Research Catalogue

Exploring methods of connecting thinking to space and embodiment in a research that looks at the connection between mental images, language and the body through felt experience.

Timelessness and temporality (Kruse, 2011) are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .” Specialized in the repertoire of Karlheinz Stockhausen, I want to investigate the role of temporality in music from the perspective of a performer. I will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute solo,, Xi (1986) for flute solo and STOP (1969) for ensemble.

The Art of Preluding was once common practice but more or less disappeared during the last century. In recent years, there has been renewed interest in reviving this artform. The content found on the website is the result of years of research in the artistic and pedagogical field, and an academic research project at the Royal Conservatoire Antwerp in Belgium. It relies on historical didactic instructions to make preluding at the piano accessible and up-to-date again, and promotes the development of a contemporary approach.

This exposition presents parts of a practice-based artistic research project, Acts of Transfer, a collaboration between artist Katy Beinart and writer Lizzie Lloyd (2020–2021). The project consists of a series of ‘chapters’ which revisit artworks from the recent past that involved social engagement or public participation, documenting both the process and outcomes of our returns. Acts of Transfer was interested in what the afterlife of such artworks might be and how they might be meaningfully represented in the future. Each return or ‘chapter’ generates new artwork, while retaining some sense of the original. They include a range of outcomes: excerpts (screenshots, photographs, readings, instructions etc.) from the original artworks made by our participants, as well as our own documentation through photography, drawings, and notes taken during our returns, alongside passages of experimental writing and films. In presenting parts of this project in Acts of Transfer: Documentation as Creative Reimagining, we further explore how documentation might serve as a means to reenact and reimagine the artworks to which we returned. In each case, we consider how aesthetic, emotional, physical, psychological or conceptual transfer might signify to those involved and to future audiences. We expose the complicated relationships that underlie practices that rely on participation, and highlight how meaning develops beyond the immediate duration of such projects. What follows renders these complications tangible, leading to new artworks that are intentionally emergent and fragmented. We look to evoke the effervescent experience of participating, remembering and communicating experiences of social, relational and durational artwork, to hold fast to what is lost and what might be reimagined.

This exposition centres around the fieldwork and shooting process of my documentary feature film, 11 Underground (Chico Pereira, 2024). 11 Underground is a reenactment film project based on a mining strike that happened in Almadén in the summer of 1984, in which 11 miners locked themselves in at 650 meters underground to protest their precarious working and social conditions. After 11 days of enduring the dark and toxic underground galleries, the Almadén Mining Company finally accepted the miners’ claims and the miners came out of the dark hole, received as heroes by their neighbours. As a local filmmaker belonging to the first non-mining generation in over 2000 years, I thought of the premise of making a reenactment film in town: what if 11 people locked-in in the underground mine for 11 days now to pay homage to the 1984 strike? Out of this rather strange proposition there was a desire to create an event -partly social, partly artistic-, that could help to collectively reflect -or re-imagine- our present by reenacting a collective action from the past. On the one hand, 11 Underground can be presented as a loose reenactment that reproduces the form and duration of a past strike: 11 people confined inside a mine for 11 whole days. On the other hand, the speculative character of this what if scenario (what would happen if..), opens these 11 days to the unexpected, to new actions and directions that might emerge from the implementation of that speculative scenario into the town’s present reality. The intrinsic relation of reenactment with the past, together with the future-oriented nature of what if scenarios -as ways of engaging creatively with possibilities- are, in fact, representative and metaphorical of the current situation of Almadén, which tries to construct a future from the remains of the mining past, while deeply struggling with the negative consequences of the lack of structural plans after the end of mining. Overall, the way this artistic research approaches reenactment is by using the historical referent (i.e. the past mining strike) as a documentary scenario and performing it in the current socio-political conditions, opening the possibility to intervene in the present and collectively imagine possibilities for a better future.

The artistic research project TiO₂: The Materiality of White (MoW) is led by Associate Professor Marte Johnslien, Department of Art and Craft, Oslo National Academy of the Arts. The project builds on her PhD project White to Earth, completed at the same department in 2020. MoW is funded by the Norwegian Directorate for Higher Education and Skills (HK-dir) through the Programme for Artistic Research for the period 2022–2026.