ISSUE #5, MARCH 2022
- The history of S P I N : metamorphosis in the world of the stage arts by Joris Janssens
- Feelings can be valuable knowledge Hans Bryssinck in conversation with School of Love
- What, how & where do we want to learn? Documentation of a narrative conversation
This spring we offer three very different reads - a short history of
S P I N, and two conversations about vivid learning experiences:
In 2021 S P I N discretely celebrated its 10th anniversary, and crystalised its future vision in a structural funding application to the Flemish Government. At this tipping point in our history, we invited Joris Janssens to look back…
The “wallets” are a way that S P I N supports guest practices - a light yet robust administrative tool for independent artists and artworkers. School of Love (SOL) has been using a wallet, and spoke with Hans about their actions and intentions.
Late last year, Etcetera launched a publication on “School Maken”, during which there was a public narrative conversation about meaningful learning experiences. May Abnet and Hans transformed this conversation into a text and a visual essay.
Since its inception in 2011, S P I N 's objective has always remained the same: to be a solid structure that supports practices in the art landscape, in their full spectrum of needs and from a long-term perspective. As a collective self-organized structure S P I N supports the practices of various artists and art workers, based on principles of solidarity and mutuality: not only between the supported artists and art workers themselves, but also within the broader artistic ecosystem, in Flanders, Brussels and internationally. As a flexible, creative organization, S P I N has remained true to its original 'promise' ever since: to adapt itself to the changing needs of the practices it supports.
Feelings can be valuable knowledge
Hans Bryssinck in conversation with School of Love
In October ‘21 School of Love worked together with the Broederschool from Sint-Niklaas. They prepared for a week, and the following week they met with 17 high school students and 3 teachers in Voo?uit in Gent. That experience formed the starting point of a conversation.
“What do you think the students would say about the effect the week had on them?
- They mentioned that they felt respected. That surprised me, that they had to mention it, that it could have been an option not to feel this way.
- Almost every day, somebody had to cry.
- … we opened a bit the pack of emotions and feelings…
- They would say that feelings can be valuable knowledge, to process together.
- They took the word “love” also as an invitation for that.
What are some of the intentions of School of Love?
- Seeing the practice of love as openness. One of the characteristics of practicing love is opening to diversity. And from there, it is obvious and logical that this needs to happen in School of Love.
- One of the aspirations of School of Love, is that everybody is welcome. But as we try to create open spaces, we don’t always understand what it means. For instance: what does it mean to host somebody disabled? What does it mean to adapt to different needs? I am committed to elaborate on that. When everybody is here, how do we take care that in the end of the process, everybody feels that they can exist, and that they can participate?
- There is a core shared believe in School of Love, which is also in the habits of this openness, that is: anybody has something to contribute and anybody can enrich each other’s space. There is no prerequisite. Your story, your skills, whatever they are, they can create something within this collective.”
What, how & where do we want to learn?
Documentation of a narrative conversation
Can you tell us something about a valuable learning experience? From whom* did you learn something in a way that was special to you? What was your relation to them? In which way do the people* from whom you learned something contribute to what you do today?
*(or) any kind of life form
It was in Athens in a refugee camp.
It was a temporary school.
It was a primary school.
It was 1982.
It was a 14 day seminar with Nicolas Luhmann.
It was at the time of the murder of George Floyd.
It was on Instagram; a lot of people sharing about racism, history, the gaps.
It’s every day, every time you click.
It was a project inspired by Boaventura De Sousa Santos.
It was via my son. I didn’t think about that, because it seems so obvious.
It was when I was working as a barkeeper.
It was at theater school.
It was in a course about learning to negotiate “master the gap”.
It was with my theater company, theater with gift economy, including learning experiences.
There was someone in the audience who was a philosophy student.
Upcoming & Recent
Futurology of Cooperation, Diederik Peeters, Anna Czapski & research team
Kunstencentrum Buda, Kortrijk (BE)
Kaai Night: Party! & extended programme
with: Katharina Ernst (percussion solo), Baba Electronica (DJ set), Season Butler & Rebecca Tamàs (talk)... and a Floating Bar
Kaaitheater, Brussels (BE)
Codisco, Aay Liparoto & Elien Ronse
The Embassy of Friendship and Underwear, Brussels (BE)
for more info contact Elien
Public Talk, Kate McIntosh
Wiener Festwochen, Vienna (AT)