July 1 at 19:00 - duration 1h]

      2 July: Performance Flávio Rodrigo and Philippine Hoegen [17:00-19:00]

      6 July:  Online talk Alex Arteaga and Emma Cocker [cancelled]

      6 July: Working session  Gosie Vervloessem and Simon Asencio [14:00-18:00]

      7 July: Working session Kin(s)Score a.pass program [14:00-19:00]

      8 July: Performances and book presentation Pia Louwerens, Marialena Marouda, Charlie Usher and  Vijai Maia Pachineelam [19:00-21:30]

      9 July: Performances Chloe Chignell, Aubrey Birch, Eleanor Ivory Weber [18:00-21:00]



      28 and 29 June [10:00-17:00]

      Maria Gil Ulldemolins: The Autotheory Library

      For this two day workshop, MariaI puts together a library of samples of autotheoretical (or autotheory-adjacent) texts. The group will read them and discuss them collectively, without rush, meandering wherever it is of interest for the participants’ and their practices. The aim is triple: to understand the very basics of what autotheory is understood to be up to now; to tentatively look at other hybrid works that might compliment it; and, last but not least, to make time for each participant to reflect on if and how autotheory might inform or challenge their own work. Participants will be able to permanently “borrow” from the library excerpts of the works, so they can take home a collected reader for their reference. The whole experience intends to highlight how autotheoretical narrators weave an intellectual and intimate network of relations; and consequently make time to read, think, and share as a collective, too.


      30 June and 1 July [June 30 at 11:00 & July 1 at 19:00 - duration 1h]

      Rareș Crăiuț and others: How to say my name?

      For this gathering, Rareș will talk about the combination of art, research, narrative and food. First through his artistic research practice but also through 'CofetARia', a  project hosted at a.pass, where he is also Associate Researcher. In his practice, Rareș works with cakes, and pastries as non-human collaborators in artistic contexts. He will address the topics of science and narrative, as well as the accessibility to research.

      Cakes are generally more performative than other types of food and make it easier for humans to understand and feel the agency of food. Working with alimentary matter and live performance, CofetARia is an eating performance, at the confluence of durational practices like performance and baking.  

      2 July [17:00-19:00]

      Flávio Rodrigo and Philippine Hoegen: On Versions/ NÓS 

      Flávio and Philippine will present a performance and conversation created collaboratively for this occasion. They take this encounter as an opportunity to relate their practices to each other('s body) in the importance they give to recognising that they exist as different selves. This performance takes the shape of a working session in which the performers and researchers borrow and lend each other’s dispositives of autotheory, putting them at each other’s disposal in a negotiated time and space.

      David is a person(a) and practice of versioning, who first came into being as a version of Philippine, an exploration of who Philippine could be as a man with a beard, how they could move and be in the world and how the world would respond. David consists of different aspects and objects, one of them being a voice. In this working session David's voice seeks residence in a new body, an experience that confuses and excites him, and that recreates him in an uncertain game of determining and being determined.

      Flavio, by incorporating this other voice, finds himself inhabiting his own body from a new perspective. The cohabitation leads to a different understanding and positioning of his body, with new layers of perception and performative gestures. David becomes a zone in between, where their bodies and practices cross and inhabit the same territory for a while, leading and being led, proposing and being proposed to, acting and reacting to David's mediation. 

      The organic devices that our bodies are, and the sound and motion they create, as well as the synthetic devices such as speakers, sound processors and projectors, and the ephemeral devices such as concepts and protocols - will enable this exchange. They will allow mirroring, resonance, vibrations and echoes that constitute the necessary elements for the research process to begin. This performance proposes to see mirrors, recordings and reproductions as ideas and gestures that function in both practices as forms of interlocution with oneself, in order to actualise or confirm the perception of the self as a multitude of selves. Such interlocution produces autotheoretical reflection and becomes a methodology for artistic research.


      6  July [cancelled]

      Alex Arteaga and Emma Cocker: Online talk about language practices in artistic research

      Both Emma and Alex are part of Research Groups concerned with language practices in Artistic Research.  They will speak from their perspectives and practices within several academic contexts. How do language-based artistic research practices relate to other research practices? What are the motivations, needs, desires, and aims that lead to establish these correspondences? How are the practices in mutual touch affected, modified, influenced, transformed? How do these connections, entanglements and intertwinements contribute to achieve the research goals? How do they affect the unfolding of research processes?


      6th July [14:00-18:00]

      Gosie Vervlossem and Simon Asencio: Autheority

      The notion of textual agency refers to the capacity displayed by texts to do things in various circumstances. In other words, text might be doing something else then simply conveying meaning. Text is equally reading you. Text performs you. Ultimately text might suggest methodologies for its own study: a study from which you might not be able to return without losing a feather.
      As part of the Research Center Cycle 3, Gosie Vervloessem and Simon Asencio, have been looking into methodologies for studying the agents of text through collective reading practice, role play and infused hallucination to examine the performances they enable. They have based their research on the Southern Reach Trilogy by Jeff Vandemeer, a sci-fi, eco-horror and eerie fiction and engaged in a process of reading the book by the means it proposes. Southern Reach Trilogy plots the story of a research unit studying a mysterious substance/agent/force/landscape that takes over and re-writes whatever and whoever engages with it: the researchers of Area X end up becoming the subject of their research. There is no objectivity whatsoever left.
      Authority is the title of the second book in the Area X trilogy. The book takes place in the research unit Southern Reach, exploring aspects of institutional paranoia, infrastructural and architectural labyrinths, secrecy and bureaucratic anxiety. Authority follows the main protagonist Control, the new director of Southern Reach while he leads interrogations of staff and former expeditions researchers. Conspiracy and paranoia are rampant. To access Authority they will use the method of lecture par arpentage* and the format of the interrogatory. Chapters will interrogate each other on the plots and holes of the book. The interrogatories will take place during four hours on June 6 during a public event situation. The interrogatories will be transcribed live by a transcriber.
      The interrogatories:
      Vijai Maia Patchineelam and Adrijana Gvozdenović as Incantations (Chapter 1)
      Simon Asencio, Gosie Vervloessem and Gary Farrelly as Rites (Chapter 2) 
      Pia Louwerens as Hauntings (Chapter 3)
      Vladimir Miller as Afterlife (Chapter 4)
      * Lecture par arpentage is a method in which participants read one part of a book each and gather to report and reconstruct the book together.


      8 July [19:00-21:30]

      Pia Louwerens, Marialena Marouda, Charlie Usher and Vijai Maia Patchineelam: On Artist as Institution  

      This evening brings together artists working with the practices of instituting and within institutions. It will comprise Pia’s work as ‘embedded researcher’ in institutional frameworks; Vijai’s Ph.D. research regarding the employment of the artist, as an artist, inside the art institution; and Marialena’s and Charlie’s practice of summoning, hosting and appropriating utterances with the Ocean through establishing The Oceanographies Institute.

      The Oceanographies Institute (TOI) studies human-ocean kinships. It gives particular attention to affectual and sensual encounters between those two bodies of water. The Institute therefore explores the relations of hands to mud, ears to the breaking waves, feet to the feeling of sinking, rather than the ocean 'in itself', as if devoid of human presence. It collects, analyzes and reenacts people's personal stories about their encounters with the ocean. TOI is interested in the relations to the ocean of the institutions that it is invited into -and of the people that are part of those institutions. In the case of a.pass and the people that make it up, they have been formative in TOI's coming to be. In their presentation, Marialena and Charlie will revisit some of those early Ocean Conversations and through them trace the parcours of the institute so far. TOI presentations often function as rituals of summoning: the ocean and fellow a.pass researchers and mentors will become characters coming to life in TOI's stories and songs.

      For this gathering, Pia will tell a story about a piece that she wrote to be published in a journal on autotheory, but never survived the editing process. She will alternate this with readings from her self-published book I'm Not Sad, The World Is Sad: an autotheoretical, semi-fictional account of a performance artist who lands a part-time job as an Embedded Artistic Researcher in an art institution. The blurb reads: "Invested in queer theory and institutional critique, she sets out to perform the artist 'differently' through a process of negation and passivity, inadvertently causing her relationship with the insitution's curator to grow increasingly speculative and paranoid. Pia dresses her protagonist in the different professional guises of artistic labour. Her experiences as tour guide, security guard, artist, hostess and researcher at different institutions begin to overlap and blend under the name of 'performance'.  The result is a fragmented story of paranoid and reparative reading, script and utterance, exposure and vulnerability."

      For his presentation, Vijai will present the book, The Artist Job Description, for the Employment of the Artist, as an Artist, Inside the Art Institutiopublished recently by Track Report, Antwerp, in collaboration with OAZA, Zagreb, and a.pass, Brussels. During the presentation, Vijai will read passages from the book in which artist colleagues are referenced as key influences that have helped shape and direct the practice-led research, The Artist Job Description: A Practice Led Artistic Research for the Employment of the Artist, as an Artist, Inside the Art Institution. 


      9 July [18:00-21:00]

      Aubrey Birch, Chloe Chignell and Eleanor Ivory Weber: On Writing Practices 

      The Autotheory Gathering will close with performative presentations of three writers and artists working with and on language. Reflecting upon the conventions of Western news media and the practice of reporting, Eleanor will perform a new piece of writing. Choreographically engaging with the space of ZSenne ArtLab, Chloe will present an extract of her Poems and Other Emergencies. Thinking through mineral erotics and linking our bodies with the bodies of more-than-human, Aubrey will propose a cocktail of spiritual calories.

      9 July 2022
      Eleanor will draw our attention towards reportage, which, in the same movement, bears witness to the world and consumes it. It is also a technique for making equivalences out of what is irreconcilable. In her practice, Eleanor keeps track of the dates when important things happen as a way to remember how the past shows up today. All the while she is trying to understand how repetitions, forgetting and suspended apprehension are equally part of personal and public events, places and products.
      Poems and Other Emergencies*

      Poems and Other Emergencies by Chloe sits at the intersection of poetry and choreography. Centered on a fictional character The Girl-with-her-tongue-out, the performance questions if it is through language that we find ourselves a body, or through the body that we find language? Embodied voices and voiced bodies weave and echo throughout the space. Where does the word end and her body begin?

      Aubrey's Material & Spiritual Calories is a practice that bridges the art of gathering around the table with the geological origins of what we consume. The body’s chemistry is altered both by the material calories of what we eat and the spiritual calories of how we eat, where pleasure and sociality nourish us as much as the proteins, sugars, and amino acids that we need to survive - that we need in order to wake up in the morning, to act, to hope, to protect. Between the immediacy of the meal and the endurance of our mineral origins, the body becomes a site where the ephemeral and the primordial meet in sensory experience.

      * performance credits:

      Performance and Choreography: Chloe Chignell
      Conversation partner: Adriano Wilfert Jensen
      Technical Support: Sven Dehens
      Thanks: Sven Dehens, Bojana Cvejic, Stefa Goovart, Sabine Cmelinski and a.pass. 

      Supported By: BUDA Kortrijk, Vlaamse Gemeenschapscommissie, Workspacebrussels, La Balsamine Theatre, GC kriekelaar, Lucy Guerin Inc, Dancehouse Melbourne, Batard Festival Brussels, QL2 dance ACT, Kanuti Gildi Saal, Tallinn, RIMI IMIR (NO), Littérature Etc. and Rencontres Chorégraphique.




      Aubrey Birch is a transdisciplinary artist and academic living between Australia & Europe. Working in various mediums, shecreates immersive states that link our bodies in the here-and-now to the deep time of those bodies. Thinking through a mineral erotics and social sensuality, she brings the politics of immersion into contact with the more-than-human. She lives part-time in remote Australia, where she cultivates native and medicinal plants. In Europe, she is a member of a collective taking care of Performing Arts Forum (FR), where she also co-organises the queer feminist event Elsewhere & Otherwise. Her works and collaborations have been presented by institutions like KANAL–Centre Pompidou (BE), MaerzMusik (DE), Shedhalle (CH), rotor Zentrum für zeitgenössische Kunst (AT), Kunsthal Ghent (BE), Theater Neumarkt (CH).

      Chloe Chignell is an artist based in Brussels working across text, choreography and publishing. Her work focuses on language within a choreographic and performative frame; she invests in writing as a body building practice, examining the ways in which language makes us up. Chloe graduated from a.pass (BE, 2020) and from the research cycle at P.A.R.T.S (BE, 2018). Since 2019 Chloe co-runs rile* a bookshop and project space for publication and performance with Sven Dehens. Her work has been presented by: Batard Festival (BE, 2019) Saal Biennale (ES 2021), Moving Words Festival (NO 2021), QL2 (AU 2022), KAAP (BE 2022), Littérature etc. (FR 2022), Dancehouse (AU 2016-8), The Kier Choreographic Award (AU 2018) Kottinspektionen (SE 2019) and Venice Biennale of Dance (IT 2017). She currently teaches at ISAC and P.A.R.T.S. 

      Eleanor Ivory Weber is a writer and artist based in Brussels. Her works expropriate the conventions and styles of Western news media to register and materialise a subjectivity that appears latent in the source. Recently her work has been shown at Kunstverein München (Munich), Maison Pelgrims (Brussels) and Kunsthal Gent (Ghent). In 2021 her essay ‘Australian Others: Penal Logic and the Pandemic’ was published in the literary journal Meanjin (Melbourne). Eleanor holds a Masters in Political Philosophy and Theory from the Université Libre de Bruxelles, and graduated from the Post-Master program at a.pass (advanced performance and scenography studies). She teaches art theory and critical practice at Erg since 2018 and is co-director of Divided Publishing.

      Flavio Rodrigo Orzari Ferreira, 39, gay, brazilian, artist, lives in Brussels. He is a performer and psychopedagogue. He holds a Bachelor’s Degree in Scenic Arts from State University of Campinas – UNICAMP (2004), a Master Specialization Degree in Psychopedagogy from FHO – UNIARARAS (2012), a Master Specialization Degree from UCB (2013) and a post-master degree in Performing Arts in A.PASS (Advenced Performing and Scenography Studies – 2020). Master's degree in speculative narration and videography at the École de Recherche Graphique (ERG) - Instituts Saint Luc in Brussels. His latest works as a performer and dramaturg are the solo The Ghost Scar (2019-2022), and the short film Fantasma Pédé (2022). He has worked for over 15 years as an art educator at both public and private Elementary and Secondary Schools. He currently works as a psychopedagogue coordinating a program to help students improve their learning processes at the ERG École de Recherche Graphique in Brussels.

      Goda Palekaitė is an artist working in the intersection of contemporary art, performance, artistic research, literature, and anthropology. Her practice evolves around long-term projects exploring the politics of historical narratives, agency of dreams and imagination, social conditions of creativity, and intimacy with historical characters. Some of Goda’s recent projects were titled Anthropomorphic Trouble (in collaboration with Adrijana Gvozdenović), The Strongest Muscle in the Human Body is the Tongue, Architecture of Heaven, Liminal Minds, and Legal Implications of a Dream. They were presented, respectively, at Whitechapel Gallery in London, Kunsthal Gent in Ghent, Centre Tour à Plomb in Brussels, Konstepidemin in Gothenburg and RawArt Gallery in Tel Aviv. In 2020 she published her first book of fictional biographies Schismatics. Goda participated in a.pass’ postgraduate program in 2018-19 and currently is a Ph.D. candidate at Hasselt University and PXL-MAD School of Arts.

      Gosie Vervloessems artistic research focuses on the position of the researcher in times of multiple crises. Her work faces the challenges that arise within this role, and looks for new ways of producing knowledge. Her practice is an ongoing quest on finding  tools to relate to a world that is messy and chaotic. Therefore she juggles with and re-interprets the practices of cooking, digesting, co-digesting, immersion or osmosis, as tools to literally embody that relation. In scrutinizing this relationship she focuses mainly on the concept of nature and tries to unravel the ideas that underpin this concept. In doing that, she identifies herself as a Sick Detective, a character that involves the vegetal kingdom as a possible ally in her research. Her work is highly inspired by plant biology, comic books, horror movies. It is mainly presented as lecture-performance, in the form of workshops or publications.

      Lilia Mestre is a performing artist, dramaturge and researcher working mainly in collaborative formats. She has been involved in a.pass since 2008 as Associate Program Curator and Core member (2014-17) and since 2017 as artistic coordinator. Mestre works with scores: inter-subjective set-ups and other chance-induced processes as emancipatory artistic and pedagogical tools, which have been documented in various publications. She is interested in forms of organisation created by and for artistic practice as alternative study processes for social political reflection. She was co-founder and latest coordinator of Art Laboratory Bains Connective in Brussels (1997-2017). Mestre lives and works in Brussels.

      Maria Gil Ulldemolins is a postdoc artistic researcher at Hasselt University working on personal and artistic heritage, and interiority and interior architecture. Her doctoral work was a multidisciplinary autotheory on collapsing figures, sparked by the trope of the swooning Virgin in crucifixion imagery; and constructed as a writerly Warburgian atlas. Her practice is mostly hybrid writing that combines scholarly essays with more experimental approaches. She is one of the co-founders of Project Passage, a research line and academic journal that seeks to learn more and promote precisely these autotheoretical and performative writerly practices.

      Marialena Marouda works in the intersections between performance, sound art and oral poetry. She studied philosophy and visual arts at Columbia University in New York, USA and continued her studies at the Institute for Applied Theatre Studies at the University of Giessen, Germany. In May 2018 she initiated The Oceanographies Institute (TOI), as part of her research at the Advanced Performance and Scenography Studies Program (a.pass) in Brussels. TOI focuses essentially on the relation between two bodies of water: the human body and the world ocean(s). It gives particular attention to affectual and sensual encounters between the two bodies. The Institute therefore explores the relations of hands to mud, ears to the breaking waves, feet to the feeling of sinking, rather than the ocean “in itself”, as if devoid of human presence. It collects, analyzes and reenacts people's personal stories about their encounters with the ocean. In 2019, composer Charlie Usher  joined TOI, letting his practice of song-making flow into the institute‘s work.

      Philippine Hoegen is a visual artist living in Brussels. In her multi-stranded, predominantly performative practice, she explores the ways in which we continuously create versions of ourselves, the apparatuses and processes we use for this and what their existence means for our understanding of 'self'. In the past 2 years she has focussed specifically on how this functions in contexts of work. Hoegen approaches performance explicitly as a research strategy: a way of thinking in which the physical is involved. Currently she is a researcher at the HKU Professorship Performative Creative Processes, and CARADT (Centre of Applied Research for Art, Design and Technology) Avans University, with a research project titled Performing Working.

      Pia Louwerens is an artistic researcher, artist and writer exploring the performance of artistic production. Through  performances and performative texts Louwerens researches how art institutions and the artistic subject — the I who writes, speaks and makes — co-constitute each other. The speculation on what an institutional script would look like, and who are co-authoring, serves as a tool to materialize the mutual reading and writing that occurs. For her performances, Louwerens appropriates performative (para-)artistic frames such as the guided tour, the artist talk, the novel and the workshop. Her practice constitutes a rich intertextual netwerk of anecdotes, events, jokes, theories and citations, which summon and frame each other. Pia has completed a post-master and fellowship programme at a.pass. Next to her artistic practice Louwerens has written texts for De Witte Raaf, Metropolis M, Tubelight and Het Parool. Pia Louwerens lives and works in Brussels.

      Since 2012 Rareş Augustin Craiut has been caring out « practice a as research » project (Performing food). The main themes of his artistic research practice are centred around the agency of food and eating and creating conditions to collaborate with Food. He is particularly interested in devices of meaning and affect (Bain-Marie Brunch food performance re-enactment cycle, various locations, ongoing; or Anximentara, Ecole de Rechrche Graphique, Brussels, 2018), and food in artistic and convivial collaborations (Comfort food continuum 2016, Baia-Mare, Romania; or The Terni – Paradisi-Neighborhood- Cookbook, Centro per le Arti Opificio Siri, Terni, 2017). Bread or baked goods are of particular interest with several performance art pieces dedicated to bread (The Transitions, Banis Connective, Brussels, 2017, or Anatomic bread bodies Matera European Capital of culture, Italy, 2019). 

      Vijai Maia Patchineelam’s artistic practice focuses on the dialogue between the artist and the art institutions. Placing the role of the artist as a worker in the foreground, Vijai’s research-driven artistic practice experiments with and argues for a more permanent role for artists—one in which artists become a constitutive part of the inner workings of art institutions. This displacement of roles is part of a larger trajectory that he has followed in his Ph.D. research at the Royal Academy of Fine Arts Antwerp and the University of Antwerp, “The Artist Job Description: A Practice Led Artistic Research for the Employment of the Artist, as an Artist, Inside the Art Institution.” Vijai is currently an associate researcher in a.pass’ Research Center.







    • postgraduate program
    • workshop
    • block 2022/II
    • kinship score
    • kin(s)score Scoring intimacy with discursive others
      11 May 2022
      posted by: Sina Seifee
    • a.pass
    • 12 May 2022
    • 21 July 2022
    • case of: Lilia Mestre
    • kin(s)score
      Kinsscore will be practiced every Thursday of  block 2022 II titled "Scoring intimacy with discursive others" (see block post)

      The proposal for this score follows on previous iterations of Scorescapes as a tool to practice 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 in collective settings.

      If artistic research is an active and methodological search for ways to keep the viability of one's knowledge in relation with others', then how can this search be mediated by scores? If artistic research engages in processes of awaking unseen  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? 

      The specificity of Kin(s)score is on the fact that we will participate in the score with our research kinships. We will speak with them, through them and us about the questions that our research make apparent. We will discuss and practice what are the political implications of authorship, collectivity and the other.


      -We meet every week on Thursdays from 16:00 till 19:00 on a.pass 4th floor studio.

      -We bring food and drinks to share.

      -We work with the people present. It’s not possible to participate remotely.

      -There is no audience. If one doesn’t have something to present, one can skip a session.

      -Participants of the score attend to minimum 5 sessions.

      The score is simple. It works as follows:

      To start:

      The first meeting each of us presents a 5 minutes sample of our research question. The sample is communicated as performance, text, object, dissertation,…It manifest the content of the research and the medium through which the research is taking place.

      The questions

      After assisting to each others presentations we assign by chance procedure who is offering questions to whom.

      There are two days to formulate a question to one of the researchers that has presented their work. Questions are sent by email maximum by Saturday midnight.

      The questions are a dialectic tool to engage in the discursiveness of artistic practice and research. They aim to argument what is at stake, its implications and further relations in the artistic research environment and in the world. They are the indicators of the dialogical potential of each research project. They are the motor of a process of sharing, contaminating, contradicting, thinking / making together apart. Questions are an intrinsic and important component of the score. Think them, contextualize them, offer them.

      The responses

      After receiving your questions you have 5 days to develop an answer with the medium you’ve chosen. You present your response the next Thursday you will attend within a 5 minutes timeframe .


      While we assist to the presentations we will write keywords. At the end of each sessions we will collect them and chose one to have a conversation about. The notes of the conversation will be documented through out the sessions.



      All the questions will be stored at the pads here bellow. The documentation of the presentations will an individual process.

      days 1
      days 2
      days 3
      days 4
      days 5
      days 6
      days 7
      days 8
      days 9
      days 10
    • end presentation
    • postgraduate program
    • Burrow Chloë Janssens and Vera Sofia Mota
      09 May 2022
      posted by: Sina Seifee
    • Level 5
    • 11 June 2022
    • 12 June 2022
    • Burrow

      This public presentation of Vera Sofia Mota and Chloë Janssens marks the end of the researchers’ trajectory at a.pass (advanced performance and scenography studies). After following the year-long postgraduate program they will share their modes of doing, seeing and making artistic research public.

      Level 5
      Rue van Meyel 49, 1080 Molenbeek-Saint-Jean
      Saturday 11th of June:
      Vera Sofia Mota
      16-22h 1 on 1  presentations. We kindly ask you to sign up on site.
      Chloë Janssens
      16h installation on view + individual bike rides
      18h presentation in English
      19h installation on view + individual bike rides
      20h presentation in English
      18h general welcome, drinks and food
      Sunday 12th of June:
      Vera Sofia Mota
      16-22h 1 on 1  presentations. We kindly ask you to sign up on site.
      Chloë Janssens
      16h installation on view + individual bike rides
      18h presentation in Dutch
      19h installation on view + individual bike rides
      20h presentation in English

      18h general welcome, drinks and food



      Vera Sofia Mota (PT)

      Vera Sofia Mota is a visual, performance and dance artist. In her research, she explores how artists and artworks are constituted today in relation to the archive. Her initial practice unfolds as a series of conversations with dead and living artists. She assembles these conversations into a spatial and performative archive that explores the relationship between her own movement practice and canonised works of art. This archive is the space where the heterogeneous objects, relationships and practices intertwine around one of the many questions of authorship: how does an artist engage with the art of others? In its craftsmanship of reinterpretation and reproduction, her research awakens the ghosts of originality, ownership, status, and value. 


      Imprints is an installation-performance which gives access to references which populate my art practice. It comprises materials from my own archives and the archives of Nan Hoover (New York, 1931 – Berlin, 2008) and Lourdes de Castro (Funchal, 1930 – Funchal, 2022). Departing from the idea that performance practice is a process of re-appropriation of movement language of many others, this work is constructed as a transmission, reproduction and contamination of these influences. This collective archive of past and living artists is presented as a mobilised assemblage of texts, materials and body languages. The installation is built from documents which are digitally available to the public. Does this predispose them to transformation and alteration?

      We have today unprecedented access to information on and documentation of artworks, and yet many of them come to us, just as Walter Benjamin has described, as reproductions void of context. By decoupling my archive from a genealogical approach, I try to re-enter the ecology of practices, positions, materials and texts which bring my performance practice about. The work of copying and alteration frames the performance as a complex weaving of its influence. Foregrounding the ecology of the artworks’ gestation while it is being performed demystifies the ghosts of originality and authorship. Can we look at performance differently if we situated it in a world of altered copies?


      Chloë Janssens Janssens (BE)

      Chloë Janssens  combines cravings and knowledge from climate activism and graphic design in an artistic practice that investigates the soil as a site of place- and future making.

      To dig my hands deep into the earth and listen 

      “The sandy soils of my birthplace ‘de Kempen’, Belgium form the dry landscape of my research. I observe my ancestors preparing the earth for agriculture by obsessively moving cow-shit from the stalls to the fields. I can smell the cattle’s breath, the farmer’s spit, my grandmother's sweat and the excrements in the soil. After the famine we begin to enrich our lands with chemical fertilisers and radio-active uranium ore. When I stick my fingers in the earth here and tune in I can hear metals nagging, minerals singing, and bones twisting and turning in the underground. My imagination is haunted by this vibrating mass of elements holding stories from elsewhere. What to do with this pulsing scoop of dirt in my hand? I hold it with disgust, I peak into it, twirl my fingers around. I try stamping on it to free its story.”

      Chloe Janssens research proposes that a collective reading of this scoopful of earth becomes a basis for an urgent reflection on our entanglements with the places that we inhabit. She invites the audience as a co-researcher in need of a tool for reading the soil. Chloe Janssens offers literal and metaphorical sieves to better understand our positionality and implications in the soil’s condition. How do these polluted soils that we create and inhabit inform, shape and guide us?

      For this presentation Chloe (and her alter ego Chelsea) proposes to experiment with roleplay as a tool for collective decision making on geological disposal of highly radioactive waste. She will organise a fictional council and a series of tandem bike rides for the public of her presentation. Can roleplaying in a semi-fictional reality challenge our belief systems and create openings for epistemological contamination?

    • postgraduate program
    • Scoring intimacy with discursive others Block II 2022 (May - July)
      14 April 2022
      posted by: Lilia Mestre
    • a.pass
    • 02 May 2022
    • 31 July 2022
    • case of: Lilia Mestre
    • Scoring intimacy with discursive others


      The Block II 2022 proposes to exercise a personal, immediate and performative relation with discourse – through autotheory, speculative history, conversation and collectivity – embodied in a weekly Score. It feeds upon the tension between one’s practice and the other, often absent other who is yet unescapable like one’s ancestor, lover, kin or friend. In other words, we are interested in how discursive beings – those that we encounter only through language – can guide us through our practices?

      The Score, facilitated by Lilia Mestre, will be practised every Thursday at a.pass. There will be 9  sessions in total throughout the block and participants are recommended to engage for a minimum of 5 sessions. The Score practice is an intersubjective and collective setup that facilitates the dialogue between discourse and artistic practice by engaging in writing to each other and performing for the collective. It  addresses and knits relations between the  research of the participants and aims to experience and empower  what “difference without separability” might be.* To start up we will read and discuss the text by Denise Ferreira da Silva as a basis for studying how co-learning and collectivity relate to us and the world we are living in.

      In the beginning of the block Goda Palekaitė will propose a workshop on artistic research through intimate relations with historical characters. Roland Barthes described his associative dictionary of love and longing A Lover’s Discourse: Fragments (1978) as “the site of someone speaking within himself, amorously, confronting the other (the loved object), who does not speak.”** In the case of this workshop, the loved one who does not speak is a forgotten historical character, the inaccessible discursive other whose silence both challenges and excites. How can we accompany the displaced characters in their metaleptic movement – in their mesmerising exercise of shapeshifting from one reality to another (e.g., from historical absence and denial to presence and recognition)?***

      A two week residency (June 27 – July 10) will take place in ZSenne ArtLab, downtown Brussels. The focus of the residency is on autotheory and its relation to alternative writing and performative practices in artistic research. The program includes a workshop, a reading group, and a programme of performances; it is curated by Goda and Lilia. A two-day workshop will be offered by Maria Gil Ulldemolins who will facilitate a selected library of the ground theoretical materials and methodological tools to be explored during the two weeks. It will focus on highlighting how autotheoretical narrators weave an intellectual and intimate network of relations; and consequently it will make time to read, think, and share as a collective. We invited a.pass alumni who engage with autotheory in their practice to present their recent work in a series of performances and conversations open to the public: Chloe Chignell, Aubrey Birch, Eleanor Weber, Pia Louwerens, Marialena Marouda, Flávio Rodrigo and Philippine Hoegen.

      In response to the actual distressful situation of the war in Ukraine that hits after the pandemic and tops upon the a.pass loss of subsidies due to the practical implementation of right-wing politics in Belgium, we would like to open the ZSenne ArtLab for two days to voices that need to be heard. This is an open proposition to discuss with all a.pass participants.

      *On difference without separability by Denise Ferreira da Silva - In 32nd Bienal de São Paulo - Incerteza Viva. Catalogue. Edited by Jochen Volz and Júlia Rebouças. São Paulo: Fundação de São Paulo, pp 57-65, 2016.

      ** Roland Barthes, A Lover’s Discourse: Fragments (New York: Hill and Wang, 1978), 3.

      ***Metalepsis, in contemporary narratology refers to a phrase or a situation from a literary text, which is used in a new, logically distinct context from its original one; a transgression of the boundaries between narrative levels.

    • postgraduate program
    • workshop
    • CARE at a.pass A proposition of the Participants Assembly
      04 March 2022
      posted by: Lilia Mestre
    • 07 March 2022
    • 11 March 2022
    • CARE at a.pass

      CARE at a.pass

      A longing for togetherness is inherent to the a.pass community. To ensure this togetherness it is necessary to have different strenghtening intra-structures within the larger institutional structure. Especially in disruptive times as we are living in right now - on a micro and a macro scale - the participants of a.pass asked themselves how also they can contribute one of those intra-structures in which we can provide and reflect on care.

      CARE is an invitation to five days of five brunches and five talks. Together we want to find out what does care mean under the scope of a.pass as an institution focusing on artistic research. Where or what is care within and around artistic research? How is the act of caring resonating within participants' practices? What and who needs (more) care? Is care (somewhere) missing?

      Every day the table serves brunch, and different exchanges and aspects of care. We will collect and exchange individual, collective and institutional voices and expertise.

      Initiated by Márcio Kerber Canabarro in 2019, CARE took place twice in physical gatherings in Budapest, Hungary, and in Almada, Portugal. After the Pandemic started CARE transformed into an online gathering of contributions in form of a digital Zine with approximately 8 editions and contributions reflecting on the notion of care from all over the world. 

      As the Participant Assembly’s curatorial contribution to the 2022 I. block, CARE at a.pass experiments with another alternative format of organised gathering and provides a set of methods that form a lush base to research in togetherness. These operating methods mainly touch upon basic needs of time structure, food, space, and participation. Thus CARE shapes a space to digest and process the generated knowledge and the experience, a space to breath and rest, a space to hold together. 


      March, 7th-11th 2022

      5 days/ 5 brunches/ 5 aspects of care/ 5 discussions/ 5 gatherings


      Day 1 - 11am-3pm - opening to CARE + invitation

      Day 2 - 11am-3pm - individual care 

      • fixing things with Martin

      • fashion hypnosis with Federico

      Day 3 - 11am-3pm - collective care 

      • weaving storytelling by Sarah         

      Day 4 - 11am-3pm - the caring relationship between individual and institution 

      • day lead by Inga

      Day 5 - 5pm- 9pm - closing to CARE + soft party

      • choreography of imagining the future by Aleks

      • Open Salon hosted by Nathaniel


      Extra program: 

      • Every day at 7pm, - online audio reading of “Oneness vs.the 1%” by Vandana Shiva” ( link send on Monday)

      • Screening of Myriam Van Imschoot's & The Youyou Group's film 'Le Cadeau'


      CARE at a.pass holds contributions amongst others by Sarah Pletcher, Martin Sieweke, Inga Gerner Nielsens, Nathaniel Moore, Aleksandra Borys, Federico Protto.

      Sarah Pletcher is a performance-based artist that works with ceramics and fibres. She has a background in traditional and alternative weaving practices. For CARE Sarah will be preparing a loom and weaving in the space to open a conversation about care for skills of making, the people who taught us our craft, and the stories embedded and woven into the history of our and others' ways of making.

      Martin Sieweke works as a material researcher in Brussels.  

      Deconstructing and collaging given shapes and researching on the overall ambiguity of materials contexts and use relations has been a main focus ever since.

      The material’s basic features such as texture, weight or colour have a strong impact on his practice.

      He is working collectively on set and costume projects in the field of performance and dance.

      Inga Gerner Nielsens makes performance installations which often includes one-to-one interactions and speculative interviews as immersive dramaturgy. With her current project, The Mise-en-Scène of Care Work, she is researching the social skills required for these interactions by mirroring them with the work performed by nurses. 

      Her dialogues with performers and nurses had led her to recognise a need to care for the caregiver. How can we as an artistic community help care workers? How can we support each other in the kind of care we perform in our artistic work?

      In the post performance care circles artists, curators, and people working within the institution of a.pass will each be viewed as a caretaker (of objects, processes, collaborators, participants, space). The starting point for a circle will be an interview about how the period right after a production manifests in your life. Inspired by the Poliset we will then build a scenography around you  and offer a mode of interaction which might potentially accommodate, reduce or perhaps alter the intensity of your fall into the post-performance void.

      Aleksandra Borys

      Choreography for Dreaming the Future is an experimental series of audio recordings which invite the listener to dream and fantasies of the desired future. They offer guidance for imagination and for body activity. My dream was to imagine how a dance gathering can happen beyond shared space and time, connected by the intention.

      Federico Protto’s artistic practice unfolds along performance, music, costume and fashion, and artistic research. Spanning a hybrid network of collaborators and materialities, his projects question conventions in order to configure new forms of shared knowledge production and decolonized kinship.

      Fashion Hypnosis is a guided somatic and collective moment in which we expand but also intensify our bodies and our imagination around them to sharpen or smoothen our understanding of the world surrounding us. 

      Nathaniel Moore: 


      Open Salon is a performance format with the theme of uninhibited spectatorship. 3 performances are presented as pillars supporting the evening, around which happenings, expressions, and queer modes of connecting might occur. 

      In this salon I hope to trouble the ways in which we practise listening and attending performance. Consider it a gentle nudge out of one's comfortably distanced seat, and a raucous invitation to make a response in real time. A permission granted to open up the floodgates of an uninhibited spectatorship which reacts to what's happening in the space immediately, even, conversationally formulating additions, disruptions, contextualization, harmonies, utterances, angers, praises, perversities, angels, etc etc.

      You are invited to witness, be touched, and return the favour. 

      A mantra might be, “we do not yet know what this performance(moment) needs to be,” or is, and, we will find out together. This is desired as a brave space; a space where there are no mistakes. Where the information which emerges is valued regardless of the message it carries; valued simply because it offers the possibility to learn.

      Informing this evening is thought around care and provocation, listening and critique, love and healing.

      More information on CARE and the 2020 online zines can be found here:


    • postgraduate program
    • block 2022/I
    • BLOCK 2022 I 15 January 2022
      posted by: Lilia Mestre
    • a.pass
    • 06 January 2022
    • 30 April 2022
    • BLOCK 2022 I


      The first block of 2022 will focus on politics of space and on care practices. It is build around the framework of 'Poliset' facilitated by Vladimir Miller with focus on collective building processes within institutional environments to shift the relationship between practice, space and authorship towards commoning and self-organization. The framework of the Participants Assembly will bring curatorial input on CARE on the second part of the block.

      2022 I - BLOCK PLANNING + Opening week detailed program

      6 -14 January Opening Week (obligatory)

      Each Opening Week is the start of a 4 months block. It consists of the welcoming of new researchers; the presentation of the participants and their research, program, curators, dedicated mentors and a.pass team; and the re-setting of the collective working structure of a.pass for the next 4 months.

      The presentations on the Opening Week focus on [WHAT] are the research questions and their planning.

      → 6 January

      12:00- 17:00 Brunch + Welcome / a.pass introduction and round table / Spaces, codes, keys, badges  and digital tools

      → 7 January

      10:00 - 17:00 -  Block presentation (Poliset and CARE) / Speed dating around Research Community / preparation for participants presentations - explanation and planning

      → 10, 11, 12 January

      10:00 - 17:00 - participants presentations + mentors presentations

      13 January

      10:00 - 17:00 -  Lexicon + participants Assembly

      → 14 January

      10:00 - 17:00 - Code of Conduct, contracts and budgets

      24 January - 11 February a.pass Poliset 2022W4-6

      Study framework facilitated by Vladimir Miller

      27 -29 January End Presentations
      Ana Paula Camargo, Federico Protto, Nathaniel Moore and Túlio Rosa will finish the postgraduate program with End Presentations. 

      17 - 25 February Half Way Days (obligatory)

      Participants research presentations (HOW) focus on methodology.

      (Preparation days 17 and 18)

      7 - 11 March CARE practices

      Curatorial input proposed by the participants Assembly

      28 March - 3 April End Week (PAF) (obligatory)

      Participants research presentations (WHY) focus on content, context and criticality. This week we go to PAF - Performing Arts Forum in Reims, France


      People involved in block 2022 I


      Postgraduate Participants

      Aleksandra Boris, Carolina Mendonça, Amy Pickles, Chloë Janssens, Sarah Pletcher, Anna- Sophie Lugmeier, Asli Hatipoglu, Martina Petrovic, Martin Sieweke, Nada Gambier, Vera Sofia Mota

      Associate Researchers

      Gosie Vervlossem, Simon Asencio, Rares Craiut, João Fiadeiro, Vijai Patchineelam

      Dedicated mentors

      Every block has three dedicated mentors that support the participants research, the presentations and feedback moments. For block 2022 I the dedicated mentors are Anna Rispoli (artist, activist), Samah Hijawi (artist, researcher) and Jaime Llopis (dancer, choreographer)

      Study facilitator and guests

      The study facilitator for this block is Vladimir Miller (artist, researcher and a.pass research centre curator)>

      The Polist guest are: choreographers Christine de Smedt, Liza Baliasnaja and Theo Livesey, architect and CIVE publications responsible Tania Garduño Israde, artist Jozef Wouters and Decoratelier, activist David Vercauteren (tbc).

      Other guests will be hosted during Poliset in collaboration with all involved.
    • postgraduate program
    • bleed is inevitable
    • block 2021/III
    • 7 WALKS (resolution) Vermeir & Heiremans and Luke Mason
      26 September 2021
      posted by: Kristien Van den Brande
    • 16 September 2021
    • 17 September 2021
    • 7 WALKS (resolution)

      Ronny Heiremans and Katleen Vermeir take us for two walks in SPA in the context of their research ‘7 WALKS (resolution)’. The context of SPA offers the unique opportunity for a series of itinerant reflections on water and art. Drawing inspiration from the intangible legacy of historical walkers — kings and czars, political refugees, artists and philosophers — and, strongly anchored in a local context, Heiremans and Vermeir propose to explore a balance between private property of and access to resources that we hold in common as a society. Can SPA inspire to unbundle the proprietary rights that have been stacked around authorship and (land) ownership, i.e. two paramount features of Western subjectivity?



      7 WALKS (resolution) consists of a series of public walks in the therapeutical landscape around the city of SPA. Spa became renowned for its medicinal water as early as the 16th century. Its ferruginous springs not only attracted many visitors, it was also exported internationally. Gradually the city became the so-called 'Café de l'Europe'. Visited by kings and czars, political refugees, artists and philosophers, it was a peaceful haven where a wide range of philosophies, social questions and artistic visions could interact. The 'bobelins', as the locals used to call these international visitors, walked through the surrounding forests, along landscaped paths on their way to the springs. They came to see and be seen, for diplomacy or espionage, and even for the arts. The local painter Antoine Fontaine depicted these illustrious visitors in Le Livre d'Or (1894), a 9 metres wide group portrait spanning four centuries of visitors.

      7 WALKS (resolution) draws inspiration from the intangible legacy of historical walkers and, strongly anchored in a local context, invites its participants to explore a balance between private property of and access to resources that we hold in common as a society. Spa offers the project the unique opportunity for a series of itinerant reflections on water and art.

      7 WALKS (resolution) responds to current and recently intensified debates about the necessity and position of art in today's society. Like water, art can be considered a basic necessity of life, a proposal that many international resolutions have promoted. The project questions how basic human rights enter into dialogue with individual private property- and exclusive use rights. To discuss these questions Vermeir & Heiremans and Luke Mason will be joined by participants and guest walkers David Aubin, Steyn Bergs, Marie-Sophie de Clippele, Françoise Jurion, Ulrich Kriese, Anne Pirard, Scott Raby, Christoph Rausch, Marie-Christine Schils, Julie Van Elslande, Jens Van Lathem, Tobias Van Royen,...




      Walk#07_Promenade des Artistes, Pouhon Delcor to Promenade Cherville to Waux-Hall

      Thursday 16 September 2021, 2 to 6pm

      Dedicated to the many artists active in Spa in the 19th century the Promenade d'Artistes was inaugurated in 1849. The trail follows the valley of the Picherotte, a small stream that runs down from the wooded hills. At the beginning of the trail we come across one of the many capture points of Spa Monopole, the enterprise that has been bottling and exporting the communal mineral water sources since 1921. A discussion on common property and use rights of the waters extends to one on immaterial goods and services, like the arts.


      Walk#08_To Promenade Deschanel and Frahinfaz, further to Balmoral, back via Promenade Arago.

      Friday 17 September 2021, 11 to 5pm

      Mid 19th century Belgium was hospitable to many French political refugees. Among them we find Emile Deschanel, Etienne Arago, P.J.Proudhon, Victor Hugo, Jules Hetzel, Henri Rochefort, Edgar Quinet and others. They found a friend in journalist Felix Delhasse who hosted many of them in Spa. Delhasse was part of the secret society La Charbonnerie and was a disciple of its founder Filippo Buonarotti. Buonorotti’s text ‘The History of the Conspiracy of Equals’ related the failed coup of Grachus Babeuf in 1796. Babeuf rejected the notion that equality before the law itself was sufficient to define societal equality, and thus placed a strong emphasis on the abolition of private property and on equal access to food. Walking the Promenades dedicated to Arago, Deschanel and Hetzel, we end our walk in Rue Delhasse.


      More about the other walks.



      The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between art, economy and the built environment in today’s highly globalized world. The artists define their own house as an artwork. The 'house as artwork' functions as a framing device that allows the artists to zoom in on the role the arts play within the ever-growing entanglement between finance, urban development and governing. Their practice employs financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today’s artistic and non-artistic realms.


    • During Bleed is inevitable, Agency invokes Thing 000923 (Bleed is Inevitable)), a copyright controversy related to a pedagogical program in prison and the oscar nominated documentary Scared Straight!. During the court case, the judge had to decide if the pedagogical program was a dramatization of prison life and whether it could qualify for the protection of copyright as a work of performance art. At a.pass we will revisit the moment of hesitation during the court case and dwell on the problem discussed in the case as a way to fabulate different outcomes. What happens if 'facts' become included in a reciprocal way within artistic practices? 

      7pm @ a.pass!



      Agency is the name of an initiative that was founded within art practices in 1992 and is based in Brussels. Agency makes varying "assemblies". Agency’s assemblies look at the operative consequences of the apparatus of (intellectual) property for an ecology of diverse art practices. The aim is to take care of practices and their singular modes of existence. Each assembly calls forth one or a series of "boundary things" from its cooperative List of Boundary Things. The assemblies speculate around possible inclusions of what has been put in the background by of the enclosures of the commons.

      For Assembly (Bleed is Inevitable) Agency proposes to speculate around the question: “What if 'facts' become included in a reciprocal way within artistic practices?” For this occasion Agency will invoke one controversy Thing 000923 (Bleed is Inevitable). It concerns a conflict in the U.S. between on the one hand Rick Rowe, a prisoner at Rahway State Prison in New Jersey and organizer of The Juvenile Awareness Program and the film maker Arnold Schapiro about the Oscar nominated documentary Scared Straight!. Rowe brought suit against Schapiro claiming copyright infringement of his pedagogical program within his documentary. During the case, Rowe v. Schapiro the court had to decide if the pedagogical program was a dramatization of prison life and could qualify for the protection of copyright as a work of performance art.

      Thing 000923 (Bleed is Inevitable) convenes an assembly at a-pass. This assembly will exist of three parts. First, we will introduce the conflict of this controversy and take a look at fragments of the documentary which was part of this controversy. Second we will read collectively through certain fragments of the U.S. court case report by the judge. And third we will discuss together with invited concerned guests about possible other speculative outcomes. The purpose of this assembly is to revisit the moment of hesitation during the court case and to dwell on the problem discussed in the case as a way to fabulate.


      Sari Depreeuw (intellectual property and media law at Université Saint Louis)

      Sebastien Hendickxs (dramaturg)

      Luk Vervaet (pedagogue in prisons)

      Dries Martin (television director at 100.000Volts)


      More about Agency.

    • postgraduate program
    • bleed is inevitable
    • block 2021/III
    • Role Play Intensive
    • LARP "Identities" by Amélie Orsel
      26 September 2021
      posted by: Kristien Van den Brande
    • 27 September 2021
    • 28 September 2021
    • LARP

      Identities is a science-fiction LARP in which aliens of humanoid appearance from various planets are gathered for a very special experiment.

      If you could become the person you dreamt to be, or at least someone who would function in harmony with the world around you instead of bumping into it, would you be tempted?

      Whether it's a dream or a necessity for you, the people of Cori, a type IV planet in the Omega 9 galaxy, can help you. Indeed, the Coriphes have psychic powers that allow them to durably modify one’s spirit and personality.



      Identities is a science-fiction LARP in which aliens of humanoid appearance from various planets are gathered for a very special experiment. It is in this context that characters will integrate a session of the mysterious and expensive Cure. How does this Cure work? The characters know almost nothing. They arrived in the center the previous evening and briefly introduced themselves before getting some rest. The LARP itself begins in the morning, during the first activity related to the Cure. These activities will be repeated in a rather monotonous way, the goal being to transform the personalities of the characters in small increments, gradually modifying their reactions to a limited number of exercises. Alien artifacts will also be used. During the individual final scenes, each character will play the conclusion of their own story, happening elsewhere and in a near future.

      Repetitive activities do not mean you'll be bored. This LARP offers strong roles, emotions and questionings. One does not intend to give up a part of their personality without reason.

      Friendship, fidelity, idealism, love, duty, revenge, despair .... What is the price of your identity? Is it ethical to sacrifice who you are if you do it by your own free will? Is it better to be modified with insidious softness or pain, whether physical or psychological? Since we are asking some questions, how do you define identity? Would a personality remodeled according to your wishes make you less real, less free?

      More about the LARP.



      Amélie, aka Saki Jones, great consumer of narrations of all kinds, and a weakness for science fiction and strictly no scientific training. What interests her in the future is the freedom to reinvent social frameworks, thus raising new questions, or very old ones that can be considered in a new light. She wrote, co-wrote and organized a dozen LARP of various formats, ranging from the multi-month campaign (Bloody Old Town) to very short formats (Oracle, Aymard's Shortbread ...). Her obsessions: creating group dynamics and keep LARPing accessible, while sipping a good chamomile with a pressed lemon juice.

    • This day is organised around a para-legal document, 'Collective Conditions for Re-Use' (cc4r). Cc4r is an authorship license in-the-making, a reluctant contract that tries to make space for collective care around authorial practice.


      Intellectual property law binds authors and their hybrid contemporary practices to a framework of assumed ownership, authenticity and individualism. It conceives creations by default as original works, negating the inevitable bleed of cultural production. Within that legal and ideological framework, Copyleft, Open Content Licenses or Free Culture Licensing introduced a different view of authorship, opening up the possibility for re-imagining authorship as a collective, trans*feminist, webbed practice. But over time, some of the initial spark and potentiality of Free Culture licensing has been normalized and its problems and omissions became increasingly apparent.

      How to create conditions for creative practices to flourish beyond individual control? How could attribution be a form of situated genealogy, rather than accounting for heritage through listing names of contributing individuals? In what way can we limit predatory practices without blocking the generative potential of Free Culture? What would a decolonial and trans*feminist license look like, and in what way could we propose entangled notions of authorship? Or perhaps we should think of very different strategies?

      CC4r is an attempt to articulate conditions for re-using authored materials. It is inspired by the principles of Free Culture but tries to respond to a growing discomfort with licenses that remain bound to the idea of authorship as ownership and stay with an universalist approach to openness. The CC4r considers authorship instead to be already part of a collective cultural effort and wants to remind current and future authors of the social and historical conditions that may be reasons for refraining from release and re-use of a work.

      Femke Snelting develops projects at the intersection of design, feminisms, and free software in various constellations. With Seda Guerses, Miriyam Aouragh, and Helen Pritchard, she runs the emerging Institute for Technology in the Public Interest. With the Underground Division (Helen Pritchard and Jara Rocha) she studies the computational imaginations of rock formations and with Jara Rocha, Femke activates the collective research project Possible Bodies. Between 2003 and 2021, she was co-responsible for the artistic program of Constant, association for art and media based in Brussels. Femke supports artistic research at PhdArts (Leiden), MERIAN (Maastricht) and at a.pass (Brussels). She teaches at XPUB (Master programme for experimental publishing, Rotterdam).

    • postgraduate program
    • bleed is inevitable
    • block 2021/III
    • Role Play Intensive
    • bleed is inevitable curatorial assemblage facilitated by Kristien Van den Brande
      20 September 2021
      posted by: Sina Seifee
    • 06 September 2021
    • 30 November 2021
    • bleed is inevitable

      The block “Bleed is inevitable” starts from the premise that we are inhabited by several voices - be them spiritual, psychological, political, juridical, institutional, identitarian, non-human, culture-historical, assigned or acquired, short or long term,… - and that we are subject to environments that bring these voices into dialogue or conflict, or muffle them. During the block, the a.pass researchers are invited to think their interactions from the perspective of role play, and to create artificial environments in which to experiment with and dis-equilibrate an individual or collective constitution of voices. It is a guided exercise in letting go of what one knows or thinks to know and a prodding for delineated and contrived spaces to speculate on different modes of being together in the world.

      History will always be in the room though. In LARP (Live Action Role Play)-vocabulary ‘bleed’ refers to the experience of transferral between real-life and game-world. In-game experience inevitably spills back into life, and vice versa, one’s game character and world is inevitably inspired by real-life experiences and self-perception. LARPers have developed techniques to halt or hold this zone of oscillation, between what is and what could be. While closure of play might be a necessary tool to keep up with ‘real-life’, we could also question the ‘right to a proper end’ as particular to Western storytelling tradition, with consequences for what we think a proper life or story is. ’Bleed is inevitable’ invites the a.pass participants to question and reinvent assigned roles, investigate the ideological space of ‘bleed’, as well as experiment with techniques of game-design within artistic research.

      “Bleed is inevitable” is an assemblage of different curatorial proposals that have been in conversation for a longer period of time. Not seamless, but definitely more than tangentially connected, therefore with the ongoing challenge to superimpose and retrace how they spill into each other.



      First, Ronny Heiremans and Katleen Vermeir take us for two walks in SPA in the context of their research ‘7 WALKS (resolution)’. The context of SPA offers the unique opportunity for a series of itinerant reflections on water and art. Drawing inspiration from the intangible legacy of historical walkers — kings and czars, political refugees, artists and philosophers — and, strongly anchored in a local context, Heiremans and Vermeir propose us to explore a balance between private property of and access to resources that we hold in common as a society. Can SPA inspire to unbundle the proprietary rights that have been stacked around authorship and (land) ownership, i.e. two paramount features of Western subjectivity?

      Guests: David Aubin, Scott Raby, Steyn Bergs, Jens Van Lathem, Tobias Van Royen.

      September 16-17



      Second, block curator Kristien Van den Brande organizes a two week Role Play Intensive. The Intensive combines immersive experiences, showcases, reading, film, discussion with invited guests, and this input is alternated with open slots where we translate and experiment for ourselves what role-play can bring to our work. Discussions around consent, boundaries, co-authorship and a willingness to suspend the self into play will be key. We will take role-play as a space for investigation, confrontation and speculation rather than escapism. What conversational, contractual and/or architectural techniques have LARPers, BDSMer or therapists developed to mark the transition between real-time&space and play-time&space? What are ethical limits of engaging in role-play, regarding the politics of appropriation and trauma? What are the conditions for role-play to offer a safe/brave space to practice critical empathy (Ed Fornieles), un-recognizing (Elvia Wilk), disidentification (Jose Esteban Muñoz), or for suspending the cops in the head (Augusto Boal)?

      Guests: Amélie Orsel with the LARP Identities; Olivier Stein with an introduction to different Role-Play cultures and techniques; Carolien Stikker with a demonstration of Voice Dialogue Therapy; Femke Snelting with an attempt at a new authorship license; Sarah Vanhee’s film The Making of Justice; Wouter De Raeve and Lietje Bauwens with the film WTC A Love Story; Kobe Matthys / Agency with an assembly about a copyright controversy around reality-tv.

      September 27 - October 8



      Third, a.pass participants Chloë Janssens, Amy Pickles and Túlio Rosa are organizing a temporary context for collective study: ‘On Coloniality: a public gathering’. Through different artistic and theoretical speculations they invite us to study coloniality and its manifold dimensions. The term ‘coloniality' differentiates colonialism, as a historical process, from its legacies. It refers to the modes of organisation of power in colonized territories, and how this extends out into supposedly post-colonial states. How is the colonial rationale at the basis of current modes of social and political organisation? How have these supposed histories collapsed into, resonate with, and form our present? Departing from critical reflection on the countries where they were born — Belgium, Brazil, UK — they invite us to draw connections between different times and locations by closely following methods of appropriation and extraction of land, resources, labour and data. Through different artistic practices we will draw parallels, observe symmetries and find correlations across colonialism as it exists across all aspects of our lives; institutionally, economically, in corporations, governance, everyday structures of living and our bodies. 'On Coloniality: a public gathering' will be hosted inside and outside of a.pass, a porous programme open to the public. There will be an exhibition that hosts artist work, reading and listening sessions, screenings, public conversations and discussions.

      Guests are announced shortly.

      November 10-13

    • postgraduate program
    • Not in the Mood
    • A talk with Gary Farrelly 14 June 2021
      posted by: Sina Seifee
    • Sina Seifee
    • Gary Farrelly
    • interview
    • case of: Sina Seifee
    • [embed][/embed]

      This video is part of a series of conversations by Sina Seifee with the current artists in a.pass postgraduate program Summer of 2021. The series takes a tangential and heuristic approach to getting to know the participants of the program. The interviews are mutilated as a substitute for questioning, getting, guessing, and imagining what we are doing and in which mood.

    • end presentation
    • postgraduate program
    • Dragon Love (?) a.pass End Presentations
      19 May 2021
      posted by: Lilia Mestre
    • De Markten
    • 11 June 2021
    • 12 June 2021
    • yes
    • Dragon Love (?)

      June 11th 16-18h and June 12th 19-22h at De Markten


      Dragon Love (?) gathers the research outcomes of Andrea Zavala Folache, performer, choreographer, visual artist and Federico Vladimir Strate Pezdirc, performer, choreographer and film maker. After attending to the one year postgraduate program at a.pass.

      Both artists address and investigate construction paradigms of the self. Their work studies auto-fiction in different ways, with the desire to develop tools to resist predefined categorisations of identity that bind us to expect certain formats of art production and ways of living.

      They invite the audience, the reader or the performer to welcome the alterity we have in us, in order to revisit the fundamental archetypes of love, games, work models and cultural inheritance. They create interstices that can open up to another view of the self and social configurations.

      In both cases, autobiography is used as a ground from which to start playing. As the material that one has at hand to transform, craft, dissolve, rebuild, paint, glitch, narrate personal histories and identity building.

      What happens if the line between the self and other dissolves? Or between art and love?

      Federico Vladimir Strate Pezdirc created Draconis Lacrimae, an instruction handbook that invites the reader to play a Role Playing Game that is set in the guts of The Dragon where the adventurers meet after being swallowed/eaten/devoured/tele-transported/etc. by their own dragons. The players find themselves in a world they want to escape from, whatever escape might mean. This game is an invitation for the readers to play themselves otherwise and encounter otherness as an accomplice without a game master.

      Lilith, Losing, Lavender: A love letter to love is a collection of texts written throughout the research trajectory of Andrea Zavala Folache. With different narrative styles as diary, love letters, score instructions, this collection imbricates ideas of love, art and life as an essay about conditions of attachment.
      In the interstice of several practices as dance, writing and drawing and different spaces as the dance studio, the atelier, the classroom, the theatre and the white cube, Andrea’s research focuses on non chronological dramaturgies for the emergence of surprise or unexpectedness.

      Both publications encompass the research trajectory of the artists. Due to Covid 19, writing become a research tool for sharing and engaging from isolated environments with the collective. They are accompanied by research portfolios that inform about their methodologies, work companions and ways of thinking art production and research. These portfolios can be consulted at the a.pass website. from the 2nd of June.

      For the End Presentations, a.pass invites two Visitors for a feedback conversation with the participants. The visitors of *Dragon Love* are writer, editor, and dramaturge Caroline Godart, performance curator Agnes Quackles.

      This public event is co-curated by the participants with the support of a.pass.


Andrea Zavala Folache

      Andrea entered the program researching on choreographic methodologies, symptoms and resources emerging at the interstice between performance and personal relationships; with an urge to merge alternative modes of producing work with healing techniques.Taking a series of one-to-one appointments about love with different local communities as a starting point, Andrea explores the format of the performance portrait in which the role of performer/lover and audience/lover are ambiguous. For the a.pass End Presentation Andrea is presenting Lilith, Losing, Lavender: A love letter to love, a book publication based on stretching the subjectivities in love from the formulation I love You, as a way of seeing what is under the gaze of western romantic ideas and heteropatriarchal structures that may reveal problems in language about love.


      Given birth in Madrid, Spain. Gave away my adult life studying bachelors. Fine Arts in Complutense University of Madrid, Film and Digital Production in AI Miami University of Art and Design, Mixed Media department at AKI School of Art and Design Enschede, Cultural Anthropology at UNED Madrid, School for New Dance Development Amsterdam, Ma Multimedia Xiamen Art School China and now a.pass (advanced performance and scenography research) in Brussels. Recently, sharpening the artistic focus in a research about Love, from the image of I Love You, in order to place community and collaboration as the practice of studying together. From the formulation of love I am looking for tools to un-pack the transferring of experiences and expressions that have to do with modes of seeing, exchanging energy and resources in the production of cultural objects. The work space of live arts, visual arts and teaching has been a great place to test this and wonder, are there tools that love and work can learn from each other and, can we listen to the process of making relationships from those tools?. Since 2016 giving workshops on Concept development, Choreography, Improvisation and Experiments with SNDO, SIS (Sandberg Institute), ISAC Brussels, MovLab Madrid students; recently working in the medium of choreography solo and in collaborations with Adriano Wilfert Jensen, Simon Asencio, Paula Almirón, Jija Sohn, Laura Ramírez, Lucy Wilke, Oneka Von Schrader, Sabine Cmelniski and Julia Reist, with the support of Dansbrabant, BUDA, Vooruit, :ARP, La Casa Encendida, Ca2m, Projection Room, Blue Project Foundation, Brakke Grond, Jacuzzi Amsterdam and a.pass.

      Thanks to: Adriano Wilfert Jensen, Kristien Van den Brande, Lilia Mestre, Julia Reist, Andrea Rodrigo, Sabine Cmelniski, Laura Ramírez, a.pass.

      Mentors: Persis Bekkering, Stefan Govaart, Kristien Van den Brande, Vladimir Miller, Sara Manente, Myriam Van Imschoot, Julien Bruneau, Mijke van den Drift, Maciej Sado, Tom Engels and Krõõt Juurak.


      Federico Vladimir Strate Pezdirc

      Federico entered the program researching on fantasy tabletop role-playing games as tools for creating collective stories and figures. Taking the detailed rules systems from these games as a starting point, he has been exploring how to saturate identity with categories and speculation. Tabletop role-playing games function as textual and pre-digital tools of identity exploration and world-building, as they invite participants to occupy a liminal role located at the boundaries of player, character and performer. For the a.pass End Presentation Federico is presenting Draconis Lacrimae: The Player's Handbook, a publication that contains the rules and instructions of a fantasy role-playing game that he developed alongside Pablo.


Federico Vladimir Strate Pezdirc is an Argentinian/Spanish filmmaker and performance artist. He holds a degree in Audiovisual Communication from the Universidad Complutense de Madrid and an MA in Visual Communication from the Royal College of Arts in London. Since 2014 he works with his partner, musician and choreographer Pablo Esbert Lilienfeld. Their work uses speculative fiction within dance, performance, film and installation to interrupt normative narratives that have been naturalized by historical discourses. Federico and Pablo are currently working on the Dragon Pieces, a series of works that fluctuate between monstrosity and transindividual fantasy. Through practices as diverse as artistic swimming or role-playing games the Dragon Pieces aim to find playful representations of collectivity that question hegemonic ways of belonging and narrating ourselves. Federico has received the Gas Natural Fenosa Art Grant, the first prize at Auditorio de Galicia Young Artists Award and Creación INJUVE. His work has been shown in museums and festivals such as Cinéma du Réel (France); Santarcangelo Festival (Italy); Festival Salmon (Spain); Kasseler Dokfest (Germany); Queer Lisboa (Portugal); NAVE (Chile); MARCO Vigo (Spain), Kunstraum (London), La Casa Encendida; CA2M (Spain) or Zeimiai Manor House (Lithuania). 

      Thanks to: Pablo Esbert Lilienfeld; Camilo Mejía; Joshua Serafin; Anaël Snoek; Julia Rubies; Nathaniel Moore.

      Mentors: Vladimir Miller; Kristien Van den Brande; Krõõt Juurak; Elke Van Campenhout; Myriam Van Imschoot; Tom Engels; Sara Manente; Sabina Urraca; Olivier Stein; Pedro Pina.


    • postgraduate program
    • seminar
    • Cracks and Containers Gathering on coloniality
      11 May 2021
      posted by: Lilia Mestre
    • Amy Pickles, Chloé Janssens, Túlio Rosa
    • a.pass
    • 15 May 2021
    • 15 May 2021
    • yes
    • Cracks and Containers
      Cracks and Containers is a small gathering organised by Amy Pickles, Chloe Janssens and Túlio Rosa, it will take place on the 15th of May at a.pass from 12h to 18:30h. More than a place for presentations, it is thought about as a space to engage in dialogues and conversations, to allow thoughts and questions to emerge, to cross, combine, to be put in tension or to be desintegrated for a little while.

      Cracks and Containers proposes to address questions around the notion of coloniality in relation to artistic practices, trying to understand what it might mean, what are the processes it includes, what images it produces or evokes, what dynamics it sustains. The desire being to understand how artistic practices, looking both to the past and to the future, can help us to navigate the present; how can we acknowledge our present with the urgency and criticality it demands. They want to do this together, by being inspired, challenged, contradicted, embraced, transformed.

      Cracks and Containers hosts: Quinsy Gario, Saddie Choua, Sami Hammana, Sophie Deckers and Kristien Van den Brande , Amy Pickles, Choe Janssens and Túlio Rosa.


      The word container came from a lunch box, during one of their first meetings to organise this working group. In the middle of jokes, they realised that containers – as artificially made objects that 'hold' things for a while or give support to something that moves from one moment to another – were an interesting image to the kind of intentions they had: to create temporary situations that allowed us to hold questions that trouble us. The containers imagined are ephemeral, precarious, but have the possibility to host a kind of collective inside – collective ideas, collective practices, collective conversations, collective bodies – a collective such as the one we propose to congure with you, during our day-long gathering at a.pass.

      A crack in your container is not usually advisable, but we are seeking them nonetheless. A crack can provide an unusual path in and out, cracks can also offer a view to somewhere else, they remind us of the possibility of connection with something that lies outside the 'here', something that might be on the otherside, being otherwise.

      Together, cracks and containers hold, and release, a small constellation of ideas. They can sustain and support the movement of something from one place to another, they can allow for unexpected formations, shifts and slippage.

    • postgraduate program
    • reading session
    • workshop
    • associate researchers Cycle 1
    • Not in the Mood
    • Not in the Mood Isabel Burr Raty, Adrijana Gvozdenović, Antye Guenther, Sara Manente, Rob Ritzen, Sina Seifee
      05 April 2021
      posted by: Sina Seifee
    • 03 May 2021
    • 31 July 2021
    • yes
    • case of: Sina Seifee
    • Not in the Mood

      a.pass Block 2021 II curated by Isabel Burr Raty, Adrijana Gvozdenović, Antye Guenther, Sara Manente, Rob Ritzen, Sina Seifee -

      participants: Inga Nielsen, Anantha Krishnan, Jimena Perez Salerno, Carolina Mendonça Ferreira, Gary Farrelly, Aleksandra Borys, Amy Pickles, Chloe Janssens, Ana Paula Camargo, and Vera Sofia Mota.

      Having completed a cycle of a.pass Research Center in 2019, the six of us proposed to co-curate the block of 2021/II as a group. We aim to collectively curate an a.pass block where we redistribute and redefine the roles of curator, mentor, guest and workshop facilitator. This implies putting our knowledges, our differences and kinships into (re)productive promiscuous interactions. Each of us thinks of a.pass as an ecology of sensitivities, sentiments, rhythms and styles of knowing, but also as apparatuses, technologies and infrastructures. We do a block curation that pays specific attention to the affective and emotional dimensions of research and knowledge production, which we call here “mood”. Not only do humans have their moods and mood swings, but more-than-human, eco-synth-tech systems, and also climates and markets have it, too. By thinking and proposing practices with and about mood, we are navigating with and within affective interactions, imperfections, subjectivities and sensations of making oneself orient in the research environment and the world.


      Block Scenario

      The block unfolds from the 3rd of May to the 31st of July 2021. 

      The fourth floor of a.pass will host two installations, Unrest and The Depository Cat, inhabiting the common space, before the block starts. 

      Unrest, an artwork by Sofia Caesar, is a kinetic space that can move and stretch with our interactions, triggered by the workshops and reading sessions throughout the block. The Depository Cat, by Isabel Burr Raty, is a tentacular inflatable that proposes an ongoing practice based on research-treatments sharing, oriented to harvest living testimonies of the block’s processes and moods.

      During the Opening Week, Sara Manente leads the first collective practice called the Washing Machine. It is a fast-paced associative game and a way to use the filter of mood to look into our research. 

      In the first part of the block, Antye Guenther facilitates a hybrid workshop practice, titled Oh So Serious, around moodiness for de-professionalization.

      Throughout the block, Sina Seifee takes the role of PR by interviewing the participants and publishing regularly online.

      Multiple reading sessions will be conducted on Thursdays during the block.

      In the first part of the block, we will read selected essays associated with or drawn from Affect Theory, namely Lauren Berlant, Sara Ahmed, and Silvia Federici, under the working title Nail Art Affects Reading Sessions, facilitated by Sara Manente and Adrijana Gvozdenović.

      In the second part of the block, Thursdays are reserved for The Labour of Laziness reading sessions, proposed by Rob Ritzen.




      During the Opening Week, Sara Manente leads the first collective practice called the Washing Machine. It is a fast-paced associative game and a way to use the filter of mood to look into our research. Every participant is asked to prepare in advance 10 heterogeneous items from their practice under the filter of “obsessions”: bring something that you cannot stop thinking about, or that keeps coming back to you. It can be an unreasonable idea or feeling, a fragment of your own or somebody else’s work. Items can be of any format: a quote, a research question, a scrapbook, a dance move, a thought, a video extract, an object, a dream, or a short practice.





      THE DEPOSITORY CAT - Isabel Burr Raty
      activated by a workshop at the beginning of the block on Wednesday 12th of May

      The Depository Cat is an ongoing practice throughout the block, which proposes the installation of an interactive space that invites participants to share their research in the form of self treatment/s or treatment/s for others. The idea is to open the possibility for the treatment’s giver/s and/or receiver/s to remain in a constant state of alteration, envisioning flux as one of the foundational resources in the processes of artistic research.

      The “treatment” implies the sharing or design of “healing” tools that give the opportunity to translate personal artistic concepts into physical or imaginary forms. These are put into motion by being with the - self - or with the - other/Cat, to trigger inner and outer mutations that can particularize, de-particularize or meta-morph affects underlying in the creative process of research. 

      The Cat takes the form of a “first aid cavity” that creates a visual space composed of i.e: non-standard animisms technologies, syncretic beliefs and statements, that can be freely inhabited. This cavity is at the same time a tentacular organism, as its limits can be stretched throughout the block, populating the common a.pass room. Participants are invited to deposit the or various “remainants” of the treatment/s offered in order to imprint the memory of the “healing” that took place. The remainants can be ornamental, devotional, cathartic - human and more than human objects and/or non-objects - that can infect, disinfect, contaminate, or not the common a.pass space. The depository process is archived with photographs and shared in the form of an album at the end of the Block.


      PR - Sina Seifee
      ongoing interviews, public relation

      Sina will make interviews with the participants throughout the whole block one by one on a weekly basis. The interviews are immediately edited into a short videographic piece with a collage style and animated elements from the imagination, the project, or the environment where the talk takes place. The pieces are published every week on multiple social platforms. The main host for the talks will be a subdomain of the a.pass website, which will be designed as a “collector” of the interviews for future access. The interviews in the format of video will be posted and prompted on both a.pass and non-a.pass platforms, where a wider audience has immediate exposure to it as it gets produced during the block.

      The interviews are informal and playful, with a heuristic approach to getting to know the participants' work and their personalities. The interview will be a substitute for mentoring (around), questioning (at), guessing (what), inventing (off), entangling (with) and imagining (on) what they are doing, what they are up to, and which mood they are in. The aim is less about understanding, and more about engaging and guessing fabulously what their matters of care are, with a perspectival (i.e. a reaction that is particular to me) and speculative (the “what if”) force that I embody in my own practice. The talks might take a maximum of two hours of recording and the final edited piece will not be more than 30 minutes long. The publication of the content will be based on the agreement with the participants, how and to which extent each likes to be exposed on social media. The interviews might take place in a.pass or elsewhere.





      NAIL ART AFFECTS READING SESSIONS - Sara Manente and Adrijana Gvozdenović
      Thursdays, the first half of the block, before the HWD
      13th, 20th, 27th May

      We propose a formalized but relaxed situation, a hybrid form between mentoring and a reading group. We will do each other's nails while reading essays on affect theory. 

      “In ancient Egypt and Rome, military commanders also painted their nails to match their lips before they went off to battle.” Similarly, we will take care of each other, talk about what makes us happy and why do we feel like we feel (Sara Ahmed) to prepare for the “age of anxiety” (Lauren Berlant), to learn how we can repair (Eve Sedgwick) and to “re-enchant the world” (Silvia Federici).

      Doing manicure is a self-care or a professional service that can be considered a beautification process: removing the dead cuticles, massaging and moisturizing the skin, filing, polishing and decorating the nails. It is an intimate, private process and a ritual of preparation that serves the appearance in public. Could this be also a definition of what mentoring is? Can this situation create a space where different reading and discussing of the text can happen? 


      OH SO SERIOUS - Antye Guenther
      two days practice, 31st May and 1st June

      Antye is proposing a hybrid workshop practice around seriousness - approached as a state of non-moodiness - as questionable traits of professionalism in the arts. The aim is to propose and test, in conjunction with the participants, various strategies to insert moodiness,  non-seriousness and silliness (back) into artistic (research) practices as a way to de-professionalize. Where are our desires to be serious/ to be taken seriously in professional artistic contexts coming from? In what ways is this an attempt to champion objectivity and rational thinking in strong opposition to affects, moods and feelings, referring hereby as well to suspicious, idealized concepts of scientific practices in the 19th century? And what kind of strategies could help us to evoke processes of the-seriousness-ization for de-professionalization?

      This two-day practice will consist of a (performative) input lecture to shed light on the complex intertwinement of academisation and professionalization in the Arts, which seem to have been fundamentally boosted by neoliberal demands of constant self-advertising and promoting. This lecture will try to trace back specific tropes of professionalism to the 19th century ideal of the scientist as an ‘objective’ data recording device. After this lecture a short reading session will be proposed, to start and stir a conversation around (problematic) seriousness and professional attitudes. This will be followed by the invitation to the participants to share and to reflect on their own seriousness in their practices, what seriousness might mean for them as artists/practitioners in the arts. At the end of the first day, the participants will be asked to think of strategies to oppose rational-objective thinking and to practice hyper-seriousness or non-seriousness as a way to ‘de-professionalize’, which we want to share and test out together the next day.

      In preparation, Antye will collaborate with Sara and Isabel to invent and test specific ‘body practice’ to be added to the toolbox of de-professionalization on the 2nd day.


      THE LABOUR OF LAZINESS - Rob & Steyn Bergs
      reading sessions, Thursdays, the second half of the block, after the HWD and one moment in PAF
      24th June, 8th and 15th July

      The Labour of Laziness is dedicated to exploring the ambiguous, complex, and contradictory valences of laziness, and to examine its potentially subversive or invigorating political effects.

      In neoliberalism, tirelessly working on and investing in the self becomes an exigency. Because of their relative economic precarity, but also because of the nature of their work, artists and art workers often find themselves at the forefront (or rather, at one forefront) of exploitation and, perhaps especially, self-exploitation. We are less interested in laziness as a mode of resistance to this neoliberal regime than we are in laziness as a lateral form of political agency. In other words, we are not necessarily after laziness as a straightforward opposition to work—as passivity, as a simple refusal of work, as ‘doing nothing.’

      Instead, in discussing laziness, we want to raise questions about work and productivity in the arts. We will do so through collective reading sessions, taking place in an installation by Sofia Caesar.

      Furthermore, for the duration of the block, participants will be invited to keep a ‘lazy journal’ as a means of reflecting on their own relation to work and (self-)discipline, as well as on their understanding of productivity and how it informs their practice. These journals will be used as a common ground for a final group discussion/workshop. Importantly, the journals need not take the written form; other formats—video, drawing, or other media—can of course also be explored.




      Inga Nielsen, Anantha Krishnan, Jimena Perez Salerno, Carolina Mendonça Ferreira, Gary Farrelly, Aleksandra Borys, Amy Pickles, Chloe Janssens, Ana Paula Camargo, and Vera Sofia Mota.



      Isabel Burr Raty, Adrijana Gvozdenović, Antye Guenther, Sara Manente, Rob Ritzen, and Sina Seifee


      Isabel Burr Raty is an artist, filmmaker, teacher and sexual Kung Fu coach exploring the interstices between the biotic and the virtual. She is currently researching on the human body as a territory for sustainable agri-culture and intertwining performance, installation and film to queer labor understandings, offer SF in real-time and play with geo-synthetic magic.

      Adrijana Gvozdenović is an artist interested in artists’ motivation and ways of resisting (self)institutionalized structures. In the last three years, she has been developing methods of collecting and annotating symptomatic artistic practices that recognize their anxiety as a prerequisite state for criticality, which led to developing formats of publicness that push the borders between research, mediation, and production. These will be tested as needed during the block.

      Antye Guenther is a visual artist, born and raised in East Germany. Drawing from her backgrounds in medicine, photography, and in the military, her art practices orbit around themes like ((non)biological intelligence and supercomputing, computer-brain-analogies and mind control, think tank ideologies and self-optimization, neuroimagery and fictionality of science, body perception in techno-capitalist societies and science fiction. Her work comes then in hybrid forms: performances, performative ceramic objects, fictionalized video tutorials, photo-text works, speculative scripts, artist publications, and narrative installations in various collaborations.

      Choreographer, dancer and researcher based in Brussels, Sara Manente, is interested in the dynamic relation between performer, work and spectator. Her projects are developed throughout hybrid research and become public in different formats. Currently, she works with aesthetics and ethics at the intersection between live arts and live cultures: namely, fermentation technology, noise, chimerization and (auto)immunity.

      Rob Ritzen is co-initiator of THAT MIGHT BE RIGHT, a founding member of LEVEL FIVE and coordinator of PERMANENT. My curatorial practice is focused on self-organized and collaborative formats in close association with cultural practitioners. In my research, I am concerned with social and political constellations that have a hold on everyday life. Cultural practices are a way to dislodge the hold the present has on us.

      Sina Seifee is an artist based in Brussels, Tehran and Cologne. Using storytelling, video, and performance, he explores and teases with the heritage of zoology in West Asia. His work picks up on how epistemologies, jokes and knowledges get shaped in the old and new intersections of techno-media and globalism.


    • end presentation
    • performative publishing
    • postgraduate program
    • block 2021/I
    • I feel like leaving the room End Presentations 2021 I
      16 January 2021
      posted by: Lilia Mestre
    • online:
    • 28 January 2021
    • 29 January 2021
    • I feel like leaving the room

      a.pass welcomes you the:
      29th January 2021 – 19:30 – TV show -Collective presentation – 2h30 hours

      Join Zoom Meeting
      is finished.... 

      Check out :

      I feel like leaving the room  is the title of the postgraduate End Presentations of researchers Rui Calvo (film maker), Quinsy Gario (poet, visual and performance artist), Adriano Wilfert Jensen (choreographer), Magdalena Ptasznik, (choreographer) and Kasia Tórz (dramaturg and writer).

      After attending to the extended one year program at a.pass, the five researchers finish their trajectory with an online presentation of a collective website. Covid 19 and the restrictions of the confinement have framed the space of these public presentations in an uncanny entanglement between the private and the public. I feel like leaving the room  is more than anything the (liminal) desire to come together. The form of this coming together takes shape around an ad-hoc TV show that will be streamed the 29th of January from the a.pass studio as an attempt to still intertwine thoughts and experiences.

      In the beginning, the space for this public moment was imagined as a living room, as a place where the borders of the informal and the formal are blurred.  Not as a real physical living-room but by using the conditions implied in such well known private (though public) environment, with the aim of engaging the audience in a different way. What happens when research becomes public as a workshop, a power point presentation, a film, a dance or a walk that steers from such a hangout surrounding?

      As a consequence of the pandemic that determines the conditions of coming together – the living room became the desired ‘leaving room’ – a place, as well, between the private and the public but enclosing the publicness in separated private spaces with only one window – a window to the virtual. The artists researchers addressed that liminal space in various ways in accordance with the medium they mainly work with. Inevitably, the translations that will take place, address the current situation of the confinement, while trying to reach out to the world.

      Rui Calvo's research on non-linear narratives in cinema, has worked  with a group of performers in closed environments, claustrophobic settings, directive instructions that constrain the performers, as much as the audience, in a enclosed space of angst. In his films, no-one knows what, where and how these characters got together and which forces bind them to the situation they find themselves in. Like in a ‘chamber piece’ a small number of characters interacting over a short period of time in a limited environment create an awkward intimacy caught by the camera, from which they (maybe) want to leave. There is always the promise of an outside world created by a window, a curtain or the staircase, a promise that is never fulfilled. Cinema (audiovisual setting) is the medium by excellence we can access during the times we live. The medium that allows us to escape from the living room. But to where?

      with Andrea Zavala Folache, Caterina Mora, Diego Echegoyen, Federico Vladimir, Flávio Rodrigo, Lilia Mestre, Lucia Palladino, Nathaniel Moore and Sara Manente.

      Quinsy Gario's research focuses on de-colonial practices by revisiting archival material, institutional protocols and historical facts questioning the politics behind who gets to speak, when and how. By re-using existing materials, his work re-calls systems of oppression and proposes strategies and tactics of epistemic disobedience and fugitivity. For his End Presentation, Quinsy thinks through the Fragile sticker, used in the transport, and the imagery of travel, migration and seeking refuge elsewhere. The proposition gives attention to the precarious status quo of mobility and the destitution of private space of diaspora and fragile groups, specially threatened in time of forced confinement.

      Adriano Wilfert Jensen ’s research followed three interrelated paths:  spectatorship as practice, dance as a labor of depersonalizing the self and politics of collaboration. Through collaborative processes Adriano, developed dances that sought to cultivate response -ability in spectatorial practice. For his End Presentation he will present a letter on practice based spectactorship along with commented dance scores on the webpage of the group.

      Magdalena Ptasznik, worked on several scores to introduce, instigate, and reflect upon the network of relations with other- than- human existences. She approaches choreography as a generative practice to speculate about future fictions for a world in environmental crisis. By using somatic practices, site-specific materials, storytelling in workshop settings, Magda seeks to empower change through activating collective imaginaries with the audience. For her End Presentation, a publication will be launched with a collection of writings that circulate around the idea of the score as a form of activating self-choreographic agencies.

      Kasia Tórz's, research on the notion of dissolving boundaries (smarginatura) engages in the liminal space between the private and the public, the textual and the image, reality and imagination, the conscious and the unconscious. Smarginatura makes reference to the writer Elena Ferrante and the main character of her Neapolitan Novels, Lila Cerullo, who experiences losing her solid outlines and melting into her surroundings. Kasia experimented with expanded forms of storytelling by engaging with image, voice, body practices and performance in her writing, by blurring the lines between reality and fiction in a daily life basis. For her End Presentation she will invite the audience to a nocturnal session.

      This introduction took the flavour of a weather report. As times change in unforeseen ways, as complex forces conduct the environment, as the temperature is warmer than normal, as violence is unrated, as the soul is disoriented, as politics are going ashtray, the weather, here in Brussels, is grey and symptomatic of great confusion.
      Stay home for now, imagine spring is coming soon and we all feel like leaving the room. 




      BIOS ad extra content

      Rui Calvo is a Brazilian filmmaker who works as screenwriter, director and editor. He graduated from the University of São Paulo with a degree in Audiovisual Arts. Among his short films are “Whole Man” and “Quito”, which were screened at festivals in different countries, as Canada, England, South Africa and Argentina. “The Death of Helena”, his first feature film as a director and screenwriter, was recipient of a grant for film project development in Brazil. Now he is looking for opportunities to produce the movie in a country governed by the far-right and which has been destroying, among other things, the cultural sector.

      In most of Rui's previous short-films, the discomfort regarding one’s own body and the non-belonging feeling (or the lack of identity) are part of the content. Formerly, these concerns were built in the script in a linear narrative way and then translated into images. Coming to a.pass was a way of take a distance from the cinema field and think of audiovisual narrative otherwise. Through out the program, Rui addresses his initial question, on how to film bodies and not imprison them in rational discourse by taking “real life” as much as a product of convention as acting, by giving instructions ( that do not build a character) to the performers to play with in front of the camera and by creating filming settings that don't reassure a fictional background where the performers can situate themselves. In this way, the production of fiction is unstable and influenced by the shooting process itself, in which the performers hover between being characters and themselves, creating subjectivity through filming. The alchemy of these elements produces encounters filled with tension, vulnerability and exposure to the other and also to the camera, which is left with an undergoing process of rupture, misunderstanding and indeterminacy, creating this way conditions for under-narratives to appear.


      Quinsy Gario is a performance poet and artist from Curaçao and St. Maarten, two island that share continued Dutch colonial occupation. His work centers on decolonial remembering and unsettling institutional and interpersonal normalizations of colonial practices. Gario's most well-known work is Zwarte Piet Is Racisme (2011–2012). As a member of the collective Family Connection established in 2005 by Glenda Martinus and Gala Martinus, respectively his mother and aunt, his current research is attempting to institute another way of archiving. He is a Utrecht University media studies, gender studies and postcolonial studies alumnus and a graduate of the Master Artistic Research program of the Royal Academy of Art The Hague. He is a 2017 Humanity in Action Detroit Fellow, 2017/2018 BAK Fellow, 2019/2020 APASS participant and a 2020/2021 Sandberg Institute Critical Studies Fellow. Gario received the Royal Academy Master Thesis Prize 2017, the Black Excellence Award 2016, the Amsterdam Fringe Festival Silver Award 2015, The Kerwin Award 2014 and the Hollandse Nieuwe 12 Theatermakers Prize 2011. His work has been shown in among other places Van Abbemuseum (Eindhoven), MACBA (Barcelona), Latvian National Museum of Art (Riga), Stedelijk Museum (Amsterdam), MHKA (Antwerp), TENT (Rotterdam) and Göteborgs Konsthall (Gothenburg). Gario is also currently running for Dutch parliament as a candidate for the political party BIJ1.

      Quinsy entered the program studying practices of refusal as found within Caribbean performance practices and his research trajectory brought him to the Baltics thinking through postsocialism and postcolonialism. For the a.pass End Presentation Quinsy is presenting #FragileRoots which is a companion piece to #FragileRoutes, a work presented at the Bâtard Festival 2021 and part of a larger series of work and research. At the center of the proposition is the suitcase bought in Hong Kong by the Estonian artist Kristina Norman and gifted to Quinsy during his research residency at the Estonian Art Academy. The residency was to further research into the depiction and usage of the depictions of St. Maurice in the Baltic region. The Sudanese Catholic saint had been adopted as the patron saint of the Blackheads Brotherhood, a merchant guild of unwed men in at the end of the 14th Century. After the end of the Soviet occupation of the Baltic region the various countries of the Baltic became nations again and started to further develop national narratives which included or excluded the remnants of this guild. Through the series of works Quinsy is reflecting on Blackness, migration, improvisation and practices of refusal. This particular piece consists of the remnants of the aforementioned suitcase, stickers bought at the lowbudget department store Daily Style and slides that were bought at a second hand store in Estonia.The stickers are used for precious cargo and contain the word 'Fragile' and the slides depict images from the Apollo 4 and Apollo 6 missions and a vacation by an unnamed group of white individuals to Cuba in the 1960's. Together with toys depicting underwater sea life, extendable mirrors and coasters with black glitter #FragileRoots pushes for epistemic disobedience and fugitive approaches to our collective presents, pasts and futures.


      Magdalena Ptasznik has been exploring choreography and dance through creating performances, dancing in the work of other makers, creating choreography for drama theater, and teaching. Through the last years, she focused on contexts of practice that turn towards creating shared spaces and experiences – teaching, collaborating, and creating performances for the limited public (Microclimates I and II, Zachęta National Gallery 2018-2019, Cli-Fi at BWA Gallery Wrocław 2019). Magdalena is a member of a collective of choreographers Centrum w Ruchu (Warsaw), graduate of School for New Dance Development (SNDO), and sociology at Warsaw University. Since 2015 together with Maria Stokłosa and Renata Piotrowska she has been developing in Warsaw an educational project Choreography in Motion: Experimental Choreography Course. She lives in Amsterdam and Warsaw.

      “My research materializes as written texts, which experiment with the form of the score—a choreographic tool. I started this journey with the idea of creating scores for collective participatory performances. Throughout the process, and the period of confinement we found ourselves in, the research transformed into an exploration of writing. I’m looking into what kind of performance these texts can produce with a reader. I propose to look at the performativity taking place in an intimate sphere activated through reading. I understand it as an interobjective space created by a reader, a score, and an environment.  Scores direct its readers’ attention towards the relations within an environment of which they are part. In particular, I explore how we take part in the materiality of the environment as well as the relations we are already engaged in and have potential to engage with. Building upon observation and somatic experience, I investigate environmental relations through navigating attention and developing fictions. The ultimate reference and a tool to think with is, for me, geology, which brings us to the earth as the basic structure of our material being. Geological time teaches us about the constant movement of any and all matter, and it gives us a more-than-human perspective to time.”


      Adriano Wilfert Jensen works with dance and choreography to analyse and produce conditions of relations. His practice manifests in making, performing, writing about, curating, representing and dealing choreography, dancing for other artists, as well as other occupations like a series of cocktail hang outs, publications, research projects, teaching etc.

      Together with Simon Asencio he is since 2014 running Galerie – an immaterial gallery for immaterial artworks. And with Emma Daniel he is dancing for the dinosaurs in Spending Time With Dinosaurs. Together with Linda Blomqvist, Anna Gaïotti and Emma Daniel he organized Indigo Dance Festival, Magazine and Tink Thanks at Performing Arts Forum. In 2017 he initiated the research project analysis of which his a.pass research was part. In 2019 he premiered the group piece feelings as part of the research analysis, and in the summer 2021 he will premiere a new group piece informed by his research at a.pass.

      Adriano, has been researching on what he calls practice-based spectatorship and dance as a labour dispositif for depersonalizing the self. He wrote a letter developing the notion of practice-based spectatorship as a tool to study how different dance works, which have shaped his own practice, condition spectatorship conventions. Through this letter, a contextualization of how his practice is situated by and indebted to the work of others, takes place. In addition, Adriano also developed a series of dances by analyzing and intervening in existing historical dance protocols. Working on these dances together with the research of spectatorship he questioned how to re-relate to the self beyond individualism, in dance and its spectatorship.



      Kasia Tórz. Writer, dramaturg, researcher, is seeking for other than language-based ways of writing, i.a. working with images or body practices focused on internal movement. In that framework, she is interested in the melting points of the poetic, existential and political. Graduate from Philosophy at the University of Warsaw, participant of doctoral studies at the Institute of Art of the Polish Academy of Science in Warsaw. Between 2007-2011 she collaborated with Twożywo – a no longer existing Polish urban art group – at projects like: Zaciemnienie / Twilight and several wall paintings. Between 2008-2019 she has programmed a thematic section of the Malta Festival Poznań (PL) called ‘Idioms’. Since 2019 she has worked with Needcompany – a Brussels based theatre collective, as artistic & programme developer.

      Smarginatura {this is a demo}
      How are we touched by and through the live act – the act of seeing? What goes through the porous surface of our skin? What kinds of experiences expand our sensitivity? Who sets the scale of the image? The contour of the skyline? When do we break upon the pressure of impulses, when do we freeze, and when do we burn? What are the politics of seeing that we adapt to and how to alter them? Smarginatura {this is a demo} is a radio- broadcast, a live-like transmission of words, images and sounds. It invites the audience to explore the depth of the surface.




    • postgraduate program
    • block 2021/I
    • The Asylum
    • THE ASYLUM (FOR DESIRING BODIES) Block 2021 I curated by Elle/Elke Van Campenhout/The Monastery
      12 December 2020
      posted by: Lilia Mestre
    • 06 January 2021
    • 31 March 2021

      An asylum is a place of refuge. Of taking leave of the world for a limited period of time. It is a place out of the world. Where rules function differently. Where people without a place of belonging are temporarily ‘parked’ in order to mend their ways. It is a place for the ones that don’t fit the grid: mental patients, refugees, people suffering from ailments of all kinds. Desiring bodies, in search of papers, legitimacy, acceptance, health, reconnection to the outside world.

      In that sense it is also a place of hope, a world-in-a-world where difference can live and be accepted. Maybe even celebrated. Where the norms are temporarily suspended, and common sense rules no longer apply. In this gap, in this suspension, wild thoughts can go unchecked. Dubious behaviour flies under the radar.

      For this block, Elle/Elke Van Campenhout/The Monastery curates a block for finding refuge from the status quo of the arts. A place to turn inwards, temporarily turning sideways from the demands of the artistic world and society. To look at what actually wants to be said, and experimented. What is the desire of the artist, of the researcher, that flows underneath the work? Which are the parts in the research that flow like ghosts through the methodologies and conceptual frameworks.? What else is there but dossier language and salonfahigkeit? What is there that can not float to the surface, but can only be seen from the back, using a hand-held mirror?

      The Asylum (for Desiring Bodies) proposes to take a close look at our desires, these lines of flight that connect us to the world and the others. To look with radical honesty to our drives and attractions, and enter into the intimate zone of connection: with our work, with the others, with the body of the group. The emphasis lies on encountering each other anew, working with the stories we construct about ourselves and the work we make. And tinkering with transforming these, just for a moment, to open up the multicolored layers of sediment they are built on.

      Stepping out of the framework of ‘acceptable’ or normative knowledge production into murkier zones of memory, intimacy, body knowledge, and dark rooms. A time to rest, to turn inwards, to become undone. As an artist, a worker or whatever you think you are…

    • postgraduate program
    • workshop
    • A Good Workshop Conversation with Krõõt Juurak
      07 December 2020
      posted by: Vladimir Miller
    • case of: Vladimir Miller
    • A Good Workshop
      Hey Krõõt!
      At the end of the every block the curator writes a documentation of what happened in the block. The reason to do it, is to pass on pass on some information to the other curators and also to develop on and add to the archive of methodologies at work at a.pass. 
      I will be writing this report as I am the designated block curator. It would be great to have a conversation about the work(shop) that you proposed. I suggested this interview format so that you don't have to write a report. I have the Intuition that reporting would be strange in connection with your workshop and your work in general. 

      The last time we talked it felt to me that the way you propose things and the way the workshop was proposed it cannot be grasped with conventional questions of  "what did you do?" and other questions that point to to productivity. Productivity is so ingrained in the language which we use to describe proposals that it makes it hard to talk about proposals which challenge that concept. 
      I am curious how you think about this? Is there a language problem?
      Yes, there is definitely a language problem, I agree. 
      First of all I didn't want to write the report about the workshop for several reasons... I don't want to be the ultimate authority on what we did and what that meant or what anyone learnt or did not learn. The workshop was proposed in such a way that it is not clear what the profits are and what the productivity of it is. I don't want to be the one who has the last word because this is counterproductive to the other participants of the workshop.
      Actually because I wasn't even taking this workshop I have the least idea about what we did or what it was good for. I would say that's the reason why I find it so strange and difficult to write reports. It feels like I'm patronizing the participants' experience. 
      I know the feeling very well. When I propose a collective space in my own work it's also impossible for me to say afterwards what actually happened. I know what happened from my perspective, but then I was just one of the people who occupied that space. Producing environments in which you then yourself enter as a participant doesn't really go well along with conventional concepts of what work is or what education should look like.
      And on the other hand — which is at first glance a little bit contradictory — I love the conventional way of educating, I like the formal structure of a school, where one person is the "teacher" and the others are "students". 
      As a role play, I think it's brilliant. It is not an environment where everything is everything. 
      have a rather difficult educational past. I struggled through primary and highschool, barely making it, but as I am getting older, I am almost 40 now, educational experiences have been getting better and betterAnd perhaps in developing these workshops I have been dealing with those educational "traumas". Most people come with some kind of baggage from their experiences in educational institutions and I am interested in how these experiences are still shaping the way we function whenever faced with a "school-like" structure.
      And secondly, since I have always hated school, workshops, any kind of educational experiences (I don't even have a driving license), I tried to do something that a person like myself could handle. I guess that's why this workshop is anti-productivity and anti-information. The proposal could also be: wasting time together and/or separately.
      And one fun fact: statistically speaking the main reason people take workshops is to meet other peopleI think that is a fair reason. Often you don't go there to learn a new skill but rather just to see who else is there. It is hard to meet people nowadays. As a workshop leader I try to keep this in mind, and try to make sure it isn't about me.
      I think we have very similar reasons for why we do the work the way we do the work. For me the hardest part is  to navigate the persona of the initiator. I like that you described the teacher/student relationship as a kind of a role play. It's good to try and keep it a role play because this relationship constantly wants to become a reality. It's very hard to get out of the costume. 
      We're so trained in believing these roles, we start to take them seriously. 
      I always try to keep in mind that in taking workshops people learn about giving workshops. And when you are giving one you learn about how to take one. I do not have a lot of faith in explanatory learning, we are animals and learn from example, unwittingly. 
      In this workshop at a.pass, did you feel like the participants were aware of that roleplay? Did they get out of their roles? 
      Perhaps the idea was rather to get into their roles, I would think that most of them became aware of the part they played, absolutely. 
      For example, I kept postponing this interview with you, and after the second postponement I stated that I have really good excuses. That moment I became aware of my recurring role as the artist-teacher resisting report-writing. It is tricky because we are not in a workshop and this is not as safe as a workshop would be. It is relatively safe because we are friends, but we are in a professional environment. It is more risky to come up with really good (fake) excuses.
      In the workshop I really try to create a ground where excuses and this cliche known as "bad student behavior"becomes a practice. An artist's practice. 
      So many of our artist practices are based on the so-called protestant ethic, where you have to be a good person with good wishes and of course good products. It is all based on a moral premise. Obviously turning that around isn't going to change it, but I think at least you can have a break from having to be so damn serious about being good all the time
      I struggle with that myself: Trying to keep up the play. I thought it would it would be a good idea to be an artist so I could decide for myself what work was and what life was. And at some point you notice that you take less risks because your income depends on it.  And then what you do doesn't appeal to you anymore and probably it will not be appealing to anyone else either. So it is a closed circle or a downward spiral:  when our livelihood depends on it, we start to fear and fear eats fun. I think workshops are great format to make a space for fun, for boredom and for doing nothing. 
      There's a counter-institutional resistance in both of our proposals, a space to fail and miss the institutional brief. 
      And at the same time it is a narrow pathway how to do that properly, an other brief. I keep asking myself how to not to please the institution by critique-ing it in this way. 
      It is a matter of constant evaluation for me of what actually makes a good proposal? What am I satisfied with, what is the institution satisfied with, what are the participants satisfied with? Thinking like this I find myself mostly fighting against passing on the institutional pressure and established ideas (which we all have, all who take part in a workshop) of what a "good workshop is" . 
      It is slightly more complex than being anti-institutional. But not very complex. In fact it is just about making a space within the space or using it for your own advantage and finding out the problems as they arise and trying  not to worry about anything else
      A.pass is a special case: we welcome the institutional educational experiment. These are our questions as artists and educators. To a certain degree we are on a similar side of things. We are also bored with the conventional ideas of passing down knowledge. But I'm wondering how much is for you at risk in other institutions? Do you calibrate your proposals depending on where you go, or do you even radicalise them if it is a more conventional context?
      I don't know if this is good or bad but I do the same thing every time. Let's say a very similar workshop works for nine-year-olds, tooPerhaps it is a very childish workshop and I wonder if it is more unusual for a.pass, Impulstanz or for real children.
      I think you deploy a Trojan horse. You have a surface layer, structural layer in this workshop which is able to attach itself to the institution. But within that structure it feels to me like there's a space for absurdity and boredom and a collapse of reasoning.
      Right. Let's say, if you ask me what we did, I could tell you exactly: we had a nap every day of 20 minutes, we wrote in our diaries, we sang karaoke, we had a silent meeting... We knew exactly what we were doing at any given moment but for a person randomly walking in, it would not have looked like we were doing anythingFor sure it did not look like we were working. 
      There's again something language-related  that makes structural questions invalid here. I appreciate very much how your work can invalidated certain questions by answering them: they can be answered but they don't describe at all what was actually going on in your workshop in terms of .... not necessarily in terms of the process, because the process is easy to describe. But in terms of what it means, or what it actually produces, or what it triggers, or what kind of community it develops, or how practices resonated with each other. 
      There's a kind of a failure of of the institutional perspective which you trigger, precisely because you can answer to it. "Yeah, yeah, we did this, we did this". But it doesn't help to understand it.
      Actually it is not quite accurate to say it was all anti-productivity: we had also had a couple of lectures, we discussed political performativity and artist solidarity. I try to combine as wide range of activities as I can. And since I am constantly doubting my own abilities, self-sabotage as a method is an important tool for me. Self-sabotage is a very common method especially in the creative field and  I think we don't cherish it enough. It takes such a large almost elephant-size part of our livesI want to know more about it.
      In this workshop I gave the participants the simple task to write a motivation letter, formulated as  "What/why you want to get out of this workshop?" And I formulated the task in such a way that I didn't notice it could be misunderstood. But when I read the letters everybody was writing on why they wanted to get out of the workshop. And I was genuinely confused and worried. Do they really want to get out of the workshop? And then I looked at what I had written and understood that I had unwittingly sabotaged myself.
      And then in one these letter somebody called this workshop a "procrastination conspiracy". 
      I find interesting is that you identify self-sabotage as a useful methodology to pass on. So far I have only applied it to myself. In the collective gathering workshop I talk about "authority suicide": how to fail organize when you are proposing something? My initial response would always be to panic and to solve a situation when people don't know what's the plan is, when there is a feeling that people are lost. I have gradually developed a higher tolerance and now try to fail to do that or to do it badly or to accept not to know how to go on, in order to finally collapse this persona of the "responsible-when-it-fails" as the last piece of institutional structure. 
      But I never I never tried passing on this strategy as a skill. I think because there is still the expectation of organising differently, of self-organisation after the collapse. 
      So, if I'm imagining what you do: is it a workshop or a project where it is difficult to say who's in charge or when it starts and when it ends?
      Yes, thats the attempt. 
      I admire people who are able to do this kind of free structure. Every time before a workshopI I think I should try that and I kind of coward out and still go with a very strict structure instead. Maybe some day. But I really admire when there is this kind of a situation where you are not sure if it is meant to be that way, is it really planned to be disorganized or has everything gone out of hand. It's risky. 
      It is risky. It is one of those things outside of language. You can't really address it, because the only way to address it is to re-establish some kind of authority over it, to turn it into an institutional method yet again. So what you can do is to go for awkward silences and dance around it hoping that either it is a true failure and something else will come out of it, or that at least there's a kind of a meta-failure and people kind of are in on the joke. That people understand it that it is an unspoken, unspeakable thing that has to happen. 
      It's complicated, I don't really know.  I'm talking like it is a whole method but actually I'm always just trying to stretch that space. I try to realise when authority comes in, what are the performances of it and either not do them or wait as long as possible to do them.
      It would be a paradox  if it would become a whole method.
      Yes, exactly. 
      What we say about a.pass as a structure is that it is engaging in the paradox of creating an open space. I think somehow your work(shop) deals with that as well. We do it from different sides: through over-emphasising structure or through building down structure. But the goals are quite similar.  I think a.pass keeps failing in that, because at the same time there is always the question of "Are we doing our job well?" Is there "progress", etc? There has to be a reason to engage in this communal project/institution, you want to end up somewhere in your work you would not be able to get to by yourself. 
      But I'm still wondering, if we take your method seriously,  if there should be some kind of a radical letting go of certain goals in this environment. Sometimes I still feel like we think to "educational".
      Maybe it's because I'm doing psychoanalysis at the moment that I think this is also a psychological method.  You  become aware of your habits and then it's not about changing them, but about playing them. Performing them and enjoying it. Don't struggle. Or struggle but have have a good time struggling!
      We could have keep having this abstract idea of open space, but it's not open and it's not space. It is rather  our filters define how we understand something
      I think the playful perspective helps me. When I'm explaining these thoughts to you, I see myself from the outside getting stuck in language loops. My wish would be to  get out of them. No to just keep explaining and subverting structures,  but to step out of it, to step somewhere else
      Here I feel the limits of a specific institutional language or culture to express spaces and proposals which are really beside them. There are some things which a particular language or particular culture of discourse cannot  reach. Maybe as we said, it can only be done in a sort of unspoken way, unspoken  in the sense of not using that language. 
      That thought is really fascinating for me because the way I usually proceed is through over-explaining and I  catch myself in this conversation that this might be a trap.  I have been polishing the language of my proposals, trying to subvert them within the proposal for quite some time now. Almost like trying to build a bridge from one language space to another. It's just that sometimes I get so busy building this bridge that I don't have  time for the actual work of inhabiting that space. Or rejecting the space, like the way you reject the idea of educational reporting. 
      Thank you for this conversation, dear Krõõt!
    • lecture
    • postgraduate program
    • block 2020/III
    • Participants Assembly
    • On the Soul Video recording - online talk
      27 November 2020
      posted by: Steven Jouwersma
    • Oxana Timofeeva
    • 19 November 2020
    • yes
    • [video width="1280" height="720" mp4="https:///"][/video]
      Oxana Timofeeva
      On the Soul
      A talk and a conversation on the soul. This talk took place on November 19th.
      The talk was proposed by Adriano Wilfert Jensen and supported by the a.pass participants assembly as part of a new modality of participants curated content at a.pass. 

      The talk addresses to some episodes in the history of philosophy from antiquity to the present, where the soul is considered, fist, in its corporeal aspects, i.e. in its immediate or mediated connection to the body, and second, in the context of the question of the passages between the human and the nonhuman, as well as between individual and collective experiences.

      Oxana Timofeeva is a Professor at “Stasis” Center for Philosophy at the European University at St. Petersburg, member of the artistic collective "Chto Delat?" ("What is to be done?"), deputy editor of the journal "Stasis", and the author of books History of Animals(London: Bloomsbury Academic, 2018; Maastricht: Jan van Eyck, 2012; trans. into Russian, Turkish, Slovenian, and Persian), Introduction to the Erotic Philosophy of Georges Bataille (Moscow: New Literary Observer, 2009), How to Love a Homeland (Cairo: Kayfa ta, 2020; trans. into Arabic), and other writings.

    • end presentation
    • postgraduate program
    • Dismantle Space 30 October 2020
      posted by: Lilia Mestre
    • Chloe Chignell / Muslin Brothers / Flávio Rodrigo / Christina Stadlbauer
    • online:
    • 11 November 2020
    • 14 November 2020
    • Dismantle Space

      With Chloe Chignell, Muslin Brothers – Tamar Levit and Yaen Levi , Flávio Rodrigo and Christina Stadlbauer

      NOT at ZSenne ArtLab and NOT at Rosa Library, downtown Brussels





      Dismantle Space gathers the research outcomes of Chloe Chignell, choreographer, editor and writer; Muslin Brothers – Tamar Levit and Yaen Levi – fashion practitioners and visual/performing artists; Flávio Rodrigo, theatre maker and teacher; and Christina Stadlbauer, visual artist and scientist.

      A practice of dismantling directs the conceptual and experiential nature of all their works. More than ever it is necessary to disassemble the mechanisms that form our relationships with the worlds around us in order to rebuild perspectives on those same worlds.

      Using very different tools and methods the presented research insists on making visible the cultural constructions that knit our perceptions of history, language, science and fashion to their instituting frameworks. They dismantle the structural attachments we have to those institutional machines and re-tell other possible relations to them by opening up the capacity of bodies to their collective and personal resilience.


      The capability of bodies to create spaces to nurture, find out and experience muted or unseen connections, may they be social, personal, economic, environmental, racial... Through performative virtual installations, readings and conversations, these research projects unfold space to engage differently in ecosystems of relations that permit perspectives affirming something other than the status quo.


      For Dismantle Space, a website has been created in collaboration between the researchers and web designer and editor Sven Dehens in order to compile the works that have been developed in the frame of the artistic research environment of a.pass. This website hosts the complicities and differences of the four researches and it will address the infrastructural concerns each of them entails.


      For the End Presentations, a.pass invites three Visitors for a feedback conversation with the participants. The visitors of *Dismantle Space* are writer, editor, and dramaturge Caroline Godart, performance curator Guy Gypens and artistic research director Hicham Khalidi.


      This public event is co-curated by the participants with the support of a.pass. In response to the Covid-19 imperative of not being able to gather and to accommodate the different natures of the works, the presentations will take place online. The construction of the website was a way to keep the works connected and conversing with each other.


      Many thanks to ZSenne ArtLab and Rosa Library for their support, Sven Dehens for the website and Deborah Birch for text editing.







      The research and work of Chloe Chignell is situated between choreography and literary practice. Throughout her a.pass trajectory Chloe worked with several performative dispositifs which use scores as mediators between body and language. With much precision her work performs the intra-dependencies between them in ways that facilitate and provoke in the viewer another understanding of how the body writes and reads itself.

      Her work Poems and Other Emergencies dismantles the preconception that language can decipher and translate the body in an absolute and unidirectional manner. The prevailing cultural supremacy of language holds back other forms of knowledge and understanding of the body as a complex entity.

      While working at a.pass the processes Chloe created in physical space or on the space of the page triggers in the audience unforeseen attachments to cultural, social paradigms and relations between languages and mediums. For her End Presentation, the book becomes an object that expands the dimensions of the page, with the essays Language as Prosthesis and The Complete Text Would be Insufferable asking questions of the reading body, your body.




      During their trajectory at a.pass, the research project of fashion practitioners Muslin Brothers - Tamar Levit and Yaen Levi -had focused on the uniform in correctional facilities. Their involvement with prisons and prisoners’ statements opened up a complex questioning of the garment-as-uniform and the process of uniformization. Using installation-performance as a research tool the artist duo created participatory situations that repositioned the role of the garment in its social, political, and economic functions. From staging the tailor’s atelier in several formats, the prayer book as a scored assembly, or audio files for confined self-appraisal they created critical environments that work to de-gender, de-class, and de-colonise clothing in contemporary society.

      Their research dismantles the production chain and the economy behind the garment. Their work looks at fashion through the economy of belonging, establishing the strong relation between who-wears-what and the creation of harsh social segregation.

      Their research is manifested in performative installations that delay an easy identification with the garment by softening a space in which the participants can elaborate a collective and participatory questioning about this often ignored terrain.




      Flávio Rodrigo’s research is a continual overlapping and unfolding of autobiographical writing, storytelling, and ritual. His work continues an oral tradition of recounting and holding to account that can re-tell history from the place of the minority. His research creates intersections between stories of racism and homophobia, auto-fiction, and ritual in order to claim power against normative politics in a non-normative way.

      Flávio's research investigates the body by shedding light on the scars we all have. Working with scars as relational objects from which narratives unfold, he creates the possibility for an understanding of the self as relation between physiological trace and mythical, political, and personal time.

      Flávio crafts rituals and participatory performances as a collective investigation into both the trauma and the many forms of healing that scars represent. These storytellings open up a space for the personal to be continuously woven into collective, political history, and affirm that the possibility of transformation is embedded in each of us, and in all of us collectively. For his End Presentation Flávio worked on a performance series The ghost scar solo that will be streamed in three episodes.
      11th - 20:30 - Episode 1 - the ghost and the milk
      12th - 20:30 - Episode 2 - the tent and the mirror
      13th - 20:30 - Episode 3 - the body and the plate




      The research of Christina Stadlbauer addresses the relationship between humans and other-than-human companions in the environment *we* share with *them*. Her approach tackles the ethical implications of the loss of habitat and the collapse of diversity. Christina engages with multiple actors in the fields of science and art, as well as with inhabitants of urban and non-urban environments, animal, vegetable, and mineral beings. She uses interviews, video footage, and performative installations to shine a light upon muted or undervalued situations of imbalance between human and other-than-human existences.

      The recent focus of her work has been on the Museum as a public display of knowledge. Christina questions and deconstructs the infrastructure of the museum as a colonial institution which acquires, catalogues, and communicates knowledge in a human-centered manner, neglecting other life forms. Even though at this point in history, with an attempt to reformulate the definition of the Museum, lead by ICOM – the International Council of Museums – she maintains there is a persistent neglect of other species´ knowledge.

      Christina’s research engages in a re-imagining of the museum. A museum which explores through practice-based experiments and explorations how humans relate to other species, and dedicates itself to different forms of communication in search of a language between all parties.
      For her End Presentation, Christina set a series of conversations with Agata Siniarska, choreographer, dramaturge and author; Lesley Kadish, anthropologist and specialist of disabled people in museums; and Maria Ptqk, curator and director of Museum Cabinet Sycorax. These conversations will be presented as podcasts and transcribed in text.




      Chloe Chignell
      Chloe Chignell (Australia) is a dancer and choreographer based in Brussels working across text, choreography and publishing. In 2019 she opened rile* a bookshop and project space for practices moving between publication and performance, with Sven Dehens. Her most recent work Poems and Other Emergencies premiered at Batard Festival Brussels 2020, and was supported by WorkspaceBrussels, BUDA Kortrijk, Lucy Geurin Inc and La Balsamine. She graduated from the research cycle at P.A.R.T.S (Brussels, 2018),  She has a Bachelor in Dance from Victorian College of the Arts, (Melbourne, 2013) and studied a writing and residency program at DOCH (Stockholm, 2017). As a choreographer Chloe has been commissioned by the Keir Choreographic Award for the creation of Deep Shine (Melbourne) touring to Japan for The Awaji Art Festival. She presented a short work forever in both directions for the Venice Biennale’s Biennale of Dance (2017). As a dancer Chloe has worked for Adriano Wilfert Jensen, Ingrid Berger Myhre, Anna Gaiotti, Gry Tingskog, Atlanta Eke, Ellen Söderhult, Phoebe Berglund and James Bachelor performing in Australia and across Europe. Chloe is co-editor of This Container magazine, currently in its 8th edition based between Stockholm, Brussels and Melbourne. Her writing has been published by This Container, Koreografi, Indigo Dance Magazine (PAF) and Realtime (Australia). She has developed choreographic writing and reading formats hosted by Kottinspektionen (Stockholm), PraxisFestivalen (Oslo), PAF (France) Scene:Bluss (Norway). She is co-initiator of PO$$E a dance and reading group . / /


      Muslin Brothers - Tamar Levit and Yaen Levi
      Muslin Brothers (Tamar Levit and Yaen Levi) acts as both a fashion brand and research studio speculating on the way personal, social, and political systems shape and are shaped through clothing. It is named after the muslin fabric widely used to make veils, men shirts, and clothing prototypes prior to production.
      The duo’s work overlaps between wearables, spatial, performance, image-making, and exchange of information, using the technologies of clothes-wearing and clothing production lines for a poetic investigation into the biography of non-designer design.
      They hold a B.A in fashion design, from Shenkar, college of engineering, design and art, Israel.
      Their work has been shown in platforms such as the Kanal centre Pompidou Brussels, Parsons New York, Stockholm Art university, Israeli Museum,  the Tel Aviv Museum of Art, Jerusalem design week, and London and Tel Aviv fashion weeks. They were designers in residency at Arad contemporary art center (2020) Artez Academie Arnhem (2018) and London's college CFE (2016). Winners of design award from the Israeli culture ministry (2018), and the pais grant for fashion design (2016).

      Flávio Rodrigo
      Flávio Rodrigo Orzari Ferreira, 37, gay, brazilian, artist, lives in Brussels. He is a performer. He holds a Bachelor’s Degree in Scenic Arts from State University of Campinas – UNICAMP (2004), a Specialization Degree in Psychopedagogy from FHO – UNIARARAS (2012), a Specialization Degree from UCB (2013) and a post-master degree in Performing Arts in a.pass (Advanced Performing and Scenography Studies – 2020). He is now undergoing a Master's programme in Speculative Narration and Videography at the ERG (École de Recherche et Graphisme) de l'Université Saint Luc.


      Christina Stadlbauer
      Christina is an artist and researcher. She works at the cracks of arts and sciences, and develops her research around non human agencies - collective intelligence, interspecies communication and the relation between culture and nature. Christina obtained a PhD in Natural Sciences and her practice is informed and influenced by her scientific understanding. She has launched several artistic long term initiatives: like Melliferopolis, an artistic platform to engage with honeybees and their worlds, the Institute for Relocation of Biodiversity – an artistic container to explore the ethical implications of issues related with loss of habitat and the collapse of diversity, and Kin Tsugi Transformations, a work strand with bacteria that reflects on the ethics implied with microbiological lab work and our strive for control and imperfection.


    • postgraduate program
    • workshop
    • a.pass Basics workshops
    • block 2020/III
    • Settlements
    • Debunking the Myth or The Emperor’s New Clothes Revisited
      01 September 2020
      posted by: Vladimir Miller
    • Elke van Campenhout
    • online
    • 16 November 2020
    • 20 November 2020
    • yes
    • NEW DATES!

      16.-20. Nov 2020


      To be a contemporary artist comes with a lot of prerequisites these days: unspoken discourse rules, critical norms, and a general salonfähig consensus about values like fluidity, horizontality, collaboration, etcetera… Often these values are taken for granted while a strong discourse is ruling the artist's world, zooming in on any hint of postcolonial insensitivity, patriarchal blindness, gender observations, and faintly non-consensual power use. This attitude stems from the bountiful history of feminist and queer studies, cultural studies insights, and a general growing awareness of her-stories and the damage done by biased educations and cultural misgivings. But at the same time there are also a lot of other untouched territories underlying these value markers: 19th century romanticism, liberalism, humanism, … Each one carrying within it a very specific view of what it means to be a human being in this world, how we are connected and what we are able to convey.

      In the current climate it seems to me a lot of these values are not questioned thoroughly on how they influence our capacity to open up to the choices in the work that want to manifest. Often the research is blocked by the embodied discourse, warning against any infractions on the presupposed shared value system. Which often seems to stop the experimentation at the point where it dips into uncertainty, risk and the danger of losing the stamp of approval of the community. In this workshop I would like to look into these presuppositions, both on a discursive and body level: to see what are the desires that are being thwarted by the powers-that-are-being-accepted, and how we can reclaim the ones that aren’t and activate them in a thinking and body practice out of a normative context, but within the expansive limits of an experimental research practice.


      Deadline to sign up is Thursday, 12.11.2020

    • postgraduate program
    • workshop
    • a.pass Basics workshops
    • block 2020/III
    • Settlements
    • AUTODOMESTICATION 01 September 2020
      posted by: Vladimir Miller
    • Krõõt Juurak
    • a.pass
    • 27 October 2020
    • 31 October 2020
    • yes

      As a performer you provide your audience with something that cannot be measured in material terms. As regards the activity that produces the cultural content of the commodity, your labour involves a series of activities that are not normally recognised as work – activities involved in defining and determining cultural and artistic standards, fashions, tastes, consumer norms and, on a strategic level, public opinion. As a performer you are primarily a producer of subjectivity. Typically, an artist’s value does not lie in what they “do” but in what they “are”. Now, remember, for example, how Richard Florida described the processes of gentrification caused by the migration of artists and creative workers – the artists may or may not be aware of the value of their mere presence but on a larger scale they produce “results” simply by existing. Survival in the (performing) arts requires creativity that goes beyond the artworks one creates. In fact, a typical performing artist spends about 99 percent of their time off stage – as an audience member, a critic, an administrator, a networker, friend, mentor, student, teacher and so on. Inventing and re-inventing oneself on and offstage, adjusting to various situations, restrictions, moving from project to project, one residency to the next, brimming with creative energy, training and forever educating oneself is the way forward.

      Autodomestication is a workshop about becoming what one already is. Autodomestication asks the participants to colonise themselves to the furthest edges of their souls, extend in all directions and go nowhere. This is the first level of a multi-layered performance which will extend beyond workshop hours and breaks. Infinite moods in which one is not fully aware of what type of decision will be asked to be made next, time-based ways of being, spaces of attention, autobiography as a tool of speculation, insurrection of experience and emotions, and non-causal reasoning.
      You can find a conversation between Krõõt Juurak and Vladimir Miller here:
    • postgraduate program
    • workshop
    • block 2020/III
    • Settlements
    • Settlement 16 The Unconditional Institution
      01 September 2020
      posted by: Vladimir Miller
    • Vladimir Miller
    • a.pass
    • 14 September 2020
    • 03 October 2020
    • Settlement 16

      During the days of Sept 14th - Oct 3rd 2020 a.pass will come together and host an open workspace called Settlement. In the course of these three weeks we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.pass Settlement and sharing some of your ideas, practices or works with others. The materials and structures available at the a.pass main space will be a common resource for all who join to create whatever is needed to facilitate this process. The schedule for these three weeks will be developed on site by its participants and shared online on the a.pass website.

      please let us know if you want to join this workshop by subscribing a week before you come. covid measures will be followed in the shared environment to ensure it safety. 

      some key ideas which have informed similar spaces before:

      encountering processes

      The potential of this setup is that it allows us to encounter each others processes instead of products of our artistic work. Processes are much more difficult to make visible and to see as they require a different mode of attention and participation. The attempt to witness a process requires a change in the temporal mode of being-together in the collective space.

      no spectators

      The space we are trying to facilitate is open, but it is not an exhibition. There is no „spectator mode“, and no institutionalised responsibility for hosting visitors. However any participant (including possible newcomers) is welcome to invite and host anybody according to the logic of their work process. Anybody is welcome to join the collective space for any timespan, respectful of the fact that Settlement is a predominately a workspace. The (growing/changing) group will try to provide enough information at the entrance, so that everyone feels welcome and knows how to join and share.

      productive instability

      We will collect most of the materials for the space from the a.pass storage and re-accommodate them towards our purposes. This strategy produces a space that is fragile, self-made, and constantly changing. Such a space influences the sociability within it towards similar qualities – towards a more fluid social contract. In asking for a hands-on construction and deconstruction of its makeshift set-ups, such a space allows for a quicker change of settings and a decentralised mode of (self)organisation. For this reason, the suggestion is to refrain from using usual furniture (tables and chairs) and improvise new set ups for „work-stations“ and collective moments out of what we can scavenge.


      The Unconditional Institution

      While this workshop is a place for all involved to develop their own and collaborative work, it is also a place where we can come together around a common concern or concerns. Settlement invites to think about research in a similar way: as a material contribution to the shared environment, a place to care for which can bring other researchers together in collaboration.. The time frame of three weeks allows to actually build these spaces and consider their material conditions, access and affordances.


      Coming out of the a.pass conference Research Futures, and as the initiator of this workspace Vladimir Miller will contribute a focus on the idea of an Unconditional Institution to the shared space. This focus is not a mandatory collective topic of discussion, but a first in hopefully a number of collaborative focal points which will develop during the process. This work on the Unconditional Institution will take the form of a collective debating and writing of a manifesto in conversation with all who want to join.


      If neo-liberalism behaves as if it was unconditional (in the sense of all-encompassing), how can public institutions hold against and within this condition? They need to be built on fundamentally different politics in order to be able to provide a real alternative.

      How can we rethink institutions as care places for specific practices and topics? How can we rethink their borders and access on the basis of time and labour investment into shared concerns, and not on the basis of belonging?


      The practice of Settlement is asking the question of access on a granular level: if our practices are mini-institutions within the artificial mini society / space of the Settlement, what are their modalities of conditional and unconditional access? Learning from our own small institutions we can look towards the bigger ones and develop desires and paradigms of how they should be working.


      The idea of the Unconditional Institution is rethinking the fundamental ideas of access which institutions are built on. How can we turn the paradigm of conditional access to institutions around? Can we imagine institutions with unconditional access? How would that work within a society where conditional access is the very foundation of social and economic life? Can we create a utopian imperative for institutions to give unconditional access to their resources like space, time, materials as part of their structural organisation?

    • 2020 has so far been a turbulent year: of course, the global background we are all aware of, but also for a.pass and all involved, as a community, as a group of colleagues and as a place of politics and organisation. We need time to meet despite all difficulties, and we need time to think together. We think of this block primarily as a meeting of ideas and practices of the researchers and the block contributors, in order to make space for an emergent support structure shared between all involved. Our desire is to ground the support structure of a.pass in a close relationship with the necessities and practices of the researchers. Curating here refers again more to care, than to an overarching trajectory. The core of what we do, practice artistic research, is what needs input and support. Starting from the question of what we need and how to organise it we want to create transitory and sustainable modes of organising and sharing research. The block practice, starting with the Settlement gathering, is focused on organisational and structural awareness and feedback: which spatial and temporal structures do we propose, how is it working with us and our research, and is it something we should keep for the future?

    • postgraduate program
    • block 2020/II
    • Block 2020/II: The In-Between Block in confinement
      19 May 2020
      posted by: Lilia Mestre
    • home
    • 04 May 2020
    • 31 July 2020
    • case of: Lilia Mestre
    • Block 2020/II: The In-Between Block



      The current In-Between Block is a simple infrastructure of extended mentoring that supports the a.pass researchers in the development of their work during the Coronavirus measures.


      a.pass supports the researchers in using the current situation to reflect on the resonance of their practices within the contemporary social, ecological, artistic, political and economical discourses. A series of scores are being developed and practiced to keep the contact and the exchange going between the researchers . This shared practice over distance allows us to reflect on the crisis and support each other through it.


      The mentors for the In-Between Block are Elke Van Campenhout, Philippine Hoegen, Krõõt Juurak and Sara Manente.


      We are looking forward to the moment when we can come together again!

    • end presentation
    • performative publishing
    • postgraduate program
    • Precious indirection* End-Communications of Deborah Birch, Diego Echegoyen and Lucia Palladino&Piero Ramella
      13 January 2020
      posted by: Lilia Mestre
    • Deborah Birch, Diego Echegoyen, Lucia Palladino & Piero Ramella
    • @ Needcompany
    • 24 January 2020
    • 25 January 2020
    • Precious indirection*


      Precious indirection*

      24-25 January 2020 @ MILL / Needcompany

      End-Communications of Deborah Birch, Diego Echegoyen and Lucia Palladino & Piero Ramella                                 

      “Precious indirection”*

      The a.pass End-Communications of Deborah Birch, Diego Echegoyen and the duo Lucia Palladino & Piero Ramella will take place on the 24th and 25th of January 2020 at MILL / Needcompany. End-Communications invite the a.pass researchers to share their subject matters, modes of seeing, articulating and making artist research public after following the year-long program.

      The practice of research in the cases of Deborah, Diego, Lucia and Piero each evoke radically different relations to language. From poetry to theatre, passing by automatic speech and writing, language embodies different epistemologies through these different modes of articulation and voice.

      It is important to emphasise how their performative situations propose a specific relation with the public and how, therefore, they instigate singular modes of participation.

      This relation is symptomatic of  the content of the different research proposals and activate different strata of intersubjectivity.

      *When writing about Roland Barthes’ inaugural lecture in “This Little Art” Kate Briggs notes about literature what could be seen as analogous for artistic research: “ ‘Literature does not say that it knows something, but that it knows of something, that it knows about something’, where the term literature is understood to refer not to a ‘body or a series of works, nor even a branch of commerce or teaching, but the complex graph of the traces of a practice, the practice of writing.’ The consequences of this of, of this about, – what Barthes also calls literatures’ ‘precious indirection’ – are in addition to what is already known, literature can also tell us of what is not yet known, it can gesture toward further, possible areas of knowledge, to what is unsuspected, unidentified, unknown.”


      This event is hosted by MILL.

      With the support of Needcompany.


      24 & 25 January,

      Doors Open 18:00

      18:00 > 23:00 – Pilgrimage / Lucia Palladino and Piero Ramella (ongoing)

      19:00 – To be someone implies to be somewhere / Diego Echegoyen (1 hour)

      21:00 – I Have Discovered That Peace is Losing Time Without Losing the Self /

      Deborah Birch (1 hour)


      Pilgrimage / Lucia Palladino & Piero Ramella

      Lucia Palladino is a dancer, choreographer and researcher. Piero Ramella is a visual artist and performer. They work as a duo in the fields of performing arts and artistic research.

      In the context of a.pass they investigated human and non-human presence in the landscape and within documentation, as a form of performance, which produces new landscapes to inhabit. Their research project was born from the urgency to take a position against the aesthetics of transparency. Beyond its apparent democracy, the ‘transparency society’ is the dictatorship of the self where no otherness is allowed. They believe that in order to transform information into resource it needs to preserve a certain degree of opacity: accessibility implies loss. They intend this practice as a form of contemplative activism which can transform our perception of the world around us and reality itself.

      Pilgrimage is an investigation of documenting as a work of translation. The English word ‘translation’ comes from Latin translatus, serving as past participle of transferre: ‘to bring over, carry over’. The document, then, as a translation, does something, it moves our points of view across time and space and it transforms accessibility: it is not an object, but a magmatic cluster of relationships. The characteristics of our movement within this dynamic system are those of the pilgrimage. For the early medieval pilgrims “it mattered little whether any physical record remained at each site of the personages or events with which it was associated.

      What was real and authentic about the sites, for them, lay not in the objects found there, but in the memory-work, the thinking to which they gave clues” (Tim Ingold). The objects in themselves are just pretexts: what is relevant is the movement they are part of and stimulate. The research is the practice of translating through different media which produce materials that can be shared, entered and altered by other people, other materials, other affections. This practice of documenting the landscape does not engage the modes of illustration or comment on the subject. The documentation aims at translating the landscape in order to undo our knowledge. Every embodiment, indeed, stands itself as a new landscape and produces a discourse that includes the mould and the cast, making new points of view possible.


      To be someone implies to be somewhere /Diego Echegoyen

      Diego Echegoyen (1981 Buenos Aires, Argentina) is a theatermaker and performer with a special interest in collaborative performance making, based in Brussels. He is interested in a speculative approach to the ‘political representation crisis’ in contemporary western democracies in relation to the simultaneous representation crisis which he perceives in the performing arts.

      His initial focus within the apass artistic research environment was on the agency of performing arts to act as a potential tool to produce changes in social reality, when placed in the public space, interrupting its regularity, its usual logic. 

      From the beginning his research followed a path of failure. It crashed and collapsed and that crisis opened a new territory for him to situate himself as a migrant artist from Argentina, where crisis is a given circumstance. He thus brings his specificity as a human being, as a political subject merging with his artistic interests. Within the a.pass platform his research becomes process oriented, his body becomes territory, his self becomes subject-matter.

      These three processes opened a dialogue with his background as a theater actor bringing in the sacred-secular notion of sacrifice. This ritual, featured within Grotowski and Artaud’s work, traversed the relation between object and spectator eventually arriving at questions surrounding his own family narrative, where after four generations this other sacrifice of migration becomes palpable.

      For his End-Communication he shares this ‘crisis process’ of his artistic research, the assemblage of components by neighborhood zones and the critical process of trying to make sense.

      The performative installation To be someone implies to be somewhere is his ‘unfolded self’ during that process. 

      It is a ritual disorganization of his family narrative & its myths, wounds & obsessions, the recent Argentinian history & his experience in Brussels as a migrant” 


      I Have Discovered That Peace is Losing Time Without Losing the Self / Deborah Birch

      Deborah Birch is a poet, primarily interested in the anagogical interpretation of the ordinary, and an academic working in the nexus between scientific systems and mystico-occult systems. Her work forms a lattice of literary, performative, and affective practises.

      I Have Discovered That Peace is Losing Time Without Losing the Self is the third part of her ongoing Caves project, which treats the cave as a space of access to a non-ordinary temporality and a mineral transcendence that is anchored in the flesh, not in denial of it.

      The calcium of my teeth and bones, and the calcium of the limestone cave, she says.

      The iron in my blood and the basalt of the gorge, she says.

      The salt in the sweat of the skin of my lover, she says.

      Microcosm, macrocosm.

      Tears, Trust, she says.

      A feminist re-reading of the allegory of the cave, I Have Discovered delves into questions of language, hesitation, and time. Unfolding and refolding scales and frames of reference, her End-Communication will invite the public into a poetic zone of the underground.

      The cave is not


      It is a pocket

      A chamber

      A cavity

      A shell

      Home is on the

      Surface and

      The surface is


      There will be some light, some time-travelling, some lying in the dark. There will be shoelessness, and bodies touching. The performance will last about an hour.


    • postgraduate program
    • block 2020/I
    • Zone Public
    • BLOCK 2020/I 20 December 2019
      posted by: Pierre Rubio
    • a.pass Brussels
    • 06 January 2020
    • 30 April 2020
    • BLOCK 2020/I





      a.pass post-graduate program for winter-spring 2020 follows the habitual form of three collective gatherings: at the beginning: the ‘Opening Week’, in the middle: the ‘Half Way Days’ and at the end: the ‘End Week’. These are collective workdays where, at large, all the artists and researchers both present their work and feedback on everybody’s research. The three distinct gatherings propose different protocols of presentations and modes of feedback. All protocols are discussed during the block. 

      The block includes as well Zone Public, a curated seminar-like series of working sessions dedicated specifically to this block and happening mainly on Thursdays and Fridays. This ensemble of proposals is designed by Femke Snelting, Peggy Pierrot and Pierre Rubio.

      6-14 : Opening Week Days
      16-17 : Zone Public sessions #1
      23-24 : Zone Public sessions #2
      30-31 : Zone Public sessions #3

      6-7 : Zone Public sessions #4
      13-14 : Zone Public sessions #5
      17-21 : Halfway Days
      27-28 :  Zone Public sessions #6

      5-6 Zone Public sessions #7
      12-13 Zone Public sessions #8
      14-15 Zone Public sessions #9
      22-23 Zone Public sessions #10
      30-April 5 End Week at Perfomance Arts Forum (France)


      The artists and researchers participating in this block with their projects are:

      Chloe Chignell
      Signe Frederiksen
      Quinsy Gario
      Stefan Govaart
      Adriano Wilfert Jensen
      Mathilde Maillard
      Muslin Brothers
      Flavio Rodrigo Orzari Ferreira
      Magda Ptasznik
      Christina Stadlbauer
      Federico Vladimir Strate Pezdirc
      Kasia Tórz
      Katrine Turner
      Andrea Zavala Folache






      The dedicated mentors, curators, and artistic coordinator are:


                 Dedicated Mentoring

      Kristien Van Den Brande
      Kristien Van den Brande is a Brussels-based writer, editor, dramaturge and researcher. An ongoing interest in the (im)materiality, image and performativity of writing has characterized her work, which engages with a range of disciplines including literature, performance, expanded publishing, urbanism and sexuality. Inspired by ‘minor literatures’, she does ongoing research about 'Support de Fortune’, a notion that refers to forms of writing that take place in the margin of print or on throw-away paper. She is a living book and co-editor in Mette Edvardsen’s project Time has fallen asleep in the afternoon sunshine. Together with Myriam Van Imschoot she set up, an online platform for expanded publishing. Lately, she is gaining interest in role-play as dramaturgic, artistic, therapeutic, sexual tool "to undo the creature in us”. That latter was Anne Carson speaking.


      Vladimir Miller
      Vladimir Miller works as an artist, researcher, scenographer and dramaturge. His practice aims at re-negotiating habitual modes of spatial production by using fragility as a building principle. He uses collective construction- and building processes to investigate ideologies of labour and territory within ad-hoc groups and institutional environments. In his latest projects he works with the materiality of fluids to challenge ideas of stability embedded within the design of spaces of cultural production. Vladimir Miller has been a frequent collaborator with the choreographers Philipp Gehmacher and Meg Stuart. As scenographer, co-author, dramaturge and performer he took part or co-created a number of performances and video installations with the two artists. In 2018-19 he is dramaturge in residence at Decoratelier/Jozef Wouters. Vladimir Miller is co-curator of the postgraduate artistic research institute a.pass, Brussels and a PhD in Practice candidate at the Academy of Fine Arts, Vienna. In 2013 Miller was Fellow at Institut für Raumexperimente, Berlin and in 2015 Fellow at Akademie Schloss Solitude in Stuttgart. Vladimir Miller has been guest lecturer at the University of Hamburg and at KASK, Gent.


      Femke Snelting
      Femke Snelting works as artist and designer, developing projects at the intersection of design, feminisms and free software. In various constellations she has been exploring how digital tools and practices might co-construct each other. She is member of Constant, a non-profit, artist-run association for art and media based in Brussels. With Jara Rocha she currently activates Possible Bodies, a collective research project that interrogates the concrete and at the same time fictional entities of "bodies" in the context of 3D tracking, modelling and scanning. She co-initiated the design/research team Open Source Publishing (OSP) and formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring. Apart from mentoring at a.pass, Femke teaches at the Piet Zwart Institute (experimental publishing, Rotterdam).


                Zone Public Co-curating

      Peggy Pierrot
      Peggy Pierrot lives and works in Brussels. She works mainly with different associations and educational or research structures. Her most favourite tools are human sciences and free softwares. Since there are "profound links between gesture and speech, between expressible thought and the creative activity of the hand ", she is currently working at the Ecole of Recherche Graphique (ERG) both as a technical and logistical assistant and as a teacher in Media and Communication Theory. She is also involved in the master's program Récits et expérimentation - Narration spéculative. (Storytelling and experimentation - Speculative Fabulation) She gives lectures and workshops on Afro-Atlantic cultures and literatures, science fiction, media and technology and has an active practice in radio.


      Pierre Rubio
      Pierre Rubio works as artist, independent researcher and dramaturge. At large and through different forms, his work questions modes of individuation to explore contemporary production of subjectivity in/through the arts. What is real for an artist? is his main research question. Pierre was a dancer and choreographer for a long time, holds a master's degree in the arts combining theatre & communication at the campus of Aix-Marseille University (France) and dance & choreography at the campus of Centre National de Danse Contemporaine in Angers (France). Pierre is currently a core member, co-curator and mentor in a.pass - a platform for artistic research practices.


      Femke Snelting
      (see above)


                Artistic coordination

      Lilia Mestre
      Lilia Mestre (Lisboa 1968) is a performing artist and researcher based in Brussels. She interested in art practice as a medial tool between several domains of semiotical existence. Mestre works with assemblages, scores and inter-subjective setups as an artist, curator, dramaturge and teacher. She’s currently co-curator and artistic coordinator of a.pass where she develops a research on scores - Scorescapes - as a possible radical pedagogical tool. In 2019 - 2021 she’s collaborating with Prof. Jill Halstead and Prof. Brandon LaBelle in Social Acoustic - a research project supported by the University of Bergen, Norway. And with Nikolaus Gansterer and Alex Arteaga in Contingent Agencies - a research project supported by PEEK -Vienna, AU. 



      More information about Zone Public here

    • postgraduate program
    • block 2020/I
    • Zone Public 20 December 2019
      posted by: Pierre Rubio
    • curated by Femke Snelting & Peggy Pierrot & Pierre Rubio
    • a.pass Brussels
    • 16 January 2020
    • 27 March 2020
    • case of: Pierre Rubio
    • Zone Public



      Zone Public contributes to an ongoing conversation on the dynamics of publishing generated by technologies of artistic research. From January 2020 onwards, within the a.pass platform for artistic research practices -where its agents continuously re-examine and re-imagine this special form of knowledge production, specifying over and over again its generative nature and deploying its potential-  a three month series of readings, mediations and compilations is oriented by the postgraduate program and its participants to (re)consider the forms and conditions for disseminating artistic research.


      In the context of a.pass, the field of artistic research is one to be embodied but also to be explored, discussed and ultimately transversally invented. Instead of a discipline, a.pass considers artistic research as an inclusive library of heterogeneous, impermanent, precarious yet rigorous constructions and affirms that only as a non-discipline, un-discipline or de-discipline can artistic research create the conditions for multiple sites of intersection between society, academia and art. Methodological conflicts, critical discursive inventiveness and continuous experimentation with tentative sub-categories, all are generatively interconnected through hybrid artistic and research practices. Thus, Zone Public wants to closely observe and document the sources, contexts, dynamics, compositions and especially the modes of publicness of the multiple and diverse art and research projects conducted in the post graduate program. The different participatory dispositifs initiated by Zone Public are situated in this specific context, where artistic research is modulated as a topological object to articulate the ways in which artistic practice, theory, history and other disciplines intersect and combine in unique ways in each artistic research projects and trajects. 


      Nevertheless, to consider these diverse artistic researches as singular assemblages, as effects but also as proposals for new combinations implies navigating a space where the separation between what is discrete and continuous is reduced. Thinking/doing, writing/publishing, researching/performing, speculating/archiving, containing/executing, exploring/presenting, disagreeing/collaborating, emancipating/determining… Zone Public wants to question these polarities and tries to articulate a relational material that supports, binds and maintains both the discrete and the continuous scales of a non-uniform zone of artistic research in tension with its publicness.


      Especially, Zone Public invites to (re)consider the conditions for dissemination of the specific forms of knowledge that artistic research does produce/process/practice. It activates the interrelation between research-as-process versus the crystallisation that publishing requires, and wants to open up the exhibitionary regimes which seem to articulate current artistic research practices and the infrastructures of knowledge production that its agents are both using and possibly used by.


      What happens to research when it is made public? How to deal with the apparent dichotomy between research and publicness? What are the ways to manage the (im)possible task of (re)presenting something as hybrid and liquid as a research process? How to produce legible forms out of unformed research matters? How to understand publishing beyond legitimisation and validation? What relations emerge from the determining norms of institutional or academic forms of publication? What to expect from the transfer of research to audiences and what would be, for both agents, useful to know? What could be the definitions and practices of spectatorship for artistic research? What could a public for artistic research be?


      Tuned through an ensemble of co-curated proposals designed and coordinated by Femke Snelting, Peggy Pierrot and Pierre Rubio in discussion with the a.pass actors, Zone Public is set up as a collective situation to reflect upon the conditions for making research public, as a space, and time, for together reconsidering academic and/or artistic (internalised) standards of communication and to get to terms with their implications. Therefore, Zone Public is also an occasion to share, invent and consider experimental, performative and/or speculative forms of publishing and exhibiting.


      Zone Public is co-curated by three cultural workers. Each of them arrive with distinct but related practices and approaches to the problems of publishing and they assume each of the participants will arrive with theirs. Pierre is interested in modes of knowing, forms of culture and processes of collective individuation specific to artistic research; Femke brings tools from new-materialist feminisms to the tensions between publicness and ongoingness; Peggy questions how publishing can be defined in other ways than by utilitarianism or fetishisation of the legitimacy ideology and dominant modes of (re)presentation and recognition.



      Zone Public is organised around four dispositifs. Each of them allows another entry into 'the problems of publishing' and is proposed as an invitation to be appropriated and developed.


      1. Multipolar Book Club (Researching / Reading / Discussing)
      Every Thursday morning, a time to read and discuss together. The texts to work with are reflecting upon questions of concretisation and individuation, around intersectional relations between cybernetic control systems and structures of knowledge oppression, on the problems of the public, on entanglements and how to cut, and on usefulness and anti-utilitarianism. 
      When: Thursdays 10h00-14h00


      2. A Becoming Library (Researching / Contributing / Compiling)
      On Friday afternoon, time to work on concrete experiments of research-publishing. On the program: making on-line publications, editing photocopied fanzines, reprinting materials and programing small radio-capsules. What knowledge would be really useful to publish, and for whom? This collection of publishing experiments will form a growing 'library' of content and forms that matter. The group will contextualise and reflect upon this 'becoming library' through the practice of 'compilation'. Compiling is a term borrowed from collective software-development and it is used to describe a practice of iteratively and temporarily bringing together of resources and references to form a running program. Rather than formatting itself according to preformatted templates of art-publishing, artist books, or academic publishing, can one think the infrastructure of referencing and distribution in ways that work performatively with and not against the intricacies of artistic research? 
      When: Fridays 14h00-18h00


      3. The Bermuda Radio Show (Researching / Questioning / Positioning)
      The Bermuda Radio Show is a series of triangular audio recorded conversations. They are occasions to reflect on the issues with ‘making-public’ in relation to artistic research projects conducted at the moment in a.pass. Each project producing possibly its specific form of and matter for interviews.
      When: flexible between Thursday afternoons and Friday mornings or at other possible times.


      4. Close Encounters (Researching / Curating / Hosting)
      On some Thursday evenings, a series of presentations and public conversations that was proposed in the context of the a.pass research center in 2018. (See: https:/// ). Close Encounters are light and irregular events to take time to meet, listen and evaluate an idea, a project, a research, or a specific point in a research trajectory. The events are free-formed and singularly appropriated by its protagonists, but the format is always a dialog with one or more guests; all are invited to expand on their research or the problem posed through the lens of their expertise, experience or concern. For Zone Public, the Close Encounters series will invite guests that have relevant practices with regards to (infrastructures of) publishing and/or making-public and/or art and research publicness. 
      When: most of the time on Thursdays 18h00-21h00



      here more information about the block of which "Zone Public" is a part


      Femke Snelting - Zone Public co-curator
      Femke Snelting works as artist and designer, developing projects at the intersection of design, feminisms and free software. In various constellations she has been exploring how digital tools and practices might co-construct each other. She is member of Constant, a non-profit, artist-run association for art and media based in Brussels. With Jara Rocha she currently activates Possible Bodies, a collective research project that interrogates the concrete and at the same time fictional entities of "bodies" in the context of 3D tracking, modelling and scanning. She co-initiated the design/research team Open Source Publishing (OSP) and formed De Geuzen (a foundation for multi-visual research) with Renée Turner and Riek Sijbring. Apart from mentoring at a.pass, Femke teaches at the Piet Zwart Institute (experimental publishing, Rotterdam).



      Peggy Pierrot - Zone Public co-curator
      Peggy Pierrot lives and works in Brussels. She works mainly with different associations and educational or research structures. Her most favourite tools are human sciences and free softwares. Since there are "profound links between gesture and speech, between expressible thought and the creative activity of the hand ", she is currently working at the Ecole of Recherche Graphique (ERG) both as a technical and logistical assistant and as a teacher in Media and Communication Theory. She is also involved in the master's program Récits et expérimentation - Narration spéculative. (Storytelling and experimentation - Speculative Fabulation) She gives lectures and workshops on Afro-Atlantic cultures and literatures, science fiction, media and technology and has an active practice in radio.



      Pierre Rubio - Zone Public co-curator
      Pierre Rubio works as artist, independent researcher and dramaturge. At large and through different forms, his work questions modes of individuation to explore contemporary production of subjectivity in/through the arts. What is real for an artist? is his main research question. Pierre was a dancer and choreographer for a long time, holds a master degree in the arts combining theatre & communication at the campus of Aix-Marseille University (France) and dance & choreography at the campus of Centre National de Danse Contemporaine in Angers (France). Pierre is currently a core member, co-curator and mentor in a.pass - a platform for artistic research practices.

    • "Milieus, associations, sieves and other matters."

      "Ensemble of problematisations composing a processual environment. A metastable milieu in crisis, which evolves by shifting to new dimensions out of a series of confrontations with and temporary resolutions of problems. The basic grid is one of a series of self organised interactive events intersecting with a series of theoretical study days and a series of advanced forms of feedback." (May-August 2018, curated by Pierre Rubio)

      During my first block I spend most time trying to understand in what kind of environment I ended up and to learn the lingo. Besides that, it was urgent to reformulate my research question that come out of my practise.

      C.R.I. I


      The block was activated by C.R.I.'s (critical research interfaces) which raised questions about what does your research open up or makes you see and how does it function as a dispositif (from Foucault). For the first C.R.I. I stacked all the materials, from coffee cups and wall segments to research objects from other participants on one big pile in the middle of the room. I invited all my colleague to come the next day with a very simple task, walk around the pile with me sitting on top. Every time somebody completed a full circle I would read up one 'act' that composed the pile, and if somebody activated the horn, I would start over again from the beginning. After more 90 minutes they managed to walk all the 123 circles around me without stepping on the horn.

      C.R.I. II - A 40kg likable object to carry around

      During a day at ZSenne artlab we were invited to make a small scale C.R.I. for which I introduced my likable object that was filled with 40kg of sand. My request for the group and visitors was simple, please carry the thing and don't put it down!


    • "SOL is a collective platform that was initiated some years ago, inspired by the interest in both love and school as charged with potential to generate new politics and relations in the world. SOL is practiced through regular meetings, but follows no curriculum. Instead, it develops a spontaneous program through the presence and interest of its participants. SOL is basically an invitation to hang out. But to hang out deeply. To practice school as a place of free time – free to study things as they appear, separated from the dependency on the time and space of social order and production. And to practice love – Not the kind of love that is generated through affirmation of who we think we are, but love as an act of giving by allowing it to transform us." Curated by Adva Zakai, Sept/Dec 2018

      The curatorial proposal seemed from the start interesting but problematic, so I decided to beforehand what my position should be and how I want to relate to the program and a.pass. From the start the claims made by the curator – it is not about love, but about political love, the willingness to let yourself be transformed by other, and that it was not a school, but there is an interest in school – formed the basis of my attitude of constructive opposition. In a not always subtle way I put the thesis of this block to test. The production of actual works was not the main goal of the block, they functioned more as conversation starters within the continuous political game.

      test - the tower

      I decided to start with a small provocation, in the middle of the space I build a tower where it was possible for one person to sit on top of. The tower formed a visualization of the attitude I approached SOL with. Halfway through the block, during some presentations I explained my motives and asked the people there if they thought that they excepted the tower. Everybody but one wanted to keep the tower – no unanimity - so the tower had to go.

      test - the class picture

      During the closing week of this block we traveled together to Performance Art Forum, in northern France. This school trip made me think about our group, what we are, what are status is and how we are related to each other. I decided to do an expiriment, with making a class picture - to see if that could clarify some those questions. I put up a camera on a stand and made every 10 seconds a picture, assuming that at one point everybody would have their eyes open. The actual picture didn't clarify much, but what remained was the act of the making the picture.


    • "During the days of Jan 7th-26th 2019 a.pass will come together and host an open workspace called SETTLEMENT. In the course of these three weeks we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.pass SETTLEMENT and sharing some of your ideas, practices or works with others. The materials and structures available at the a.pass main space will be a common resource for all who join to create whatever is needed to facilitate this process." Curator Vladimir Miller

      The Settlement was prolonged and resulted in Unettled Study, as a part of Performatik19, the Brussels performance biennial in Kanal Centre Pompidou.

      In the context of the  Settlement I started a proces where I would explore themes like ownership, value and territory.

      Step I - Sitting

      The Settlement started as an empty space, and I needed to sit, but if you make only one stool, there will always be somebody on it, so I made a lot more.

      Step II - Helping

      I offered my skills to the group, if somebody wanted something, I would make it for them!

      Step III - Branding

      On the last day of the first week I branded everything I made with green and orange, in total 27 objects, after this I left the Settlement for two weeks.

      Step IV - Follow-up


      I told the settlers that all my efforts were for the benefit of the collective and that they should feel free to do whatever they want with the stuff I made. But after two weeks I came back to follow up on my work, and about half  'my' things were used in people individual projects - which was perfectly fine, but where I could find traces of my branding, I rebranded and spread my motif further.

      Step V - Outsourcing

      Again I was away for some time, but I needed to stay involved, so what better way then hire people to make me the things I desired? The assignments varied from things I actually needed, up to stuff I was curious about how my colleagues would react. "I need a flag and I pay € 10,- for it" - "I want something pretty for € 8,- " - "Could somebody make me a 10% oversized chair for € 10,-?" - "I pay € 10,- for something to organize all these jobs" ect.  In total 13 objects have been made based on those minimal guidelines, but there was always one hard demand, it needed to be branded! The resulting objects varied enormous, there were provocations, there were simple executions, useful ones and even a virtual one!

      Step VI - Selling

      The Settlement moved to Kanal Centre Pompiduo and transformed into 'Unsettled Study' as a part of Performatik19. In the middle of the group I erected a small shop, Meewisse Mobilier et Divers, where I engaged into negotiations to determine the value of the outsourced objects. The visitors had then the option to buy the object for that price. In that negotiation I was completely open about the procedure that led to these object and tried to sketch an as complete as possible image of the object. Factors like material, who made it, what is it for, what did I pay for it, is it art, is it something else, ect..?

      With special thanks to Katinka, Diego, Adrijana, Steven, Elen, Vlavio, Antye and Pierre for making objects!


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

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

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

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

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

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

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

      Some small gestures during

      I made and served jam made from Japanese Knotweed

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

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

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

      the cloths are adapted by the Muslin Brothers


    • end presentation
    • performative publishing
    • postgraduate program
      posted by: Lilia Mestre
    • Caterina Mora / Laura Pante / Maurice Meewisse
    • a.pass
    • 27 September 2019
    • 28 September 2019

      a.pass is happy to invite you to the End-Communications of Caterina Mora, Laura Pante and Maurice Meewisse

      18:30 > Door opens

      19:00 - 21:00 > Ongoing Installation / performances
      >Double Spiral with rain makers - Maurice Meewisse
      >After Affect Clinique - Laura Pante

      21:00 > Pa-küru: 47 minutes of a bastard cheap lecture performance

      23:00 > Party with DJ Bicha Boo Collective -> 27th September ONLY!!!!



      Peach Baskets - What the hell!


      “Maria Spelterini is walking across a tightrope across the Niagara Gorge, from the United States side to Canada, with her feet in peach baskets. In the background is the Niagara Suspension Bridge, which is full of spectators. In the distant background is the Niagara Falls.” (wikipedia)

      Funambulism is a "staying with the trouble" concept (in Donna Haraway´s words), that intertwines the a.pass End-Communications of Caterina Mora, Laura Pante and Maurice Meewisse, the 27 and 28 September at a.pass studio.

      It all started with the idea of balancing oppositions, no matter which: theory and practice, high and low cultures, language and body, feminism and heteronormativity, bad and  good, horizontal and vertical, north and south, truth and fake, here and there, real and virtual, peach baskets and shoes - What the hell?!

      The projects of Cate, Laura and Maurice, embody the crossings between antonymous positionalities and work with strategies that include negotiations, side effects, mistakes, shadows, confusion, plural views and overlapings as co-inhabitors of a research context attempting to think complex phenomena.

      To walk the tightrope one needs to be precisely at the moment. In the Merriam Webster dictionary, the second definition of funambulist says: “a show especially of mental agility”. Stay, stay, progress, walk…It is interesting to assess the complexity of such acts that involve several physical skills to portray exception and risk; that are then associated to freakishness, populism, entertainment, intense experience. Walking on the edge, for the good, the bad, the useless, the expectation, the market, for nothing, for life. Self-induced trouble in order to expose complex phenomena.

      The tightrope delineates the space, creates sides and indicates the demarcation of territories. It is a geometrical form, a fictional separation that enables position, that asks to be crossed as a heroic act. A symbolic gesture linking (or separating) two end points. Reinforcing nature, in this case - the Niagara Falls as like if they would need support. What kind of visibility is at stake? What was that woman doing in 1876? Why did she have peach baskets on her feet? Why did she sometimes tie her ankles? 

      The scenographies of these End-Communications are differentiated by three geometric shapes: the spiral, the triangle and the rectangle. They are reference points that reflect dwellings within real and artificial realities, they deploy perceptions. They are imperatives to read topologies: the arena, the tent and the stage. They all have a centre, they all are crossed by lines, they all follow patterns, they all create spaces, folds. 

      Imagine that all these lines and curves crossing the scenographic spaces are folds proposing potential, temporary and situated forms of critical enquiry between seemingly disconnected or distanced realities.

      At this point, the Deleuzian concept of the fold opens a range of actions, movements and transformations for what seems to be static and impenetrable perceptions of reality.  The fold changes place, re-forms elsewhere, multiplies, turns things inside out and outside in. The fold is extreme and intense and unlimited, it's baroque. It might be a form of connection that facilitates open-ended and inexhaustible unfoldings of  worlds.

      Caterina Mora uses what she named Transversal Research Training as a way to politicise the relations between ones’ own biography, western culture, global economy, institutional demand & heteronormativity. Cate works with show business as a form, to research relationalities in a non binary manner. Laura Pante creates conditions that trouble the relation between the private and the public perception of the body. Provoking awareness of the degree to which language and visual culture shape the body and our relation to it. Laura approaches technology and spirituality as culturally formative constructs that are constitutive parts of the self. Maurice Meewisse crafts situations as mimicries of institutional frameworks. Maurice's research questions the discrepancy between theoretical and ideological standpoints and the conditions that enable artistic work. The idea of the artist researcher as a self - instituted figure brings focus to both the agency of the artist and the dominance of power structures.

      "That is why the unfolded surface is never the opposite of the fold, but rather the movement that goes from some to the others. Unfolding sometimes means that I am developing—that I am undoing—infinite tiny folds that are forever agitating in the background, with the goal of drawing a great fold on the side whence forms appear. . . . At other times, on the contrary, I undo the folds of consciousness that pass through every one of my thresholds . . . in order to unveil in a single movement this unfathomable depth of tiny and moving folds that waft me along at excessive speeds in the operation of vertigo." Gilles Deleuze in 'The Fold: Leibniz and the Baroque'

      Maria Spelterini disappeared shortly after the crossing of the Niagara Falls. No one knows why, how or where to. 


      Caterina Mora, a patagonian doer (1988) from Fiske Menuco (Río Negro, Argentina) determined by the wind. She has incorrect English and she always asks for help for text revision. She had several titles and roles in Argentinian territory which become innocuous in other countries.

      Although she can give specifications on her traditional artistic roles in the Performing Arts (as a dancer, performer, ballet/contemporary dance/tango professor, director assistant, writer, modèle vivant), she is interested in transcending them. The ‘doer’ participates in academic groups and loves to create pieces with fiction and glitter.

      In a.pass she develops Transversal Research Training, a device for Artistic Research practice which is busy with the creation of political entertainment as affirmative critique. She makes, writes, embodies, questions and even refuses translations. She has become obsessed with Aprha Behn, a female spy for King Charles II in XVII century Belgium. She was a "translatress".

      Her End-Communications is a show called Pa-küru: 47 minutes of a bastard cheap lecture performance.
      It is based on translating ballet to reggaeton. a.pass provides bright paper, a 2x10 metre platform, a microphone like Madonna, cables, speakers, lights and a ballet barre. She provides 47 minutes of her embodied research, a 0,34 euro broken plastic crown that she bought in Buenos Aires (the crown ́s value then was of 1,21 euro) and music from her cell phone that she bought for 67 euros.

      She's trying to dance critically: from l'obsession après une audition to the pleasure of mostrar los dientes.

      Laura Pante is a dancemaker based between Brussels and Venice. She combines the practices of drawing, architecture and graphic design with movement, dance and choreography.

      She crossed a.pass artistic research environment with a focus on body performativity, apparatus of spectatorship and the agency of images questioning in which way there is still a projection of fascist ideologies on the bi-dimensional screens which walk with us and prescribe our movement into the world. In other words how visual propaganda contributes to the production of body’s shapes. In her practice she researches how to create conditions for the possibility of a movement inquiry driven by a loss of corporal references and spatial coordinates challenging the expansion or the disappearance of body as a cultural phenomena.

      For her End-Communication, THE CLINIQUE will welcome you into the green corner, the remains of an ancient and spreading red volcano or the living room of a grandmother’s dream(s), to experience one by one a 360° video and performative installation. Within a precarious co-presence of inside and outside, private and public, personal and collective, we will practice a propaedeutic* research exploring a possible loss of corporal references and a consequential loss of memory - a flickering amnesia of the body’s shape, as if discovering something would mean to forget the dimension you came from, challenging mediated vision and image production. Laura and her assistant will guide you with the help of a dance performed by hands (a touch) informed by osteopathic practices**: the capacity to see into the abyss of flesh.

      * Propaedeutic // from the Ancient Greek προπαιδεύω (propaideúō, “I give preparatory instruction”), from πρό (pró, “before”) + παιδεύω (paideúō, “I teach”) is a historical term for an introductory course into a discipline, that is an art, or science, or movement.
      ** Ostheopatic practices of touch // OMT - osteopathic manipulative therapy // application of manual forces to improve homeostasis which have been altered by somatic dysfunction.

      Maurice Meewise is a visual artist with a curiosity for the politics that construct accepted protocol of action and communication within specific institutionalized contexts. In most situations he finds an inherent conflict that acts as the impulse behind the creation of a new work in which he uses different techniques, from sculpture to performance, to create aesthetic interventions and attempt to provoke the reevaluation of our conditioned patterns of acceptance and behavior.

      The journey he embarked on at a.pass has been primarily focussed on the context provided by the institute, the program as well as the participants, curators, staff and visitors. He explored the limits of the context and the inconsistencies that he sometimes found between theories and the way they were practiced. During his period at a.pass he attempted to challenge the beliefs within the institute by making a series of symbolic interventions that addressed these boundaries and discrepancies.

      But one thing became apparent. Where is he in what he does?
      For the end communication he commissioned himself to look at what context he provides, to look at what he is constituted of, to think about his role as an artist and performer and his relationship with the audience. He uses the same strategy he applied before, but now to explore his own politics. It resulted in Double Spiral with Rainmakers - and he will prepare the dinner.

    • postgraduate program
    • workshop
    • Looming Score
    • Sounding Situations 03 September 2019
      posted by: Sina Seifee
    • Milena Kipfmüller & Klaus Janek
    • a.pass
    • 09 October 2019
    • 07 November 2019
    • Sounding Situations
      The duo [SNDNG STTNS] Milena Kipfmüller & Klaus Janek, seeks for the reciprocity of the auditive and its staging. Semantics, appearing sounds and music elements form musical gestures and meaning, the composition is in tight correspondence with its staging.  Challenging the line between discourse and aesthetics, the focus on conflicting situations animates interpretation and questions in a subtil and humble way.

      The territories of interests of sounding situation are prospected from worldwide sociopolitical dynamics and the romantic utopia of truth. Attributes are side-specific-ness, perception in motion, Radio waves, reformulated beauty -  formats are concert, installation, music theater. [SNDNG STTNS] was formed in 2014. Since then works were commissioned by Goethe Institut Montreal, Salvador, Sao Paulo, Haus der Kulturen der Welt-Berlin, various German Radio Stations, Musrara Mix Festival, Jerusalem and more. The duo was invited to Vila Sul earning a scholarship with Robert Bosch Stiftung and won the 2018 Music Theatre Now competition.
      During oct 2019 [SNDNG STTNS] are resindents at Q0-2 and will further-exam aspects of staging sound and its force and properties. A further concern will circulate around the stochastics of sound-appearance and its inclusion in the claim of the Werkbegriff. The two open the research up to side aspects and field and invite co-researchers to exchange and be involved. 

      October: 9 / 10 / 11 / 24 / 25 / 30 / 31
      November: 1 / 6 / 7

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

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



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


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


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


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







      I like to think that objects decide the place where they want to be or with who they want to be. 

      That they could move until they find the good place or the good person to leave close by. 

      As an adoptee, I gave a yellow hamac that I get in Brazil last October. There were two main reasons for me to borrow this hamac to someone else : * I tried to find a place for it at home but (also because I don’t have any outside place) I never took the use of it. Was it because this place represents the laziness ? the place where I could rest and read ? (In relation to that, I share the link of this article called A woman's greatest enemy? A lack of time to herself » in the Guardian) 

      This laziness to me is connected to my research with club travail but also to the fantasy of the research which make me come to a.pass (a place where I could dream, read, think, share and…  have time) . And because the block would happen outside I thought it would be nice to have it there in the garden. * the second reason is that I had this hamac in Brazil and that this travel there was really important to me and open a field of questions about the places I (feel) am privileged or not. So I thought in this international context of a.pass it would be a nice object to give in term of many subjects. I gave my adoptee with only one demand : that the object will come back to me at the end in one piece. 

      And then the hamac moved to Rui’s place. 

      But I don’t think he hang once the hamac at his place. He used the hamac in a presentation where he would film Tamar Lilia and Maurice as a group inside the garden, with Tamar trying to hang it somewhere. He told me that he wanted to hang the hamac because we wouldn't have any place to be confortable in the garden. But Rui explained me that the main thing for him was to think about this laziness. In the other movie that Rui did with Caterina in a.pass building, the first indications were about create empty space in an empty space, so in a way laziness related to the non-indications/ improvisations / non-rules that Rui. 

      Together with Cate and Rui, we talked about how laziness is connected to a bad behavior. And how from a country to another it doesn’t contain the same kind of guiltiness.  To the clishé of the South American people who are very lazy  rest a lot : clishé/ Disney character who is Brazilian is very slow and lazy  (ze carioca) 

      Like we are  «  Lost in time » (expression in Brazilian) 

      And then the hamac became a vidéo 

      That Rui send to Caterina.  The video of the improvisation in the garden. 

      (cf Pictures of Rui movie)  Caterina said :  « I was the only one looking at this movie ». 

      Actually Caterina received two videos:

      * the one she was inside (in a.pass building) 

      * the one of the hamac with Tamar 

      Caterina explained us that hamac as an object didn’t catch her so much / it was a bit abandoned 

      More the editing process / how the edition build focus, narrative, story-telling

      How much is this value of the edition by contrast with the laziness of the action

      You don’t do so much but you get a lot because of the framing

      I did a video for the presentation

      I was a bit guilty of not taking attention at the hamac

      I looked at the history of the hamac / images of the slavers using the hamac / symbol of power / it has a political symbol : who has the privileged to be carry in the hamac /// 

      There is hamac inside in our body ! the organes of the stomach are protected by thousand of little hamacs inside our body who car pour body / the transversal abdominal 

      To support the organs, the peritoneal folds that surround the viscera form not only a hammock, but a multitude of small hammocks, so that each organ is solidly attached to its neighbors and to the different walls. The transverse mesocolon envelops the subdiaphragmatic organs. This “hammock structure” supports the static of the viscera while allowing variations in volume, weight and displacement. This is how this “viscera” system adapts to significant variations in volume during pregnancy. This type of anatomical organization is possible thanks to the tissue continuity of the peritoneum.The peritoneum confers to the organs surrounding deformability qualities while maintaining its shape thanks to the collagen fibers it contains.The role of the mesos can be compared to that of a belt , which, while holding the organ, provides a range of measured movements around its reference position.

      Our conversation about the symbolic of the hamac : 

      Hamac not just as a lazy place but also used by poor people in Brazil 

      J’ai acheté ce hamac 50 euros / 50 hamac / 15 dollars / 18 euros 

      70 % de la population de la campagne dort en hamac, 30 % en ville. 

      Quand il y a un hamac et un lit dans la maison, dans 9 cas sur 10, à la saison chaude c'est uniquement l'homme qui l'utilise pour y dormir la nuit ; le hamac procure un couchage plus frais qu'un matelas.

      Les Européens découvrent le hamac au xve siècle grâce aux voyages de Christophe Colomb.

      Quelques dessins expliquent la manière de se coucher dans un hamac ; Raymond Breton, un missionnaire français aux carabes, un dans un dictionnaire caraïbe-français rapporte : « Keyeyecoua tiem larangon callinago, tichati balanagle », ce qui signifie « Le sauvage se couche en rond et en travers, le Français étendu et en longueur ». Là est la principale raison pour laquelle le hamac fut modifié en occident avec l'ajout de barres en bois à chaque extrémité.Les Latinos américains n'utilisent jamais de barres en bois sur leur hamacs.

      And the hamac came back to my place and I found a place for me. 

      Now I would like to invite Rui and Cate to my place and we continue this discussion about laziness, emptiness and what does it mean to make places for things. May be the next movie of Rui can happen in the hamac. 



      Mathilde > Rui > Caterina



















      Readings  : 

      Jonathan Crary  24/7 

      The radical plan to save the planet by working less, Robert Pollin, Vice 

      Le droit à la paresse, Lafargue 

      Une apologie des oisifs, Robert Louis Stevenson 

    • postgraduate program
    • workshop
    • Troubled Gardens
    • Writing into becoming water an instant conversation
      16 July 2019
      posted by: Nicolas Galeazzi
    • Marialena Marouda, Christina Stadlbauer and Nicolas Geleazzi
    • Writing into becoming water

      Imagining a two-day boat trip on the Dilje-Leuven Canal:

      M.M.: A brief introduction into my practice: I see performance as a practice of inhabiting a specific ecosystem. Currently, I am focusing on the oceanic ecosystem, one that can only in part be inhabited by human beings.
      Concerning the ocean, the question that interests me most is: What is my relation to the ocean, and how can this relation be described? What are the affects or elements that make it up? And how can those affects be performed and thus communicated? My focus lies on creating affective (an)archives. i.e. archives that communicate relational experiences and knowledges of the ocean.

      NG: What makes the ocean for you to the ideal ecosystem to be performatively inhabited?

      M.M.: Well, I feel very attracted to it physically and mentally. And it also proposes a different way of thinking and being than land proposes. So I want to explore those. But it is not an "ideal" ecosystem because it is actually quite difficult to inhabit it physically. Very little is known of the ocean compared to ecosystems on land.

      C.S.: For me, it is less the ocean than the water that triggers the idea of inhabiting it in a performative sense. Water is everywhere, in us, around us, we are made up of water - and the element is so common that we don't think about it much, as we live our lives. To give it a moment of special attention and to engage with it as a practice is like a process of becoming aware of something that we deal with every day, and that is so at the basis of our existence.
      The ocean was extremely attractive to me when I was a child. I used to spend my entire summer holidays at the Mediterranean Sea, and I spent most of these months inside of the water. It was the experience of being submersed, totally enveloped by the salty moving body that intrigued me. The smell, the temperature, the consistency (compared with the bathtub water or the swimming pool water) of the Mediterranean became like a place where I would feel at home for me.
      Today, much older, I don't have this urge anymore to submerse in the sea. I'm much more respectful of the gigantic body of water and enjoy more contemplating it by staying at its side, and not going in.

      N.G.: Probably, I could see the ocean in any water. Looking deep into the glass before I take a sip of delicious spring water - e.g. at Schwarzsee in the Alps - I see the sea, I see into the history of these molecules and can follow them through my body into my pee, into the ground into the flower, into the sunray into the rain into the river into the stream into the whole flow that cyclically generates life. Of course, on these waves, we perform our lives and are performed by them. In the case of water, the conditions it creates, the landscape it carves, I'm not sure if I inhabit and perform within or if it's not the other way, the water inhabits me and performs through me.

      M.M.: I think different bodies of water work differently, affect the human body in a different way. So for me, the ocean as I recently encountered it Portugal, for example, the force that it has, is very different from my own experience of the sea in the Mediterranean in Greece.

      C.S.: Can you tell more about the performative aspect that intrigues you with water or the ocean?

      M.M.: Performance is for me the way we choose to enter into relation with the body of water that we encounter. So for example, if you say that you want to be engulfed by the sea, the salty and continuously moving water, I am interested to know more about this sensation that you have and how it could be performed now, for example, in the conditions in this room.

      C.S.: The most intriguing part that comes to mind at once is the aspect of being carried. And of course, we have this much more on the earth. The earth is solid and carries us all the time - something that we also take for granted, and forget about it, as we sit on this chair.
      In the water, especially the salty - thick - water, the buoyancy is a fantastic characteristic that gives me a sense of trust inside this ever-moving deep sea.

      M.M.: Yes, I recognize this feeling! What I would propose now on the trip is to explore how this sensation could be reconstructed through performance or how this sensation could influence what you are researching artistically.

      C.S.: First association is STAGE DIVING!! But that is not very serious, of course!

      M.M.: What is stage diving?

      N.G.: The tricky thing might be, that the sensation is part of the ecosystem which should be performed. But probably that's exactly the chance. To perform WITHIN something not ON something (like a stage). If we take performance as a 'doing' not as a 'representing' it becomes very interesting, I think. Performance in an economic sense is an act of domination. To 'perform' witing a system, in respons-able relation to it, is something very different. The notion of being performed while performing is there very applicable.

      C.S.: Stage diving is to let yourself be carried by the masses of listeners /audience standing in front of the stage when you dive onto their uplifted hands. It is a big test of trust!

      M.M.: Aaaaahh yes, the rockstar thing. We could try it.

      CS: Now, I have to think of VariousArtists - whose performance often has to do with experimenting with what he eats, drinks, how much he sleeps, or exercises. So a 40-day water fast could be a very embodied experience of what water does. And very cleansing, as well. Another important aspect of water, of course - the CLEANING!
      In that sense, Trudo makes his body the ecosystem and the stage at the same time.

      M.M.: We can make a list of those aspects here, during this conversation? I was planning to do this also on the boat trip. Now we can imagine the ocean and that we are travelling on it. What sensation does it give us?

      1. Being engulfed/ buoyancy
      2. Sense of cleansing
      3. ...

      C.S.: There is something that happens to the sinuses, also. And to the sense of smell that I find very interesting. In the ocean, of course, you smell the salt and the "sea" - like algae and dead fish and live fish and all the rest of it. But there is also something happening to the nose, in my case. It gets full of water and clogged, and at the same time, it cleans itself.
      What aspect of sensation is that?!

      M.M.: How would you name it? If you had to use one word? Smell? Or salt-smell?

      N.G.: For this, it would have been perfect to be on the boat. I'm sure we would find another answer than here!

      C.S.: There is something that is inside and outside at the same time. It is as if the ocean gets INSIDE of my body through the nose. It is the one opening that lets the water in. So, it is not the smell, I think - it is more the permeability of my body to the body of water.
      Of course, also the skin gets wrinkled and like a prune, that it keeps the water out. On the contrary, it may even lose a bit of my body water instead of letting the ocean in, because I always get very thirsty when I spend a long time in the water.

      M.M.: Permeability is a wonderful word for it! There is this concept of the Hypersea, that was put forth by two biologists, Mark and Dianna McMenamin. They understand all living organisms on land as "lakes" that communicate with each other by on the one hand keeping the water in and on the other being permeable and passing water from one organism to the other. It's as if all organisms on land form a deterritorialized sea that they carry in their bodies.

      N.G.: The inside/outside is actually rather a human perspective. Nothing wrong with this, but from the water perspective we are simply a tunnel! A place of passage, and probably of transformation. Perhaps that's the most real performance we do. Being a catalyst for waters. WE ARE THE CANAL!!

      C.S.: Now, I have to think of homoeopathic medicine, somehow. The transformation of the water inside our body tunnel.
      A tangent.

      N.G.: btw. What do you think is the boat a stage ? or rather an ecosystem within an ecosystem?

      C.S.: the boat is a very artificial object for me that allows us to traverse the body of water, to be on it without getting wet, to not engage with the water but only with the surface of the water, and there is an aspect of dominance in boats also. You are always (unless you are going under) on top of the water and you don't get wet. It is an object that divides you from the water. You feel it but indirectly only. The most stringent aspect of water - that it is WET - is lost. You don't get wet.

      M.M.: You can get very wet on a boat! Have you ever been on a boat when there are strong wind and big waves? You get soaked.
      For me, the boat is a machine that allows us to enter into relation with the vastness of the sea, that otherwise, we would not be able to approach. But yes, it also has an aspect of domination. Without boats, no "discoveries", no colonization, but also no communication, no fishing, no trade. It's a complex place to be, the boat. It also makes for a very specific surface on which to move and urges a particular behaviour regarding the human bodies that inhabit it.

      N.G.: We have this image of the sailors, that try to master the waters with their boat, fighting against the waves and storms, overcoming the overwhelming forces of nature. Like Ishmael fighting Moby-Dick the wale.

      C.S.: I have an aunt who cannot swim. She would go on a boat, though. But she would not go directly into the water. Only where it is very shallow.
      And Jonas who found himself inside the whale. How did he end up there again? That was an ecosystem inside of the water, and then he was inside the belly, and that was a bit like land again. Like a membrane that allowed him to be inside the water for a long time, but without touching the water. Was it so?

      M.M: So you would prefer a whale belly to a boat?

      C.S.: that is difficult to answer. I don't have a clear image of a whale belly...

      N.G.: Of course! Even in this nutshell, I dream of the big monsters.

      M.M.: So we add 3. permeability, 4. whale-belly...

      N.G.: Or let's say permea-belly.

      C.S.: And now, the ice. What about ice. Is this ocean? But solid, you can walk on it. And it totally changes the experience of being in/on the water.
      Or under it...?

      M.M.: Yes definitely, ice is also ocean. Just in a different form. With a whole different set of conditions. I talked to a glaciologist recently, and he said there is the category of sea ice and the ice shelf, that are both ice formations on the sea, which differ from the big glaciers that are usually land formations.

      N.G.: For an ice bear it might be something different than for a penguin, or for the wind. For the ice bear it is (more and more ) a boat!

      C.S.: With ice I find it confusing. Do I remember right that for a long time it was not known if the North Pole is solid or if the South Pole is solid - land or sea. Ice confuses things a bit, I find...

      M.M.: Then lets end in this confusion? I think its quite appropriate.

      NG: True!

    • postgraduate program
    • workshop
    • Troubled Gardens
    • Exercises in Becoming Water Score for a boat trip
      16 July 2019
      posted by: Nicolas Galeazzi
    • Marialena Marouda
    • Exercises in Becoming Water


      This is a score for a multiple day boat trip for two or more people. It should last a minimum of two days. It can take place on any body of water large enough to sail on for a number of days: a lake, a canal, a river, a sea or an ocean. The boat you use, its size and form, can differ accordingly. This score invites you to spend time on this body of water and to see how it affects/ can affect your body, your thoughts, and your work. It proposes some tasks that you can try while sailing. It also suggests different texts that you can read during the trip. Each task can take as long as you need it to take, from a few minutes to several days. Take your time.

      1. Preparations

      Start by making sure you know the basics regarding how to sail the boat or that you sail with someone who is a captain. Let them show you the knots that you will need to navigate and to dock the boat. Read the book of rules of conduct on water and inform yourself about the conditions of insurance. If there is a VHF on the boat, make sure you know the basics of how to communicate through it. Sign all the necessary papers and register, if necessary, with the marine authorities, before you start your trip.

      2. Inhabiting your Boat

      Get to know the boat you are on and its history. How old is it, by whom was it made? What material is it made out of? Who owns it? Is it a shared boat, or does it belong to an individual? How come you are on it then?

      3. Inhabiting the Body of Water

      Get to know the body water you are sailing on, its set of conditions and its history. Is it an ocean or a sea? Which one, how much salt does it have? Are there tides or currents? Or, otherwise, how is this body of water connected to the ocean? Is it natural or artificial? If natural, how did it come about, and what is its age? If its a river, in which direction is it flowing? If artificial, when was it made and for what reason?

      How will you navigate through it?

      4. Noting Elements/ Affects:

      While you sail, try to take note of different elements/ particular that appear to you during the trip.

      What elements of the specific body of water and its conditions are most intriguing for you? What things interest you, touch you, connect you to this specific water body affectively, physically? How do you experience those things? Can you name them and list them? How do they affect you, what are the ways in which they communicate themselves to you?

      5. Doing work:

      Option a.

      Choose one affect that you noted before and demonstrate to each other how you experience it, how it affects you. You can use your body, voice, objects on the boat and anything else you need, as tools for this demonstration.

      Option b.

      Choose one affect that you noted before and try to present your work/research to each other through this element. How has this element affected your thoughts and work?


      How is this element already present in your body or practice, or how has it affected it/ them?

      6. Logbook/ Documentation:

      A logbook is a book for narrating events that took place on the boat. There should be one logbook in your boat as well; you usually find it where all the maps for navigation are kept.

      Document your trip and the affects that you have experienced and performed in the logbook of the boat you are sailing on. You can choose how you want to do this. What traces of your journey would you like to leave in the book, for others to read? You can use parts or all of your notes and research from the preparation process.





      Some Reading to Accompany the Score:

      McMenamin, Mark and Dianna: Hypersea (New York: Columbia UP, 1994)

      Neimanis, Astreida: Bodies of Water: phenomenology/

      Water: a Queer Archive of Feelings” in: Tidalectics; Imagining an oceanic worldview through art and Science (Cambridge: MIT UP, 2018)

      Protevi, John: “Water”

    • postgraduate program
    • reading session
    • workshop
    • Troubled Gardens
    • Traveling through square liberateurs – Molenbeek 15 May 2019
      posted by: Nicolas Galeazzi
    • Einat Tuchman
    • Square des Libérateurs, 1080 Molenbeek-Saint-Jean
    • 12 July 2019
    • 12 July 2019
    • I'm inviting you into my neighborhood, to discover the "Quartier Liberateurs "- a specific urban sphere that I'm investigating for three years now. Let us enter some of its local structures with their human and political complexity; small institutes, shops, and churches; artifacts, publicness, and attitudes; architecture, infrastructure, and topographies. We will explore how those elements create a natural habitat that exposes layers of exchange between needs and capacities. 
      Taking a distinctive look at the divergent attitudes towards the environment and the social struggles in these different locations, we will learn about the prototypical difficulties and potentials of such culturally dense urban areas. 
      Through a reading of Felix Guattari's The Three Ecologies, we will reflect on the three layers of its daily life circumstances. The mental state of its multicultural inhabitants, the social relations in the public sphere and the ecology it proposes. By assembling the necessities and the resources of the "Quartier Libérateurs", we will each develop on our language to interact with such spheres: Probably best we start with writing a letter, a note or a phrase that tries to connect our gazes and impressions with the reality we encounter.
    • postgraduate program
    • workshop
    • Troubled Gardens
    • Bruocsella a resilient movement for room to secondary river valleies
      07 May 2019
      posted by: Nicolas Galeazzi
    • Ecole Mondiale
    • Start at Zenne Garden
    • 22 May 2019
    • 22 May 2019
    • Bruocsella
      ECOLE MONDIALE experiments and experiences walking in and with the Zenne Valley while researching an alternative political model for the Brussels region, - capital of Europe, as a metropolitan landscape. Its ambitions is to transform the dominant 19th-century political model of the Brussels-Capital Region into a 21st-century vision / version based on its specific hydrographic structure. The secondary river valleys of the Zenne can provide these metropolitan landscape specific characteristic features. How can we create a mentality and culture together with the landscape of these secondary valleys, to radically transform the old model? How can we confront us with energy transition, relating humans and non-humans, and provide common places for thinking in multi-species spheres? This future model is based on the special hydrographic structure of Brussels, in particular the 8 secondary river valleys, tributaries of the Zenne which make up 80% of the total green space.
      Landscape architect Bas Smets studied the changing significance of the landscape and the open space in the 21st century metropolitan Brussels region. He mapped the importance of these secondary valleys (Molenbeek, Neerpedebeek, Vogelzanbeek, Geleytsbeek, Maelbeek, Linkebeek, Woluwe, Laarbeek, Zuunbeek) and proposed to design a network. These secondary valleys can be strengthened to become linear park landscapes that enable greater water catchment and thereby
      reduce the risk of flooding.
      Taking this study as a starting point and the positive appreciation for the Zenne river basin, we want recognize and acknowledge room to the river and to investigate agency of the basin becoming a legal entity.

      How making kin with the secondary river valleys?

    • postgraduate program
    • workshop
    • Troubled Gardens
    • Waterways 07 May 2019
      posted by: Nicolas Galeazzi
    • Marialena Marouda
    • 01 July 2019
    • 02 July 2019
    • Waterways
      As an additional tool of investigation for the troubled gardens, I propose to float on water. By exchanging the usual surface of this block - soil - for water, I would like to explore how this element and it’s set of conditions can leak into artistic researche(r)s - or even flood them? What does it mean to understand water as a workshop? How can this experience influence our practice in the workshops of this block?
      Asking these questions, we will spend at least 48h at the water and walk along the idea of 'canal'. Will we accompany the water or is the water our companion? How does the current of the rivers enter the streams of our communication? How do we approach this hyper-object that finally floats in the ocean?
    • postgraduate program
    • Troubled Gardens
    • Horror Garden 07 May 2019
      posted by: Nicolas Galeazzi
    • Gosie Vervloessem
    • Zenne Garden
    • 20 May 2019
    • 20 May 2019
    • Horror Garden

      One way to connect to other then humans is the horror genre. By thinking the unthinkable, we explore the limits of our ability to understand the world. But does the world lends itself to a meaningful relationship? Does increased access lead to decreased strangeness? In thinking about our relationship to the "other than humans", what is the status of the notion of obscurity and darkness? What lingers at the edges of our experience? The Horror Garden is a tool that explores the idea of our profound dark relation to the World through our relationship with plants.

      Gosie is teaching us the alchemy of making jam from horror, helps us to discover methodologies of radical weeding and will surprise us with poisonous techniques. Please be well prepared, and take your intellectual antidote. 

    • end presentation
    • performative publishing
    • postgraduate program
    • Body Virtual Institution 30 April 2019
      posted by: Lilia Mestre
    • Nassia Fourtouni / Goda Palekaitė / Katinka Van Gorkum
    • Hacktiris (6th floor) - Rue Paul Devauxstraat 3, 1000 Brussel
    • 31 May 2019
    • 01 June 2019
    • Body Virtual Institution


      @ Hacktiris (6th floor) - Rue Paul Devauxstraat 3, 1000 Brussel

      Doors open at 18:00

      19:00 GODA PALEKAITĖ - How to Infuriate a Historian
      21:00 NASSIA FOURTOUNI - Waiting Room Meditation
      22:00 KATINKA VAN GORKUM - Distance Learning in Close Proximity

      Virtual Body Institution
      is the coming together of the 3 concepts that intertwine in the End-Presentations of Katinka Van Gorkum, Nassia Fourtouni and Goda Palekaitė.

      Their practices are very distinct from each other, in form as in content though they all engage with forms of sociability that enhance, propose and reveal the relation of the individual with the societal. Tackling this position from discursive, technological or body practices they invite the visitor to engage in thinking and embody modes of construction of the self.

      Through their current practices of research and exposure - that use the personification of historical characters in a public discussion, the entrance into virtual space as a extension of the ‘real’ and the body as a perception machine - we encounter some of the contexts and mechanisms we inhabit in current western society.

      Their proposals are not complementary but do co-habit through this event beyond agreement or disagreement by creating an area (spatial and experiential) of a temporary common.

      The work of Katinka Van Gorkum, Nassia Fourtouni and Goda Palekaitė enacts research modes of activating and empowering the self as active part of larger technological concepts. One becomes aware through their piercing practices of the narratives that surround the institutional, the body and the virtual. They softly enable criticality in the moment of exposure by engineering transdisciplinary processes that fundamentally question what  we are made of and how do we relate to it.

      All researchers work with performance and with the performativity of the event as a field of exploration that deconstructs the world as a given. The making public of these concerns in a transdisciplinary manner, mainly want to politicise the individual as being an actant in the public sphere enacted by the event itself. The participatory is here seen as the moment of inquiry, experiencing and sharing that crosses through the individual to the communal and vice-versa in enabling the non expertise as potential for critical presence.

      Are questions related to the self, isolated from the other? Is the self alienated from the communal, the historical, the technological, from the body?  How do we practice the spilling of our personal concerns into societal concerns? Where and how do we politicise our practices? Where do we meet? Are we here yet?


      Short description of the researches and links to the respective portfolios:

      Nassia Fourtouni

      is a dramaturg and dance researcher. She came to a.pass with a research upon dramaturgical practice with a focus on the initial phase of a creative process, namely the phase where things are not yet shaped, the phase of nothing.

      Having in mind the dialogical relationship in which most dramaturgical practices take place, the first scores she developed were about dialogue and conversation. Gradually, the scores and methodologies developed borrowed the form of a somatic lesson.

      In her work she brings together text and experiential anatomy, shaping an expanded dramaturgical practice that can vary in form and content depending on the given context. The aim is to facilitate the appearance of embodied aesthetic experience by addressing the inner sense.

      The practice manifests in installations, scores and somatic lessons.  Also, it functions as a critical commentary on authorship and the seductive power of language, mainly in relation to the use of instructions.

      For the a.pass end-communications, she is developing an in situ audio installation based on a score about the past, the present and the future of the building, using excerpts from texts by Virginia Woolf, Robert Walser and Ivan Illich.



      Goda Palekaitė

      is an artist and researcher whose work can be described as a combination of artistic, literary and anthropological practices. Her long-term projects explore the construction mechanisms of historical narratives, political agency of dreams and imagination, and social conditions of creativity. Their outcomes usually manifest as performances, installations, scenographies, and texts.

      In the context of a.pass Goda continued her investigations on the construction of historical and political ideologies, and the agency of imagination in processes of legitimization and instituting. Her interest lies in narratives, stories and characters of diverse identities, which operated outside the official discourses, and were seen as troublemakers. These people did not see themselves as artists, neither have they had a place in art history; yet Goda sees their modes of operation as comparable to those of some contemporary artists working today.

      For the End Communications event at a.pass she is writing a script and directing a performance-conference where three of such characters meet. The debate will take place between a 19th century Russian anarchist Mikhail Bakunin, the ancient Greek female poet Sappho and a controversial Jewish-Muslim writer and journalist Essad Bay. This semi-scripted debate will manifest as a live discussion between three contemporary artists and researchers whom Goda encountered within the context of a.pass: Nicolas Galeazzi, Marialena Marouda, and Sina Seifee. They will embody the characters, yet contributing with their own practice.



      Katinka Van Gorkum

      is a visual artist interested in the (domestic) interior as a figure for interiority. Previous work includes video, performance and installations, all with a strong physical component. She arrived at a.pass with a desire to explore further the concept of home and how it's being shaped by ideas, ideologies, theory and philosophy. Besides that, she felt the need to dematerialize her art practice, experiencing difficulties with the inflexibility, heaviness (literally) and the origin of the materials she used. She also had questions about her work as a single-use artwork and art as an ecological act.

      She started working with the 3D design program SketchUp which is used by architects and designers. In this virtual environment she tries to exteriorize the interior. Working in virtual space further problematized the question of exteriorizing the interior and brought up questions concerning (dis)orientation, scale, groundlessness, perspective, entering and sharing an interior.

      Throughout the a.pass trajectory she has attempted multiple points and modes of entry to the spaces of the research. For the End Communications she intends to open the virtual research environments through a (lecture) performance and screen recordings of the SketchUp spaces, exploring the program as a tool for distance learning in close proximity.




    • Not far from the Zenne Garden a wasteland area expands along the canal. It is one of those areas looking empty, lost and not taken care of. BXL WILD LIFE and BUITEN/DEHORS is a collective of research and experimentation which proposes to consider the urban as the natural environment of man. Since 2012 the collective focuses on the relationships between maintenance, property, and inhabitation of areas. This year BUITEN / DEHORS decided to start on a piece of land located between Digue du Canal and rue des Goujons in Anderlecht, the establishment of what is called an adventure playground*.
      This project is part of a broader research questioning the place of children in the city, the practice of an anti-authoritarian education, the citizen's auto-construction of the city, radical ecology as a reconsideration of the relation between man and his environment. As so it can be seen as an outcome as well as the beginning of something unexpected.
The adventure field is as much about the physical structure that we try to put in place as its context.
The land, located in an area of current "urban renewal" belongs to a private developer, Atenor, lurking for the right moment for exploitation. Officially considered as a wasteland, it is one of those areas looking empty, lost and not taken care for. Its current inhabitants are most invisible, the soil polluted and the (non-)maintenance very diverse. BUITEN/DEHORS is occupying it with no authorization.
The structure is made of second-hand wood, thrown by people in the street, collected daily in the surrounding neighborhood, Cure-ghem. Like our knowledge of the site, it is gradually built up according to our weekly onsite visits. It is built and destroyed, with no preconceived plans, by us and the children passing by. An ongoing process, to be continued in many different ways.

      *The first junk playgrounds were based on the ideas of Carl Theodor Sørensen, a Danish landscape architect, who noticed that children preferred to play everywhere but in the playgrounds that he designed. In 1931, inspired by the sight of children playing in a construction site, he imagined "A junk playground in which children could create and shape, dream and imagine a reality". He aimed to provide children living in cities the same opportunities for play that were enjoyed by children living in rural areas. The first adventure playground was set up by a Workers Cooperative Housing Association in Emdrup, Denmark, during the German occupation of the 1940s. The playground at Emdrup grew out of the spirit of resistance to Nazi occupation and parents' fears that "their children's play might be mistaken for acts of sabotage by soldiers". Source wikipedia -adventure playground, 12/04/2019

    • This is an elaborate permaculture garden with many small experiments from water cleaning plants to interspecies labour. Kobe, who will also be one of the dedicated mentors - is working in this garden for 12 years together with a collective of various artists and activists. It is quite a sensitive ecosystem. Not only these human relationships and diverse projects but also the wild animals and insects that are populating the area have to be taken care for while entering this garden. What does this mean for us how can we become their companions?
      We will engage and relate to this 'refuge' situated somehow hidden behind industries along the neglected Zenne river throughout the whole block. It will be our primary place of gathering, and therefore we will also physically support the collective in gardening and construction work

    • postgraduate program
    • workshop
    • Troubled Gardens
    • Workshop 3 :: Unlearning Center / Terrestrial Building crafting
      29 April 2019
      posted by: Nicolas Galeazzi
    • Martin Schick / construct lab
    • Fribourg (CH)
    • 24 June 2019
    • 29 April 2019
    • case of: Nicolas Galeazzi
    • Workshop 3 :: Unlearning Center / Terrestrial Building


      To meet this Workshop, I propose a trip. For the cultural program of the blueFactory in Fribourg Martin Schick is developing a concept for an Unlearning Center - an open sphere for re-practice learning in times of climate change. The blueFactory is a new economic zone for circular and environmental business. It expands in the former industrial site that is now used for green entrepreneurship, engineering research companies, communal gardening, amongst others. The Unlearning Center aims to give space for a fundamental rethinking of the knowledge needed to face different and difficult visions of building for the future with all its personal, economic, political, technical and aesthetic implications.
      Together with the ConstructLab - a network of architects, that constructed the unlearning furniture - we will engage in this „Terrestrial Building Site“ by a parallel reading of Bruno Latour’s manifesto ‚Down to Earth: Politics in the New Climatic Regime‘.


      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.



      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.

    • postgraduate program
    • workshop
    • The Adoption Project
    • Troubled Gardens
    • Making Kin the adoption project
      24 April 2019
      posted by: Nicolas Galeazzi
    • Nicolas Galeazzi
    • Zenne Garden et al.
    • 06 May 2019
    • 28 July 2019
    • case of: Nicolas Galeazzi
    • Making Kin

      The primary soil of questions for our investigations in the a.pass block 2019/II is to experience us as an ecosystem in ecosystems. We take this fertile ground as an incentive to generate ideas for a 'we' that relates differently to the planes, stays differently in trouble with the damages we induce, and rather becomes-with then cares-for the life on it. Donna Haraway proposes for the generate this other "we" by makeing kin with multiple things, species and other ‚companions‘. In her book „Staying With The Trouble. Making Kin in the Chthulucene“, an essential (tentacular) body of references for this block, she offers a meshwork of indicators what 'making kin' could mean.

      "Think we must. We must think"
      (Stengers, Despret, refering to Harraway).


      To put it into practice is at stake. My intuitive response to this is a practice that I started developing some years before I read her text: mutual adoption of specific aspects of each other’s research seems to be a good motor to train the response-ability Donna Haraway claims as one of the needs for making kin. To ‚adopt‘ objects, practices, behaviours or ways of thinking etc. of someone else’s research means taking care of it as it would be your own! In an ecosystem, all aspects are at the same time ‚other' - and part of one and the ‚same‘ space of resonance. The complex relational web of this 'same-other', can be explored by mutual and temporal adoption of aspects of each other' research and make it part of kin.

      I propose a joint exercise, whereby every one of us

      1.) prepares to put aspects up for adoption, then

      2.) to leave them as ejects of our research aside, to

      3.) be found by others and

      4.) to adopt ourselves ejected aspect from someone else into our own practice.

      - On a regular base, we will need to swap and continue the cycle.


      Btw. did you know that works are acting in swarms, and take common decisions by communicating through touch?


      During the opening week, we will develop our adopt-ability and will exchange our 'baskets' and get ready for the impact an adopted aspect on our researches.
      The first cycle of adoption starts in the opening week, will continues with a swap in the HWD’s and will end by handing it back in the end week.

    • postgraduate program
    • Troubled Gardens
    • Block 2019/II Troubled Gardens ecologies of artistic research
      23 April 2019
      posted by: Nicolas Galeazzi
    • Nicolas Galeazzi
    • 29 April 2019
    • 28 July 2019
    • case of: Nicolas Galeazzi
    • Block 2019/II  Troubled Gardens

      The earth faces troubles of kind humanity never experienced before: climatic changes induced by humankind are dramatically destructive and - meanwhile unavoidable. Therefore we can register a shift in the environmental movement from an understanding of trying to prevent the planet from a catastrophe to mere dealing with life within the consequences of climate changes. This perspective fundamentally shifts our culturally abstracted understanding of nature - and therefore it poses big questions to the arts as a source of cultural knowledge for that great deal of life. The catastrophe might mirror the impossibility of hierarchical understandings of the relation between nature and culture, but it also forces us to the obvious insight that all vital cycles - whether social, ecological, technological, cultural, mental, emotional, economic etc.- are inseparably connected ecosystems.

      Knowing about their sensitivity and complexity, I’m asking myself, how does my artistic practice and research act within the disturbedness of these ecosystems? How can I understand myself and my research as transformative part of their troubles - knowing, that I’m a troubled and troubling ecosystem myself?

      After having curated two blocks at a.pass with regards to the conditions which, and in which we create - the block 2017/II about the commons, as an alternative economy, and the block 2018/I about the making of conditions and Institutional Critique - I see the need to look beyond our cultural boundaries and understand the meshwork of diverse conditions we are living in together with other species, elements and time zones.

      The aim of this block is to challenge our individual research aims as living creatures and companions in and as ecosystems. Hyper related, affecting, and never singular, our researches are - however - in resonance with their surrounding. We can not ignore the influence of these aspects, but we are also hardly aware of the performance of these influences on our practice.

      Taking this ‚ecosystem-perspective‘ as the main tool for our investigations, this block shall give you the possibility to reflect your research as a relational field within a ‚terrestrial‘ landscape. On the other side, it will unavoidably put our researches in relation to the ecological crisis and catastrophes surrounding us and will help us to develop tools and understanding for a post-anthropocentric, post-atopocenic, probably post-artropocentric relational practice with your research.

      Therefore, this block IN-vites you OUT. Where to investigate and experience a behaviour as ecosystem better then in the outside - an outside, that immediately takes us in, makes us being a part of it! ‚Outdoor‘ - at places with-out-doors - might be the right term. Where weather and biosphere meet industrial (side-)performance, migrant activities, walls, traffic, sun - and state power, written and unwritten laws etc. interact with each other.
      This block takes you out into the systemically ‚wild‘. What allows structure? I don’t know - at the moment, before having taken up theses c/glasses any curated structure feels violent towards the tenderness of the ecosystems. Handling the idea ‚ecosystem as research as ecosystem‘ with care is as crucial as to care with the greatest sensitivity for the ecosystems we are about to enter by stepping out of the door.

      This in mind, I throw out my tentacles to propose a path to step into our ‚worlding‘ experience and to trace the stories we will tell on that way.


      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



    • end presentation
    • performative publishing
    • postgraduate program
    • Subtracted Seduction 07 January 2019
      posted by: Lilia Mestre
    • Adrijana Gvozdenović / Pia Louwerens / Eleanor Ivory Weber
    • Hectolitre
    • 01 February 2019
    • 02 February 2019
    • Subtracted Seduction

      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.

      Gvozdenović, Louwerens and Weber all work with writing and performance. They use notions of script and publication as tools to reveal contexts as partners to the doing and thinking of artistic practice. The institutional is key to their approaches, both as a way to understand what predetermines the performativity of the artwork and in how it relates to issues of authorship. The question is often, "who is voicing?"

      Pia Louwerens works with spoken-word performances in which she performs an unreliable subject intra-acting with its institutional framework.
      Eleanor Ivory Weber uses conceptual writing techniques to arrive at multi-vocal recompositions of existing text-sources, combining formal structures with the spontaneity of the body.
      Adrijana Gvozdenović collects and annotates symptomatic artistic practices that recognise their anxiety as a prerequisite state for criticality. This results in publications of sorts or “exhibiting otherwise”.

      The concept of the anarchive as a way to reactivate meaning through revisiting traces is a common process to the three researches. Through either activating authored texts, institutional conditions and/or artistic practice paraphernalia, new iterations appear that re-actualise and re-situate the event. Each variation is always already allied with new subjectivities.

      To access the Research Portfolios follow the links:

      Adrijana Gvozdenović

      Pia Louwerens

      Eleanor Ivory Weber


      Schedule of the event:

      18:00 food & drinks (€)

      18:30 Subtracted Seduction
      19:00 Subverses I: Play
      20:00 7 anxieties and the world
      20:30 Subverses II: Glossolalien missive
      21:15 Subverses III
      21:30 The big gesture is many small gestures dispersed

      Performances by:
      Adrijana Gvozdenović, Pia Louwerens, Eleanor Ivory Weber

      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

      Henry Andersen, Simon Asencio, Marcus Bergner, Deborah Birch, Elen Braga, Kate Briggs, Mladen Bundalo, Teresa Cos, Sven Dehens, Nico Dockx, Diego Echegoyen, Paolo Favero, Luisa Fillitz, Nassia Fourtouni, Anastasia Freygang, Nicolas Galeazzi, Camille Gérenton, Caroline Godart, Katinka van Gorkum, Adrijana Gvozdenović, Philippine Hoegen, Eunkyung Jeong, Steven Jouwersma, Ekaterina Kaplunova, Leo Kay, Shervin Kianersi Haghighi, Pauline Hatzigeorgiou, Heike Langsdorf, Joke Liberge, Bart Lescreve, Pia Louwerens, Marialena Marouda, Lydia McGlinchey, Michèle Meesen, Maurice Meewisse, Zoumana Méïté, Lilia Mestre, Wesley Meuris, Vladimir Miller, Caterina Mora, Eszter Némethi, Elizabeth Newman, Anouchka Oler, Goda Palekaitė, Lucia Palladino, Laura Pante, Vijai Patchineelam, Peggy Pierrot, Piero Ramella, Marcelo Rezende, Kate Rich, Esther Rodríguez Barbero, Pierre Rubio, Margaux Schwarz, Hoda Siahtiri, Vanja Smiljanić, Femke Snelting, Geert Vaes, Eleanor Ivory Weber, Camilla Wills, Roberto Winter, Aurore Zachayus, Adva Zakai.




    • performative publishing
    • postgraduate program
    • Settlements
    • Unsettled Study
    • UNSETTLED STUDY AT PERFORMATIK '19 performative research environment
      03 January 2019
      posted by: Vladimir Miller
    • KANAL
    • 22 March 2019
    • 23 March 2019
    • case of: Vladimir Miller
      Unsettled Study will invite the audience to witness and join the multitude of research processes currently hosted by the a.pass platform for artistic research.  
      For several years a.pass platform fo artistic research has periodically engaged with a research environment called Settlement proposed and facilitated by Vladimir Miller. This project continues to ask on which spatial, performative and institutional conditions is it possible to step into and share an artist's research process as it is happening.  

      During Performatik 2019 "Unsettled Study" will attempt to develop the idea of the Settlement into a performative installation at KANAL which will invite the audience into the multitude of research and work processes currently hosted by a.pass. Starting from the Settlement project in January at a.pass, the researchers, curators and facilitators will embark on a process of developing architectural structures to support, represent and host their research processes. Through a series of workshops and inputs from invited guest artists the researchers will develop short performance lectures in relation to their practice. As a culmination of this three months long process this emergent collective space of study will move from apass to KANAL and open its research environment in an evening of overlapping performances and installations.



      Within the frame of Performatik19, the Brussels biennial of performance art


      Unsettled Study Open Studio

      Wednesday 20th – Saturday 23rd of March during opening hours at Kanal Centre Pompidou Brussels

      tickets are available as a special 10-day pass for Kanal Centre Pompidou


      Unsettled Study Performative Research Environment

      Friday 22nd of March 16h

      Saturday 23rd of March 18h 

      at Kanal Centre Pompidou Brussels

      duration ca 3h

      tickets are available as a special 10-day pass for Kanal Centre Pompidou


      Produced and performed by a.pass researchers, curators and facilitators: Alex Arteaga, Deborah Birch, Elen Braga, Isabel Burr Raty, Chloe Chignell, Diego Echegoyen, Amélie van Elmbt, Nassia Fourtouni, Katinka van Gorkum, Antye Guenther,Steven Jouwersma, Leo Kay, Joke Liberge, Mathilde Maillard, Sara Manente, Michele Meesen, Maurice Meewisse, Lilia Mestre, Caterina Mora, Muslin Brothers (Yaen Levi & Tamar Levit), Eszter Némethi, Goda Palekaite, Laura Pante, Peggy Pierrot, Rob Ritzen, Flavio Rodrigo, RRadio Triton, Femke Snelting, Christina Stadlbauer,   
      Lecture performance mentoring: Philipp Gehmacher
      Process curator: Vladimir Miller

    • postgraduate program
    • workshop
    • a.pass Basics workshops
    • Settlements
    • Unsettled Study
    • the Lecture, the Performance workshop with philipp gehmacher
      03 January 2019
      posted by: Vladimir Miller
    • 04 February 2019
    • 08 February 2019
    • the Lecture, the Performance


      This week’s focus lies on the idea and genre of the lecture performance in the performing and visual arts. Speaking out will be looked at as a performative act of sharing thoughts and concerns about ones own research and work. The questions often arising are: Why speak out about things at all? Why not let the work speak for itself, the research be mapped out and available? Is the speaking an extra layer of added information, at times rendering the ‚shown’ and presented more informal, even personal? Whilst in fact pointing at its surrounding, as much as the institution, is there a self-referentiality involved in speaking that we cannot escape whether we speak about ourselves, our concerns or just matters seemingly ‚worldly‘ and not personal? Speaking is however also about utterance and the speech act, performative as such, in the now, whether scripted or not. Speaking points out, maps out, accompanies actions and discursifes often all at once.

      All in all the lecture performance combines notions of speaking with notions of showing, doing, and demonstrating, side by side or all at once. It seems to be a format where something needs to be told, literally. All of the above however in relationship to physical actions or the presentations of any kind of materials. As much as at the lecture, the doing, mapping out, constructing and building with materials or any medial visualizations will also be looked at. What does the performance allow as a time based procedure to present and make available besides verbal utterance? The performative seems to lie as much in the words as in the objects and thoughts. We’ll find out.



      Philipp Gehmacher
      Choreographer, dancer and visual artist, lives and works in Vienna. Gehmacher’s artistic works implement the body and language as forms of expression, erected and institutional space, as well as object and sculpture. Philipp Gehmacher has presented these works between black box and white cube internationally at theatre festivals and in exhibition spaces. Recently, among others at Museum der Moderne Salzburg, steirischer herbst (Graz), the Biennale of Sydney, Baltic Circle International Theatre Festival (Helsinki), Leopold Museum and mumok in Vienna, and Griffith University Art Museum in Brisbane and Kunstenfestivaldesarts, Brussels. Philipp Gehmacher is a mentor and teacher at P.A.R.T.S and ISAC in Brussels, HZT in Berlin, DOCH in Stockholm, Impulstanz Vienna and the University of Salzburg.


      more on the lecture performance series Walk+Talk:

    • postgraduate program
    • workshop
    • Settlements
    • Unsettled Study
    • Settlement 14 03 January 2019
      posted by: Vladimir Miller
    • a.pass
    • 07 January 2019
    • 26 January 2019
    • Settlement 14
      During the days of Jan 7th-26th 2019 a.pass will come together and host an open workspace called SETTLEMENT. In the course of these three weeks we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.pass SETTLEMENT and sharing some of your ideas, practices or works with others. The materials and structures available at the a.pass main space will be a common resource for all who join to create whatever is needed to facilitate this process. The schedule for these three weeks will be developed on site by its participants and shared online on the a.pass website.

      Here are some key ideas which have informed similar spaces before:
      encountering processes
      The potential of this setup is that it allows us to encounter each others processes instead of products of our artistic work. Processes are much more difficult to make visible and to see as they require a different mode of attention and participation. The attempt to witness a process requires a change in the temporal mode and in the mode of being-together in the collective space.
      no spectators
      The space we are trying to facilitate is open, but it is not an exhibition. There is no „spectator mode“, and no institutionalised responsibility for hosting. However any participant (including possible newcomers) is welcome to invite and host anybody according to the logic of her/his work process. Anybody is welcome to joint the collective space for any timespan, respectful of the fact that Settlement is a predominately a workspace. The (growing/changing) group will try to provide enough information at the entrance, so that everyone feels welcome and knows how to join and share. 
      productive instability
      We will collect most of the materials for the space from the apass storage and re-accommodate them towards our purposes. This strategy produces a space that is fragile, self-made, and constantly changing. We believe that such a space influences the sociability within it towards similar qualities – towards a more fluid social contract. In asking for a hands-on construction and deconstruction of its makeshift set-ups, such a space allows for a quicker change of settings and a decentralised mode of (self)organisation. For this reason, we suggest to refrain from using usual furniture (tables and chairs) and improvise new set ups for „work-stations“ and collective moments out of what we can scavenge from around the academy.
      Settlement is spatial proposal that tries to sustain its architectural fragility hoping in this way to initiate a temporary social, organizational and ideological one.  Simply put it is a collective workspace, a camp and a hangout, open to all who stop by and would like to contribute to it. Like many other such meetings it is a place of informal exchange and presentation. It is a space for practices instead of products, a place where our individual ideas and processes have not yet achieved a solid state and can flow into each other.
      Settlement starts with a haphazard collection of materials in an otherwise empty space. Everything one might need for one’s work has be be built and (re)invented there. There are no tables, no chairs, and the materials and objects resist easy categorization and usability. They have to be mis-used, adapted, they have a will on their own. The built environment has to be negotiated -with on the level of the object. There is potential in a thing being one thing one day, and a totally different thing the day after. There is also potential in that thing changing hands. (You will be surprised how quickly ownership is established from communal beginnings: one just has to pick up a thing and put it somewhere.)
      Settlement is a space that tries very hard not to settle. Its instability works against the establishing of clear boundaries between „your space“ and „my space“, what hopefully follows from that is that it is very difficult to establish boundaries between „your work“ and "my work“.  It asserts that practice is bound by space, and if space gets shaky, unstable, shareable, so does the practice.
      By starting from scratch Settlement invites a re-negotiation of the specific conditions of each practice.  In the course of the three weeks Settlement lets a particular method of production and sharing find its own intrinsic spatial conditions, free from the encoded behaviors of ready-made spaces such as “table”, “studio”, “meeting”, “gallery”, “venue”, “library”, etc.
      The politics of practice in terms of co-habitation and co-working, of claiming one’s own space, inviting or excluding the outside, communication of ideas, inviting change and influence are all there to be questioned within this setup. As a practice is (in some ways) „re-built“ during Settlement, one can come to question its very construction.
      Settlement is a collective project which was facilitated over several years on different occasions. The project takes the form of a workshop and creates and inhabits a space full of fragile and precarious structures. Since Settlement starts from a space devoid of habitual work setups, with all materials present considered a common resource, all the structures are built from the necessities of the individual and collective practices of its participants. A kind of a re-start on the physical level and an attempted re-start on the level of the habitual and institutional structures governing our spaces of production. The title is used as a provocation, as Settlement is a space which, over the course of several weeks, tries very hard not to settle.
      Settlement puts a spatial perspective on practice, identifying modes of institutionalisation and habit which keep the spaces of artistic production and education from becoming spaces of commoning. These modes of ‘settling’ are embedded in many things: they are there in the ways the spaces are designed and organised towards stability (supporting habit and the given hierarchy of organisation), they are there in the institutionalised processes of access and exclusion, and they are there in our social habits (which structure the most empty and open space imaginable). Looking at how the spaces of our practice prioritise the habitual, Settlement introduces architectural fragility as a mode of destabilizing practice and the social agreements between the participants. The spaces created within Settlement are make-shift and precarious and therefore never suited to support a certain social constellation or a process indefinitely. That introduces another timing into the space, rendering all structures inherently temporary and unreliable. The habit of regarding products of work as property becomes destabilized, as all structures in the space are short-lived and can become ‘material’ again very quickly. These and other changes occur through fragility of the built environment and work effectively against the habitual ‘settling down’. The transition of a structure back to the common resource through collapse or re-appropriation is always a possibility, producing the common as a constant perspective onto the emerging territories, constellations and rules in the Settlement space.
    • postgraduate program
    • workshop
    • Settlements
    • Unsettled Study
    • The Choreography of Objects: Logistics vs. Entanglement 03 January 2019
      posted by: Vladimir Miller
    • Moritz Frischkorn
    • 25 February 2019
    • 28 February 2019
    • The Choreography of Objects: Logistics vs. Entanglement
      In recent years, theoreticians both from political sciences and cultural studies have become more and more interested in the business field of logistics. Besides finance (and new logics of extraction, some authors claim), logistics seems to be one of the key notions to understand global capitalism today.
      Today logistics considers itself the totalized management and governance of all flows of capital, labour and commodities. And more than ever, logistics is administered and steered by algorithms – auto-managed and automated, implementing a computational governance that subjects labour as much as all material resources of the globe to its regime. Fred Moten and Stefano Harney, in their essay 'Fantasy in the Hold', thus write: 'The rise of logistics is rapid. Indeed, to read today in the field of logistics is to read a booming field, a conquering field. In military science and in engineering of course, but also in business studies, in management research, logistics is everywhere.

      Logistics as choreography describes the faculty of being able to transport 'mountains of goods' (Maersk) just in time. The use of 'choreography' as marketing metaphor is then mirrored also in expert papers speaking about Supply Chain Choreographies as ways to interface diverse informational systems.


      Reading about the confluence and interrelation of logistics and choreography together, we will try to unfold some of the historic as much as contemporary political problematics related to this totalizing choreography of power operating by extraction, abduction and containerization. At the same time, we can discuss in how far this 'other' choreography of objects, based on efficiency and seamless interfaces, reflects back on recent discourses about an 'expanded choreography' in the field of contemporary performing arts and Performance Studies. How can an understanding of the history and contemporary over-practice of logistics inform our own choices when moving stuff? What are the political dimensions that are at play here – especially if we do not concede to maximizing claims for efficiency, but to an ethics of 'following the materials' or of attending and attuning to manifold entanglements?
      In a second step, we will try to play around with logistical concepts in order to re-formulate our own artistic practices. We will draw maps of the diverse material and semiotic resources that go into our work: From where do they enter, and at what point do our practices interface with these resources? Could we imagine ways of working with material or information, where 'value is added at each step'? What would be more efficient ways of thinking about our own 'supply chains', both in terms of research and artistic production? When, on the other hand, are the moments in which we are overwhelmed by materials, where we can only try to follow their itinerant logics of entanglement and proliferation? Presenting these 'total cost analysis' and 'supply chain diagram' to each other, we may find out how our own and others practices rely on a fine balance between logistical efficiency and itinerant, entangled hyper-chaos.
      On another, more physical level, we can assess our own work-spaces from a logistical point of view. In Amazon distribution centers, for example, goods are shelved chaotically, according to algorithmic procedures. In the same way, we can think of workspaces as processual logistical choreographies based on the in- and out-flux of materials and information. What if we thought of our workspaces thus as a form of archive of the logistics that made it come to be in its current shape? Does that give us valuable information about our practices? On the horizon, then, we come to articulate an even bigger question: Can we formulate an ethics of how to work with materials, whatever form, coherence, shape or agility they may have?
      Moritz Frischkorn is a choreographer and researcher working within contemporary performing arts. He is based in Hamburg, where, since 2015, he is part of the artistic-theoretic graduate school 'Performing Citizenship' at HafenCity University. His artistic research deals with ethical and social questions related to choreographies of objects. In his artistic work, he looks for bodily practices of attuning to non-human movement and researches ways of moving beyond self-expression and intentionality. 
      In the last years, he is interested, mainly, in the relation of choreography and logistics, a topic that he will deal with in detail within a new performance project entitled 'The Great Report'. His artistic work is regularly presented at Kampnagel, Hamburg. Furthermore, he often collaborates with, among others, Manon Santkin (Brussels, Stockholm), his Hamburg colleagues Heike Bröckerhoff and Jonas Woltemate, and performance collective geheimagentur. Sporadically, he writes for 'Plateau - Performing Arts in Hamburg' and works for Sarma/Oral Site web-journal. 
    • postgraduate program
    • Settlements
    • Unsettled Study
    • BLOCK 2019/I UNSETTLED STUDY curated by Vladimir Miller
      03 January 2019
      posted by: Vladimir Miller
    • 07 January 2019
    • 31 March 2019
    • case of: Vladimir Miller
      Continuing the line of inquiry from Uninvited Research, Block 19/I will again come together around the questions of mobility, logistics and gestures of moving, settling and unsettling. All who research, work and support at apass including the Research Center, the administration, the curators and production support are invited to join the process.

      To initiate the building of an institution which can support study a.pass will host Settlement, a practice of being together while building the space for the individual and collective practices of research. Through a series of workshops with Philipp Gehmacher and Moritz Frischkorn and by presenting research to each other during the Half Way Days we will further develop this space into a multitude of individual research situations and scenographies. We aim to be able to move the resulting lecture performance spaces and works to KANAL Centre Pompidou Brussels and open them to the public of the Performatik Festival at the end of the block. We will perform and host this collective Unsettled Study as an intertwined complex space on two consecutive evenings. 
      Moten and Harney once described study in an interview in "Undercommons" as the moment of unruly togetherness before the teacher enters the classroom. Etymologically the word can be used for a process of inquiry as well as for the architectural space designated to this process within a building. In Moten and Harney study happens besides, in between, despite the institutional and curricular framework of a university and is deeply related to the unseen connectedness of the undercommons. They establish study as a valuable political tool and process within educational systems, a commoning practice which universities came to actively suppress instead of supporting it. Marginalized by the institution, study becomes the excess, the unseen extra of school. How can we undo this order and bring study back to be the common center of what we do?


      As partner of the Performatik Festival 2019 a.pass has been asked to contribute a larger project to the upcoming festival. The invitation of Performatik comes with/from a curatorial proposal to engage with Bauhaus and its implications, therefore the question of what is a school and how does it perform itself is equally interesting to the festival and to us. In response, we would like to continue the line of inquiry that the School of Love by the guest curator Adva Zakai has initiated and position study as unruly undercommons, an inquiry and a space in the center of a contemporary idea of school, which we claim should be an institution in support of study. 
      Moten and Harney envision study as a being-together framed by the classroom, even if the classroom is fugitive or imaginary. At a.pass this classroom is a gathering which is based in the mutual and the mutant, and in an engaged not-knowing that is decidedly non-academic, one that includes all the hear-say, weird intuitions and obsessing over a question that we sum up with the „artistic" in „artistic research“. We are taking this block to look again at the spatial manifestation of research in its architectural, material and components and their movement. We look at logistics of thought and material coming together to formulate a particular study, we look at the logistics of settling and unsettling again, of making and taking apart and re-making again with the hope of making a non-academic space to support our non-academic study.
    • postgraduate program
    • workshop
    • a.pass Basics workshops
    • a.pass meets School of Love
    • block 2018/III
    • STUDY DAYS A curatorial proposal by Adva ZAkai
      11 September 2018
      posted by: Joke Liberge
    • 10 September 2018
    • 30 November 2018


      This block is organized around a series of Study Days. Almost every Monday till the end of November, a.pass hosts artists, thinkers and researchers to contribute to the problematization of various issues that bring together love, art, school, improvisation and politics.

      ** The texts bellow are written from the perspective of the notions explored at a.pass, and not by the guests, who are invited to respond to them from within their own practices **

      September 10th
      Maybe one day, love will no longer be considered a private endeavor or a slogan of hippies, but rather a public and a political mode of being...

      Guests: Johan Grimonprez & Bleri Lleshi

      Imagine a society that bases its arrangements, institutions and democracy on love itself. Such a society will probably teach and exercise love as a force that contributes to the constitution of communities. Maybe then it will make less sense to say that love is a social construction than to say that love constructs society... What kind of practices can re-appropriate love by allowing it to shift from individual, consumerist and patriarchal inclinations into the political engagement of play and interaction of differences? How can love be romantic but not only? What if love would expend beyond the limits of the couple and the nuclear family and serve as the basis for our political projects in common?
      10h – 13h A session with Johan Grimonprez
      13h – 14h Lunch
      14h – 15h15 presentation of work by Johan Grimonprez
      15h15 – 15h30 Break
      15h30 – 18h A session with Bleri Leshi


      September 17th
      To be included your love tool kit
      Or: Tender technologies: how tools shape practice and practice shapes tools

      Guest: Femke Snelting

      Femke Snelting: Can we transform our relation to everyday communication technologies? Can we take that risk? Currently, tech giants dominate all forms of digital communication, from cloud-storage to production tools and archiving systems. Infused with modernist ideas of progress, these tools are full of capitalist values and dreams of seamless scaleability. They form intricate webs of human and non-human agencies weaving themselves into and around us, intimately linking our personal and professional practices. Also institutional practice has come to rely on the use of commercial platforms, including places that are dedicated to radical transformation, political love and commoning like a.pass. So how are we being with technology when practicing a School of Love? This study-day is dedicated to experiencing technology differently, of developing a convivial relationship that foregrounds vulnerability, mutual dependency and care-taking. With the help of old and new Free, Libre and Open Source Software tools we will practice a transition from anticipating efficiency to allowing curiosity; from expecting scarcity to demanding multiplicity; from solution to possibility.
      10h – 13h A session with Femke Snelting
      13h – 14h Lunch
      14h – 18h A session with Femke Snelting


      September 24th – September 29th
      Inspired by the interest in both love and school as charged with potential to generate new politics and relations in the world.

      a.pass meets SOL participates to The Swamp School at the Venice Biennale Architecture 2018

      "In exploring the imaginary of a swamp—a living organism in which borders defined by social, political and cultural factors are porous and permeable— the Swamp School will investigate an open artistic/architectural form, effective workshop and publication methodologies. The Swamp School will act as a pilot for future learning environments, informed by and informing the architecture and installations of its own space. Research questions will focus on creating public interfaces and manuals that support adaptation and learning to meet the demands of a changing environment.” Swamp Pavillion curated by Nomeda and Gedeminas Urbonas.

      Participating institutions: MIT School of Architecture and Planning, Royal Academy of Fine Arts Antwerp, University of Antwerp, Università Iuav di Venezia, Nuova Accademia di Belle Arti - NABA Milan, The Art Institute at the Academy of Art and Design FHNW Basel, Institute of Aesthetic Practice and Theory IAeP, Academy of Art and Design FHNW Basel, University of Iceland, Vytautas Magnus University Kaunas, a.pass - advanced performance and scenography studies Brussels, Vilnius Gediminas Technical University, Contour Biennale 9 Mechelen, Design for the Living World Class at HFBK The University of Fine Arts Hamburg, Städelschule Architecture Class – Staatliche Hochschule für Bildende Künste Frankfurt

      October 8th
      Blame it on monogamy

      Guests: Eva Berghman, CW/the Common Wallet project, Kathrien De Graeve

      Many of us were indoctrinated to believe that they desire only one way of moving through the course of life, where pairing is the ultimate goal and the preferable mode of being. This probably has not much to do with the belief in the mental and spiritual profoundness of the unit of two, but rather being motivated by the fear of being left out by a society that socially and economically prioritises the couple. How to re-appropriate institutions that re-appropriated love itself by bounding it to laws, contracts, economy and morals? What if being polyamorous would not only mean having many lovers, but many kinds of love? We could chose to stop considering Polyamory as merely a sexual and romantic practice, and think of it as an ethic that potentially destabilizes the normative hierarchies between human relationships. Monogamy is not just a way to love romantically, it also influences our relations to money, time, jobs, passports, artistic/scientific/academic researches etc... If Polyamory would be the dominant way of relation in the political and social sphere, how would this effect the notions of owning (property, identity, ideas) and owing, of secrets and privacy? How can love subvert and de-construct power structures that use monogamy to move us away from caring collectively?

      10h – 11h30 A session with Katrien De Graeve
      11h30 – 13h A Session with Eva Berghmans
      13h – 14h Lunch
      14h – 15h30 A session with CW / the Common Wallet project
      15h30 – 16h Break
      16h – 18h A discussion through relating the themes of the day to our own practices


      October 22nd
      Love makes schools make love

      Guests: Jan Masschelein, Laurence Rassel, SRG / school research group

      Maybe one day, schools will no longer be considered as merely a protective incubator that prepares one to life outside of it, but rather an engaged environment that influences the world. Think of a society that bases its schools on experiment, reflection and collectivity, independent from the market's need. Schools that produce ideologies and policies, instead of being instrumentalised by them. Schools that gather strangers and differences under the common wish to study public matters in order to challenge and improve them. If ever such a society will exist, it will probably construct its schools as flexible systems that work in acceptance of potential change and disruption, as a way to embody that which is being studied in them. Can schools embrace love as a strategy to create a place of encounter where both the institution and its part takers grow in relation to each other? How can a school base its structure on the same principals it wishes to teach?

      13h – 16h A session with Jan Masschelein
      16h– 18h A session with Laurence Rassel
      18h – 19h Dinner (provided by a.pass)
      19h – 21h Presentation of school models that were developed by a.pass participants

      October 29th
      By putting that which is between us before that which we think belongs to us.

      Guests: Caroline Godart, Elke Van Campenhout

      School is maybe more of a verb than a noun. Its a state of “attentivnes” to the world that one could chose to enter at any time and any place, in the company of others. Within this logic, wouldn't being a student similar to being an artist? Schools and students could be considered as lovers, who commit to each other, but do not wish to control what the other does with the love that they give. To school could mean to study and care for the same thing that you would also be willing to let go of. To - engage with, and - detach from, at the same time. This could be the love that dares to bound spirituality and politics together. If school becomes a verb, teachers would then teach how to school, and maybe love would not be a feeling, but a mode of studying that generates feelings.

      10h – 13h A reading session with Caroline Godart
      13h – 14h Lunch
      14h – 16h A reading session with Caroline Godart
      16h – 16h30 Break
      16h30 – 18h A reading session with Elke Van Campenhout


      October 31st – Nov 5th (Nov 3rd – off)
      Instead of needing to know

      A workshop by Joao Fiadeiro.
      Guests: Elke Van Campenhout, Alex Arteaga

      If in both Love and School an openness to change through encounters with others is practiced, we better develop sensitivities to deal with a change into an unknown path. Perhaps we would be better off improvising through, with and within the unknown instead of needing to know. Maybe improvisation today can be approached as a mode of resistance to tendencies for a life dedicated to an anticipated and defined future. It might seem like stating the obvious, proposing to put improvisation back in the agenda. Life itself is an improvisation, of course, we never stopped improvising. But we can dedicate a special attention to it in order to examine its relevance to nowadays realities. Not the improvisation that aims to emancipate repressed self expressions, neither the one that provides skills and masteries to manoeuvre within individual lives and careers , but an improvisation attitude that may create an actualized set of relations between us and other people, us and other things, us and anything that is not us.

      10h – 18h A workshop with Joao Fiadeiro
      19h – 21h (Nov 2nd, 4th, 5th ) Evening interventions by Joao Fiadeiro, Elke Van Campenhout, Alex Arteaga

      November 12th
      The Love workers

      Guests: An Mertens, Daniela Bershan

      Artistic processes often face the contradiction of critiquing the same protocols they have to comply with, such as deadlines, saleable products, authorship, commissions and competition. Many artists experience frustration by the fact that policy makers, programmers and curators determine the visibility of certain artists/art works instead of others. A Love Worker – could this be a synonym for an Artist? Would this emancipate some practices from having to defend their relevance through the procedures imposed by artistic scenes? Or better than that – could this expand the boundaries of what an artistic work can become?

      10h – 13h A session with An Mertens (in the forest)
      13h – 15h Lunch (+ coming back from the forest)
      15h – 18h A session with Daniela Bershan



      Bleri Lleshi is philosopher, writer, lecturer, youth worker and DJ. He studied political sciences and philosophy at Vrije Universiteit Brussel. At the moment he is writing a ph.d on the struggle of the excluded. Lleshi is lecturer at UCLL where he teaches various subjects on social sciences. His research focuses on topics such as inequality, neoliberalism, youth, migration, identities, and extremism. Lleshi has participated in conferences, debates and media. In 2014, he was considered as one of the most influential immigrants in Belgium

      Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities. Grimonprez's curatorial projects, films and installations have been exhibited at museums worldwide. He published several books and he lectures widely.

      Femke Snelting works as artist and designer, developing projects at the intersection of design, feminism and free software. In various constellations she explores how digital tools and practices might co-construct each other. She is member of Constant, a non-profit, artist-run association for art and media based in Brussels. Since 1997, Constant generates performative publishing, curatorial processes, poetic software, experimental research and educational prototypes in local and international contexts.

      Eva Berghmans is a journalist working for 'De Standaard'. As a journalist she has an excuse to step up to people and ask them all kind of weird and intimate questions. She never took 'because this is the way we have always done things' for an answer and tries to see through the presumptions in our everyday lives. Currently she is working on a research project on polyamory, published on'

      CW/the Common Wallet project is an initiative of 10 people from the art sector in Belgium who share their individual income in one collective bank account. Through this experiment they collectively explore their psychological and cultural dependencies on money and a possible alternative to the monogamous and often lonely relationship one has with the money one earns. CW part takers are : Luigi Coppola, Eliza Demarre, Anna Rispoli, Adva Zakai, Diederik Peeters, Christophe Meierhans, Luca Mattei, Agnes Quackels, Ingrid Vranken, Irena Ramanovic

      Katrien De Graeve is a postdoctoral researcher of the Research Foundation Flanders (FWO), affiliated to the Department of Languages and Cultures of Ghent University, and member of the Centre for Research on Culture and Gender. In 2012, she completed her PhD at the Department of Comparative Sciences of Culture at Ghent University with a critical analysis of intensive parenting practices in Belgian-Ethiopian adoptive families. In her current research project (2016-2019), she has shifted focus to the study of sexuality/romantic relationships and discourses of exclusivity and plurality in light of the normative two-parent nuclear family.

      Jan Masschelein is head of the Laboratory for Education and Society, and of the research group Education, Culture and Society. He studied educational sciences and philosophy at the K.U.Leuven and at the Johan Wolfgang Goethe Universität in Frankfurt am Main and is as well Fellow of the Alexander Von Humboldt-Stiftung. His research can be situated in the broad domain of the formation of educational theory, critical theory, social philosophy and governmentality studies. More concretely it concerns the public and societal role of education and schooling, the role of the university, the changing experiences of time and space in the age of the network, the educational meaning of cinema and camera, the architecture of schools and architecture of the learning environment, a pedagogy of attention, the notion of 'pedagogy', the pedagogical role of teachers and social workers. A lot of attention is directed towards experimental educational practices and towards new forms of documentary and exploratory research.

      Laurence Rassel is currently the director of art school ERG in Brussels. Educated in visual arts and pedagogy, she pursued an interdisciplinary trajectory from new media to the management of an artistic institution. From 2010 to the end of June 2015, she was director of the Fundacio Antoni Tàpies in Barcelona, a foundation created to promote contemporary art and thought, and the study of Antoni Tàpies' work. Previously, from 1998, she was, among others, responsible for Constant, a non-profit organization based in Brussels. Constant connects theoretical thinking, the critical use of new technologies, artistic behavior and political issues in the network. At the same time, she was project coordinator for the Interface3 women's technology training center in Brussels, as part of the European ADA project from 2001 to 2006. 

      SRG/School Research Group is an open group of art practitioners and pedagogues who meet regularly in order to share their interest and experience within school environments in Belgium and study together. 

      Caroline Godart is a writer, professor and dramaturge based in Brussels. She holds a PhD in Comparative Literature with a concentration in Cinema Studies from Rutgers University (USA), where she studied with Elizabeth Grosz. She is now an Assistant Professor of Communication, Germanic Languages and Cultural Studies at IHECS (Institut des Hautes Études des Communications Sociales, Brussels). Her first book, The Dimensions of Difference, was published by Rowman and Littlefield in 2016. It explores the question of difference, and in particular of sexual difference, through three axes (space, time, and embodiment), which are approached both as aesthetic devices and as philosophical concepts in the works of Luce Irigaray, Gilles Deleuze and Henri Bergson.

      Elke Van Campenhout / ELLE is a tantric practioner and artistic researcher. She developed her work partly at the a.pass research institute where she worked for five years under the umbrella of Bureau d’Espoir, a practice on the import, export and redistribution of hope. For this practice she studied political theory, contemporary philosophy and spiritual body practices. Her work is a transdisciplinary practice, linking contemporary philosophy to spiritual body practice, in the development of an ethics of coming together and rethinking our relation to the world we live in. Since 2 years Elke Van Campenhout and Stijn Smeets started up the experimental living community The Monastery, dedicating all their time and resources on the creation of a spiritual life of devotion, alternative economies, and ritual composition.

      João Fiadeiro belongs to a generation of choreographers who emerged in the late 1980’s and led to the emergence of the Nova Dança Portuguesa. In 1990, he founded the workshop RE.AL Company that supported the creation and dissemination of several choreographers and their works, which were regularly performed in Europe, the United States, Canada, Australia and South America. Real Time Composition is a project that he has been developing for twenty years. In parallel, he has organized several workshops in various training courses, schools and universities throughout the world. João Fiadeiro is currently completing a PhD in contemporary art at the University of Coimbra in Portugal.

      Alex Arteaga’s research integrates aesthetic and philosophical practices relating to aesthetics, the emergence of sense, meaning and knowledge, and the relationships between aurality, architecture and the environment through phenomenological and enactivist approaches. He studied composition, music theory, piano, electroacoustic music, and architecture in Berlin and Barcelona and received a PhD in philosophy from the Humboldt University for his dissertation Sensuous Framing: Fundamentals of a Strategy to Realize Conditions of Perception. From 2008 to 2012 he was a post-doctoral researcher at the Collegium for the Advanced Study of Picture Act and Embodiment at the Humboldt University and visiting professor at the MA Choreography at the Inter- University Centre for Dance Berlin. In 2012 he led the research team at the Berlin.

      An Mertens is artist, writer, and core-member of Constant, an artist run organisation for experimental art and media in Brussels. Next to a practise of literary creation using algorithms, she is also a nature guide in Forêt de Soignes and writing fiction with a particular interest for the non-human presences in woods.,,

      Daniela Bershan aka Baba Electronica is a love worker using visual arts, performance, music making and social organization around topics of collective study, care-making and practices of (non-sexual) intimacy. In her work she conceptualizes not just the characteristics of her materials but with and through them the skills and objects they can be read with: the DJ, the remixer, the researcher, the love-worker are dissecting choreographies and scores in order to make tangible how they operate; and enable to organize relations otherwise. They are committed to experiment and circulate with queering tools. Bershan co-founded and directed FATFORM (NL), and is co-organizing ELSEWHERE & OTHERWISE at Performing Arts Forum (FR). Her works, projects and performances have been presented worldwide.


    • end presentation
    • performative publishing
    • postgraduate program
    • PIECE ME BACK TOGETHER (AGAIN) 03 September 2018
      posted by: Lilia Mestre
    • Leo Kay / Elen Braga / Eszter Némethi / Geert Vaes / Hoda Siahtiri
    • 14 September 2018
    • 16 September 2018

      On September 14­, 15 and 16 Leo Kay, Elen Braga, Eszter Némethi, Geert Vaes and Hoda Siahtiri come together in concepts of identity, narratives of possible futures, liquidity and participation. The five artist researchers take over Elizabeth Park for the weekend presenting an undercover carnival of experiences. All of which welcome audience into tangible relationship with the material.

      The presentations include: Eszter Némethi’s Border Stories a conference-­machine weaving together magic, the uncertainty of definitions and war; Hoda Siahtiri’s intimate expanded film experience concerning pain and healing; Elen Braga’s site­ responsive, interactive exhibition exploring identity, gender roles and image construction through multi­-threaded visual and sonic narratives; Geert Vaes's Live Talk Show: an awareness experiment at the crossroads of Therapy Street and Tourism Avenue where the public wear hyper real masks & explore the possibility of nurturing empathy for others; & Leo Kay’s Bakery Of Slow Ideas exploring sourdough and vegetable fermentation as an action; a ritual & a space for dialogue, critiquing the collateral damage caused by the continual drive towards hyper productivity and self presentation.

      a.pass -advanced performance and scenography studies - is an artistic research environment that develops research on performativity and the creation of space, in an international artistic and educational context. The environment encourages diverse understandings of artistic research, the development of (post-­disciplinary or undisciplined) perspectives and experimentation with methodologies and strategies. a.pass is concerned with reflections on the role and responsibility of the artist researcher within the vital and precarious economic, political and global context of the here and now.

      Opening hours:
      From 12am to ­11pm. With formal presentation from 16:00

      12:00 > 21:00 Bakery of Slow Ideas process- Leo Kay
      14:00 > 21:00 Vroom - Elen Braga
      16:00 + 18:00 Border Stories - Eszter Némethi
      20:00 > Singing the Silences - Hoda Siahtiri
      21:00 > Bakery of Slow Ideas Breaking Bread Presentation- Leo Kay
      18:30 + 22:00 > The Who Are You Talking To Talk Show- Geert Vaes
      (Sunday at 17:00 + 19:00)

      Elizabeth park / De Platoo
      1081 Koekelberg Brussels, Belgium

    • postgraduate program
    • a.pass meets School of Love
    • block 2018/III
    • a.pass meets SOL / School Of Love A curatorial proposition by Adva Zakai
      03 September 2018
      posted by: Lilia Mestre
    • apass
    • apass
    • 03 September 2018
    • 30 November 2018
    • a.pass meets SOL / School Of Love

      From Sep till Nov 2018 a.pass and School Of Love will start a flirt with each other, develop a relationship and hopefully make (produce) love.

      SOL is a collective platform that was initiated some years ago*, inspired by the interest in both love and school as charged with potential to generate new politics and relations in the world. SOL is practiced through regular meetings, but follows no curriculum. Instead, it develops a spontaneous program through the presence and interest of its participants. SOL is basically an invitation to hang out. But to hang out deeply. To practice school as a place of free time – free to study things as they appear, separated from the dependency on the time and space of social order and production. And to practice love – Not the kind of love that is generated through affirmation of who we think we are, but love as an act of giving by allowing it to transform us.

      And now SOL is here, at a.pass, with a call to the participants to engage with their artistic researches through love itself. a.pass and SOL will get together, without knowing ahead what is going to happen, but with the trust that everything we live outside of SOL – artistic researches, experiences and desires – will manifest themselves inside SOL in a way we could not imagine elsewhere. And once this happens, maybe the difference between art and love will not be so obvious anymore..

      Alongside the weekly meetings of SOL at a.pass, a program of study days and workshops will look into various aspects that bring together love, art, school, improvisation and politics. Those sessions will be led by: Johan Grimonprez, Bleri Lleshi, Femke Snelting, Brandon LaBelle, Eva Berghmans, CW/ Common Wallet project, Jan Masschelein, Laurence Rassel, Caroline Godard, Elke Van Campenhout, João Fiadeiro, Alex Arteaga, An Mertens, Daniela Bershan.

      Study Days Program

      Joining in:
      SOL will meet every Tuesday at a.pass and is open to anyone interested to take part. All welcome! A special introduction day into SOL: Tuesday 3rd september 10h – 18h.

      STUDY DAYS and WORKSHOPS – Non a.pass participants who are interested to join – please contact a.pass or Adva

      * Adva Zakai is a part of the SOL collective. SOL's protocol can be practiced by anyone and anywhere, be modified and transformed through the encounter with a new context.

    • end presentation
    • performative publishing
    • postgraduate program
    • This is 1000 liter fuel. So - & Tectonic Friendship book launch 21 May 2018
      posted by: Lilia Mestre
    • Luisa Fillitz / Esther Rodriguez-Barbero Granado / Eunkyung Jeong / Marialena Marouda / Ekaterina Kaplunova / Shervin Kiarnesi / Lilia Mestre
    • 24 May 2018
    • 26 May 2018
    • case of: Lilia Mestre
    • This is 1000 liter fuel. So - & Tectonic Friendship book launch



      This is 1000 liter fuel. So-

      For this End-Presentations, six researchers come together in concepts of absence, invisibility, history and knowledge. They research in various ways to bring what seems to be ungraspable in the construction of subjectivities to the fore. Subjectivity here, not as an individual subjectivity, but one that collectively builds and positions (in transformation) outside of oneself. Subjectivities as constituted by cultural, economical, social and other interactions and seen as complex narratives that mediate our perception(s) of the world. How do we make sense of what is pertained as ‘real’ and how through the generalization of such a standpoint one is unable to connect with the singular, and its inherent complexities? What ethical utterances can appear from this way of addressing the world?
      Following up on the idea of co-making worlds a.pass positions itself as a collaborative environment for the investigation and expression of artistic research. The media of the research are multiple and often combined. The cross disciplines and their interaction forces each specific (or even disciplinary) methodology to break down and instigate the construction of singular ways of doing/ thinking. This approach orients artistic research out of a categorical way of understanding knowledge production in the arts as much as it opens up distinctive and particular forms of addressing relationality, we could call undisciplined.

      The work of the six researchers entails combined forms of research on what can be called transdisciplinary research in order to open up the complexity of the objects of study through combining experiential approaches.

      Luisa Fillitz's research positions itself on the relationship between physical and metaphysical realities and questions the predetermined borders of an effect we take as ‘real’. Esther Rodriguez-Barbero Granado works in the domains of architecture and body as constructors of space. Eunkyung Jeong, through a daily drawing practice, researches the idea of time within diverse forms of existence as the stone and the self. Marialena Marouda’s research on the ocean problematizes scientic knowledge as the single epistemology of nature. Ekaterina Kaplunova develops a systematic approach to family relations and cultural lineage in relation to the multifunctional artist. Shervin Kianersi Haghighi addresses the undocumented performance of everyday life as an invisible event produced within the confines of Art.



      Medium Score -Tectonic Friendship & End Presentations  Writing Score

      a.pass book launch @ Brew with a dialogue facilitated by Philippine Hoegen and chocolate cocktails by Shervin Kianersi Haghighi!

      We will engage in a collective discussion with Philippine Hoegen and will perform parts of the publication.

      This publication serves the SCORESCAPES research - scores as pedagogical tool by Lilia Mestre and the End-Communications of six a.pass researchers. Medium Score builds on the previous iterations of scores as tools to practice dialogue and intersubjective formats for exchange in artistic research.

      Before finishing the a.pass program in May 2018, the six researchers Luisa Fillitz, Esther Rodriguez-Barbero Granado, Eunkyung Jeong, Marialena Marouda, Ekaterina Kaplunova and Shervin Kiarnesi Haghighi worked for a month and a half in an adapted Writing Score to produce this publication.

      Design: Miriam Hempel



      END-PRESENTATIONS @ DecorAtelier 24 and 25 May from 17:30 till 22:30

      Rue de Liverpool 24, 1080 Molenbeek-Saint-Jean

      BOOK LAUNCH Medium Score -Tectonic Friendship & End Communications  Writing Score

      @ Brew 26 May from 17:30 till 19:30

      1 Rue du Pene, 1000 Brussels




      Milieus, Associations, Sieves and other matters

      some orientation guidelines


      Today, to the question ‘what is technoscience?’ the answer is: it is the medium of knowledge. Just as technology is not the instrument of science but its epistemological framework, so it is not the instrument of our communication, but our medium of meaning. Everyone seems to admit today that we are inhabited by our habitat, built by our niche, processed by our technical environment, which is neither external nor peripheral, but inherent to our being and to all meaning. Now it seems obvious that it is one and the same milieu that surrounds and separates us, and that which crosses and connects us, but this environment has become technical. The co-birth of humans and technology means that the latter is both our medium (the midpoint through which individuals maintain each other) and our environment (our space-time). The technical environment perfectly illustrates the idea that our environment or what surrounds us is actually in our midst (au milieu de nous). That technology is both our exteriority and our interiority, our cage and what takes us away from it. How, in an artistic research environment, do these ontological, ethical and political contemporary concerns resonate?



      Composing a processual environment, the block consisted in a sequential ensemble of collective dispositives that were proposed to be appropriated, interpreted, developed and problematised by the artists and researchers. A metastable milieu in ‘crisis’ which evolved by shifting to new dimensions out of a series of analyses and temporary resolutions of problematics linked with the artists and researchers’ projects considered as technologies.

      The basic structure was an arrangement of 1-self organised interactive events intersecting with 2-a series of three theoretical study days and 3-a series of advanced forms of feedback.



      Organisation / Trajectory


      1. Twenty two self-organised interactive events of different dimensions : the C.R.I.’s
      (from May 31st to July 19th)

      The acronym C.R.I. stands for Collective Research Interface. The researchers were invited to compose and propose participatory events that one could identify as shareable practices out of/around/through their individual researches. Instead of qualifying -and reducing- simply the object by ‘collective practice’ or ‘workshop’, the name ‘Collective Research Interface’ produced momentary shared interstitial spaces between different scales (private, public, cultural, social, personal, artistic, aesthetic, political and so on…) and enabled and supported a certain mode of attention, the one of technical mentality. Experiencing with this mentality was possible as the mode of production of the C.R.I.’s followed a principle of compositionality. The performativity and meaning of the C.R.I’s, as complex technical ensembles, were determined by the meanings of their constituent parts and the modes of relating/assembling used to combine them. A structuring loop was formulated : invent, invite, do, participate, share, document, discuss, reflect, problematisatise… and back again. The researches were not only presented but organised into shareable dispositives, that then were described, analysed, filtered driving the attention to their resonances in term of constructions and modes of assemblages. Their technological qualities.


      2. Three theoretical study days

              a/ The diagram and the residual (June 12th)
      The program visited the artist residency project ‘Villa Blanche’ within the Solvay Parc in Brussels with Martino Morendi (philosopher-hacker-activist) and Pietro Fortuna (philosopher-artist). The day was articulated around the tension between two conceptual outlines, two proposals that sketched complementary or opposite modes of understanding reality. The diagram, as the systematic representation of a set of relations between elements, where logics, organicism and industrial engineering converge in the effort to govern and organize these relations and the residual, as the irreducible part that remains beyond one's hunger to explain and describe, that recedes and escapes any attempt of organization and rationalization.
      United if only by their distance from the subject-object mode of disclosure, Martino Morandi and Pietro Fortuna oriented us through a series of ‘objects’ like an elegy by Rilke, passages from von Uexküll and Agamben, a bourgeois villa, a tree, a giant Olmec head made of stone, the Solvay ammonia-soda process ... and a series of readings of objects related to every researcher’s art and research.

              b/ on Participation (June 17th)
      The program visited the project ‘Precarious Pavillon #1 - Don’t eat the microphone’ -an artistic project initiated by Veridiana Zurita and Petra Van Dyck, curated by Michael Vandevelde and co-produced by Vooruit- happening in the garden of the Psychiatric Hospital Dr. Guislain in Ghent.
      The study day was dedicated to the critique of participatory art and ideas of participation. Don’t Eat the Microphone represented for us a grey zone where we could think but also be challenged in our certainties about the nature and function of participation. Currently focused on the development of the Collective Research Interfaces and exploring the value of several modes of participation, we wanted to problematise the issue(s) in a problematic environment.             
      What is participatory art? What does it mean to participate?
      What are the relations between participatory art and utopia?
      Which kind of public space and social fabric participatory practices do (and do not) produce? What are the relations between participatory art and communicative capitalism?
      What is participation-as-injunction the diagram of? Is it still possible not to participate? Is it still possible even to imagine non-participation? How to foster (non) participatory arts and (un) communicative thus militantly collective aesthetic educations of possibilities? After a phase of various reservations expressed about the optimistic rhetoric accompanying collaboration and participation, could we now be entering a new phase of a practical re-invention of participation?
      This tentative list of problems and questions guided our study day displaced in the frame of Don’t Eat the Microphone. We read some Hal Foster , Chat Rooms / some Claire Bishop, Artificial Hells / some Yves Citton, Ecology of Attention / some Derek R. Ford and Tyson E. Lewis, On the freedom to be opaque monsters, and discuss in various ways our doubts on participative art with the curators of ‘Don’t eat the microphone’ project and the patients of the psychiatric hospital.

              c/ Poieien (July 14th)
      Invited by the summer program to structure a day around concerns traversing researchers and artists when thinking about methodologies and their politics, Bojana Cvejic, then-curator of the research program at p.a.r.t.s., guided the group of researchers and artists through a critical reflection that she currently conducts on methodologies, opposing practice and action to poiesis. During the encounter with the researchers of a.pass, she proposed two points of entry: how poetry pierces through other mediums than text and poiein, as in how to make, compose, form... more than do and act... a kind of thought that arises from within, or close to, artistic practice that in turn becomes an instrument of looking past art. She accounts for it by “poetics”, using the term to emphasise the productive power of thought as opposed to the genre of interpretation that classifies specimens of kinds. Bojana Cvejic shared that poetics entails engagement with art in imaginary and speculative senses that ‘theory’, tout court – in the way that it has become the superstructural element of art production in capitalism – no longer enables.
      The participants did map out their imaginary around their matters of concern, read some texts and discussed with Bojana.



      3. Three 'Sieves' proposed by three human 'analogous algorithms'

      The aim of these three advanced modes of feedback named ‘Sieves’ -performed by three ex-a.pass researchers identified as 'analogous algorithms'- were to create conditions that could define practices of creative feedback experimentations on artistic researches envisaged as technical dispositives to investigate how each rhetoric of presentation and its digestive techniques could be expressed in terms of data model (Sina Seifee in May), in terms of recipes and cook books (Gosie Vervloessem in June) and in terms of idiotic practice (Vanja Smilianic in July)


              a/ Sina Seifee / Filters
      The basic question of 'Filter'  was : what happens when linking the symbolic space of data-model to the (relational, procedural, emotional) qualities of the researches of participants? The work started with working on/with the feedback material produced during the block’s opening week and processing this material in diagrams. The proposal centred on the notion (and practice) of topological analysis to investigate questions of connectivity and boundaries, in order to find out what remains invariant as a result of transformation. This did direct us to construct ‘transversal objects’ actualising what connects and joins, what delinks and disconnects in the culture of each participant researches.

      some documentation of the process here


              b/ Gosie Vervloessem / Vision and Digestion
      The protocol was to bring one’s research and start to think about the taste of it, the way it could move through one’s intestines and try to visualise the tools and methods one would use to transform one’s questions into a dish. How to boil down questions, how to crystallise the background dramaturgy of researches? As a way of documenting the symposium, Gosie proposed to write  the recipes of the ‘dishes’ and to edit the cookbook out of the ‘digested’ researches.


              c/ Vanja Smilianic / Idiotic Mandala attacked by a parasitic octopus
      The Idiotic Mandala  -indicating a weird circular configuration with a centre that radiates outward into compartmentalised areas deranged by the unvited presence of a creeping octopus-  asked to switch off one's rational thinking and opened it up to wandering and wondering. The practitioners were invited to introspectively transform the Vicious Circle ( sad passions at work disguised as set of tools and technologies that became behaviour patterns in one's research) into the Virtuous Circle (creating a universe in which idiots are able to act)




      Milieus, Associations, Sieves and other matters

      some justifications


              Thematics, Research questions, approaches, potentials, methodologies, relevance

      In response to a proposed frame given by a.pass coordinator and research center curator Lilia Mestre to structure the block in relation to the Senselab concepts and practices, postmaster program curator Pierre Rubio choose to design entry points to different set of practices and theoretical notions accessing a central theme for Senselab and him, the one of technical mentality. A few years ago SenseLab published a special issue of Inflexions ‘Simondon : Milieux, Techniques, Aesthetics’ and Brian Massumi’s lenghtly interview ‘Technical mentality revisited’ was published in Parrhesia. Rubio, since 2010, regularly revisits Simondon’s texts in relation to his practice as artist/dramaturge and observes the growing interest for the french philosopher's ideas in the academic and artistic fields. He curated an a.pass block in 2014 -'Milieu(s)'- that problematised some aspects of technical mentality within a collectively constructed ephemeral public school dispositive.  The possibility of considering artistic researches trajects and projects as technical objects and experimenting with technical mentality seemed to be relevant for this block especially in the vicinity of Senselab's residence invited by a.pass Research Centre within the 'Parallel/Parasite' project.


      -A poly semantic space to activate problematisations and progressive resolutions through concretisation

      -The individual CRI’s as case studies of non-autonomous technological open objects

      -Constructivism, technical mentality and artistic research

      -Simondon and artistic research : a promising diffractive equation


      ... to be continued...







    • postgraduate program
    • workshop
    • block 2018/I
    • Making / Conditions
    • crypting currency, etc. 09 March 2018
      posted by: Nicolas Galeazzi
    • Alberto Cossu
    • a.pass 4th floor / 10:00 to 17:00
    • 16 March 2018
    • 16 March 2018
    • crypting currency, etc.
      Next to the event Reclaiming Economy - it's art, Alberto Cossu provides a workshop for us during the day of the 16th March. He will give us a closer insight into his practical experience with the common coin crypto-currency he helped to developed at MACAO and his profound research into the self-governance of that place. 

      Macao is an independent center for art, culture and research. Avoiding the creative industry paradigm, and trying to innovate the old idea of cultural institutions, we started to consider art production as a viable process for rethinking social change, elaborating independent political critique, and as a space for innovative governance and production models. Our research concerns the labour conditions in the creative industry and cultural sector, the right to the city and new forms of organization and technological solutions for cultural production. Macao is currently based in a former slaughterhouse in the middle of a huge abandoned area not so far from the center of the city; it has a cross-sectorial program hosting performing arts, cinema, visualarts, design, photography, literature, newmedia, hacking and the meetings of citizens committees. It is coordinated by an open assembly of artists and activists.
      Alberto is since the beginning active in this place  and has developed as a sociologist specific research methodologies tin relation with the arts to understand and improve their economic and self-governing mechanisms.
    • postgraduate program
    • seminar
    • block 2018/I
    • Making / Conditions
    • Reclaiming economy - it's art anyway an evening on the self-governing of fairness
      08 March 2018
      posted by: Nicolas Galeazzi
    • Alberto Cossu / Ronny Heiremans / Nicolas Galeazzi
    • a.pass / starting at 19:00
    • 16 March 2018
    • 16 March 2018
    • case of: Nicolas Galeazzi
    • Reclaiming economy - it's art anyway

      In the last couple of months a.pass was investigating the impact of economic and institutional conditions onto artistic research practices and the possibilities to impact those conditions through the very same artistic practices. Institutional critique and alternative economic concepts are strongly related when it comes to the creation of differing conditions.

      SOTA, state of the arts, is engaging since several years in influencing cultural policy in Belgium. Now SOTA proposes a yearly summer camp as a gathering of all workers in the cultural sector to discuss the notion of fair practice and the creation of an Almanac as an evolving political instrument. 

      For the evening of March 16 a.pass has invited together with SOTA Alberto Cossu to meet with Ronny Heiremans, who both engage with their practices in different ways of discussing and changing the conditions for artistic practices.
      In the Project CAVEAT Ronny Herremans and Katleen Vermeir take contracts used in the Belgium art context as a starting point for a reconfiguration of the position of the artist in society. In their investigation they look into the legal, social and artistic consequences of the structuring framework a contract provides and use it as a lens to look at questions of authorship, labour situation, price politics or political solidarity.

      As sociologist and activist, Alberto Cossu in contrast, is situated in the conditions of an occupied space in Italy – the MACAO in Milano that he joined since its inception in 2012. MACAO is an independent center for art, culture and research. Rejecting the creative industry paradigm, and innovating the idea of cultural institutions, MACAO considers art production as a viable process for changing social, political and economic conditions. MACAO developed its own crypto-currency, provides a context for the research on innovative governance and discusses the labour conditions in the cultural sector.

      Ronny Heiremans and Alberto Cossu are meeting each other this evening the first time to discuss principles of self-organisation and the creation of condition under which artistic practice can unfold a reclaimed economy that serves the common livelihood.

    • postgraduate program
    • seminar
    • block 2018/I
    • Making / Conditions
    • Performing knowledge. Lecture-performances in perspective
      26 February 2018
      posted by: Nicolas Galeazzi
    • Pieter Vermeulen
    • ARIA - Antwerp
    • 09 March 2018
    • 09 February 2018
    • Performing knowledge.

      Lecture-performances have gained increasing attention in recent years, in the wake of the ‘academic turn’, which frames artistic praxis as a form of research. Its genealogy can arguably be traced back to the emergence of performance art in the 1960s, with canonical examples such as Robert Morris, Dan Graham, Andrea Fraser and Joseph Beuys. Contemporary artists like Sharon Hayes, William Kentridge, Rabih Mroué, Hito Steyerl, Amalia Ulman, Walid Raad, Bruce High Quality Foundation and many others are now continuing this historical legacy. Sharpening the relation between art and knowledge, their work can be situated at the intersection of visual art, lecture and performance.

      How to analyse these different forms of knowledge transmission? What kind of knowledge are we dealing with and how is it being performed? What is the role of the performer's body, and is it possible to move beyond the divide between subject and object? Or, for that matter, between the spectator and performer, or between the academic and artistic realm? Would teaching qualify as a form of art and/or research? The objective of this research seminar is not to canonise the lecture-performance as a ‘medium’, but to examine its multiplicity at the intersection between the arts and academia.

      Performing Knowledge. Lecture-Performances in Perspective consists of a seminar program at ARIA (by registration only) and a public program at Extra City Kunsthal.


      Contributions by:

      Venue daytime (seminar): ARIA, Lange Sint-Annastraat 7, 2000 Antwerp (room S.S208)
      Venue evening (public) at Kunsthal Extra City, Eikelstraat 25-31, 2600 Antwerpen-Berchem

      Co-curator: Michiel Vandevelde



      ARIA, Lange Sint-Annastraat 7, 2000 Antwerp (room S.S208)

      9:30 - 10:30  Welcome and introduction by Pieter Vermeulen

      10:30 - 12:00  Doing Knowledge: Exploring the Tresholds of Lecturing and Performing, Dr. Lucia Rainer

      12:00 - 13:00  Lunch break

      13:00 - 14:00  Some Comments Concerning my Statisticon Neon, Dr. Warren Neidich

      14:00 - 15:00  The Case of the Ridiculous Curator, or How Transfigurative Recontextualisations May Reveal Authentic Truths, Lecture-performance by Toon Leën

      15:00 - 15:45  Round table discussion

      15:45 - 16:30  Performance by Pia Louwerens

      16:30 - 17:00  Concluding remarks by Pieter Vermeulen


      PUBLIC PROGRAM, Kunsthal Extra City, Eikelstraat 25-31, 2600 Antwerpen-Berchem

      19:00 - 20:00  Warren Neidich: The Brain Without Organs in Cognitive Capitalism (lecture)

      20:00 - 20:30  Bryana Fritz: Indispensible blue (lecture-performance)

      (Photo: Warren Neidich, Some Comments concerning my Statisticon Neon, Mana Contemporary, New Jersey, 2015)


      Register HERE!!


      The Antwerp Research Institute for the Arts, ( is collecting these personal details for the organization of the ARIA research seminar 'Performing knowledge - Lecture-performances in perspective'. Under no circumstances will these details be given to third parties. If you want to change your personal details or have them removed from our database, please inform us using the address above. More information about our privacy policy:



    • 1. Entrepreneur & Creative Economy

      art and economy

      Hans Abbing (2010). Why are artists poor? The exceptional economy of the arts. Amsterdam University Press.


      Tatiana Bazzichelli (2013) Networked disruption. Aarhus: Digital Aesthetics Research Center, 73.

      PhD thesis

      creative economy

      Richard Florida (2002) The economic geography of talent. Annals of the Association of American geographers, 92(4), pp.743-755.

      creative economy flag-raiser

      Richard Florida (2005) Cities and the creative class. Routledge.

      Bridgstock Entrepreneurship Education in the Arts

      quadruple bottom line theory, career self-management

      Hartley et al Key Concepts in Creative Industries

      entrepreneurship and innovation

      creative economy critique

      Banks, M. and O’Connor, J. (2017) Inside the whale (and how to get out of there): Moving on from two decades of creative industries research. European Journal of Cultural Studies, 20(6), pp.637-654.

      Timely self-critique from apologetic creative economy former enthusiasts. Creative cities, cluster theory, Landry, Florida etc.

      Paul Chatterton (2000). Will the real Creative City please stand up?. City, 4(3), pp.390-397. [online]


      Banks, M., 2010. Craft labour and creative industries. International journal of cultural policy, 16(3), pp.305-321.

      Richard Sennett and craft.

      Anthony Davies (2007) Take me I’m yours: neoliberalising the cultural institution. In Mute Vol 2 No 5 It’s not easy being green [online]

      A principle contradiction: the content of the institution’s discourse can be utterly inverted in the institutional form.

      Jones, C. and Murtola, A.M. (2012) Entrepreneurship and expropriation. Organization, 19(5), pp.635-655.

      Entrepreneurship as individual activity which rests on appropriation of production in common.

      Angela McRobbie 2016. Be creative: Making a living in the new culture industries. John Wiley & Sons.

      Book. Forensic examination of the UK cultural economy.

      2. Diverse Economies


      ..& research

      Butler, J., 1993. Critically queer. GLQ: A journal of Lesbian and Gay Studies, 1(1), pp.17-32.

      Performativity as a research strategy.

      Queer theory.

      Law, J. and Urry, J. (2004) Enacting the social. Economy and society, 33(3), pp.390-410.

      Sedgwick, E.K., (1997) Paranoid reading and reparative reading, or, You're so paranoid, you probably think this introduction is about you. [online]

      .. & art

      Brook, Donald. Experimental Art [online]

      Art as ‘mimetic innovation’

      Wright, S. (2013). 1:1 Scale, Toward a lexicon of usership. Van Abbemuseum. [online]

      Art on a 1:1 scale

      .. & economy

      Çalışkan, K. and Callon, M., 2009. Economization, part 1: shifting attention from the economy towards processes of economization. Economy and Society, 38(3), pp.369-398.

      Performing the economy / economy as performance.

      Çalışkan, K. and Callon, M., 2009. Economization, part 1: shifting attention from the economy towards processes of economization. Economy and Society, 38(3), pp.369-398.

      Callon, M., 2006. What does it mean to say that economics is performative? [online]

      Diverse economies

      JK Gibson-Graham and Ethan Miller (2015) ‘Economy as ecological livelihood’. Manifesto for Living in the Anthropocene, pp.7-16.

      Rethinking economic action as a space for ethical negotiation. In economic geography, JK Gibson-Graham challenges the idea of “the economy” as a unified, capitalist domain, to instead reframe it as diverse practices and interrelationships of sustenance and livelihood. This “diverse economies” approach is grounded in methodologies from feminist theory, which emphasise the need to recognise, theorise and engage with diversity. It constructs a different vision of "economy" where a host of informal, underground, non-market, collective and co-operative behaviours and activities are considered not only prevalent, but also primary and consequential.

      JK Gibson-Graham. (2008) 'Diverse economies: performative practices for other worlds'. Progress in Human Geography, 32(5), pp.613-632.

      Gibson-Graham, J.K., 1999. Queer(y)ing Capitalism in and out of the Classroom [1]. Journal of Geography in Higher Education, 23(1), pp.80-85.

      Zanoni, P., Contu, A., Healy, S. and Mir, R.,(2017) Post-capitalistic politics in the making: The imaginary and praxis of alternative economies. In Organization, Vol. 24(5) Sage Publications pp 575-588

      Gibson-Graham, J.K., 2014. Rethinking the economy with thick description and weak theory. Current Anthropology, 55(S9), pp.S147-S153.

      3. Radmin

      Art and admin


      Andrea Phillips (2015) Invest in What [online]

      Arts organisations' structures shape their policies. A history of artistic work proposing radical forms of cooperation

      vs potlitcally endorsed models of entrepreneurship.

      Caroline Woolard (2017) Ourgoods, BAMBAPHD [online]

      Art-based critique of art economies. Objects and contexts: together, objects

      and contexts create space for reflection, circulation, and social transformation.

      Angela McRobbie (2010) Rethinking Creative Economy as Radical Social Enterprise. Variant Magazine


      How does teaching students critical understanding tally with also encouraging self-reliance and entrepreneurship?

      Proposes a renewal of radical social enterprise and co-operatives as self-organised collectives, to provide working structures for diverse occupations, including artists.

      Business studies

      Martin Parker Art as Work

      Critical management studies perspective on Art. Being an artist is supposed to expose the constraints of rules by bending / breaking conventions .. but art is work and involves rules, and work is creative and produces difference.

      Matthew Manos (2012) Business as a Medium in Hertz, Garnet. Critical Making. 1st ed. [United States]: Telharmonium p.27-32. [online]

      Business as a medium for critical enquiry and meaning-making, to change perceptions.

      A means of designing a future the entrepreneur would like to inhabit.

      Business as a non end-dated project; an ultra accessible medium; a platform for experiments.

      Martin Parker et al (2013) ‘Horizons of possibility’. In: Parker, M., Cheney, G., Fournier, V. and Land, C. eds., The Routledge companion to alternative organization. Routledge.

      Assimilation and recuperation (Boltanski & Chiapello) vs operating in the cracks.

      Essential laboratories for post/non/modified capitalist practices, ‘less-governed’ (Foucault).

      Critique is a limited strategy if the real goal is social transformation. (A positive critique which brings new things into the world).

      Does the scale of resistance have to match the scale of the problem?

      Calls for a radical insurgent entrepreneurship as form of social creativity. Changes in daily practice, invents futures.

      Entrepreneurship as a set of unstable, untested, potentially transformational practices of collective invention and reorientation.

      Craig Deegan (2016)

      Twenty five years of social and environmental accounting research within Critical Perspectives of Accounting: Hits, misses and ways forward. Critical Perspectives on Accounting, 43, pp.65-87.

      Critical accounting.

      The transformational potential of accounting, vs producing incontravertible facts.

      Accounting as a means of identifying which action one must defend.

      Systems thinking

      Gregory Bateson (1972) Steps to an Ecology of Mind

      Form is the primary mode of communication, understood analogically. Significant meta-level change requires a change of context as well as content.

      Bruno Latour (2011) What’s the story? Organizing as a mode of existence. In: Passoth, JH., Peuker, B. and Schillmeier, M., Agency without Actors.

      Organisation staves off disorder. Being-in-action, organisations as scripts. Organisations as a flock of sparrows.


      Janelle Orsi

      Bronwen Morgan

      Morgan, B. and Kush, D. (2015) 'Radical transactionalism: legal consciousness, diverse economies and the sharing economy'. Journal of Law and Society 556-587

      Bronwen Mogan and Declan Kuch Radical Transactionalism

      An expansive concept of enterprise as ‘any productive activity that might bring us sustenance’.

      The legal, financial and organisational structures of our current economy do not sit comfortable with small-scale sustainable economy initiatives.


    • end presentation
    • performative publishing
    • postgraduate program
    • If a question could lie 25 January 2018
      posted by: Nicolas Galeazzi
    • Manchesterstraat 17
    • 25 January 2018
    • 27 January 2018
    • If a question could lie

      a.pass end-communications is a public event for the sharing of the one year trajectories of the a.pass researchers. It’s a moment to bring to a larger public the questions and methods that their practice of artistic research at a.pass entailed. The event focuses on the sharing of their processes and on the invitation to reflect on the emerging topics and concerns of their research question(s) in the context of artist practice today.

      'If a question could lie' brings forth or wants to insist on the agency of the question. It aims to raise the issue of the appearance of criticality and its location. It's as much claiming the right to pose a question as opening its ability to gather around a multitude, a poly. It could be read as a dating strategy. Saying, I wouldn't be here if I weren't interested. The I being the issue and the subject, at the same time. The set up for this End-Communications addresses the agencies of ‘performing’, ‘publishing’, ‘curating’ and ‘soft architecture’ as strategies for artistic research. It focuses and exposes text, performance, installation, technological apparatus as chapters, editorial parameters, contexts for the reader-audience. It wants to bring together a ‘collection’ or ‘assemblage’ of performative materials that are autonomous on themselves but brought together in relation to one another in a permeable physical space. These materials are the indicators of processes of thinking and doing which are not conclusive on themselves but that are on the edge of making emerge or unfold questions, meanings, feelings.

      Over two days Zoumana Meïté and Sven Dehens invite you to come, see, listen and share. They will present their means for changed ways of reading, pointing and publishing.

      Zoumana Meïté 
      Practiced Dramatic Arts in different context (street, contest, Studies, social, laboratory, company, outside look, postmaster...). He is working as staging dramaturgist in Brussel.

      Sven Dehens (°1990, BE)

      These evenings on 25th and 27th January start at 19h till about 22h
      We recommend you come for the full evening.


      In addition to the end-communications two episodes of the Close Encounters series will take place in the afternoons on the same location. 

      25 January – Marcelo Rezende in conversation with Adrijana Gvozdenović – – 15h to 18h  – public talk – more info

      27 January – Femke Snelting, Nicolas Malevé & Pierre Rubio – Close Encounters – 15h to 18h  – public talk -  more info


    • postgraduate program
    • block 2018/I
    • Making / Conditions
      24 January 2018
      posted by: Geert Vaes
    • 01 January 2018
    • 29 April 2018
    • case of: Geert Vaes

      24 JANUARY 2018 at the TOPOS, close to my INTAMISILLY ROOM

      The space is being formed. Slowly it's taking shape. Slowly the condition emerges by itself. Where did it come from? Hard to say. It's a collection of memories, past actions and future musings and possibilities. It's at the crossroad of then and then. Maybe it's even now. But to be able to say that, to make such a statement, more time should be spent in and with the actual space/room/condition. I am creating a condition for myself. But it's a very liquid one, in the sense that nothing is being set in stone. Two walls have wheels, one wall is a curtain, the door is aluminium spaghetti,... But the mental space is quite set... This condition. I create. I am that condition. Why am I creating this condition? Out of habit. That's true... It's an habitual environment. It's the kind of place that brings me to results. BUT! Results I know / like. Is that helping my research? It's a way. A tool. Let's stay open for other options, possibilities, methodologies...

      So. The space I am forming. My plan for this block is action. Action in my case leads to form. Shaping. I need the material to gain insight. I need to use my body. Put it in shapes, forms, molds. Shapes that are not me. Performing. Acting. Shapeshifting is my 'métier'. That's the backpack I am carrying. The words I was shaping in the previous block seem to be lost. Somewhere. In the new space I'm building? I know my research had something to do with You and I, with 'using masks as tools of awareness'. That sounds so good. 'A tool of awareness...'. But I lost what it means or even meant. I don't know anymore what I'm doing. But I'm not worried. I'm in the dark building a space. And I'm confident working and doing will bring clarity. At times my thinking and theorizing in the last block seemed so clear, especially talking to Peggy and sometimes to Heike too. The words and theoretical understanding went on a holiday. I hope they will send me a postcard soon...

      All is set. Almost. The coming days I will become others. They will interact with other researchers at a.pass. Maybe my colleagues will shine bright or bring their flashlights.


      25 JANUARY 2018 at the TOPOS, at the dining table next to the kitchen


      Today I wanted to bring a record player. There's one in my basement. I wanted, but I didn't. I was looking at it and thought: why? It's an extra tool, an extra asset, an extra thing to toy around with, to help me find meaning. But I'm often using the same tools. I guess that's not such a problem since a painter tends to use paint and a canvas, and a carpenter uses wood. But what do I use? Tools to create something I can show. But I'm doing research. I'm searching for ways to eliminate the distance between Me and You. Well... Eliminating sounds drastic, let's call it: make the space between you and me as tiny as performatively possible. That's another piece of information I'll have to chew on. I'm writing for writing, I'm practicing automatic writing, so what comes out, comes out...

      Instead of the record player I brought an old newspaper. 'La Nation Belge' from 17 December 1931. Inhabiting another skin through masks may feel similar as inhabiting another time, the thirties! It's always striking to see how little has actually and effectively changed. I have lots of these newspapers. I found them under the linoleum on the second floor of the house I'm living in. During renovations I stumbled on them and just started reading...

      Now there's one in the Topos. Feel free to read.

      I plan interviews. On the Intamissily stage and TV-Studio. Next week. Have to think about that. About the how. How to get closer to the other's researches...

      I'm reminded of 'Swimming' by Martha and the Muffins. Especially the phrase: 'We're afraid to call it love, let's call it swimming'. Hmmm. Sounds usefull. Listen here:


      AND I re-read the first lines of my research proposal. It helps (!):

      The proposed research aims to investigate how hyper-realistic silicone spfx-masks can be used as tools of awareness to shed more light on race, gender and class issues in an experiential, sensual and non-mental way. How to help performers and non-performers create another persona and let them experience how it feels to literally be in somebody else’s skin, wearing another one’s face in non-theatrical daily situations. How does this change their perspectives? Or doesn’t it change anything? How does this, in a broader sense, affect the notions of ‚I’ and ‚You’? How does it affect one’s outlook on one’s own community, conditionings and beliefs?

    • postgraduate program
    • workshop
    • block 2018/I
    • Making / Conditions
    • Critical Administration Shaking down the entrepreneur
      30 December 2017
      posted by: Nicolas Galeazzi
    • Kate Rich
    • a.pass 4th floor
    • 30 January 2018
    • 03 February 2018
    • Critical Administration

      This workshop takes place in the devastated landscape of the Creative Economy. Dipping cautiously into realms of business and economics (in which artists are generally and probably wilfully unschooled), we will take a pigeon’s-eye view (scrappy, opportunistic, only occasionally vicious) of worn-out tropes such as entrepreneurialism, human capital and cultural enterprise.

      Weaving through dense territory from queer theory to open source organisation, radical shopkeeping and the role of economics in performing the economy, we will transit between theory and application to experiment on ourselves with new and wild shapes for enterprise and organisation, both at the level of the individual and at that of the collective. In the process we will also assess the case for administration as an art form; and business as a medium for artistic enquiry and meaning-making.



      Kate Rich is a trade artist and feral economist, born in Australia and living in Bristol UK. She is co-founder of the Bureau of Inverse Technology (BIT), an international agency producing an array of critical information products including economic and ecologic indices, event-triggered webcam networks and animal operated emergency broadcast devices. The Bureau's work has been exhibited in academic, scientific and museum contexts. Since 2003 she has run Feral Trade, a long-range economic experiment and underground freight network, utilising the spare carrying capacity of the art world for the transportation of other goods, specifically groceries. Kate is senior lecturer in DIY and activist media at the University of the West of England; volunteer finance manager at Bristol's artist-run Cube Microplex; system administrator for the art-server collective; and a founding member of the European Sail Cargo Alliance. Her ongoing preoccupation is to move deeper into the infrastructure of trade, administration, organisation and economy in the cultural realm. To this end she is currently establishing a Feral MBA for artists, positioned somewhere between the academy and the wild.

    • postgraduate program
    • workshop
    • block 2018/I
    • Making / Conditions
    • How do we do the things that we do? #2 a rewrite of twelve design principles
      29 December 2017
      posted by: Nicolas Galeazzi
    • Florian Feigl
    • 26 February 2018
    • 02 March 2018
    • How do we do the things that we do? #2

      In this second period of my visit in the a.pass block „making/conditions“ I want to propose a sequence of practical, object based approaches that allow to broaden perspectives on the individual research projects as well as oon the over arching theme of this block.

      How do the objects, thus the different elements and entities of an individual research perform. How do they interact with us, human agents, and with other elements, what suppoprt do they need, how would this potentially articulate the individual research processes as processes of radical imagination (Katja Rothe).

      Each participants is asked to bring three objects (not more then five if you cannot decide). The practical sessions will be slow approaches towards the objects starting with drawing, associating, moving, writing. These first approaches will be followed by a series of exercises focusing on spatial constellations based on improvisation and movement introducing strategies of composition and sequencing. In a concluding session we elaborate based on these previous experiencies micro sequences of possible performances: performances of the objects, performances for and with the objects.

      The sessions are based on individual and group exercises. Practical exercises will be followed by group evaluation.

      To accompagny this practice based research we will read in depth a text by Katja Rothe „Permaculture Design Praxis“ and discuss basic terms, ideas and visualizations from permaculture design practice (Mollision, Holmgren). Experiences and results from both the practical and more discursive approaches will be related to your ongoing research and developments in the formulation and desgin of patterns and their articulations in the spatial situation in the common studio and work schedules.


      We will work from Monday to Friday, 10.00 to 17.00. Depending on the days each day will be divided rouhgly into two blocks of three hours with a one hour lunch break. Or three blocks of two hours with a lunch break.

      Day 1:

      Katja Rothe „Permaculture Design Praxis“ – reading and exchanging – part 1

      Introduction of object based, practical work, exchange and clarifications regarding objects

      You don‘t need to have your objects fixed and prepared already – you are welcome though. However, a rough idea would be good. Because on day 2 you will need to have them with you.

      Day 2:

      Katja Rothe „Permaculture Design Praxis“ – reading and exchanging – part 2

      Practical session: First exercises with the objects. Exchange and evaluation of practical session.

      Day 3:

      permacultural design practice part 1: the zone model, edge effect – introduction, exchange, discussion

      Practical session: exercises with the objects – spatial constelllation – part 1.

      Exchange and evaluation of practical session.

      Day 4:

      permacultural design practice part 2: twelve design principles – introduction, exchange, discussion

      Practical session: exercises with the objects – spatial constelllation – part 2.

      Exchange and evaluation of practical session.

      Day 5:

      Practical session: object work – sequencing and micro performances

      Exchange and evaluation of practical session.

      revisiting patterns

      revisiting ideas of performance

      revisiting conditions


      As the days, the discursive inputs and practical exercises build up from day to day full-time commitment is required from the whole group of participants. Individual necessities can be discussed in advance but can be accomodated only as exceptions. Please contact me latest until Wednesday, February 21st und

    • postgraduate program
    • workshop
    • block 2018/I
    • Making / Conditions
    • How do we do the things that we do? a rewrite of twelve design principles
      29 December 2017
      posted by: Nicolas Galeazzi
    • Florian Feigl
    • 18 January 2018
    • 19 January 2018
    • How do we do the things that we do?

      Florian Feigl is a practitioner and scholar, maker and facilitator in the broader field of time-based art and more specifically of performance as art. Artistic research, artistic process, making as production of knowledge occupy focal areas of his doing and thinking.

      The proposal for the two work periods in January and February is to analyse, discuss and introduce strategies and methodological approaches as articulated in permaculture desgin practice (Mollison, Holmgren) in relation to the Pattern Theory (Alexander) towards an environ-mental & corpo-real understanding of artistic process and artistic research.

      Florian comes as a visiting researcher. The idea is to support the current research within the „Making / Conditions“ block at a.pass, to engage with the processes under way, to collaborate in designing situations and spaces of making and understand the diverse conditions.

      What he bring:
      - Some basic ideas and principles of permacultural design practice,
      - some related texts and theoretical bodies,
      - practical experimental tools and approaches from the realm of object based performance art & composition.


      Some general remarks:

      As practitioner and scholar, maker and facilitator in the broader field of time-based art and more specifically of performance as art terms such as „artistic research“, „artistic process“, „making as production fo knowledge“ occupy focal areas of my doing and thinking. And I couldn‘t miss noticing that these terms gain weight & visibility in the field of contemporary art making, art discourse and also art education. At the same time the very terms – without the prefixed „artistic“ – are used and at times seemingly valued when it comes to descriptions in the fields of science, politics and economics (to name some out of many) and increasingly in the world of contemporary entrepreneurship.

      Now these are developments that are already around for a while: Boltanski/Chiapello‘s „New Spirit of Capitalism“ (1999), Jon McKenzie‘s „Perform or Else: From Discipline to Performance“ (2001) could be mentioned as landmarks that articulated, described, and critically reviewed the development beyond the closer field of art a while ago.

      However, there are still some blank spots left. Maybe most importantly: There are still no systematic descriptions or broader agreements on what it actually should be this „artistic process“, „artistic research“. What makes it different from other all kinds of processes and researches? To avoid misunderstandings: I would not propose to aim for a general definition to nail the issue for good. (Most probably the value of the terms lies to a certain extent in the flexible quality.) But my suspicion is that on the one hand the „je ne sais quoi“ and highly individual qualities assigned to individual „artistic processes and researches“ are based on still prevailing 19th century ideas and role models when it comes to art making. And on the other hand makes the terms so highly susceptible to be occupied and taken over by ever hungry economic ideologies, the dictate of economic surplus value and individual improvement. (We all still remember how „the artist“ became a model for „the new worker“– and suffer from the results.) Making artist into better entreprenuers has to stop.

      Instead: let‘s adress and describe how we do the things that we do to make better art and produce new and better environments for a truely contemporary art making,

      My proposal is to apply and further analyse strategies and methodological approaches – as articulated in permaculture desgin practice (Mollison, Holmgren) – to develop a contemporary environ-mental & corpo-real understanding of artistic process and artistic research. Is it possible to develop and describe artistic practice as complexe environment? What if we focus on details and design patterns which include and relate to agents beyond the artist, his/her intuition, imagery and narrations, scarce funding situations and imagined focus groups? Will this allow to understand and design more precise work situations? Will this allow to create a different understanding, describe and apply a relational, environ-mental and corpo-real understanding of choice & decision, image & process?


      Further reading:



    • information
    • postgraduate program
    • block 2018/I
    • Making / Conditions
    • Block overview plenum & forum
      20 December 2017
      posted by: Nicolas Galeazzi
    • Nicolas Galeazzi
    • 08 January 2018
    • 01 April 2018
    • Block overview

      This post gives a short overview of the organisation and agenda of the block.

      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.


      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.



      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 Selva

      Forum I

      18.-19. January: 'How do we do the things that we do?'
      with Florian Feigl

      Forum II

      26. January; 2., 9., 17. February; 1., 8., 16., March: Pattern Language 
      with Nicolas Galeazzi

      Forum III

      30. January - 3. February: Critical Administration; or Shaking down the  Enterpreneur
      with Kate Rich

      Plenum 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 Cossu

      Forum VII

      19. - 23. March: Pattern Testing
      with Nicolas Galeazzi

      Plenum III

      26. March - 1. April: Reflecting Conditions (end week)




    • postgraduate program
    • workshop
    • block 2018/I
    • Making / Conditions
    • pattern language for conditioning practices weekly meetings
      19 December 2017
      posted by: Nicolas Galeazzi
    • Nicolas Galeazzi
    • 19 January 2018
    • 23 March 2018
    • case of: Nicolas Galeazzi
    • pattern language for conditioning practices

      The block MAKING/CONDITIONS is made of patterns. Here is the first pattern of an unfolding language of patterns that shall be created during the next three months.  In a weekly meeting we will look at the emergence of common patterns in or between our investigations of possible conditions for our researches.

      A pattern is a description of a specific practice, thought or approach that can help to develop a shared understanding of a certain field of knowledge. In this case the field of institutional critique and performance as an economic, sozial and artistic category. It discusses the relationship between an artistic research practice and its supporting conditional structures – the institutional in its broadest sense.

      Inspired by the Pattern Theory of Christopher Alexander we will develop a language that shall emerge from practicing our individual researches be shareable with a larger audience.

      According to Alexander, patterns are building blocks for transformation and follow an evolutionary structure: a pattern is repeatable, connective to other patterns and changes according to the needs of a situation.

      Patterns can take shape in any material or immaterial form, but should, if possible, be accompanied by a descriptive. The patterns will be gathered in a library and should be presented in a way that anyone can interpret and appropriate them in a actual situation.


      Building a pattern language means to create a common context of a specific set of patterns. The singular patterns can be composed to syntax-like structures. Like in a spoken language, design patterns follow certain grammatical structures and can be combined in different orders  – but most likely not in any orders. The Language we create will evolve out of the context of our artistic research practices and will have to comply to it in its very specific way.

      The patterns shall be assembled and discussed in a library. This library shall be hosted in a shelter that shall be build in the big space of a.pass during Plenum I. It shall act as a center of the pattern language practice. The library of patterns shall be a living archive of practical thought, methods, acts, performances, approaches etc.
      Users of the library can experiment with the growing variety of patterns, can patch them together to sentences that make sense to their situation, can alter and amend patterns and add new ones. This is how the language fill find its form.


      Every artistic practice is contained in a context and relates at the same time to a multitude of contexts. Yet, it is an intrinsic character of artistic practice to act beyond boundaries and in the grey-zones between contexts. For that the arts often needs to think and go beyond their conditions and rather start creating and intervening their own. This however might be difficult in situations where the overall structure is too big to leave. This might or might not be the case if we think of todays capitalist economy.

      However it seems that institutional critique enters a new phase where systems are changed not only from within, but by experimentally exploiting their structures. Authors like Gerhard Raunig talk in this context of new instituting practices. Through the construction of a pattern language we explore these practices and try to understand what they could mean in relation to our own researches.

    • postgraduate program
    • block 2018/I
    • Making / Conditions
    • Block 18/I: making / conditions curated by Nicolas Galeazzi
      19 December 2017
      posted by: Nicolas Galeazzi
    • 08 January 2018
    • 01 April 2018
    • case of: Nicolas Galeazzi
    • Block 18/I: making / conditions

       ''Can artistic practices still play a critical role in a society where the difference between art and economy have become blurred and where artists and cultural workers have become a necessary part of capitalist production.''
      Chantal Mouffe 


      What is the position of the arts in a completely economized society? What kind of answers do we find towards the increasing entrepreneurial demands? How to keep a discourse about values apart from finances? How to create conditions and institutions that allow us to continue asking these questions with view to a greater societal picture?

      This block combines institutional critique with a fundamental unravling of Performance in its various interpretations in economy, administration, performing art, and sociology. To put performance as a term into the centre between art and economy, is pointing at the fundamental misunderstandings and simultaneous interdependence between these two fields.

      Performance stands for productivity and efficiency as much as for doing, being present, representation, and the transformative power of speech. In between the different interpretations one question appeares very clearly: What are we doing? Beyond the Leninist version of this proverb (What is to be done?), this question not only points to a future productivity (What are we creating?) or a struggle against/for the institution (Under what conditions are we doing and making?). It points to the creation of the framework in which this question can be posed with regard to the basic values of life (How do we live?). In this way all the different understandings of performance aim at transformation or even change.

      In the last decades economy became more and more the overarching concept that incorporates all aspects of life and channels all living efforts. The Arts contributed to this development in multiple ways and acted - consciously or not - as a role model in the process of this economization in many ways.

      For a big majority of the population the economization and finanzialisation of their life means to loose access to common resources and with that the control over the self-creation of their living conditions. At the same time the neoliberal doctrine turned the full responsibility for these conditions onto the individual and diminishes solidarity and democratic processes.

      Being critical and self-critical of this development, the arts must take the performative power inherent in its role model serious and needs to devise new instruments for concrete change and new institutional formats to respond to this development in order to keep the creation of societally viable living and working conditions in their hands.

      Searching for the relationship between the artistic research practice and the creation of its own legal, economic, administrative condition, we try to detect common working patterns that enable us to create our own conditions. Using the concept of Pattern Language developed by Christopher Alexander in late 1970’s we try to come up with practical building blocks to think a radical artistic research practice within, and in response to, the contemporary economic and political constraints.


    • The excursion is a first encounter with the Flemish Marine Institute and its work. It includes a tour of the Marine Station and the Research Vessel Simon Stervin in the port of Ostend. Our guide will be André Cattrijsee, who is the "research infrastructure manager" of the FMI.

      During this excursion, I propose for us to focus our attention on how the ocean is studied in a scientific context. What kind of language is used to describe it? And what kinds of instruments are used to measure it? What are the categories that result from those measurements? And what kind of ocean is produced as a result? As a score for this excursion, I therefore propose to shift slightly the way we listen and experience this tour of a marine research institution. Instead of simply following the content of what is said, could we also discern the knowledge dispositive within which this tour takes place? And how does this dispositive affect, finally, the "object" of its study?

      In the framework of my research project "Oceanographies" I am interested in finding ways to summon the ocean by means of storytelling and performance. The project in inspired by a personal fascination with this liquid space and its properties. Its materiality, the traces it leaves on the body, its infinite blue transparency, the way it reflects the light, the physical –and temporal– limits it imposes are some of the ways the ocean can “speak” to me. In my research I study this “language” of the ocean by collecting stories from different people’s encounters with it. The focus of the research is therefore not about the ocean “in itself”, devoid of the human presence. Rather it is the relation of the hands to the mud, the ears to the breaking of the waves, the feet to the feeling of sinking, that the work focuses on. The research project weaves the complexity that arises from those interactions into the tellings of stories and their demonstrations.

      I perceive the excursion to the flemish marine institute as a first step towards a longer term collaboration with this institution. I intent to also introduce the researchers of the institute to my oceanic research and hope that I can enter into conversations with them about their experiences of the ocean and the storytelling of those experiences.

    • postgraduate program
    • workshop
    • Excursions
    • Uninvited Research
    • War-/-Lace and Vertigo 20 October 2017
      posted by: Vladimir Miller
    • Eszter Némethi
    • 03 November 2017
    • War-/-Lace and Vertigo

      An excursion is a military term to describe a short entry to enemy territory without formal announcement of war. This excursion is an invitation to explore the ways in which spaces and materials can become instructions and how this relates to participation in complex systems. What is the the agency of things, participants and also the host. Can we listen to things in order to decipher their fictions? And can we remain complicated to each other? You will visit the Kantcentrum in Brugge and the NATO Headquarters in Evere . I will do my best to host you. You will be largely following instructions, reading, making, observing, walking and looking for gaps. You will then return to a playground for discussion at a.pass. I will make you dinner.

      Part 1: Koninklijke Sinte-Maria Straat 106 + time to be confirmed (waiting for a confirmation!)
      Part 2: 7 - 8.30pm @ a.pass

      Duration: 5 hours + 1.5 hours (with a break in between)

    • Coming together in a place. Where and how do our perceptions, according to the surrounding/the place and the situation where we are, manifest themselves? Where and how can we locate them in our body? How is our intuitive reaction? Linked together in groups, we would then — following a score-proposal — try out how everybody`s own intuitional desire of where and how he/she wants to move is affecting the movement of the others in the group as well as their movement is affecting each one. Afterwards everybody is invited to create a zine in any form – according to ones wish – trying to remember the different impressions and the thoughts, feelings, that they provoked.

      2pm: Cité administrative de l'État – Bruxelles, close to botanique. (TBC)
      Duration: approximately 2,5h


    • How can we think together? How can we make Space for deep reflection on complex issues? How can we come close enough without intruding? How can we engage in group dialogue and take the time that is needed to think before producing more, contributing more to the system we are locked within?
      A day of observing, listening, walking, kneading, thinking, talking and baking, as we navigate a critical socio/political issue that effects us all and will continue to affect us in the forceable future.

      14h to 18h (approximately) Meeting place: 14h apass 4th floor

      Bring Warm clothes, a smartphone with WhatsApp, Headphones
      [if you do not have a smartphone/whatsApp/headphones please inform me prior to the day of the excursion and I will supply an alternative]

    • "- You shine through my atmosphere. And when you show up, my mountains move like bushes in the wind, and the rocks are scattered on all sides. I hear you. I hear an amazing bang like a storm to come. I hear the noise of thunder, the voice of demons, the winds, the monsters. The whole earth rises, dilating like the waves of the sea and my surface breaks down. My own ground seems to subside and... we need to find another ground to walk by: the unpromised land and the magics balls... "

      14h - starting point: Microfactory (Quai Fernand Demets 55, 1070 Anderlecht) - Duration: 2 or 3 hours - obs: wear comfortable shoes

    • Imagine natural daylight, the best kind of light to see things clearly. Then imagine the light getting brighter and brighter, until it becomes so blindingly white that you are filled with anxiety. The information overload that we experience in our everyday lives is similar to that blinding light. Its origins date to the early 90s, when computer networks attained critical speeds and scales. Today, each of us yearns to be informed 24/7. The dictatorship of information creates in us a desire for round-the-clock information. We have become the organic components of an integrated global data and information system. Yet this yearning we feel is about our search for the Real, which a never-ending stream of information, that informs us only of the reality of facts, can neither satisfy nor fulfil. Because information is always directed at you. Information informs but is no guarantee of getting any closer to the truth. In fact, information sometimes operates as an obstacle to the truth. Instead, what if we started to filter out what we could of the information, in order to better understand the truth? What if we ignored information about the given facts and instead tried learn about something or someone for ourselves? 
      meeting time and point

      Starting at 14:00 - Greenway Veggie Resto Leuven (Parijsstraat 12) 

      4 hours

    • 'Het Gezin Van Paemel' (The Family Van Paemel) by Cyriel Buysse is a 114-year old theatre piece that's still showing the flemish what it means to be flemish. The excursion will bring us to an amateur theatre company rehearsing the piece. Why are they, and with them lots of other amateur companies, still so interested in this piece? Why am I? My questioning will be mainly about one scene in particular: the son who goes to tell his father he's leaving for America. An America he only knows through stories, an America that personifies a better life. How is this flemish identity created (the I) by the staying and the leaving? And how is America (the other) created? And isn't all emigrating originating in 'The America of the Soul'? How is this construction of I a mask/conditioning? How is history as a re-construction keeping all these notions in place? How will I go from here to using masks again? And how will I finally get out of Flanders?

      Meeting point a.pass 4th floor at 16:30.

      Two cars leave at 18:00 to drive to Tejater De Orchidee in Tielen.

      At 20:00 starts the rehearsal, following that an interview. Then ride back to Brussels.

      Back in Brussel latest by 23:30.

    • postgraduate program
    • workshop
    • Excursions
    • Uninvited Research
    • From I to we Excavating reality together, at home
      20 October 2017
      posted by: Vladimir Miller
    • Pia Louwerens
    • 24 October 2017
    • From I to we

      "From I to we" serves as an introduction into my practice inside its subjective core: my own home. After a performance the audience is invited to rewrite the script, rewarded with a warm meal cooked by the artist herself.

      The structure of the excursion will consist of two parts; first a performance and introduction to my practice, followed by a participatory performance/workshop. Right now at a.pass my biggest challenge is to “break open” my own research practice, to make it open and shareable. In general you could say that my work attempts to go inside, towards some kind of “essence” or fundamental understanding of reality and/or the self. First I try to deconstruct a context, digging towards some kind of subjective center or essence (a true center which is, even in this subjective form, never to be found). Then I try to reattach these findings back to the context, communicating them, telling stories about them, making them real. In my performance I will introduce myself and some of these lines of thought.

    • postgraduate program
    • workshop
    • Excursions
    • Uninvited Research
    • The World Today All In The Mind 20 October 2017
      posted by: Vladimir Miller
    • Eleanor Ivory Weber
    • 23 October 2017
    • The World Today All In The Mind

      “…a 100% probability of nothing happening, and that’s often when it’s more interesting…”
      – Peter Ryan, ABC Senior Business Correspondent, 2 October 2017

      On Monday 23 October 2017, several todays, today. An instruction-based, public yet solo, listening & reading exercise, derived from radiowaves. Thinking about the public mind and testing what is produced from chance and structure. How language functions on different registers, at once, in time, and beyond us.


      //// Please bring ID for library registration, a smartphone/laptop (with charger) and head/earphones.



      Koninklijke Bibliotheek van België / Bibliothèque Royale de Belgique (, Kunstberg / Mont des Arts, 1000 Brussels (Central Station). Meet Eleanor in the lobby, please advise the time you will come, between 11h and 12h. Piece lasts approximately 5 hours (including regular breaks).


    • In the course of the upcoming two weeks the a.pass researchers of this block will each propose an excursion coming out of their current research focus. You are cordially invited to join. Please sign up on the a.pass main page on the detail page for each of the proposals. 


      26. Okt

      Eleanor Ivory Weber

      The World Today / All In The Mind

      "“…a 100% probability of nothing happening, and that’s often when it’s more interesting…”
      – Peter Ryan, ABC Senior Business Correspondent, 2 October 2017
      On Monday 23 October 2017, several todays, today. An instruction-based, public yet solo, listening & reading exercise, derived from radiowaves. Thinking about the public mind and testing what is produced from chance and structure. How language functions on different registers, at once, in time, and beyond us.
      //// Please bring ID for library registration, a smartphone/laptop (with charger) and head/earphones. "


      24. Okt

      Pia Louwerens

      From I to we - Excavating reality together, at home

      From I to we serves as an introduction into my practice inside its subjective core: my own home at Rue Blaes 244. After a performance the audience is invited to rewrite the script, rewarded with a warm meal cooked by the artist herself.

      25. Okt 

      Hoda Siahtiri

      If the past is really passed?! An introduction to co-experincing the others' trauma.

      The city of Brussels is holding a part of my past, I take you to one of the most traumatic places of Brussels for me.



      Geert Vaes

      La Flandre Profonde/Into The Heart Of Flanders

      Visiting and interrogating theatre amateurs rehearsing 'Het Gezin Van Paemel', a flemish classic and theatrical mask for a flemish identity. The 'interrogation' consists of a group constellation + witnessing the rehearsal + an interview.


      27. Okt

      Sven Dehens

      Untitled Excursion 

      Critical voicing, reading, enactment of Alien (1979). Process of audio-visual documentation. Generation of a subtext to the script.


      30. Okt

      Shervin Kianersi

      For to Know Nothing Is Nothing

      Imagine natural daylight, the best kind of light to see things clearly. Then imagine the light getting brighter and brighter, until it becomes so blindingly white that you are filled with anxiety. The information overload that we experience in our everyday lives is similar to that blinding light. Its origins date to the early 90s, when computer networks attained critical speeds and scales. Today, each of us yearns to be informed 24/7. The dictatorship of information creates in us a desire for round-the-clock information. We have become the organic components of an integrated global data and information system. Yet this yearning we feel is about our search for the Real, which a never-ending stream of information, that informs us only of the reality of facts, can neither satisfy nor fulfil. Because information is always directed at you. Information informs but is no guarantee of getting any closer to the truth. In fact, information sometimes operates as an obstacle to the truth. Instead, what if we started to filter out what we could of the information, in order to better understand the truth? What if we ignored information about the given facts and instead tried learn about something or someone for ourselves? 



      Elen Braga

      The masters meeting: A Journey to the unpromised land and the magic balls

      You shine through my atmosphere. And when you show up, my mountains move like bushes in the wind, and the rocks are scattered on all sides. I hear you. I hear amazing bang like a storm to come. I hear the noise of thunder, the voice of demons, the winds, the monsters. The whole earth rises, dilating like the waves of the sea and my surface breaks down. My own ground seems to be subside, and... Take your hand car and come with me. We need to find another ground to walk by: the unpromised land and the magics balls...



      Leo Kay

      The time it takes to think

      How can we think together? How can we make Space for deep reflection on complex issues? How can we come close enough without intruding? How can we engage in group dialogue and take the time that is needed to think before producing more, contributing more to the system we are locked within?

      A day of observing, listening, walking, kneading, thinking, talking and baking, as we navigate a critical socio/political issue that effects us all and will continue to affect us in the forceable future. 


      2. Nov

      Luisa Filiitz

      A collection of Impressions

      Coming together in a place. Where and how do our perceptions, according to the surrounding/the place and the situation where we are, manifest themselves? Where and how can we locate them in our body? How is our intuitive reaction? Linked together in groups, we would then — following a score-proposal — try out how everybody`s own intuitional desire of where and how he/she wants to move is affecting the movement of the others in the group as well as their movement is affecting each one. Afterwards everybody is invited to create a zine in any form – according to ones wish – trying to remember the different impressions and the thoughts, feelings, that they provoked.



      Eszter Némethi

      War-/-Lace and Vertigo

      An excursion is a military term to describe a short entry to enemy territory without formal announcement of war. This excursion is an invitation to explore the ways in which spaces and materials can become instructions and how this relates to participation in complex systems. What is the the agency of things, participants and also the host. Can we listen to things in order to decipher their fictions? And can we remain complicated to each other? You will visit the Kantcentrum in Brugge and the NATO Headquarters in Evere . I will do my best to host you. You will be largely following instructions, reading, making, observing, walking and looking for gaps. You will then return to a playground for discussion at a.pass. I will make you dinner.


      17. Nov

      Marialena Marouda

      Flemish Marine Institue: Marine Station Ostend (MSO)

      A tour of the Marine Station Ostend and its research vessel Simon Stervin by marine biologist Dr. Andre Cattrijsee. My interest is to get a glimpse of the tools that the research institute uses in order to study the ocean. What language is used and what are the measurement instruments in the laboratories? What kind of ocean is produced through them?







    • postgraduate program
    • research center
    • block 2017/III
    • 2017 BLOCK III 01 September 2017
      posted by: Pierre Rubio
    • 01 September 2017
    • 30 November 2017
    • 2017 BLOCK III




      Researchers Participants in the Postgraduate Program

      Adrijana Gvozdenović
      Eleanor Ivory Weber
      Elen Braga
      Eszter Némethi
      Eunkyung Jeong
      Geert Vaas
      Hoda Siahtiri
      Leo Kay
      Luisa Fillitz
      Pia Louwerens
      Shervin Kianersi
      Sven Dehens


      Research End Presentations

      Esta Matkovic
      Lili Mihajlovic Rampre
      Maarten Van den Bussche
      Sina Seifee
      Xiri Noir

      Research Centre Researchers

      Adriana La Selva
      Adva Zakai
      Isabel Burr Raty
      Mala Kline
      Ricardo Santana



      Koninklijke Academie voor Schone Kunsten
      Middelheim Museum
      Kunsthal Extra City
      Departement Cultuur, Jeugd, Media


      Contributors for workshops

      Dalila Honorato
      Eleanor Ivory Weber
      Elen Braga
      Eszter Némethi
      Geert Vaas
      Hoda Siahtiri
      Isabel Burr Raty
      Leo Kay
      Luisa Fillitz
      Marialena Marouda
      Nico Dockx
      O.S.P. (Gijs de Heij, Ludi Loiseau, Sara Magnan)
      Pascal Gielen
      Pia Louwerens
      Pierre Rubio
      Shervin Kianersi
      Sven Dehens
      Vladimir Miller


      Coordinators a.pass

      Lilia Mestre
      Pierre Rubio
      Vladimir Miller


      Caroline Godart
      Heike Langsdorf
      Pierre Rubio
      Peggy Pierrot


    • In this two days workshop Sina Seifee proposes the notion of keyword seen as a site where one formulates concepts and narratives that reorient one within one's own research practices. We will (re)animate our keywords as fables, which are operational metaphors that shape subjects and objects of knowledge. How can we participate in (re)shaping our objects of knowledge in terms of little fables?

      Committed to staying with linguistic differences in each of our stories we open a praxiography, a way of investigating the ontological commitments embedded in language that we are using to describe what we do. The participants are asked to bring their "found-objects" (objects, categories, metaphors, concepts, words, terms, and figures that one cannot stop following) and put them under telling: stories about the lives of your found-objects in a practice of writing. In telling-practices we engage in a contingent (re)materializing of our empirical objects and we question the essential stories that hold each of our practices together. With the aim of keeping our objects, concepts, and insights in a state of generative transformation, through participating in different (though not fixed nor mutually exclusive) ecology of key concepts we will learn a relational empiricism that helps decomposing one's solid objects of knowledge.

      Where? a.pass 4th floor from 14:00 till 18:00

    • postgraduate program
    • workshop
    • block 2017/II
    • The Problem of the Score
    • Dance Workshop 07 June 2017
      posted by: Lilia Mestre
    • Jennifer Lacey
    • 10 July 2017
    • 14 June 2017
    • Dance Workshop

      It seems obvious  that the conditions for making something (anything) will influence the thing made . Other "I " words are maybe more specific than influence: infuse, impregnate, infiltrate, interrupt, incinerate, incarcerate, inveigle, imbue, illuminate. The larger axis of conditions, as I see them, are largely related to money, time, health and the political situation of the land and/or institution surrounding the workplace. The more intimate and malleable aspects are ideas and process. The qualities and hazards of the large-axis conditions in relation to the ones deemed "creative" produce what we could call a form.

      The base line of dance is perhaps understood as the body but mostly it is bodies ( minds implied) together someplace, deciding to work in a certain way . The how of the work, the process, is something that is always to be reinvented and renegotiated. Each dispositif of dance making already contains a nascent content, one that will inevitably be more influential than any idea or concept in the production of the form. So, in imagining how to design the making of a dance, the translation of the concept or content into a thing-which-can-be-done is a crucial, poetic and political task.

      In this workshop we will practice dancing and make the making of dances, or otherwise said, processes.
      Within the workplace/studio our first and most important gesture is to decide how shall we spend our time and how we shall be with each other and then be alert to the dances that are produced and what they might need to continue. My primary proposition is to cultivate processes derived from your own work, translating their conditions and content into practices that produce some dances (we will simply call all that we produce "dance"). There is no necessity to have had any experience dancing.

       As an artist who has worked under a myriad of different large-axis conditions, I have found the greatest necessity and source for me is to render transparent these larger conditions and mix them into the content or desires that preoccupy me, to consciously make a process that can only exist within this specific alchemy. This is my way but there are many varied conventions of contemporary choreographic practice that hold with in them poetic, social and political forces that become be the dominant aspect of the work, even if by accident. We will play with a few of these to observe their forces in action but most of our energy will be devoted to your own work,devising ways to share their doing that retain the integrity of your vision and perhaps reveal the influences of the specific conditions of your work. Or more truthfully, we will start to do this, as 5 days is rather short for such an ambition!  I like to refer to working processes as punctual social contracts. Ones that might be extreme in certain ways but that are agreed upon and that we know will end and so we can commit without anxiety.

      INSCRIPTIONS ; LIMITED CAPACITY  (price 50 euro)

      Everyday from 10:00 till 17:00 a.pass 4th floor

    • Walter Benjamin's work could be described as an extremely precise and sensible/sensitive analysis of modernity. Or, more precisely, of the procedures through which modernity is affecting modes of life and of communication and, essentially, of relating to the world. In his "On Language as Such and on the Language of Man" for example, Benjamin describes a practice of an intense “listening”, a mode of extreme attentiveness and generosity towards every-thing that surrounded him, as the precondition for any form of language. And in "The Storyteller", he views storytelling as a way of voicing such experiences of listening to and of experiencing the world. Yet storytelling makes use of almost everything that the modern individual is not or has not, most notably time and the ability to listen. In this mode of communication, the story resonates on multiple levels of meaning without ever assuming the position of an objective truth. In other words, storytelling creates personal narratives where truth and fiction are as much intertwined as the subject of the narration with its object.

      Guided by a desire to take a closer look into Benjamin's work, we propose the feminist reading group.

      What does it mean to read as a feminist? The question may seem odd, or even trivial, but it engages the very ground of our work as artists and thinkers. Indeed, how is our reflection oriented, if not by the very way in which we turn to the text? And yet, when we think about methodologies and epistemologies, we rarely interrogate the practice of reading itself. This is all the more surprising that feminists tend to engage with texts by seeking to counter and denounce what phallocentrism wishes to leave unseen. These oppositional readings are crucial: without them, the insidious fallacies and the fatal acts of bad faith cannot be undone and proliferate unhampered. Yet they also run the risk of turning feminism into a mode of thinking that does nothing but to say “no,” one that destroys but rarely creates, and one that produces its own form of alienation. We want to propose another form of feminist reading: instead of the critical, distrustful distance, we suggest that closeness and intimacy may form an equally powerful approach. In this reading group, we examine what feminist thinking can become when it takes the shape of a lover’s response to a text’s seduction, and when refutation and penetration are replaced by a mode of reading that is founded in an ethics of proximity.

      The structure of the reading group is open. There are no experts. We choose, read and unfold the texts together and according to the interest and individual focus of the participants.

      Meetings from 17:00-20:00 at a.pass studio, 4th floor

      Next meetings & readings:  20.06 / 04.07 / 18.07 / 08.08

      For further information about the texts please contact:

    • The Schedule will be updated daily

      for more information visit https:///


      MON 22.05

      14:00 Introduction and Clearing out the Space

      18:00 Improvised Dinner


      TUE 23.05

      10:00 Warm Up Practice

                 Esther Rodriguez-Barbero

      14:00 Peer Critique Leo

                  Leo Kay

      15:00 Spaces of Commoning

                 Zeljko Blace, Time Lab (Ghent), Vladimir Miiller

      17:00 1 Minute Festival


      WED 24.05

      10:00 Warm Up Practice

                 Esther Rodriguez-Barbero

      14:00 Peer Critique Eszer

                 Leo Kay

      13:30 Collaboration Interview

                 Eszter and Esther

      14:00 Marie Van Leeuwen (ArtEZ) 

                 Conversation with Lilia Mestre

      15:00 Session #1 Planning nothing

                 Where we collectively work out the rules surrounding session #2

                 Leo Kay



      THU 25.05

      09:30 Sensation as Score (Movement Practice)

                 Anouk Llaurens

      11:00 Reading Group

                 Lilia Mestre and Score participants

      13:00 2 Minute Festival

      17:00 Medium Score 2

           |     Lilia Mestre



      FR 26.05

      10:00 Warm Up Practice

                 Esther Rodriguez-Barbero

      10:30 Cleaning

      11:30 Peer Critique slot

                 Leo Kay

      13:00 Making Space For

                 Collective practice of framing and naming spaces

                  Esther Rodriguez-Barbero and Leo Kay

      14:30 Session #2 Doing Nothing

                 We gather, head out to a chosen spot and using the ground rules from session #1, do nothing.

                 Leo Kay

      15:30 Session #3 Planning Something

                  We spend half an hour as a group planning what we will do the following week.

                 We aim to be prescriptive and impose structures that allow us to fulfil our aims.

                 Leo Kay


      SAT 27.05


      MO 29.05

      11:00 Architecture and Movement 

                 Creating and experimenting with space by moving simple forms /structures.
                 Duration 45min

                 Luisa Fillitz

      15:00 Playground

                 Eszter Némethi


      TUE 30.05

      11:00 Play-ground
         During a short and playful workshop, we will explore the materials and existing geographies of the Settlement to create instructions and scores; while also exploring how dynamics, forms and narratives are conjured through this process. 
                 Eszter Nemethi

      13:00 Planning a.pass block III/2017

                Vladimir Miller

      15:00 Dialogue with Alex Arteaga 

      What does it mean to think? What does research mean? What can be the cognitive function of aesthetic practices? How should be these practices organized and performed in order to “do research”? And on this basis, what can be the contribution of artistic research to the epistemic field? These, an other related, are the questions that will be addressed in an open dialogue framed by Alex Arteaga.
      17:00  Feminist Benjamin Reading Group

      What does it mean to read as a feminist? The question may seem odd, or even trivial, but it engages the very ground of our work as artists and thinkers. Indeed, how is our reflection oriented, if not by the very way in which we turn to the text? And yet, when we think about methodologies and epistemologies, we rarely interrogate the practice of reading itself.

      Caroline Godart and Marialena Marouda


      WED 31.05

      11:30 Session #4 Doing Something

                We gather to do whatever we, as a group, decided that we wanted to do in the previous session.

                We will have decided all the parameters of the experience (or lack of them) in the 3rd session. In this last session we just do them.

                Leo Kay


      THU 01.06

      9:30 Sensation as Score (Movement Practice)

               Anouk Llaurens

      11:00 Reading Group

                 Lilia Mestre and Score participants

      17:00 Medium Score 2

           |     Lilia Mestre



      FR 02.06


      SAT 03.06

      12:00 Settlement Review

      14:00 Build Down

    • end presentation
    • performative publishing
    • postgraduate program
    • Landings 18 May 2017
      posted by: Kristien Van den Brande
    • Varinia Canto Vila; Sofia Gerheim Caesar; Christian Hansen; Brendan Heshka; Anouk Llaurens; Arianna Marcolini; Agnes Schneidewind
    • 20 January 2017
    • 22 January 2017
    • book
    • Landings

      Landing is an act of returning to the ground or another surface after a flight. This is an invitation to the readers/visitors to temporarily observe and intentionally touch that ground we continuously step on.



      price: 8 euro


      More information here.


      There has been a shift in humanities scholarship:

      (feminist science studies, the post humanities, the ecological humanities, animal studies, queer theory,) humanities scholars have represented their matters of care with an aesthetic (and therefore political) commitment to narrating stories with an emphasis on the relationality among agencies, forces, phenomena, and entities usually kept separate, in the background, or out of the story altogether

      --> redistribution of agencies

      political stake ==> aesthetic tactics

      (the reading of ajayeb portraits) the global [and therefore ethical] consciousness (at the end of 12th century middle-south asia, “the east”)

      • descriptive practices of poetics and natural history


      situated perspective ==> storytelling

      my interest in your work is to become skillful at reading with you our situated perspectives --> Zoumana’s, Hoda’s, Sina’s, ajayeb’s, apass’, etc.


      • women in my life: Avital, Haraway, Ahmed, Scher, Barad, Despret, teaching me science and art, attentive modes of differential reading and writing, practices of noninnocent care and concern
      • men in my life: Serres, Sennet, Delanda, Levinas, Anand, teaching me a non-guilt-driven knowledge of history and past, a different mode of remembrance which provokes a different mode of response and responsibility

      #i am learning from Kohn that the survival is complicated, from Haraway that world works by excess and therefore filled with hope, with Sennett and Delanda a better account of socio-material history, from Ahmed a different understanding of psychoanalysis, from Barad poetry and argumentation, from Scher the effort needed to become interested, from Kenney that there is no need for a “standard language” to describe your interventions or to produce a body of knowledge about your matters of concern,



      stories that collect stories [~= archive? my hypertext? a mouth full? --this specific type of stories are dangerously worlders, usually handed to the unquestioned mechanics of universalized taxonomy and 17th century rigs: encyclopedic homogeneous tables. they are the stuff of ajayeb]

      (kinda mispronounced by Ekaterina > captured by Hoda > made found object by Sina)


      stories that collect other stories:

      1- archive ~--> sortability

      2- translation ~--> linearity

      3- dictionary ~-->

      ==> universality (that both these stories claim)

      (my work on hypertext apass ajayeb graph rigs, is to deal within these conditions of storing/storying. i wasn’t interested in this some time ago: a shift in my interest)



      excess : there is always more that we don't know, what yet has to come; the world is constantly doing stuff; (--X--> accelerationist manifesto, apocalyptic narratives, technophobic narcissistic stories, etc.)

      (i am drawn to and by excess, and i am engaged in it: in my lectures, talkings, writings, and I take it up also visually in my drawings. my ajayeb hypertext search is contingent and opportunistic, and its searches are non-systematic.)



      (as you have already noticed, my:)


      • interrupting stories with stories
      • partial connection (and its performance)
      • moving arguments through by infecting them with other arguments (=/= dialectical)
      • mobilizing (multidisciplinary) fields (=/= the imperative of knowing A, B, and C first before you do D)
      • mobilizing citation apparatus --> that which gives sense to what enables this work --> deliberately having a conversation with ajayeb al-makhlughat عجایب المخلوقات, Sa'di, Attar, Sadra, Sohrevardi, etc.
      • remembering what one knows (=/= owes) (and organizing, performing, reworking it, sustaining a state of generative transformation = my
      • having stakes in rationality (i constantly criticize rationality, but as you can see, i am not at all throwing it out)





      • Bibliography
      • Wonder
      • Ongoingness
      • Ontology



      • study as artwork
      • reading as artwork
      • bottom-top approach to writing



      • every research practice:
        • must include "the image of body"
        • must employ ontological attention to differential productions
        • must rework decompose redefine its root-metaphors
        • must give extensive equipment list
        • must trace its social connections in a wider ecology of practices


      citation apparatus

      to begin writing about ajayeb with the citational ‘avardeand ke...’ (...آورده‌اند که)


      citation, an important characteristic of fables, is about relational histories


      absence of definitive source (in my old childhood favorite radio show, by bring an endless list of fantastic source and bodies of lures) allows monsters to flourish and me the full range of my passionate crafts. ajaybe's compelling mystery demands (from me) an unorthodox and omnivorous approach (hame-chiz-khar همه چیز خوار).


      اما راویان اخبار و ناقلان آثار و طوطیان شکرشکن شیرین گفتار و خوشه چینان خرمن سخن دانی و صرافان سر بازار معانی و چابک سواران میدان دانش توسن خوش خرام سخن را بدینگونه به جولان در آورده اند که ...


      • Mirabile dictu... (miraculous to say...) (--> wonderful to relate… / Virgil’s citation making) (=/= sad to say…, unfortunately...)


      (with Despret's talking parrots)

      parrots (shekar-shekan) (and philosophers) really like to control the exchange, to keep control of a conversation : their refusal to let another individual choose the topic of conversation

      (parrots have) a pragmatic rather than a referential conception of language

      [?am i also referential (=/= pragmatic) in my conception of language?]--> to teach a being to speak presupposes not only a tolerance of but also a profound interest in misunderstanding (this ‘profound interest in misunderstanding’ is precisely both cognitive and political aspect of what I am trying to bring forth) ~-> (how language-learning with animals can help us learn) restating and inverting the question of control? (Despret asks)


      exchange can only be achieved when there is “a continuous reprisal of translations and betrayals of meaning” ==> understanding itself is compromised


      “we”: constituted by the assemblage of different (animal-, nonhuman-, machine-, human-)beings equipped with an apparatus aimed at making them talk well



      (one thing i am learning in apass is that) modeling ontologies involves articulating knowledge in ways that sometimes appears alien to that domain community

      [asking with Bowker:] for my ontology-building to appear representative, does my community itself have to learn the goals and language of my knowledge modeling?

      (the question i asked Sven: to tell others 'which language one is using.')


      in a way, my work and interest in ajayeb is about:

      • histories of standards in knowledge production, which, i argue, is key to all sorts of other productions
      • the politics of remembrance : the politics and philosophy of classifying certain textual/material activities such that they have a chance of being part of the cultural potential memory)-->{Olga, Hoda, Sana}

      -artists are using a lot of standards (of representations or materials)

      -(out of) control standards

      -there is a huge amount of standards i am depending on in my hypertext

      -international diplomacy depends on manufacturing and enforcement of standard vocabulary --> how much are we really in diplomatic businesses?


      (it is about) organizing my memory

      (it is about) that which comes to (my) mind, and “things” coming to mind(s) (of the people around me, and before me)

      (it is about) the things I am told

      __(these are perhaps other names of cognition, affect, memory, semiotics, history, inheritance, figuration, interface, thing-relations, huntology,)

      __in our shared space where we let each other in the effect of our languages, I want to practice what comes to mind when I stand in front of you and your work, ask myself ‘what else’ comes to mind? in a sense, my project on ajayeb is that kind of training


      also in apass i want to catch you in your acts

      it is my privilege to recognize you (as...)



      1- what do I know?

      2- what am I told?


      1. the first question has no clear answer, what i know is not placed somewhere in me, it is always an articulated matter of ‘with’ or in interaction with, it is an always compound relation between matters, changes before i can grasp, knowing is done always with a figure or a thing, it includes all sorts of optics and technologies, (affect theory, media theory, epistemology, semiotics, ajayeb theory, Sadrian imaginal ontology, etc.)
      2. the response to the second question is also not clear, i can never be sure of what i am told, i don't remember or even hear, what i am told is infolded in what i know


      (when i started with my islam lecture series i was testing the waters of these two questions and the possibility of staying with them without freaking out of ambiguity, panicking into a meaning i don't actually want to mean, or plotting an answer, plotting relevances)


      is all about loving to tell you about what i am reading


      to become a skilled listener : listening ~= response (=/= simply answering) --> (when we speak) we give other people talismans that are not (perfectly) clear to us----we penetrate and unpack what someone doesn't have the words clearly and response to what they intend

      -these have nothing to do with “common understanding,” “make something work,”


      cooperation is about getting deeper into something


      (i am more interested in) conditions that more skills are required (and not the opposite)


      (digital reading practices of) data mining =/= reading for the reactions of an implicit reader --> what the scholar of ajayeb (in the medieval) might have felt?


      #on hypertext note:


      i am becoming skilled at looking at my own notes:


      {(1) what are the skills necessary [=/= tabula rasa (of the reader, of the audience) of the communo-capitalism's standard of “user-interface”--the strange idea that the interaction and reading doesn't need or must not need learned-efforts or skills, that it should be “easy” and “effortless” --> fallacy of the unskilled listener.] to engage, interact, and get involved with the interface, data-set, grammar, and literacy of (my) reservoir? }--> ** let's ask that question with every apparatus that engages us into desire, movement, articulation, ...

      skills --> to become literate in this particular way --> situated knowledge includes this situated literacy and skills of reading particular to the object of “text” (in that case how do i address my interest in the pervert reader? the skills of the unlearning*)

      --> (2) this skills of (my) reservoir, what set of questions or problems equip me to address?


      (Sennett’s) varzidan, varz, varzide, ورزیده


      ok, again, the ‘skill’ question:

      1. --> what are the set of skills needed for my work?
      2. --> which problematics these skills equip me to address?
      3. --> can i (or should i) not know these problematics in advance?


      as you can see almost all my crafts and tropes are related to social order, communities of concern and research, practices of response, interactions in collective life, etc. the meanings of community and knowledge


      because of working on ajayeb, i am becoming sort of a “definitionist,” or “definitionologist” (not in the classical sense of concept theory)

      a definition i give is a local abstraction, even when it is making boundaries for a dispersed or global concept, it is still a situated knowledge. that means it might be categorical but not applicable outside this particular niche of space and time, even when accessed in my hypertext (--> wht Sven’s music sounds different when he plays it in the group?)


      (committed to the imperative of the Rig,) things not to do in the pop-up book:

      • use as ironic: incongruity (عدم تجانس) in expectations of what is meant and what it will mean in advance
      • use to symbolize: as a way of not dealing with transference and sujet supposé savoir
      • use of anamorphic gaze: a non-diffractive optical system
      • use of palindromic model --> to be careful (or keep in check) with sequential palindromic notion of pop-up book, to deal with the parsable seesaw motif inherent in the pop-up book Blickmaschin


      *a non-ironic non-symbolic non-anamorphic non-palindromic work



      my Rigs diagrams are swarms? -a multitude of different creative agents (how can it be:) not a website but a “para-site”

      • am i creating an ego (for ajayeb) in my if yes, that would be interesting how? To equip a being with “ego”.


      topos/topic of hypertext, spatial character of electronic writing

      topic [from Greek ‘topos’: a place, in ancient rhetoric used to refer to commonplaces, conventional units, or methods of thought] exist in a writing space that is not only a visual surface but also a data structure in the computer --> Hypertext: “is not the writing of a place, but rather a writing with places, spatially realized topics.” (Bolter < Hubert)

      -in my hypertext, which writing materials, cognitive mappings, itineraries of reading, textual stability, loops and reductions are addressed?


      • in the so-called url address or location bar, is itself a control panel, a graphical user interface widget;
        how did i come to use “?q=”: rhetorics of technologized inquiry in place before i even could think about how do I allow my objects constituted by “?”, “q” and “=” of the language and grammar of internet
        • selection pressure of ?q= : a (abstract) probe head:  explores a space of possible forms (of writing), is blind or shortsighted, nevertheless effective in certain circumstances ==> double articulation
          • producing highlights: embodied attention that produces non-zero clusters of salient words that come to glow different than others
        • ?q= is an abstract machine that differentiates the process of sedimentary-sentence formation from the process that yields textual species
      • google webmasters tools is my first readership, it communicates its reading with me; (did i have a desire to make the hypertext for a machine?)
      • url passed in facebook post, results into a link to فلزیاب ، مطالب علمی و آموزشی / مدار فلزیاب و دستگاه فلزیاب تضمینی, a series of websites for selling treasure finders, finding metal under the ground, ganj, and so on...


      the English (since World War II) --> (1) international lingua franca of high technology, (2) the language of computers

      -in the enforcement of standard spelling and grammar is weak or nonexistent

      -the amount of linguistic replicators that circulate through my ajayeb hypertext are bound to a colloquial English, they are nevertheless “English”. but this English is being changed and adapted by my foreign use in multiple ways. Is this language really “English”?

      -(towards) a flourishing of a neo-English + Farsi miniaturization of Eng



      ajayeb's craft and undisciplined tradition can be called empirical, it is an example of an archival research (done by historian.) i want to highlight the aesthetic quality of this activity.

      aesthetics: how elements are arranged together, how they are composed, how they are brought into relation in the space of a text (Kenney > Latour,Stengers, Bellacasa) (--> La Guin's bag, bundle) }--> rigs

      **aesthetics are political because they do consequential relational work**


      novels, poetry, feminist theory, speculative fiction, bestiary list categories --> these genres of composition gather together and stage their “matters of care” in ways that perform relations between things and teach their readers to inhabit sometimes unfamiliar, agential world. they are practices of sf worlding.



      bottom-up writing


      my ajayeb hypertext, what is there the specific law of putting together letters ([and atoms?] to produce a text)? That means the question of Greekness and syntax technology, and my reworking articulated

      • alphabetical proto cloud (Serres) --?--> without law, random
      • what are the laws of good combination that i am reworking or resisting or acquiring or answering to, in my ajayeb hypertext? (how composition is reproduced?)

      --> (the law enunciates [تلفظ کردن ,مژده دادن] the federated,) the law repeats the fact =/= the things of ajayeb are (still) in the process of being formed (--> the morality of reading that i am working on)

      (in the facts of the law there is no space between things and language, is reduced to zero)

      -language and things are born together with the very same process (Serres - Hermes.) --> stable gathering of elements

      • ajayeb's version of the network of primordial elements in communication with each other


      my interest in the devil is in the details of my makings (and others)


      *please take in mind that these names are my guess at my own rabbit chasings, (they are not “wants” or purposefully organized tracings or mobilized intentions)


      (do we need?) to get at (and maintain?) the deep structure of the one's situation

      --> transformational grammar

      --> bring intuitive decision-making to a conscious level


      in my hypertext writing, am i trying to enable myself to talk about my work in a language (that computers could understand)?


      common language ~= standard language

      (we can't talk about the commons without sorting out our understanding of our standard-saturated world)


      (my hypertext is not data-driven [= a system with focus on the acquisition, management, processing, and presentation of atomic-level data] nor a process-driven (or process-sensitive system, for example delivering a care), what is it then?) (also not systematically storing [my] “knowledge” for later access, storage of information in such long-term memory, no no no)

        • is it a support for my various tasks and practices outside the computer? --> excess-driven storytellings =/= minimum data set


      • a non-data-driven systems in this society are named secretive and mysterious in the name of transparency



      #in a way i am building an adequate mode of encounter with an idea of “Iranian scientist” (?)


      authors of ajayeb approached nature not in a way to sketch the boundaries of a discrete animal event, therefore, a unit of analysis, (which is very “natural” at 21st century;) rather an infrastructure itself in flux, providing an unnatural hierarchy


      questions for my ajayeb's Rigs and pop-up book:

      my rigs and pop-up book are descriptive concepts, that means: they obtain their meaning by reference to a particular physical apparatus ==>? a constructed cut between the object and the agencies of observation

      • pop-up book: an instrument with fixed parts ==> concept of “position”
      • Rigs on the other hand tries not to exclude other concepts such as “momentum” from having meaning

      --> ajayeb's variables require an instrument with moveable parts for their definition (?)

      exclusions (= physical & conceptual constraints) are co-constitutive

      objectivity (= possibility of unambiguous communication, boundary articulations) --> reference must be made to bodies in order for concepts to have meaning (?)

      • my Rigs and books are basically about how discursive practices are related to material phenomena


      reading: “text” is the interface between the materialization of “reality” and subjectivation of “reader” --> inseparability of language and reality in ajayeb

      (“We are suspended in language in such a way that we cannot say what is up and what is down, The word ‘reality’ is also a word, a word which we must learn to use correctly.” Petersen < Barad)


      ajayeb's iterative processes of materialization


      عجایب نامه =/= imagined and idealized human-independent reality


      ajayeb's stories of historically nonhuman people


      in ajayeb's descriptive intra-actions with reality, humans and language are part of the configuration or ongoing reconfiguring of the world (= phenomena)

      (with Barad)


      we cannot so easily answer where the apparatus ends, and this poses serious questions about the ontology of our practices


      • (but again, how can I answer) which ontological practices are embodied (or embedded) in (the productive and constraining dimension of regulatory) apparatuses of my ajayeb? (rigs, hypertext, pop-up, my sayings, etc.)
      • (resisting the anti-metaphysics legacy) how can I keep insisting on accountability for the particular exclusions that are enacted in (my) ajayeb and taking up the responsibility to perpetually contest and rework the boundaries (of my objectives)?
      • (if i continue with digital tech in reading ajayeb) how the digitized ajib knowledge can resist appropriation and translation into an idiom that will not sustain its metaphysics?


    • end presentation
    • performative publishing
    • postgraduate program
    • HEARSAY 09 May 2017
      posted by: Kristien Van den Brande
    • Luiza Crosman, Juan Duque, Sana Ghobbeh, Sébastien Hendrickx, Aela Royer
    • Greylight Projects
    • 23 May 2017
    • 25 May 2017

      At the end of a one year research cycle at a.pass, Luiza Crosman (BR), Juan Duque (CO), Sana Ghobbeh (IR), Sébastien 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.




       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.

      – Sana Ghobbeh: max 30: DOODLE 1
      – Sébastien Hendrickx: max 30: DOODLE 2
      – Aela Royer: max 50: DOODLE 3





      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 – ALIBI: “Dummies; The Prophecy of the Ceiling made of Glass; A Space into a Diagram, 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:




    • postgraduate program
    • workshop
    • block 2017/II
    • Medium Score
    • The Problem of the Score
    • The Medium Score Thinking making together apart
      07 May 2017
      posted by: Lilia Mestre
    • Lilia Mestre
    • case of: Lilia Mestre
    • The Medium Score

      The proposal for this block 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 - 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.

      GENERAL FRAME : MMM - Medium, Methodology, Model


      Use the medium you wish. Answer the questions that will be addressed to you always with the same medium. Be aware you can change medium just once and when you do so you’ll have to explain why.


      Through the practice of the score the methodological approach of the singular researches will emerge by the way participants will compose their replies. The score allows for the cognition of the individual methodological approaches.


      By the end of the score practice each of us will make a model of each of our researches. A model is a visualisation of the connections that the researches propose and the links they have with modes of production, the societal environment, the philosophical, architectural, political, etc, fields that the singular researches entail.


      -We meet every week on Thursdays from 17:00 till 21:00 on a.pass 4th floor studio.
      -We bring food to share.
      -We work with the people present. It’s not possible to participate remotely by email or other telematic means.
      -There is no audience.If you don’t have work to present you skip a session.

      The score is simple. It works as follows:

      Proposition > (X 8 question > reply ) > model

      To start:

      The first meeting each of us presents a 5 minutes sample of our research question. The sample is communicated as performance, text, object, dissertation,…It manifest the content of the research and the medium through which the research is taking place.

      The questions

      After we assist to each others presentations we assign by chance procedure who is asking questions to whom.

      Each of us has two days to formulate a question to one of the researchers that has presented her/his work. Questions are sent by email.

      The questions are a dialectic tool to engage in the discursiveness of artistic practice and research. They aim to argument what is at stake, its implications and further relations in the artistic research environment. They are the indicators of the dialogical potential of each research project. They are the motor of a process of sharing, contaminating, contradicting, thinking / making together apart. Questions are an intrinsic and important component of the score. Think them, contextualize them, offer them.

      The replies

      After receiving your questions you have 5 days to develop an answer with the medium you’ve chosen. You present your reply the week after in a 5 minutes template. And so forth till the end of the block.


      If you want to change medium during the score practice it is possible to do it once. You have to argument your choice when you decide to do so.


      We think together how we will publish the practice of the score. How do we make public our processes? The question of documentation and archive is a collective process. The result will be decided by all of us and the materials we generate. A publication will be issued after the block finishes.