a.pass (advanced performance and scenography studies) is a platform for professionals in the fields of art and theory who wish to engage in a self assigned research trajectory. It provides a place and infrastructure to meet other researchers, to collaborate, to get feedback, to develop one’s methodology and to widen one’s theoretical and practical scope through input, critique, mentoring and feedback.
a.pass activates the practice of artistic research by accumulating its processes and critique. Embracing the fact that artistic research is becoming a category of production in the cultural field, a.pass does not claim to delineate its borders but affirms this apparent lack of definition as a opportunity for its development. Operating without a predefined notion of what „artistic research“ is, a.pass brings together a pluralistic encounter of the existing notions of this practice.
An affirmative inquiry of „what is artistic research?“ has therefore become one of a.pass’ defining methodologies: a.pass strives to host a multitude of practices in the arts which self-define themselves as research. Their definitions (or refusals thereof) of what a research praxis in the arts context could be are at times complementing and at times contradicting each other. This dis/agreement creates a poli-vocal platform of definitions and is a statement towards a different conception of institutions: away from essentialist claims and towards a more politicised platform of engagement with a certain discipline.
advanced performance and scenography studies
Posthogeschool voor Podiumkunsten vzw
1080 Brussels (Sint-Jans-Molenbeek)
Assembly of Practice #3: Whose institution?
In an encounter with the practices of the different engaged institutions in the project (Kunsthal Gent, Jester, a.pass and BUDA) Emptor explores how ownership plays out within their functioning and affects who has access, what is shown and how we valorise art.
Assembly of Practice #4: Whose collection?
After 'What does it mean to own?', 'Whose Artwork?', and 'Whose Institution', a final Assembly of Practice brings us to art collections as potential places of shared interest, which increasingly rely on archives, reactivation protocols and complex contractual relationships.
Reading Room #26: Art library as practice
Working towards Emptor's fourth Assembly of Practice, 'Whose collection?' Jubilee invites you to Reading Room #26, around a text that unfolds the story of a library in an artist-run space in Beirut.