A drawing hangs in the middle
(2023)
author(s): Junuka Deshpande
published in: Research Catalogue
This exposition is based on a project that explored observation of a crossroad through drawings. The drawings are made from the same place on a sidewalk observing the same square over 30 days. During this process, I tried to explore how a continuous observation of a space and the outcome of the process evokes a certain sense of connectedness and reflexive dialogue with the place and its elements- visible and invisible. This artistic research contemplates on the idea of too early too late through the process of drawing where the drawing emerges in the moment, while can be anticipated early and interpreted in hindsight.
My exposition considers the act of drawing as an embodied form of recording as opposed to drawing as an image-making (representational) exercise. This process of drawing becomes an engagement with the existing spatial elements, arrangements, their interconnections and importantly, with the self, that is observing. Along with the external engagement and a dialogue with the space, the moment of drawing is both- the outcome of observation and a connection in the moment of making it. This tension between an immediacy in the moment of drawing and the reflectivity in the process of meaning-making of the drawings creates a parallel relationship between an immediate present and the immediate past. The empty space on the surface before drawing, therefore becomes a potential space to record moments from the space around and to remember the moments that are passing by.
The work, in the form of drawings of various sizes aspires to present the engagement with the space. The work also gives me an opportunity to find critical moments in the records of time, memory and space. The drawing as an outcome hence, hangs in the middle between the moment of record and moment of being.
The Theatre of Words Set to Music
(2022)
author(s): Lars Skoglund
published in: Norwegian Academy of Music
This doctoral project in artistic research concerns the relationship between music and text when both are created by the same person: a composer writing his own libretti. The project is situated in ‘the everyday’, with commonplace language and daily life situations being examined and explored both thematically and as material.
The combination of music with other elements on the stage has resulted in pieces of music theatre, with a focus on different forms of storytelling. The reflection given withing this exposition describes how the works have evolved and discusses the different impulses that have led to specific artistic and ethical choices.
This exposition is presented in partial fulfillment of the Ph.d.-programmet i kunstnerisk utviklingsarbeid at the Norwegian Academy of Music.
Between Agony and Ecstasy: Investigations into the Meaning of Pain
(2018)
author(s): Barbara Macek
published in: Journal for Artistic Research
Pains are moving, alluring us to world-making-activities, attuning our bodies with other bodies and therefore putting us in relation to others. Pains cut into our net of habits, and even the slightest pain causes a transformation. Pains are crushing, deeply distressing, showing us our limitations – but also our capability to go beyond our limits, to outgrow ourselves.
In the course of my literary research for this project I generated 10 PAIN CATEGORIES that I derived from poems, philosophical and literary texts on pain, and my own experiences. These poetical/pictorial categories differ profoundly from pain categories as they are to be found in common pain questionnaires: They refer to the existential dimension of pain and do not differentiate between physical and mental pain in order to overcome the myth of this dichotomy. The next step of my project consisted in going into the field to look at, imagine and feel into pain. I conducted methodical observations in the casualty departments of two Viennese hospitals and developed my own method of "self-reflective observation in the mode of seeing/feeling". The assemblages as part of this exposition present the results of these investigations and reconstruct different perspectives on PAIN as an EXISTENTIAL PHENOMENON.
DESERT DWELLING
(last edited: 2018)
author(s): Christine Hansen
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.
INERTIA, SPEED AND FUTURE: an artistic research on the unknown, from military disruptions to astronomy predictions
(last edited: 2017)
author(s): Laetitia Catherine Morais
This exposition is in progress and its share status is: visible to all.
The aim of this PhD is to provide an artistic research about unknown territories; pristine, fictitious, distant and immeasurable fields; to find clues or directions to reach them and to make use of the gained knowledge (Erkenntnis) for art practices.
It presents diversified approaches to questions as follows: which are the next boundaries of Art? What are the most advanced methods to move in an unknown field? How long-range observations provide closer approaches? How may advancements in perception inflect new imageries? What is the role of fiction in the development of a future? These main questions may elicit the paradigms of artistic research, once they directly relate with the production of new knowledge throughout artistic conceptualization. These questions invite to a reflection upon the future and how fiction may be introduced to scientific knowledge, in order to maintain an open perception of reality.
Therefore, fFor this analysis, I will focus on the introduction of methodologies - sometimes external to the field of art – such as military and astronomic observations of its surroundings. The military area is pointed out here by its cutting edge approach concerning surveillance, by making the invisible visible and vice-versa, through camouflage and landscape reconnaissance. The astronomic field is also brought to this research by its unstable nature, collapsing time and space, that is, studying data from the past until the present, with the aim to uncover a possible future. The materials used for their observations such as lens, absorbing and reflective surfaces, evoke an imagery (either by literature, music, comics and cinema) related to science-fiction, but they are, nonetheless, the most effective equipment for the observation of far away objects…
Both areas promote incursions into the unknown, throughout practices, techniques and tools that frequently combine two crucial factors: inertia and speed. It is departing from these main concepts that I raise questions around new aesthetics of the future, analyzing military and astronomic techniques used to disrupt or improve perception, and how these have been intercepting with art as a visionary mean. In this sense, I wish to contribute for a broadening conception of the unknown.
Therefore, this project is a gathering of information from different sources of knowledge, a study on space and time, a relocation of imageries – making (thinking and doing) – aesthetics. It is also a key for an artistic discourse capable to dialogue without constraints, combining conceptual objections with experimental practice, applied in diversified fields.