Research Catalogue

New creation - Sign Language and Dance - Video Projection and dance

ARTikulationen 2024 is an artistic research event conceived and organised by the Doctoral School for Artistic Research (KWDS) | Center for Artistic Research of the University of Music and Performing Arts Graz (KUG). It takes place at Theater im Palais and AULA KUG, Graz, between 02–05 October 2024. ARTikulationen interweaves in-depth artistic research presentations, a festival character (intermezzi-performances), and a mini-symposium on the topic of research journeys between artistic and scholarly or scientific practices. Topics range from current acoustic, electroacoustic, and computer composition, historically informed and contemporary performance, to improvisation and theatre.

The Contrast project corresponds to the creation of a network of multidisciplinary artistic initiatives in Art, Architecture, Design and Photography that counts with the direct involvement of eleven institutions of higher education teachingphotography in various disciplinary and artistic areas: ARCO, DARQ, DCAM, EA.UCP, ESAP, ESMAD, FAUP, FBAUL, FBAUP, FEUP and IPT. The project has been selected for funding in the DGARTES contest to support projects of creation and edition, through theCultural Association Cityscopio, with joint coordination between ESMAD-uniMAD and FBAUP – i2ADS, and led by FAUP.

Dissertation Leiden University 2024 Johannes Boer Registration and the annotated libretto of the 2018 opera production LA TRAGEDIA DI CLAUDIO M Contextualisation of this opera in both historical as well as epistemological sense.

This exposition contains bonus material (audio-visual) on the doctoral project "To Start from Scratch" by Karl Salzmann (ARC - Artistic Research Center, University of Music and performing Arts in Vienna, Austria, 2024). It presents a selection of documented artistic works, prototypes, performances and materials developed during the research process.

DK abstract: (scroll down for UK abstract) Projektet “Genklangen fra den væltede fjerde væg” forsøger at bygge broer mellem kunstmusikken og fællesskabet, her repræsenteret ved den danske sangbog ‘Højskolesangbogen’. I et hybridt koncertformat, skabt til projektet, hvor en intens, abstraheret tilgang til det musikalske materiale er gennemgående, opstår i løbet af koncerterne adskillige passager med fællessang, hvor publikum synger med på sange de kender. Projektet har blandt andet undersøgt hvordan vi kunne skabe et musikalske miljø, der kan bygge bro over de forskellige positioner (kunstmusik og fællessang), hvordan ideer om lytterens/tilskuerens roller kan genforhandles indenfor forskellige kunstdomæner, og hvordan projektet fra et genre-teoretisk perspektiv kan opfattes som et møde mellem bekræftende og destabiliserende kræfter. Det, der bliver gentænkt i projektet, er ikke så meget selve fortiden og heller ikke nødvendigvis etablerede fortællinger om fortiden, men snarere mulige samtidige og fremtidige fortællinger om, hvordan vi kan genfortolke sange fra fortiden – sammen. Og det der opdages, er ikke så meget skjulte perspektiver i fortiden, men derimod skjulte potentialer i, hvordan en majoritetskulturel ’assemblage’ som Højskolesangbogen kan genforhandles. Samtidig nedbrydes barrierer mellem udøvende og lytter, og der etablere nye måder at opleve ny musik på. Og vi mindes om, at vi aldrig ved, hvordan vores kulturelle fortid bliver fortolket i morgen. UK abstract: The project “Echoes from the torn down fourth wall” aims to build bridges between contemporary-music-as-an-art-form and community singing within songs from the Danish songbook ‘Højskolesangbogen’. In a hybrid concert format created for the project, within the context of an abstracted approach to intense, improvised concert music, several passages with community singing occur, where the audience sings along in songs they know. The research process has investigated how to create a musical environment that might bridge the different positions (art music and community singing), how the idea of the listener/spectator can be negotiated within different art domains and how, from a genre perspective, the project can be narrated as a meeting between confirming and destabilising forces. What is being reimagined in the project is not so much the past itself, and not necessarily established narratives about the past, but rather possible current and future narratives of how we may reinterpret songs from the past – together. What is being revealed is not so much specific perspectives in the past but rather hidden potentials in how a majority cultural assemblage like Højskolesangbogen may be renegotiated.