evocations – towards a poetics of documentation
(2023)
author(s): Fernanda Branco
published in: VIS - Nordic Journal for Artistic Research
Every art documentation is an encounter with an artwork in displacement, both in time and space. Yet, the experience of being present in the moment a live art work unfolds is – inevitably – lost in documentation. Evocations – towards a poetics of documentation explores non-conventional documentation to evoke imagination, inspired by the fragmentary, concision and absence found in poetry. This exposition passes through early discussions relating documentation to evidence. It looks into contemporary artists who challenge conventional ways to document, and approaches the act of document as bridging. Insisting on the loss and void inherent in documentation, Fernanda Branco's artistic research: environment embodiment – towards poetic narratives explores the circulatory generative process some non-conventional documentation can have. In the two projects I remember and Traces, the documentation viewer is invited to imagine – rather than to see – what occurred.
Photo Credit:
Performance by Fernanda Branco Traces #3. Drawing documentation and photo by Hilde Grønne Flikke.
Poiesis and the Performance Practice of Physically Polyphonic Notations
(last edited: 2023)
author(s): Kevin Toksöz Fairbairn
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This dissertation commences from the concept of poiesis, informed
chiefly by Hannah Arendt’s use of the term in The Human Condition (1958) to indicate a form of
creativity married to craftsmanship. This poietic framework will then be used throughout the
dissertation to inform a practice-based analysis of the learning process involved with physically
polyphonic notations (herein defined as notations of dissynchronous physical actions within a single
performative body). Despite polyphonic asynchrony, the unifying performative demands of these
pieces are the learning strategies necessary to accomplish this eventual reassembly of instrumental
practice within a single, performing body. The following essays will explore the physically
polyphonic repertoire of the trombone specifically as a laboratory for problematizing this poietic
approach to the learning process.