Oproep 4

Trylatteral Agreements

Stel jezelf kort voor.

I am a music producer and an independent sociologist based in Malmö, Sweden. I make beats and appropriate space and concepts. And I find this extremley funny: https://www.youtube.com/watch?v=AZ-Rdaay3bI

Wat is meerstemmigheid voor jou en welk(e) aspect(en) ervan houden je vooral bezig?

I understand diversity as an abundant quality of life. Therefore, I am concerned with the representation of diversity - how we expect diversity to look or sounds like, or how it is best achieved. I question the constructs that we use to perceive and appreciate diversity and I investigate opportunities of, and limitations to, diversity through appropriation of space and concepts. What I find constructive with this way of working is that it centers agency and aspiration, rather than inclusion. Inclusion is always going to be conditional. Through appropriation, then, one learns about these conditions, some of which might be unintentional or simply taken for granted. My concern with the lack of diversity is about access to resources (broadly conceived). Resources that help shape aspirations and inspire new ways of thinking and doing things. Artistic and cultural practices in turn shape the questions and the intentions of knowledge production that in turn validate our understanding of life in society.

Wat is het idee, voorstel of initiatief dat je wenst voor te stellen?

I propose a series of collaborative appropriations. These are activities and events that takes place at the Flanders Arts Institute, with groups and creatives that constitutes the local Hip-Hop community. The title - Trylatteral Agreements - is meant to evoke diplomatic connotations, where I - as an outsider - spend time in Brussels and mediate between granted resources and local aspirations. The idea is not about creating art works, it is about creating new memories, relationships and rituals. Artifacts will be consequences of shared experiences rather than the purpose. This approach will demonstrate an epistemological orientation that can be applied in other contexts as well. Ultimately, the process is relational and context dependent. Confidence in this kind of improvisation is deposited in my background in, and experiences from, Hip-Hop, as a producer and in my meditations on appropriation. This approach will demonstrate and hopefully articulate an epistemological orientation that can be applied in other contexts as well.