Research Catalogue

ARTikulationen 2023 is an artistic research event conceived and organised by the Doctoral School for Artistic Research (KWDS) of the University of Music and Performing Arts Graz (KUG). It takes place at Theater im Palais, Graz, 04–07 October 2023. ARTikulationen interweaves in-depth presentations of very recent artistic research and findings, a festival character, and a mini-symposium – this year on matters of interdisciplinarity and interconnectedness of research practices with the (sound) environment, nature, and other living beings („Researching Across“).

"New ideas might be conceived and developed more rapidly in disciplines that are more abstract. The inductive methods of experimental innovators in painting makes their enterprise resemble the more empirical disciplines considered by psychologists, while the deductive approach of the conceptual innovators makes theirs resemble the more abstract disciplines." David W. Galenson, "The Life Cycles of Modern Artists", NBER Working Paper Series, 2003. My use of the diagram and the image aims to convey the simple message that art strives for evolution; meaning to strengthen the mind, to research capabilities, to communicate a disinterested, though not necessarily apolitical, view of social changes, to overcome banality and offer an alternative way of looking at the world. The profile picture is myself at nineteen years old.

In progress Dorsal Practices — Murky Back Thinking is a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker, for exploring the notion of dorsality in relation to how we as moving bodies orientate to self, others, world. How does cultivation of a back-oriented awareness and attitude shape and inform our experience of being-in-the-world? The dorsal orientation foregrounds active letting go, releasing, even de-privileging, of predominant social habits of uprightness and frontality — the head-oriented, sight-oriented, forward-facing, future-leaning tendencies of a culture intent on grasping a sense of the world through naming and control. Rather than a mode of withdrawal, of turning one’s back, how might a backwards-leaning orientation support an open and receptive ethics of relation? How are experiences of listening, voicing, thinking, shaped differently through this tilt of awareness and attention towards the back?

O projeto apresenta-se como uma investigação centrada nas reverberações da prática artística diante dos arquivos institucionais e privados e de imagens e objetos-vestígios encontrados no Vale do Ave (Portugal), relacionados à história, ao imaginário e à memória do itinerário do algodão e da indústria têxtil algodoeira neste território. Através de caminhadas, do respigo de imagens, documentos e objetos e de um processo crítico de fabulação ativam-se linguagens artísticas que questionam as narrativas e discursos monolíticos prevalecentes nos modos como a história se constrói e instituí nos espaços de enunciação pública, formando as identidades regionais e nacionais e os imaginários sociais e coletivos. Problematiza-se assim as ausências e os negativos produzidos por uma história monumental, como espaços aporéticos mas ao mesmo tempo produtivos e agenciadores de outras narrativas potenciais acerca do passado, do presente e do futuro. English: From the absent image The project presents a research centred on the reverberations of artistic practice in the face of institutional and private archives, images and trace objects found in Vale do Ave (Portugal), related to the history, imagery and memory of the itinerary of cotton and the textile industry in this territory. Through walking, gleaning of images, documents and objects, and a critical process of fabulation, artistic languages are activated, questioning the prevailing monolithic narratives and discourses on how history is constructed and instituted in public spaces, forming regional and national identities and social and collective imaginaries. In this way, the absences and negatives produced by a monumental history are problematised as aporetic spaces that are simultaneously productive and agents of other potential narratives of the past, present and future. Download Accessible PDF

In Doppel- oder Mehrfachbelichtung bergen die zufälligen Vermischungen von unterschiedlichen Orten und Zeiten auf einem Photo die Möglichkeit, Unbekanntes, Unbewusstes aufzuspüren, Spekulationen über Zufall, Leere und Unendlichkeit anzustellen oder Immanenz zu erfahren. Dieser Artikel begibt sich mit dem Konzept der Non-Photographie von F. Laruelle, des aleatorischen Materialismus von L. Althusser sowie den immanenzphilosophischen Überlegungen von G. Deleuze und F. Guattari auf die Spuren einer Ontologie resp. einer non-onto-photo-logischen Beschreibung von Doppel- oder Mehrfachbelichtungen. Im Zentrum dieser Betrachtung steht die Annahme, dass eine Photographie nicht als ein Klon der Realität, als ein fetischistischer Realismus zu betrachten ist, sondern als Umkehrung dieser Ordnung: In der Imagination begründet sich die Realität der Photographie, weil in Doppel- oder Mehrfachbelichtung durch das Ineinandergehen der Objekte den Objektformen die Kausalität entzogen wird. Es entsteht ein erkenntnistheoretisches, ein sinnliches Dazwischen. Diese zentrale Annahme, dass in einer solchen Nicht-Standard-Ästhetik der Doppel- oder Mehrfachbelichtung keine Doubles der Welt produziert werden, sondern Indeterminanten, hat zur Folge, dass diese Zufälligkeiten, Variablen und Szenarien auch als solche erkannt werden müssen, weshalb in diesem Artikel theoretische Legenden im Anschluss an Laruelle, Althusser und Deleuze/Guattari entwickelt werden, die es erlauben, die Immanenz der Bilder zu erfassen. English N-fold Exposures - Non-Photography, Aleatory Materialism, Images without Objects In classical photography, analog double or multiple exposures are considered as an accident, a mistake, or unaesthetic. But the accidental blending of different places and times in a photo holds the possibility to detect the unknown, the unconscious, to speculate about co-incidence or to experience immanence. This article goes on the traces of an ontology resp. a non-onto-photo-logical description of n-exposures with Francois Laruelle’s non-philosophical visual aid as well as the philosophy of Althusser, Deleuze and Guattari. At the center of this consideration is the assumption not to regard a photo as a clone of reality, as a fetishistic realism, but as an inversion of this order: not the photo simulates reality, but the image establishes reality. Therefore a photo can develop a life of its own, a reality of its own. Through the interlocking of objects in multiple exposures, the object forms in the photography are deprived of causality, thus creating an epistemological, a sensual in-between, i.e., possibility spheres of imagination and experience. The reflection that in the non-standard aesthetic of n-fold exposure no doubles of the world are produced, but indeterminants, has the consequence that these variables and scenarios has to be recognized as such. That is why in this article theoretical legends are developed, which allow to capture the immanence of the images by means of a non-standardized aesthetics. Download Accessible PDF

Through a form of critical autoethnography, this study diffracts aspects of the author’s artistic practice through the intimate process of mourning to delineate a particular mode of knowledge production within artistic research that queers the relationship between the inside and outside of epistemic and ontological perspectives. The first section considers the abyss as a figure between grief, the unknown, and modes of knowledge production within artistic research. The second section bridges the work of theorising as a form of reconfiguring the world through the study of diffracted light, and further delineates the practice of vibrant contemplation as a method of entangling art practice with theorisation processes beyond a dichotomous opposition between art and science. The final section contemplates the figure of the afterglow as a material-discursive phenomenon that emerges from the temporality of mourning vis-à-vis artistic research. Download Accessible PDF