In my PhD project, In Search of Now-Time: Live-editing as a mode of research, I am focusing on moving images as the main apparatus for the representation of historical time and video live-editing as a materialist investigation into the temporal aspects of various forms of political events. Drawing on media theories and philosophical debates on historicity, contemporaneity, the revolt and its aftermath, I am developing a methodology of video live-editing as a way to collapse the temporalities of production and presentation, in order to connect the representation of events with the event of their presentation. As such, my research has been focusing on how one can make an image of a historical process still unfolding messily in the present.
Joen Vedel is a visual artist, writer and researcher, educated at the Royal Danish Academy of Fine Arts, Whitney Independent Study Program in New York and currently a PhD fellow at the Academy of Fine Arts in Trondheim. Vedel primarily works with video, sound, text, performance and in various forms of collaborations. His practice revolves around the representation of smaller and larger political events and the possibilities of grasping them as they unfold. Vedel has exhibited widely internationally and partcipated in Documenta 15, as well as in various self-organized exhibition venues and temporary institutions.
My presentation at the Artistic Research Spring Forum will further elaborate the live-editing methodology I have been developing, by presenting a series of live TV programs that I created for the local TV station, Offener Kanal Kassel, as part of my contribution to Documenta 15, as well as a more recent series of live-editing workshop to art-students related to the media consumption of the ongoing genocide in Palestine. Furthermore, I would like to present the first drafts for a self-organized TV-station called Now-Time TV, which will act as the main platform for the dissemination of my final presentation. By live-editing historical archival materials with material shot by participants and myself, my aim is to use the TV medium as a platform and a meeting place between different forms of aesthetics, voices, temporalities, and historical layers seemingly unconnected by linear time. As the TV programs are created live, glitches and moments of discontinuity constantly occurs. However, it is my hope that through these ‘interruptions’ in the live-editing, a new constellation against an even flow of time might occur, thus opening up for other relationships to the past and the present.