The cousin of the North
(2013)
author(s): Sara Benaglia
published in: Research Catalogue
Comparison between two performative artists about their practice: Adamse is from Chile while Marcello Maloberti is from Italy
PRIMALISM
(2013)
author(s): Christopher Hollins
published in: Research Catalogue
A proposal for art to avoid categorisation
Trace Element 2013
(2013)
author(s): Christopher Hollins
published in: Research Catalogue
A painting created by chance – as opposed to an art object pregnant with intellectual meaning. This work tries to provoke a sense of uncertainty in order to rekindle an old way of sensing that our learned ideas about what we see suppress in our day-to-day lives.
THE THEORY AND PRACTICE OF ORBS IN ART.
(2013)
author(s): Christopher Hollins
published in: Research Catalogue
This exposition documents an attempt to create objects that remove all intelligent ideas of recognition from your powers of observation. The works are designed to generate a condition of mind called Object Recognition Breakdown Syndrome. This condition – known as ORBS – is experienced when we find ourselves faced with an object that upholds none of the values associated to any ideas we hold to give what we see an intelligent form of identity. The purpose of this work is to provoke a sensation generated by animal instinct from the depth of your mind.
Toward a personal understanding of ‘artistic research’ through musical improvisation, performance, and the production of sound recordings
(2013)
author(s): Paul Draper
published in: Research Catalogue
This exposition presents a musical project through the lens of recent artistic research literature with a view to building a greater personal understanding of how this rhetoric might operate in practice. It examines the creation of three particular music works by tracing their interrelating lineage of improvisation, performance, composition and record production, and interrogates the dynamically changing characteristics of so-called ‘technical objects’ and ‘epistemic things’ in order to posit a way in which improvisatory skills are built, refined and deployed as a central element of the music-making. This is shown to serve the artistic processes as an evolving vocabulary developed through deliberate actions, systematised problem-solving and historical considerations which lead to intuitive choices and actions in extended ‘flow states’. The exposition concludes with a self-review of its structure and aims for intended audiences.