Research Catalogue

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 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 suggest that some artworks operate as philosophical provocations of the archive. "The artwork just exists", as Frank Stella argued.

WITHDRAWING THE PERFORMER WITHDRAWING THE PERFORMER is conceptualized and conducted collaboratively by Charlotta Ruth (SE/AT) and Jasmin Schaitl (AT). The starting point are two artistic practices based on methods of mindfulness and game/play; Performances for the Mind and Choreographic Clues. These two individual perspectives on participation emerge from the project leaders’ ongoing artistic research and merge in their common artistic curiosity in the creation of immaterial material. Accompanied by neuroscientist and performer Imani Rameses (US/AT) the research asks: How does immaterial material perform within participatory situations? What role does participatory setting play and how does participation differ if situations are communicated as a workshop, a treatment, a practice or a performance? How can neuroscience support how immaterial and participatory art practices are developed and described? What relation exists beyond involvement and how can a participant become the performance rather than being part of a performance? What has to occur in the mind and body for this to happen? Through practice and dialogue conducted with experts in the fields of contemplative sciences, sound art, choreography, game art and somatics, the research explores how input from participants (e.g. memory, thought, emotion) can be placed at the centre of a flexible yet framed performance situation. “Withdrawing the Performer” collaborates with the Angewandte Performance Laboratory, and will present its research outcomes in a public series of participatory events. In the course of the project, various participatory performance formats will be exchanged within the Angewandte e.g. at the Center for Didactics of Art and Interdisciplinary Education, as well as in external art institutions. Collaborating expert practitioners and dialogue partners are: Philipp Ehmann (AT), Nikolaus Gansterer (AT), Mariella Greil (AT), Margarete Jahrmann (AT), Dennis Johnson (US/AT), Anne Juren (FR/AT), Krõõt Juurak (EE/AT), Imani Rameses (US/AT), Christian Schröder (AT), Lucie Strecker (DE/AT).

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The Past is Rotting in the Future: Exploring the Aesthetics of Absence in Daily Life, embarks on an exploration of absence within the human daily life, examining its manifestation through relations, processes, and objects. It seeks to understand how absence is not merely a void but a significant presence that shapes perception, memory, and imagination. Through a multi-disciplinary approach that integrates personal narrative with academic writing, this research investigates the ways in which absence is performed, textured, and materialized. Central to the thesis is how photography, as both a personal and artistic practice, serves as a critical medium for discussing and visualizing absence, navigating through personal experiences of loss, and broader philosophical questions about how absence influences and constitutes our understanding of the world.

Esta página web recoge la memoria del proyecto narración gráfica a partir del proyecto Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con Cód. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Científico - CIDC de la Universidad Distrital Francisco José de Caldas. Hace parte del proceso metodológico de desarrollo de la tesis doctoral Narración Gráfica de Experiencias: Intercambios en Imágenes de migración. Como Laboratorio de investigación - creación ha indagado y trabajado en sus 17 años de existencia en procesos de creación, gestión, investigación, formación y producción de conocimiento desde tres líneas de trabajo: - Imagen, arte y cultura: como campo de prácticas pedagógicas y estudios de la cultura; donde se cruzan diversos discursos sobre la identidad, los procesos de memoria, lo simbólico, es de interés la sistematización de prácticas artísticas en donde surgen experiencias generadoras de conocimiento sensible. - El conocimiento libre: Trabaja en la elaboración conceptual de talleres y laboratorios de creación con procesos que se desarrollan desde el concepto de cultura hacedora, promueve el aprendizaje activo, la colaboración abierta, el D.I.Y. y su aplicación en diversos escenarios y contextos. - La narrativa y la lectura: Se han trabajado procesos de mediación y agenciamiento desde hace mas de 15 años, acompaña sus procesos desde el estudio y elaboración de propuestas creativas que refieren a la narración gráfica y los cruces generados entre las nociones de objeto, plataforma, libro, público y sus relaciones en los procesos de difusión, promoción, producción, edición y diseño de piezas interactivas. Este proceso fue concebido por Daniel Pinzón Lizarazo quien es Doctorando en Estudios Artísticos de la Universidad Distrital, Magíster en Escrituras Creativas de la Universidad Nacional de Colombia, Diplomado en Antropología del arte de Latir A.C. y el CIESAS en México, Diplomado en estudios editoriales por el Instituto Caro y Cuervo; Licenciado en educación artística de la Universidad Distrital, trabaja como docente, investigador y creador, ha sido gestor y asesor en el diseño de políticas referentes a las pedagogías del arte y la cultura.

Thesis of the Royal Academy of Art, The Hague, 2022 BA Interactive Media Design Since the Covid19 pandemic began, we have to wear a mask to protect ourselves. Not being able to see full facial expressions and hear the voice can be crucial to the interaction of speaking a second language. Additionally, with most of our physical routines online, it has become impossible to see the whole body, making it difficult to observe non-verbal messages. This thesis explores the ideas of how we can communicate more efficiently if the current phenomenon continues. How could we communicate when our language delivery is impaired? It argues that communication obstruction caused by the mask worn can be overcome with bodily communication with gestures and eye contact. Gestures as a symbolic action and eye contact as a window by emotionally synchronising brain waves require a deeper level of contextual and emotional exchange. Empathising from a desire to understand and to be understood can break a blockage by connecting together. Furthermore, the thesis suggests what mindset and position we need to take when experiencing difficulties of cultural differences during bodily communication. If we keep the gestures simple and embrace the embodied cultures and co-learn the diversities, we can go beyond language and connect globally.