Haris Pellapaisiotis
pelapaissiotis.h@unic.ac.cy
Haris Pellapaisiotis is an artist and academic lecturing in art studio practice, photography and video as well as various theoretical courses on art and photography. He holds a PhD, from Department of Art and Art History, University of Reading, Reading, UK, Postgraduate Diploma, Media & Communications (Photography), Goldsmiths College, University of London, UK, and a B.A. Hons. Degree Fine Arts, Ravensbourne College of Art & Design, London, UK. He is currently based in Nicosia Cyprus where he lecturers at the departments of fine art at University of Nicosia and Cyprus University of Technology.
He is currently completing a long-term art project entitled Walking Narratives and Affective Mapping which is due for publication in 2023-4. This is collaboration with various contributors where he experiments with ways of exploring the city of Nicosia as a relational space that engenders individual narrative connections that somehow speak to the unsettling relationship between location and self. Working from a perspective that attributes archival intelligence to the body and tangible qualities to affect, the city is explored as a performative embodied space where sensations, feelings, and thoughts are shared as actual en11es that may simulate new narrative conceptions of Nicosia. Using tools of investigation developed in art, including walking as an aesthetic practice, the artist forms an inventive and experimental method of working that is specific and answerable to the living environment (locality) within which the project takes place.
Past projects include:
• 2013, “The Art of the Buffer Zone.” in Photography and Cyprus: Time, Place and Identity. Edited by Wells, Lambert and Philippou, London: I.B.Tauris. Routledge 1st edition 2013.
https://unic.academia.edu/HarisPellapaisiotis
• Founding director and coordinator of the 2004-2009, Artalk Seminars and Art Events, Nicosia Cyprus.
• 2006, “Speaking Thoughts: On an Art School” in Notes for an Art School. Edited by M. El Dahab, A. Vidokle and F. Waldvogel. Amsterdam: International Foundation Manifesta and Manifesta 6, ISBN 9963-9208-0-2,
• 2006, Manifesta VI Ghost: A spectre is haunting Europe. The Unitednationsplaza, Berlin, Germany. Organized by Anton Vidokle and Tirda Zolghadr https://www.unitednationsplaza.org Recent video work from Walking Narratives and Affective Mapping project will soon be uploaded on Vimeo and other platforms.
Rogério Nuno Costa
rogerio.nuno.costa@gmail.com
I'm a Portuguese performing artist, educator and researcher currently living in Helsinki. Over the course of the last 7 years, I have been dedicating a significant part of my artistic practice-as-research to so-called "radical pedagogies", developing a series of experimental activities (laboratories, workshops, round tables and lecture-performances) aimed to the speculation of a "multiversity", a macro-project which will come to a conclusion (installation + publication) in 2024 within the frames of Circular Performing Arts Festival and Espaço do Tempo residency programme in Portugal. I'm also collaborating with another trans-educational project named Es.col.AZ, run by Parasita, in Portugal.
I'm interested in getting to know better other initiatives that might share some goals, missions and lines of thought with my research and my soon-to-be "school", at the same time contributing to the overall discussion of the research group. In this regard, I'm particularly motivated to introduce the idea of a "peripatetic pedagogy", a walking-as-learning methodology in relation with the public space(s). Additionally, potential new collaborations with other researchers (especially the ones who might be responsible for artist-run educational projects, more or less institutional/extitutional), would be very welcomed.
Min Gu
min.gu@csulb.edu
Min Gu is an Assistant Professor at California State University, Long Beach, United States. As a researcher, Gu works with artists with disabilities. Her research problematizes conceptions that consider disability as a personal, biological deficit and explores how disability can be a creative force to produce new knowledge of art, experience, body, and material. Min Gu received her BA and MA in Art Education, focusing on Chinese Ink Painting from Beijing, China, and her Ph.D. in Art Education from the Pennsylvania State University, United States.
Assunta Ruocco
aruocco@lincoln.ac.uk
Dr Assunta Ruocco is a lecturer in Fine Art at University of Lincoln. Assunta Ruocco’s practice focuses on the role of collaboration, technologies and spaces of production in the emergence of artworks. Ruocco works with painting, drawing, printmaking, photography, digital technologies, and the relationships between these media, creating transdisciplinary durational projects that invite the intervention of human, and non-human collaborators at different stages within the creative process. Recent presentations include Bad Sister. Death, Love, Instagram and the photographic Archive, at the PARSE conference 2023, Our Days of Gold, a two-person exhibition with Daniel T. Wheeler at the Italian Cultural Institute in Hamburg, Germany, 2019.
The research subgroup SPACES OF ARTIST EDUCATION focuses on exploring the relationships between artists’ pedagogies, educational spaces, and learning environments in artist education. The key interest of the subgroup is to investigate how different spaces influence, facilitate and regulate interaction, communication and ways of teaching and learning both at art universities and in non-institutional settings.
The subgroup aims to gather colleagues from diverse artistic disciplines and research backgrounds to discuss the spatial, material, bodily, performative and institutional aspects of teaching art practice, as well as their connections with educational policies, relations of power, traditions of artist education, and the very ideas about pedagogy and didactics, mastery, knowing, art, creativity, resources, accessibility, space and place.
The group investigates questions and themes including, but in no way limited, to the following:
-How do different spatial settings inform the ways in which artist-educators convey specific skills, techniques and themes, nourish free artistic experimentation and curiosity of the students, and give feedback?
-What kinds of power dynamics are at play in teaching situations, and how might we address these dynamics and experiment with them through artistic research practices that focus on spaces and learning environments?
-How do different spaces influence knowledge creation, knowledge transfer, and the presentation of learning and/or research outcomes e.g. in the form of exhibitions, performances, concerts, showings, or talks?
-What spatial requirements do different artistic disciplines set for artist education, and how might we develop novel interdisciplinary and transmedia learning environments through artistic research?
This subgroup aims to serve as a platform for research explorations, for the sharing of situated knowledges, experiences and know-how, and, potentially, for envisioning a variety of new spatial settings and strategies for artist education through projects carried out by the members. The subgroup is open to collaborations across the SAR and welcomes new members on a continuous basis; for inquiries, please send a short email to the convenor Dr. Joonas Lahtinen: j.lahtinen@muk.ac.at.
Keywords: Space, place, communication, pedagogies, situated knowledge, tacit knowledge, embodied knowledge, institutions, resources, accessibility, power, epistemology, critical historiography, professionalism, performativity and materiality of teaching
Mareike Dobewall
mareike.dobewall@gmail.com
Mareike Dobewall is artistic researcher, director, scenographer and composer. She studied filmmaking in Berlin, scenography at the Norwegian Theatre Academy and choreography at HZT in Berlin. Her specialisation lies in the creation of acoustic spatial sound performances. She considers spaces as collaboration partners and when she teaches, spaces are considered her co-teachers. A special interest lies in the constitution of social space (as described by Martina Löw), as that which is created through the sharing of a space and interaction among those who share it.
In October 2021 she completed her PhD at Stockholm University of the Arts with her artistic research project “Voicelanding – Exploring the scenographic potential of acoustic sound in site-sensitive performance”. She works as freelancing artist, researcher and teacher. For more information, visit her webpage www.mareikedobewall.com or explore her thesis exposition on
https://www.researchcatalogue.net/view/1148192/1294346
Marianne Holm Hansen
mail@criticalm.org
Marianne Holm Hansen is a Danish artist and educator based in London, UK. Her cross-media and interdisciplinary practice examines how existing structures, methodologies, behaviours and habits, impacts on experience and the potential for differentiated knowledges to emerge. Central to this is her interest in how language, language norms and conventions may be (re)appropriated, or (re)claimed, to open-up, rather than close-down, the potential for new meanings. She is interested in both how physical space impact on discussion, collaboration and communal meaning making and the temporary spaces created in, with and through dialogue and conversation. Recent work and research has used the Void as metaphor, time and space, for thinking through how we may communicate in situations where common language fails and, in parallel, considered to what extent a greater awareness of non-verbal communication – gesture, pause and proximity - may enable us to develop more inclusive conversations and, eventually, the spaces necessary for those conversations to take place. Marianne's work is formed through an extensive engagement with diverse communities and her approach to art as a process-based practice that facilitates new forms of thinking and doing. She is currently a Photography Lecturer to StrudelMediaLive, New York, and continues to collaborate with community groups, universities and cultural institutions - such as Tate and the Royal Institute of British Architects, both London - to develop new participatory works, research projects, workshops and live events.
Sharon Stewart
s.stewart@artez.nl
Since graduating with a masters on the topic “Feminisms, Technology, Improvisation” in a music pedagogical practice from the Royal Conservatoire, Den Haag, Sharon Stewart has been involved in creating sonic works. A core teacher for the Center for Deep Listening® at RPI, writings include the article “Listening to Deep Listening” (2012, Journal of Sonic Studies) and “Inquiring into the Hack” (2020, The Bloomsbury Handbook of Sound Art), regarding new sonic and institutional practices. She has been Associate Editor of the Journal of Sonic Studies since its inception in 2012. At ArtEZ University of the Arts, she was on the editorial team of and contributed to the APRIA issue Time Matters (2021) and co-hosted one episode of the Sounding Places / Listening Places podcast series while creating the Deep Listening® podcast miniseries for ArtEZ Studium Generale. Her most recent publication on APRIA is “Welcoming Visitors into the Polyphonic Landscapes Artistic Research Project Ecosystem” (2024) that discusses the role of the (uninitiated) audience member as knowledge-contributor within an artistic research project. These investigations into listening as a tool to radically reform institutions led her to her current topic – listening with sites of learning in the arts, involving field recordings and the aesthetics of sound design, sonic ethnographic methods, and Deep Listening®.
Joonas Lahtinen
j.lahtinen@muk.ac.at
Dr. Joonas Lahtinen (A/FIN) is a performance and installation artist, researcher, and Professor of Artistic Research and Performance Art at the MUK – Music and Arts University of the City of Vienna. He studied Performance at Queen Mary University of London and Theatre research at the University of Helsinki, where he completed his performance analytical and epistemological dissertation ‘Making Sense of Perception and Power in Participatory Performance’ in 2021.
Lahtinen’s performances and installations are research-oriented, investigating the politics and poetics of space, place and the everyday, societal functions of art, participatory strategies, collaborative forms of artistic practice, and questions about self-determination and individualism. His projects have been presented internationally in institutions such as the Kiasma Theatre/Finnish National Gallery, Mad House Helsinki, WUK performing arts Vienna, Kunstzelle / WUK Vienna, brut Wien, and at festivals including the Freischwimmer-Festival (Sophiensaele Berlin, Gessnerallee Zurich, Mousonturm Frankfurt, FFT Dusseldorf, brut Wien, Kampnagel Hamburg), Vienna Art Week, imagetanz Vienna, SOHO in Ottakring Vienna, HomeFest Bucharest, URB Urban Arts Festival Helsinki, and STAGE Helsinki Theatre Festival.
Lahtinen is a member of the Special Interest Group “Artist Pedagogy Research Group” of the Society for Artistic Research (SAR) and convenor of the subgroup “Spaces of Artist Education”. He was also a key advisor and collaborator in the artistic research project Tactics for a Collective Body (2020—2022) at AP Schools of Arts (Royal Conservatoire Antwerp and Royal Academy of Fine Arts Antwerp). Lahtinen has a broad experience in Higher Education; he worked as full-time Lecturer-Researcher in Art and Education at the Academy of Fine Arts Vienna from 2017 until 2023, and has had several teaching, mentoring, and advisory engagements at the University of Helsinki, Theatre Academy/UniArts Helsinki, Academy of Fine Arts/UniArts Helsinki, and AP Schools of Art Antwerp. Lahtinen has contributed to various research journals and publications, including Nordic Theatre Studies, on themes such as performance analysis, art pedagogy, and theatre theory.
https://www.researchcatalogue.net/profile/?person=1752257
https://vimeo.com/lahtinenstransky
David Bloom
errantpan@yahoo.com
David Bloom is a choreographer, dancer, teacher, father, filmmaker, pianist, bodyworker, fermenting Jewish mystic, and tea collector. Graduated from the Academy of Music and Performing Arts in Frankfurt and the M.A. Choreography course at HZT Berlin, as well as the Urban Tantra Professional Training Program with Barbara Carellas. He was a member of the dance ensemble at Staatstheater Darmstadt, and has collaborated as a dancer on projects by Tino Sehgal, Marco Santi, Nir de Volff/Total Brutal, Micha Purucker, Ingo Reulecke & Lukas Matthaei, Canan Erek, Friederike Plafki, Barbara Bess, Felix Ruckert, Akemi Nagao, Martin Nachbar, and Michael Turinsky. His dance film trilogy Sex & Space premiered at the Berlin Porn Film Festival and was screened internationally. His choreography has also been shown at Tanzfabrik Berlin, Dock11 Berlin, La Fête du Slip in Lausanne, and at the Stockholm Dance Film Festival. He has also made choreography for students in HfMdK Frankfurt’s B.A. in Dance. David was a 2012 danceWEB scholar and his teaching has included HZT Berlin, Tanzquartier Vienna, Tanzfabrik Berlin, Human Architecture Lab in St. Petersburg, the K3 Center for Choreography in Hamburg, the M.A. of Contemporary Dance Education in Frankfurt, STRETCH Festival Berlin, the Body IQ Festival Berlin, the Rietveld Academie for Fine Arts & Design in Amsterdam, & the ImPulsTanz Festival in Vienna. For the past decade or so, his work has revolved around questions of Desire, Intimacy, Boundaries, Power Relationships, Consent, and Group Dynamics. Other interests include Cross-Pollination, Pleasure, Space, Cellular Structures, the Digestive System, Fermentation, Sourdough, Beauty, Breath, Time, Spirit, and Transformation.
more info at:
Current Research Group Members:
Convenor: Joonas Lahtinen (j.lahtinen@muk.ac.at)
Arnas Anskaitis
arnas.anskaitis@vda.lt
Dr Arnas Anskaitis is an artist, educator and researcher from Vilnius, Lithuania. He is interested in practices of reading and the visual, spatial, and temporal nature of text. In his artistic practice and research, Anskaitis tries to draw attention to the physical and mental experiences of reading and writing ‘in space’, a physical dimension that both mind and body can grasp and perceive. Anskaitis engages with various media, including installation, performance, moving image, and photography. He is an Associate Professor & Head of the Photography and Media Art undergraduate programme at the Vilnius Academy of Arts.
Follow this link for additional details: https://vilnius.academia.edu/ArnasAnskaitis
Paul Jones
I am a senior lecturer at Wrexham Glyndwr University and programme leader for BA (Hons) Fine art and module leader for MA in Interdisciplinary Art Practice. My artistic research interests include performing territoriality, geo-political borders, visualising Welsh identity and culture, the visual culture in the time of the Post-Digital. Educational research includes exploring the precarious pedagogies of teaching and learning in higher education art and design. My co-authored published work, ‘DOT DOT DASH’, in ‘Leap into Action Companion: Critical Performative Pedagogies in Art and Design Education’ (2020), published by Peter Lang Publishing, outlines the experience of developing activities that enable students to become emancipated learners whilst registering antagonisms, often bubbling under the surface in their specialisms and the structures of an art school.
Website: https://www.axisweb.org/p/pauljones/
Vimeo: https://vimeo.com/user4248134
Instagram @stiwdio_llecynnau
Research catalogue: https://www.researchcatalogue.net/profile/?person=301212
Dahn Gim
dahngim@gmail.com
Dahn Gim is an artist/educator born in South Korea, raised in Canada and now lives/works in the United States. Identifying herself as a “forever foreigner”, Dahn Gim embraces the concept of hybridity in her material and exploratory endeavors. This process often involves delving into the depths of uncomfortable emotions, such as vulnerability, displacement, isolation, and personal trauma from both past and present experiences. Employing a diverse range of materials, Gim immerses herself in her creative work and encounters unexpected and whimsical outcomes that possess an intriguing blend of the unforeseen, absurd, and uncanny. Gim completed her MFA at UCLA and has exhibited her works at international venues such as Somerset House, UK; ifa-laboratory, BE; Post Territory Ujeongguk, Dongdaemun Design Plaza, Seoul; Rabindranath Tagore Centre, India; Steve Turner Gallery, AA|LA, Barnsdall Art Gallery, US; and international art festivals including Currents New Media, Santa Fe; SPRING/BREAK Art Show, Other Places Art Fair, Battery Leary-Merriam / Angels Gate Cultural Center, USA; Art Souterrain in Montreal, CA, and Now Play This at Somerset House, UK.
Rogério Nuno Costa
rogerio.nuno.costa@gmail.com
I'm a Portuguese performing artist, educator and researcher currently living in Helsinki. Over the course of the last 7 years, I have been dedicating a significant part of my artistic practice-as-research to so-called "radical pedagogies", developing a series of experimental activities (laboratories, workshops, round tables and lecture-performances) aimed to the speculation of a "multiversity", a macro-project which will come to a conclusion (installation + publication) in 2024 within the frames of Circular Performing Arts Festival and Espaço do Tempo residency programme in Portugal. I'm also collaborating with another trans-educational project named Es.col.AZ, run by Parasita, in Portugal. I'm interested in getting to know better other initiatives that might share some goals, missions and lines of thought with my research and my soon-to-be "school", at the same time contributing to the overall discussion of the research group. In this regard, I'm particularly motivated to introduce the idea of a "peripatetic pedagogy", a walking-as-learning methodology in relation with the public space(s). Additionally, potential new collaborations with other researchers (especially the ones who might be responsible for artist-run educational projects, more or less institutional/extitutional), would be very welcomed. www.rogerionunocosta.com