09:30-10:30
Eureka
Jenny Perlin
Oslo National Academy of the Arts (2nd year presentation)
Moderator: Dora Garcia
10:45-11:45
Environment embodiment – towards poetic narratives
Fernanda Branco
Oslo National Academy of the Arts (2nd year presentation)
Moderator: Dora Garcia
Jenny Perlin: Eureka
Oslo National Academy of the Arts, Department: Visual Art
How do high-flying balloons function as overlooked, yet crucial objects that create narratives about place, control, and knowledge production? The project Eureka relates literary, scientific, and historical narratives from the 19th century to contemporary issues about stratospheric space, specifically, the use and development of stratospheric balloons.
In my research I use 16mm film and video, drawing, photography, and writing to explore the rise of stratospheric balloons in scientific research, military surveillance, and tourism. My prior projects mined connections between subterranean landscapes, analog materials, and literary and political histories of the United States.
With Eureka I am researching hownarratives of ballooning parallel the ways subterranean spaces have beendescribed, approached, and mined in Western cultures. Much like the commercial rockets being used to bring billionaires to space for momentary thrills, stratospheric balloon tourism is a new way for wealthy people to partake in unique experiences. Stratospheric balloons are also used for domestic and international espionage and for deeply engaged scientific studies about climate change and the weather.
In this talk I will present and contextualize recent progress related to the research of the past year as a fellow in Visual Art at KHiO, Oslo, Norway.
Jenny Perlin is an artist, filmmaker, and writer. Her projects work with and against the documentary tradition, incorporating innovative stylistic techniques to emphasize issues of truth, misunderstanding, and personal history. Perlin is engaged with the ways social machinations are reflected in the fragments of daily life. Perlin is a fellow in Visual Art at the National Academy of Art in Oslo, Norway. She also directs The Hoosac Institute, an online curatorial platform supporting interdisciplinary connections in the arts.
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Fernanda Branco: Environment embodiment – towards poetic narratives / Researching through Sympoiesis
Oslo National Academy of the Arts, Department: Theatre
Working with performative presentation as a format for both development and dissemination in Artistic research, Researching through Sympoiesis explores collage as an aesthetic language.
Her artistic research Environment embodiment – towards poetic narrativesexplores co-relations between movement and voicethroughout encounters with environments and matters from a sympoiesis perspective of becoming-with.
The premise is that the body is also an environment.
Where does the body end, where does the world begin? Which encounters unfolds on the way?
The core method of this this artistic research is performativity, exploring the formats: performative actions, video performances and performative presentations.
Those formats are articulated into series - a mode of work that facilitates cyclically self-generation of works (becoming with again and again and again).
Inspired by the aspect of evocation past experiences existing in Micro-Phenomenology interview method sympoiesis is also present in some ways this research has been documented. Documentation leaves the place of capture and becomes a way of continuing, a way of evoking memories of artistic works or experiences that are cyclically revisited and reshaped, generating new works.
Inspired by Brazilian marginal cinema and early art films collage is used as a method by intertwining genres: documentary, fiction, poetry; formats: performance, video, installation and aesthetic languages.
As an arrow, to walk backwards is an ongoing action piercing the whole artistic research. The purpose of this practice emerged from the practice itself.
Encounters with places, matters, people (PMP) are the ongoing layer of this research considered as an agent mode. Serious play is another mode of work.
Challenges and ethical concerns
Place is a such important subject in my research. My works are context based. I do not find a context for presenting my middle term and my final artistic works, so far.
It seems this challenge could also be related to a lack of network and contacts in the artistic field related to venues, places.
I find myself not being able to foresee the final project without first having a context and place for it to be developed. And that also brings difficulties to plan in long advance.
The sense of not belonging, appropriation and aesthetic exotification has hunted me. Not belonging is present in my personal life and artistic work. It has come to a point that has frozen me.
Not belonging to places, makes me question who am I to come here and do an artistic work at this place? What are the reasons if not only an intuitively following a call:
A place calls me
But then, how that is not my pure naïve desire to encounter that place? Who am I to be there?
Indigenous cosmologies are theories that support my artistic
sensuous practices of movement and voice. However, I deal with questions of appropriation and until now, did not find a way to address to those cosmologies in my research.
Fernanda Branco is a Brazilian performer, gardener and poet based in Norway. Her work crosses boundaries between experimental theatre and dance, positioning itself in the performance field. During her Master studies, Branco practiced a long relationship with the plant flax as artistic material and companion. Her PhD. Artistic Research explores encounters through a sensuous practice within movement, voice and environments.
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Ingrid Rundberg: Things That Might Be True
University of Bergen, Department of Design
The PhD project Things That Might Be True investigates questions surrounding citizen’s relationship to politics on a personal level, and particularly in relation to actively casting their vote in political elections. The project utilizesvisual communication as a means to explore how individuals uncover their political beliefs and values. The research includes several sub-projects, all carried-out with a participatory method; a publication called Stemmer (ongoing), a lecture series at the public library in Bergen (2019), and the workshop Inner Political Landscapes (2021, with a new iteration planned for December 2022). The main findings of the project are connected both to the realm of the history of political history as well as to the inner political self. Throughout the long history of political philosophy,voters have been accused of being ignorant, starting with Plato(Cappelen and Cappelen 2020, 186) and in more recent times by Jason Brennan (Brennan, 2011, 714).) But blaming the voter of being ignorant could be a mistake. Perhaps it is the tools to uncover our personal political beliefs that are lacking?
This project is placed within a discursive design context, with an adversarial design core. Where discursive design is guiding us towards design for discussion, design to initiate reflection and spark public debate (Tharpe and Tharpe 2018, 7), adversarial design is showing us projects that more specifically uses public space to create contestation and to …provide resources and opportunities for other to participate in contestation (DiSalvo 2012, 5). The focus of the presentation will be on a discussion of the cohesion between the three practical sub-projects (Stemmer, Inner Political Landscapes and Lecture Series) and how this coherence is understood by the public. In addition, I wish to present a theoretical structure for the project and in what ways my response and criticism to this can be made visible in the final outcome of the project, practice, and text.
Please take a look at the RC page connected to the process of the project here:https://www.researchcatalogue.net/view/777302/1732234
References
- Brennan, Jason. 2011. «The right to a competent electorate.» The Philosophical Quaterly 2011 (245): 700-724: https://www.jstor.org/stable/23012924?seq=1#metadata_info_tab_contents
- Capellen, Cornelius and Capellen, Herman. 2020. «Democracy and Ignorance.» Norsk filosofisk tidskrift 55 (2-3): 185-198: https://www.idunn.no/nft/2020/02-03/demokrati_og_uvitenhet
- DiSalvo, Carl. 2012. Adversarial Design. Cambridge, Massachusetts. The MIT Press.
- Tharpe, Bruce M. and Tharpe, Stephanie M. 2018. Discursive design: critical, speculative, and alternative things. Cambridge, Massachusetts: The MIT Press.
Ingrid Rundberg (1978) is a graphic designer and visual artist born in Åtvidaberg, Sweden, living in Bergen, Norway. She is currently undertaking a PhD at the Department of Design in Artistic Research at the Faculty of Fine art, Music and Design (KMD) at the University of Bergen (UiB), where she researches ways of exploring citizens relations to politics and approaches to political elections. Rundberg holds a master’s degree in Visual Communication Design (2016) from Bergen Academy of Art and Design. Participation is a central method of investigation in her critical design practice, all through the lens of visual communication – often resulting in workshops, exhibitions, books and other printed matter publishing projects.Her main focus is to explore human relations to both institutions and ideas such as the State, archives, political ideologies as well as political events. From 2014 she has been closely connected to the self-publishing community in Bergen and involved in organizing Bergen Art Book Fair (BABF). Between 2015 and 2018 she ran the risograph workshop at KMD. Rundbergs works are represented at MoMA Library, KORO, the Municipality of Linköping (Sweden) and Region Östergötland (Sweden). Together with Mads Andersen she runs the press Madrid Publications. They have so far three publications and have been nominees in the Most Beautiful Books Norway (2020) and Visuelt (2021).