Site-Writing

‘Reading-writing alongside HALL08,’ HALL08 (2021)
  • Breg Horemans | Pelt, Belgium

  • Picture by Ilona van den Brekel, Pelt (September 2020), published on TAAT's Live Archive (www.taat-projects.com) under Creative Commons license. Picture by Ilona van den Brekel, Pelt (September 2020), published on TAAT's Live Archive (www.taat-projects.com) under Creative Commons license. Picture by Ilona van den Brekel, Pelt (September 2020), published on TAAT's Live Archive (www.taat-projects.com) under Creative Commons license. Picture by Ilona van den Brekel, Pelt (September 2020), published on TAAT's Live Archive (www.taat-projects.com) under Creative Commons license.
  • ‘Reading-writing alongside HALL08,’ HALL08 (2021)
  • Breg Horemans | Pelt, Belgium
  • ‘A library of long lived truths. Of millions of experiences, of mistakes and setbacks, of burns and cuts, of saws and iron bullets during the wars, millions of stories, millions of lessons learned the hard way, all materialised into branches and leaves and bark.’ (Gert-Jan Stam, writing session in Pelt, 11 May 2022)


    With this text we take a leap off the stage.

    Through my work in the performance field (scenography, installation work and curating) my motive has always been to create spaces and situations in which encounters are facilitated. Using the ‘encounter as a dramaturgical tool’ (Groot-Nibbelink, 2019), I have developed a series of artefacts (performative installations) that function as ‘epistemic objects.’ These installations-as-artefacts have the potential to operate as knowledge instruments that help us adopt a post-anthropocentric perspective, in which they work as tools for developing radical interdependence (Escobar, 2018). HALL08 is such an epistemic object. It is part of the long term project HALL33 (2012–2033) which nomadically and iteratively appears as an ever-evolving series of installations/artefacts/sites.


    Biography

    Breg Horemans is a PhD Candidate at KULeuven, Faculty of Architecture and member of the Regenerative Architecture, Arts & Design (RAAD) research group. As an artistic practice-based researcher he co-founded the TAAT collective (with Gert-Jan Stam, 2012), that works on the verge of performance, research, and installation art. Since 2011, he has been renegotiating his relation to the architecture discipline through transdisciplinary collaborations. He holds a post-graduate degree in Curating (ZHdK, 2016) and worked as a curator in Architecture and Urbanism at SCHUNCK in Heerlen (2016–18). As a spatial designer he collaborated with a.o. Eleni Kamma and Lotte van den Berg on projects at Villa Romana in Florence, NAK Aachen, and Stadsschouwburg Rotterdam. The projects initiated by TAAT generate spaces for co-existence and instigate fluid prototyping processes as ‘becoming spaces.’ The desire of his research-based practice lies in shaping the spatial conditions for ‘sites of encounter’ that invite human and non-human entities to co-constitute each other. In the last two years, Horemans has been co-developing the TAAT Live Archive, an online documentation database that enhances processes of open source writing, archiving and publishing. Since 2018 he has been affiliated with KULeuven as a practice-based-lecturer (LAB-O) and collaborates with educational partners at University of the Arts London: HOGENT, Aberystwyth University Wales, and the Technical University of Vilnius. TAAT is structurally supported by SoAP Foundation in Maastricht and the Dutch Performing Arts Fund. 

    taat-projects.com

    architectuur.kuleuven.be/raad


    Practices

    I move between close and distant readings of the artefacts of our collective production and their environmental entanglements. Regenerative Spatial Dramaturgies (my PhD project) is part of a larger regenerative movement in practice based design research (see the statement of the RAAD research group – https://architectuur.kuleuven.be/raad), that explores a fluidly organised and decentralised mode of knowledge production, embracing complexities of ‘intra-actions’ (Barad, 2007) instead of working from reduction and simplification in pursuit of objectified research data. Therefore I develop and implement interpretative research methods like scripting and scoring (and more specifically: auto-narrating, dialogue formats and performance scores) to track interdependencies between the involved human and other-than-human entities in my work. 


    Keywords
    interdependence, co-constitution, healing, reparative, regenerative, intradisciplinary

    References

    Meierhans Christophe, A call for artists to leap off the stage (e-tcetera, 2020) https://e-tcetera.be/a-call-to-artiststo-leap-off-the-stage/

    Eve Kosofsky Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity, (Durham: 1993).

    Richard Serra, Torqued Ellipses I, II, IV, V, VI (1996–99)


    Notes

    Please read ‘Reparative reading-writing alongside HALL08: the paper1’ 


    Other projects
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(2021)
  • ‘Reading-writing alongside HALL08,’ HALL08 (2021)
  • Nothingness Beyond Blossom (2021)
  • Angelo Ciccaglione, ‘The back of the dust-machine, where the visitors pour the dust in,’ Rotterdam (2021)
    The Deposition of Dust (July 2021)
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    Glòries_(Eixample). A dispositive for very slow aesthetic observation, (January 2021 –)
  • As Lightning to the Children Eased (January 2021)
  • Station F (October 2020)
  • It’s Just a Matter of Time (2020)
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    Inscription: the Journal of Material Text – Theory, Practice, History,
    issue # 1: ‘beginnings,’ (2020)
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  • City Embers (2020)
  • Between Our Words I will Trace Your Presence (February 2020)
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  • 21 Orientations: An Atlas of Geographic Promiscuity (2019)
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  • Soft Landing (2018)
  • Shared Remains (April 2018)
  • Metropolitan Salem, Liuerpul (9 June – 18 August 2018)
  • Things Come Apart (21 – 24 March 2018)
  • Learn to Read Differently (2018)
  • Il Balcone. A site-writing performance (2018)
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  • Dear Mr. Jung: Inhabiting Carl Jung’s ‘The Red Book’ (May 2018)
  • A Lunar Perspective, (2018-2020)
  • Heaton Hall: A Palimpsest (2017)
  • Location (+) (2017)
  • There’s Sand in My Infinity Pool (2017)
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  • The Glorious Tomb to the Memory of Nothing (2016)
  • The Arrival’s Reader; A Visual Literary Criticism on The Arrival by Shaun Tan (2016)
  • Reading as Art (27 August-19 November 2016)
  • Re: development (London: Silent Grid, 2016)
  • Kjemikerens død [The Death of the Chemist] (23 – 26 May 2016)
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  • Foray in a Modern Reserve: An Impounding Portrait of Landuse (2016 – 2018)
  • Fall of the Derwent (2016)
  • Away from Home – Home from Away (April 2016)
  • Penguin Pool (2015)
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  • The Writing on the Wall (after Rembrandt) (2014)
  • The Italic I (2014)
  • Designing Architecture as a Performing-Ground (2014)
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  • The Disappearance: Manfredo Tafuri’s The Sphere and the Labyrinth (April 2013)
  • Folded Ground: Escape from Cape Town (2013)
  • Phantom Railings (2012 – 2017)
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  • 10/08/12 (multispecies event) (2012)
  • An Arcades Project (2011)
  • Tideline (2010-2012)
  • The Museum of Breath (2010)
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  • One wound. Two wounds. The body as site for writing (2010)
  • The Fluid Pavement and Other Stories on Growing Old (2006)
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