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.

[>>> more on radical_hope]





radical_house 2020 ...



25-06-2013 [• shop shop • economy ]
Just before the summer the group behind Shop Shop meets at Michel Yang’s place for an 8-hour long debate on when, where and how the project will take shape.
How deep does the group want to plunge into the juridicial reality of opening a shop? Where in Brussels will ‘Shop’ be located? What’s the monthly rent? How long will the project last? How much of their working time do the participating artists want to invest in ‘Shop’? How do the shopkeepers think they will make money? How to deal with the differences in ‘rentability’ (some will make more/less money than others)? How will the group function (as a group)?

The talk is concluded by a meeting with Katrien Reist, who works for Jubilee <<<, …
... "JUBILEE aims to set up an organizational structure that optimizes the output of its members through joining efforts and equally distributing its collective assets and resources (economic, artistic and social)"

[read more about SHOP SHOP here >>>]

prgramme 25/06/2013

13h00 (planned) start

13h15-13h30 reality check (by Christoph)
(Is about re-questioning how far we will go in our attempt to clarify all necessary legal steps
before opening the shop or take that aspect with us on the way in an "as-if" situation. And the
consequences of that decision).
extra input: see text 1 (and others suggested by Séba)

13h30-15h00 where and when?
(alternative places and when to start ...)

15h00-15h30 break

15h30-17h00 money and how?
(proposals of how we will earn money and how we will deal with upcoming differences inside the group ...).
extra input: see text 2

17h00-17h30 break

17h30-18h30 open talk

18h30-19:00 food
(We did not plan a lunch break - so please bring little snacks if you feel like or need it for 13h00.
For dinner we follow Michel's lead: everybody brings something that we will prepare together ...)

19h00-21h00 presentation of JUBILEE by Katrien Reist

text 1: the externalist approach (Sébastien Hendrickx)

I got the term ‘externalist’ from a text by the sociologist Rudi Laermans, but in what follows I’m using the word in my own way. Let me define this ‘externalist working method’ by first describing its opposite. The ‘internalist’ practice of art assumes that the field within which artistic choices can be made, is primarily defined within the X number of square meters of a painter’s canvas or an art gallery, or between the opening and closing of a theatre curtain. For example you can decide to work with actor Y or Z, to use a specific sort of light at a particular moment in the performance or to incorporate video images.
An externalist approach draws in addition a whole lot of external, context-dependent factors into that field of artistic choices. Considering the working conditions is taken up into the working process. Externalists are always asking themselves, to a greater or lesser extent, about the way in which they collaborate and with whom, via which channels their work is financed, how it is communicated and promoted, to which publics it is directed and in which context it is developed and presented. To the arts organisations that work with them, they can therefore sometimes be real troublemakers or busybodies. They understand that in reality they are never truly autonomous but always bound to and dependent upon external factors. However externalists embrace this heteronomy, by experimenting with dependency relationships and by setting up alternative connections. Or at least trying to.

text 2: the balance between competition and cooperation: the spectrum of exchange (Richard Sennett)

a. altruism
b. win-win
c. differentiating exchange
d. zero-sum
e. winner-takes-all

6 pages, easy to read
PDF 1 - Together - Richard Sennett