Research Catalogue

15 documented artistic works performed by Ellen Ugelvik et al. (solo/chamber/sinfonietta/orchestra)

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material. The exposition exposes the question of what is artistic research. Usurping the mini-essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system. Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I use visual art and figurative examples as illustrations, adapting from methods, such as the example, used in analytic philosophy. I suggest that some artworks operate as philosophical provocations of the archive. "The artwork just exists", as Frank Stella argued. In this view, I ordered this exposition as a design proposal for two independent, yet interconnected exhibitions: one for the final artistic exhibition show; and one as a general overview for the artist's studio, set up as a stand alone, if parallel, exhibition.

This paper explores the artistic legacy of William Gillock through a practice-based lens, focusing on his influence on jazz education and contemporary musical practices. As a composer and educator, Gillock’s work has been instrumental in shaping modern jazz pedagogy. The study reflects on my own pedagogical practice and its relationship to Gillock’s methods, examining how his compositional techniques and teaching strategies continue to inform my approach to jazz instruction. By engaging with Gillock’s work in practical contexts, I highlight how his contributions foster the development of technical proficiency and expressive artistry among students. This reflection underscores the enduring relevance of Gillock's innovations, as they continue to inspire and shape the growth of the jazz community today, ensuring that his legacy remains central to the evolution of jazz education and performance.

The Artistic Research project SHLUK focuses on the topics of noise pollution and sound beyond sound. For this purpose, it questions the (mis)conceptions behind the ideas of audible spectrum and “unwanted sound”. The group aims to put forward a proposal for political involvement with the environment, namely through the practice of field recordings. In this case, the collection of sounds in a specific neighborhood in Prague (Barrandov) carries the bond to discuss these practices. Moreover, the group proposes the idea of “deep recording“ as a device for a necessary acoustic revolution towards a less anthropocentric understanding of ecology.

"(...) a cidade (...) consiste somente de um lado de fora e de um avesso, como uma folha de papel, com uma figura aqui e outra ali, que não podem se separar nem se encarar", um lugar onde as partes, os contrastes e o movimento participam numa dança infindável. E é a busca pela compreensão da linha ténue entre o sim e o não, o claro e o escuro, o tudo e o nada, que dá nome ao nosso trabalho, Oppositions. “(…) the city (…) consists only of an outside and a reverse, like a sheet of paper, with a figure here and there, which cannot be separated nor face each other.”, a place where the parts, contrasts and movement participate in an endless dance. And it is the search for understanding the fine line between yes and no, light and dark, everything and nothing, that gives name to our work, Oppositions.