Research Catalogue

short bio and cv

My position is that knowledge about an artist and their work can be uncovered through close looking at their work and that some of this knowledge can be held and transferred tacitly to viewers (that are also artists). This knowledge can be articulated through practice, in this case in the making and subsequent close looking and reflection of the Selfish Portrait paintings. Because the knowledge is tacit, as opposed to propositional, the knowledge may be sensed, felt or difficult to articulate in words. Practice is the most appropriate vehicle to test whether this knowledge can shift from what Alexis Shotwell’s has articulated as ‘nonpropositional knowledge’ to ‘potentially propositional knowledge’. In Selfish Portraits I search for self-portraits by a range of dead artists in terms of geography, gender, race, ‘status’, time of working, style, etc. This necessitates (re)searching beyond my current knowledge base using gallery visits, internet searches and books. The selected self portrait(s) are subjected to a period of ‘looking attentively’ in order to visual interrelate and learn about the painting, and by extension the artist. The main focus is allowing the self portraits to ‘talk to me’ following the theoretical stance of the ‘active’ painting or picture, that knowledge is held in the painting itself and cannot always be found in (written) documentation.

Focaris parte de la conexión entre el fuego y el hogar como espacios de encuentro, protección y transformación. La obra se desarrolla a través de un diálogo entre la expresión individual y el encuentro colectivo, representado por la reunión en torno a una mesa o una hoguera. Cada bailarín expresa su "fuego interno" en solos apoyados por el grupo, generando conexiones y contrastes a través de la coreografía. La narrativa de la obra está construida bajo la estructura del teatro griego, donde el coro acompaña, enfatiza y dialoga con las acciones individuales. La accesibilidad está integrada en la dramaturgia, transformando la LSC, la audiodescripción y los elementos visuales en recursos estéticos.

This exposition introduces an experimental framework for acquiring the “inner power” improvisation associated with 19th‑century non-literate Karelian kantele players. While their precise thought processes remain unknowable, it is clear they did not focus on finger control. The method emphasizes internalizing traditional plucking patterns without sheet music, allowing subconscious decision‑making to guide improvisation. Stepwise learning of increasingly complex patterns enables musicians to combine and vary them freely, creating a continuous flow of tones in which the player becomes part of the sound field. Contemporary practice thus reconnects with what kantele players once described as “playing their inner power” (“soitan omaa mahtia”), a style later termed “Quiet Exaltation” by folk music researcher Armas Otto Väisänen.

Guided by the members of the project PÁR-A-GEM (Bruno Pereira, Fernando José Pereira and Mário Azevedo) as guest editors, this edition offers in-depth explorations of the intersections between media, temporality, and embodied artistic research.

Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.