Jubilee retraite May 10, 2021

Present: Ronny, Justin, Julie, Jesse. From 10h: Eleni


ORGANIGRAM In elaboration of the idea of an organigram created by Justin, it makes sense to discuss a bit more thoroughly what it may visualise. It certainly makes sense to think along the lines of the 'internal rules' document, also to hone the latter. Julie, the last version I have here is "20200311_InternalRulesJubilee_Draft_Jve.odt" - is that the latest? It would be good to all use the same document, obviously...

TRACKS The collaboration for a smart phone app Tracks may be an important element in Jubilee's future operation, especially in terms of scale & impact in a narrative towards the authorities. How do we think about this?

CAVEAT/EMPTOR Caveat has been an important constitutive element of Jubilee for some time now. With Emptor, this takes a new turn. How do we formulate their respective (future) roles & functions for Jubilee, in ways that are both valid and readily understandable for the external reader?

GALLAIT 80 In case our proposal for Khôra, a House for Commoning gets honoured, it would be an important axis for the future operations of Jubilee. How can we think about this in ways that inform the VGC application for the house, as well as the VG application for structural funding?

If these points, especially the organigram, contribute to answering the questions "What is Jubilee?" and "By whom is Jubilee?", in future retraites we also may want to work on the questions "With whom is Jubilee?" and "For whom is Jubilee?" ....important identification & profiling questions to formulate answers to, I reckon.

Organigram Structure of 3D diagram could be further experimented with - artist projects on top for instance. But the present sructure works well because its very balanced, and the spatial metaphors of basis and umbrella aren't dominant. Possibility of making it interactive/layered, in order to make names visible upon clicking: in which universe we are operating (link drawing of Gijs), and connect to projects/themes/methodologies "Daily": quartet with artistic and financial positions + legal & coordination Each circle coule be clicable to another drawing with more detailed information Missing: Nina & Ychai Audience: careful because of functions (we are not 'presentation') yet 'diversity of what we offer' and 'diversity in audiences' are important for the (past) administration. Let's see what the test KIOSK environment asks. Think in terms of (international & Flemish & diverse) impact. Instead of audience numbers: project forms of reachout. How do we want to reach which audiences? Niche activitities and proliferation activities. Former are basis, condition for latter.

Could be a PDF with clickable links - ideally it would be a webpage

Tracks this project can be considered as a kind of 'proliferation' activity but it wouldn't exist whithout individual artistic works produced by Jubilee. Track only exists because of the 'niche' organisations who created it. In this way it is an exemple of how audience reach out works and 'niche' organisations take the lead in developing tools that are also needed by others.

Jesse highlights the importance of having these proliferation tools, the more the better, especially if the effort of Jubilee needed for it is manageable.

how do we announce it on the website. project page? or collective research? 'collective project' could be good concept to use for projects as tracks - gallait etc... (extension - bnabbot - local projects)

Gallait 80 Application DL is on Friday.

Contemporary art misses out on the interaction / contact with a wider audiences. So the partners are chosen because of their very specific engagements (mostly outside the "art world"):

Other project partners = Alles es just, Brussels Brecht Eisler Choir (BBEC), BNA-BBOT, SOTA BBEC (choir of volunteers) created a research-based project (Melancholy of the 5 Blocks), considered to work with professionals but decided to keep it voluntary.

At the moment, only paid labour gives you access to social support. this link needs to be broken because non paid work also creates value. The Gallait project is a test case to look at different methodologies. To try to open up the hermetic practice.

What does it mean to be an artist - how does an artist exist - what social relevance do they (we as Jubilee) have?

Eleni - for me the social question is very important - to reach a different audience.

Eleni would like to create a small intro for 'corners of the mouth' in sound and image together with Ychaï. We agree that this could be funded by Jubilee.

Caveat/Emptor VG Project Reflectie period would be: December 2021-December 2022 in view of the new structural dossier, how to continue this project? how do we understand 'collective project' in terms of reaching out to non core members of Jubilee. should it remain a project around a central theme or could it be something like TRE that was initiated by Vincent and is less a research project but more of a project focussing on terms of production, like Track is too in a way.

Collective engagements and efforts are not limited to Caveat/emptor but also concern Tracks,....

Eleni: what do we mean by collective? Collective projects, collective research... It hasn't been defined but it concerns always projects that aren't initiated by one artist but that are started from a collective interest. Eleni: Who assumes the responsibility for what? Jubilee as an organisation assumes responsibility - for dissemination and funding (but also the other partners) Different partners can take responsibilies and share the dissimination of content. Generative Knowledge Production

How can artists become part of Jubilee for a while? Does it need to be through Caveat/Emptor or can it also be through other ways?

Julie: sometimes it seems like the artists involved in Caveat and/or Emptor consider Jubilee as a kind of back-office. Whereas it are colloborations, and artists in principle should bring their own budget.

Ronny: Jubilee provides a reflection context. Trajectory - how you collaborate together over a period of time - declare a mutual interest. The trajectory with Lonnie van Brummelen & Siebren de Haan (Vriza - Jesse does editing and coordination of translation for their book / PhD dissertation) is also an exemple of how such a trajectory is possible without necessarily being part of a 'collective project'. It's practical for now, curatorial in the future (book presentation through film programmes with invitees), possibly 'collective research' in the future (Jesse sees links with Emptor).

For the structural dossier, we should take into consideration the amount of time that goes into really supporting 'guest artists' as we do for core artists, take as an exemple what we did for Innoviris.

Joint members of the GA don't have to be published in the Staatsblad. They have a voice, not a vote. Eleni: already with the present amount of members, we don't have enough time during the general assembly so how could that work? Ronny: the idea is not to do the GA online and in an hour. We

Eleni: I have never really found the ways to express myself in the general assemblies. You (Ronny, Vincent) would have individual meetings with the board, and then there would be the dinner, and that's it. Justin: I agree that it could be organised differently, because now, to an extent, it's decisive who you're sitting next to at the dinner. The organisation of the GA needs to be different in the future so that everyone finds a way and moment to express themselves. The dinner setting adds a very informal sphere which is not always good for the discussions that are needed.

Ideally we would spend a day together - but this would be difficult for some of the board members. - if someone can't join then it shouldn't stop a larger, wider meeting. It could be a retreat with half the day with all the associate members. Officially it could even be referred to as an 'exceptional general assembly'.

Educational Can educational reach out be considered as a collective project? Eleni:it is part of the idea of generative knowledge creation.

The 'educational' is on all levels of the organisation cfr. work done by artists in educational contexts, stagiairs, contacts in educational contexts... Eductional context should rather be considered as a field of research and project work.