Research Catalogue

Documentación sobre la investigación artística de ConCuerpos en el 2023 en torno a la Accesibilidad Universal en Danza, llamada Cancionero para la Ausencia.

This page welcomes newcomers from Fontys to engage with the Research Catalogue. (For Fontys Master students & Staff only)

Jenny Sunesson (b. 1973) is a Swedish artist predominantly working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.

In A place Like This sets out to investigate and expand the issues and critical discourses within Sandborg and Higgins' current collaborative research practice. The central focus for the research is concerned with how art, in this instance photographic and painted image making and text, can be used as an agent or catalyst of understanding and critical reflection. The research methodology is constructed through photography, painting, drawing and text. This utilises the form of an artist publication as a point of critically engaged dissemination: a place for the tension between conflicting ideas and investigation to be explored through discussion. The research question is focused on how the production of the image and the act of making images can communicate or describe moments of erasure or remembering in terms of historical and personal narratives with direct reference to moments of violence and place. This is seen not in terms of a nostalgic remembrance of the past; instead as one that is rife with complicated layers and dynamics where recognition is denied the ability to locate a physical representation. Embedded in this is an exploration of particular questions concerning the ethics of representation: the depiction of ourselves and other? In this sense it brings into question an examination of the act of remembering as a thing in itself, through the production of the image and text, contexts of knowledge and cultural discourses explored through the form of an artists publication.

The Opener - sharing the performer’s process was a one-year artistic research pilot project (March 2024 - March 2025) funded by strategic funds at the Faculty of Fine Arts, Music and Design, University of Bergen. It was part of the Grieg Academy Research Group for Performance and Interpretation (GAFFI) together with external members from The Academy of Performing Arts in Bratislava. The project consisted of 8 sub-projects and educational activities, involving different instruments: piano solo, violin, duos with voice and piano, clarinet, accordion and guitar. The term opener can in this project proposal symbolize a three-fold meaning connected to the music performance field. This project seeks to - see the performer as an opener of musical meaning in a performance (interpretation of musical intentions in scores and improvisation) - challenge ourselves as performers as openers that share his/her artistic work (getting insight into the creative process and methods) - finding openers as tools to reveal and show the creative process of performers (ways of showing the artistic process)

"Rotting Sounds – Embracing the temporal deterioration of digital audio" (https://doi.org/10.55776/AR445) was a multi-year research project that dealt with various aspects pertaining to the deterioration of digital audio. Grill, Schilling and Bovermann understand this decay and the resulting products as a new and welcome aesthetic. This occupation with decay ultimately led to all residual materials being collected during the research period: From yogurt cups and spray cans to hard disks, USB sticks, cables, and clothing. This heap of waste was finally shredded and transformed into paper. Formally and in terms of content, the book explores decay and dissolution, thereby challenging the traditional aesthetic of collecting and preserving. The quantity of paper produced also determined the edition size, which is only 20 copies. Each copy bears the traces of its origin by embedding the cycle of transformation in its fibers. Parallel to the physical book edition, a digitally eroding open access version is available for download via this Research Catalogue exposition. The text by Thomas Grill refers to some of the key points of the Rotting Sounds research project and celebrates the open-ended nature of the experimental research.