Elke Workspaces disappearing, Apass was a reaction to a shift in funding of AR towards academia
publishing as a political shift, is it answering a policy or is it generocity of research?
academics are not satisfied chance is missed to brig something else into the univercites
peer reviewed process = scrutinised process (actually done by completely overworked peers, meaning I would question this mode of giving feedback with rather little capacities of engaging with the work of another) particular mood you have to enter -> different state of mind and mood than art making - I am not funded to sit and write.
(Academic peer review writing - can it be compared with contemporary art market ... so the art making mood then it's not so different than writing an academic paper --> pressure to be successful)
can we chage how we think about writing in research practice? as part of artistic practice, not a reflection on it
responding to the Vienna language, inviation to produce a lexicon fo queer language of AR, what can we do with our own definitions of the VD Jargon? the spirit of ART
fear of funding, fear that they can't argue the validation somthing like there is at a.pass
vibe of frustration, which I think it's unporductive, reactive mode of what we don't want to get into. that there is no time to think about what we want
we want resourses and there are conditions attached to these reseourses?
AR - new 'state art' complying to neoliberal european policies
in order to get money you need to invest yourslef... you can argument, you can do a publication,...
Foresnic Architecture, NGO money, University money, and echibitions... - which is something that is not ok, because the money for NGO sector should stay in that sector
AR in the field is about producion of situated communal knowledge, not about frustration about its institutionalisation
"support and funding in exchange for ideological complainance with the system"
How did Sun Ra did his/ their research? Does it all come back to funding/ to the financial support?
creating share understanding - between ourselves to develop cpherant languge that is neither missing languge or chaos art languge - not lesser than academic languge, what is the languge that we know?
A.PASS lexicon in process
Disappropriate the wording, how could we reorganize these words and make them function otherwise the idea of reaction is not antagonistic for me, the reaction from within
academia opened a door to AR, but also started flooding in into the artistic research
reaching the limit of isolation (the academics are willing to play lego)
describing from the field, from the work, the way you navigate these contradictions, what is actually there and how does it work:
Joao we should not feel threatened by the academia, even if they dont really understand what we have been doing for a long time. We continue to work in the margins, do we even want to move to the center? But to stay in the margin should not mean to be marginalised and underfunded. To stay on the margnin and to fight for legitimacy is the combined challenge. Legitimisation. The margin is the place of research. Strategies to create dialogues with institutions. They are lost themselves and rely on artists to tell them how to do artistic research. Lets do a Brussels declaration! We have to position ourselves: margins, not-knowing, collaborative. We have to keep instittutions curious to our other ways of doing. Can they handle us, our inconclusivness? Our research is about not concluding. But we do produce discourse by means of action. Questioning the PhD within the PhD, then they have to listen. how can we hack the system, not as victims. anonymity, margin position as protection and space. find a way but also accept that sometimes communication is not possible. starting research from research is not possible in the academia. it starts from validation, goals and structure. plaing the game of research on the inside and products for the state on the outside.
CAN YOU BUILD A SYSTEM WHERE WE WILL not get into conclusions. we don't want to conclude but we produce discourse. not so much visibility - potential for openess.
It is a window of oppportunity. To use my legitimicy ad an artist to make them listen.
Atelier Real
ELKE no idea, no methodology, starting from research on HOPE, import on HOPE. started a practice that changed her life. fro academic writer became a practitioner working with her mind and body, spirituality and tantric work. undermining her own position of power through knowledge, for example HUNGER as practice. Turning private life as public practice, founded a monastery. Monatery pracrive led El to become a monk and a sex worker, looking for boundaries of knowlege in the intimate, emotional. Working on dissolvig boundaries, how does fragility create community? Dissolving power through fragility. Waht is criticality wihtin a non-discoursive framwork. Can critical knowledge be produced not biy difference and discrimination, but by dissolving boundaries. Elephant Cemetry: a place where knowledge goes to die. Last Block: Asylums. How ot install asylums, desire machines, sex machines in peoples homes. disturbing the domestic. Not working with subsidies. money made by selling body/practice, reditributed within the research framework. Research conencted to the practice of life itself. All research goes through her own body and its relation to the world. Resistance to being told what to do. no phd environment possible. diving back into the undergrowth of research. experimental modes of living, gathering exchanging. How to create non-safe zones where we choose to be. What is accessible in artistic research? What is a wild knowlede, what is a wild practice? There are many degrees of accecibiltiy. The marker of where the knowledge lies is on the emotion, being upset. Why do you resit what? Works is shown under the name of the monastery. Which identity has applied for the research center? Not sure. Here for the pleaure of a research environment.
can you produce the knowledge by not identifying with the markers of the grid.
BENNY Artistic Research falls into the category of not knowing. Had a project based artistic practice before his practie based PdD. there questions of methodology brought AR to question. Cruising (gay cruising) as a method. activating queer orintations, queer phenomenology. Became practice and methodology of research. After the phd: queerness and indeterminacy still at the core of research. promiscuity, sexual kinship networks, HIV bloodlines as subject and method of creating communities. cobbling together a self directed post-doc,but not afiliated with institutions. fellowships, residencies. a network of "friends". finding and creating networks and support for the research. Staging resarch actions and research exhibitions. PhD collaboraties were funded professosors in the humanities, who created a funded a phd positions. a project composed of tasks assigned to individuals, promiscuous approach.
"research exhibitions"
VIJAI also in the phd. practice based in antwerp. creating positions for artists to work on the administrative side of the instituions. proposal rejected by many institutions. moved on to smaller collaborations, for example being an intern at the geo-desk at the BOZAR in Brussels. becoming involved on politcy on the inter-national level, talking to national art organisations and representatives. these were very strange three months, becoming accastomed to the new language. Trying to be a good intern, but also learning about the institution. BOZAR was not really helpful, hierachy, not willing to explaing things to an intern. ELIA is a co-author of the VD. Vijay went to their conference in Vienna. met heads of JAR and other AR organisations. Older white men, mostly nordic countries. ELIA is a lobbying group for funding in the EU. Original Idea of artist within institution was about probing that space within institution. now shifitng to practices within institutions. at apass: finish the phd but not finish the research. Pracice changed a lot during research. Defence of phd is a bead theatre production, would play with that. Would like to evaluate the phd with participation of apass. discussion at apass: group of antwerp students created a survey on anti-rasist education in the academy. Vijai used the phd platform to bring the survey to discussion. enacting and creating moments for learning while doing.
RARES I dont know is a theme at apass. Resilience is why we do this, finding a way to do things and hope for the best. PhD with theatre and film faculty. Art schools in Rumania cannot afford taking risks. Research is on food as medium in performance. Food has an agency, and does not always do what one wants. Also involved with a research group on food heritage. Also works on european youth policy. There could be many solottion form cooperations between institutions, but its is limited by funding schemes. Research in instituions is limited to disiplines even if it is positioned as interdisciplinary. Trying to hold together different territories and positions.
the potential is in the conflict of positions. learingi from borrowing other peoples practices. the closer you move to academia the more you have to consolidate yourself.
fractal mode of taking part in support strucutres, instead of fragmented ones. not planning but working, diggin in the shared plane.
Competition
curators declaring the theatre as dead, Sara has been trying other formats for years, often at cost to herself. She wants for the thetres to be there, so she can go back to her profession, needs infrastructure of the stage. proposing weirdness into the powerstucture, but that needs a powerstucture itslef. institutional stragegy should untangle assimilation from support and invite and support antagonism instead sho shifting their agenda all the time to the margins the artists actually already occupy.
entagelment between support and assimiation positions from the margin to move to the center - without assimilation, to produce the substructure within the insiuttion that doesn't comply with the insution itself internal struggle with post-colonial qeer agenda of my phd,
failed phd defence - discussing artistic institutions Bogdan Szyber
SIMON working on projects and residencies for the last years. not in the phd. project horizon is shifting, univercities are becoming the new production houses. universities are becoming more of a production houses
entering the institutions as aa form of academic drag
artist - artistic research - academic