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.
Not at Home: The Uncanny Experiences of Radio Home Run
(2018)
author(s): Heather Contant
published in: Journal of Sonic Studies
In this paper, I attempt to better understand the Japanese media artist Tetsuo Kogawa’s concept of radioart by examining the relationship of this concept to movement. To do this, I focus on the Japanese term ika, which can be used to describe the uncanny feeling that results from aesthetic strategies, such as Viktor Shklovsky’s artistic techniques of defamiliarization or Bertolt Brecht’s alienating tactics of Verfremdungseffekt (V-Effekt). Discussions of ika not only circulated through and around the intellectual and artistic communities that Kogawa participated in during the 1970s and 1980s, they also influenced the practices of the very low-powered FM radio stations, Radio Polybucket and Radio Home Run, established by Kogawa’s students in the early 1980s. By discussing the emphasis of ika and physical movement in Radio Polybucket’s and Radio Home Run’s practices, I begin to trace a central element in Kogawa’s concept of radioart, which I call a kinetic interaction with the material conditions of radio. Through this kinetic interaction, Kogawa makes the material aspects of radio phenomena—its technology, its electromagnetic waves, and its sonic content—perceptible in a new way and thereby reveals previously hidden possibilities.