Research Catalogue

By researching crematoria and graveyards I try to break the taboo surrounding grief and death. What are the elements of design at these places that could provide comfort? What are the stereotypes about death culture that prevents us from fully accepting what happens to us when we die?

Artist, actress and writer Nina Goedegebure conducts artistic research into the polyphony of a disease process at the Master Crossover Creativity @HKU, with two transdisciplinary projects; Fertility and 'Will You Carry Me?!' Starting from the question: How are we carried within a disease process? she investigates the effect of art during a disease process, and/or treatment. She is driven by the idea that in destruction lies creation. 'Through Research Catalogue I want to provide an open insight into this artistic process including my sources of inspiration, questions and finds.'

RESIDENCIAL DA BOAVISTA II No centro da cidade do Porto, pendurado na Avenida da Boavista e junto à barulhenta VCI, está um lugar onde quase nada acontece, o Foco. No Bairro Habitacional do Foco, neste bairro modernista, o tempo parece estar suspenso. Prédios podem ser construídos à sua volta, plenas mutações citadinas e o bairro ainda manteria a sua estética e ambiente. O bairro é como um corpo refastelado, com a sua cabeça pousada na avenida da Boavista e os pés sobre a VCI, sempre em contradição à movimentação e ruído constate da cidade envolvente. Os vizinhos encontram-se na entrada dos blocos, a senhora do 1.º esquerdo limpa a varanda, o porteiro vigia, solitário, o majestoso átrio. Entretanto, na urbe surgem, diariamente, novos movimentos, os metros descarregam milhares de pessoas, os citadinos saem à rua desenfreados na motivação de vivenciar um novo dia. Numa primeira fase, desenvolvemos este estudo da cidade e a sua relação com o bairro residencial colocando em foco os seus cidadãos e como os diferentes espaços são vivenciados, refletindo os seus movimentos. A cidade tece uma manta de retalhos. É na Boavista onde estes se juntam prolongando-se da cidade ao mar. Artefactos de várias épocas são unidos por uma linha invisível. O Bairro Habitacional do Foco, este bairro modernista, marca o meio desta Avenida, mudando o ambiente. A avenida comercial torna-se habitacional. O ruído torna-se em calma. A confusão citadina abre espaço a uma tranquilidade aparentemente suburbana. Numa segunda fase, uma nova promenade, com enfoque nesta relação recém-descoberta. Habitando o espaço do Bairro, entendemos que este é contaminado por figuras geométricas em contraponto à natureza.

The artistic research project I HAVE THE MOON was an experimental group activity or 'band retreat' for five composer-performers resulting in a public performance in the aDevantgarde Festival, 2019, in Munich. Research was conducted around a central research question stated verbally at the outset of the project: how can aesthetic innovations of contemporary classical music be made accessible to audiences without specialist education or background via communicative techniques of other music genres? After a substantial verbal discussion and sessions of musical jamming, each member created an artistic response to the research question, in the form of a composition or comprovisation, which the group then premiered in the aDevantgarde Festival. The results of the discussion, artistic works and final performance (by means of a video documentation) were then analysed by the project leader and presented in this article. The artistic research position is defined a priori through the research question, during the artistic process in the form of note-taking and multimedial documentation, and a posteriori through a (novel) 'Workflow-Tool-Application Analysis' (WTAA). Together, a method of 'lingocentric intellectual scaffolding' on the emobided knowledge inside the creative process is proposed. Insofar as this embodied knowledge can be seen as a 'field' to be researched, the methodology is built on collaborative autoethnography, 'auto-', since the project leader took part in the artistic process, guiding it from within.

Digital Demons deals with themes of religion, shamanism and spirituality. These are some traces of media matter that surfaced during the two year masters program The Art of Impact at Stockholm University of the Arts. Among them are videographic essays, video sketches and a recorded performance that all have worked as research tools for finding an aesthetic language and narration structure that can be used in documentary and hybrid filmmaking.

Although I love attending traditional classical music concerts, I have long felt that they missed certain aspects that would make them more relatable to the inner world of the audience. In this research exposition, I argue that this missing aspect is a social element and I guide the reader through a possible application of social themes to a classical music concert. On a formal level, I use the techniques of psychodrama – a form of group therapy – as a tool from which I borrow some fundamental concepts, along with the conception of characters, to understand how social themes can be addressed in a context in which multiple people connect to the same object. In this case, the object of common interest is the representation on stage. On a substantial level, I draw upon material I collected in my interviews with Clara Scarafia to study a social theme she has been directly involved with: suicide. The two levels are brought together in my pilot session, where I experiment through a sample of the complete performance I am designing and an audience questionnaire how psychodrama and the interview interact and influence one another. The goal is to show that the classical repertoire, with its complex emotional kaleidoscope and non-verbal language, can easily bear a social theme and enhance the collective reflection of relevant themes in our times.