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Move
(me)nt
Re
search
Friday, 6th of January, 18-21h, de Singel Antwerp
Saturday, 7th of January, 14-16h, de Singel Antwerp
Please confirm by email to production@apass.be!!!especially if you plan to come on Saturday!!!
With project presentations by Margareth Kaserer, Timothy Segers and Doris Stelzer, and teasers for the upcoming presentations of Caroline Daish and Marilyne Grimmer. 3rd to 5th of February, Szenne Brussels (times to be confirmed)
What moves us? What constructs a social movement? How is the personal linked to the social, the political, the world out-of-our-reach? Is there anything like an artistic method to come to an understanding of what affects us, a methodology of influences, of what makes us tick, think and move? Movement is the motor of change, of transformation. It is one of the last thresholds of the artistic desire.
In these five research presentations, a.pass opens up the doors of roughly one year of work. We invite you to step inside and experience with us the questions, doubts and the intricate paths of the research (il)logic of some of our researchers. On Friday we also open up a space for exchange and a performative discussion: we invite the audience to participate in an improvised game, questioning the practice of artistic research.
INFO
Venue:
de Singel
Jan Van Rijswijcklaan 155
2018 Antwerp
Tram lines: 2 and 6 from Central Station
Entrance at de Singel via the Grand Café (on the left of the main entrance). Take lift to the 4th floor.
Margareth Kaserer
Dance to your symptom
Margareth Kaserer works on the attrition of the dichotomy of body and mind, using the body to possibly come to another way of perceiving, thinking and using language. She looks for openings of the experiential body in order to put the conscious, rational self in question and to let an alternative voice speak. Out of that she produces narratives which reach beyond analysis and understanding. Side-effects of this are an exploration and expansion of body-limits and the creation of feedback-loops.
By manipulating psychological states through body work, thus using her own body and psyche as tools of her experiments, she creates extreme dynamics of exposure and hiding. Being the object and subject of her research at the same time has led to the establishment of a space of mirrors, reflections, masks and looped paths. Artistic research about „the unconscious“ becomes therapeutic, and therapy becomes a performance.
Her end communication shows works that she made during the research-period in a.pass including installation, video, collages, text and maybe a performance.
Tim Segers
What is the space of influence?
When you attach a wish to a symbol, to make it speak out, critically or otherwise, you do so to enforce a desire that falls out of the general expectations of the environment. This object builds a relation to the passers-by that provokes them to move. Segers’ work is all about creating these obstacles. Performative objects that bring people together or divide them. This specific method of working opens up ‘the space of influence’: a space that is born out of the awareness of our ability to interact. An awareness that is based on the remembrance of a handful of primordial possible actions, a limited toolbox of possibilities. A starting point for making us think about what we can still put in motion today.
Doris Stelzer
hansi and me
a performative research communication
Doris Stelzer gives a performative insight in a one-year artistic research on the Austrian Schlagericon Hansi Hinterseer. As an artist in the contemporary (intellectual) dance field she decided to go to an extreme corner of the entertainment field and chooses Hansi as a perfect representative research example of the whole Schlager- and folksy music arena.
By diving in, being part in concerts and fan hiking tours, reading theory on popular culture and ethnography besides song texts, studying his speeches and gestures Doris was torn between fascination and desperation, driven by artistic curiosity. The examination on and the appropriation of the phenomenon Hansi raises questions on the Schlagerfield in relation to her own artistic field, its entertainment (spectacle) factor and political impact. The celebrated clichés of tradition and images of love and nature confronted her with her own present and past identity as Austrian, having grown up in a little village deep on the countryside, in a catholic environment fed by traditional rituals.
„Confronted with my own preconceptions I found myself in wired positions. I couldn’t stay outside, in the observer role, I couldn’t let myself be identified as a Hansi fan neither, although I found myself swaying and singing along with his songs…”
Caroline Daish
Stewart's say
created in Sound As Space Workshop by Els Viaene & Lilia Mestre, June 2011, 17 minutes
“My research began with the question: what is the soul and what are possible performance manifestations? After discussions about definitions and historical references, I realized that I wasn't actually interested in what it was, but rather how people responded when confronted with the concept. I interviewed people asking "Do you think your soul is worth saving?" realizing that it is a provocative question which needs 'unpacking'.
I made this sound performance piece; a vocal guided soundwalk during an a.pass workshop at Nadine in Brussels. I tried it in different forms and spaces: a hotel room in Tallinn for an audience of two, a temporary 25 seat cinema, a free form walk outside my house in the centre of Brussels. What is the difference between when the images are borrowed from reality or when they are invited into the listener's mind without external visual input? With these types of questions I have been interested in narratives of perception.”
Marilyne Grimmer
Somewhere
created for the ‘On location’ workshop by Leo De Nijs
‘Somewhere’ is a sound piece that describes an imaginary space.
Marilyne Grimmer asked a few people to describe a place that doesn’t exist. Out of their stories, she constructed her own imaginary space. This piece was initially presented in the library space in de Singel when it was still under construction. At that time, it was the last unfinished space of the new wing of the building.
The description of the imaginary space she constructed intermingled with the 360°degree sight of the highway, the city, the old and the new building and the still empty space of the future library.
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 this 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 box.
CALL for Projects
DEADLINE 20 January 2012 for start in MAY 2012
IF you are working in the performing arts and want to start an artistic research in a professional research environment, free from production constraints,
OR if the concepts of performativity or/and scenography are (relatively) new to you and you want to explore them in depth through a one-year research program,
THEN a.pass (advanced performance and scenography studies) can offer you a one-year post master program in which you develop your performative or scenographic research project. In a context of self-education and collaboration you create a personal trajectory through workshops, individual mentoring and interaction with the other participants. At the end of this period, you present and communicate your research.
BESIDE the post master programs, a.pass invites artists and theoreticians – possibly engaged in a PhD in the Arts - to develop independent artistic and transdisciplinary projects producing knowledge and tools relating to the key issues of the a.pass programs.
For more information on the a.pass program, application, selections & admission: www.apass.be and in the pdf attached. Feel free to forward this call to your contacts! Thanks in advance.
Bart Van den Eynde,co-ordinator a.s; Elke Van Campenhout co-ordinator a.pt; Christine Peterges, production a.pass
a.pass (advanced performance and scenography studies)is an international research and training centre for artists and theoreticians, based on the principles of self-organization, collaboration and trans-disciplinarity.
Out of the notions of performativity and the performative space, a.pass offers researchers the possibility to develop their skills as independent artistic researchers in a collective learning environment, constructing their individualized curriculum in constant dialogue with their environment.
a.pass wants to develop, archive and share tools for a qualitative and societally relevant research practice. www.apass.be
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