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 OTΗOE - 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.
OTΗOE - 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. OTΗOE.
SEASONAL REFLECTIONS
NEWSLETTERS
TIMELINE
MAIN PRACTICES
CO-CONSTRUCTED CONVERSATIONS
Discrete Guidance
Is one of three (interwoven) proposals by Langsdorf in the frame of Distraction as Discipline >>> in dialogue with Alex Arteaga >>>
Performative strategies represent the ways in which - facing an audience - one structures time and space, places bodies or movement patterns in space, composes words and images ...
How oppose the manipulative character of many performative strategies, which in a compulsive way want to catch attention and / or want to call for participation?
In 'Sitting With The Body 24/7' (2015) Langsdorf chose to take the path of discretion when trying to invite or rather 'to lead' a public to the work. The window space in which the performance took place was almost entirely integrated in the immediate area in the center of the city. After all, the place looked like a quasi-shop. The work was totally dependent on the attention, skepticism and curiosity of the passer-by. And once s/he was intrigued, strayed from its normal route and came to hold on for a moment, s/he was free to interact in the way s/he wanted with the space, a hybrid consisting out of elements associated with forms as happening, installation, choreography and a kind of class. Various degrees and forms of participation were made possible: stay outside and watch through the windows, come in, take a seat and look from-out the viewing area, participate one or several times for a shorter or longer while in the public execution of body practices.
Langsdorf wonders how to further develop this strategy in other contexts now. In what ways could she translate it to the theater or an educational context? To what extent does the discretion- and integration-strategy put the autonomy of an artistic work or educational space on risk?
Her next work Mount Tackle >>> is a first attempt to answer these questions.
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