Day 1: Monday, 9 December 2019

Morning (plenary)

Registration and Coffee
Orpheus Institute Entrance and Dining Hall, 8:30 – 9:15

Welcome by Peter Dejans (Director)
Concert Hall, 9:15 – 9:30

Chair’s Address by Paulo de Assis
Concert Hall, 9:30 – 10:00

Lecture by Ian Buchanan
Concert Hall, 10:00 – 11:00

Coffee Break
Dining Hall, 11:00 – 11:30

Lecture by Thomas Nail
Concert Hall, 11:30 – 12:30

Lecture by José Gil
Concert Hall, 12:30 – 13:30

Dining Hall, 13:30 – 14:30

Afternoon (parallel)

Plateau 1: On Ecosophy
Chaired by Barbara Glowczewski. With: Ralf Gisinger, Hsiu-ju Stacy Lo, Keijiro Suga, Christophe Thouny, Toshiya Ueno
Penthouse, 14:30 – 18:00

Plateau 2: On Music
Chaired by Chris Stover. With: Iain Campbell, Silvio Ferraz, Rogério Luiz Costa, Clara Maïda, Timothy O’Dwyer
Auditorium, 14:30 – 18:00

Plateau 3: On Literature
Chaired by José Gil. With: Jūratė Baranova, Leonello Barzurro, Alice Finichiu, Niall Dermot Kennedy, Annita Costa Malufe

Tea Break
Dining Hall, 16:00 – 16:30

Evening (plenary)

Delegates Concert
Performances by: Stefan Östersjö, Alex Nowitz, Frederik Hedelin & Robert Ek, Guy Dubious, Joana Sá
Concert Hall, 18:00 – 20:30 (with interval)

Day 2: Tuesday, 10 December 2019

Morning (plenary)

Lecture by George Lewis
Concert Hall, 9:00 – 10:00

Lecture by Peter Pál Pelbart
Concert Hall, 10:00 – 11:00

Coffee Break
Dining Hall, 11:00 – 11:30

Lecture by David Savat
Concert Hall, 11:30 – 12:30

Dining Hall, 12:30 – 13:30

Afternoon (parallel)

Plateau 4: On Music Performance
Chaired by George Lewis. With: Guy Dubious, Fredrik Hedelin & Robert Ek, Alex Nowitz, Stefan Östersjö & Halla Steinunn Stefánsdóttir, Joana Sá, Chris Stover
Concert Hall, 13:30 – 17:00

Plateau 5: On Cartography
Chaired by Thomas Nail. With: Daniel Franke, Emine Görgül, Quirijn Menken, Yota Passia & Panagiotis Roupas, Guro Sollid & Kristine Annabell Torp, Sarah K. Stanley
Presidential Room, 13:30 – 17:00

Plateau 6: On Visual Art I
Chaired by David Savat. With: Katarina Andjelkovic, Andy Broadey, Paul Dolan, Vanessa Farfán, Niamh Schmidtke, Scott Sundvall
Penthouse, 13:30 – 17:00

Plateau 7: On Performance
Chaired by Peter Pál Pelbart. With: Christoph Hubatschke, jan jagodzinski, Melmun Bajarchuu & Hayley Malouin & Iiro Näkki, Tero Nauha
Auditorium, 13:30 – 17:00

Tea Break
Dining Hall, 15:00 – 15:30

Evening (plenary)

The Machinic Desire of Cinema
Film night curated by Tero Nauha and Hilona Hongisto. With: Silvia Maglioni & Graeme Thomson, Vicki Bennett
Concert Hall, 17:00 – 18:00

Walk to Sphinx Cinema
Sint-Michielshelling 3, 5 min

Screening of In Search of UIQ by Silvia Maglioni & Graeme Thomson, 2013 (72 min)
Sphinx Cinema, Screen 3, 18:30 – 19:45

Interval with tapas
Sphinx Cafe, 19:45 – 20:30

Screening of Citation City by Vicki Bennett, 2018 (42 min)
Sphinx Cinema, Screen 3, 20:30 – 21:15

Day 3: Wednesday, 11 December 2019

Morning (plenary)

Lecture by Edward Campbell
Concert Hall, 9:00 – 10:00

Lecture by Barbara Glowczewski
Concert Hall, 10:00 – 11:00

Coffee Break
Dining Hall, 11:00 – 11:30

Lecture by Yuk Hui
Concert Hall, 11:30 – 12:30

Lecture by Anne Sauvagnargues
Concert Hall, 12:30 – 13:30

Dining Hall, 13:30 – 14:30

Afternoon (parallel)

Plateau 8: On Music and Sound.
Chaired by Edward Campbell. With: Lilija Duobliene, Janne Vanhanen, Maurice Windleburn, Marek Wojtaszek
Concert Hall, 14:30 – 18:00

Plateau 9: On Visual Art II
Chaired by Anne Sauvagnargues. With: Burcu Baykan, Terri Bird, Sigita Dackeviciute, Andrea Eckersley, Dimitris Papageorgiou
Auditorium, 14:30 – 18:00

Plateau 10: On Architecture
Chaired by Yuk Hui. With: Gareth Abrahams, Lilia Athanasiadou & Renske Maria van Dam, Marianna Charitonidou, Spencer Roberts & Derek Hales, Audronė Žukauskaitė
Penthouse, 14:30 – 18:00

“Bureau for Cartographic Assemblages”
Workshop by Patricia Smith with Sarah K. Stanley
Presidential Room, 14:30 – 18:00

Tea Break
Dining Hall, 16:00 – 16:30 and 18:00 – 18:30

Evening (plenary)

Dialogues / Assemblages
Presented by Paulo de Assis. With: Yuk Hui, Barbara Glowczewski, George Lewis, Thomas Nail, Peter Pál Pelbart, Anne Sauvagnargues, David Savat
Concert Hall, 18:30 – 19:30

Closing Reception and Book Launch
Dining Hall, 19:30 – 22:00


Installations by Vanessa Farfán, Halla Steinunn Stefánsdóttir
Orpheus Cellar

Installations by Yota Passia & Panagiotis Roupas, Niamh Schmidke, Guro Sollid, Fabian Wagmister
Orpheus Red Room

Registration & Fees

Registrations to DARE 2019 are now open only to delegates accepted to present at the conference and to Orpheus Institute guests (by invitation only). External tickets are SOLD OUT.

We succeeded at keeping the same fee structure and rates as in the past editions of the conference:

(until 1 December 2019)
Early Bird
(until 1 November)
(students and unwaged, until 1 December)

All rates include: delegates welcome pack, full access to all conference presentations and events, WiFi, three buffet lunches, three morning breaks, three afternoon breaks, tapas, and one closing reception (thanks to the generous support of Edinburgh University Press, Leuven University Press and Rowman & Littlefield International)

Fees are payable via Eventbrite following the link below. If for any reason you are unable to use this service, please contact:

All registrations close Sunday, 1 December 2019


“the machinic assemblage of desire is also the collective assemblage of enunciation”

Gilles Deleuze and Félix Guattari, Kafka: Toward a Minor Literature

Call for Proposals

In the last decades, the concept of assemblage has emerged as a central tool for addressing problems of stability, instability, determination, and transformations regarding social, political, economic, philosophical, and aesthetic phenomena. Coined by Deleuze and Guattari in their joint book on Kafka (1975), and further expanded in A Thousand Plateaus in relation to different fields of knowledge, human practices, and nonhuman arrangements, assemblage is variously applied today in the arts, in human and in social sciences, under different labels (assemblage theory, logic of assemblage, actor-network theory) that more or less explicitly refer back to Deleuze and Guattari’s foundational concept of agencement.

After the Dark Precursor and Aberrant Nuptials, Assemblages (in its two inseparable manifestations as “machinic assemblages of desire” and “collective assemblages of enunciation”) is the theme of the third international conference on Deleuze and Artistic Research (DARE), to be held in Ghent (BE) at the Orpheus Institute, December 9-11, 2019.

Using Man Ray’s DANGER/DANCER. L’Impossibilité (1917 – 1920) as its visual cue, the conference refers back to Guattari’s seminal example of artistic and literary assemblages (1973). On one side, the machine depicted by Man Ray cannot execute the movement of the Spanish dancer it is supposed to represent, and on the other, “this machine component can only be a dancer”. DANCER/DANGER is a non-functioning machine as its cogwheels and pinion racks are unable to operate and, at the same time, it is an elaborated depiction of a complex gearing system, suggesting creative modes of com-possibility.

Particularly focusing on the concept’s use, translation, and appropriation for music and the arts DARE 2019 invites artistic and/or scholarly presentations that discuss and challenge existing assemblages, or that propose new ones. 

Questions addressed may, for instance, include:

  • Which bodies, regimes of bodies, actions, or intra-actions can we identify and use in the arts? Which expressive acts, statements, regimes of signs, enunciations?
  • How does a logic of assemblage relate to the current aesthetico-epistemic regime?
  • How does digital and post-conceptual art relate to Deleuze and Guattari’s notions that were born in an analogue world?
  • How is it possible today, within the complexity and acceleration of a hyper-connected society, to detect the imperceptible movements of an assemblage before they are actualised?
  • How to expose them in intensive critical actualisations and create new modes of expression?
  • How to reveal the interstices, or indeed how to produce unforeseen cracks, inconsistencies, and lines of flight within existing, ever-changing assemblages?

Proposals for standard presentations should be for 30 minutes slots (20 min + 10 min Q&A with/out audiovisuals) while proposals for artistic presentations may vary in duration and will be considered on a case-by-case basis. Besides making sure that all presentations meet the academic standards of the conference and its publications, reviewers will especially evaluate whether the presentation is pertinent to the conference topic, whether Deleuze (and his world, including recent developments and additions to it) is integral to the presentation, and whether the presentation is relevant to artistic research or art practice.

Submissions are now CLOSED

DARE Conferences

Paulo de Assis, Orpheus Institute, Ghent, BE

Paolo Giudici, Royal College of Art, London, UK

Advisory Board
Zsuzsa Baross, Trent University, Peterborough, CA
Arno Böhler, University of Vienna, AT
Henk Borgdorff, University of the Arts, The Hague, NL
Kathleen Coessens, Vrije Universiteit Brussel, BE
Laura Cull, University of Surrey, Guildford, UK
Lucia D’Errico, Orpheus Institute, Ghent, BE
Mika Elo, University of the Arts, Helsinki, FI
Julian Klein, Institut für künstlerische Forschung, Berlin, DE
Tero Nauha, University of the Arts, Helsinki, FI
David Savat, Deleuze and Guattari Studies Journal executive editor
Michael Schwab, Journal for Artistic Research editor in chief
Kamini Vellodi, University of Edinburgh, UK

Organising Team
Filipa Botelho, Juan Parra Cancino, Daniela Fantechi, Daphne Ronse, Kathleen Snyers, Heike Vermeire

Orpheus Institute

Peter Dejans

Steering Committee
Jonathan Impett, Director of Research
Paulo de Assis
Tom Beghin
Catherine Laws
Luk Vaes
Peter Dejans

Research Advisory Council
Jo Bury, chair
Corina Caduff
Dame Janet Ritterman
Andreas De Leenheer