Jubilee artist meeting 28 oktober 2021

Present: Justin, Vincent, Ronny, Katleen, Jesse, Julie
Excused: Eleni

Justin plans

Collective project: Sounding Public Space. 'Sounding' has cartographic connotation in English; probing the depth of oceans etc.
Sonology doesn't really have budget for anything outside they already do. But for a summer school they would make an exception probably. Have lots of space. Justin: I'd like to work in the city. Stroom would be a good partner. Perhaps Instrument Inventors Initiative (III) from The Hague. https://instrumentinventors.org/
-Ronny: other smaller organisations should be involved too. iii - should be included in the summer school description as well. also stroom as well. Concern on connection to BXL/VG/B - being a co-founder of Jubilee and collaborations with Overtoon could be sufficient + involvement in the development of Tracks (also as a carrier of research and development).

Julie: What is a collective research? Justin: Getting people together that you want to learn from, talk about things with.

Ronny: "study" and "studier": one doesn't learn a skill but study a field without instrumentalization. <-> summer school. Vincent: risk in this dossier that the research must be connected to a field, a corporality - very important for the dossier. Art has to do with experience, the senses, we shouldn't focus too much on 'thinking'. This is linked to the value of artistic research. Sensorium.

Artistic research is also the field of reflection. This our place in the field - we have to keep claiming this. Eleni's I & WE proposal has to do with the importance of collectivity in the research. - makes a difference with the academic approach. Making works in dialogue with people working in academia. Reciprocity: they respect us, we feed them,

Presence of Julie in the organisation - shows the importance of dialogue with actors outside the arts. We are working with real specialists (example Sorbonne - postcolonialism). Ronny - that's why to use the word "study" instead of learn.

Barthes: studium (sociology) punctum sensorium - we are not relating to knowledge (in the academic sense?) Mauss - reclaiming sociology/psychology - taking a distance from the use of science (for industry, for policing).

Ronny: what does they understand under "Reflection"? We should make sure that we take in to account their parameters. - also in the budget. - development and reflection need to be in balance for dossier and budget

Vincent - use the example of Caveat to show the breadth and the importance of collective development. (and the public element). Allowed us to take a position.

Ronny: Eleni tries to create a space of intimacy for her work. See the organisation as a tool of security. Then by reaching out to other artists and researchers to join a collective research is a way to activate that.
One of the main questions when articulating our mission: proposing artistic research as a full-fledged form of research AND practice.

Katleen - it has to be a positive mission - to concentrate on research.

Jesse - we can show how this has happened during the past years -

Ronny - this is reflected in the text already.

Jesse's Texts

Position as curator/researcher is important. Ronny: what is the link with Tracks? PAM and permanen are mentioned but not Tracks

Jesse: PAM and permanent are there because these are activities that represent the working of Jubilee, not projects. Whereas Tracks, the common library and the trajectory on artist run spaces are. Not necessarily my projects, but
these are not projects

the common library could be shared with other organisations as That Might Be Right.

Vincent: The library is interesting but not activated for the moment. This should be integrated in the dossier in general not under Jesse specifically.

Ronny - as a curator you develop formats - roles in Tracks and Caveat (Julie as well) - really take these ideas beyond individual practice. Working as dramaturgs. - asking questions like how does an artistic project actually have an effect in the wider world. Jubilee tries or need to try to actually have an effect - e.g. on the arts funding / corona crisis. The books from the reading rooms should be bought for the library if they are not already there.

Julie: The library needs a budget! - starting an artistic research often needs reading material. Jesse: The point of the common library is that we can "loan" our existing books to the library (rather than buying new ones). - it's about sharing knowledge. Julie: We host and create a context for these books. Vincent: There is already a context - the reading room (which also takes time). I could make many lists of topics - actually I have these. But then you need to activate these. Let's link it to the reading room and make that link visible. I went with Melly (ex Witte De With)to a project by Vivian Ziherl where the invited people to present books. Fantastic precedent: "Curating the Library", Belgium, 2000.

Ronny: we can link these two by referring to Caveat. Julie: I think this is too limited to connect it only to Caveat or Emptor. Library & Reading Room can connect individual practices. Ronny: It should invite people to study together. Reading room is a formal moment, every month. But we are also reading a lot, always sorry to not share it with more people. Julie: co-curate temporary collections of books.

Vincent: only thing I know about RRs is that there's a text being read and shared. Needs to be read before in order to be interesting. Needs to be connected to research and project. Also: all text read in previous reading rooms should be bought/asked back from Florence.

Tracks - Jesse is discussing with Kunsthal Gent to become part of the platform. CIAP is interested. Jesse: the development of the app is still not done. So CIAP and Kunsthal could still become part. Needs to be discussed during the meeting between organisations (8/11) Justin: decisions on temporarily finishing the development will be taken soon and changements will most probably be put on the agenda again for next year, another round of development in the future

Julie - how do we address "support" - i think we are being too defensive. We need to develop it into a real support for development / research.

ronny - we focus on invisible work in the text (also the process, not just producing output)

Julie - what is the speciality of Jubilee? other institution ex kunsthal: development is generic, a budget and a space nd that's it: J stands for something else how can we make clear that the activities we propose are linked to the core aim of Jubilee putting artistic research at the agenda how are the activities linked to the experience/affective/collaborative nature of this kind of research - and thus contributing to the development of individual artistic trajectories

Polyphony: together yet also distinguished as singular

Justin: by taking what's happened with Jubilee along Caveat and Emptor,

Ronny: still missing in the text we sent yesterday: what is Jubilee? 4 practices are just the tip of the iceberg. Let's define the iceberg. By supporting the 4 practices everything that happens under the surface as well. Jesse: iceberg is the wrong metaphor, because what happens under the surface not only support 4 practices but also those of associete artists and wider connected reflection processes.
Julie: Collective tools as a connecting tissue for engaging collaborations on the longer term. Collective tools not as an extra layer / a burden but as the concrete tools where the actual exchange between core artists and other peers becomes real. Let's work more on the link between individual practices and collaborators - support moments not only for public. Explain "ecology of practices" again.

Julie: Kanal's Claire Contamine (who wrote about Katya's project) wrote us referring to Caveat previous proposal to Kanal. There might be an interest. Ronny: Guy Gypens used to be vary interestred in these kind of trajectories.

On organigraph: Justin made a new drawing - on paper for the moment, will develop futher and share this weekend. Vincent: there should be a link with the way we are visualising with OSP (the past acitivity, the people we worked with...). Making visible the 'economy' we created is important but too late to do this in a decent way BUT we should be able to compile a selection which allows to make things clear because an evaluation commission does not necessarily have a view on them

Jesse: we will make the same kind of network visualization as last time with OSP. These bring to the surface the number of collaborations/productions/exhibitions. Vincent: the map of OSP is not necessary maybe - it is too chaotic as the nature on info is to different. we should just work on a list of simple figures that allow to give an insight in the work of Jubilee of the past 5 years. Jesse sends OSP's past network pdfs to Justin so he can adapt the color scheme/shapes/aesthetics - or propose other ones. Organigraph and network pdfs could be aesthetically connected on those basis.

jesse: how do we guarantee the quality of the suport of the development ronny: collective trajectories in the past were the way the individual trajectories opened up to the wider audience jesse: the quality of the support is something that is lacking, we add what the support is about but not how we ensure the quality of the support as it is an obligation now, we should take it into the dossier Government announced that they'll publish Draaiboek one month before deadline. Also announce the modalities/requirements for support of

Jesse proposes to discuss the question 'how would you define Jubilee as a collective?' Ronny: Polyphony: many ones, don't speak with one voice: a place where the different voices complement & enrich eachother.
Vincent: I don't think it is a good terminology to speak about jubilee - we should discuss this later

Ronny gives overview of budget. Jesse mentions that the fact that many of the collective trajectories are focused on physically gathering and that these days we cannot be sure about the situation in 2023

Julie: in the budget 2023 we should not forget about development of a work when negotiating for production and presentation how can this create a return? without putting too much weight on the budget an institution/partner has for the artist in terms production and presentation? can we create an internal policy for it? could we then take work going in production in 2023 in the budget, an estimation linked to production budgets which are also estimate for now, as they could cover (part of) development costs as well?

cfr. cooperative case with Kobe - pooling efforts and materials allows to get a different negociation position on the field? when a work is activated, it includes a paiment for development though lending (things) from the cooperative Agency (the artist) limits itself to 'activating' while the cooperative manages development/reflection/archiving how will this work out in practice? this could be a further collaboration with agency and the cooperative which is also useful in thinking about other economical models for Jubilee's way of working.

Ronny: curious how this can work. there is a need for thinking differently about how to bring in other financial sources Tax shelter is no solution - it is finding new ways to distribute public money for the arts which not necessarily benefits the quality of the projects produced what else can we come up with? how can we contribute to this discussion politically? - there will most probably be a huge policy problem in terms of budget available for structural funding the landscape committee might be the one that will have to take the nasty decisions about who's in and who's out

Ronny estimates that Jubilee might get max. half of what it asks for... Vincent again stresses the importance of past numbers in making our case!