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a.pass presentations Caroline Daish / Marilyne Grimmer

(Nl hieronder, Fr ci-dessous)

a.pass open and visible 30/1 > 5/2
a.pass is an international post-master program for artistic researchers, open to artists and theoreticians from all fields of expertise. At the end of their trajectories Caroline Daish and Marilyne Grimmer share their research practice with you in Zsenne:
Ongoing public moments:
Friday 3, Saturday 4/2   12.00 > 18.00
You are all invited to share a drink with us on Saturday at 18.30.
Performance Caroline Daish (30mins) Friday at 4pm & Saturday at 18.00. Please reserve in advance, limited audience capacity, by clicking on this link: http://www.doodle.com/9criy3cirxq6g2h8
Marilyne Grimmer

ANOTHER SPACE :

How can a single place contain several juxtaposed imaginary spaces, several sites that are in themselves incompatible ?
Marilyne Grimmer is interested in the different ways to perceive space whether through the body, the imaginary or the emotional. The context becomes the playground of all these different layers of understanding. In parallel, she is also interested in forms that blur the time-line of the black box with the space-line of the white cube.
Caroline Daish
During this research year Caroline regarded herself as an experimental ethnographer collecting true stories in order to communicate messages and make sense of the world. She is interested in the phenomena of 'being here' and how we cope (or don't cope) with that. What are the strategies we employ to survive?  Survival tactics. Witnessing. Imperfection and messiness and making mistakes. Voice is her focus, plus sound; pre-recorded and live all within the context of her performance practice.
Caroline will present a 30 min sound & performance piece 4pm Friday & 6pm Saturday. She is currently working on a sound walk that will be available during the opening times.
a.pass open deur
a.pass is een internationale opleiding voor artistiek onderzoek, en richt zich tot kunstenaars en theoretici uit verschillende disciplines. Aan het einde van hun onderzoeksperiode openen Caroline Daish en Marilyne Grimmer hun onderzoek voor bezoekers in ZSenne.
Doorlopend:
Vrijdag 3, Zaterdag 4 februari, 12-18u
Aansluitend drankje om 18.30. U bent van harte uitgenodigd.
Performance Caroline Daish (30mins)
Vrijdag om 16u, Zaterdag om 18u Reservatie gewenst: klik op http://www.doodle.com/9criy3cirxq6g2h8
Marilyne Grimmer   

ANOTHER SPACE :

Hoe kan één enkele ruimte verschillende imaginaire ruimtes bevatten, verschillende sites die op het eerste zicht oncompatibel lijken?
Marilyne Grimmer is geïnteresseerd in de verschillende manieren waarop we ruimte ervaren, met ons lichaam, verbeelding of emotie. De context wordt de container van al deze verschillende lagen van perceptie. Tegelijkertijd is zij ook geïnteresseerd in het opbreken van de tegenstelling tussen de zwarte doos van het theater en de witte kubus van de beeldende kunsten.
Caroline Daish
Tijdens haar onderzoeksjaar stelde Caroline Daish zich op als een experimentele ethnograaf. Ze verzamelde waar gebeurde verhalen om te communiceren, om grip te krijgen op de wereld. Zij is geïnteresseerd in het fenomeen van ‘hier zijn’, en hoe we daar wel of niet mee omgaan. Wat zijn onze overlevingsstrategieën? Getuigen. Spreken over. Imperfectie, rommelen, fouten maken. Haar onderzoek ontwikkelde zich doorheen stem en geluid: vooraf opgenomen en live, binnen een experimentele performancecontext.
Caroline presenteert een 30m geluidsperformance en werkt momenteel aan een geluidswandeling die tijdens de openingsuren beschikbaar is
a.pass portes ouvertes
a.pass est un programme post-master internationnal pour la recherche artistique ouvert aux artistes et théoriciens venant de tous domaines d’expertises.
A l’issue de leur parcours, Caroline Daish et Marilyne Grimmer vous feront partager leurs recherches (pratiques?) à ZSenne :
Ouvert:
Vendredi 3 février de 12-18h
Samedi 4 février de 12-18h
Nous vous invitons à partager un verre avec nous samedi à 18h30
Performance Caroline Daish (30mins) Vendredi 16h, Samedi 18h
Prière de réserver à l’avance, jauge limitée: http://www.doodle.com/9criy3cirxq6g2h8
Marilyne Grimmer  

ANOTHER SPACE :

Comment un lieu réel peut-il juxtaposer plusieurs espaces, plusieurs emplacements qui sont en eux-mêmes incompatibles?
Marilyne Grimmer s'intéresse à la question de l'espace et du lieu, aux différentes manières de percevoir l'espace que ce soit à travers le corps, l'imaginaire ou l'émotionnel. Le contexte devient alors l'aire de jeux de ces différentes strates de perception. Parallèlement, elle s’intéresse aussi aux formes qui brouillent les frontières entre la ligne temporelle de la boîte noire et la ligne spatiale du cube blanc.
Caroline Daish
Au cours de son année de recherche avec Apass, Caroline s'est muée en ethnographe expérimental qui collecte des histoires vraies pour passer des messages et faire sens du monde.  Elle s'est penchée sur les formes de l'être-ici et comment on s'arrange (ou non) avec.  Quelles stratégies employons nous pour survivre?  Tactiques de survie. Témoignages. Imperfection,  désordre, erreurs.
La voix est son point focal, ainsi que le son, pré-enregistré ou vivant -- le tout dans le contexte de sa pratique performative.
Elle présentera une œuvre de 30 minutes qui mèle son et performance le vendredi à 16h. et le samedi à 18h.
Elle termine également une déambulation sonore qui sera disponible pendant les heures d'ouverture.

Nicolas Galeazzi

 

Copy Club at ZSENNE

A project by Nicolas Galeazzi in connection with a residency at the Franz Masereel Centrum and i-propeller.com

Generally

There are many stages for performance. A simple sheet of paper is one of them. This 'canvas' is not only a carrier of ink and signs, having a dance with the reader - paper is a playground for acting with thoughts, for performing with facts and for playing with emotions. An empty page is a free space which provokes procedures of negotiations for its potential content, and its space of dissemination, wherein the paper is its own prop, is a ground for performance between various actors. In collaboration with Joël Verwimp, Nicolas Galeazzi has been working with these different functionalities of paper for several years under the name of VerlegtVerlag.

This 'displace-publishing' - as this german homologism could be translated - is using the performative materiality of paper to research and experiment with structures of artistic collaboration, searching for new forms of sharing and generating knowledge.

Politically

Facing the neoliberal educational policies and the debates on intellectual propriety, it is becoming increasingly difficult to maintain that knowledge and the practices of exchanging is common property. Attempts to democratize the access of knowledge, like for example the worker's club movement at the beginning of the last century, appear to have become historical exceptions in times when knowledge is being economised and patented, where education is being privatized and copying is made a crime.

The collaboration of Verwimp and Galeazzi generated a variety of different work procedures for  radical democratic exchange of knowledge which takes the individual approach as much in account as the fact the knowledge only makes sense as a shared and common good.

Conceptually

In this situation Galeazzi aims to launch something like a copy shop: a Copy Club as a centre for the exchange and transfer of knowledge. The interlinked residences at the Frank Masareel Centre in Kasterlee and the ZSenne Gallery in Brussels shall be used as a test ground for a real- but artistically set up- copy shop. For this test the space is used to rethinking the structure of the worker's club designed by Rodchenko for the Design Fair in Paris 1925. This is not only a copy of Rodchenko but also a self-copy of what Galeazzi's project at Nadine in Brussels 3 years ago. Copy shops and call centers are, unlike museums, archives or academies, popular hubs for the practical transfer of mundane knowledge with free access. They act as an analogue 'server' for spreading, transferring reproducing, collaging, over-laying or censoring information.

This models shall be used to create a hybrid space in ZSenne, which provides a place for performance, discussion, instant archiving, print practices and copying of various medias into other forms.

Galeazzi's Copy Club should provide discussions about different types of cop(y)ing mechanisms, which are questioning the common within the singular and the individual within the social. In this sense, this project not only draws a line back into the last century through Rodchenko, but also seeks to relate Walter Benjamin's thoughts of Art in the Age of Mechanical Reproduction to the contemporary situation and the artistic practices around this project.

Practically

Around the practice of a copy machine many other analogue practices of knowledge production can be situated. A copy center can function as an interface between an archive and a conference, between a bookstore and a scriptorium, between a theoretician and a graphic designer, between an artist and a public space. A Copy Club can be a place which provides a transfer between the generating of discourses and their translation into haptic temporary products.

In collaboration with his audience, Galeazzi is going to the core of what a printing performance might be. He anatomizes a copy machine and analyses the functionality of each part in order to translate them into an artistic and collaborative practice. This should lead to different spheres, offering different working procedures, discuss or think procedures for the public. The mechanic analogy shall provide a systemic view on the intuitive and unconscious needs in any collaboration and develop the human/machine discussion towards the human incapacity to deal with the idea of a non-authorship.

Nicolas Galeazzi

Nicolas Galeazzi uses performance as an act of research. His work focuses on developing social discourses through artistic research projects and is articulated in concepts, installations, performances and printed matter.

Originally trained as a theatre director in Zurich (ZHdK), he worked as actor, director, set designer, and musician in theatre context. This experience provoked the need to search for a redistribution of the responsibilities for the 'artwork' and to develop new models for collaboration and dissemination of art.

Galeazzi sets up performative research frameworks where audience can experiment with political and social conditions. Galeazzi calls such events Mise-en-Discourse.

In collaboration with several artist collectives, such as GASTSTUBE°performance or the Berlin n@work EMANUELLE, he devised several long term performance projects in international contexts.

After ten years of practical engagement in art, he investigated the theoretical side of his practice in the MA Contemporary Art Practices and Dissemination (MACAPD) at Dartington College of Arts (UK).

Together with Joël Verwimp, Galeazzi develops the COYOTL Yournal published by Verlegt Verlag - a dispersed journal in a non-negotiated space for printed performance.

Galeazzi is dedicated mentor and member of the artistic board at the artistic research environment [a.pass] Advanced Performance Training in Antwerp as well as artistic mentor at the MA SODA in Berlin. He also works as a tutor at Flutgraben Workspace in Berlin.

Lately he organised 'Don't Know! An Artistic Conference on Knowledge Production' in Brussels in collaboration with a.pass.

January - May plans

New Years drink and Rémi Tamburini's new prototype D I Y Friday 13/1  18  > 21.00. On till 28/1.
*
Saturday 4/2: apass presentations by Caroline Daish and Marilyne Grimmer.
*
Pop Up with a chalenging presentation of new creation by Jean-Paul Lespagnard
Opening 7/2  18  > 22.00, Closing 15/2  18  > 22.00
*
16/2 till 26/2 CréaHM résidence and presentation
*
Dolores Hulan works on her project 27/2  > 11/3
*
12/3  > 25/3 Robin Vanbesien followed by Nicolas Galeazzi 26/3 > 8/4 do research. 
*
Rémi Tamburini developement 26/4 > 29/4
*
30/4  > 13/5  Heike Langsdorf and Renée Copraij investigate movement.
*
Lilia Mestre and Marcos Simoës develop their project about the "Ai" sound and it's possibilities  14/5 > 27/5
*
28/5  > 10/6  Charlotte Bouckaert on space perception change
*
11/6  > 15/7  Nicolas Galeazzi in collaboration with the Frans Masereel Centre

2011 / Nicolas Galeazzi / CO / Copy Club / INFO

co_copy

 

. (copy club, company, commission, co-authorship, comments, collective, congestion, ...)

A project by Nicolas Galeazzi in the frame of a residency at the Franz Masereel Centrum and i-propeller.com

Generally

There are many stages for performance. A simple sheet of paper is one of them. This 'canvas' is not only a carrier of ink and signs, having a dance with the reader - paper is a playground for acting with thoughts, for performing with facts and for playing with emotions. An empty page is a free space which provokes procedures of negotiations for its potential content, and its space of dissemination, wherein the paper is its own prop, is a ground for performance between various actors. In collaboration with Joël Verwimp, Nicolas Galeazzi has been working with these different functionalities of paper for several years under the name of VerlegtVerlag.

This 'displace-publishing' - as this german homologism could be translated - is using the performative materiality of paper to research and experiment with structures of artistic collaboration, searching for new forms of sharing and generating knowledge.

Politically

Facing the neoliberal educational policies and the debates on intellectual propriety, it is becoming increasingly difficult to maintain that knowledge and the practices of exchanging is common property. Attempts to democratize the access of knowledge, like for example the worker's club movement at the beginning of the last century, appear to have become historical exceptions in times when knowledge is being economised and patented, where education is being privatized and copying is made a crime.

The collaboration of Verwimp and Galeazzi generated a variety of different work procedures for  radical democratic exchange of knowledge which takes the individual approach as much in account as the fact the knowledge only makes sense as a shared and common good.

Conceptually

In this situation Galeazzi aims to launch something like a copy shop: a Copy Club as a centre for the exchange and transfer of knowledge. The interlinked residences at the Frank Masareel Centre in Kasterlee and the ZSenne Gallery in Brussels shall be used as a test ground for a real- but artistically set up- copy shop. For this test the space is used to rethinking the structure of the worker's club designed by Rodchenko for the Design Fair in Paris 1925. This is not only a copy of Rodchenko but also a self-copy of what Galeazzi's project at Nadine in Brussels 3 years ago. Copy shops and call centers are, unlike museums, archives or academies, popular hubs for the practical transfer of mundane knowledge with free access. They act as an analogue 'server' for spreading, transferring reproducing, collaging, over-laying or censoring information.

This models shall be used to create a hybrid space in ZSenne, which provides a place for performance, discussion, instant archiving, print practices and copying of various medias into other forms.

Galeazzi's Copy Club should provide discussions about different types of cop(y)ing mechanisms, which are questioning the common within the singular and the individual within the social. In this sense, this project not only draws a line back into the last century through Rodchenko, but also seeks to relate Walter Benjamin's thoughts of Art in the Age of Mechanical Reproduction to the contemporary situation and the artistic practices around this project.

Practically

Around the practice of a copy machine many other analogue practices of knowledge production can be situated. A copy center can function as an interface between an archive and a conference, between a bookstore and a scriptorium, between a theoretician and a graphic designer, between an artist and a public space. A Copy Club can be a place which provides a transfer between the generating of discourses and their translation into haptic temporary products.

In collaboration with his audience, Galeazzi is going to the core of what a printing performance might be. He anatomizes a copy machine and analyses the functionality of each part in order to translate them into an artistic and collaborative practice. This should lead to different spheres, offering different working procedures, discuss or think procedures for the public. The mechanic analogy shall provide a systemic view on the intuitive and unconscious needs in any collaboration and develop the human/machine discussion towards the human incapacity to deal with the idea of a non-authorship.

Nicolas Galeazzi

Nicolas Galeazzi uses performance as an act of research. His work focuses on developing social discourses through artistic research projects and is articulated in concepts, installations, performances and printed matter.

Originally trained as a theatre director in Zurich (ZHdK), he worked as actor, director, set designer, and musician in theatre context. This experience provoked the need to search for a redistribution of the responsibilities for the 'artwork' and to develop new models for collaboration and dissemination of art.

Galeazzi sets up performative research frameworks where audience can experiment with political and social conditions. Galeazzi calls such events Mise-en-Discourse.

In collaboration with several artist collectives, such as GASTSTUBE°performance or the Berlin n@work EMANUELLE, he devised several long term performance projects in international contexts.

After ten years of practical engagement in art, he investigated the theoretical side of his practice in the MA Contemporary Art Practices and Dissemination (MACAPD) at Dartington College of Arts (UK).

Together with Joël Verwimp, Galeazzi develops the COYOTL Yournal published by Verlegt Verlag - a dispersed journal in a non-negotiated space for printed performance.

Galeazzi is dedicated mentor and member of the artistic board at the artistic research environment [a.pass] Advanced Performance Training in Antwerp as well as artistic mentor at the MA SODA in Berlin. He also works as a tutor at Flutgraben Workspace in Berlin.

Lately he organised 'Don't Know! An Artistic Conference on Knowledge Production' in Brussels in collaboration with a.pass.

--

schedule Copy Club
27th March: Robin Vanbesien is working in the space.
28th March: I'm there again in the afternoon, probably with Michiel
29th March: Heike Landsdorf is working the mirror cabinet in the scan-process.
Monday 2nd April: I'm reworking the space and new contributions. And Christoph Ragg is starting working with me more continuously through the whole week.
Tuesday 3rd, there will be a dinner in the space with some Vip's of the CO scene! I'm working since a while with Christoph Ragg and was reflecting him in a very specific form of collaboration. There is a proposal of him in the air, and it makes much sense for me to discuss the proposal within my process.
Wednesday 4th Brno will work with me. Probably there will be an event out of this encounter in the next phase.
Thursday 5th Heike and me would perform in the mirror cabinet of the scan process through out the day. I still have to talk to her if we should announce it or not.
Friday 6th there should be the mid-time-openning of CO process. Calling : PAPER - JAM
For that I will give you a first text for that soon, but I'm sure there should be a second text shortly before reacting on the current situation then.
Saturday 7th I will digest, and put things together for Frans M...
and Sunday is rest-ing day - the day of dealing with the leftover ;-)
All the best
N::

 

 


December 2011 - April 2012

Rémi Tamburini works on his new project 28/11/2011 till 29/1/2012

Dolores Hulan starts research from 30/1 till 5/2/2012

6/2 > 15/2 Jean Paul Lespagnard shows his research his new winter collection to be presented in Paris in march

16/2 > 26/2 a.pass and CRéaHM workshop

27/2 > 11/3 Dolores Hulan contunues her research

12/3 > 31/3 Robin Vanbesien 'Terre contre le ciel', a project about proximity and artistic subjectivity

Rémi Tamburini coninues his new project 1/4 > 29/4

Soap for Foam - Michiel Reynaert

300px-foam_-_big
Communication research a.pass
INVITATION for a One on One performance / lecture, only by appointment with Michiel
ONGOING ENDPRESENTATION Saturday 29th of October and Sunday 30th of October 14.00 > 18.00

This performance-lecture for one listener deals with the relation between thought and experience and how they get entangled when we consider “the experience of thought”. Foam is the image for this entanglement.
The performance takes about 20 minutes and each visitor has also 20 minutes afterwards to continue the dialogue beyond the script.

"(...) Of course it's an illusion to think that what captures us and locks us in our lives, is reducible to this ever flattening locus called the television screen. Even if I consider it a terrible omen that those screens are growing ever bigger and at the same time are proportioned more and more to fit discreetly into our habitations. 
I thought: if television glues viewers to its screen, without the slightest chance of escape in the case of soap's daily feed, then perhaps I can at least wake up my colleagues, the actors. So I fantasized about a hypnotic script to make them aware of the arsenic at work in this magic living room machine. (...)"

FEARLAND Philippe Severyns

THERE IS NO GLORY TO BE FOUND IN A YEAR LONG RESEARCH ABOUT THE POLITICS OF FEAR. FEAR DEVOURS YOU, CHEWS YOU UP AND SPITS YOU OUT. LEFT TO BE TROD UPON. IT LOOMS IN THE DARKNESS THAN FLICKS YOU A VICIOUS SMILE IN BROAD DAYLIGHT. IT'S EVERYWHERE.

 

AND THAN ONE DAY...THE MANHATTAN PROJECT. NUCLEAR SCIENCE BRINGS US A FUTURE AS BRIGHT AS THE HIROSHIMA FLASH. A FUTURE WHERE, AS KARL MARX SAID, "EVERYTHING THAT IS SOLID MELTS INTO AIR".

 

 

 

BUT WHAT'S THAT GOT TO DO WITH THE DECREPIT CHARM OF A FAILED CASE OF MODERNISM? THE MANHATTAN PROJECT, A MODERNIST DREAM, STRANDED IN THE CAPITAL OF EUROPE.


PHILIPPE SEVERYNS

 Fear studio        


WELCOMES    YOU    TO

 FEARLAND

manhattan

 IT'S HAPPENING 

THE MANHATTAN
PROJECT  #  1

Saturday 4th & Sunday 5th of June 6pm - 10pm



Fearland is a project developed within the a.pt (advanced performance training) program at a.pass (advanced performance and scenography studies). more information: www.apass.be

Workshop a.pt

Artists:

25/10 — 06/11
Lilia Mestre, Elke Van Campenhout

a•pt = Advanced Performance Training (voir www.apass.be)

En brouillant la limite séparant l'espace de vie et celui du travail, et en s'éloignant des stratégies artistiques reconnaissables, nous tentons la briser les règles de l'attendu, des conventions, de la récupération et de la communication dans les Arts.

Chaque participant va essayer, en permanente négociation avec ses pairs, de développer des pratiques qui invitent, de l'intérieur, le spectateur et le participant extérieur, à rejoindre les activités.

Cela peut être en prenant l'espace pour ce qu'il n'est pas : un magasin, un restaurant, une bibliothèque, un studio de télévision, un centre d'aide sociale, un bureau d'immigration, etc.

 

a•pt = Advanced Performance Training (zie www.apass.be

Door de grenzen tussen leven en werken in de ruimte te vertroebelen, en door weg te gaan van herkenbare artistieke strategieën, willen we proberen de regels van verwachtingen, van recuperatie en van communicatie in de kunsten te breken.

Elke deelnemer zal proberen, in permanent overleg met de anderen, om praktijken te ontwikkelen die de activiteiten voor de toekijker/deelnemer buiten, openen van binnenuit.

Dit kan gebeuren door te veronderstellen dat de ruimte iets anders is : een winkel, een restaurant, een bibliotheek, een TV-studio, een sociaal centrum, een immigratie-bureau, enz.

 

{vsig}apt-lilia-elke/vsig{/vsig}

Coming soon

03/10 — 17/10 : Miljan Vukicevic

16/10 : PushUps Concert

22/10 — 24/10 : Modo Brussels / Jean-Paul Lespagnard

25/10 — 06/11 : Workshop APT

07/11 : ZSenne Ciné

08/11 — 14/11: Alejandro Petrasso

17/11 — 28/11 : Anja Kowalski

29/11 — 15/01 : Rémi Tamburini

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