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    • information
    • short bio Lili Rampre
      20 January 2021
      posted by: Lili Rampre
    • case of: Lili Rampre
    • Lili M. Rampre is researching strategies to highlight “off stage”; processes, practices and actors behind, off, under or above the stage. Lili’s research is focusing on power relationships and the dynamics of disparities in cultural capital (audience-performer, fan-star, producer-artist). Her work has often a role-reversal in its core proposal, ventriloquism of a kind, or unreliable narration. She tends to work from community to make a portrait of dissensus (is there a community, is it real?, portrayal of the limits) and is despite her sociologically coloured interest not employing quantitative methods of humanistic studies concerning analysis of the interviews with the audience which could provide a look into the language that said audience uses when they address the question of dance, but rather looks at the language as a live form that is used in the circle of (its) practitioners – dancers, dance teachers, art researchers and such.

       

      https://lilimrampre.cargo.site

    • July 10th 2020, 14h-18h, online

      a.pass cordially invites you to join the workshop presentations and public debate of the conference Research Futures on the 10th of July at 14h (online )

      The three day conference will take the form of a gradually expanding meeting of practitioners in the fields of art, education and artistic research. On Friday the 10th, the result of the previous day's workgroups will be presented and the conference will open up to a public Q&A and debate. The link for online attendance will be posted on the a.pass website on the 10th of July.

      The link for online participation will be placed here:

      https://bbb.apass.be/b/nic-h9a-kdr

      Welcome!

      Note:
      you will be prompted if you want to use your microphone by the BBB software.
      You can click yes. if you wish so.

      Please mute your microphone when you enter the room. (bottom of the screen)

      please find the full conference announcement here

       
    • conference
    • information
    • research center
    • defining a.pass
    • RESEARCH FUTURES Conference
      27 June 2020
      posted by: Vladimir Miller
    • a.pass
    • 08 July 2020
    • 10 July 2020
    • case of: Vladimir Miller
    • RESEARCH FUTURES

       

       

      As a publicly funded educational platform, a.pass is reviewed by the ministry of education in regular five-year intervals. With the next review process underway, a.pass took the opportunity to propose a collaborative process of self-evaluation to four other educational institutions - DAI - Dutch Art Institute, NL; Jan Van Eyck Academy, NL; Royal Academy of Fine Arts Antwerpen, BE and Uniarts Helsinki, FI in the field of artistic research. This process is motivated by a desire to establish a platform for mutual criticality where institutions of artistic research are not pushed to compete against each other, but can meet as partners sharing many of the same stakes. This critical intra-vision is also a balancing measure to the tendencies of such evaluations to produce an equalizing standard in a respective field of cultural production. Instead we aim to understand, compare and strengthen our differences, in order to create greater specificity and add complexity to the developing field of artistic research.

      The upcoming conference "Research Futures" will bring representatives from five institutions of artistic research together with professionals working in the field of education, arts, culture, artistic research, curation and activism to engage with a series of questions emerging from this comparative (self)-study. We want to understand better what is the range of educational and institutional strategies and practices operating in the field of artistic research today. Where do we see common struggles, pitfalls and current problematics with respect to our concerns with inclusivity, sustainable support structures, institutionalization of artistic research and politics of publication. And finally we would like to compare ourselves to the future: what are possible scenarios for artistic research to continue its contribution to the field of artistic production, and how can these contributions respond to the changing social realities of a challenging future?

      The conference will proceed in three steps, growing from a meeting to a debate.

      On day one the representatives of the contributing institutions will meet to review the process of self evaluation. Moderated by Delphine Hesters, we will look for commonalities and differences between our institutions and how they operate and address the challenges we outlined together in our shared reports. This meeting will develop areas of concern to pass on to the next round of discussions the following day.

      For step two we invited ca. 20 practitioners and professionals from the field of cultural production, education and artistic research to come together with us in a working session dedicated to the topics proposed on day one. Gathered around the topics in groups, the main objective will be for each group to critically develop relationships between present conditions and implications and future scenarios. Which relevance will this particular concern have in the future, how will it change in response to the developments of its social, economical and political context, what will be possible responses, adaptations and strategies to address those changes? Each group will be accompanied by a "reporter", someone who will take notes and compile an ad hoc report for the debate the next day.

      At step three we will open the content developed in the groups to a collective process. With the help of the "reporters", the groups will present their findings to all present. The subsequent discussion, will be open to questions, comments, critique and contributions from all sides. This part will also be documented in audio and writing, and, together with the reports from preceding steps, contribute to a joined workshop conference report, that will be published and made available later in the year.

      List of participants (tbc):

      KASK - Heike Langsdorf, Frederique Le Roy; Adva Zakai; RITS - Geert Opsomer, Klaas Tindemans, Action Plan Europe - Tere Badia; PARTS - Bojana Cveijc, Charlotte Vandevyver; ROYAL ACADEMY FINE ARTS ANTWERP - Els De Bruyn, ERG - Laurence Rassel; CAVEAT - Ronny Heiremans, Kathleen Vermeir; KAAITHEATRE - Agnes Quackles; KANAL - Centre Pompidou - Guy Gypens; BUDA Kortrijk - Mathilde Villeneuve; LA LOGE- Laura Herman; WIELS Eva Gorsse; INDEPENDANT RESEARCHERS: Philippine Hoegen , Sébastien Hendrickx, Kristien Van den Brande, Sina Seifee and the Post-Graduate and Associated Researchers of a.pass; Benchmark participating institutions: Hicham Khalidi (Jan Van Eyck Academy), Elo Mika (Uniarts Helsinki), Gabriëlle Schleijpen (DAI), Nico Docks and Els De Bruyn (Royal Academy Fine Arts Antwerp); Moderator - Delphine Hesters

    •  

      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.

       
    •  

      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

       

       

       
    • AAA
       
      The Research Center at a.pass is a platform for advanced research practices in the arts. It invites five to six associated researchers per one year cycle to develop their artistic research practice in a environment of mutual criticality and institutional support. In agreement with the individual research trajectory of the associate researchers the apass Research Center supports and facilitates forms of performative publishing (publications, presentations, exhibitions etc) experimental research set ups and collaborations.  The Center cohabits with the self-educational processes of the a.pass post-master program and functions as a resource for reflection on methodologies of collaborative research.

      Rather than consolidating the existing discourse around the notion of artistic research, a.pass is committed to accumulating different understandings of artistic research through practicing its frameworks, archives and vocabularies. By bringing together differently practiced notions of artistic research, apass is assembling an intense reflection on modes of study, knowledge production and knowledge sharing within the artistic field. a.pass is interested in the actualisation of performing knowledge because it considers artistic research as a situated, contextual practice which is the consequence of the ongoing negotiation between its stakeholders, contextual fields and discourses. a.pass interacts with academic, activist, practice-based fields and methods of research, and supports the development of rigorous, inventive forms of artistic research on the intersections between those fields and in tension with academic artistic research as a developing discipline.


      The center itself is not a solid institutional body with its associate researchers as satellites, it is rather constructed as a support structure that brings different trajectories and fields of research to a multitude of temporary overlaps.  It's institutional and long term structures work towards a  repository of methodologies, forms of archive and making public of artistic research practice.
       
      a.pass offers a collaborative environment for the development of artistic research. Five to six researchers join the Research Center for a one year cycle. They are accompanied by three Research Curators that consecutively take care of the center. The activities of the research center are organised around performative publishing, engagement with external research situations and peer reviewing/collective mentoring. Research is developed, shared and performed in public lectures, workshops, conferences, publications, performances and other experimental set-ups. The Research Center meets on a bi-weekly basis to self-organise and share processes. In addition, research curators are available for individual meetings.
       
      Associated researchers are seen as partners of a.pass. They have access to the collective activities of the post-master program. a.pass provides technical support, workspace and supports performative publishing. Associated researchers do not pay a fee. a.pass can act as an institutional partner in applications for funding or academic research. The specific terms of the association will be formulated in an individual contract between the researcher and a.pass, delineating the research steps that will be developed within the a.pass environment and their possible public outcomes.
    • 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.


      PLENUM
      Plenums are gatherings of a.pass as a whole. All participants of the block program take part in each of the 3 plenums to share the state and development of their researches, as do the mentors, the research centre, the daily team and the core members as far as possible.
      Plenums are gatherings to exchange about individual researches and practices, and are used to discuss how we, as a group of researchers, and the structure of a.pass can best support them.

      The plenum doesn't start until everyone announced is present.

       

      FORUM
      Forums are timeframes to discuss and work on the topics of MAKING/CONDITIONS, to develop and exchange knowledge or to practice the making of research. 
      A forum can be a physical gathering from 1 hour to 5 days. Forums can be internal a.pass work gatherings, held publicly in presence of invited guests, or even take place in collaboration with other institutions.
      Forums start at the announced time, wether the participants are present or not.

       

      AGENDA

      Plenum I

      8. - 17. January: Displaying Conditions (opening week)

       

      10.-11. January: participation in U-Ghent seminar 'What are we training for?'
      by Adriana la 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)

       

       

       

    • Having trouble seeing this email? Please see the online version here 

      apass_logo_sm

      No Communication without Noise

      curated by Laura Herman
       
       “Mistakes, wavy lines, confusion, obscurity are part of knowledge;
      noise is part of communication, part of the house.”
      Michel Serres
       
      No Communication Without Noise is a three-day insight in five ongoing a.pass researches that share
      an affinity with the ambivalences of writing and reading. Interested in communication, or the lack of,
      Esta Matkovic, Lili M. Rampre, Sina Seifee, Xiri Tara Noir and Maarten Van den Bussche
      address the limitations and untapped potentials of text in proposing new modes of attention.


        

      Programme

      Thursday 21st / Friday 22nd / Saturday 23rd 2017

      17:00 doors open
      ongoing installations until 22:00

      performances at
      18:00, 19:30 and 21:00

       

      Thursday 21st & Saturday 23rd

      Ongoing:

      Sina Seifee
      AN AJAYEB'S
      NETWORK MAKING
      &
      Maarten Van den Bussche
      A SENSE OF SELF

      ____________________________

      performances:

      18:00 Lili M. Rampre
      OUT OF THE BLUE

      19:30 Xiri Noir
      LISTENING BY SPEAKING TO ONESELF

      21:00 Esta Matkovic
      THE PROJECT

       

      Friday 22nd

      Ongoing:

      Sina Seifee
      AN AJAYEB'S
      NETWORK MAKING
      &
      Maarten Van den Bussche
      A SENSE OF SELF

      ____________________________

      performances:

      18:00 Xiri Tara Noir
      LISTENING BY SPEAKING TO ONESELF

      19:30 Lili M. Rampre
      OUT OF THE BLUE

      21:00 Esta Matkovic
      THE PROJECT

       

       

      line650

       

      Lili M. Rampre
      OUT OF THE BLUE

       

       

      In “Out of the Blue”, Lili Rampre moves from water to land. Although the transition would seem at first sight to be a safe one, rejoining the shore after swimming in tumultuous waters, it is not: Rampre’s world hails from The Little Mermaid, and much is lost for Ariel when she leaves the ocean waves. What, she asks, would be other ways of constituting ourselves? How can we be made anew? How can we break free from the imperatives of balance, health, and harmony, and still remain subjects? She must find out how movement and voice, the oft-forgotten tools of subjective elaboration, can disrupt the laws of propriety and open the floor for unpredictable selves.

       


       

      Maarten Van den Bussche
      A SENSE OF SELF

      RE-QUEST, RE-SEARCH and POETRY


       

      My research became a thing about how the intimate and the political might fuel and propel each other, onwards into interwoven subjective en social change! Though, when it becomes a fixed thing, I feel compelled; forced even – with the intensity of an addict longing for a hit – to change it into something else.

       


       

      Esta Matkovic
      THE PROJECT
      a project about love and intimacy


       

      I am presenting a book and i would like to think of it as performative act, a substitute for my process, an aesthetic experience. I am working on our everyday performativity, making a format for Intimacy, Care and Love to be observed, a contract as a meeting space of our borders in an agreed space. The assemblage of documented material consists of messages, email exchanges and meetings with my artist Lovers, through my daily reflects upon the ‘project’.   

       


       

      Xiri TAra Noir
      LISTENING BY SPEAKING TO ONESELF
      a relational practice


       

      Departing from an activist purview Xiri’s research centers on how particular gestures are captured and interpreted by different groups of women. Across different groups, however, misunderstandings are likely to emerge due to factors of circumstance and prejudice. Xiri uses transcriptions not as a tool to translate what has been said exactly, but how it has been said by returning what gets lost into the realm of the perceptible through amplification. Through a legend of cues – an emotional map of sorts – a reenactment of conversations becomes possible, reconfiguring the field of relations and enabling the appreciation of value systems that are not ours. 

       

       


       

      Sina Seifee
      AN AJAYEB'S NETWORK MAKING

       

       

      Ajayeb ‌ is a site of heritage and research on histories of standards in knowledge production, stories of the inseparability of affect and episteme, passing of obligations from something ghost-like to something felt-with-certainty, from site to parasite. And work on ajayeb is an infrastructural concern about zones of encounter, about the politics of rememberance: the politics and philosophy of classifying certain textual/material activities that constitute what is „past.“

       


       

      a.pass
      p/a de Bottelarij

      Delaunoystraat 58-60/p.o. box 17
      1080 Brussels/Belgium

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

       

       

    • information
    • NOT_index
    • newsletter2 september 2017 12 January 2017
      posted by: Steven Jouwersma
    • 21 September 2017
    • 23 September 2017



    • a.pass newsletter september

      *Block III 2017 introduction
      *Five a.pass researches 21-22-23 september
      * Call for application 06/10/2017



      BLOCK III 2017
      4 SEPTEMBER TILL 2 DECEMBER
      CURATED BY VLADIMIR MILLER,

      This block is concerned with the processes and questions of a mobile,
      displaced, untethered research practice. We will use the methodologies
      of moving out, taking a trip, going for a walk  to reconsider the
      building blocks of our research and discover new ones.

      MORE information

       


       

      No Communication without noise
      five a.pass researches
      curated by Laura Herman 

      “Mistakes, wavy lines, confusion, obscurity are part of knowledge;
      noise is part of communication, part of the house.” 

      (Michel Serres)

      No Communication Without Noise is a three-day insight in five ongoing a.pass researches
      that share an affinity with the ambivalences of writing and reading.
      Interested in communication, or the lack thereof,

      Esta Matkovic, Lili M. Rampre, Sina Seifee, Xiri Tara Noir and Maarten Van den Bussche
      address the limitations and untapped potentials of text in proposing new modes of attention.

      MORE information

       
      Save the Date:
      21-22-23 September
      17:00 to 22:00 

      a.pass 
      Bottelarij 
      Rue Delaunoye 58 - 60 
      1080 Molenbeek-Saint-Jean 


       ***More information on the full programme soon.***


       

       call

      FOR ARTISTIC RESEARCH PROJECTS
      POST-MASTER AND PHD LEVEL


      DEADLINE: 06/10/2017
      TO START IN MAY 2018

      SELECTION TALKS : 19&20/10/2017
      (PLEASE KEEP THESE DAYS FREE!)


      MORE information

       


       

       

       

    • information
    • NOT_index
    • newsletter1 12 January 2017
      posted by: Steven Jouwersma
    • 21 September 2017
    • 23 September 2017



    • a.pass newsletter september
      *Five a.pass researches 21-22-23 september
      *Block III 2017 introduction
      * Call for application 06/10/2017


       

      No Communication without noise
      five a.pass researches
      curated by Laura Herman 

      “Mistakes, wavy lines, confusion, obscurity are part of knowledge; noise is part of communication, part of the house.” 
      (Michel Serres)

      No Communication Without Noise is a three-day insight in five ongoing a.pass researches that share an affinity with the ambivalences of writing and reading. Interested in communication, or the lack thereof, Esta Matkovic, Lili M. Rampre, Sina Seifee, Xiri Tara Noir and Maarten Van den Bussche address the limitations and untapped potentials of text in proposing new modes of attention.

      MORE information

       
      Save the Date:
      21-22-23 September
      17:00 to 22:00 

      a.pass 
      Bottelarij 
      Rue Delaunoye 58 - 60 
      1080 Molenbeek-Saint-Jean 


       ***More information on the full programme soon.***



      BLOCK III 2017
      4 SEPTEMBER TILL 2 DECEMBER
      CURATED BY VLADIMIR MILLER,

      This block is concerned with the processes and questions of a mobile,
      displaced, untethered research practice. We will use the methodologies
      of moving out, taking a trip, going for a walk  to reconsider the
      building blocks of our research and discover new ones.

      MORE information

       


       

       call

      FOR ARTISTIC RESEARCH PROJECTS
      POST-MASTER AND PHD LEVEL


      DEADLINE: 06/10/2017
      TO START IN MAY 2018

      SELECTION TALKS : 19&20/10/2017
      (PLEASE KEEP THESE DAYS FREE!)


      MORE information

       


       

       

       

    • SELF / Throughout the block each participant develops a self-interviewing practice. The self-interview develops through the individual 'journeys of practices and researches'. During opening week we will introduce possible strategies for self-interviewing and start up the process. During the End Week we will share our results or work in progress. (for inspiration (and fun)... https://youtu.be/o51RdZBsv0w)

      PEER / On top of the dedicated mentoring and the self-interview practice you will also mentor - and be mentored by -a peer participant who will follow you throughout the whole block. You meet with each mentor (at least) twice throughout the block.

      This list shows the chains of  mebtorings: A mentors B, mentors C ...

       Mentored byMentoring
      Isabel Burr RatyThiagoVanja
      Thiago AntunesKleoniIsabel
      Ricardo Santana (PhD)VeronicaEsteban
      Esteban DonosoRicardoKleoni
      Tinna OttesenHektorMavi
      Mavi VelosoTinnaYaari
      Yaari ShalemMaviHektor
      Hektor MametYaariTinna
      Audrey CottinVanjaAdriana
      Kleoni ManousakisEstebanTiago
      Vanja SmiljanicIsabelAudrey
      Marta Verónica Cruz CamposAdrianaRicardo
      Adriana La SelvaAudreyVeronica

    • information
    • NOT_index
    • Opening Days 03 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 09 January 2017
    • 20 January 2017
    •  

       

      everyone will introduce the state of her research,

      a.pass will introduce her new team and organisation,

      the curatorial proposal of the current block will be presented and appropriated,

      the four dedicated mentors will introduce themselves and present their practice,

      we will establish a ‘block research plan’ to decide what to discriminate between all the possible options in a dialogue with us and the group.

       
       

       

      Prepare for the 9th of January a written text about you and the current state of your research.

      A written synthesis of your research, and of you as a researcher, ‘at time t’.

      This text -one to two pages long- will be very useful during the opening days as part of your individual presentation but as well as a communication device to introduce your work to your mentors.

       

       

      Score:

      Imagine yourself in a desirable future some 20 years ahead and imagine the present from there:

      who were you?

      where did you come from?  

      what was your research about?

      what was the problem/question you wanted to pose with this research?

      what was the current state of your research?

      what did you want to achieve during that block in a.pass?

      what were you speculating for within this period of time?

      what were you angry about the world and or your environment?

      what did give you hope?

      …?

       

       

    • information
    • NOT_index
    • End Week Days 03 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 01 April 2017
    • 06 April 2017
    •  

      The End Week Days are the last dedicated moments in the block for presenting our researches and for constructing a vision for the rest of our research trajectory. These days are the times for analysing the current block and come up with plans for the future. Beyond individual presentations and feedback sessions everyone is invited to propose other activities in relation to her/his/your/our research(es).

    • information
    • NOT_index
    • Assemblies, Mentoring, Workshops, Ateliers 03 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 09 January 2017
    • 30 April 2017
    •  

       

      This four months block gives you the opportunity to develop your research individually and collectively.

      We organise a very diverse series of activities and possible involvements into a large range of practices for you to deepen your research.

      The schedule is divided between mandatory days (30% of the time) as well as optional dispositives for you to compose as you wish what seems right for you and your research.

      What is mandatory?

      Assemblies (opening week, half-way-days, and end week)

      Mentorings (4 dedicated mentors practice days, 2 dedicated mentors individual sessions, 1 a.pass art coordinator individual session)

      Workshops (1 workshop on the three which are proposed for this block)

      Curated Ateliers (4 days participation in the Trouble on Radio Triton dispositive)

       

       

       

    • information
    • NOT_index
    • half-way days 03 January 2017
      posted by: Pierre Rubio
    • a.pass
    • 20 February 2017
    • 24 February 2017
    • The half-way-days are the second assembly gathering in each block. It is the moment where the exchange of practices include the direct involvement of the others into our own practices. This intense week of exchanges is a practical research moment and a chance to test and develop our methodologies.

       

    • information
    • a.pass: The Uncanny 14 September 2016
      posted by: Nicolas Galeazzi
      Having trouble seeing this email? Please see the online version here 

      apass_logo_sm

       
      SEMIOTICS OF THE UNCANNY

      DR. DALILA HONORATO

       

      a.pass Research Center and Isabel Burr Raty

      invite special guest Dr. Dalila Honorato.

      The talk will be followed by a discussion.

      Saturday October 21st 2017, 16h-19h

      @ a.pass , 4th floor 

       

      ‘Semiotics of the Uncanny’ will approach alternative bodies in art, sexuality and pop culture, that conjugate body alteration, medical fetish, disability aesthetics and creative ritualistic behavior, touching on subjects such as: phobia, paraphilia, teratology, prosthetics and acrotomophilia.

      If the body is defined as the sum of all physical parts then individuality is composed by the uniqueness of this structure and the qualities of its elements. In a time when plastic surgery is considered a commodity within the cosmetic industry and the hype for symmetry has reached post-standardized levels, the borders between mass production and eccentricity, in what beauty is concerned, become more obvious. But it is when health issues occur that the equation changes. How can a body be defined if a physical part is missing or if it is supernumerary in the sum? Unlike some types of lizards, starfish, sea cucumbers, earthworms and salamanders, humans have a very limited capacity of self-healing. What happens to a physical part that is removed from a body separated either due to an accident or due to its dysfunction? And how does one cope with this separation as an individual and as a social being?

       

      After Dalila’s talk, Isabel Burr Raty, performance artist, independent filmmaker and associated researcher in a.pass Research Center, will offer some tea and will support a co-learning conversation. 

      At first, the focus of the conversation will be on the Hybrid Art contemporary positioning, a phenomenon that mixes multiple art forms crossing borders between art, science and technology, contributing to hybrid narratives in performing arts and creating new alternative technological materials and objects aimed to serve as empowering tools for resisting the high-tech capitalist imperialism. Then, Isabel and the public will prolong the discussion with Dalila to bring her approach to a broader artistic research context.

      Dr. Dalila Honorato’s research focuses on embodiment at the intersection of performing arts and new media and, as a curator, she is interested in exploring the outlines of art and biology. Dalila is currently Assistant Professor in Aesthetics and Visual Semiotics at the Department of Audio and Visual Arts of the Ionian University in Corfu, Greece. She is one of the founding members of the Interactive Arts Lab where she coordinates the Art & Science Research Group. She is the head of the organizing committee of the conference “Taboo-Transgression-Transcendence in Art & Science” and conceptor-developer of the Corfu Summer School in Hybrid Arts. She is a guest faculty at the PhD studies program of the Institutum Studiorum Humanitatis in Alma Mater Europaea, Slovenia, and a guest member of the Center of Philosophy of Sciences of the University of Lisbon, Portugal.

      ionio.academia.edu/DalilaHonorato 

      Isabel Burr Raty explores the ontological crack between the engineered and the native, between the official facts and the unlicensed knowledge of the resettled, the relocated; in order to think about the memory of the future and dig out chapters left out of scientific and history books. Her artistic research  is design based and semiotic, interweaving live/body art, participatory performance, biology and DIY technologies, and is based on the question of how to write in situ Sci-Fi narratives that remain alive, alive as they rely on the participative audience’s faculty to propose dispositives of liberation from a commodified life/body.

      www.isabel-burr-raty.com

       

      When: Saturday October 21st  from 16:00 h to 19:00 h

      Where: a.pass fourth floor studio.

      Free entrance

      Directions: https:///www.apass.be/contact/

      Please confirm your participation by sending an email to <isabelburr.raty@sacrofilms.com> !

       


       

      a.pass
      p/a de Bottelarij

      Delaunoystraat 58-60/p.o. box 17
      1080 Brussels/Belgium

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

       

       

    • Having trouble seeing this email? Please see the online version here 

      apass_logo_sm

      end communications of a.pass

      Adrijana Gvozdenović, Pia Louwerens
      and Eleanor Ivory Weber

      @ Hectolitre (MAROLLEN - Brussels) 
      Rue de Hectolitre 3 - 1000 Brussels

      Friday 1 and Saturday 2 February 2019
      from 18:00 to 22:00

      Schedule: 

      18:00 food & drinks 

      18:30 Subtracted Seduction

      19:00 Subverses I: Play 

      Break

      20:00 7 anxieties and the world

      20:30 Subverses II

      Break

      21:15 Subverses III

      21:30 The big gesture is many small gestures dispersed
      (doors close before the last performance starts) 

      Performances by Eleanor Ivory Weber, Adrijana Gvozdenović, Pia Louwerens

      With contributions by
      Subtracted Seduction: sound editing and mixing Teresa Cos
      Subverses I & III: performers Lydia McGlinchey, Marcus Bergner
      7 anxieties and the world: sound mixing Marko Radišić

      LISTEN TO THE TRAILER


      On Friday 1 and Saturday 2 February 2019, from 18:00 to 22:00 Adrijana Gvozdenović, Pia Louwerens and Eleanor Ivory Weber present their artistic researches at the former swingers club, La Porte des Senses, today an art space called Hectolitre, to mark the end of their participation in the a.pass program.

      With Subtracted Seduction, their individual researches are framed through shared concepts such as anxiety, non-consensual collaboration, authorship and institutional critique. In each of the three approaches, narratives created through these symptoms of the contemporary artist are investigated. The romantic artist is negated and the multi-faceted artist materialises as both instigator and instigated, made up of multiple voices. The three researchers engage with the complexity of being both unnameable and contained in the knowledge-network immanent to the institution. There appears Subtracted Seduction.

      Read more...

       


       

      a.pass
      p/a de Bottelarij

      Delaunoystraat 58-60/p.o. box 17
      1080 Brussels/Belgium

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

       

       

    • information
    • postgraduate program
    • block 2016/II
    • NOT_index
    • Opening week Block II/2016 04 December 2015
      posted by: Nicolas Galeazzi
    • a.pass
    • 02 May 2016
    • 11 May 2016
    • The basic idea of this week is to share and ‘update’ each other about our researches in order to allow the collaborations in the block. This means that you will be asked to share the concept, some material and thoughts of your personal research with all of us. We will send you a more detailed plan about this very soon.
      This is it for now, if you have more specific questions, don’t hesitate to ask.

      Looking forward to seeing you all!

    • The dedicated mentors for this block are Femke Snelting, Kate Rich, Geert Opsomer and Philippine Hoegen.

      According to your needs, you can choose for either 2 or 3 mentors.

      In order to challenge you with a specific context and language of mentoring we would like to suggest for this block, that the team of mentors proposes one of those 2 or 3 mentors to you. We would like to experiment with this possibly confronting, contrasting, or specific support to your research.  With each of the 2 or 3 mentors you will have 4 hours of mentoring throughout the block.

      Since the dedicated mentors will present themselves in the opening week and will attend all your presentations you will be able to decide on your mentors at the end of the first week.

      To subscribe read more:

      Please check the time availabilities of the mentors below and subscribe to your mentors here.

       

      Timing of possible mentoring:

       Schedule will follow soon.
       
      Femke Snelting:
      Best days for the 1st mentoring are: 22, 23, 26, 29, 30 September;
      Best days for the 2nd mentoring are:  14, 24, 28 November.
      Otherwise there's always space around things so we'll make individual appointments and find slots.
       
      Kate Rich:
      Available in Brussels for the 1st mentoring are: 14 - 17 September
      Available in Brussels for the 1st mentoring are:  26 - 29 October
       
      Philippine Hoegen:
      on individual appointment
       
      Geert Opsomer:
      from 15th September on individual appointment.
       
       
    • information
    • postgraduate program
    • block 2016/I
    • Sub -(e)ject
    • Block Focus: Sub -(e)ject The relation between writing and performance
      01 December 2015
      posted by: Nicolas Galeazzi
    • Lilia Mestre
    • a.pass
    • 04 January 2016
    • 31 March 2016
    • case of: Lilia Mestre
    • Block Focus: Sub -(e)ject

      The proposal for this block follows up on scores as a tool to organize dialogical or intersubjective formats for exchange in artistic practice and research. In the past two years I developed in the frame of a.pass a score for writing practice, ‘Writing Scores’ and a score for performance ‘Perform Back Score’, both as discursive tools. Both scores created a platform for the different researches to co-habitate and to reflect back the methods and strategies each of us use in the making and thinking of our practices. The main questions are: How do we compose materials and thoughts? What is the performativity at stake on the sharing of those? What’s the relation between subjectivity and collectivity in a collaborative environment? What does that do to our individual practices and to the collective itself?

      I like to think that the becoming of the subject takes place in the experiences s/he partakes in the interiorisation and exteriorisation of the world. The subject as an agent of change that through its own transformation in the collective terrain participates activelly in the collective. I see the arts as a manifestation of that transformation and that transformation as a form of political engagement .

      For 2016 I would like to mix both scores and propose to focus on the gestures of performance and writing as gestures of inscription both containing the desire to create surfaces of reflection that beam our experiences out into the world and give tools for reading that same world.

      We can think performance as writing as well as writing as performance and the multiple relations the practice of arts have with writing. Language is the common denominator in our super capitalized society, it’s the place of communication/ transmission by excellence, where knowledge (experience and thought) gets legitimized and for the same reasons a place where we cross or establish borders. We all have a deep relation with language from daily life existence to the writing of academic papers, theatre programs, grants applications passing by fiction or poetry. And in a moment or another we have to answer the questions: What are you doing? What is is about? Why?

      Through our the block we’ll search for the connection between the word and the event, the resonance of the work into words, also if the work is writing itself, and vice versa. The confrontation between the place of experience and the place of re-telling, the dialogue that runs in between them and makes both evolve. How each of us does it? Which kind of tone, format, lenght, do we use to manifest the experience into words or the words into experience? How do the two practices feed each other? Can a writing about art be art itself?

      The score is called “ Bubble Score for multiple languages” and will take place once a week from January till March. We’ll alternate weekly between writing and performing and a publication will be produced afterwards. The score will have several observation stand points: as practice of both, performing and writing, and their relation, as a way to publish events and reflections and as a social environment of authors without territories developing subjectivies/ collectivities. The five workshops will support the individual researches by contributing with tools and strategies coming from different artistic approaches.

       

      OVERVIEW

      Here we give a short overview on the workshops spread over the block, which shall bring a
      mixture of inputs into the discourses raised through the focus of this block.

      The first workshop about is about subjectivity and will be given by Elke Van Campenhout as a start up to the philosophical environment of the block. We’ll reed authors such as: ...

      After this we will dive into blindness and writing with Lilia Mestre (performance) and Bruno De Wachter (writer). The idea of the workshop is to start a relation between the personal throught working on blindness and writing as a pratice bringing that inside in relation to the outside, the world. The work will take form throught the researches of the participants.

      Jack Hauser and Sabina Holzer will give a workshop on scores where each participant will practice scoring in relation to her/his research as much as the collective construction of a score where the different practices can ‘play’ with each other.

      Myriam Van Imschoot will use various forms of voicing and singing to co-write thoughts, ideas and presence in the multiple spaces of social interaction, communication and their architectural and acoustic envelopes.

      And to end, the choreographer Anne Juren will work with body technics as Feldenkrais to approch different states of the body and write from that perspective taking support on Ecriture Feminine.

       

    • call

      for artistic research PROPOSALS


      post Graduate PROGRAM


      DEADLINE: 10/10/2021
      TO START IN May 2022

      SELECTION TALKS :   27 and 28/ 10/2021
      (PLEASE KEEP THESE DAYS FREE!)

       

      call for Associate Researchers

      Deadline 27 February 2022

       


       

       

       

      a.pass (advanced performance and scenography studies) is an artistic and educational research environment that welcomes research practitioners, from all professional backgrounds in an international self-organized, collaborative and trans-disciplinary program. a.pass includes two complementary structures that operate in parallel and in dialogue: the Postgraduate Program and the Research Center.

      This call for applications is inviting researchers who would like to start or continue a research trajectory within an experimental and professional artistic research environment. a.pass offers a one-year post-graduate program or a one-year Associate Researcher affiliation where researchers can develop research proposals in a collective, supportive environment independent from production constraints.

       

      Post-graduate program

      The a.pass Postgraduate Program organizes a one-year artistic research curriculum for artists / researchers from all professional backgrounds. a.pass researchers develop an independent artistic research trajectory in a shared and collectively created research environment. They engage in presentations and feedback, collective workshops, individual and group mentoring and modular interactions with the curators and other researchers.

      As an educational environment, a.pass opens a space for speculative and experimental modes of practice and critical thinking. The content and the practical apparatus of the program are shaped by the proposals of the a.pass curators, the artistic coordinator and the a.pass researchers.

       

      or

       

      Associate Researcher in the Research Center

      The a.pass Research Center as a platform for advanced research practices in the arts, invites five to six Associate Researchers for a one-year cycle. They follow a part of their research trajectory in an environment of mutual criticality and institutional support. The Research Center welcomes radical and inventive research methodologies in order to contribute them to the larger a.pass environment and beyond. The Research Center interacts with the a.pass Post-Graduate Program and functions as a resource for methodologies of collaborative research. The Research Center supports and facilitates forms of performative publishing (publications, presentations, exhibitions, etc), experimental research set ups, workshops and collaborations.

      a.pass welcomes researchers with non-academic and academic research affiliations and support structures. Researchers with an existing academic research trajectory (for example PhD in the Arts) have the opportunity to develop the practice-based part of their research within the educational environment of a.pass.

       

      MORE INFORMATION AND LINKS TO THE APPLICATION:

      post-graduate selection criteria

      associate researcher affiliation

       

       


      a.pass
      a.pass - Posthogeschool voor podiumkunsten vzw.
      p/a de Bottelarij / Delaunoystraat 58-60/p.o. box 17
      1080 Brussels/Belgium

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

       
    • information
    • postgraduate program
    • block 2016/II
    • HALF-WAY-DAYS 31 March 2015
      posted by: Nicolas Galeazzi
    • a.pass
    • 17 October 2016
    • 21 October 2016
    • The half-way-days - half way through the block - are the second common gatherings in each block. It is the moment where the exchange of practices include the direct involvement of the others into our own practices. We use the others as ‘guinea pigs’, collaborators or interlocutor for our research and play those roles ourselves for the others. This exchange is a practical research moment and a chance to test and develop our methodologies.

      Beside that, the half-way-days are also an occasion to think about and influence the making of the following blocks to come. The APC’s are sharing their first thoughts and approaches to construct the next block’s program and ask for your involvement, your ideas and needs.

       

    • the new structure for dedicated mentorings (3x2 or 2x3)

      The dedicated mentors for this block are Abu Ali * Toni Serra, Bart Van den Eynde, Lilia Mestre and Elke Van Campenhout. Since some participants preferred to have a more in-depth contact with their mentors, we changed the set-up of the sessions as follows: out of the four mentors each participant chooses

      -3 mentors and has 2 sessions with each of them (regular)

      OR

      -2 mentors and has 3 sessions with each of them (intense)

      Since the dedicated mentors each are responsible for one day during the first Workshop on Artistic Research, we will be able to decide on who, what and how at the end of the first week.

       

      On top of these mentors you will also be mentored a peer participant of your choice who will follow you throughout the whole block, and with whom you meet also at least twice. For this block we would like you to experiment with the mentoring format, and to contribute to our Toolkit for Mentoring, by adding alternative formats for mentoring through practice, movement, double self-interviews, through intermediary pets, objects or cooking sessions, ... Whatever you think might get the juices flowing. 

       

      the INTERVIEW SESSIONS

      Throughout the block each participant also develops an interview practice, in 3 sessions, based on questions that appeared in their own cases. The three stages of the interview throughout the block can take on different forms: through language, audio or image, addressing one person at the the time, or conducting (small) group interviews. Written or spoken or walked. In the end the three stages of the interview will serve as a starting point for the sessions during End Week in PAF. 

       

    • Also on this level, we assume the same kinds of qualifications and competences in the PhD researchers as in the post-master researchers, but with some added qualities.

      The PhD program aims to support researchers to become emancipated independent researchers in the fields of performance and scenography, or beyond. We support our researchers to think and work ‘out of the box’, or forget about the box altogether, and to become innovative practitioners and thinkers, that develop their work out of a (self-)critical ability to assess and relate their urgencies to a wider environment (the artistic and educational sector, society, the world). We encourage our researchers to think beyond the current value definitions of knowledge and to reappraise their own practices as precious contributions to society. We help our researchers to connect to the world, by supporting them to network, collaborate with external partners, and communicate their work to an outside audience of artists, public and professionals.

      We expect our PhD researchers to have developed a thorough knowledge of the theoretical as well as artistic practice fields they address in their research, and to be capable of sharing the knowledge that has been developed throughout the research within the public realm throughout lectures, conferences, publications, performances or other experimental set-ups.

      a.pass also expects its PhD researchers to have developed the social skills, broad societal interests, and pedagogical capacities to pass on the experimental spirit of research to upcoming researchers and interested groups, and to offer the research a public context in which to nourish itself and the world around it. As such, we count it among the end qualifications of the PhD students, that they will be capable to use their research competences later on in their professional life as a lever for change and reappraisal of the status quo of shared knowledge in any given circumstances.

      • a.pass wants to offer a critical and collective practice-based environment for the development of the understanding of the Phd in the Arts.
      • a.pass wants to develop tools for the evaluation and assessment of the knowledge that is not developed on the basis of academic or scientific criteria, but that takes seriously the qualities and values of knowledge as developed throughout artistic methodologies, attitudes and frameworks of research.
      • Since often the end result in this case is not necessarily the most eloquent part of the research, a.pass wants to stimulate the exchange of methodologies, practices and work sessions in-between researchers and with a larger group of interested ‘outsiders’ as a fundamental part of the PhD communication and assessment process.
      • a.pass wants to support radical and experimental PhD-trajectories that critically challenge the status quo of the knowledge production within other environments, and value the transindividual richness of a shared knowledge processing environment.
      • a.pass wants to develop PhD trajectories that are self-critical and relating the research to larger economic, political, academic, social, or other realities. a.pass wants to stimulate researchers to step out of their self-referential framework of discourse, professional ambitions and specialization and take on a more challenging position towards the construction of the PhD as a tool in a greater societal reality.
      • a.pass wants to support researchers in their ambition to become engaged mentors in the development of tools for sharing of knowledge, and the facilitation of critical research for others, out of a spirit of generosity, interest, experimentality, criticality and artistic sensitivity.
    •  
      a.pass offers a collaborative environment for the development of artistic research. Five to six researchers join the Research Center for a one year cycle. They are accompanied by three Research Curators that consecutively take care of the center. The activities of the research center are organised around performative publishing, engagement with external research situations and peer reviewing/collective mentoring. Research is developed, shared and performed in public lectures, workshops, conferences, publications, performances and other experimental set-ups. The Research Center meets on a bi-weekly basis to self-organise and share processes. In addition, research curators are available for individual meetings.
       
      Associated researchers are seen as partners of a.pass. They have access to the collective activities of the post-master program. a.pass provides technical support, workspace and supports performative publishing. Associated researchers do not pay a fee. a.pass can act as an institutional partner in applications for funding or academic research. The specific terms of the association will be formulated in an individual contract between the researcher and a.pass, delineating the research steps that will be developed within the a.pass environment and their possible public outcomes.
    •  
      Associated researchers can apply three times per year for the upcoming cycle, ideally after an initial conversation with one of the a.pass curators. The next cycle begins in May 2021.
       
      The research center invites associated researchers who:
      - are involved in ongoing advanced artistic research
      - have a practice-based understanding of artistic research
      - are associated to multiple platforms of support
      - have the ability to formulate and follow their own study trajectory
      - are able to self-organise and contribute to collective processes
      - have experience with making their research public, and are interested in contributing it to the public program of a.pass
       
      An associated researcher involved in a PhD program can propose to develop their PhD research as a part of their trajectory within the a.pass environment. This can happen at any time during the PhD trajectory. Since a.pass can not formally grant or evaluate PhD certificates, the researcher has to be already associated with a university and a university supervisor.
       
       
       
      or have a look at the post-graduate program
       
       
    • information
    • How to find a.pass 25 February 2015
      posted by: Nicolas Galeazzi

      a.pass 
      advanced performance and scenography studies
      Posthogeschool voor Podiumkunsten vzw
      Delaunoystraat 58/17
      1080 Brussels (Sint-Jans-Molenbeek)
      Belgium

      email us: office@apass.be

      talk to us: +32 (0) 2 411 49 16

      Our office is situated on the 3rd floor of the main building of the Bottelarij - Brussels Event Brewery.

       

       

       

       

    • information
    • Team 25 February 2015
      posted by: Nicolas Galeazzi

      Artistic Coordinator:

      Lilia Mestre
      lilia@apass.be

       

      Administrator:

      Michèle Meesen

      office@apass.be

      Responsible for contracts,visa & attestation issues, payments and reimbursements. On a more global level she deals with all legal matters such as the ministry, the board, the building, the insurance.

       

      Production Coordinator:

      Joke Liberge

      production@apass.be

      She is the production manager and responsible for the general co-ordination between the artistic & the practical.

       

      Scenographic and Technical support:

      Steven Jouwersma

      support@apass.be

      Technician and practical advisor of scenographic, digital, infrastructural and material questions.

    • information
    • NOT_index
    • a.pass programs 18 December 2014
      posted by: Elke van Campenhout
    • test
    • a.pass organizes two programs (the post-master and PhD program) with slightly different goals and end qualifications, which are both sustained, fed and communicated through the efforts of the a.pass research center. In this point we will clarify the organization of the different cells and their aims, and define their specific research goals that are addressed on all these levels.

    • information
    • ABOUT MENTORING(S) 18 December 2014
      posted by: Nicolas Galeazzi
       
      In a.pass researchers are individually supported by different mentors. 
       
      1. Dedicated Mentors are mentors proposed by a.pass. Researchers can choose two mentors out of four and are expected to attend four sessions of +/- two hours per block.
       
      2. Researchers meet once a block the coordinator to evaluate their research plan and trajectory.
       
      3.  Personal mentors are chosen by the researchers themselves in discussion with the coordinator.
      (Researchers have an individual research budget for external engagements with the personal mentors.)

       

    •  
      In the apass co-learning environment and within most of the program activities some space is systematically dedicated to discussing, sharing and feed-backing formats. These formats  are being created and revisited as part of the a.pass self-educating trajectory and they continuously inform the program development. Feedback, critique and discussion within a.pass are living tools of research that organically emerge out of the practices of the researchers, curators and mentors.
       
      The a.pass institute aims to build a culture of discussion in which we ‘agree to disagree, rather than one of argumentative oppositions or of convenient politeness. Resisting the reproduction of established research culture, the feedback and exchange sessions develop a space for ‘agonistic debate’: an open field for supporting, complementing, challenging and even re-routing each others’ positions.
       
      The collective co-learning environment of a.pass opens a platform for the development of stronger, more grounded and more critical positions for artistic researchers, which in turn contribute to the common practices and knowledge processings. Discussion and feedback formats simultaneously strengthen, sharpen and delineate what can be said. . Experimental  formats for communication and sharing  create hospitable conditions for the emergence of different logics, procedures and discourses. 
       
      A.pass often borrows techniques from different environments (critical theory, therapy, activism, political organization, technology,  and so on...) to create critical discursive dispositives as such as ritual practices, object constellations, tarot cards readings, concept mapping, walking discussions, silent communication, speed dating, cooking sessions, family constellation discussions, mind-mapping, dragon dreaming, score writing, fanzine-ing, radio programing, etc….  
       
       

       

    • a.pass is an artistic and educational research environment that welcomes research practitioners in an international collaborative and trans-disciplinary program. a.pass includes two complementary structures that operate in parallel and in dialogue: the Postgraduate Program and the Research Center.

      Artistic Research platform

      a.pass is a platform for professionals in the fields of art and theory who wish to engage in a self assigned research trajectory. It provides a place and infrastructure to meet other researchers, to collaborate, to get feedback, to develop one’s methodology and to widen one’s theoretical and practical scope through input, critique, mentoring and feedback.

      a.pass activates the practice of artistic research by accumulating its processes and critique. Embracing the fact that artistic research is becoming a category of production in the cultural field, a.pass does not claim to delineate its borders but affirms this apparent lack of definition as a opportunity for its development. Operating without a predefined notion of what „artistic research“ is, a.pass brings together a pluralistic encounter of the existing notions of this practice.

      An affirmative inquiry of „what is artistic research?“ has therefore become one of a.pass’ defining methodologies: a.pass strives to host a multitude of practices in the arts which self-define themselves as research. Their definitions (or refusals thereof) of what a research praxis in the arts context could be are at times complementing and at times contradicting each other. This dis/agreement creates a poli-vocal platform of definitions and is a statement towards a different conception of institutions: away from essentialist claims and towards a more politicised platform of engagement with a certain discipline.

      The Postgraduate Program

      The a.pass Postgraduate Program offers a one-year artistic research program for artists / researchers from all professional backgrounds based on the principles of self-organization, collaboration and transdisciplinarity.

      As an educational environment, a.pass opens a space for speculative and experimental modes of practice and critical thinking. The content and the practical apparatus of the program are shaped by the proposals of the a.pass curators, the artistic coordinator and the a.pass researchers.

      a.pass researchers develop an independent artistic research trajectory in a shared and collectively created research environment. They engage in presentations and feedback, collective workshops, individual and group mentoring and modular interactions with the curators and other researchers.

      The Research Center

      The a.pass Research Center is a platform for advanced research practices in the arts. It invites five to six Associate Researchers for a one-year cycle. They follow a part of their research trajectory in an environment of mutual criticality and institutional support. The Research Center welcomes radical and inventive research methodologies in order to contribute them to the larger a.pass environment. The Research Center interacts with the a.pass Post-Graduate Program and functions as a resource for methodologies of collaborative research. The Research Center supports and facilitates forms of performative publishing (publications, presentations, exhibitions, etc), experimental research set ups, workshops and collaborations.

      The Research Center welcomes researchers with non-academic and academic research affiliations and support structures. Associate Researchers with an existing academic research trajectory (for example PhD in the Arts) have the opportunity to develop the practice-based part of their research within the educational environment of a.pass.

      Artistic Research at a.pass

      a.pass has been conceived as a meta-research on community, self-education and institutional permeability. An important part of this conceptual framework is a commitment to an open definition of artistic research and to exploring the paradoxical task of shaping an open space. a.pass sees itself as a accumulative platform where different and sometimes conflicting self-conceptions of artistic research can meet and engage in a productive exchange with each other. By embracing these negotiations as its core practice, a.pass welcomes diverse trajectories of research. The accumulating positions of artistic research unfold a complex and changing discourse on the practices of knowledge production within the arts.

      An open view on Artistic Research urges a.pass to continue a rigorous questioning of what makes Artistic Research distinct from other practices and disciplines. The discursive attempt to establish a fragile understanding of Artistic Research is the shared methodology of the institution. Although the ultimate definition cannot and should not be found(ed), the critical process of negotiating this question is ingrained within a.pass' politics and drives the discourse within the institution. For a.pass "open" means "open-ended".

      Artistic research is not oriented towards the production of single solution or an artwork, but towards generating a setting for engagement with a particular topic or challenge. The artistic research process aims at adding complexity to instead of simplifying a question, and brings conflicting viewpoints, theories and ontologies in proximity to one another. Expanding the project nature of artistic work towards a production of generative sets incorporates process and knowledge across multiple disciplines. Artistic research is nourished by speculation and suspension of disbelief and its results are often transitory rather than conclusive.

      For a.pass the temporality and aims of an artistic research trajectory differs from the temporality of an art project. The development of a sustainable research trajectory is the primary focus of work. Artistic projects and other modes of experimental practice are seen as performative publishing of transitory results. Their validity is not determined by the question if they are in themselves "successful" art works, but primarily by asking what they contribute to the expanding research process.

      Collaborative research at a.pass is centered around a variety of practices of methodology transfer. A practice enters a multitude of critical relationships with other practices, transforming them, and being transformed through this exposure. The aim is not necessarily collaborative co-authorship, but development of artistic and research practices through proximity and exposure to different methodologies and contexts.

      Pedagogy Research

      a.pass is building its curriculum by bringing together practitioners in the arts within a curated framework of workshops, ateliers, collective practices and scores. This collective exploration is the space where experimental research formats are proposed and developed. The process of learning, development and critique engages all parts of the institute.

      a.pass sees itself as an ongoing research into the formation and politics of educational institutions. By collecting innovative methodologies of research, facilitating educational experimentation and by maintaining an institutional openness, a.pass affirms and continues to be an experimental institution, a place of engaged research of what education in the arts can be today.

      Performative Publishing

      a.pass continuously develops and supports different and specific modes of presentation which are emerging from the research practiced at the institution. A large part of the program is based on modes of making-public of research within the program and towards the larger public. These moments are organized systematically within the program and reach a larger audience with the End-Presentations, Research Center publications, seminars, website publications and the archive. The aim of this work is to allow for performative publishing to present research as a work in the making and to develop modes of presentation that shift from the product paradigm towards a modality of witnessing a process in its unfinished and searching vulnerability.

      a.pass develops publications which don't treat knowledge, art making, aesthetics, context and politics as separate channels of communication. a.pass works on research publications under the hybrid term of „performative publishing“: a concept coined to contain the multiplicity of transdisciplinary publishing practices. It sharpens the question of the publications' purpose: what does the publication do? What are its aims within a specific context? Performative publishing is a witnessed process of simultaneous artistic creation, contextualization and doubt. It is a turn away from book- and article based formats of publishing artistic research towards cross-disciplinary formats. "Performative" shifts the attention to the necessity of a certain publicness of process in a collaborative environment: a contribution to a collective discourse. It also frames publishing as part of a research methodology: what experimental presentation does for the research trajectory, how can the moment of publishing perform a change on the research itself?

    • Collective moments (opening week, half-way-days, and end week) are compulsory for everybody

      Beside the collective moments you should engage in alt least 2 workshops proposed in thes block, of which one should be  b-workshop. B-workshops are this block Vladimir's 'Theory Under The Commons' workshop and Mala's 'With I+II' workshop.

      In order to participate in the Common Conference at the end of the block, you should at least take part in half of the Friday open space sessions.

      In order to keep the a.pass archive alive, we have to feed it! Therefore, we would like to introduce the concept of the Caretaker: all a.pass event - workshops and common moments - should be hosted and documented by participants.

      You will have one coordinator's mentoring with Kristien to orientate yourself within a.pass and your own research.

      During the block you normally have two meetings with either 2 or 3 mentors of your choice. Please read the specific mentoring strategies for this block. 

    • information
    • Curriculum 07 November 2014
      posted by: Nicolas Galeazzi
       
      During its one-year course the program is sequenced into three blocks of four months, each block organised by a different curator towards a specific mode of research and collaboration. In general the blocks  assemble in different proportions the following elements:
      Development of artistic research practices, theoretical studies, workshops with guest practicioners, dispositives of feedback and exchange, modes of research presentation, attendance to public events related with current concerns (conferences, seminars, performances, festivals, etc), series of individual and collective mentoring sessions with invited mentors. 
      Within this curated framework the researchers are encouraged to contribute to the conceptualisation, organisation and performance of self-organized activities and practices.
       
       
      Timing & Organisation of the PROGRAM
       
      The one-year program is organised in three 'blocks' of four months, each of them divided in three months of curated curiculum in group and one month focused on self-organised individual work. 
      After the twelve months program an extra month is fully dedicated  to the preparation and performance of a form of communication of the individual research.projects within a collective public event.
      Exceptionally - when participants want to interrupt their studies for professional activities or to intensifie their personal studies - it is possible to skip one block and to extend the duration of the program to a maximum of 17 months.
       
       
      Timing & Organisation of the BLOCKS
       
      A block is structured by three collective moments: Opening Week (first week of the block), Half-Way-Days (middle of the block) and End Week (last week of the block). 
      These three mandatory collective moments are dedicated to the individual research presentations. Each of them has a particular objective and question towards the research: Opening week focuses on information (what?), Half-Way-Days on method (how?) and End-Week on contextualisation (why?)
      In addition to these three weeks the researchers  (in dialogue with the curator and coordinator) design their trajectory with a minimum of three weeks of presence and engagement in the block program.

       

    • information
    • Tuition fee 05 November 2014
      posted by: Nicolas Galeazzi

      The tuition fee for the a.pass programs is fixed at 1.200,00 EUR.

      250,00 EUR should be paid within the first four weeks after the start of the program. The remaining 950,00 EUR of the enrollment fee should be paid before the end of your first block.

    • information
    • NOT_index
    • Hand in 05 November 2014
      posted by: Nicolas Galeazzi

      Your application has to be handed it by midnight of the deadline date! Please use the application form on this page (green 'apply' button) or  a large file delivery can be sent by post to:

      a.pass - applications
      Delaunoystraat 58-64, B17
      1080 Brussels (Molenbeek) / Belgium
       

      Applicants will receive confirmation of their application upon receipt of their proposals.

      Candidates may be asked to give more information or to specify certain elements of their research proposals. To this purpose they may be invited for an interview.

    •  
      To apply for the position of a researcher at the post-graduate program you are asked to submit an artistic research proposal. Your application should provide a clear insight in what you aim to achieve in the one-year working period at a.pass and the relevance of your proposal in a collective research environment.
       
      The application dossier should include:
       
      -your research proposal, including your larger research trajectory, the specific project or part of it you would like to engage in at a.pass, possible public formats of presentation, possible interactions with the a.pass the post-graduate and the kind of support that these proposals would need at a.pass.
      -Portfolio (relevant works in relation to the research proposal)
      -CV
      -Diploma or equivalent proof of a master-level qualification.
       
      Candidates should be holders of a master’s diploma (artistic or theoretical) and deliver a copy of it upon registration.  In certain cases application without a master's diploma can be considered, if the practice-based experience of the applicant is equivalent to the masters level. 
       
      Please upload your dossier as a PDF file via the online form.
       
    •  
      Every block (in January, May and September) new researchers  join the program.  This system allows the researchers to exchange experience during the different phases of their research processes and  brings about a constant flow of new perspectives and ideas.
       
      The a.pass program is a one-year program consisting of three blocks of four months. The first three months of each block take place within the organized collective research environment.  The fourth month of each block is open for the individual development of the research project.
       
      A.pass is an intensive program relying on the researchers presence and contributions, nevertheless it is possible to combine the program with some external projects. The participation of the researcher in the block is planned in dialogue with the coordinator and the program curator.
       
      Artistic creation ourside of  a.pass research can be integrated into the individual research trajectory: participants can work on their own creations during their studies at a.pass, insofar as these creations are part of the participant’s research project.
       
      A.pass accepts proposals three times per year: in February, June and October (application deadlines are always 6 -7 month before a possible program start). 

       

      Apply here

      Or check out: the associated researcher program

    •  

      The selection of research proposals will be made based on the following criteria:
      1. value of the proposal for the researcher’s trajectory
      2. problematisation of content and methodologies that underline the practice
      3. development of experimental and critical forms of performance and spatial practice
      4. contribution to the a.pass collective research environment
      5. relation to the current international development of artistic research
       
       
    • information
    • Location(s) 11 July 2014
      posted by: Guido
      a.pass is currently situated at the former industrial site 'de Bottelarij - Brussels Event Brewery in Molenbeek (Brussels). The former brewery is now occupied by a variety of cultural organizations.
       
      a.pass works mostly in two different spaces:
       
      The 650 square meters collective studio, situated on the 4th floor of the building, where the program takes place and researchers can develop their work.
       
      The second space on the 3dr floor is dedicated to the administrative office, collective library and meeting space.
       
       
      We provide a storage space for technical equipment and a workshop for small scenography undertakings.
       
       
      The a.pass program regularly collaborates with Zsenne ArtLab (Brussels), Nadine (Brussels) and PAF (Performing Arts Forum) where some of our activities take place.

       

       

       

    •  

       

      Researchers following the a.pass program  develop a practice-based research, take an investigative look at their artistic trajectories and engage in a particular discursive approach.
      Focusing on individual work, researchers are working in a largely self-organized and collaborative environment where they take up an active role in the development of the a.pass research environment and act as responsive agents in (re)thinking artistic research methodologies, collective feedback strategies and practical organization.
       
      In order to create this context of self-organization, collaboration and participation a.pass is established as a full time program  requiring following minimum presence and participation.
       
      For each block of 4 months researchers:
      • attend three collective moments (Opening Week, Half-Way-Days Week, and End Week)
      • and follow at least  three weeks of curated program per block
      • attend four mentoring sessions with two dedicated mentors
      • attend one meetings with the artistic coordinator per block

       

      To successfully conclude the a.pass program researchers are required to communicate their research in the frame of a public event.
       
       
    • a.pass offers a one-year program for the development of artistic research projects on a post-graduate level in a critical and collaborative environment.
      The program invites artists, performers, researchers, writers, curators, theoreticians to challenge the limits of their practice through developing and applying research methodologies which bring to the forefront its performative, spatial and collaborative aspects.  
      The program opens a space for speculative and experimental modes of practice and critical thinking. Researchers are invited to follow their research as a trajectory within an environment of self-organisation, collaboration and transdiciplinarity. They engage in presentation and feedback, collective workshops, individual and group mentoring, and modular interactions with the curators and the other researchers. The content and the practical apparatus of the program are shaped by the a.pass curators and the collaborative and public aspects of the participant's research.

       

       

       
    • information
    • NOT_index
    • Content of the Research Proposal 03 July 2014
      posted by: Nicolas Galeazzi
    • Your proposal should consist of:
      • A description of your project, including a research plan addressing the central question and a proposed research trajectory and methodology. Please address the potential of your research to contribute to experimental performative or spatial modes of knowledge production.
      • Proposal(s) on the modes of communication and sharing  of your research within the a.pass environment and to a wider public (which formats would you like to explore to communicate, document and archive your research?)
      • A portfolio of your past projects : excerpts from videos, films, photos, texts, reviews, drawings, paintings, etc.
      • A curriculum vitae including information on your master's diploma (or the highest diploma you obtained) and your professional experience.
       
       




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