current a.pt workshops
workshop in the performance gallery ZSenne with choreographer Lilia Mestre on the creation of vitrine fictions for the commuters of the neighbourhood.
research project with kunstenfestivaldesarts, SPA (some political art), and APT.
current a.pt projects
|ONE YEAR LIFE PERFORMANCE 2.0|
This project is part of my ongoing investigation into the relation between live performance art and its documentation, which has now grown to include the world of social media, as well as my own everyday life.
|collective me ||on my way|
|on my eye|
whatever first thing on and around my I & my eye when I wakes up
My research gives answers to all the questions humankind has ever been asking in all times. Wonderful!
|hard working idlers|
Or CCC (Cheerleading, Collaboration, Coalescence)
By daniel kok / diskodanny
PIIGS is an acronym used by international bond analysts, academics, and the economic press that refers to the troubled European economies of Portugal, Italy, Ireland, Greece, and Spain.
PIIGS is a group cheerleading project, a research on structuring and facilitating collaboration practices and on audienceship. It is concerned with relational politics in a working collective, how a community coalesces and how a utopic notion of togetherness may (or may not) still be possible in the theatre.
I will invite 5 choreographers as collaborators, one from each of the PIIGS countries. We come together to consider what kind of communities we can create by referring to the specific practices that each artist brings to the table for discussion. Through exchanging information about our respective artistic practices, our individual concerns in relation to the communities we come from and how the socio-politics of our backgrounds affect the way we work, we design a series of solo and group sequences.
The project deals with the politics of artistic and collaborative exchange through an evaluation of the current European economic crisis and its impact on our lives as artists and stakeholders of this wider economy. We will explore how our working group is an economy in itself and attempt to apply an economic language when we discuss how we could work together. I am also curious about my own position as a choreographer from a seemingly neutral position. What is my vested interest in this discussion? How do I broker my role as moderator, facilitator and ultimate author of this work?
Through our working together, we will attempt to establish a common language and write a collective cheer. This will culminate in a spectacle in the end - we cheer for ourselves, for the audience and for Europe.
The performance promises a utopic finale, complete with confetti. Everyone will be happy in the end.
 Some news and economic organisations have limited or banned its use due to criticism regarding perceived offensive connotations. Members of the Spanish and other international economic press continue to use the term in its narrow and restricted economic sense as a grouping acronym like the related BRIC.
 For me, ‘spectatorship’ refers to the conditions of being an individual spectator - the cognitive and perceptual processes, the gaze – in a performance context. In contrast, ‘audienceship’ refers to the conditions whereby the group is constituted as a temporary collective, as performing the role of the end-users of a performance creation; although usually presumed to be a homogenous group, physically passive, sitting in the dark, etc.
I will start from the european union, its colonial history, modern cities, western knowledge tradition cutting head from body, its binary thinking, its anspruch to know how to order the bodies of the world. From this I will hopefully move.
|Jazz Storytelling_Live Book|
- a storytelling format based on the structures used in jazz music -
Departing from the idea of THRESHOLD, a point of entry or beginning, the Live Book is structured as an open space of interaction between story fragments and musical environments. The method consist in the production of many stories interlinked with one another, where transitions are as important as each story-line. The main story-line suggests a larger tapestry of events that do not have a beginning nor an end, but are always in the middle (in the threshold). The narrative could be seen as jazz-like in its experimental arrangement and the sense of improvisation that the prose suggests „ with complex transitions, indications of non-linearity and lack of hierarchy between stories.
your text goes here
|THE PIGS OF TODAY ARE THE HAMS OF TOMORROW|
Plymouth Arts Centre presents The Pigs of Today are the Hams of Tomorrow, a curatorial collaboration with the Marina Abramović Institute for Preservation of Performance Art. The Pigs of Today are the Hams of Tomorrow will stage, document and discuss groundbreaking international performance art in order to examine and sustain the future
of the medium.
|On imageability of the city|
The topic that I propose is the witnessing meant as affective and productive operation between the environment and its inhabitants.
I’m interested in broadering the meaning of the term witnessing, as a permeable perception of the environment, by exploring the field of social and cultural performance in the urban texture.
This project aims to suggest the operation of “witnessing” as productive for the discussion of current studies and practices on the city.
|On reading of images |
exploring metodology for performance practice
working on the translation of images
|Notes Opening Week I-13|
Please collect here rememberable remains of the Opening Week of the 1st Block 2013.
Why do you want to do research?
About Tender Institute: Game discussion.
First, Elke places a lecture.
Then, we respond, by starting every speech only with one of following sentences.
I don't agree because...
I agree because...
This reminds me of…
I think we could open this up by….
If you read this politically, then….
living process leads by plants
|High Pertformance! Workshop in economy|
workshop in economy at a.pass
We think, some workshops in economy for artists is in order!
It became clear in 2008 at the latest, that the economic system we are living with and many of its assumptions are wacky, unjust and not sustainable. Many of its instruments are either exaggerated, or exhausted. The bubbles it produced in different markets are getting out of control, and deregulated fiscal constructions are dramatically failing. Yet, business is going on as usual - but beside main social pillars are being washed away. The current economic crisis is not only a result of some major failures in speculating practices, it is the outbreak of the constant crisis inherent to the system. Since many years a precarious and dangerous economic climate has been created through the exploitation of the society and the environment in the believe in constant growth and a policy relying on the infinite creation of money for some through the creation of infinite debt for the majority.
The current cuts of public funding and the absence of interesting jobs are just some visible signs of the consequences of governmental reaction towards the 2008 crisis. Arts all over europe are now more concretely targeted for cuts then ever in the last 40 years.
In this climate artist we are forced to rethink our relationship to economics. Which is a situation to be cached! We have to leave our triple position as critiques, prototypes and profiteers of the system, and rethink our relation to the protection through governmental funding. This can not be done by making art in a more 'economic' way.
This workshop rather launches a discussion about the repositioning of the economic field towards the arts.
We have to occupy and appropriate the "economics" and its terminology and fill it with new practices and new meaning. We have to occupy the vocabularies, the practices and the appearance of the economy and to open it to a wider spectrum of life than just a financial success.
For that we have to ask, what do we expect from future live? What is it what we really are 'dealing', 'trading' with? What is our currency? What is/was our real contribution to the crisis and how do we fictionalise the changes to come? What kind of traps are we constantly taping as artists? What kind of an economy could we establish out of an artistic (researching) practice which will make a real difference?
Taking over economy!
These questions can be attacked by analysing the different notions of 'performance' in economy and in the arts.
The understanding of "performance" differs in general in their aims, aesthetics and actions in both fields. Performance on stage has to do with appearance, or transformation, performance on 'stock' with accomplishment, growth and power (thrust).
A mixup of this different understandings happens in a very complex way, when it comes to the commodification and dissemination of knowledge - and even more when this happens through artistic practices.
We would like to propose a two week workshop in two parts. The first week should concentrate on performing the reality of the economic crisis and the crisis of art-making in relation to financial policies. By inviting theorist and artist Georgios Papadopoulos, ("Notes towards a Critique of Money") we would undertake an extended analyse of the relation between art and currency. What is our currency? What is the promise behind this currency? But also what are we actually dealing with by dealing with currencies?
While in the second week we would like to go more into alternative economic systems. For that we will collaborate with the behavioural economist Marieke Huysentruyt and will appropriate and translate economic ideas such as the 'Gemeinwohlökonomie' and Parecon. How are alternatives possible? How can art-making develop economic alternatives? How can the economy of art-making be reclaimed and recoined with other meanings and values?
The workshops are based on a similar lab structure. In order to compare and relate the differing understandings of 'performance' in a practical an discursive way, we will setup a lab where artistic performances and economic performances should coexist, contradict and corrupt each other.
The lab is a simple square furnished with some material and positions for artistic and economic activities. It will be constantly filmed form the sealing above. This should allow to understand the procedures on the square as scores or choreographies - the choreographies of relinking and rethinking art and economy. In other words - the workshop is a lab for the performance of the reality of art making.
|witnessing and places|
Witness and site-specific, witnessing of the specificity of the site?
The witness is a perfoming individual identity, dwelling in the "liminal space", that leads from the potentiality phase to the re-narrativation.
We all are witnesses of our surrounding environment: society, culture and time.
My research aims to suggest the operation of “witness” as productive for the discussion of current performance practice.
…All the people that we have ever met, all the places where we have ever been, all the food that we have ever eaten, all the books that we have ever read, all the runs that we have ever done, all the persons which we talked with, all the rooms where we have ever lived, all the games that we have ever lost, all the things that we havn’t ever said…
What does it remain in us? How does it become embodied?
We host residues…
Considering witnessing as an active bodily condition that takes place during the performative practice
à can we consider performer to be “the witness” to their environment (social-cultural and spatial)?
“they (the witnesses) strive to produce, to enable, to change; (…) they are interested not merely in new information, but primarily, in the capacity of their recipients to transform themselves in function of newness of that information” (1992: 54)
S. Felman e D. Laub, Testimony, crises of witnessing in literature, psychoanalysis, and history, New York, Routledge, 1992.
|the tender institute||THE ART OF SHARING, THE SHARING OF ART|
How much can we share through live art practice?
|INSTABILITY IN STABILITY|
Instability in Stability is a practice-led research project exploring how strategies for archive construction can be activated as a live artwork and digitally mediated performance.
|what do I do with what I have embodied so far?|
what do I do with what I have embodied so far? Is a question that amplifies my desire for experimenting notions of construction.
A scripted meeting with my mother
|Thoughts of every day life|
|A Space For Working|
|Feedback and Critique|
a.pass basics: feedback and critique
Vladimir Miller & Elke Van Campenhout
In this second b-workshop (a.pass basics) of the block we address the topic of feedback. Since a.pass is a shared environment, we depend a lot on each other as sparring partners in our researches. Often the work is presented within a group and the quality of the feedback is lacking in precision, understanding or communicative strength. What is important in giving or receiving feedback is that both positions are clarified: what position do I speak out of? What kind of feedback would be useful for my research?
In this workshop we try to construct very diverse feedback techniques: spoken critique, non-negotiated critique, direct feedback, indirect feedback, written, walking, one-on-one or transformative feedback.
We refer also back to some basic texts on art critique and feedback systems.
Using scores in an architectural contect
|Collaboration and Collaborative Learning|
Info WS 3
shift your pupil from side to side very rapidly.
Do it with open eyes and with closed eyes.
Keep your pupil still and change your focus from close to far.
Do this everyday for 10 minutes
|Letter of intent|
Letter correspondance between Me and David.
|CLEANING THE HOUSE|
A documentary performance after a workshop concept by Marina Abramovic.
|The Definition Den|
Where definitions live, breed and do other unspeakable things
|HUNGER ARTIST||artificial realitites|
A week long workshop aimed at helping us define our research question and our methodology. Using the writings of isabelle sengers and simondon we aim to construct 3 transferences of our research and connect and define our concerns.
|Cultivating A Spot|
Cultivating A Spot. Reenactment / documentary performance after Paul Auster's instruction to Sophie Calle.
The objective is to apply Stockhausen's views on Intuitive Music to dance and movement, using some of his Intuitive Music scores as a basis.
|STUDIO 54 soap|
A fictional photo soap.
|The Singel Roof|
Message from the roof
A leisurely journey through the different ways to read
|THE G PARTY|
A political party.
|Clarity - an exploration|
the state or quality of being easily seen through<mountain streams with water of incredibleclarity>
Related Words brightness, brilliance, effulgence,luminosity, luminousness; definition, resolution,sharpness; apparentness, observability, visibility
clearness of expression <this explanation of the greenhouse effect is a marvel of clarity>
Related Words incision, incisiveness; directness,forthrightness, openness, straightforwardness;readability, readableness; comprehensibility,intelligibility, legibility
Near Antonyms ambiguity, ambiguousness,equivocalness, equivocation, inscrutability,inscrutableness, obliqueness, obliquity, opacity,opaqueness; impenetrability, incomprehensibility,incomprehensibleness, unintelligibility, unintelligibleness;circuitousness, deviousness, indirectness, indistinctness;dimness, disjointedness, incoherence; faintness,fuzziness, muddiness, nebulousness, vagueness
|frankestAin with A|
Watch Sven as he works behind his desk on the research project DOCUMENTING DURATIONAL LIVE PERFORMANCE ART USING SOCIAL MEDIA over the course of his stay in PA-F together with a.pass. From Thursday November 24th until Monday November 29th 2010.
Singing to someone <-> Singing into someone
|MAN TWEETS CLOUD|
A reenactment/reinterpretation of Jan Fabre's THE MAN MEASURING THE CLOUDS (1998) performed on the morning of September 11 2011.
1st a.pass Conference on the Art of Research
16. - 17. 09. 2011 - 11-19h - de Bottelarij, Brussels
LOCATION is a practical workshop in and around the enormous building complex of deSingel. As a start there will be an investigation into different ways of exploring the building and expressing the specifity of this/a location through different media. The question how to use a found space as a location will then be translated in the concrete realization of an presentation starting from the personal research.
|THE ARCHIVE AS GENERATOR|
Which archive could generate the future rather than preserve the past?
Documentary performance project making use of the iPhone application EPIC WIN. Inspired by Christopher Columbus' first voyage in search of the New World in August of 1492.
|i OWN project|
Sharing pictures of everything Sven owns.
Documentation of month-long residency at Scheld'apen's WERKKAMP 2011 with bandmembers of Swimmers In Loch Ness.
|Soap For Foam|
Documentation of durational performance by Kristien Czubin and Tom Lambeens.
|mathematics for performativity|
Mathematics for performativity is a space under construction, which aims at sharing the questions that come out of my experience in between two very different fields of knowledge: mathematics & performance.
|THE KITCHEN - V - CARRYING MILK|
Reenactment after an original by Marina Abramovic.
An on-going research on the possible relationships between art practices and populist aesthetics.
For this project I got inspired by a novel from Raymond Carver called “What do we speak about when we speak about love?”
The characters are two married couples and they drink gin tonic meanwhile outside the sun sets.
They get passionate trying to communicate to each ther what love is.
As reader I was wondering if they would have changed their mind by looking at themselves from my point of view.
How would it be a devise that could allow me to create this kind of mirroring process?
Would they recognise themselves?
|DIARY FROM A WINDOW|
Video mapping of my research on how to generate memories.
|MY WEEK 2.0|
Rounding up the year at a.pass, a.pt participant Sven Goyvaerts presents his research Documenting Durational Live Performance Art Using Social Media over a period of seven days.
Reports on the film analysis workshop about terror in horror movies.
|Tender Glitched Garden|
Mechanisms, Tenderness, continuum of reminding process of relational phenomenon. Connection to writing experiences, diaries in situation related to Hong Sang Soo and Aki Kaurismaki
|The gaze of the group||Portfolio 2nd block|
1 by 1 experiment done during PAF in November 2010.
Participants put a pair of knee pads, got blind, listen to a track (thanks for Iris Bouche and Philippe Severyns voices) and have been asked to let their nose guiding them.
my dear friends,
The emptiness of the building fill the emptiness of my body.
Since I woke up this morning, white cotton is falling gently from the sky. Slowly a white layer embrace the space and change the reality into other reality.
It’s an over lap of layers within the processes of nature. Everyday, in the woods that was something changing by it self, and by someone who was walking there...
and some day someone noticed... I believe that individual creation leads to a collective change.
There will be always someone who will notice the small details, changes...
I think in life is very important to never forget about what is beyond of what we can see and believe,
because the moment when we stop fighting for it, you are “dead”.
sometimes I’m afraid that we are not conscious anymore of what our instincts can reveal,
and that’s why I think you should never forgot the essence, the roots of what you search,
because "the truth” u are not able to touch in your readings, but in life experience.
The memory of your presence, embrace my conscience with tender whispers, coming separately from which one of you: the meaning of life.
I keep it in a collective memory, the encounter of a reality perceived by you and by the mirroring of your perception.
see u soon
kisses from the empty white land
|TIME & MEMORY|
Je vous donne une horloge qui a ceci de particulier qu’elle est encerclée par 12 cadres de photo. L’horloge n’a aucun chiffre inscrit dessus. C’est donc à vous de décider de la durée et de la scansion du temps représenté sur elle.
festival showcasing the work of graduate and Phd candidates
working across a diverse spectrum
|FOLLOWING PIECE 2.0 / EVERYTRAIL|
Reenactment after an original by Vito Acconci.
Currently Bureau d'Espoir is working in the DIY (Do it Yourself) project of Les Bains, within the spaces of MircroMarché in Brussels. These first two months (april-may2010) we work on hope as failure (blind week), hope as therapy (Lygia Clarke) and the transformational power of hope.
|The moment of Solos..David Moss|
How do you make a solo performance, How do time, timing, intensity, attach, intimacy, eccentricity, personal history, ego; sharing, hamanism, faces, physicality, gestures, words, sounds, memory songs, and touch and text connect you to the moment of making a solo?
Why are you a performer; why are you in front of people?
Where is performance going, what might it look like in 50 years? What happens with “time”? What is the relationship of solo work to duo work: group work? What is your performance relationship, as a soloist, to your audience?
How do you strucutrue/shape time and space when you are alone on stage!
Focusing on these questions with voices, text, movement, self-made sound, solo material will be generated through discussion and singing, group voice work, performance exercises, and personal history.
Performers, directors, choreographers, philosophers, arichitects, cultural critics from all disciplines/genres are welcome to attend.
|Viewmaster THE SERIES|
THE SERIES explores the possibilities of Viewmaster as a tool that can be used by other artist to develop own work.
|Postcards From The Future / C&H|
After having realized three versions of the project, in Geneva / Point d'Impact Festival, Leuven / Playground Festival and Metz / Centre Pompidou Opening Festival C&H is rightnow busy with a new edition of Postcards from the Future for Brussels.
|Final Presentation May 2010|
Thursday 6th & Friday 7th of May 2010
Manon Avermate - Julie Pfleiderer - Kurt Van Overbeke - Sara Vilardo - Fien Wauters - Dianne Weller - Jozef Wouters - Fanny Zaman
Finisterra is Time and Space.
And we all know it’s inevitable presence. A space that brings us together.
It is a space of rethink
values, making judgments. It is a time of rest
If changing is a lie and any hope possibility inexistent, what stands Man? This is Finisterra.
|THE GAZE 2.0|
Study group leading up to the workshop about the capture / transformation / (re)routing of the gaze through social media.
Going on from the round table.
CHANGING ROOM - rehearsals for a changing world
From April to the end of May the project Changing Room, will take place in an
old garage at Micromarché in the heart of Brussels.
Changing Room is a space, where we try out different looks. It is the free
place where we exercise another possible world - even if it is only by chang-
ing our clothes.
Changing Room invites us to change all that is changeable : the entire in-
terior of the space or its functions. This room offers to rather try the change
instead of waiting for it to happen. The world is changing anyhow and all the
time. Let’s practice changeability, let’s toy with the status quo : changing ‘things’
or changing ‘ourselves’?
To use the CHANGING ROOM, do your ‘bussiness’, spend some time, min-
utes, hours or a day in it, just have a look, pass by or contact us !
BE AWARE : a look can change the world !
CHANGING ROOM, Micromarché, Steenkoolkaai 9, 1000 BXL,
firstname.lastname@example.org, 0486 93 51 88, open-frames.net/CHANGING-ROOM
Recountables depend on the performer as much as on the visitor : only through getting in social contact, the image will be/come more than what you see on the wall ...
Invited by Bolwerk, radical_hope was able to perform the first recountable set-up in Z33 / Hasselt in the frame of Nepotists, opportunists, friends, freaks and strangers intersecting in the grey zone : February 7th - May 2nd.
Collaborative documentary performance.
How the smell brings your body in a special state?
donnor(smell) - receiver (body)
I guess a big range of movement is produced by the different smells and by the experience you had with.
Does the movement produced by the smell react before the memory?
smell - backlash in the body - memory - analysis
Oscillation of the body:
Acceptance or rejection of a smell generates micro movements in the body. Opening or closing the body to the outside. Putting yourself closer or more far from the smell.
|Psychosis through the experience of the space||the Passage|
A performance research into sound, atmosphere, voice, music and text
APPEAL US was an invitation based process running from 14 - 24 October in the frame of Annex-Amperdans / Monty / Antwerpen.
Generated was a pool of inspiration consisting of references to works of any kind that one personally appreciates. It is generated through an invitation based process, for the Annex Amperdans / Antwerp. People are kindly asked to share 2 works that inspire them at the moment or that have served as inspiration to them for a while.
|Do You Have 5 Minutes|
DO YOU HAVE 5 MINUTES @ RUE DU CHIEN MARIN 5 is a series of 5-minute-visits to the ground on rue Du Chien Marin, serving as a performative means to 'keep in mind' this contested adres.
People are invited to come for 5 minutes to Rue Du Chien Marin to do something 'manifesting the possible future for that site' that lasts exactly 5 minutes.
|on my plate|
the (culinary) unbearable simplicity of goood foood and what it can do to your (performative) body (and mind)
|on my wall|
a repository of notes and quotes that swing between my projects on their way to stick to somewhere / something / someone or to the inside of a dustbean
The storytelling project (working title) - I am gathering a working group that will
practice ideas touched upon in the solo, Kore's Project. The starting points include:
the sense of storytelling with the absence of narration, as well as presence and absence
of the body and voice in improvisation. Just as a way to begin...
'The explosif body'
will be my beginning point of a much larger research over several years named "the movement library".
These days my obsession focusses on the explosivity of a body. Not in the negatif destructif meaning of the word explosif but more meant as a sudden, uncontroled and extrem result of muscular tension which comes out in a powerfull way. To reproduce this tension and be able to name it I need bodies that I can manipulate.
I notice as being a dancer that I had trouble finding this 'honoust' movement. A movement that occurs with a maximal energy and which is not pre-set. My brain may be the most powerfull tool that I have but it is in a way also my worst enemy. I would like to find a way, to find a trigger different then the brain. A muscular or nerve that can operate individual. That can give me a movement that comes sudden, with a maximum of energy and that you could label as EXPLOSION in that body.
Then the question occurs if there is then also implosion, or innerplosion possible?
When I find this movement I will record it and archive it into the movement library. This will be step two: how to archive the material.
|DOCUMENTARY / PERFORMANCE|
Sven graduated from Audiovisual Arts at Sint-Lukas Brussels and wrote a paper on how to document a piece of live performance art, focusing on the work of the artist Marina Abramovic (1946, Belgrade). His final documentary film project about her work evolved into an installation, Documentary / Performance, in which he presented evidence of encountering the artist and of performing the student exercises described in her handbook Unfinished Business.
My proposal to working within the APT context is to consider series of questions concerning art practice. I want to treat these questions theoretically by having discussions and assist lectures as well as work artistically on the "vitrine" (process exposure) project, where we can put in practice our thoughts and experiences. I curious to know how do people feel about their artistic input in the context we live in? Who is challenging formats? What is the edge? And is the edge a possibility to challenge perceptions, points of view, a place to propose different readings of things? (â€œthings" meaning life)
Documentation of the toolbox sessions during the kunstenfestivaldesarts
What does a picture represent ?
How do I bring old pictures to live again?
How can I use them to produce text material / movement material?
What can be my point of view as an observer of the pictures?
archived a.pt workshops
The Interactive Burka researches the role of the burka out of different cultural perspectives, in parallel with the me-space created in a technological era by the wearable new media communication tools.
workshop on transdisciplinary improvisation methodologies, by jazz cello player Tristan Honsinger
|modeling the program|
during these sessions the participants try to develop a visual interpretation of the structure of the apt-program, and the role of their personal research within this set-up. APT is considered to be a space, with a certain surface, texture, movement pattern, division of space, etcetera....
workshop video story-board, shooting and editing, by miguel vasconcelos.
workshop Tom Plischke - Kattrin Deufert
"The most important element of our working process is writing and transference. It allows all participants to work in silence and not to be bothered by producibility. The constant passing on of written material and the permanent reformulating, contextualizing, expanding, and reflecting of the written material serve as a basis for the creation and composition of movements, texts, sounds, or images. But within this procedure all realizations are based on temporary decisions depending from the material that is handed over from the other and not because the medium of realization is chosen beforehand. Our working procedure could best fit into the motto: Give me your material and I show you what you‘re not doing with it."
workshop dora garcia - traces
This workshop is open to aspirant-dramaturges, scenographers, soundscape artists, lighting technicians, etc... In short, everyone interested in thinking about the process of dramaturgy and scenography in the creation of performance work. For every working group we invite one dramaturge, accompanied by an artist he/she regularly works for, to coach the project.
the workshop of the sociologist Lars Frers and the visual artist Alexander Schellow focuses on strategies and practices of spatial research.
|sound /space /relation|
In this workshop Lilia Mestre and Els Viaene together with the participants created a podcast based on the notions of space, emotional relational and sound recording. It is important to notice that the nature of podcast /radio induces a shared space for imagination. It is a medium that surpasses the idea of sound composition.
|IN TRANSIT Festival||The Listening City|
WAYS OF HEARING AND FORCED PERSPECTIVES
In his workshop video artist Vladimir Miller will practically research the possibilities to organise and guide the perception departing from a performance by musician for an audience that is free to move in space.
As a video artist Miller defines video in a broad sense, as a as a technically assisted or unassisted method for guided viewing. In the first week of his workshop he will discuss his theoretical approach. The second week includes practical sessions in a performance space with a musician.
Project in collaboration with gallery Arttransponder and the 'transcendental philosophers', Berlin, in which the participants look for a new understanding of an impossibly out-of-date term.
The vitrine project is a project proposed by lilia mestre, and shared by all the participants. We spend two weeks together developing strategies to deal with the inside/outside communication between the artists behind the shopping window, and the passers-by on the street and in the cars. The window is situated on the Turnhoutsebaan, a busy exit road of Antwerp, usually the scene of a traffic jam at peak hours.
archived a.pt projects
The research questions a shift of paradigm in dance studies from presence to absence in its terminology and relation to choreographic practice. A phd-project of Constanze Schellow, started in September 2008.
|Romeo Castellucci Workshop|
Romeo Castellucci, in the week he's showing is trilogy, came to talk with APT about the WUNDERKAMMER
APT research of Gable Roelofsen
vIrIon is a noun from microbiology that describes the complete, infective form of a virus outside a host cell, with a core of RNA or DNA and a capsid.
The objective of the vIrIon research is to define the core of performance arts and find ways of manpulating its completeness.
The setting of these core-pillars are refined in the definition centering the research-map.
'Performance is the mechanical body that reflects in a colored space-time. The action of performing and watching performance is to experimented and to be experimented with physiological and psychological consequences.'
The persona project
We are interested in the performativity of masses. In how groups move, behave, look and mean. In the boundaries between the individual, the group, the mass, the crowd and the community. In the place where a certain sense of belonging lies. We collect images of architectures and spaces for the masses considering the idea of a potential public choreography, even if sometimes the mass appears to be invisible.
sara manente and alessandra bergamaschi
project proposed by Peter Stamer, on the relation between the therapeutic practice of 'family constellations' and the performativity of space.
a performance duet
|hanging on the telephone||Dizzy Derwish|
Assisting as technician in the 0090 Contemporary Arts Festival Antwerp, I created an interesting network of Istanbul based artists.
4 journeys in Istanbul, spraid over the last year, made me discover this amazing city step by step.
Being in Istanbul for a total of 18 weeks, I searched and found a teacher that wanted to introduce me in the traditional technique of Derwish dance (Mevlani, Sema). This relation ended in a participation at the 40 days and nights of Sema (whirling) in Yalova, juli/august 2007. Celebrating the 800 aniversary of Rumi Mevlana. The Turkish founder of this spiritual group. This spiritual activities are part of the Sufi tradition in Islam.
Learning a physical technique, I also came in touch with the energetic power of this ritual.
Back in Belgium I am trying to give a western and contemporary interpretation of this dance, in respect of the tradition.
My interventions are more conceptual than technical.
The Dizzy Derwish act is available as an animation as well as e strict artistic research.
information on the different body practices used by the APT participants
collective project, proposed by gable roelofsen, working on the voice and text material on madonna...