Intimate to and transcendent of transient time qua the seen and drawn in the present: an email to a painter/academic and his reaction
(2023)
author(s): Mike Croft, derek pigrum
published in: i2ADS - Research Institute in Art, Design and Society
The idea of the exposition was triggered by an email exchange between artists Mike Croft and Derek Pigrum on 30th November 2022. The two artists have for more than a year been maintaining an email correspondence on matters of mutual interest concerning their visual practice and theoretical explorations. On this occasion Croft had read something by the psychoanalyst Jacques Lacan on the automaton, the latter of which he knew to be of great interest to Pigrum, the email to Pigrum of which opens the exposition. The resulting email response from Pigrum has as its point of focus a visit he had made the day before to the KHM (Kunsthistorisches Museum) in his home city, Vienna, where what he terms ‘the automation of contingency that generates repetition’ was as usual in operation. The references Pigrum made in the email to his own artistic work and existing works of art and cultural and historical artefacts suggested his text might be divided and illustrated, the resulting format of which is the present exposition. Several additional responses to the email exchange’s content ensued, termed interventions in the exposition, leading to a closing email exchange dated 11th December 2022. A third email exchange between 13th and 14th December has resulted in a Postscript section. Croft’s contribution pivots, he suggests, around Lacan’s coined term ab-sense, very approximately interpreted to mean absence of meaning between patterns or continuum – in the linguistic context signifiers –that are nonetheless not reducible to mere nonsense. The running through, as it were, of contingency in Pigrum’s practice – which he points out is not his only interest and prompts a need to show the broader picture, as it were, a pivotal influence for him being Aby Warburg’s Atlas Mnemosyne – may be considered informed by sense more so than meaning. The exposition is an example of how an ongoing correspondence can be an important aspect of each artist’s practice.
Reiterate, rerun, repeat
(2021)
author(s): Michael Duch, Jeremy Welsh
published in: VIS - Nordic Journal for Artistic Research
Repetition plays a central role in many musical styles and genres. Repetition, rhythm and patterns also play an important part in the visual arts. Here we will show, examine and discuss repetition as a method and main musical element, as well as their correlation with moving images, in a series of audio-visual works we have been working on together since 2016.
Accumulator is one such project and will be the main focus here, where not only repetition, rhythm and patterns appear as musical and visual elements, but is used as an artistic method in itself when repeating performances of a similar material, documenting each one of them and adding the individual performances as layers creating a dense audio-visual orchestral solo performance.
As well as temporal repetition, Accumulator repeats in the spatial dimension, where the staging of a performance features the live performer multiplied, as he is accompanied by pre-recorded video images of himself. According to the spatial characteristics of the given performance space, this repetition of the performer may be frontal / two dimensional, or may extend across several surfaces, creating a surround projection in which the live performer is contained.
Behind the back of Linnaeus - Bakom ryggen på Linné
(2020)
author(s): Annette Arlander
published in: RUUKKU - Studies in Artistic Research
EN
This bilingual exposition presents parts of the artistic research project “Performing with Plants”, video works created through repeated visits to a sycamore in Humlegården and a beech in Djurgården during the year 2017, and discusses the notion ecology of practices introduced by Isabelle Stengers. The exposition consists of an essay, the video works, and some working notes from the process as an appendix.
SVE
Denna tvåspråkiga exposition presenterar delar av det konstnärliga forskningsprojektet ”Att uppträda med växter”, videoarbeten som skapats genom upprepade besök hos en tysklönn i Humlegården och en bok på Djurgården under år 2017, och diskuterar begreppet praktikernas ekologi som introducerats av Isabelle Stengers. Expositionen består av en essä, videoverken, och några arbetsanteckningar från processen som bilaga.
Return to the Site of the Year of the Rooster
(2019)
author(s): Annette Arlander
published in: RUUKKU - Studies in Artistic Research
This exposition is centred around a video essay, which uses some parts of Animal Years, a series of one-year performance-projects recorded on Harakka Island in the years 2002-2014, as examples to create a form of "digital autotopography". Returning to the site of the performance Year of the Rooster (2006) and Christmas of the Rooster - Tomten (2006) twelve years later serves as a starting point for reflections on the materiality of the site, on the birches growing there as co-performers, and on revisiting and assembling old works as way of doing things with performance.
Practicing art - as a habit? / Att utöva konst - som en vana?
(2017)
author(s): Annette Arlander
connected to: Stockholm University of the Arts (SKH)
published in: RUUKKU - Studies in Artistic Research
This bilingual exposition (English and Swedish) presents and problematizes the relationship between artistic practice and habit, describing two projects that deal with repetition and place. The projects 'Solsidan' and 'Summer at Söder' were undertaken during the years 2015-2016 in Stockholm. The idea of repetition and returning to the same site were crucial, as in much of my previous works. Unlike them, neither of these two projects involved performances for camera; in both the actual practice consisted of video recording the view. The shift in emphasis from an artistic practice aiming to produce an artwork, into an activity undertaken mainly as an exercise, an activity, could be seen as a strand in the general trend in contemporary art since the 1960s and accentuated in this century towards valuing the 'working' of art above the work of art as an object. This trend can also be related to research and linked to the preference for various terms like practice as research, performance as research, creative arts research or, indeed, artistic research. - This exposition combines a description of the actual practice, with an encounter with the material generated through that practice and proposes that these works can exemplify artistic research as a speculative practice.
Thirty Sixth Series of the Next Kind of Series
(last edited: 2023)
author(s): Wim Kok
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The subject of the research of Wim Kok is __difference and repetition,__ an area which bears a direct relationship to Wjm Kok__s practice, in which the production of work always emerges and passes through series. It is also the title of a book by Gilles Deleuze that has been used as source and reference to explicate the research. Taking this book Difference and Repetition as a departure point, an ongoing series of writings was produced that sought to expose the different angles of the subject. The majority of these texts were published in diverse platforms, constituting an exchange with related subjects and his practice as a foundation for exploring other territories. A selected collection of these texts constitutes the dissertation. The presentation of this research will take place during the defense in the Grand Auditorium of Leiden University.
Score: Mechanical Asynchronicity
(last edited: 2022)
author(s): Danica Maier, Martin Scheuregger
This exposition is in progress and its share status is: visible to all.
A collaboration between visual artist, Danica Maier and composer, Martin Scheuregger - Score: Mechanical Asynchronicity takes a single historical lace draft from the Nottingham Lace Archive as the starting point for new live and installation-based visual-musical works.
The working process and presentation of Score: Mechanical Asynchronicity sees the fine artist become ‘composer’ and composer become ‘artist’. Their roles move from user – of each other’s discipline knowledge, aesthetic understanding and technique – to author of works that are contingent on their collaboration but can still be identified as belonging to their individual practices.
You can navigate this exposition through a series of prompts each focusing on a different aspect or way to engage with the work: Look, Listen, Read, Play, and Watch.
Read: offers an opportunity to understand further details about the project including pilot works, experimental development, key events and practical details.
Look: will share images of the scores created by Maier and Scheuregger, and the original historical lace draft.
Listen: gives you a chance to hear original music box sound pieces as well as Side A and B of the recorded pieces.
Play: allows you to ‘play with' the individual tracks allowing you to create a combined piece in various iterations including 1-4 musicians.
Watch: includes film documentation from four different concert versions to view.
“Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes.
(last edited: 2021)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
This music research drama thesis explores and presents a singer’s artistic research process from the first meeting with a musical score until the first steps of the performance on stage. The aim has been to define and formulate an understanding in sound as well as in words around the concept of pure voice in relation to the performance of 17th century vocal music from a 21st century singer’s practice-based perspective with reference to theories on nothingness, the role of the 17th century female singer, ornamentation (over-vocalization) and the singing of the nightingale. The music selected for this project is a series of lamentations and mad scenes from Italian and French 17th century music dramas and operas allowing for deeper investigation of differences and similarities in vocal expression between these two cultural styles.
The thesis is presented in three parts: a Libretto, a performance of the libretto (DVD) and a Cannocchiale (that is, a text following the contents of the Libretto). In the libretto the Singer’s immediate inner images, based on close reading of the musical score have been formulated and performed in words, but also recorded and documented in sound and visual format, as presented in the performance on the DVD. In the Cannocchiale, the inner images of the Singer’s encounter with the score have been observed, explored, questioned, highlighted and viewed in and from different perspectives.
The process of the Singer is embodied throughout the thesis by Mind, Voice and Body, merged in a dialogue with the Chorus of Other, a vast catalogue of practical and theoretical references including an imagined dialogue with two 17th century singers.
As a result of this study, textual reflections parallel to vocal experimentation have led to a deeper understanding of the importance of considering the concept of nothingness in relation to Italian 17th century vocal music practice, as suggested in musicology. The concept of je-ne-sais-quoi in relation to the interpretation of French 17th century vocal music, approached from the same performance methodology and perspective as has been done with the Italian vocal music, may provide a novel approach for exploring the complexity involved in the creative process of a performing artist.
Thesis for the degree of Doctor of Philosophy in Performance in Theatre and Music Drama
at the Academy of Music and Drama,
Faculty of Fine, Applied, and Performing Arts,
University of Gothenburg
ArtMonitor dissertation No 25
ArtMonitor is a publication series from
the Board for Artistic Research (NKU),
Faculty of Fine, Applied, and Performing Arts,
University of Gothenburg
A list of publications is added at the end of the book.
ArtMonitor
University of Gothenburg
Faculty Office of Fine, Applied, and Performing Arts
Storgatan 43
PO Box 141
SE 405 30 Gothenburg
Sweden
www.konst.gu.se
ISBN: 978-91-978477-4-2
Collecting Walks
(last edited: 2020)
author(s): Elsa van der Linden
This exposition is in progress and its share status is: visible to all.
catching moments by collecting walks