end_comm_|Sept_2022|_Jimena_Inga_Gary_amy.md

end communication preparations of Gary, Inga, amy & Jime

date: Thursday 29th & Friday 30th September time: location: TBC

deadlines: 07.09 send communication materials to Lilia 10.09 communication deadline 22.09 portfolio deadline

venue options: Le Lac - https://www.lelac.info/ - gary sent an email - Space not available Tour a Plomb - https://touraplomb.be/ - Not available Wiels project space - Lilia sent email - Space not available Mothers and daughters - not available

visitor options: Antye Guenther - Lilia sent invitation - CONFIRMED <3 Sina Ana Rispolli Livia Piazza scholar from Giessen Agnes Quackles (person from KAAI) Daniella (Kunsthal Gent) - Lilia sent invitation - CONFIRMED <3 Daniel Blanga Gubay Peggy Pirout - Lilia asks first - CONFIRMED!!

conversation with visitors: Monday 3rd October 10:00 - 14:00

potential titles: Demolition Damage Deviation Desire

Space almost confirmed: Meyboom
no rent

communication text: intro by lilia bios of all of us text to share research and work presented

communication text draft: coming soon!

Spatial needs till the moment:

Jime current concept: 
Choreographic installation - stations

-Wood floor or a soft nice floor for body practices
- I would need a big space, open, with light and windows if it is possible
-.It need to be clean 
-Toilet need to be close
-a wall or space for a possible exhibition of the research archive (table- a.pass screen)

Paf meeting end communications meeting 30.07

Gary lecture- sitting audience- theatrical circle of spot lighting, a drawing exercise, projection? ausio, microphone Inga - slow opening of the institution Jime - choreographic installation Amy- sculpture mobile or fixed one. sonic materials. perform from a cupboard.

BUDGET what is common from the budget: space DJ of discourse (could be transformed in the podcast) documentation postcard (promotion)

what you didn´t take from your personal budget to the end comm budget

postcard promo: make a miro mood board

notes: think about the attention of people will we fit in can find the podcast of Pia & Adrijana Joke can give you an update of the budget by Tuesday have moments of rehearsal with Lilia from September organise encounters as a group every Tuesday afternoon Inga wants to end with a party

Next meeting 5th September at 16:00, Lilia comes at 17:00 title, image, postcard promo

TO DO add meeting on the 3rd floor to the calendar - DONE!


  • Demolition, Damage, Deviation, Desire a.pass End Presentations of Gary Farrelly, Inga Gerner Nielsen, amy pickles and Jimena Pérez Salerno

The a.pass End Presentations of Gary Farrelly, Inga Gerner Nielsen, amy pickles and Jimena Pérez Salerno will take place on the 29 and 30 September 2022 at artist run space Meyboom, downtown Brussels, from 18:00 to 22:30. This public presentation marks the end of their trajectory at a.pass and invites the researchers to share their modes of doing, seeing and making artist research public after following the year-long postgraduate program.

amy pickles (UK) is an artist and educator working on colonial infrastructures embedded within everyday technologies. She curated and organised, with Chloë Janssens and Túlio Rosa, a gathering titled On Coloniality [https://apass.be/on-coloniality/]. Gary Farrelly (IE) is a visual artist researching on infrastructure, bureaucracy and the architectures of power. A big part of his work is in collaboration with German artist Chris Dreier with the ongoing project Office for Joint Administrative Intelligence. Jimena Pérez Salerno (AR) is a choreographer and dancer researching on the concept of expanded choreography as a modality of inclusion of subjacent practices and political awareness. Inga Gerner Nielsen (DK) is a performing artist researching immersive performance as an interstice of poetry and institutional critique.

With singular questions, processes and approaches, the four researches intersect and expand concerns in Demolition, Damage, Deviation, Desire by bridging intimacy and politics in very different ways. Their practices extend from the lecture performance to performative installation, drawing, crossing ritual making and never ending warmups, to research, share and exchange - together with the audience - questions that are embedded in our everyday lives.

The research of these four artists addresses architecture and administration with their conditionings and protocols; the perpetuation of colonial governance through digital infrastructures and our dependency on them; immersive institutional rational authority and the amazing potential of time to inherit, transform, conduct change and resilience.

The End-Presentations at a.pass are on themselves a study on curatorial practice, performativity and making public. By being together, these performative situations will shine attention to the context and environment they are in, their relationship with audiences, the materialities that are involved being them visible or invisible and what matters in these circumstances.

Need to add about the vynils !!!!

words from amy: amy pickles Chantal and Timothy are two works who take their name from human inscription on other than human entities.

Timothy
made with George Chinnery and many others

Timothy is a multi-authored scene comprised of assembled debris from amy's experiments in a.pass. These experiments reconsidered formats for collective learning. The topic in question, colonial infrastructures and how they perpetuate modes of extraction and exploitation in a progressive western narrative, inherent within our communication technologies. Phew. Timothy is carrying a lot. Serendipitously, Timothy's name is taken from a tortoise, so it can accommodate a lot within its shell. Timothy the tortoise was taken by the british navy from a portuguese merchant in 1854, who in turn took her from the shores of turkey. She was kept in different colonising ships till she was moved to an aristocratic home in england, where they etched the family motto into her belly; "Where have I fallen? What have I done"?[1] If you're wondering, a tortoises underside is very sensitive. Timothy, as scene, resonates with the scar tissue of Timothy the tortoise. The scene is a prompt for us to think about ourselves as an accumulation of colonial narratives - these processes involve us all in some way - and to reconsider the "uncontested notion of information technology as freedom"[2].

Chantal
made with Max Franklin, Chloë Janssens, Anna Lugmeier & Marko Gutić Mižimakov

Chantal is a digitized Super8 film, that documents 'relational hood group call', a collective exercise made for a presentation in a.pass. The participants are bound together through a group video call on Signal - an internet based communication app - that is connected to their bodies through headphones, screens, and selfie sticks. They collaborate to form an experience for a primary vessel. This primary vessel is the participant whose head is engulfed inside a hood. 'relational hood group call' was a re-imagining and re-assembling of brazilian artist Lygia Clark’s relational objects, objetos relacionais[3]. The name of the film is from the tree in which the participants move around, Chantal being inscribed upon its trunk.

References
1. "Timothy (tortoise)" Wikipedia, https://en.wikipedia.org/wiki/Timothy_(tortoise). Accessed 7 September 2022.
2. Aouragh, Miriyam & Chakravartty, Paula. Infrastructures of empire: towards a critical geopolitics of media and information studies. Media, Culture & Society. 2016;38(4):559–575.
3. Butler, Cornelia H. & Pérez-Oramas, Luis. Lygia Clark, The Abandonment of Art, 1948 - 1988. The Museum of Modern Art. 2014. p281

bio from amy amy pickles is an artist, organiser and loosely institutionalised educator. In her work, she experiments with ways to hold onto, and consider, pervasive colonial infrastructures we are a part of. In our work, redistribution – of knowledge, tools, finances – and collaboration are ways to refuse individual ownership. She is a member of Varia, Rotterdam NL, an organisation working on everyday technology.

Through the a.pass Inga's artistic research came to be conjured through THiS INSTiTUTE; a structure by which to constitute the sensual mode of her thinking.  The passed year she been looking intensely into : what (with a light grey, she effect in mail) it is*as a spacious sensual feeling, as a material mode of speculation, as a longing, how (with a light grey, see mail) it opens and analyses* as a summoning, as possession, as an expressionist sentiment, and why (with a light grey, she effect in mail)  it feels so urgent for me to institutionalise the mode of being of my artistic research* as affect, as a symptom, as dream.

Moving to Brussels from Denmark Inga lost her sociological overview. Normally, her artistic work happens as a site-specifc intervention into a place, field or institutional setting, which she has carefully sensed and analysed in order to know how to highlight its features, often through an aesthetic, ideological juxtaposition. Her performance series My Protestant Origins and Catholic Fantasies combines her background from Sociology with her artistic work with making performance installations which opens up a maximalist, celestial relation to space and objects in the otherwise secular rule of minimalist Danish Design. In Brussels she didn't know what to juxtapose and what to intervene into. And this was good. She gave herself permission to gaze at her own gaze. Before this gaze had been fixed onto the men, whom she deliberately opened as flowers as a feminist strategy. Now, she half-closed her eyes and started going into an intense mode of subjectivity. Inside THiS INSTiTUTE she played with falling into a medieval perception, a mode of being she fantasied of as that which was before the invention of linear perspective vision. A bodily felt sense of her near surroundings as an emotional landscape, where the distinction between the inner and outer world of the self falls away.

BIO Inga comes from a collective of performers in Scandinavia, who work with one-to-one performance and installations and developed it as an activist means to give structure for new modes of social interaction in different spheres of society. In Denmark she collaborates with a nursing school to introduce performance installations as a way to look into the mise-en-scène of the interaction between nurse and patient.  A relation, which the project mirrors with the interaction between performer and audience in one-to-one performance installations. Inga's works explores how new modes of subjectivity or imaginaries come into existence or are transformed through interactions and refigured institutional settings.

Words from Gary

Gary Farrelly's research at a.pass departs from the work of deceased conservative conspiracy theorist William Milton Cooper.  Coopers work, through his polemical Hour Of The Time radio show synthesised economic and political ‘research’, occult knowledge, personal grievance, and manic episodes into a paranoid tsunami  deployed to undermine confidence in public institutions. Cooper's transmissions were characterised by a highly affective voice, at once disdainful, concealed, intimate, furious and hyperbolic, inducing a hypnotic state of susceptibility and acquiescence to the content. A precursor to the corrosive ‘post truth’  ideation that contaminates our current public discourse, Farrelly takes Coopers work as a departing point towards a generative reimagining of the paranoid researcher/ coercive performer. His trajectory at a.pass has explored various performative versions of himself, including: the bureaucrat, the crossdresser, the charlatan, the guide, the joker, the devils advocate, the instructor and the Cassandra. The core mission of Farrelly’s research is the affective deployment of body and voice as transmitters of anxiety, desire, disinformation and critical questioning in relation to invasive infrastructure and monumental architecture. Much of the content and material he has brought into play at a.pass was gathered in collaboration with Chris Dreier in the context of Office for Joint Administrative Intelligence. O.J.A.I.'s ongoing mission proposes a reading of the built environment through lenses of coercive power, mind control, transcendence and magic.

Gary is an Irish artist and educator based in Brussels. His work encompasses drawing, performance, publishing, installation and experimental radio. Exhibitions and performances have been presented by Goldsmiths Center for Contemporary Art (London), Marres Centre for Contemporary culture (Maastricht), Contemporary Art Center (Cincinnati), Centre Wallonie-Bruxelles (Paris) and Salzburger Kunstverein. He is a lecturer at La Cambre ENSAV in Brussels and his work is supported by the Arts Council of Ireland. A significant part of the work takes place in collaboration with Chris Dreier, through their shared practice the Office for Joint Administrative Intelligence.

Jimena Pérez Salerno / Unproductive will How can we create a different link to time than the western worldview imposes on us? How can we produce market-wise non-productive things? Unproductive will is a choreographic installation that is part of a larger research. It proposes to tense our relationship with the hegemonic notion of linear time and productive behavior, thinking of them as collective colonial wounds and impositions that run through our lives, practices and bonds wherever we are. I am developing collective practices and explorations such as Kung Fu tuning (a counter-normative body practice using simple martial arts warm-up), Collective readings (Payada: popular folk music genre involving poetic recitations), and Technologies of attention (peeling vegetables following a choreographic score) naming some of them. I work with the thought of a never-ending warm-up as a state to be with the project. This process does not seek an end but remains in the continuity of the search. I started my trajectory within a.pass by exploring the normative notion of linear-productive time and how embodied it is in our behavior. I am interested in its political dimension. According to the hegemonic cultural system, what is the scope this notion imposes on us? I observed how much thinking in a forward direction brings associations that build a perspective in life, for example, forward-better-future-progress or backward-worst-past-degrowth. That reinforces a system of values creating a sense supported by binary thoughts. In an attempt against this sense construct, I followed a contradictory path. I will step forward to the past, I said and tried to detect how bringing practices from my history to my current research could speak of my relationship with a twisted time. What could I find there? It was by re-visiting part of my sentimental and cultural education in Argentina, with which I am also in a dialogue now. I am interested in observing the transformations the project goes through in each place where it is presented. To change the language and the perspective, that is to say, the thickness that its affective, geographical, and political implication takes both for me and those who participate in the experience. This project challenges the definitions of audience-participant, performance-practice, and encounter-training affecting the presentation dynamic that sets all of them in motion. This research takes the notion of Dispersion* as a method. By thinking about Dispersion, I found words that serve as its parts: inversion, interruption, bifurcation, turning back, or non-direct associations. These words-actions served as an entry point to explore time logic as well. Dispersion requires postponing the need to find a use for the research materials. It awaits a dialogue emerges from the situation of being with the materials that are, in part, intuitively arranged. That enables a reciprocal path to relate the experiences and elements that set up the research. With the desire to articulate strategies that go in another direction than the notions of accumulation, linear time, and progression, I propose to look into the vibration between dispersion and attention strategies, enabling a mode of relation that seeks other possible ways of organization.

*The use of the word Dispersion (In English a synonym would be Scatter) is a decision of translation, using the Spanish meaning of this word.

bio_ Jimena Pérez Salerno is an Argentinian artist, based in Brussels (BE). She works and researches between Brussels and Buenos Aires. She experiments in the performing arts, artistic research, and teaching fields. As a dancer and choreographer, she collaborates and engages continuously with other artists as a fundamental part of her exploration of collective work. She considers choreographic practice like an expanded relations system that enables modes of imagination, attention, and coexistence. It leans towards performative practices that contemplate the activation of an unexpected context to think together through the experience of an implicated body. + info: https://cargocollective.com/jimenaps IG: @sashimishimi

_-----------------------------------------------

The a.pass End Presentations of Gary Farrelly, Inga Gerner Nielsen, amy pickles and Jimena Pérez Salerno will take place on the 29 and 30 September 2022 at artist run space Meyboom, Boulevard Pacheco 34, downtown Brussels, from 18:00 to 22:30.

This public presentation marks the end of their trajectory at a.pass and invites the researchers to share their modes of doing, seeing and making artist research public after following the year-long postgraduate program. amy pickles (UK) is an artist and educator working on colonial infrastructures embedded within everyday technologies. She curated and organised, with Chloë Janssens and Túlio Rosa, a gathering titled On Coloniality [https://apass.be/on-coloniality/]. Gary Farrelly (IE) is a visual artist researching on infrastructure, bureaucracy and the architectures of power. A big part of his work is in collaboration with German artist Chris Dreier with the ongoing project Office for Joint Administrative Intelligence. Jimena Pérez Salerno (AR) is a choreographer and dancer researching on the concept of expanded choreography as a critical modality for political awareness reflecting on linear time and productive behavior. Inga Gerner Nielsen (DK) is a performing artist with a background in sociology, researching immersive performance as an interstice of poetry and institutional critique.

With singular questions, processes and approaches, the four researches intersect and expand concerns in Demolition, Damage, Deviation, Desire by bridging intimacy and politics in very different ways. Their practices extend from the lecture performance to performative installation, drawing, crossing ritual making and never ending warmups, to research, share and exchange - together with the audience - questions that are embedded in our everyday lives.

The research of these four artists addresse architecture and administration with their conditionings and protocols; the perpetuation of colonial governance through digital infrastructures and our dependency on them; immersive institutional rational authority and the amazing potential of time to inherit, transform, conduct change and resilience. The End-Presentations at a.pass are on themselves a study on curatorial practice, performativity and making public. By being together, these performative situations will shine attention to the context and environment they are in, their relationship with audiences, the materialities that are involved being them visible or invisible and what matters in these circumstances.

For this occasion they worked with Frédéric Van De Velde on a collective sound publication with vynils that will be performed and spinned by Frédéric during the event.

* Gary Farrelly / It is official policy to appear unmoved

Gary Farrelly's research at a.pass departs from the work of deceased conservative conspiracy theorist William Milton Cooper. Coopers work, through his polemical Hour Of The Time radio show synthesised economic and political ‘research’, occult knowledge, personal grievance, and manic episodes into a paranoid tsunami deployed to undermine confidence in public institutions.

Cooper's transmissions were characterised by a highly affective voice, at once disdainful, concealed, intimate, furious and hyperbolic, inducing a hypnotic state of susceptibility and acquiescence to the content. A precursor to the corrosive ‘post truth’ ideation that contaminates our current public discourse, Farrelly takes Coopers work as a departing point towards a generative reimagining of the paranoid researcher/ coercive performer.

His trajectory at a.pass has explored various performative versions of himself, including: the bureaucrat, the crossdresser, the charlatan, the guide, the joker, the devils advocate, the instructor and the Cassandra. The core mission of Farrelly’s research is the affective deployment of body and voice as transmitters of anxiety, desire, disinformation and critical questioning in relation to invasive infrastructure and monumental architecture. Much of the content and material he has brought into play at a.pass was gathered in collaboration with Chris Dreier in the context of Office for Joint Administrative Intelligence. O.J.A.I.'s ongoing mission proposes a reading of the built environment through lenses of coercive power, mind control, transcendence and magic.

Bio

Gary is an Irish artist and educator based in Brussels. His work encompasses drawing, performance, publishing, installation and experimental radio. Exhibitions and performances have been presented by Goldsmiths Center for Contemporary Art (London), Marres Centre for Contemporary culture (Maastricht), Contemporary Art Center (Cincinnati), Centre Wallonie-Bruxelles (Paris) and Salzburger Kunstverein. He is a lecturer at La Cambre ENSAV in Brussels and his work is supported by the Arts Council of Ireland. A significant part of the work takes place in collaboration with Chris Dreier, through their shared practice the Office for Joint Administrative Intelligence. * Inga Gerner Nielsen / THiS INSTiTUTE

Bio

* amy pickles / Chantal and Timothy are two works take their name from human inscription on other than human entities.

Timothy made with George Chinnery and many others

Timothy is a multi-authored scene comprised of assembled debris from amy's experiments in a.pass. These experiments reconsidered formats for collective learning. The topic in question, colonial infrastructures and how they perpetuate modes of extraction and exploitation in a progressive western narrative, inherent within our communication technologies. Phew. Timothy is carrying a lot. Serendipitously, Timothy's name is taken from a tortoise, so it can accommodate a lot within its shell. Timothy the tortoise was taken by the british navy from a portuguese merchant in 1854, who in turn took her from the shores of turkey. She was kept in different colonising ships till she was moved to an aristocratic home in england, where they etched the family motto into her belly; "Where have I fallen? What have I done"?[1] If you're wondering, a tortoises underside is very sensitive. Timothy, as scene, resonates with the scar tissue of Timothy the tortoise. The scene is a prompt for us to think about ourselves as an accumulation of colonial narratives - these processes involve us all in some way - and to reconsider the "uncontested notion of information technology as freedom"[2].

Chantal made with Max Franklin, Chloë Janssens, Anna Lugmeier & Marko Gutić Mižimakov

Chantal is a digitized Super8 film, that documents 'relational hood group call', a collective exercise made for a presentation in a.pass. The participants are bound together through a group video call on Signal - an internet based communication app - that is connected to their bodies through headphones, screens, and selfie sticks. They collaborate to form an experience for a primary vessel. This primary vessel is the participant whose head is engulfed inside a hood. 'relational hood group call' was a re-imagining and re-assembling of brazilian artist Lygia Clark’s relational objects, objetos relacionais[3]. The name of the film is from the tree in which the participants move around, Chantal being inscribed upon its trunk.

References 1. "Timothy (tortoise)" Wikipedia, https://en.wikipedia.org/wiki/Timothy_(tortoise). Accessed 7 September 2022. 2. Aouragh, Miriyam & Chakravartty, Paula. Infrastructures of empire: towards a critical geopolitics of media and information studies. Media, Culture & Society. 2016;38(4):559–575. 3. Butler, Cornelia H. & Pérez-Oramas, Luis. Lygia Clark, The Abandonment of Art, 1948 - 1988. The Museum of Modern Art. 2014. p281

Bio amy pickles is an artist, organiser and loosely institutionalised educator. In her work, she experiments with ways to hold onto, and consider, pervasive colonial infrastructures we are a part of. In our work, redistribution – of knowledge, tools, finances – and collaboration are ways to refuse individual ownership. She is a member of Varia, Rotterdam NL, an organisation working on everyday technology.

* Jimena Pérez Salerno / Unproductive will

How can we create a different relation to time than the one the western worldview imposes on us? How can we produce market-wise non-productive things?

Unproductive will is a choreographic practice that is part of a larger research. It suggests revisiting our relationship with the hegemonic notion of linear time and productive behavior. It proposes thinking of them as collective colonial wounds and impositions that run through our practices, affective bonds, and lives wherever we are. I am developing exploratory collective practices such as Kung Fu tuning (a counter-normative body practice using simple martial arts warm-up), Collective readings (Payada: a popular folk music genre involving poetic recitations), and Technologies of attention (peeling vegetables following a choreographic score) to name some of them. I work with the idea of a never-ending warm-up to re-think the idea of practice and to engage with everyone who participates as a collaborator. This process does not seek an end but wants to remain in the continuity of the search. I started my trajectory in a.pass exploring the normative notion of linear-productive time and how it is embodied in our behavior because I am interested in its political dimension. I observed how much thinking in a forward direction brings associations that build a certain life perspective. For example, forward-better-future-progress or backward-worst-past-degrowth. This reinforces a system of values creating a sense supported by binary thoughts. In an attempt against this logic, I followed a contradictory path. I will step forward to the past, I said, and I started to investigate, trying to detect how bringing practices from my sentimental and cultural education in Argentina to my current research, could speak of my relationship with a twisted time. I am interested in observing the transformations the project traverses in each place it is presented. To change its language and perspective, that is to say, the thickness that its affective, geographical, and political implications take both for me and those who participate in the experience. This research challenges the definitions of audience-participant, performance-practice, and encounter-training affecting the presentation dynamic that sets all of them in motion.

Bio Jimena Pérez Salerno is an Argentinian artist, based in Brussels (BE). She works and researches between Brussels and Buenos Aires. She experiments in the performing arts, artistic research, and teaching fields. As a dancer and choreographer, she collaborates and engages continuously with other artists as a fundamental part of her exploration of collective work. She considers choreographic practice like an expanded relations system that enables modes of imagination, attention, and coexistence. It leans towards performative practices that contemplate the activation of an unexpected context to think together through the experience of an implicated body. + info: https://cargocollective.com/jimenaps IG: @sashimishimi