block information, research center
4-30 June 2018 / Zsenne ArtLab
Research center 18/II curated by Lilia Mestre
A month residency at ZSenne ArtLab : On Anarchiving > On Love > On Score -ing > On the spot > On presence
Gatherings of parallel parasite platforms for practice based research in the arts > If you want to know, come!
From the 4th till the 30th of June the a.pass Research Centre (RC) will be in residency at ZSenne ArtLab and will constitute itself as people meet, as thematics emerge, as the environment conditions, as the weather manifests, as the bodies form, as toxicity persists, as we drive ourselves towards multiplying perspectives for thinking and experiencing phenomena emerging from artistic research practices.
The RC will function as a meeting point for the convergence of concerns, interests and the pleasures of learning together. It will research itself and its modus operandi in terms of hospitality, dissensus and criticality through the various research practices proposed.
The propositions start from reading groups, activating thinking/doing practices, score -ing, speculative talks, and registration/documentation formats in order to converge multiple insights that might (and not must) infuse other formats of reflecting/experiencing framed by the quasi public environment of the gallery space.
The Research Center in residency invites several guests which are thinking and experiencing ‘gathering’ as a form of knowledge processing bridging theoretical and experiential approaches. These gatherings don’t depart from personal concerns but aim to mine inter-subjective frame works to question artistic research as a learning together practice.
This point of address for the a.pass RC next block, comes from two main curatorial concerns. The first is about the publicness of a Research Centre for artistic research and its visibility, accessibility and share-ability. What are the internal and external demands and needs of such environments? The second comes from an observation on what I’m calling parallel-parasite platforms for practice based research in the arts.
a.pass is constantly questioning the positionality and share-ability of what we learn and interrogating the political implications of the research practices. In response to those problematics, as RC curator, my proposition is the dislocation of the RC to a semi-public environment and to locate it temporary in a gallery space, one of the per-se spaces for the exhibition. The question driving this movement (from the inside to the outside) is: can the a.pass RC in dis-location generate a hub for the study of some of its practices? can this movement instigate other forms of share-ability and access that are informal and porous? We’ll be addressing the agency of such public-ness and how it will be giving perspective to the critical doing and the critical thinking in artistic research and what forms of sociability will be generated.
The three main proposals are: SOL (School of Love) proposed by Adva Zakai, The way of the Anarchive proposed by Erin Manning (SenseLAb) and ScoreScapes proposed by Lilia Mestre (a.pass).
These invited quasi – institutional set ups affiliated in one way or another with the academic environment are experimental formats of learning processes that are critically challenging modes of knowledge production in artistic research. All these ‘parallel-parasite platforms’ or ‘ways of doing’ are engaged in thinking-doing practices that converge theoretical and artistic research practice approaches in the arts.
SOL / School Of Love is an initiative of students and teachers from the Autonome Vormgeving department at KASK. SOL came to existence spontaneously as a school inside a school, in March 2016, out of a workshop that explored the notions of Love and School as modes of attention. SOL has no predetermined curriculum. It avoids defining itself and its goals in order to allow activities to emerge through the presence and interest of its participants, who come from inside KASK as well from outside of the institution. Anyone can be a part of SOL, anything can become a project in it, and it can take place anywhere, as long as it’s stimulated by the will to re-think both school and love as charged with potential for change and engagement in society. It is what we make it to be.
The SenseLab is a laboratory for thought in motion.
Based in Montreal, the SenseLab is an international network of artists and academics, writers and makers, from a wide diversity of fields, working together at the crossroads of philosophy, art, and activism.
Participants are held together by affinity rather than by any structure of membership or institutional hierarchy. The SenseLab’s event-based projects are collectively self-organizing. Their aim is to experiment with creative techniques for thought in the act. The SenseLab’s product is its process, which is meant to disseminate. The measure of success is the creative momentum that spins off into individual and group practices elsewhere, to seed new processes asserting their own autonomy. The SenseLab makes no claim to ownership, operating as much as possible on the principle of a gift economy.
This block will follow up on the thinking the archival concerns of artistic research at a.pass. The interest crawls out of the virtual into the physical public sphere wanting to add another aspect to it. The Zsenne will be taken as a sensor environment for the working upon collective processes of archive and anarchive. For this precise question we’ll be working with Erin Manning and her knowledge on the Anarchive as part of the Immediations project in SenseLab.
Anarchive 1.The anarchive is best defined for the purposes of the Immediations project as a repertory of traces of collaborative research-creation events. The traces are not inert, but are carriers of potential. They are reactivatable, and their reactivation helps trigger a new event which continues the creative process from which they came, but in a new iteration.
2.Thus the anarchive is not documentation of a past activity. Rather, it is a feed-forward mechanism for lines of creative process, under continuing variation.
3.The anarchive needs documentation – the archive – from which to depart and through which to pass. It is an excess energy of the archive: a kind of supplement or surplus-value of the archive.
In this movement between having to retreat from the world and then go back to the world as both places to make sense (study) of our relation with things, various questions start to appear: What is the importance and articulation of doing/thinking practices? And what kind of positionality would this create in the semi-academic frame work?
What kind of environments and practices can we envisage to share political/ aesthetic concerns? what kind of ‘library’ would we build to address these concerns?
Each practice will have a specific way of opening to the public and more specific formats will be announced in detail as we go along. For now the basic structure is a daily private practice fora group of invited artistic researchers and an open door practice everyday from 17:30 till 20:00 where public conversations and doings welcome the interested and the passerby.
The RC is mainly working with alumni and associated researchers linked with the a.pass Research Centre.
For Parallel Parasite we are: Alex Arteaga, Silvia Pinto Coelho, Bojana Cvejic, Nikolaus Gansterer, Nicolas Galeazzi, Adrijana Gvozdenovic, Nico Dockx, Steven Jouwersma, Halbe Kuipers, Pia Louwerens, Sara Manente, Marialena Merouda, Erin Manning, Brian Massumi, Lilia Mestre, Martino Morandi, Xiri Noir, Pierre Rubio, Sina Seifee, Eric Thielemans, Femke Snelting, Eleanor Weber, Adva Zakai, Veridiana Zurita with Petra Van Dyck and Lea Dietschmann .
and the post-master researchers:
Elen Braga, Nasia Fourtouni, Leo Kay, Laura Pante, Geert Vaes, Maurice Meewisse, Caterina Mora, Ezther Nemethi, Hoda Siahtiri, Goda Palekaite, Katinka Van Gorkum.
Forms of learning together is a central approach in the post-master’s program of a.pass (platform for artistic research practices) and has a background in art run organisations as models of self-organisation and collaboration. It views art practice and artistic research as situated, critical and autonomous processes contributing for the politisation of modes of gathering and learning together.
ScoreScapes is a research on how to create frameworks for bringing together diverse artistic practices to ‘speak’ to each other without having a common constraint in terms of content or form. To find systems of interaction where different aesthetic experiences cohabitate, complement, disagree and motivate thirdness together with the possibility to trace it. Like a maze of potentials hovering over us participants of the score.
A central concern in the ScoreSacpes research is the development of modes of being together with our individual backgrounds, moods, sensibles, political concerns, theories, … Through a system of questions and answers set in time, the scores propose regular encounters as a mode of intensive exchange about individual experiences that interconnect with others. In this sense the score proposes a form of sociability. To work with scores allows to follow up and evaluate these relationships constantly. The score evolutions are guidelines for the progress of the study and facilitate a chronological trajectory of the research. To make scores is also to produce documents in order to observe the paradigms that are at stake while making art. The unexpected and unforeseen event is always a surprising call to pay attention to the performative aspect of things, to the condition of all existence as experiential events. The score becomes a life art laboratory for multidisciplinary practices and pluri-focus presences. An attempt to shift from an art-to-look-at to an art to experience.