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1. performative publishing
   postgraduate program
   block 2019/I
   Settlements
   Unsettled Study
   Maurice Meewisse Documentation Third Block - Settlement 14 Curated by Vladimir Miller
   11 September 2019
   posted by: Maurice Meewisse
   01 January 2019
   31 March 2019
   case of: Maurice Meewisse
   
   

   "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!

    
2. information
   postgraduate program
   block 2019/I
   Settlements
   Unsettled Study
   Settlement 14 schedule 08 January 2019
   posted by: Vladimir Miller
   07 January 2019
   26 January 2019

    

   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

    

    

    
3. 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
4. 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
   

    

   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.

    

   philippgehmacher.net

   more on the lecture performance series Walk+Talk:

   http://sarma.be/pages/Anthology_walk+talk
5. postgraduate program
   workshop
   Settlements
   Unsettled Study
   Settlement 14 03 January 2019
   posted by: Vladimir Miller
   a.pass
   07 January 2019
   26 January 2019
   
   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
   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.
6. 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
   
    
   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. 
7. 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.