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 mini-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 use visual art and figurative examples as illustrations, adapting from methods, such as the example, used in analytic philosophy. I suggest that some artworks operate as philosophical provocations of the archive: "The artwork just exists", as Frank Stella argued. Artworks and archival artistic material are offered for aesthetic contemplation; they don't possess any "magical" qualities, they don't cause any phenomena or events in the world. In this view, I ordered this exposition as a design proposal for two independent, yet interconnected exhibitions: one for the final artistic exhibition show; and one as a general overview for the artist's studio, set up as a stand alone, if parallel, exhibition. The conception of two parallel expositions as mocks of two parallel exhibitions is inspired by Jean Baudrillard's concept of "hyperreality", which refers to the blurring between reality and simulated representations, when sometimes, influenced by media, film, television, advertising, people tend to accept images or perceptions not corresponding to actual reality. The exposition hints at artists and others, who use different modes of communication, as skillfully exploiting the Baudrillardian concept of "hyperreality", with its accompanied "simulacra" and "simulations", for making indirect references on a sociological level; as well as for putting forward a critical commentary on the artistic and conceptual level.

This thesis stems from the need to investigate an original painting technique developed by the author, which combines figurative painting and solidified atmospheric phenomena. The heart of the research is a simple and radical question: How can an ephemeral phenomenon be made permanent? The answer takes shape through the creation of sheets of solidified rain, transparent membranes that preserve the logic of the drop, the flow, the surface tension. These membranes are superimposed on figurative paintings, generating a multidimensional visual language. Transparency is not an aesthetic effect, but a temporal device: it freezes the work, suspends it, holds it in an eternal instant.

Esta web es producto digital 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. Con la realización del proyecto, se busca incentivar el uso de la narración gráfica como proceso horizontal que permite relatar y revisar la importancia que tienen las prácticas artísticas de las comunidades en la construcción de tejido social. La propuesta de mediación artística se visibiliza como una estrategia colaborativa que permite el diálogo y el intercambio. El trabajo se inscribe y contribuye a las apuestas del Grupo de investigación para la creación artística y de la Línea de investigación en: Estudios críticos de las corporeidades, las sensibilidades y las performatividades. Adscritos al doctorado en estudios artísticos de la Universidad Distrital Francisco José de Caldas.

This exposition takes as its departure the systemic inertia identified within Western Higher Music Education (HME), where education is driven by skill acquisition in a master–pupil format. Such approaches may hinder the growth of adaptable and reflective musicians. We propose an alternative: student-centred learning inspired by artistic research methods. To explicate this, we draw on findings through our own artistic research practices. Our hypothesis is that the model of the artistic, embodied research laboratory, as developed within the field of artistic research, may serve as a potent tool for renewal. By analysing our work as artist-researchers and educators, this exposition offers insights that support rethinking both institutional structures and pedagogical approaches in HME. Our aim is to strengthen student agency in learning situations and set them off on a path of lifelong learning. This research demonstrates that artistic research laboratories can provide practical frameworks for transforming HME pedagogy, offering educators concrete methods for fostering playful, inclusive, and sustainable learning environments whilst empowering students as active agents in their musical development.

Queer-identiteetti ja -tunteet lavalla, sen takana ja opetustyössä Kuvataiteen tohtorin opinnäytetyössäni tutkin queer-kuuntelemisen merkitystä taiteellisena käytäntönä ja tutkimusmenetelmänä. Tässä ekspositiossa haastattelen drag alter egoani Maimu Brushwoodia, jonka kanssa keskustelen sukupuolesta, tunteista ja pedagogiikasta. Haastattelu perustuu tutkimukseni toiseen taiteelliseen osuuten, mikä oli drag-esitys, jonka esitin kahtena iltana Club Kiihko: Uuden toivon illassa Kulttuurikeskus Caisassa Helsingissä 27. ja 28.6.2024. Ekspositiossa on haastattelun lisäksi drag-esityksen videotallenne ja kirjoitustehtävä, jonka tarkoitus on syventää esitykseni teemoja.

Tässä ekspositiossamme esittelemme veden-kanssa-kirjoittamisen praktiikkaamme kirjoittamisen taiteellisena tutkimuksena, poeettisena etsintänä. Veden-kanssa-kirjoittaessamme olemme tarkastelleet suhdettamme veteen, myös vesiin sisällämme, sekä yksilöllisesti että yhdessä erilaisia tekstejä tuottaen. Ekspositiossamme esittelemme tämän taiteellisen praktiikan tuotoksia sekä reflektoimme niitä poeettisia, poliittisia ja pedagogisia suuntia, joita veden-kanssa-kirjoittaminen voi avata – sekä meille että laajemmin, maailmalle. Teoreettisia lähtöhtiamme ovat feministinen posthumanismi ja uusmaterialismi sekä niiden piirissä harjoitettu hydrofeminismi. Lisäksi suhteutamme veden-kanssa-kirjoittamista keskusteluihin feministisestä pedagogiikasta, taiteilijapedagogiikasta ja ympäristöpedagogiikasta sekä veden merkityksistä kirjallisuudessa. Uskomme, että runouden avulla voi kielentää sellaisia kokemuksia, joita on muutoin vaikea muotoilla sanoiksi. Väitämme, että hankalasti sanallistettavien kokemusten poeettinen kielentäminen tuottaa ymmärryksiä ihmisten suhteista enemmän-kuin-inhimilliseen, kuten siitä, miten tehdä taidetta muuttuvassa maailmassa, eettisessä suhteessa enemmän-kuin-inhimilliseen. In English: "On Becoming Sensitized - Practices and Orientations for Writing-with-water as Artist Pedagogy" In this exposition, we explore what we call 'writing-with-water', a practice of artistic research in writing, a "poetic search". While writing-with-water, we have explored our relationship(s) with water – including the waters within us – both individually and together, producing different texts. Here, we share our artistic explorations and reflect on the poetic, political, and pedagogical directions our artistic practice and research opens up. Our theoretical starting points are feminist posthumanism and new materialism, but we also discuss our method in the context of hydrofeminism (as part of the aforementioned theoretical frameworks), feminist pedagogy, artist pedagogy, and environmental pedagogy, as well as the literary meanings and uses of water. It is our belief that through poetic practices and explorations, it is possible to express experiences that are otherwise difficult to put into words. We claim that these experiences, and the ways they are expressed in poetic language, can lead to better understandings of human relationships with the more-than-human; including how to make art ethically with the more-than-human in our rapidly changing world.