Research Catalogue

Desenvolvimento de investigação artística em teleperformance entre os anos de 1999 e 2001, quando não existia uma taxinomia adequada. As teleperformances do Perforum Desterro partiram da pesquisa da linguagem intermídia da telecomunicação síncrona. As teleperformances foram a prática artística e, paralelamente, subsidiaram o levantamento teórico sobre telepresença realizado como parte de meu doutoramento no Programa de Pós-graduação de Comunicação e Semiótica da PUCSP (COS). O Perforum nasceu em São Paulo das ideias de Artur Matuck acerca dos “Colaboratórios de Mídia e Performance” a serem criados em diferentes cidades. No segundo semestre de 1998 cursei a disciplina Escrituras Eletrônicas, ministrada por Artur Matuck na pós-graduação da Escola de Comunicação e Artes da Universidade de São Paulo, ECA/USP. Entre minhas idas a São Paulo, passei a fazer parte do grupo de pesquisa da disciplina, antes mesmo de ingressar oficialmente como doutoranda em um Programa de Pós Graduação. Parte dos integrantes atuaram no início do projeto Perforum. Paula Perissinoto e Ricardo Barreto, fundadores no ano de 2000 do Festival Internacional de Linguagem Eletrônica, FILE, Tereza Labarrère, Otávio Donasci, o artista criador das videocriaturas, Edson Luiz de Oliveira, Cesar Barros, Suzana Moraes. Outros, como Daniel Seda, aderiram ao grupo mais tarde. O Perforum no ano de 1999 se bifurcou em Perforum Desterro, coordenado por Yara Guasque pela Universidade do Estado de Santa Catarina, UDESC, e Perforum São Paulo coordenado por Artur Matuck pela USP. Os dois grupos desenvolviam colaborativamente scripts como proposição de interação e performance a distância.

Nine research groups from HKU, Hanze University of Applied Sciences, Fontys, and Utrecht University of Applied Sciences are joining forces with UvH and UMCU to bring a new perspective on healthcare through the arts, supported by the SIA-SPRONG grant. Using a transdisciplinary approach, this research group and its partners are developing new methods, practices, and scenarios within healthcare and well-being contexts—not for, but with each other.

"Unlike unrealized architectural projects, which are frequently exhibited and circulated, unrealized artworks tend to remain unnoticed or little known. But perhaps there is another form of artistic agency in the partial expression, the incomplete idea, the projection of a mere intention? Agency of Unrealized Projects (AUP) seeks to document and display these works, in this way charting the terrain of a contingent future." From AUP-eflux Archive In painting, the artist can also be a model for the artwork. In performance art, artist and model come together for the performance. The exposition explores the role of figuration in contemporary art. Some of the material was selected for my participation, with my artistic pseudonym, Betty Nigianni, in conceptual artist's Janine Antoni workshop, "Loving Care", Performance Matters: Performing Idea, Toynbee Studios, Whitechapel Gallery, London, 2010 With essay about Marina Abramovic's work, published at eflux/Art and Education papers, 2012; originally presented as a conference paper at the Yale Centre for British Art, 2010, slides including the artist's writings. Fragments of the research for the installation project, developed in the studio and through my participation in urban research workshops, have been archived at AUP-eflux Archive.

Utdrag fra samtale med Kristian Balke og Stine Marie Olaussen fra SKANSKA på befaring av Østre Aker vei 25.

This article concerns “absolute void” as an impossible notion to describe via a reductionist approach, whose irreducible relativity emerges from efforts to imagine it – from the CERN laboratories to the artworks at MoMA. Science teaches correlations among things, not things themselves. For this, with photography and artworks, the article reflects in detail on objectivity, multivariate universes, minding the time that brings exclusive universes into the same framework, conceiving an infinite intelligence, an artificial consciousness to see things in that time.

The art of Raoul Servais is concerned with the most serious criticisms of 1968 and looks for the freedom and justice that humans pursue, touch a lot of areas and contexts from religion to science, mythology to science fiction, psychology to culture: authoritarian regimes that eliminate science; armies trying to sweep colors from the world; executives trying to share the body of a dead mermaid; filmmakers trying to be faster than their shadows; bosses who incorporate hippies' colorful ideas into their own benefits; 'super powers' that invite people to religion with theocratic gas bombs. Consumption, technology, authority, unhappiness and lost meaning woven with commodity values.