Research Catalogue

an international database for artistic research

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  12. VIS Issue 12 VIS Issue 12 was published on 23 October 2024. The issue features seven expositions within the theme “Contemporary Ar(t)chaeology: A dead-alive of Artistic Re-search and History”. Editors: Behzad Khosravi Noori and Magnus Bärtås.
• 11. VIS Issue 11 VIS Issue 11 was published on 2 April 2024. The issue features six expositions within the theme “Play, come what may”. Editors: Cecilia Roos and Gunhild Mathea Husvik-Olaussen.
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  10. VIS Issue 10 VIS Issue 10 was published on 20 October 2023. The issue features six expositions and a recorded conversation within the theme “Circulating Practices”. Editors: Cecilia Roos and Gunhild Mathea Husvik-Olaussen.
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  9. VIS Issue 9 VIS Issue 9 was published on 14 March 2023. The issue features seven expositions within the theme “of Memory and Public Space”. Editors: Serge von Arx and Eliot Moleba.
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  8. VIS Issue 8 VIS Issue 8 was published 18 November 2022. The issue features seven expositions within the theme “of Rules and Alternatives”. Editors: Serge von Arx and Eliot Moleba.
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  7. VIS Issue 7 VIS Issue 7 was published 14 March 2022. The issue features five expositions within the theme “Metamorphoses – Tales of the Ever-Changing”. Editor: Anna Lindal.
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  6. VIS Issue 6 VIS Issue 6 was published 19 October 2021. The issue features five expositions within the theme “Contagion”. Editor: Anna Lindal.
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  5. VIS Issue 5 VIS Issue 5 was published 15 March 2021. The issue features seven expositions within the theme “One more time, let's do it again!”. Editor: Trond Lossius.
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  4. VIS Issue 4 VIS Issue 4 was published 14 October 2020. The issue features seven expositions within the theme “Affecting material and technique”. Editor: Trond Lossius.
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  3. VIS Issue 3 VIS Issue 3 was published 1 March 2020. The issue features eight expositions within the theme “History Now”. Editor: Magnus Bärtås.
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  2. VIS Issue 2 VIS Issue 2 was published 23 September 2019. The Issue features five expositions within the theme ”Estrangement”. Editor: Magnus Bärtås.
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  1. VIS Issue 1 Risk – and associated topics such as vulnerability, unguardedness, precariousness, failure and uncanniness – are frequently raised as concerns within artistic research arenas. VIS # 1 – Risk in Artistic Research – jeopardy or validation? moves through more artistically-stylised accounts of ‘danger’ towards the more hopeful linkage of risk with discovery and the reconfiguring of the imagination.
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  0. VIS Issue 0 Issue 0 features eight expositions created by researchers within the arts. Every contributor has been carefully chosen and invited by the Editorial Committee, with the view of presenting best practice within the field of artistic research.
  The expositions have gone through a dialogue-based peer-review which is something that the Editorial Committee would like to continue to develop in the coming issues, a process intended to be significant for VIS.
  Every exposition is presented on the VIS webpage and has an editorial text that explains why the contributor was chosen. The actual exposition itself, on the other hand, will be found in the database of the Research Catalogue. The expositions have their own designs and explore widely different topics, depending upon how each researcher has chosen to work within the offered format.
  
  The Editorial Committee would like to thank all the contributors for their inspiring work which sets the tone admirably for what we hope will follow.
  
  Editorial Committee: Cecilia Roos, Serge von Arx, Anna Lindal, Mia Engberg, Trond Lossius, Magnus Bärtås och Darla Crispin

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  Å LAGE ET LEMURIA (2018) author(s): Bjørnar Habbestad, Michael Duch, Lene Grenager, Hild Sofie Tafjord published in: VIS - Nordic Journal for Artistic Research
  Lemur spelar, skaper og kuraterer. Ensemblet arbeider som ein firehoda kropp, ei eining sett saman av sterke individ med eigne ambisjonar og agendaer, samstundes som alle har eit sterkt fokus på kreative gruppeprosessar. Lemuria er vårt fjerde verk i ein serie av prosjekt der titlar, konsept og strategiar frå det 20. århundre sin kunstmusikalske kanon blir omforma og gjenbrukt, i vårt bilde. Verket er ein konsertinstallasjon for ensemble, to songarar og live elektronikk, framført i ein spredt scenografi, for eit mobilt publikum. Verket vart bestilt av Borealisfestivalen og urframført i Grand Selskapslokaler i Bergen, 10.mars 2017.
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  1 place 33 rooms – Portrait of a house (2018) author(s): Christine Petersen published in: VIS - Nordic Journal for Artistic Research
  1 place 33 rooms “Memory, including collective memory, is linked to houses. When we eradicate a place in the exterior world, we lose a major pathway into our own history.” Lena Lindgren, Morgenbladet, 2. November 2012 The project is based on a real place, a house in Oslo. I am interested in how our memory connects with places and houses, in expanding our understanding of what a house and a place are, seen from the perspective of our own cultural background, time and history – and in the perceptions and experiences that are associated with it. In the significance of how the rooms are organised in relation to each other and what happens if the room is freed from the context in which it stands. It is rare to experience an isolated room that doesn’t relate to anything else, torn from its place, time and spatial context. The neutral room simply doesn’t exist. A key aspect of architecture is the experience of going from one room to another. The way the rooms are organised in relation to each other affects the sense of what it is like to be in the house. From the starting point that architecture begins with a single room, I have explored what criteria a space has to fulfil to be called a room and how big it has to be. Everyone relates to rooms – whether it is a private room like a bedroom, kitchen, dining room, or a public space such as a café, library or railway station. The work comprises six physical installations, plus the book and archive “33 fortellinger” (33 stories).
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  This is not / Dette er ikke (2018) author(s): Anne Marthe Dyvi published in: VIS - Nordic Journal for Artistic Research
  The language of art is often poetic and abstract. Reduced and lawless in terms of grammar. I experience the poetic and abstract language as closer to the experienced world than the more concrete and descriptive language that is the norm in the majority of formulations in society. In my artistic practice at the moment, I work with color, movement and time. In the video medium. To say that art is a language is also an assertion, or a worn metaphor. We have no written language rules we agree upon in the arts, no defined alphabet. And maybe that's exactly what the making of art is? Creating form, while challenging form? Being the practitioner, and in that sense defining, in a landscape of concrete and abstract, in definite and indefinite and fluid and solid. To create while shaping the form of it, is something else than performing within a given formation. This contribution to a digital catalogue for artistic research are selections of my work, and thoughts, related to it translated into pieces of texts. Some pieces of text along with some video pieces as well as a print from a video, a so-called 'still'. They are selected to function in different constellations, and for several reasons. A collage as a method and a way to relate to my own work, and with the selection, emphasizes the content of the texts. I apply my own thesis discussed in the text upon my contribution 'here' *. My contribution appears in Vis – Nordic Journal for Artistic Research. The digital is representation. It is not. It is equally important to me that this contributed in form acknowledges that making a presence in an internet-based database is not without hyperlinks. It appears because the other is. * Where is 'here', what is 'here'? (Video and video with sound.) The visual material in this exposition is from the videos 'La ditt liv vitne'(2017), 'Essay on Colour'(2017) and Perceptual Cycle (2016). By Anne Marthe Dyvi.
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  Rethinking the Performer: Towards a Devising Performance Practice (2018) author(s): Jennifer Torrence published in: VIS - Nordic Journal for Artistic Research
  The performer’s perspective and the impact of collaboration on the performer’s artistic practice is often overlooked in frameworks designed to analyze collaboration in contemporary music. The conception of what a performer is ‘for’ in the development of a new musical piece is, at least in part, what constitutes a performer’s artistic practice, whether that is the performer as an interpreter and executor of scores, as an adviser to the composer, and/or as a co-creating deviser. The interpreter-adviser-deviser model is conceived as a framework for considering the ways composer-performer collaborations can influence and contribute to the construction of a performer’s artistic practice and subjectivity. Collaboration is not only a method of creating new works, it's also a method for creating artistic practices. Drawing on examples of devised practices as exhibited in Jennifer Torrence’s artistic research, practices which are communicated through reflections, dialogues, images, and videos, the article ultimately argues that it is the performer as deviser that offers the most radical rethinking of the purpose, role, and potential of the performer in contemporary music collaboration.
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  V e r t i k a l a k u s t i k med horisontell prosodi (2018) author(s): sten sandell published in: VIS - Nordic Journal for Artistic Research
  Free improvised music allows me as a musician to be able to change direction at any time. Free improvised music is the only form of music where I can completely change my way of playing depending on the character of the room or the space. The room becomes a co-player that I can either go along with or resist. In my project I investigate different ways to explore and clarify how changes of direction in free improvisation can be performed and how the spatial conditions and other conditions affect the way the music is played. The form of improvised music I am examining is extremely dialogue-oriented, where action and reaction within the dialogue in the room play a vital role in the process. What I would like to try out and demonstrate is how a sonic language entirely based on the participants’ sensitivity can be moulded, i.e. a language that is altogether based on the listening and playing of a person in a particular space. The sounding image process that becomes a link to the narrative text. Through the use of sound, text and image, and all their mixed forms, and drawing from my experiences as a musician and composer, I hope it will be possible for you to follow this twisty way toward something.
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  Diffracting the Copenhagen Interpretation - Toward Non-Local Collaborative Art Practices (last edited: 2024) author(s): Søren Kjærgaard, Carla Zaccagnini This exposition is in review and its share status is: visible to all.
  'Diffracting the Copenhagen Interpretation: Toward non-local collaborative art practices' investigates the resonances of concepts from quantum theory in the realm of transdisciplinary practice-based artistic research. Throughout a series of protocols using diffractive methodologies, we intend to translate and embody concepts such as spacetime, entanglement, non-locality, uncertainty, indeterminacy, and superpositionality, and embed them as tools for our artistic practices. These concepts were chosen for their singularity in physics, but also for the ways in which they confront ontoepistemic pillars of ‘Modernity’, such as sequentiality, determinacy and separability. The research is carried out by a transdisciplinary non-local core ensemble formed by Søren Kjærgaard, Amilcar Packer, and Carla Zaccagnini. The cities we inhabit – Copenhagen, Sao Paulo and Malmö – have been our laboratories. Departing from tools and methods learned from each-other's disciplines, we have been creating scores that guide our simultaneous actions while walking on the street –interacting with public spaces and their characteristics– or while lying asleep –in the most private of spheres. On the one hand, in a practice we call ‘non-local walking’, scores conduct our collective experiencing of our cities, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. On the other hand, the ‘entangling dream practice’ experiment is an attempt without aiming at success of meeting each other in our dreams. Both investigations are conceived as boundary-crossing transdisciplinary methodologies through which we create a relational, critical consciousness and sensing that stimulates unexpected outcomes, embracing failure. These scored performances have resulted in cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations, unexpected connections, constellations, and coincidences e/merge, unveiling yet unheard polyphonies that give resonance to the urban and mental spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.
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