info a apass.be
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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. | PARADISE is yet to come... Currently work in progress. | whatever first thing on and around my I & my eye when I wakes up |
| all for one | My research gives answers to all the questions humankind has ever been asking in all times. Wonderful! |
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current a.pt workshops | ||
theory project, covering different texts, proposed by the participants | research project with kunstenfestivaldesarts, SPA (some political art), and APT. | |
current projects | ||
Writing an online book entitled ART/LIFE 2.0 - The convergence of art and life in times of social media. | Study group leading up to the workshop about the capture / transformation / (re)routing of the gaze through social media. | Let's go to the Ardennes!!! |
Going on from the round table. | CV Katrin Lohmann | 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, radical_hope@me.com, 0486 93 51 88, open-frames.net/CHANGING-ROOM |
An investigation on several decision processes involved within creating art work, life, identity. Why not throw dices? If there is something alike the best possible option what are the possible options to select, catogarize, document, archify the material? | 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. | Reports on the film analysis workshop about terror in horror movies. |
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. -pleasant -repellent -reflective 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. |                                       |
Reenactment after an original by Vito Acconci. | Documentary performance. | |
Project under development involving illegal immigrants. | Study group on the subject of identity. | 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. |
 | A performance research into sound, atmosphere, voice, music and text | 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. |
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. | 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 @ 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. | the (culinary) unbearable simplicity of goood foood and what it can do to your (performative) body (and mind) | |
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 | Arbeit.Oderentweder is Anja Perisic (costume-designer) and Katrin Lohmann (actress) doing artistic research on economy, the exchange (value) of physical and spiritual goods within the context of labor and theatre.This research results in installations, happenigs and performances within a staged setting.
| During one week we work in MicroMarché in Brussels on the circulation of hope |
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... | Käthes Schmerz is music about Käthe, and about Schmerz. Unbearable light music - because we are what we have lost and we don..t need a home when we have a bed. What we need is a garden. The garden of eden. Paradise is lost - hail to paradise! Because we want to suffer in style. .. | 'The explosif body' 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. |
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? (“things" 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? | project aimed at researching the hidden potential of collaborative thinking, creating, and production of knowledge. | |
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. | ||
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 | 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 |
Set-up 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. | 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. |
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 projects | ||
Romeo Castellucci, in the week he's showing is trilogy, came to talk with APT about the WUNDERKAMMER | APT research of Gable Roelofsen about opera | 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.' Klaas F.D. |
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 | 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.
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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... | |
