IRTIKYTKETYISSÄ TILOISSA – poissaolevan kosketuksia katveessa
(2024)
author(s): Jaakko Ruuska
published in: University of the Arts Helsinki
Jaakko Ruuska:
IRTIKYTKETYISSÄ TILOISSA – POISSAOLEVAN KOSKETUKSIA KATVEESSA
Kuvataiteen tohtorin opinnäyte
Taideyliopiston Kuvataideakatemia, 2024
© Taideyliopisto ja kirjoittaja
ISBN 978-952-353-447-6
IRTIKYTKETYISSÄ TILOISSA – POISSAOLEVAN KOSKETUKSIA KATVEESSA muodostuu kolmesta taiteellisesta tutkimuksesta. Niissä tutkin kuljeskeluun perustuvien kokeellisten tutkimusmenetelmien avulla sitä, miten tilan kokemuksellisuuteen vaikuttaa sen taustalla olleen järjestyksen hajoaminen.
DISCONNECTED SPACE – CONTACTS WITH THE ABSENT IN THE BLIND SPOT is a doctoral thesis in Fine Arts, written in Finnish. The thesis is about the experiential phenomenon of space, which could be referred to as an off-connection in English. The thesis consists of three essays. The introduction in English is also included in the first page of the Thesis.
I FRIKOPPLADE RUM – DET FRÅNVARANDES BERÖRING I SKUGGAN Temat för det finskspråkiga lärdomsprov för doktorsexamen i bildkonst är en upplevelse av rumsliga fenomen, som på svenska kunde kallas frikoppling. Avhandlingen omfattar tre studier som observerar hur det det frånvarande och frånvaron ingår i en förnimbar upplevelse.Inledning på svenska finns också på uppsatsens första sida.
Assembling a Praxis: Choreographic Thinking and Curatorial Agency - Being and Feeling (Alone, Together)
(2023)
author(s): Lauren O'Neal
published in: University of the Arts Helsinki
What "moves" in an exhibition, if not the bodies of artists, audiences, and objects? How does conversation move us? What can speculative artistic research offer? This exposition, "Being & Feeling (Alone Together),” held at the Lamont Gallery at Phillips Exeter Academy in 2020, is part of my doctoral research project, “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” While some aspects of the project (including the title), were developed before the COVID-19 pandemic, most of the project unfolds in relation to myriad cultural, spatiotemporal, and civic situations that the pandemic produced. This situation required experimental and responsive curatorial methods that encouraged the project to move in unexpected ways.
[This exposition corresponds to Section Seven: Letting Things Move in the printed dissertation.]
Pandemic performance: A Haunting of Haunts
(2022)
author(s): Garrett Lynch IRL
published in: Journal for Artistic Research
During the COVID-19 pandemic that started in 2020, galleries, theatres, and performance venues closed in accordance with social distancing, lockdown, and confinement policies. Art practice, and in particular performance art, faced an existential crisis: adapt its form or cease to exist for audiences. To adapt, performance art adopted video on the internet as a means through which to perform posing immense challenges to its understanding of performance, liveness, and what is considered physical or ‘real’. As a response, I started to create a body of work employing the methodology of practice as research (PaR) during periods of confinement of the pandemic.
Titled A Haunting of Haunts (2020–ongoing), the practice is designed to be situated within networks and is therefore classified as networked performance. The practice aims to enable artists to create performance under conditions of social distancing, lockdown, and confinement, to explore the idea of transposing performance from ‘real’ spaces to ‘virtual’ spaces, and to critique video as the dominant and largely accepted visual form employed in networked performance. This exposition proposes that while A Haunting of Haunts facilitates practice and assists in the development of a visual language specific to networks that consists of what are termed as networked images, thereby contributing to networked performance as a field of practice, it also highlights the hauntological condition of such a practice.
HONEYMOON IN POMPEII - work in progress
(2021)
author(s): Sven Vinge
published in: International Center for Knowledge in the Arts (Denmark)
“HONEYMOON IN POMPEII – work-in-progress” is an artistic research project conducted at the National Film School of Denmark. In it, I explore transmediality through the production of a prototype artwork spanning film, literary text, sculpture, and virtual reality all loosely inspired by the archeological technique used to cast the Pompeian victims of the Vesuvius eruption in 79 ad.
I describe my initial inspiration and how I changed my intentions of exploring a consistent storyworld to more abstract associations and themes and the different collaborative efforts in producing the four parts of the prototype (a test not meant for public exhibition). The prototype ended up consisting of:
1) A film representing a foot specialist helping a costumer try running shoes in a sports store but showing an obsessive interest in her feet and crossing her personal boundaries.
2) A literary text consisting of selected passages of Wilhelm Jensen’s short novel “Gradiva” (1902) translated to Danish in which we meet the young archeologist Norbert Hanold and notice his obsession with an ancient bas-relief portraying a young woman walking.
3) A sculpture consisting of four transparent plastic reliefs depicting a walking woman (copies of the bas-relief described in the novel) suspended in a 1x2x2 meter aluminum frame.
4) An erotic virtual reality experience in which the perceiver’s bodily movements affects the virtual world. When moving, the represented scene freezes and vice versa.
We conducted a test of the joint transmedia artwork with a small group of respondents who answered a questionnaire reflecting on their experience. I reflect on the respondent’s answers and propose further questions and themes that may be interesting to explore through artistic research: How does one explore transmediality not necessarily in relation to a consistent storyworld but also relying on abstract characteristics? What are the limits (if any) between mixed media art, transmedia art, and installation art? How can transmediality be explored as either a goal in itself or as a development tool for artists working with particular media in mind? Could it be beneficial to explore transmediality through the metaphor of archeology and how?
Storyworld 2.0
(2020)
author(s): Simon Jon Andreasen
published in: National Film School of Denmark
In this project we are exploring how you can use gaming technology to create digital STORYWORLDS (transmedial universes) as a basis for creating film, theater, games, television, comics, books, VR and formats we do not yet know.
The exposition contains:
- a personal artistic and practical journey through familiar yet unknown story territory where we build an actual world
- a series of interviews with professional storytellers about their artistic ways and how they use and can use storyworld thinking
- three excercises which can be used in teaching of students as well as professionals in the art of creating storyworlds.
Finaly the exposition propose a new UNIVERSE DEVISING model blending game and theater methods to create transmedial universes.