Laboratory on Feedback in Artistic Processes 3
In its third edition the "Laboratory on Feedback in Artistic Processes" reflects on "Responses" within performing arts. The results of the previous Labs highlighted the need to take a closer look at the complexity and often subtle implications of feedback within the the artistic process itself. How do artist organise feedback and how do they process it? Who they want feedback from and what are its different roles? How can describe these relationships, and how does it shpae the artistic work? This booklet presents the different views on and experiences of feedback practices that were elaborated during the lab along the beforementioned questions and the insightfull contributions of its participants. Underpinning the following pages, three thematic fields have emerged: the impacts of feedback, feedback as a tool, and practicalities and contexts of feedback.
In its third edition the "Laboratory on Feedback in Artistic Processes" reflects on "Responses" within performing arts. The results of the previous Labs highlighted the need to take a closer look at the complexity and often subtle implications of feedback within the the artistic process itself. How do artist organise feedback and how do they process it? Who they want feedback from and what are its different roles? How can describe these relationships, and how does it shpae the artistic work?
This booklet presents the different views on and experiences of feedback practices that were elaborated during the lab along the beforementioned questions and the insightfull contributions of its participants. Underpinning the following pages, three thematic fields have emerged: the impacts of feedback, feedback as a tool, and practicalities and contexts of feedback.
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producti<strong>on</strong> platform and performance space <strong>in</strong> the boundaries<br />
between media arts, music theatre, visual arts and performance.<br />
At the same time she taught at the Institute for Literature and<br />
Film Studies at the Freie Universität Berl<strong>in</strong>. S<strong>in</strong>ce 2003 she has<br />
<strong>in</strong>itiated and developed theatre and dance pieces as well as festivals<br />
and exhibiti<strong>on</strong>s with artists from different discipl<strong>in</strong>es. The<br />
emphasis of her work <strong>in</strong> recent years has been <strong>on</strong> <strong>in</strong>tercultural<br />
projects around architecture, urban space and social matters. In<br />
2013 together with Isabel Robs<strong>on</strong> she founded reVerb, a video arts<br />
collective, which explores the boundaries between documentary<br />
and staged images, theatre and <strong>in</strong>stallati<strong>on</strong>. Susanne V<strong>in</strong>cenz has<br />
been the guest professor <strong>in</strong> the MA Choreography program at<br />
HZT s<strong>in</strong>ce 2016.<br />
57<br />
Georg We<strong>in</strong>and is an <strong>in</strong>ternati<strong>on</strong>al perform<strong>in</strong>g arts expert, currently<br />
work<strong>in</strong>g as <strong>Artistic</strong> Coord<strong>in</strong>ator for Dans <strong>in</strong> Brugge, an alliance<br />
for dance <strong>in</strong> different cultural <strong>in</strong>stituti<strong>on</strong>s <strong>in</strong> the regi<strong>on</strong> of West<br />
Flanders, Belgium, where he designs the annual program and<br />
the <strong>in</strong>ternati<strong>on</strong>al festival “December Dance”. After study<strong>in</strong>g philosophy,<br />
theatre studies and cultural management <strong>in</strong> Belgium and<br />
Germany, he started his perform<strong>in</strong>g arts activities <strong>in</strong> the Belgian<br />
theatre company AGORA where he co-created around ten visual<br />
theatre pieces until 1996. Driven by his <strong>in</strong>terdiscipl<strong>in</strong>ary artistic <strong>in</strong>terests,<br />
he directed and curated alternative performance even<strong>in</strong>gs<br />
<strong>in</strong> public space before work<strong>in</strong>g as a dramaturge for Wim Vandekeybus<br />
/ Ultima Vez between 1997 and 2003. After be<strong>in</strong>g the artistic<br />
director of a producti<strong>on</strong> house for scenic art <strong>in</strong> Genk he jo<strong>in</strong>ed<br />
the DasArts Master program <strong>in</strong> Amsterdam <strong>in</strong> 2006. Resp<strong>on</strong>sible<br />
for dramaturgy & artistic policy, he co-developed the new DasArts<br />
Master curriculum and specific feedback techniques for creative<br />
processes <strong>in</strong> the arts. After several years as artistic and general<br />
director of the Dampfzentrale Bern <strong>in</strong> Switzerland, he launched<br />
himself as an <strong>in</strong>dependent artistic advisor. Al<strong>on</strong>gside his role as<br />
<strong>Artistic</strong> Coord<strong>in</strong>ator <strong>in</strong> Bruges, which he started <strong>in</strong> 2018, he c<strong>on</strong>t-
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