urban peripheries workshop Vol. 1 publication
(2019)
author(s): Maiju Loukola, Bea Tornberg, Una Auri, Virpi Nieminen
published in: Research Catalogue
The exposition is a visual and textual map of exploratory projects by 10 Aalto ARTS students and 12 Universität der Künste students in their collaboratory workshop URBAN PERIPHERIES Vol. 1 in Helsinki/Espoo, during 5-20 February 2019.
The exposition is composed by the Aalto ARTS students and their supervisor, and it reflects the interventional works realised by the ARTS + UdK students, and experimental texts realised by the ARTS students after the actual workshop.
The exposition similarly works as a basis for the second part of URBAN PERIPHERIES (Vol. 2) that will take place in UdK Berlin in December 2019. It thus also outlines possible scenarios to be explored on grounds of the first workshop.
En søken etter en utvidet fysisk tolkning av vokal samtidsmusikk og av opera
(2019)
author(s): Silje Marie Aker Johnsen
published in: Research Catalogue
"En søken etter en utvidet fysisk tolkning av vokal samtidsmusikk og av opera" er Silje Aker Johnsens kunstneriske doktorgradsarbeid ved Operahøgskolen, Kunsthøgskolen i Oslo.
Det kunstneriske doktorgradsarbeidet fokuserer på kombinasjonen av bevegelse og vokalutøvelse i forskjellige sammenhenger og i ulike uttrykk. Silje Aker Johnsen har bakgrunn fra det klassiske musikkfeltet, opera og samtidsmusikk, men også som danser og i tverrkunstnerisk scenekunst.
Hovedlinjene i prosjektet følger prosesser og refleksjoner rundt material- og verkutvikling og den tverrfaglige utøverens potensielle roller i ulike utviklingssituasjoner. Refleksjonsarbeidet diskuterer ulike plasseringer i sjangere, grader av medskapende virksomhet, aspekter av forberedelse, trening og improvisasjon i utviklingen av en praksis.
Disposisjonen beskriver, og reflekterer rundt, prosessene i hovedverkene i prosjektet:
Her
av Erik Dæhlin og Silje Aker Johnsen.
Dette verket har gått som en rød tråd gjennom doktorgradsarbeidet og blitt bearbeidet og vist i flere versjoner. "Her" er også en del av komponist og regissør Erik Dæhlins kunstneriske doktorgradsarbeid ved Norges Musikkhøgskole, "Shared Space - mot en relasjonell, prosessuell og intermedial kompositorisk praksis."
Her, KHiO, 2017
Her, Scene 2, Den Norske Opera og Ballett, 2018
Her, utdrag, KHiO, 2018, som en del av Aker Johnsens avsluttende presentasjon av sitt doktorgradsarbeid, forestillingen "En søken.. "
I forestillingen "En søken…" arbeidet Aker Johnsen med tre ulike samarbeidspartnere og innganger til sammenføyningen av vokalutøvelse og bevegelse: I tillegg til samarbeidet med komponist og regissør Erik Dæhlin, inkluderte dette et verk i samarbeid med koreograf Mia Habib og en adapsjon av et koreografisk partitur av Janne-Camilla Lyster:
Sedimenter
av Mia Habib og Silje Aker Johnsen
Tulipan
Koreografisk partitur av Janne-Camilla Lyster, Adapsjon av Silje Aker Johnsen
Opera:
Ballerina
kammeropera, av komponist Synne Skouen, librettist Oda Radoor og regissør Hilde Andersen, er blant hovedverkene innen opera. Operaen ble bestilt av Den Norske Opera og Ballett og oppført ved Den Norske Opera og Ballett i 2017.
Disposisjonen benytter en kombinasjon av ulike tekster og videorefleksjoner, samt videodokumentasjon av utvalgte verk, til å kommunisere refleksjonsarbeidet.
Eon: Blurring lines on a small (time-) travel guitar
(2019)
author(s): Andreas Aase
published in: Research Catalogue
A simple reconfiguring of a mass-produced guitar results in an affordable and comfortable instrument that straddles the gap between the fiddle and the classical guitar. The instrument’s playability gives birth to a new set of eight guitar compositions with two main components throughout: Partly reworked versions of eclectic ideas from my youth decades ago, partly new melodies and improvisations inspired by Scandinavian traditions. A long-held desire for softer dividing lines and cross-bleed between disparate bodies of musical material is expressed in a process of composition, performance and recording that simultaneously redefines memory, dreams and connotations.
The artistic results constitute the primary text and will be represented as videos and sound clips throughout. The written text leads up to, and/or comments on, the artistic issues tackled in the videos.
Hans Schleif
(2019)
author(s): Julian Klein
published in: Research Catalogue
Among the members of the Archaeological Institute of the German Reich, the architectural historian Hans Schleif was notable for the extent of his involvement with the crimes of the National Socialist regime. His achievements in scientific research, for instance as director of excavations at Olympia, are overshadowed by his career in the SS. He was director of the Excavation Department of the »Ahnenerbe« (ancestral heritage) of the SS. After the German invasion of Poland he was briefly appointed Custodian of German Cultural Assets based in Posnan. In 1943, he joined the SS Head Office for Economic and Administrative Affairs and rose to the position of deputy to C Group (Construction) director, Dr. Hans Kammler, whose permanent representative in the Jäger- und Rüstungsstab task force he became. In this role, Schleif was responsible above all for moving key arms production facilities underground, where fighter planes and the »reprisal weapons« V1 and V2 were built – hence for the largely subterranean concentration and slave labour camps of the Sonderstab Kammler. His grand- son, the actor Matthias Neukirch, created a theatre production about Schleif in collaboration with stage director Julian Klein at the Deutsches Theater Berlin. This text is a result of the research undertaken for the production, and reports on selected stages in Schleif’s biography.
they didn't bring enough water
(2019)
author(s): William Smart, Lindsey french
published in: Research Catalogue
In early 2016, Lindsey french and Willy Smart gleaned water samples during a series of anomalous rainstorms in the Southern Californian desert. Later, these samples were ‘released’ publicly via personal humidifiers.
Combining photographic documentation of humidity, the affected certainty of diagrams, and an associative written text that slips between theoretical and personal registers, the research exposition, “they didn’t bring enough water,” catalogs this process of reception and release.
The project floats on our attempt to follow a logic of water in our research — from the start then there is no pretense toward rigid methodology. We collected samples erratically, in line as much with our moods as with the sites we’d marked out in advance of the trip as potential intrigues. In other words, the bonds we seek out here aren’t those of solidarity, but liquidarity. Water is not then the tested object of our actions, but rather an active agent in our research. Crucially, the release was staged publically: the humidifiers fogged up the windows, our breaths mixed. Release here is meant in the sense of a record release — of circulation — rather than in the sense of a caged animal set free.
The materials collected in this research exposition include photographs of each water sample at the moment of its release, diagrams of forms taken by the released water vapor, and a written text. The text folds (but does not tie — liquidarity reigns here too) historic information on sample sites with personal associations and theoretical conversations initiated during the days of collection: during long drives, before sleep, and at the sites themselves. The text thus is loose — it slips between pronouns and landscapes and concepts — there’s not quite enough present perhaps for total coherence, like the sign we encountered at a trailhead at the beginning of the research trip — “THEY DIDN’T BRING ENOUGH WATER.” This apparent warning, with its seductive vagueness, would crystallize in the following days into an aphoristic methodology that is carried over into the presentation of materials here. What we didn’t bring perhaps we (perhaps you) will find here.
Digital Anarchive: Being in Contact - Encountering a Bare Body
(2019)
author(s): Mariella Greil
published in: Research Catalogue
This digital anarchive was developed in reference to my doctoral research undertaken at the University of Roehampton, London. This practice-as-research project explores the concept of bare bodies and how to encounter them in contemporary choreography. My thesis draws on philosophical, bio-political and ethical discourse relevant to my discussion of the emergence of bare bodies in choreographic work, and creates a critical framework for a self-reflexive movement. Narrations of bare bodies emerge in both the written component of a choreographed book, and in the creative component consisting of the live event of a lecture performance inhabiting an anarchive.
This anarchive operates as research repository created and accumulated in the course of my PhD project and documented here in digital form.
Throughout I argue for acknowledging acts of baring and concealing as culturally situated, anchoring my thesis in reflections on performative encounters, unearthing their methodological weight and nanopolitical significance. I explore non-subjective performativity, implying a fluid conception of identity. Furthermore, I introduce the ideations of an-archic responsibility and choreo-ethics for reassessing contact and relation as an ethico-aesthetic project of current choreographic performances. These propositions get probed alongside a shift from spectator to wit(h)ness.
I differentiate and untangle the tones and shades of the triplet naked, nude, and bare, each term referring differently to body and performativity. All in all, the choreographic is conceptualised as a complex field of revelatory experiences built on ecologies of aesthetic perception and realising ethico-political agency.