11:00-12:00
LightDarknessLight - Artistic research and the archaeological imagination (Matter, Gesture and Soul)
Geir Harald Samuelsen
University of Bergen
Moderator: Christine Hansen
12:15-13:15
Double performative dramaturgy, idiorrhythmic presence and aesthetics of silence – artistic strategies for the creative actor in the text-based theater
Espen Klouman Høiner
Oslo National Academy of the Arts (1st year presentation)
Moderator: Christine Hansen
LightDarknessLight - Artistic research and the archaeological imagination (Matter, Gesture and Soul)
University of Bergen, Faculty of Fine Art, Music and Design - The Art Academy - Department of Contemporary Art
Project leader: Geir Harald Samuelsen
Key words: The Art of Observation; the artist as a creative observer. The Marvelous in Art and Science; Breton vs Caillois. Externalizing Memory. Flow, Trance and the Art of Forgetting. The Spectator who later becomes the Posterity; Duchamp and intentional fallacy. Methodological Transparency; Creating from a place beyond time and space. Fiction, Poetry and knowledge; Artistic truths and the visible trace. Read more about Matter, Gesture and Soul in Research Catalogue
Geir Harald Samuelsen (Norway), Visual Artist Ph.D, creator and leader of the project Matter, Gesture, and Soul (MGS). Associate Professor and Researcher at The Art Academy, Department of Contemporary Art, Faculty of Fine Art, Music and Design, University in Bergen. He works in an interdisciplinary field with a painterly focus on materiality, time, gesture, and movement. His practice has lately taken a slightly scientific turn.
___
Espen Klouman Høiner: Double performative dramaturgy, idiorrhythmic presence and aesthetics of silence – artistic strategies for the creative actor in the text-based theater
Oslo National Academy of the Arts, Academy of Theatre
The Phd project “Double performative dramaturgy, idiorrhythmic presence and aesthetics of silence – artistic strategies for the creative actor in the text-based theater” seeks to explore and expand the actors political, social and artistic potential in the contemporary text based theatre of today. It also seeks to explore the possibilities tof creating artistic alternatives to our contemporary societal and social structures, which increasingly allows market mechanisms and bureaucratic administration to decide how we look at, think of, and live our lives - alone, and in community with other living beings and surroundings.
Current research questions:
- In what way can the development of strategies based on idiorrhythmic, double-performative and silence-aesthetic principles lay the foundation for a new type of cognitive and affective presence for the actor in the text-based theatre?
- How can the development of these strategies increase the actor's individual and collective influence and status as a performing and creative stage artist in the text-based theatre, and in the performing arts field in general?
- In what way can these strategies create structural alternatives to the prevailing standardized and hierarchical production models in the text-based theatre?
- How can the development of these strategies lay the foundation for a more object-oriented and eco-philosophical way of working in the text-based theatre?
My presentation at ARF will reflect on my experiences and findings in my artistic research work so far, having created the stage productions “Den skinnende byen/The shining city” at Nationaltheatret (Oslo, Norway, 2022) and “Bartleby” at Trøndelag Teater (Trondheim, Norway, 2022) and written the text “Den mest realistiske teksten jeg har skrevet på lenge/The most realistic text I have written in a long time” (Norsk Shakespearetidsskrift, 2022).
Espen Klouman Høiner combines the roles of director, playwright, writer and actor – acting being the core of his practice.
As both a performing and creative actor within the institutions and in the independent field, he is interested in experimenting with different kinds audience-performer-aesthetics and performative acting styles, an experimentation based on both an ethical and aesthetic will to challenge the ideological and methodological guidelines and conventions that characterize the institutionalized text-based theatre of today. His works thematically revolves around exploring the boundaries between the concepts of culture, nature, technology – and the theatrical concept of time. Klouman Høiner has won the Hedda Prize twice. He received the award for his acting in 2013, and for his writing in 2019.
In January 2022 he began his ph.d-project Double performative dramaturgy, idiorrhythmic presence and aesthetics of silence – artistic strategies for the creative actor in the text-based theater, at Oslo National Academy of the Arts (KHiO), Academy of Theatre.
___
Manuel Pelmus: Permanent Collection
Oslo National Academy of the Arts, The Academy of Fine Art
For this artistic research project, I am particularly interested to explore how notions of liveness, movement, and performativity are invested in reimagining political, collective, and social forms of organisation. How they relate to reconfiguring the public sphere in the sense of forms of community, and to notions of memory and collective history. The conceptual framework for this artistic research project developed during the last years of my artistic practice (alone and in collaboration) working with performance and live works within the context of the visual art field. Through this hybrid framework, I was able to reflect on a range of artistic and political topics that have circulated recently in the field of art and are informed by what is generically called the new performative turn in the arts.
At the ARF, my plan is to present how the research project developed until now, present a film documentation of the work and read from my ongoing reflection around the artistic research project. During the discussion I would like to focus on the final stage and future of my research project.
Manuel Pelmuş was born in Bucharest, Romania. He is a choreographer and artist who lives and works in Oslo. Pelmuş could be seen as one of the protagonists of the “new performance turn,” artists who have been reimagining the role of performance in the context of visual arts. He often deploys continuous live presence within the context of exhibitions, using enactment as a strategy and the human body as a medium and a means to explore the body’s relationship to memory and the construction of history. In addition to his recent solo exhibition at Para Site, Hong Kong (2018), Pelmuş’s projects have been featured at institutions including the MUNCH Museum, Oslo; Foto Galleriet, Oslo; Tate Modern, London; the Museum Ludwig, Cologne; Centre National de la Danse, Paris; TanzQuartier, Vienna; Centre Pompidou, Paris; Van Abbemuseum, Eindhoven; Museum of Modern Art, Warsaw, Tanz im August, Berlin; and the Museum der Moderne, Salzburg, among others. In 2013, he represented Romania at the 55th Venice Biennale with a collaborative project with Alexandra Pirici. He has additionally participated in the Gothenburg Biennale (2021), Off-Biennale, Budapest (2017), and the Kyiv Biennale (2015). In 2012, Pelmuş was awarded the Berlin Art Prize for performance arts and later recognized with the prize for excellence from the National Dance Center of Bucharest in 2015. Beginning with October 2019, Manuel Pelmuş will be research fellow at the Academy of Fine Arts Oslo (KHIO).
___
Hege Tapio: METABOLOME
OsloMet, Department of Art, Design and Drama
Imagining the face of a future lover. This is how it feels, while contemplating ideals, wants, needs and definitive dealbreakers. A ruminating process and negotiation about what you would like to manifest, what you could still need some time to explore and the pile of ghosted material that might still haunt you a little.The presentation will give insight to the current status of the project, mapping out some of the challenges and difficulties. As of weaknesses within the project – it is sometimes easy to miss ones own blindspots, so I am hoping that this session and the conversation it hopefully spurs might help unveil areas left blindsighted. And perhaps also talk a little about working interdisciplinary, when does art become exactly art – and when does it become something else? It would also be a good timing to address some ethical aspects of the project. All though some discrepancy must still be made, I will try to give enough information to get the framing for ethical questions.
The project METABOLOME - Approaching the blending of technology and biology by allowing explorations of emotional intelligence, biosensors, biochemistry and soft technology will explore how we might envision possible and speculative convergences of machine technology and human bodies, with focus on the areas involving emotions, sensing and empathy.
Hege Tapio is an artist and a curator based in Stavanger, Norway. Her interest in emerging media interconnecting art, new technology and science, led to the foundation of i/o/lab – Center for Future Art since 2001, where she established and curated Article biennial – a festival for the electronic and unstable art. Tapio is currently pursuing her artistic research as Phd fellow at FeLT - Futures of Living Technologies at OsloMet. Tapio is also involved as curator in the research project Caring futures: developing new care ethics for technology-mediated care practices (QUALITECH) at the University of Stavanger. And part of the team of NOBA – Norwegian Bioart Arena, developing and programming the Norwegian hub for Bioart located at Vitenparken by Campus Ås, Norway.