The Exhibition as Performance. Performance as Research.
(2012)
author(s): Sabina Pfenninger
published in: Research Catalogue
The project explores the exhibition space as place and part of collective creation of knowledge. It focuses on the aesthetic experience as an epistemic practice, present both in the production of art and in its reception, during which the researching process of art continues. A screenplay constellation is used as a research method to perform the object of research (the exhibition space) as well as the research itself. Thus, production, execution, and presentation of the research process and of its results are intertwined.
I'll be Gone Again: Documenting the Virtual Body
(2012)
author(s): Ruth Benschop
published in: Research Catalogue
I’ll be gone was a project in which two groups of students from different backgrounds and theatre traditions worked together with artist Peter Missotten to create a performance at the Maastricht Theatre School. In the project they explored virtual technologies as part of a larger project called The Virtual Body. In order to research the way in which virtuality was at stake in the project, a documentation of the working process was made. The documentation aims to discuss as well as embody issues that are also at stake in performance and virtuality – such as the relationship between real/non-real and live/non-live. Moreover, the documentation tries to take seriously questions about why, how and for whom one would want to maintain what to all intents and purposes has gone: I’ll be gone.
Luginsland (Sound and Score)
(2012)
author(s): Florian Dombois
published in: Research Catalogue
'Luginsland (Sound and Score)' displays both a visualization and an audification of a seismic recording, that was taken at Kunsthalle Bern during the exhibition 'Pre-Emptive' (18/08/2006 – 08/10/2006). The exposition focuses on the dialectic of notation and performance, that has a long tradition in music, but is here transposed into the context of sonification research and sound art.
The Other Side of the Frame - Artistic Experience as Felt Framing. Fundamental principles of an artistic theory of relativity
(2012)
author(s): Julian Klein
published in: Research Catalogue
Artistic experience can be interpreted as an embodied sensing of frameworks. In artistic constructions of realities, cognitive experience („Erfahrung“) and aesthetic sensing („Erleben“) interfere. Based on an analysis of aesthetic relativity in general, and of the artistic perspective on reality in particular, an artistic form of „sensuous cognition“ can be described: a genuine artistic understanding of the world as a sheaf of intentional coupling and decoupling manifolds, like an sensuous gauge theory of mind in multiple realities. The main gain of this approach can be found in an epistemological practice of a specific kind of artistic research, aiming for embodied and therefore experienced knowledge.
choreographic things, dancing
(2012)
author(s): Martin Nachbar
published in: Research Catalogue
How are the body's sensations connected to what the mind imagines? An investigation through a series of choreographic practices, which all graft at least two existing movement and/or performing practices onto each other, accompanied by several drawing exercises, which act as two-dimensional renderings of the three- or four-dimensional practice of choreography, and with the attentive, mindful body as a hinge between the sensory and the imaginary.
In my contribution to the ARC I try to trace the trajectory of the research during its two-year course in its chronological order. This seems to be in place especially for a time-based art-form such as choreography, in which an audience witnesses any research findings over the time of the choreography.
ONE DOUBLE BODY
(2012)
author(s): Branka Zgonjanin
published in: Research Catalogue
ONE DOUBLE BODY/Conversations with The Fish is based on the research of the inner forces within one's body. These forces are perceived as a causality. Each person/performer has
many different bodies, and those bodies are interrelated and influence each other all the time. Their mutual influence is most of the time mechanic. In this work I underline those aspects of the bodies and try to make them visible on the stage. Thematically, ONE DOUBLE BODY is based on the real-time rite de passage experience of a performer/woman: pregnancy, labour and becoming a mother.