Half Hidden
(2020)
author(s): Anne Haaning
published in: Research Catalogue
This exposition conveys the final results of Anne Haaning's artistic research project Half Hidden, which she has been conducting as a PhD Candidate with Oslo National Academy of the Arts in collaboration with the Academy of Arts, UiT The Arctic University of Norway and the Norwegian Artistic Research Programme.
Through the prism of the mineral cryolite, extracted from Greenland by Denmark in the years 1857–1985, the project seeks to uncover hidden structures and histories imbedded in technology. It has done so by exploring analogical correspondences at a specific intersection of technology, myth and colonialism; the method it employs to this end is an investigation of the ontological context of digital image production.
Denmark extracted the rare mineral cryolite in Greenland between the mid nineteenth and the late twentieth centuries. Essential to the mass production of aluminium, cryolite proved critical for the shipbuilding and aviation industries during World Wars I and II. The mineral was so important that the cryolite mine was put under US administration during the German occupation of Denmark in World War II. But this history has been virtually erased from the collective memory and consciousness of the Danes. Today, the flooded mine is a scar in the Greenlandic landscape covered by a pervasive mirroring water plane concealing a significant part of the Danish-Greenlandic colonial history.
Not Even the Dead Will Survive
(2020)
author(s): Adria Julia
published in: Research Catalogue
The Pinacoteca de São Paulo museum, managed by the State of São Paulo Culture and Creative Economy Department, presents from October 26, 2019, to February 16, 2020, the show Adrià Julià: Nem mesmo os mortos sobreviverão [Not Even the Dead Will Survive] — the first solo exhibition of the artist, born in Barcelona in 1974, to be held in Brazil. The show is curated by Fernanda Pitta, the museum’s curator, and artworks will be displayed on the courtyard and in two rooms adjoining the long-term exhibition of Pinacoteca’s collection, on the second floor of the museum building. The works call into question the implications of the techniques of replication, printing and authentication that directed the flow of images in the early days of photography.
Sansehage Konsept 2
(2020)
author(s): Marius Skaten Aarbakke, Ingunn Hatlehol Andreassen, Tyler Akselsen, Ida Emilie Viervoll, Ida Anemone Roland Berger
published in: Research Catalogue
Dette er vårt andre konsept til sansehagen, den handler om et akvarium.
Visualised Connections / Material Knowledge / Imagined Landscapes
(2020)
author(s): Rachael Jones
published in: Research Catalogue
This practice-based research project centres on the Cornish landscape. Its interpretation is encouraged through participatory arts-based strategies that connect experimental filmmaking to social research, favouring visual and material approaches. The project takes on three phases in its methodology: the first phase involves fieldwork by participants which is then interpreted
by a second group of participants. From here, visual artefacts such as photographs and drawings are collated and reinterpreted by the researcher into a non-fiction film, alongside 16mm film footage depicting the landscape. Those images act as material objects of engagement, where a connection between creator and landscape is evidenced through the materiality of the images themselves and the film grain.
Navigating the arts and social sciences, my research aims to be socially engaged, examining the tools that inform or help produce knowledge and the visual methods that can be employed to record this information. It joins up with disciplines that examine people and place, such as cultural geography, visual ethnography and art. Throughout the project, I advocate for democratic and emergent knowledge that can be more easily found between bounded disciplines, slow artistic processes and multi-sensory approaches. Following the recent “material turn” in the humanities and social sciences, material methods can locate the visual research objects as knowledge generators, transferring the status of the participant from “subject” to “co- creator”. Here, visual methods and their objects can produce “material and multi-sensory ways of knowing” (Woodward 2020: 71), to be made visible by the final film as visualised generative knowledge and a research document in motion.