ABOUT THIS SITE >>> This site is a blog as well as an archive. It gives visibility to the continues working of radical_hope, its current move to radical_house, the research project Distraction As Discipline (2016 - 2019) and the process of OTÇOE - works for passers-by, a working trajectory (2013 and 2014).
radical_house is a long term project and has a threefold nature: it presents a physical place, a framework and a logic. When in 2013 teaching and mentoring became an extension of Langsdorf's artistic practices now radical_house stems from her pedagogical experience where 'being in dialogue' with others is her main principle.
Distraction As Discipline is
an investigation into enactivist principles in art and education
(research trajectory at KASK School
of Arts Ghent 2016-19). It considers the potential of performance art and
pedagogy in general, in resisting the current and massive
desubjectivation, by critically reclaiming both, attention for the moment and participation in a process.
OTÇOE - works for passers-by was the development of radical_hope's artistic practice in the city and questioned how and by whom this practice (and its bodily, social and economical aspects) is perceived. The title refers to the public of a city and to how we encounter and register most things on our way through the city: Out of The Corner of Our Eyes. OTÇOE.
SEASONAL REFLECTIONS
NEWSLETTERS
TIMELINE
MAIN PRACTICES
CO-CONSTRUCTED CONVERSATIONS
Choreography as Conditioning
Rather than being the final step of a long process, the launch of the books series Choreography as Conditioning has been the launch of a series of re-iterations of practices and of new productions stemming from these 're-visits': Disclosing Practices...
>>> read here more >>> http://www.open-frames.net/projects/Disclosing_Practices
ABOUT THE BOOKS SERIES and the individual issues:
The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society- making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?
[series editors: Alex Arteaga, Heike Langsdorf]
I
Thinking Conditioning through Practice, the first book in this series, addresses the question of how these practices destabilize and (re)constitute the concept of conditioning through six writing processes performed by Alex Arteaga, Julia Barrios de la Mora, Julien Bruneau, Laetitia Gendre & Miram Rohde, Heike Langsdorf and Kristof Van Baarle.
[Alex Arteaga, Heike Langsdorf eds.]
II
Practicing Futures through Voicing, the second book in this series, connects with the first book’s concern with how practices destabilize and (re)constitute the concept of conditioning. It does so by questioning how to process life in a way that allows us to create volume, take space, and find our (tone of) voice—first in our immediate surroundings and, through this, in the world as it struggles and moves toward ongoing futures.
[Tawny Andersen, Heike Langsdorf eds.]
III
The Orphans of Tar – A Speculative Opera answers the question posed in the second book by transforming life into voices and presenting possible mindsets through co-authoring a factual fiction. As such, it constitutes a mental space in which fictitious characters find an almost disturbing expansion of their thoughts. Accordingly, the book can be considered as an alle- gory of human thoughts as (possible) actions: what could happen becomes what does happen. For better and worse.
[Co-authoring Collective: Julien de Smet, Ronny Heiremans, Heike Langsdorf, Vanessa Müller, Filip Van Dingenen, Stijn Van Dorpe, Clémentine Vaultier, Katleen Vermeir.]
[copy editor: Tawny Andersen / epiloog: Danielle van Zuijlen / graphics: Gijs de Heij]
IV
The fourth book, Choreography as Self-Conditioning, presents a ‘written exhibition’. It consists of re-scripted scores originally develop- ed for the architectural space and the live audience of House of Ear, an immersive and intro-active sound parcours conceived and curated by David Helbich and Joris Blanckaert. These scores are DIY versions of the original works that invite readers to re-activate and engage with the thinking processes they stem from.
[Simone Basani ed.]
V
... Through Practices is written by artist researchers who have been involved in a three-day public symposium with the same title, explo- ring ecologies of attention, awareness, senses of participation, and agen- cies of practice. It presents resonances and sedimentations of indi- vidual, shared, and collective practices, mirroring different forms of participating and responding—diverse in/capacities, im/possi- bilities, and dis/interests as they appear in and through experience.
[Alex Arteaga, Heike Langsdorf eds.][Alex Arteaga, Heike Langsdorf eds.]
