Meet & greet with the new & old participants of a.pass, introduction to the principles of the program, tools (calender, library, budget, website...) and presentation of the research proposals.
How could we experience the question "what, why, who, where, what for, how we live the tension between individuation and the necessity of collectivity?” What are the conditions that make WE a problem to sustain rather than a problem to solve? How can we address such a question assuming that the sites where the sensible, the corporeal and unspeakable are the battlefield where to challenge our existence? How could we do so without addressing pre-existent models and protocols? Could we experience (the) body as the very battlefield where the "somatic" prime on the "cognitive" where "creation" prime on the "creative" where “tacit experience” primes over “negotiation and responsibility” and where softness, empathy and dispersion prime over self-representation, self-management and self-control? What does being “democratically in contact means today" as a performative and experienciable gesture? What could mean today such a gesture, when historically "(contact) improvisation" began as an emancipatory practice and ended up being an instrument to create (a) language, establishing a model of communication under the basis of recognition, negotiation and understanding? ¿What does this gesture means when “democracy today” is just but a name that our governments have appropriated as an instrument for their own interests under the moral premise/promise of common good-citizen? Could we disarticulate and deactivate choreographic languages from the hyper-controlled mess we live in? Could we make of choreography a “sensible- weapon” by leaving its movements and its personalised languages out of any utility? Could we go for the adventure and get lost in the desert of the generic, and the impersonal? What would be the fictions, conditions and consequences of such a vital-deadly gesture?
This laboratory takes place within the framework "C O R E O G R A F X S", an investigation that departs from a series of choreographic cultures that emerged over the 70´s in NY, which sought to incorporate the collective daily life through the body. The context was given by the revolution of May 68, the emergence of the hippie movement in the '70s, the emergence of the feminist and gay movements. "A series of movements" that claimed other ways of understanding the concept of equality in democratized societies. From this context "C O R E O G R A F X S” studies some of the concepts that defined these cultures and, in turn, questions what they mean in the current market democracies and in relation to the triangle brand-body-work.
Paz Rojo is a cultural worker. More specifically her work is developed within the culture of choreography. Besides the "physical work" she does, she moves, thinks, experiences and writes; activities that result in choreographic actions, experiments, writings, lectures, seminars and laboratories such as the lab "CHOREOGRAPHY: A PROBLEM TO PRACTICE”. Graduated by School for New Dance Development (University of the Arts in Amsterdam), she was part of LISA, a colective with which she lived the tensions and problems of working under a collective brand unevenly capitalized by its members. Together with Manuela Zechner, she was editor of a book and created the lab VOCABULABORATORIES, with which she experimented performatively vocabularies on shareable, colective ways. Along with Cristian Duarte, launched the experimental frame-work "A PIECE...TOGETHER?" through which she began to hold the question what, who, what for, how WE today? Critically passionated, her activity takes place on a sequence shot in which to live and be affected, being alone and together with, being a-part without making (the) party. Currently she has created the critical and experimental framework “C O R E O G R A F X S” with which, among other things, she has worked with non-professional dancers to create a distributed project. Framework that includes the solitary actions “lo que sea moviéndose así” (whatever moving like this); “exposición universal (democracy is a psycho-kinetic training) and the lecture performance “I don´t like community in the same way I don´t like contact improvisation”; as well as the collective actions “Acción inaugural-estamos gerreando”; “yes, we cannot a pre-formance en la era de la con-fusión”; and the seminary “Ocupadxs Directly!” all of them developed during 2011-2012.
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.
Anja Steglich & Elke Van Campenhout
The Walk is a ten day workshop on location, focussing on two main questions:
-How to turn walking into a qualitative tool for artistic research?
-How to create a shared landscape through the individual investigation of connecting territories?
During the Walk we will address these questions out of the proposals of the individual researchers, that will investigate a limited domain and devise a walk that can later be picked by others. Important in this construction is the decisions made on the level of parameters: what do I consider (out of my research) to be important ‘markers’ of the walking experience: fe. sound, shapes, roads, attitude of walking, … Throughout the ten days we try to come back to the PAF ‘head quarters’ with enough information to turn our proposals and experiences into a shared map of the environment, and add the instructions, tasks and guidelines into a useable walking guide for others.
What is important here that these guide lines are both addressing the walk as a method for artistic research and the walk as an investigative tool to discover the landscape as a ‘narrative’.
The main guest on this journey is dr. Anja Steglich, who is currently working on two linked themes:
Anja Steglich works on a workshop-format called `telling.landscapes´ with students from geography, urban design, art and landscape architecture. The score was to figure out the `inner landscape´or intrinsic impulses/ trigger points to work about the topic landscape and to find different images for working (like soundscapes, urbanscapes, infrastructure, waterscapes). “Could imagine, that such an impulse help`s to find individual scores while reading/ mapping a special landscape. Think it could be usable to show emotional/visual/spatial interferences between individual perception/ spacing and the `real surrounding´...
While working with the students i used this format to develop/envolve ideas about future landscapes, talking about topics like climate change, urbanization, participation, regenerative energy- and water-supply - it included individual ways of perception and needs and questions from landscape design.”
Another interesting point of reference in her work is the landscape choreography:
“I’m researching about `landscapechoreography´ together with choreographers/ performance artists - it is a trial to use the language and the methods of choreography to imagine and to deeply understand landscapes dynamics in a contemporary way - a lecture about this could show methodological questions from the landscape sight like: where and how we perceive the dynamics? How do we work with them - do we work with them? What meens transformation in space and time and how it could be possible to integrate the dimension of the body/ the understanding of movement in design strategies ?
How does a landscape perform?", how does a lanscape carry emotions? What are the dynamics of landscape and in the different spatial and temporal dimensions ... same time landscapes itself becomes the stage, this research includes site-specific strategies in scenography ... working about water, food, wilderness as contemporary questions in landscape design.
More information on Anja Steglich you find here: http://hybrid-plattform.org/index.php/en/projects/41?view=item