Installation - Performance (MA) - Historique des versions

Sdg le 16 janvier 2026 à 14:48

2026-01-16T14:48:18Z

← Version précédente		Version du 16 janvier 2026 à 16:48
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	Teachers: [[Marialena Marouda]], [[Anouchka Oler Nussbaum]]		Teachers: [[Simon Ascensio]], [[Marialena Marouda]], [[Anouchka Oler Nussbaum]]

	The main objective of the workshop is to support and encourage students to pursue their unique paths towards artistic creation. This includes strengthening their capacity for self-organization, encouraging them to take responsibility for the conditions necessary for the development of their work, in the context of the erg.		The main objective of the workshop is to support and encourage students to pursue their unique paths towards artistic creation. This includes strengthening their capacity for self-organization, encouraging them to take responsibility for the conditions necessary for the development of their work, in the context of the erg.

Sammy le 24 juin 2024 à 13:07

2024-06-24T13:07:38Z

← Version précédente		Version du 24 juin 2024 à 15:07
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	Teachers: [[Marialena Marouda]]		Teachers: [[Marialena Marouda]], [[Anouchka Oler Nussbaum]]

	The main objective of the workshop is to support and encourage students to pursue their unique paths towards artistic creation. This includes strengthening their capacity for self-organization, encouraging them to take responsibility for the conditions necessary for the development of their work, in the context of the erg.		The main objective of the workshop is to support and encourage students to pursue their unique paths towards artistic creation. This includes strengthening their capacity for self-organization, encouraging them to take responsibility for the conditions necessary for the development of their work, in the context of the erg.

Sammy le 14 mai 2024 à 11:09

2024-05-14T11:09:28Z

← Version précédente		Version du 14 mai 2024 à 13:09
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	Teachers: [[Marialena Marouda~~]], [[Gosie Vervloessem~~]]		Teachers: [[Marialena Marouda]]

	The main objective of the workshop is to support and encourage students to pursue their unique paths towards artistic creation. This includes strengthening their capacity for self-organization, encouraging them to take responsibility for the conditions necessary for the development of their work, in the context of the erg.		The main objective of the workshop is to support and encourage students to pursue their unique paths towards artistic creation. This includes strengthening their capacity for self-organization, encouraging them to take responsibility for the conditions necessary for the development of their work, in the context of the erg.

Sammy le 25 septembre 2023 à 10:27

2023-09-25T10:27:15Z

← Version précédente		Version du 25 septembre 2023 à 12:27
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	~~Teacher~~: [[Marialena Marouda]]		Teachers: [[Marialena Marouda]], [[Gosie Vervloessem]]

	The main objective of the workshop is to support and encourage students to pursue their unique paths towards artistic creation. This includes strengthening their capacity for self-organization, encouraging them to take responsibility for the conditions necessary for the development of their work, in the context of the erg.		The main objective of the workshop is to support and encourage students to pursue their unique paths towards artistic creation. This includes strengthening their capacity for self-organization, encouraging them to take responsibility for the conditions necessary for the development of their work, in the context of the erg.

Sammy le 9 juin 2023 à 13:56

2023-06-09T13:56:42Z

← Version précédente		Version du 9 juin 2023 à 15:56
Ligne 1 :		Ligne 1 :
	~~Teachers~~ : [[Marialena Marouda~~]], [[Gosie Vervloessem\|Gosie Vervloessem~~]]		Teacher: [[Marialena Marouda]]

	~~This atelier~~ is ~~interested in relational, research based~~ and ~~situated performance and installation practices. Inspired by feminist and [https://newmaterialism.eu/almanac/f/feminist-new-materialist-pedagogies.html new materialist pedagogies], it seeks~~ to ~~challenge the dominant presumption of individual human authorship within~~ artistic ~~practices, drawing attention to the work of more-than-human presences within them~~. ~~What kinds of kinships to those more-than~~-~~humans do or can our practices propose? What kinds of collectives do they form?~~		The main objective of the workshop is to support and encourage students to pursue their unique paths towards artistic creation. This includes strengthening their capacity for self-organization, encouraging them to take responsibility for the conditions necessary for the development of their work, in the context of the erg.
	~~The notion of practice, as an evolving process of making that brings together human and more-than-human collaborators, is key to the atelier. During the atelier’s two year parcours~~, ~~students are supported in developing performance and installation practices and to share~~ them ~~with their colleagues. What does one’s practice do and how does it do it? What are its needs? What questions does it bring up? How can those questions be addressed? We will collectively listen~~ to~~, engage with, support and study each others practices in an environment that encourages collaboration and mutual contamination between working processes. In this context,~~ the ~~experimentation with in situ and site specific methodologies~~ for ~~developing work that can reach outside~~ the ~~more traditional spaces~~ of ~~artistic production and presentation is encouraged. What if a river~~, ~~a forest or a city would become one’s studio? But also: what if~~ the ~~spaces~~ of ~~a museum, a black box or a white cube would become~~ the more-than-humans one is collaborating with, their specific histories and contexts revealed? How does their performativity then change from an “abstract” or “neutral” space of presentation, to something much more historically specific?

	~~'''Pedagogical Objectives:'''~~		The workshop aims to create a safe environment for experimentation and for sharing student questions, practices and skills with their peers. The aim is to create a process of mutual inspiration and “contamination” in which students learn from each other, even if their individual practices are different.

	~~Key competences that we’ll be working towards~~ are ~~the ability to communicate about and~~ to share ~~one’s practice, formulating its needs and goals. This includes the awareness about one’s more-than-human collaborators and~~ their ~~relevance for the practice. The sensitivity and perceptiveness towards the~~ practices ~~of others and~~ the ~~ability to give in depth feedback are equally important to the atelier.~~		The workshop offers a process-based approach to artistic creation. Students are encouraged to share their practices throughout the year using different formats; presentation moments are therefore seen as tools to advance research rather than as “end items” in themselves.
	~~More specifically, the goal is to practice, on the one hand,~~ different ~~modes of opening up one’s practice to a small public and to test which~~ formats ~~are most suitable for the work: what are the specificities of a lecture-performance, a workshop, an immersive installation, a concert...? This also includes~~ moments of sharing of what inspires and moves us in the form of texts, artists works, materials, competences... On the other hand, we will practice being each other’s public, witnessing what is presented, communicating about what we have experienced and giving feedback. Collaboration between the atelier participants is encouraged, so that students don’t only develop the ability to work autonomously but also experience contributing to the work of their peers. Critical thinking and the ability to situate one’s practice within a larger political framework, posing questions that can also challenge the maker(s) and further their practice are ~~goals~~ to ~~work towards within the atelier’s two year parcours~~.

	~~'''Course Structure:'''~~		The workshop encourages hybrid practices that link artistic creation to the field of ecology, activism or science.

	~~The atelier starts~~ with the students ~~sharing~~ their ~~practice in the bigger group, as a collective point~~ of ~~departure~~. ~~As part of their presentation, each student can formulate their needs~~ and ~~desires for their practices, so that we can collectively work towards fulfilling those. After that, and depending on the overall size of~~ the ~~group~~, ~~we’ll form smaller groups, possibly organized by year~~, ~~and together establish a rhythm for the regular sharing of the student’s work. This can happen~~ in ~~different formats, depending on~~ the ~~stage of the work’s development: introducing first ideas and presenting first materials, proposing a workshop for the group~~ to ~~inhabit their propositions~~, or organizing a performance/installation ~~for an audience to witness.~~		Finally, the workshop aims to create links with the contemporary performing arts scene in Brussels and beyond, helping students develop their professional networks outside of school. This is done through visits to important workspaces and festivals in the field, organizing meetings with their organizers, inviting relevant artists in the field to give workshops, as well as organizing joint work with other MA programs in performance and installation in Belgium

	~~Artists who’s work is relevant~~ to the ~~themes~~ of ~~the atelier will be invited~~ to ~~share their practice with~~ the ~~students throughout the year~~. ~~A Book Club, taking place once a month, will be an opportunity to collectively read texts that are relevant to~~ our practices ~~and to the themes~~ of ~~the atelier. Who/what to include in those sessions will be decided in collaboration with the students.~~		This workshop focuses on relational, research-based and situated performance and installation practices. Inspired by [https://newmaterialism.eu/almanac/f/feminist-new-materialist-pedagogies.html] feminist and neo-materialist pedagogies, it seeks to challenge the prevailing presumption of individual human authorship in artistic practices, by drawing attention to the work of more than human presences within them. What types of kinship with these more-than-humans do our practices offer or can they offer? What types of groups do they form?

	'''~~Evaluation~~:~~'''~~		The notion of practice, as an evolving manufacturing process that brings together human and more than human collaborators, is essential to the workshop. During the workshop's two-year journey, students are supported in developing performance and installation practices and in sharing them with their colleagues. What does a person's practice do and how does it do it? What are his needs? What questions does it raise? How to answer these questions? Collectively, we will listen, engage, support each other, and study each other's practices in an environment that encourages collaboration and cross contamination between work processes. In this context, experimentation with in situ and site-specific methodologies to develop work that can move beyond more traditional spaces of artistic production and presentation is encouraged. What if a river, a forest or a city became a person's studio? But also: what if the spaces of a museum, a black box or a white cube became the more-than-human with which we collaborate, their specific stories and contexts revealed? How then does their performativity move from an "abstract" or "neutral" space of presentation to something much more historically specific?

	~~Evaluation is continuous and is based to a large extent on the student’s own~~ goals and plans, as they formulate them in the beginning of the course. Those can of course be redefined, refocused or clarified throughout the year. The students’ progress in their artistic practice, their presence during the atelier and their engagement in the practices of their peers, are key for a positive evaluation. The students’ openness towards challenging questions and their ability to place their work within a larger political framework will also be evaluated positively, and expected, especially towards the end of the 2 year parcours.		====goals====

	'''~~Documentation~~:'''		The key skills on which we will work are the ability to communicate about and share one's practice, by formulating one's needs and objectives. This includes becoming aware of its more than human collaborators and their relevance to the practice. Sensitivity and insight into the practices of others and the ability to give in-depth feedback are also important for the workshop.
			More specifically, the objective is to practice, on the one hand, different ways of opening up one's practice to a small audience and to test the formats most suited to the work: what are the specificities of a conference-performance, a workshop, an immersive installation, a concert...? It also includes moments of sharing what inspires and moves us in the form of texts, works of artists, materials, skills... On the other hand, we will practice being the public of the other, to be the witness of what is presented, to communicate on what we have experienced and to give our opinion. Collaboration among workshop participants is encouraged, so that students not only develop their ability to work independently, but also to contribute to the work of their peers. Critical thinking and the ability to situate one's practice within a larger political framework, asking questions that can also challenge the creator(s) and advance their practice, are goals to be achieved in the two-year course. of the workshop.

	As an important part of the ~~evaluation~~, and ~~in order~~ to ~~render~~ it easier, students are encouraged to document their process throughout the ~~atelier~~. Possible questions to explore here are which media are most (or least?) suitable for the specific practice, as well as the question of what produces what: ~~the~~ performance ~~the~~ documentation or ~~maybe visa versa~~?		====course structure====

			The workshop begins with the students sharing their practice in the large group, as a collective starting point. As part of their presentation, each student can articulate their needs and desires for their practice, so that we can work collectively to meet them. Then, and depending on the overall size of the group, we will form smaller groups, possibly organized by year, and together establish a rhythm for the regular sharing of student work. This can be done in different forms, depending on the stage of development of the work: introduction of the first ideas and presentation of the first materials, proposal of a workshop so that the group lives its proposals, or organization of a performance/installation to which the public can attend.

			Artists whose work is related to the themes of the workshop will be invited to share their practice with students throughout the year. A book club, which will take place once a month, will be an opportunity to collectively read texts related to our practices and the themes of the workshop. Who/what to include in these sessions will be decided in collaboration with the students.

			====assessment====

			The evaluation is continuous and is largely based on the student's objectives and projects, as he formulates them at the beginning of the course. These can of course be redefined, refocused or clarified throughout the year. The progress of students in their artistic practice, their attendance at the workshop and their engagement in the practices of their peers are essential for a positive evaluation. Students' openness to challenging questions and their ability to place their work within a broader political framework will also be positively assessed, and expected, especially towards the end of the 2-year course.

			====documentation====

			As an important part of the assessment, and to make it easier, students are encouraged to document their process throughout the workshop. Possible questions to explore here are which media are most (or least?) suitable for the specific practice, as well as the question of what produces what: performance, documentation or perhaps the opposite?



	[[Catégorie:English]]		[[Catégorie:English]]

Sammy le 18 novembre 2022 à 09:03

2022-11-18T09:03:40Z

← Version précédente		Version du 18 novembre 2022 à 11:03
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	~~Professor~~ : [[Marialena Marouda]]		Teachers : [[Marialena Marouda]], [[Gosie Vervloessem\|Gosie Vervloessem]]

	This atelier is interested in relational, research based and situated performance and installation practices. Inspired by feminist and [https://newmaterialism.eu/almanac/f/feminist-new-materialist-pedagogies.html new materialist pedagogies], it seeks to challenge the dominant presumption of individual human authorship within artistic practices, drawing attention to the work of more-than-human presences within them. What kinds of kinships to those more-than-humans do or can our practices propose? What kinds of collectives do they form?		This atelier is interested in relational, research based and situated performance and installation practices. Inspired by feminist and [https://newmaterialism.eu/almanac/f/feminist-new-materialist-pedagogies.html new materialist pedagogies], it seeks to challenge the dominant presumption of individual human authorship within artistic practices, drawing attention to the work of more-than-human presences within them. What kinds of kinships to those more-than-humans do or can our practices propose? What kinds of collectives do they form?

Sammy le 8 septembre 2022 à 10:09

2022-09-08T10:09:45Z

← Version précédente		Version du 8 septembre 2022 à 12:09
Ligne 1 :		Ligne 1 :
	Professor : [[Marialena Marouda]]		Professor : [[Marialena Marouda]]

	This atelier is interested in relational, research based and situated performance and installation practices. Inspired by feminist and new materialist pedagogies, it seeks to challenge the dominant presumption of individual human authorship within artistic practices, drawing attention to the work of more-than-human presences within them. What kinds of kinships to those more-than-humans do or can our practices propose? What kinds of collectives do they form?		This atelier is interested in relational, research based and situated performance and installation practices. Inspired by feminist and [https://newmaterialism.eu/almanac/f/feminist-new-materialist-pedagogies.html new materialist pedagogies], it seeks to challenge the dominant presumption of individual human authorship within artistic practices, drawing attention to the work of more-than-human presences within them. What kinds of kinships to those more-than-humans do or can our practices propose? What kinds of collectives do they form?
	The notion of practice, as an evolving process of making that brings together human and more-than-human collaborators, is key to the atelier. During the atelier’s two year parcours, students are supported in developing performance and installation practices and to share them with their colleagues. What does one’s practice do and how does it do it? What are its needs? What questions does it bring up? How can those questions be addressed? We will collectively listen to, engage with, support and study each others practices in an environment that encourages collaboration and mutual contamination between working processes. In this context, the experimentation with in situ and site specific methodologies for developing work that can reach outside the more traditional spaces of artistic production and presentation is encouraged. What if a river, a forest or a city would become one’s studio? But also: what if the spaces of a museum, a black box or a white cube would become the more-than-humans one is collaborating with, their specific histories and contexts revealed? How does their performativity then change from an “abstract” or “neutral” space of presentation, to something much more historically specific?		The notion of practice, as an evolving process of making that brings together human and more-than-human collaborators, is key to the atelier. During the atelier’s two year parcours, students are supported in developing performance and installation practices and to share them with their colleagues. What does one’s practice do and how does it do it? What are its needs? What questions does it bring up? How can those questions be addressed? We will collectively listen to, engage with, support and study each others practices in an environment that encourages collaboration and mutual contamination between working processes. In this context, the experimentation with in situ and site specific methodologies for developing work that can reach outside the more traditional spaces of artistic production and presentation is encouraged. What if a river, a forest or a city would become one’s studio? But also: what if the spaces of a museum, a black box or a white cube would become the more-than-humans one is collaborating with, their specific histories and contexts revealed? How does their performativity then change from an “abstract” or “neutral” space of presentation, to something much more historically specific?

Sammy le 8 septembre 2022 à 10:07

2022-09-08T10:07:36Z

← Version précédente		Version du 8 septembre 2022 à 12:07
Ligne 1 :		Ligne 1 :
	~~Professors~~ : [[~~Christoph Fink]], [[Coraline Guilbeau]], [[Oriol Vilanova~~]]		Professor : [[Marialena Marouda]]

	~~The field of Installation~~ and ~~Performance is relatively broad~~ and ~~by its nature welcomes a multitude of~~ practices. ~~The course thus develops a transdisciplinary approach~~ and ~~attempts~~ to ~~focus on~~ the ~~question~~ of the ~~experience (or rather the taming)~~ of ~~space~~-~~time~~. The ~~workshop offers a framework for work~~ and ~~thought where~~ students ~~have~~ the ~~possibility to conduct concrete experiments~~ that ~~aim to rethink what is meant by~~ the ~~notions~~ of ~~"work" (~~and of ~~course~~, ~~performative works)~~, ~~"publication"~~, ~~"exhibition", "dissemination", "public", etc.~~		This atelier is interested in relational, research based and situated performance and installation practices. Inspired by feminist and new materialist pedagogies, it seeks to challenge the dominant presumption of individual human authorship within artistic practices, drawing attention to the work of more-than-human presences within them. What kinds of kinships to those more-than-humans do or can our practices propose? What kinds of collectives do they form?
			The notion of practice, as an evolving process of making that brings together human and more-than-human collaborators, is key to the atelier. During the atelier’s two year parcours, students are supported in developing performance and installation practices and to share them with their colleagues. What does one’s practice do and how does it do it? What are its needs? What questions does it bring up? How can those questions be addressed? We will collectively listen to, engage with, support and study each others practices in an environment that encourages collaboration and mutual contamination between working processes. In this context, the experimentation with in situ and site specific methodologies for developing work that can reach outside the more traditional spaces of artistic production and presentation is encouraged. What if a river, a forest or a city would become one’s studio? But also: what if the spaces of a museum, a black box or a white cube would become the more-than-humans one is collaborating with, their specific histories and contexts revealed? How does their performativity then change from an “abstract” or “neutral” space of presentation, to something much more historically specific?

	This year the KUNSTHALLE POMPEI was invented and created in the course room (ERG, Brussels). The KUNSTHALLE POMPEI is the fiction of a new institution specifically dedicated to contemporary art, independently directed and managed by artists. The primary objective of this KUNSTHALLE POMPEI is to support experimentation where each actor decides in which way, process or device he makes his work public. The KUNSTHALLE POMPEI is basically an alibi, a fiction in which we believe with all our heart. With this story that we write together, we try to consider the quality of the work and research of the students enrolled in the Installation-Performance course. By drawing an imagined framework on existing models we try to understand with them what is meant by: an institution, a curatorial program, the communication of a work, etc., to redefine these models, to question them, to criticize them. In essence, we are learning and refining our understanding, comprehension, collaboration at the		'''Pedagogical Objectives:'''

			Key competences that we’ll be working towards are the ability to communicate about and to share one’s practice, formulating its needs and goals. This includes the awareness about one’s more-than-human collaborators and their relevance for the practice. The sensitivity and perceptiveness towards the practices of others and the ability to give in depth feedback are equally important to the atelier.
			More specifically, the goal is to practice, on the one hand, different modes of opening up one’s practice to a small public and to test which formats are most suitable for the work: what are the specificities of a lecture-performance, a workshop, an immersive installation, a concert...? This also includes moments of sharing of what inspires and moves us in the form of texts, artists works, materials, competences... On the other hand, we will practice being each other’s public, witnessing what is presented, communicating about what we have experienced and giving feedback. Collaboration between the atelier participants is encouraged, so that students don’t only develop the ability to work autonomously but also experience contributing to the work of their peers. Critical thinking and the ability to situate one’s practice within a larger political framework, posing questions that can also challenge the maker(s) and further their practice are goals to work towards within the atelier’s two year parcours.

			'''Course Structure:'''

			The atelier starts with the students sharing their practice in the bigger group, as a collective point of departure. As part of their presentation, each student can formulate their needs and desires for their practices, so that we can collectively work towards fulfilling those. After that, and depending on the overall size of the group, we’ll form smaller groups, possibly organized by year, and together establish a rhythm for the regular sharing of the student’s work. This can happen in different formats, depending on the stage of the work’s development: introducing first ideas and presenting first materials, proposing a workshop for the group to inhabit their propositions, or organizing a performance/installation for an audience to witness.

			Artists who’s work is relevant to the themes of the atelier will be invited to share their practice with the students throughout the year. A Book Club, taking place once a month, will be an opportunity to collectively read texts that are relevant to our practices and to the themes of the atelier. Who/what to include in those sessions will be decided in collaboration with the students.

			'''Evaluation:'''

			Evaluation is continuous and is based to a large extent on the student’s own goals and plans, as they formulate them in the beginning of the course. Those can of course be redefined, refocused or clarified throughout the year. The students’ progress in their artistic practice, their presence during the atelier and their engagement in the practices of their peers, are key for a positive evaluation. The students’ openness towards challenging questions and their ability to place their work within a larger political framework will also be evaluated positively, and expected, especially towards the end of the 2 year parcours.

			'''Documentation:'''

			As an important part of the evaluation, and in order to render it easier, students are encouraged to document their process throughout the atelier. Possible questions to explore here are which media are most (or least?) suitable for the specific practice, as well as the question of what produces what: the performance the documentation or maybe visa versa?


	[[Catégorie:English]]		[[Catégorie:English]]

Sammy le 10 mai 2021 à 14:24

2021-05-10T14:24:31Z

← Version précédente		Version du 10 mai 2021 à 16:24
Ligne 1 :		Ligne 1 :
	Professors : [[~~Coraline Guilbeau~~]], [[~~Joëlle Tuerlinckx~~]],[[Oriol Vilanova]]		Professors : [[Christoph Fink]], [[Coraline Guilbeau]], [[Oriol Vilanova]]

			The field of Installation and Performance is relatively broad and by its nature welcomes a multitude of practices. The course thus develops a transdisciplinary approach and attempts to focus on the question of the experience (or rather the taming) of space-time. The workshop offers a framework for work and thought where students have the possibility to conduct concrete experiments that aim to rethink what is meant by the notions of "work" (and of course, performative works), "publication", "exhibition", "dissemination", "public", etc.

			This year the KUNSTHALLE POMPEI was invented and created in the course room (ERG, Brussels). The KUNSTHALLE POMPEI is the fiction of a new institution specifically dedicated to contemporary art, independently directed and managed by artists. The primary objective of this KUNSTHALLE POMPEI is to support experimentation where each actor decides in which way, process or device he makes his work public. The KUNSTHALLE POMPEI is basically an alibi, a fiction in which we believe with all our heart. With this story that we write together, we try to consider the quality of the work and research of the students enrolled in the Installation-Performance course. By drawing an imagined framework on existing models we try to understand with them what is meant by: an institution, a curatorial program, the communication of a work, etc., to redefine these models, to question them, to criticize them. In essence, we are learning and refining our understanding, comprehension, collaboration at the

	~~Nothing will take place but the place?~~

	“I only know what I see by working”, said Alberto Giacometti. This is an efficient illustration of this installation/performance course. And it is the only way that I can be in charge of it today. I don’t know what I teach as a teacher.
	We rarely start from the idea, and we prefer to focus on its foundations, on the experience of space in the present, the space of a book, of an exposition, of a theater stage, of a classroom. Without a fixed room, we evolve, we choose “the stage”. That way, together or alone, we construct the subject of the course. In a way, we orchestrate it.

	[[Catégorie:English]]		[[Catégorie:English]]

Sammy le 28 avril 2021 à 10:56

2021-04-28T10:56:45Z

← Version précédente		Version du 28 avril 2021 à 12:56
Ligne 1 :		Ligne 1 :
	~~Professor~~ : [[Joëlle Tuerlinckx]]		Professors : [[Coraline Guilbeau]], [[Joëlle Tuerlinckx]],[[Oriol Vilanova]]

	Nothing will take place but the place?		Nothing will take place but the place?