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?

‘… Through Practices’ is written by artist researchers who have been involved in a three-day public symposium with the same title, explo­ring ecologies of attention, awareness, senses of participation, and agen­cies of practice. It presents resonances and sedimentations of indi­vidual, shared, and collective practices, mirroring different forms of participating and responding—diverse in/capacities, im/possi­bilities, and dis/interests as they appear in and through experience.

he 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?

The fourth book, ‘Choreography as Self-Conditioning’, presents a ‘written exhibition’. It consists of re-scripted scores originally develop­ed 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.

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?

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.

October 2019

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?

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.

June 2018

Contributions by: Julien de Smet, Ronny Heiremans, Heike Langsdorf, Vanessa Müller, Filip Van Dingenen, Stijn Van Dorpe, Clémentine Vaultier, Katleen Vermeir.

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?

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 alle­gory of human thoughts as (possible) actions: what could happen becomes what does happen. For better and worse.

October 2019

‘Piles of Bricks / Piles de briques’ by Bie Michels presents the working proces of her project ‘Bricks in Madagascar’. This project consists of two films, ‘La couleur de la brique’ and ‘Ingahy Kama’, the installation ‘Circular construction versus human body—referring to Toshikatsu Endo’, which she showed in Madagascar (October 2017) and Argos Brussels (May 2018), and the performance ‘Piles of bricks (working process)’, on which she will work 8 weeks before the book presentation and which will be performed at that moment.

Besides images and stills, five writers deliver a contribution in their own working field related to the project: Hobisoa Raininoro (Art assistent and former director of CRAAM (Centre de Ressources des Arts Actuels de Madagascar, MG), Rafolo Andrianaivoarivony (Professor History University of Antanarivo, MG), Petra Van Brabandt (Doctor philosophy Sint Lucas Antwerp, B), Gwyn Campbell (Professor History Mc Gill University, CA) and Nanne op ‘t Ende (writer, NL)

During seven years, 16 performers spread Lecture For Every One throughout Europe. They intervened in more than 300 different gatherings, from a corporate sales meeting to a brass-band rehearsal and a municipal council. As uninvited guests, they addressed every one with exactly the same text. Until now, the project has remained largely invisible to the wider public. This book now sheds light on the information and expertise Lecture For Every One has generated—feedback, stories and memories from a range of perspectives. It reflects on how places where people gather can become political instances, on the (im)possibility of addressing every one, and on the value of fiction in our daily lives.

Sarah Vanhee is an artist, performer and writer. Her interdisciplinary work moves between the civilian space and the institutional arts sector, and is best known for its radical gestures and its engagement with non-dominant voices and narratives. Since 2007 she has created several onstage per­formances, (semi-)public interventions and site-specific works that have been widely presented internationally.

With texts & contributions by: Adinda Van Geystelen, Anabela Almeida, Anne Thuot, Anton Wilsens, Bojan Djordjev, Carola Bärtschiger, Christine De Smedt, Christophe Slagmuylder, Daniel Blanga Gubbay, Deborah Hazler, Edith Goddeeris, Elina Pirinen, Evelyne Coussens, Gurur Ertem, Iiris Viirpalu, Ilse Ghekiere, Jan De Brabanter, Jan de Zutter, Joe Kelleher, Katja Dreyer, Kristien Van den Brande, Kristof Blom, Lara Barsaq, Lex Bohlmeijer, Linda Sepp, Mariel Supka, Marika Ingels, Matthieu Goeury, Mylène Lauzon, Robin Vanbesien, Salka Ardal Rosengren, Sarah Vanagt, Sarah Vanhee, Silvia Bottiroli, Taziana Pyson and many others.

By means of a dialogue between the text and the visual material from the videos, Steyn Bergs and Emma van der Put want to take a critical look at how images are mobilised, not only to illustrate certain visions of the future, but also how they contribute to the creation of such visions—which are never ‘neutral’—in the present. On the basis of the videos made by Van der Put, this publication focuses on the specific working and politics of images in the Noordwijk and the Expo area in Brussels. Within these locations, developments that are currently taking place throughout Europe (from property speculation to migration flows) manifest themselves in a concrete and local manner.