WCEH 2024 Craftivist
(last edited: 2024)
author(s): Britta Fluevog
This exposition is in progress and its share status is: visible to all.
Britta Fluevog, Venera Winiwarter & Anna Svensson set up a series of craftivist projects, workshops and a makerspace at the world congress of environmental history conference in Oulu, Finland 2024 and this space documentation of this.
Fertility / 'Will You Carry Me?!'
(last edited: 2024)
author(s): Nina Goedegebure
This exposition is in progress and its share status is: visible to all.
Artist, actress and writer Nina Goedegebure conducts artistic research into the polyphony of a disease process at the Master Crossover Creativity @HKU, with two transdisciplinary projects; Fertility and 'Will You Carry Me?!'
Starting from the question: How are we carried within a disease process? she investigates the effect of art during a disease process, and/or treatment.
She is driven by the idea that in destruction lies creation.
'Through Research Catalogue I want to provide an open insight into this artistic process including my sources of inspiration, questions and finds.'
JENNY SUNESSON
(last edited: 2024)
author(s): Jenny Sunesson
This exposition is in progress and its share status is: visible to all.
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.
RADICAL SOFTNESS
(last edited: 2024)
author(s): RAD 24 CURATOR
This exposition is in progress and its share status is: visible to all.
The exposition explores radical softness as the step-stone for our artistic practices and work produced.
The program took place where the forest meets the sea in the Northern Stockholm Archipelago, Sweden.
Further Adventures in Deep Canine Topography: Experiments in canine Soundscapes: Attending to Rhythm and Repetition.
(last edited: 2024)
author(s): O'Brien and O'Brien
This exposition is in progress and its share status is: visible to all.
Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the ‘walkies’ as a co-authored act of ‘making’ or ‘performing’ together.
As part of the practice based element of my PhD thesis, Deep Canine Topography, this practice based investigation of the performance of human-canine hybrid aesthetic walking practices, focuses on the rhythm and repetition of the urban walkies through Henri Lefebvre's Rhythmanalysis. Using sound, photography and GPS to document the daily repetitive morning walk, in urban Leicester, this presentation explores two such walks, one taken in January 2020, the other in March 2020, during the Covid 19 lockdown period. Both walks follow the same circular route. Both attend to the rhythms of the human-canine bodies, traffic, human conversation and canine olfactory signs and signifiers, exploring harmony and disharmony between the linear rhythms of production and more messy rhythms of nature. Binaural microphones are positioned close to the canine body to capture a soundscape from the canine perspective. Duration of both walks is around 13 minutes. Headphones are advised for a full spatial experience.
The sound will autorun on opening the exposition.
PLEASE WEAR HEADPHONES:
First presented at the Midlands 4 Cities, ARHC, Research Festival: July 13th_14th 2020:
Clicking on the round MAP circle will take you to the central exposition of my PhD: Deep Canine Topography.
PRIOR
(last edited: 2024)
author(s): Matej Hajek
This exposition is in progress and its share status is: visible to all.
PRIOR is a functional experimental installation that explores the relationship between the sensory apparatus and spatial orientation. The subject of investigation is the link between the prediction model and the sensory input of the visual apparatus. By the method of disruption of the visual apparatus, the sequence of the mechanism responsible for spatial orientation is disentangled.
Self-ish Portraits
(last edited: 2024)
author(s): Andrew Bracey
This exposition is in progress and its share status is: visible to all.
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.
Partysans With a Hoe - Spontaneous Gardening in Urban Space
(last edited: 2024)
author(s): Ivana Balcaříková
This exposition is in review and its share status is: visible to all.
This project combines artistic and anthropological research on spontaneous gardening in open public space, predominantly in Brno, CZ. The team, mostly comprising recent graduates and graduate students of the Faculty of Fine Arts of Brno University of Technology, chose gardens and plantings which were, in most cases, rather exceptional. Unlike most typical front gardens, the ones in this study are somehow peculiar, due to their location, their composition and planting schemes, their scale, or methods of those who garden there. The anthropologists on the team analyzed a Facebook group dedicated to street gardening and conducted several interviews, while the artistic team responded to particular places with which they interacted. Some results of this research have been presented to the public in the form of an application comprising an audioguide and an interactive map; this exposition in the Journal of Artistic Research documents
some of these findings.
The team
Barbora Lungová is a visual artist and has taught at the Faculty of Fine Arts of the Brno University of Technology since 2007. Her field of practice is painting and art projects focusing on plants, gardening, and queerness. She is the coordinator of the Partisans with a Hoe project.
Lucia Bergamaschi is a visual artist working across the media of photography, sound, and installation. She earned an MA in Fine Art at Università Iuav di Venezia and an MA in Law at Università di Bologna. She is currently finishing her MA studies at the FFA BUT.
Nela Maruškevičová combines painting, installations, and glass in her artistic practice. She is a 2023 graduate of the FFA BUT. Kateřina Konvalinová is a visual artist interested in the overlapping spaces of art, communal life, farming, and ritual. She earned her MA in Fine Arts from the Academy of Fine Arts in Prague, and is currently a doctoral student at the FFA BUT.
Iva Balcaříková is a graphic designer and a member of the team behind the curated audio walks created by Galerie Art in Brno. She is currently finishing her MA studies at the FFA BUT. Hana Drštičková is a visual artist and a social anthropologist interested in environmental and queer topics. She graduated with an MA in Fine Arts from the FFA BUT in 2022 and with a BA in social anthropology from the Faculty of Social Sciences at Masaryk University and is currently a doctoral student at the Gender Studies Department of Charles University in Prague.
Anastasia Blokhina is a social anthropologist who graduated with an MA tfrom the Faculty of Social Sciences of Masaryk University in 2022. Polyna Davydenko is a photographer and a video artist who documents social and environmental issues in her work, most recently those connected with the war in Ukraine.
Filip Dušek is a media artist who studied at the Department of Photography at the FFA BUT.
The project was conducted under the Specific Research FaVU-S-23-8441 Program.
Textile Awareness
(last edited: 2024)
author(s): HANNA felting
This exposition is in progress and its share status is: visible to all.
To create positive Textile Awareness I will be researching the relationship and interaction of consumers with clothing and textiles.
With the intention to encourage people to recycle clothing and shop less.
Inspire people to think critically about their purchases and create awareness about the consequences of clothing choices for the environment.
I want to make a joint impact so that clothing and textiles are no longer treated as waste products. More than half of old textiles in the Netherlands are not recycled but thrown out with the garbage. And thus into the incinerator.
Global warming is perhaps the greatest challenge of our time. What can the consumer change in his behavior towards clothing and textiles? That is the question that concerns me.
Ester Viktorina
(last edited: 2023)
author(s): Malin O Bondeson
This exposition is in progress and its share status is: visible to all.
In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.
10 - 10 - 10 Edgelands:
(last edited: 2023)
author(s): O'Brien & O'Brien
This exposition is in progress and its share status is: visible to all.
Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the ‘walkies’ as a co-authored act of ‘making’ or ‘performing’ together.
As part of the practice based element of my PhD thesis, Deep Canine Topography, 10 - 10 - 10 Edge-lands, is a further investigation of the methodologies of Deep Canine Topography (O'Brien & O'Brien 2018). This series operates as a visual and sonic essay for each walk and explores memory, deep topographical imprints, and entropy between wild and post-industrial spaces and sub-urban sprawl, on the edge of the city of Leicester and the county of Leicestershire. During the 2020 Covid 19 pandemic lockdown, as part of permitted exercise, we undertook 10 Walks, of up to 10 miles, within a 10 mile circle of our home, just outside of the city centre. Covid 19 restrictions, remained in place in Leicester longer than in any other UK city or region.
Each title will take you to a different walk.
Click return to return to the title page.
Click Base Map to open a GoogleMap of the walk locations and GPS tracklogs (in a new window).
Clicking on the round MAP circle, on the title page, will take you to the central exposition of my PhD: Deep Canine Topography.
ENHANCING PERFORMATIVE CIVIC ENGAGEMENT IN MEANS OF PUBLIC TRANSPORTATION
(last edited: 2023)
author(s): Ioannis Karounis
This exposition is in progress and its share status is: visible to all.
Through 2 workshops in Amsterdam and in Athens, we created a toolkit with artistic games and props, which all passengers can use in order to interact with others in public transport. My aim is to empower citizens to transform the non-place (Augé, 1995) in means of public transportation into performance space/time and, subsequently, social space/time (Lefebvre, 1991) through a creative form of civic encounter.
Public transport is not only a public utility and a means of accessing other public places; it is also itself a mobile public space (Paget-Seekins & Tironi, 2016). Using public transport is an outdoor "necessary activity," which is more or less compulsory, such as going to work or waiting for a bus, where people are in "passive contact" with each other -they only see and hear other people- and only minimum activity takes place (Ghel, J. 2011, p. 9-13)
" I dance in the shadows of the public and the personal.
I travel between the rational and the irrational, between fantasy and reality.
I invite you to a trip whose purpose is the journey, to introduce you to my friends, the known and the unknown, the transient, the ephemeral, the everyday.
People, passing by, hurrying along, watch me, thousands of them swarm to my temporary island, my railcarriage, my home. They sit down across from me smiling at me. Do you want to play? Do you want to play? in this game there is neither winner nor loser. The realization of the significance, and yet the insignificance of my existence gives me balance.
There is no stop-free trip, just as there is no stop without a traveller.
I liken life to a string that pulsates and is constantly reshaped at any moment without specific angles or bows and sides, a string that offers us no chance to measure it. This is the field that concerns me primarily, the general reshaping taking place on all levels.
I don’t separate life from creation nor do I separate art from life.
I bear responsibility for the act of everyday life, conscious of the whole and of the future. I am a sensor of the universe and my actions are recorded and return to me, not so much in the form of punishment or reward, rather as the trajectory I pursue in my own significant / insignificant life. "
IOANNIS KAROUNIS
kartografie - Analyse en Reflectie - Ellen Dupré
(last edited: 2023)
author(s): Ellen Dupré
This exposition is in progress and its share status is: visible to all.
Spanning in de praktijk
vrouwonvriendelijkheid in theater
stereotype vrouwenrollen
gender ongelijkheid in theater
The Emergent Artistic Object in the Postconceptual Condition
(last edited: 2023)
author(s): Jack Segbars
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The dissertation of Jack Segbars investigates the fabric and the infrastructure of contemporary artistic production. The focal question is how the contemporary field of institutional artistic production is organised and how the relations between its actors and functions: artists, curators, institution, governance and theory are structured, and how the artistic object that results from their interaction is produced. The backdrop of this investigation, is the condition of cognitive capitalism. Production and working-relations in late capitalism as analysed by Paolo Virno, are characterized by the primacy of communications. It presumes that no longer there is a clear demarcation between aesthetics, labour and politics in the general make-up of production and economy.The second backdrop is the postconceptual condition, as formulated by British philosopher Peter Osborne. He describes how the authorship of the art-object has shifted to the institutional platform (museum, presentation-space) and how the ‘project’ has become the general form of production. This situation particularly affects artistic production and the relationships between the main actors in regards to who holds the authorship over the artistic object. Both these movements have led to significant changes in how to consider the status of authorship in artistic production. Together they shape the theoretical basis for the research.
Den emotionellt hållbara filmprocessen
(last edited: 2023)
author(s): Emilie Löfgren
This exposition is in progress and its share status is: visible to all.
Hur skapar och utvecklar jag metoder för en filmprocess som värnar mitt eget och mina medarbetares mentala och känslomässiga välbefinnande när vi gör film om svåra frågor? Hur tar jag hand om mina medverkande? Hur ser min film ut som är sprungen ur en sådan arbetsprocess? Hur har arbetet med terapeuten Cilla Holm, tidigare filmproducent, bidragit till en hållbar filmprocess? Filmbranschen präglas av högt tempo och utmattningssyndrom är inte ovanligt. För fyra år sedan blev jag utmattad och efter att ha sörjt mitt gamla jag och min nya stresskänslighet kom jag fram till att jag inte tänker acceptera att jag inte ska kunna arbeta med det jag älskar, film och skrivande. Jag tänkte att det måste finnas andra sätt att arbeta med film och fortfarande få må bra.
En exposition om skapandet av min dokumentärfilm Om sorg (2022) och metoden som jag kallar för den emotionellt hållbara filmprocessen.
English abstract:
How do I create healthy working methods that benefit my own and my team members mental and emotional wellbeing while making film about difficult subjects? What does a documentary sprung out of these methods look like? How has the collaboration with Cilla Holm, film therapist and former film producer, contributed to make the process emotionally sustainable? The film industry is fast paced and burnout is not uncommon. Four years ago it happened to me and I had a total identity crisis. After grieving my old self, my ability to multi-task and my newfound stress intolerance, I came to the conclusion that I will not accept that I have to leave the film industry. I wanted to keep working, I just had to find another way to do it.
An exposition about the creation of my documentary About Grief (2022) and the method that I call The emotionally sustainable film process.
des paumes pour cueillir la honte que nous sommes en train de perdre
(last edited: 2022)
author(s): Sarah Boutin
This exposition is in progress and its share status is: visible to all.
Dans le cadre d'une maîtrise en Arts visuels et médiatiques en codirection avec le programme de Création littéraire de l'UQAM, je réfléchis à la mémoire des corps et plus précisément aux récits transmis d'une génération à l'autre malgré le fait qu'ils ne soient pas racontés. Pour cueillir ce qui constitue l’objet de cette présente recherche-création, ces mémoires-fantômes qui se dérobent à l’intelligibilité et dont pourtant les corps-archives sont affectés et présentent les symptômes, ma pratique poétique performative utilise le motif des paumes. Dans des vidéos-performances, mes mains vides reconnaissent les pertes, silences et omissions dont les corps sont porteurs et, se faisant, valident la souffrance infligée par les non-dits. Aussi, mes mains se relient à une série de symboles (la tresse, l’oiseau, les noyaux) pour développer de nouvelles histoires qui, si elles ne peuvent pas remplacer les vides, s’y additionnent et inscrivent les corps dans de nouvelles filiations.
studio Culture
(last edited: 2022)
author(s): Andrew Bracey
This exposition is in progress and its share status is: visible to all.
The ground-breaking pedagogic research project will elevate the function and usability of the MA fine art studio, and to instil a greater and more effective studio culture. We will do this through a two-phase project, in one staff will demonstrate best practice and students will reflect and evaluate this in regards to their own studio use. In phase two students will replicate what has been demonstrated for their own studio activities. Both phases will be recorded using stop-motion cameras to enable us to study the time and space usage.
The innovation of the project is to give a heightened sense of professional studio activity to and for students, by the direct observation and dialogue with their course lecturers. Tacit knowledge of studio practice has always been integral to art practice and pedagogy, but never formally or quantifiably studied or recorded. We aim to make students actively aware of this through the observation and evaluation of how lecturers use the studio, allowing them to view what is currently hidden as lecturers have studios off campus. The intended impact is that they will productively improve their own studio activity on the MA course and beyond as they become professional artists.
UNSCHÄRFEN second art conference
(last edited: 2022)
author(s): Florian Tanzer, Doris Ingrisch, Andrea Sodomka
This exposition is in progress and its share status is: visible to all.
unschärfen - second art un-conference
A project by Doris Ingrisch and Andrea Sodomka in cooperation with Ö1Kunstradio.
with: Reinhold A. Bertlmann, Doris Ingrisch, Norbert Math, Andrii Pavlov, Elisabeth Schimana, Andrea Sodomka, Florian Tanzer, Rebekah Wilson aka Netotschka Nezvanova, Elisabeth Zimmermann, among others.
UNSCHÄRFEN DRITTE ART KONFERENZ
(last edited: 2022)
author(s): Florian Tanzer, Andrea Sodomka, Doris Ingrisch
This exposition is in progress and its share status is: visible to all.
Unschärfe verweist auf Dimensionen, die uns Welt anders wahrnehmen lassen – in der Kunst, in der Quantentheorie und in den Gender Studies.
Zurich Wind Tunnel Log II
(last edited: 2021)
author(s): Florian Dombois, Sarine Waltenspül, Mario Schulze, Fabian Gutscher, Christoph Oeschger
This exposition is in progress and its share status is: visible to all.
The wind tunnel of Transdisciplinarity Research Focus at the Zurich University of the Arts, ZHdK, in Switzerland runs artistic experiments since 2013. Video footage from 2018 onwards is logged here according to different cameras used.
For more information see:
http://www.zhdk.ch/en/fspt
http://blog.zhdk.ch/windkanal
http://windtunnelbulletin.zhdk.ch
http://modulus.zhdk.ch
https://www.researchcatalogue.net/view/56777/56778
Translating Atmospheres
(last edited: 2021)
author(s): Cecilia Berghäll
This exposition is in progress and its share status is: visible to all.
An ongoing research and exploration of what it means to think and feel through mediums.
A Dead Writer Exists in Words, and Language is a Type of Virus
(last edited: 2021)
author(s): Linda Stupart, Jakub Jan Ceglarz
This exposition is in progress and its share status is: visible to all.
"Virus" synthesises four years of performative and traditional research—engaging a range of contemporary artists, institutions, and writing practices to reformulate possibilities for art criticism and institutional critique within artworlds. This practice-based research offers new possibilities for embodied art criticism. The work makes visible, interrupts, and challenges the violent and patriarchal structures of the artworld, offering new modes and practices of feminist and queer artmaking, critique, and resistance. As well as the novella, "Virus" comprises sculptural elements, videos, performance, and a series of prints of spells written for/against the artworld.
This research contributes to performance art, situating itself on the borders of ritual, language, and performativity. The spell works are at the centre of a ‘re-emergence’ of witchcraft in art, and new possibilities for performance-as-criticism. "Virus" is a singular output in multiple fields—literary criticism; experimental writing; contemporary art; eco-feminism; queer theory, and objectification studies—and its multidisciplinarity contributes to each of these fields. Its assertion as an art object, in the form of writing, is an integral moment for the conception of the ‘Art Writing’ discipline.
The spells appeared in a major survey show of feminist art touring the UK (‘Still I Rise: Feminisms, Gender, Resistance’, 2018–19), as well as survey shows about witchcraft and contemporary art in Vienna and Cornwall. Stupart performed spells as research outputs at the University of Melbourne; 4S: Society for Social Science annual conference, Sydney; Edinburgh University; Reading University; and as an exemplary of practice-based research in the BCU PGCert lecture program.
"Virus" is the subject of two conference papers: Ass. Prof. Helen Hester (‘Towards a Theory of Thing-Women’, 2017) and Dr Holly Pester (‘Common Rest’ 2016). It is on university reading lists including: Royal Academy of Art, Copenhagen; Reading University; University of Cape Town; Queen Mary and Goldsmiths, London University; and LCC.
Body-Object Intersections: Touch Model
(last edited: 2021)
author(s): Barbis Ruder
This exposition is in progress and its share status is: visible to all.
The touch model is a first attempt at describing the space between
the body and the object as a new form: their intersection.
The touch is the intersection, and it builds a shape with various
specifications.
Crit 2020
(last edited: 2021)
author(s): Jeremi Biziuk, Ain Nurul Ain Binti Nor Halim
This exposition is in progress and its share status is: visible to all.
Critical assignment documentation and exhibition for the group of Kaiming Li, Klara Fantova, Ain Nor Halim and Jeremi Biziuk.
A new language for cities
(last edited: 2020)
author(s): Emma Harriet Austin Creed
This exposition is in progress and its share status is: visible to all.
A new language for cities is an exploration into how Virtual Reality, Augmented Reality and New Media (XR) can help to make art more inclusive through re-introducing it into everyday life, allowing audiences to consider the environment around them in new, playful, immersive and interactive ways.
Cities are living organisms in the sense that no matter our intentions when working with architecture and urban planning, we cannot guarantee how a certain space or environment will be used. The purpose and use of a space is dependent on the people who inhabit it, not those that create it. As such, each corner of a city has a story to tell. The daily interactions of the people who live and work there leave a mark that creates an intimate narrative around what it means to live a life.
As an artist I am interested in exploring both what has alienated people to different forms of art and also encouraged them to engage with it. I believe that XR has the possibility to play with the reality of how people will interact with a city, exploring historical and current narratives to reconnect alienated audiences with art by literally bringing it to them.
Trennungssongs of Togetherness
(last edited: 2020)
author(s): Paul Norman
This exposition is in progress and its share status is: visible to all.
**WIP**
How do you make a piece about Europe without talking about Europe?
Separation: the action or state of moving or being moved apart.
Song: a set of words set to music or meant to be sung
Togetherness: the state of being close to another person or other people.
Paul Norman and Leander Ripchinsky, choose not to take separation, song or togetherness at face value, but through the act of game-playing gently coax something resembling meaning from its hiding place. As an audience we are asked to park our expectations, taking the chance to busy ourselves with rules and words and sounds and all kinds of decision-making.
How do you make a piece about Brexit without talking about Brexit?
Beethoven: form and dynamics [Snapshot - 2020-08-02 22:17]
(last edited: 2020)
author(s): Leo Marillier
This exposition is in progress and its share status is: visible to all.
this research explores and weaves its way through Ludwig van Beethoven's two largest violin works, the sonata for piano and violin in A major op.47 and the Concerto for violin and orchestra op.61. Studying carefully and visually the manuscripts gives concrete examples of Beethoven's solutions to large forms through dynamics, rhythmic articulation, since throughout his creative output he delves deeper in creating and controlling his works through these parameters
The Green Man - scientific and artistic reflection on environmental issues
(last edited: 2019)
author(s): Ana Sladetic Sabic
This exposition is in progress and its share status is: visible to all.
„The Green Man“ art work is based on a real environmental research that was conducted on invasive tropical algae from the Adriatic Sea which belong to the most invasive species on the Earth. These algae are dangerous because they produce toxic compounds that destroy native species causing reduction in biodiversity and marine life. Despite its harmful effects on ecosystems, animal and human health the monitoring of these species in Croatia has been terminated due to lack of financial support. Through human body and circulatory system, this art work discusses fundamental issues present in research practice. Links in the work represent touch-activated voice lines that reveal the truth and actual state of scientific and artistic research practice.
Intertwined - What does it mean to be a creative person of faith?
(last edited: 2019)
author(s): Joshua Hale, Kelly J. Arbeau
This exposition is in progress and its share status is: visible to all.
From the most religious to the most secular, no artist ever knows exactly where their creative process is leading—but we all seem to have faith that we will get there. Many factors underlying creativity are also crucial to the act of having faith. These shared factors include ambiguity tolerance, openness to mystery, engaging with paradoxical thinking, perseverance, and questioning. Additionally, those who practice each (creativity, faith) share many guiding phrases, such as “take it one step at a time,” “go with your heart,” and “trust the process.” This interdisciplinary arts-based research project explores the experience of being a self-identified creative who practices a faith or religion. The exhibition combines methods from arts-based research, human centered design, and phenomenology to describe the intersections between the creative practices and faith perspectives of 15 individuals. The experience of our participants is that of creativity and faith combining—intertwining—to form an interactional, hybrid experience that is profoundly different from each experience on its own.
'Buurtte' Educational tool
(last edited: 2019)
author(s): Richard Meeuws
This exposition is in progress and its share status is: visible to all.
Dit is een onderzoek dat zich richt tot begleiding op een gezellige manier. Dit benoem ik tot buurtte.
A Study
(last edited: 2019)
author(s): James Wood
This exposition is in progress and its share status is: visible to all.
*
This is a product of a series of performances, educational projects and ruminations in 2015-6. It was improvised and is ever incomplete.
To begin with a general overview, refer to the "Parallels" page. Otherwise, happy travels.
It is a ludic and ergodic text and is not to be considered definitive. Each reading should deepen each previous, and be reliant upon postexpectant and preexisting readings. Consequently, in a formal sense, it owes much to Nietzsche's Zarathustra and Braxton's Tri-Axium Writings. Sections over- and under-lap, alluding freely within and without themselves. There is no correct method of engaging with it, nor a linear approach. "As we will have seen", many sections explain themselves only through others. It is a philosophical matrix, a web contingent upon all strands and - most crucially of all - an investment of the Reader's sense of Self into the work. Like a metaphor, the Reader must place themselves within the work as the absent tenor or vehicle relevant to each piece (leaning on Graham Harman and Jose Ortega y Gasset). In other words, it is an attempt - a nobly failing attempt - to ensure the Reader - the audience - is as much a creator as the writer.
*
Not so very long ago a community of people came together and, after a lengthy and luxurious dinner, after which the group found their prepared topics of conversation too incendiary, fetid or dull to suit the evening, decided to invent Art. During the protracted debates that followed, according to the comprehensive minutes of the gathering, Art’s proportions and dispensations were agreed upon: Art was to have no place within quotidian daily life or public policy; it was to be devoid of both educational merit or impetus; it was to arouse emotion but never too strikingly; and was to be deemed the final topic of conversation at dinner, after its natural locutory progenitors science and politics. Feeling pleased, the group dispersed.
(It is worth perhaps parenthetically noting that the following morning the host of the party – nursing a fiercely raging headache – found and read over the proposal prior to its distribution. After a while he discovered he disagreed with the entire document and, throwing into the fire, rewrote it entirely. Since this was all done in secret and because his friends are that particular type of people, he stills receives no credit whatsoever in the publication of the document.)
Wind Tunnel Log Zürich
(last edited: 2018)
author(s): Florian Dombois, Haseeb Ahmed, Sarine Waltenspül, Mirjam Steiner, Kaspar König, Reinhard Wendler
This exposition is in progress and its share status is: visible to all.
The wind tunnel of Transdisciplinarity Research Focus at the Zürich University of the Arts, ZHdK, in Switzerland runs artistic experiments since 2013. Video footage of it is logged her.
For more information see:
http://www.zhdk.ch/en/fspt
http://blog.zhdk.ch/windkanal
http://windtunnelbulletin.zhdk.ch
http://modulus.zhdk.ch
Inverse
(last edited: 2017)
author(s): Florian Dombois
This exposition is in progress and its share status is: visible to all.
The public art project "Inverse" investigates on the possibilities to model and imagine a reverse time. The artist Florian Dombois engages for this with scientists of all disciplines from the City of Dresden, Germany, and collects examples to approach the unimaginable.
On May, 30th, 2015, 12-14 h a Flock of Happenings was held on Postplatz in Dresden. On May 28th, 29th and 30th three podiums took place developing the discourse.
This webpage collects different material:
* Documentation of the different projects during the Flock of Happenings
* Examples from Art, Literature, Film, Music, and Videogames
* Press Material
"Inverse" is curated by Thomas Eller, Berlin.
Assistance: Irène Mélix, Lisa Poelker, Dresden
The Collective Archive
(last edited: 2017)
author(s): Ana de Almeida
This exposition is in progress and its share status is: visible to all.
The Collective Archive project starts from the personal photo collection of José Alberto Vidal de Almeida, my father, a Portuguese stipend student in former Czechoslovakia between 1978 and 1987 – an archive originally stored inside a shoe box.
Whilst this photo collection contents extensive documentation of a mix of both personal and historical events, the research conducted around this archive allows a parallel following of the final years of the communist regime in Czechoslovakia, before the 1989 Velvet Revolution, and the first years after the left wing Carnation Revolution in Portugal that allowed the end of 48 years of fascist regime, as well as the end of the Portuguese Colonial War in April 1974.
Forming a network of complex and indelible relations between personal and national histories as well as between local and global history, my father's photographs are the substrate upon which I seek to research about what meant the group of happenings for both countries and at the same time to investigate how the individual awareness of the witnessed events was formed, hence aiming to address the question of how are actually defined and transmitted important historical marks.
One cannot dispose of the collocation of the individual understanding in the building of an historical narrative, emphasizing the individual position clarifies history’s arbitrary character. Each individual act of image production is an act of significance.
What follows is the transformation of the shoe box as a depository of photos into an archive and the articulation of the lived and of the transmitted (inscribed) experience with the macro-political and historical processes.
Opening the box will necessarily means, in a first instance, to give a voice to my father, which means the transformation of the essay into a gradual quest for finding more voices within the archive.
The theoretical and the artistic thought must be problematized, made distinct and at the same time entangled, and importantly they must be taken to their limits in order to re-establish them. The future becomes the issue of the archive and the voice that should be finally found is the one of a collective practice.
Institutional Creep, 4 years since Andrea Fraser's There's No Place Like Home
(last edited: 2016)
author(s): Charlie Dance
This exposition is in progress and its share status is: visible to all.
Institutional Creep, 4 years since Andrea Fraser's There's No Place Like Home
What's changed? What's changing? Did anyone get on board with Fraser? Or has the institution creeped even further into the arts?a
In the Offing
(last edited: 2016)
author(s): Charlie Dance
This exposition is in progress and its share status is: visible to all.
An explorative look at the role of the institution in shaping the role, work, and people we call artists in the contemporary art world.
Augmented accidents / accidental augmentations
(last edited: 2015)
author(s): Chrystalleni Loizidou
This exposition is in progress and its share status is: visible to all.
An experiment on the Artistic Research Catalogue
May I introduce you: MY ART, MY ART RESEARCH
(last edited: 2015)
author(s): Ninel Cam van Chapull
This exposition is in progress and its share status is: visible to all.
This paper is about the ontological search of the motivation where my very own art making and art research is sourced.
Meta-Landscapes: Expressions of Temporal Consciousness, New Abstractions in Photography
(last edited: 2015)
author(s): Jason Engelund
This exposition is in progress and its share status is: visible to all.
Artist Jason Engelund approaches photography by addressing psychological frameworks of different world-time views, and shifts in perceptions of time during individual events. The notion of a “visual time signature” is proposed, a phrase to describe types of temporal consciousness, incorporating cultural and individual time perception as they relate to cognition, experience, and image. Expressions of the “meta-landscape” encompassing both the psychological landscape and actual landscape are pictured and discussed.