Book of Abstracts

 

 

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10th SAR International Conference on Artistic Research

Zurich University of the Arts, Zurich (Switzerland)

Enhanced Dissemination Formats

(In collaboration with Outi Condit and Simo Kellokumpu)


Q̷̯͎̑̆̇̔̇͝ŭ̵͉̠̪̅̄͘̚͘A̶͔͖̒̏͌̿͆Ř̵̖̜͛̉̈́͆̾ţ̵̛͕̠̩̬̎͒̄̒͛ź̸̟͓ ̷̡̲̰͒̃͂̀͠(̵̮͙͈͔̐̀̊̑̚ỏ̷͕͇͓́ṕ̵̢̧̲͒͒ę̵̤̮̻̘͌͆͠n̶̖̽̈̓̑̒͆i̷̤͆̅n̷̤̜̦͒̅̉̌̚g̶̞͓̏͗)̴̖͉̞̝͇̙͊̕̕

̵̭̘̝̹͚͐̉͝
q̶̣̱͉̼̟͔̜͌ṷ̷̥̤̇́̋͑ę̷̬̽͌̚ë̷̢̪̯̦̠̊̀͋̌͒̕͘͘ŗ̵͓̟͔̠̞̹̰̬͖́̐͌̈́͌̌͘͠ȅ̵̬̳͉̖̝͉̪̯͍̻̿̑̉̇̀̔̀̚͝d̶͔͙̻͂̇̎̒̓̏̍̆̕ ̷̢̡̺̱̼̻̥̭̓͌̾̎͐̾̓̄̚̕f̷̬͕͂̄̔̓͂͐̿͛̚͠ȯ̷̧̲̙̥̠̺̼̖̻͐̅̏̃̀͠r̶̰̦͓̪͊̇̐̒̀̋͜͝m̸̢̕s̸̨͍̰̙̒̏͊̎͠ ̴̨͕̜͔͓̯̘̭̊͑̏͌̍́ͅó̶̺͖̜̟̩͇͙̹́̓̈́̓̚͠n̷̡̜̝͙̊̀̽̚̕ ̵͉̼̫͍̳͍̺͈͐̇̐̍̕͘t̴͎͙̱̼͊̽̅̚͠h̸̟̏ė̵̻͔̥̣̜̄̽̈́͌̔̈́͘ ̵͇̰͆̀͊̔͛̑p̴̢̭͔̠̮͓̫̀̈́̆̿͆̑͠ó̷̰͈̀̓r̶̦̣̟͙̻̝̦̝̟̀̆̏̌̕o̶͎̪̘̻̻̼̓͂̋̅́̋̚͘͠ū̸͉̩̯̣͍͍̥̊̀̽͗́̀͘̚͜s̷̢̫̠̫̦̮͔͖̫͂̄̐́ ̷̪͍̰̫̻̼̲̘̈́̊̀̓̏́́̚͘͝b̸̪̖̠̟̆͊̾͌̋̿̀̏͆͠o̷̺̬͍͎̙̝͙̺͊̋͆̇͑
*On the occasion of SAR 10 artists and doctoral researchers Outi Condit (cyberactor), Simo Kellokumpu (choreoreader) and Vincent Roumagnac (redirector) propose a 90'n performative launch of their new platform QuARtz – Queering Artistic Researtz.
ȓ̷̛̙̞̟̜̲̣͍̠̌̊̓̚̕ḍ̴̨̻̳̲̲͚̩̃͂́̓e̷̜̞̺̼͙̋̅̃͆̈́̂͑̈́͘͝ͅȓ̴͕͋͋̅̇̈́̚̕̚s̷̨̛͉̤̮͕̈́̇̊̃ ̸͉͕͖̥̺͈̮̕͜o̸̦͎̙̤̾̓̑̆̈́͠f̸͈̯̝͈̐̐́͒͌̐̌͂̾͠ ̸̟̞̺͈͚͈̤̭̜̄̀́͑́̕̕͠s̵̗̼̘͐̿̈́͊̄̊̂̚͜,̶̧̢̭͕̘̥̫͗͑ ̴̧̣͖͉̯̖̘̓͜t̴̨̻̤̮̱̄̈́̈̍̉͆̇̾ẹ̷͓͓͙̯̽̋ͅc̴̛̖̿͒̏̽̉̑̄̈́͝ḩ̷̛̘̻̜̻͓͕̻̪̓͝n̴̢̺͔̦̺̓̌̇̀͑͝o̵̳͉̯̺̩͛͒͜͠/̴̭̞̙͉͔̽̓̀̋̈̈́̏̿͝f̷̬̝͔̮̃̾̐͊̂̊̿͠l̶̹̹̞̰̉̇ȩ̴̧̳̭̦̤̭̩̪̒͋͒̽̆̚͝͝ş̵̹̞̲̯̰̣̣̪̀̈́̅̂͑̆h̸͚̽͐͆̆̒̊͘͘͝

*Warning: In this in between technology and experience, human bodies may turn into screens, which may turn into stages, which may turn into glitches.

*̶̪̤̰̹͐͊͋̈́͜͠͠͠Q̴̨̦͔̘̲̣͈̗̙͍͚͊͆̐̓͘͝u̴̢̥̙̭̝͓͍̎̌͆͘À̷̢̮͖̰̏͒́̊̽̉̄̂̑̚R̸̤͎͓͈͎͕̞̟̲̞̺̦̀̄̀͑̂̋t̸̡̨͖̺̬̰̠̜͗̉̊͂z̴̩̘͇͑̏́̈̈̏͝ ̶̢̨̛͚̫̹̹͖̿͒͋̿͌͋̈̚͘̕c̸̻͇͖̯̤̪͕̹̄̃̐̋͑̆̒͑̕l̷̨̳̰̪̟̿͊̿͜ǔ̶̯́͆̃͊̆̀̕͘͠s̷̢̖̫̙͓̩̽̍͋͐̈́̏͌̾̕͝t̸̨̢̳̭̺͖̠́̿́́͘̕͠ḛ̶̛̩̜̥̘̱͊̔̈͗͐͜͠r̶̡̹̙̲̥̟̬̾ ̶̧̡̦̘̲̥̒̀̄̄̂̋͝i̵͈̦̬͎͌̀͘͜͝n̴̠̠͚͈̲̖̳̝̮͎̓v̵̧̡̜̯̜͔͍̟̅̃̄̇̈́̐͝i̷͕̤̙͉̙̺͆̐̇̽͐̾͝ͅţ̷̡̡̰̹̪͍̱̤͊̽̎̓̐͜ę̶̢̛̖̞̞̮͖͉̫̅͐͐̌̋̒̓̑̕͜͝ ̸̻̟̯͔̓̉͐̃̀S̶͍̤̝̖͍̎Á̸͙͕̹̘̼̩͋̅̈̌̐́̏͒̀͝R̴͕͓̝̰͙̝̋́̇1̴̨̫̫̠̙͓͎̒̑̀̌̏̓̀͋̀͗͝ͅ0̴̡̙̗͔͖͎̹͛̌̽̐̽̌́̅̽͂ ̵̼̹̤̟̲͉̦̾͛͒͗̆͒͝t̴̛̤̝̾̽͗̅͛̾̐̏͝͝ỡ̵͓̞͍̠̗̺͖͑͒̌̌͛͗̾̕͝͝ ̴̬͔͍͎͎̱̣̦̲̿̈́̓͒̀̄͘c̸̢̥͙̥͕̻̞̦͛͂̑̎́̀̾̈́́͠e̷̯͕̞͑́̀̔̅̍͆̉͊͠l̴̠͚̟̖̜̠͉̆́ͅe̷͓̙̟̻̻̪͋̑̈́̃́͋b̶̳͕̫̱̹̤̰̔̏͛̅͂̐͒͂̕ŗ̷̬̗̲̼͇̮̣̼̳͈͐̃́â̸̢̧̼̖̰̮̦̦̬̹͂̾̈́͗̈́͊̆̐͝t̶̹̣̲̘̱͈̜̋͂ͅe̴̙͉͖̭̗̖̣̩͍͋̈́̐̏̑͐͝ ̵̢̳̬̯̭̝̝̦̍̈́̏͆͐̀͛́̚͝t̶̥̮͎̳̘̦̹̟̠̺̐̌̕h̸̢̒̄̍ȩ̴̺͕̙͓̯̺̂̋͗͐͋͒̉̿̎̊͠ ̸̰͖̩̮͔̙̔̍͜1̶̡̧̹͇̱̗̖̯̺̯̟̮̊̐́̈́̌̇͘̚̚̚0̸̨̙̼̻͓̭̘͔̗̠̯̗̈̍̑͗͗̕͝͠t̶̢̬͈̺̣̃̕ͅh̷̡͖̜̖͍̗̐͆̓͗̊͘ ̷̫̠̝͇̟̼̩̽̅a̴̹̫͍̼͕̫̎̔́͑̂͋̌̿̋ň̵̻̞ņ̴̛̮̮͚̪̪̯͗̀̉͋̉̆̓̆̐i̶̢̳͓̟̖̹̜̣̯̱͗͆̀͒̎̽́̏́̓͜ͅv̸̭͠ê̶̡͙̬̘̪̲͙̟̬̤̠͌ͅr̴̡̲̻̰̯͕͓̲̝̞̾ͅs̷̨͉̠̤̫̘̗̱͍̝̗̆̽̋ͅa̷̧̧̟̮͕͔̥̯͕͑̈́̊͌̚̕r̵̢̩̙̖̩̙͔͔̳̗͍͛̌̄́͐̒̐̒͋ͅỹ̴̢̮̼̬̭̩̘̟͎̤͐͗ ̶̗͔̻̥͙̅̿̈́ó̷̡͍̦̘̻̞̝͎͋͛f̷̧̢͓̤̟͍͎̪͈̈́̓̾̑̋ ̷͎̪̞̎̿̉̍͊͑͜͝t̷̢̝̻̣̣͔̱̟̆̅͊h̷͖̼͍͍̙̹̲̘̆̓͘͜ȩ̸̛̥̰̙͍͖͔͋̽ ̵̯̹̹̐̾́͂̑̈̀̋̒͋̓̀ç̶̛͔͙̳͚͓̬̳͑͌̇̈́̃̈͝o̷̯͚̫͓̪̯͑͑̓̊̄n̶̖̺̬͇̝͕͈̺͓̔̒͛̂̎͜ͅf̸̧͓͖͓̩́̀̐̔͘e̸̩̪͓͌͌͜r̶̢̡͍̤͕͋̎͆ę̴͓̭̣̫̤̯̓́͜ņ̴̟̹͇̺͖͐͠͝ć̶̱è̴͚̺͗̓̈́͛͒̌̀̚ ̸̞͌͋̆̋͌̕̚͠ã̸̡̡̲̺̝̜̗̹͕̞̳̗̄͒̈̊͘n̷̘͐̋͋̑̎̿̈́͛̋͜d̸̹̞͍̦͍͍̹̣̜̦̀́ ̶͈̦̬̯̙̏̐ä̷̛̲́r̸̨̧̠͕̞̠̙̙̹̬͇̲̄̈́̓͛͆̽̌̂̀t̶̨̘͈̹̭̫̟͎̟̖̍̐̒͂̉͗͋̅̈́̕ͅí̴͖̜̣̘̹̉̃ͅș̴̘̳̬͒̄̀̌̒̌͊̽̈́͆͜͜͠͠ṭ̶̡͕̻͕̠̺̘̾̀i̴͉̞̘̰̥͍̦͖̰͚̘̹͊̈́͐̃͆c̵̨̛̗͕͈̣̟̪̲̩̖͓̊͒̏̄̈̿͘ ̸̧̱̮̱͙͛̽͑̀͊͌̔͂̀̾̕͜r̵̛̙̮̟̯̐͗͂è̴̖̥̳̝̝͕͙͇̀̑̇͛́̅̏͜ş̵͖̟̥̩̱̫̘̯͎̩͛̇̊͘͜ę̴̻͙͍͙̣̿͌ͅa̵̛̱̬͗̍̎̊͛̽̈́͆͝r̸̨̘̪͔͎̗̪̱̔̕ĉ̵̡̞̳̈́̔͘h̵̜͉̭̟̠͍̹̖̹̆̄̆͆̍́͋̂̾́̾ ̸̡̢̜̙̯̥̱̥͇̹̜̍̈́͂̅̈̎͛͘̕͘͠ͅǧ̸͎͓͂̈̊̈́̄͊͠ͅa̶̞̮͇̗͕̙͓̬̍̂̇̿͜p̵̧̡͚̱̩͎͔͚͕͚̖̬̓̇s̷̮͙͙͖̮̥̅̓̔̃͋̎̓͂̿͜ ̴̨͉͉̩͑́a̵̧̝̠̪̩͎̦̞̮̓̎͜ņ̵̦̞̹̮͒̽̉̓̍̄̂̍͘ḋ̷̢̨̜̤̬͈͍̼̪̼̱̞̏̅͒͌͂̍͊̊̑̚͠ ̵̘͚̱̅̾̾̿̆̽̌̅̂̾f̶̧̺̪̯͙͓̺̟̗̟͍̭͑̓̌ą̶̢̲̘̻̤̼͈̖̜̖̐́ͅî̷̡̡̡͇̮̳̳̬̘̼͖̄́̕͜l̴̨̯̦͉̲̜̝͕̼̓̍̂͐̿͌̓͜s̴͖̗̟̾̊̌̉́͠ ̷̙͑͒͑̿a̴̧͕͍̼͒̾̓̈́̓͘n̸̡̲̭̖͇̱͋̆d̵̨̡͕̙̤̫̼̰̝̮̔̋̂̀͐̾͘ͅͅ ̷̼̠͋̾̓̀͆̽ͅq̷̲̬͉̙̝̖̏́͌̊̏͑̅̂ų̷̡͙͖̥̣̺̹̗͚̼̌̑͝ḛ̶̬̎̒̅͑́̕ẹ̶͍̞͐̊̅̀̄͐͜r̷̡̫͂̿̈́͑͐̾͗ę̵̣͕̯̪͎̘̜̼͈̏̓̏́̿̾̉̽̚͜ḑ̸̛̠̤̘͉̹̈̌̎̓́͘͝ ̷̤̘̰͈̭̹̮͖̈́̊͋͑́͒̆̕͠ͅͅf̵̮̘̙̱͖͍̰̰͉͊̾̀̈́̿̑͜ơ̸̠͍̰͆̋̇̄́̇̃̃͛͜r̸̛̭̿̕̚m̴̳̼̉̆̀́̒̈͂͌͋̚͘͝s̷͔̗̫̲̱̤̑̈́̔̊͑͘ͅ ̸̮͍͕̳̫̼̍͗͂ö̷͍̪͉̯̝̱̦̜́̔̀̂̃͐̈́͝ṅ̵̨͔̗̩̹̹̣̮͕͒̒̏̽̈́͌̀̀͌́̎ ̴̢̧̢͉̗̪̈̊́t̸̙̫̠͔͉͕̖͇͉̿h̵̠̮̿̄̌̅́̃̓̅̽͝è̷̢̯͕̲͕͔̪͛̈́̐̎ ̸̡͙̪̼͍̏͗͋̌͛̓̚͘p̵̧̡̛̮͕̠͎̻͙̭̈̆̔̓͗͋͊̒ò̵̡̼̯̦̠̀̋̌̄̿̂̿̀͜͝ṟ̷̮̹͖̬̱̃̋͆̏̀́̊̃̇̕͜͝ǫ̴͈̩̺̥̙̺͔̪̦̺͋͘ṷ̵̻͇̮̥͉͕̥̯͆̀́̔̑͗s̷̛͙̱̙͍̮̠̬̝͛̅̂͂͌̂̈́͛͒̀̚͜ ̵̢͔̩̞́̈́͌̈̂̌̏͘̚͝ͅb̵͙̫̜̮̟̼͒ͅơ̸̗͓̞͒̐́̏̏r̵̜̃́̽̐͝d̸̹͙̥͓̦̹̺̞͊͑̎͑̂̓̄ͅę̴̧̧̩̣̻̯̺́̈́̑̒̾r̴̹̄̀͂̀̾̎͗͆̔̇̌s̴̡͇͚͈̽́̓̄̾̒̅̃́͊ ̷̯̟͔͕̤͍̰̭̦̮̖̾̉̌́͌̋̋͠͝ǫ̵̨̫̱͔̹̪͍͍̳̎͋͜͝͝f̵̟̖͍͖̘̩͍̈́̈́̒̊̎̓̽̈̋͋̚ͅ ̵̪̱̰̼̹̘̪͑̅͜s̵̥̙̀͗͗͛̂̕͠͝e̸̡̞̘̫͚̰̙̱̰̪͕̍̈́̆͗̀̋̆͜͝l̸̼̮͙̪̈́͑̀f̸̨̝̪̣̤̫͛̎͗͂͜/̴̧̡̤̤͈̂̑̌́̏͗̈́͝ͅͅo̴͓͈͕̤̤̊̄ͅt̷̨̢̗̲̬̹̯̼̏͊͜͝h̵̲͙͍̑̓̋̑͊̀͘͜ȩ̵̟̳̝̯̱̞́̂͐̆̈́̈́͑͝r̴̢̰͎̎̓,̸̧̛̜̝̱͎͈͎̜̙̽̈́̂͊́̾̂͂̓̓͘ ̶̢̨͚̻͔̬͓͖̒̑̽́͐̀̀̚͠t̸̲̗͙̤͔̀̈́͘e̶͓̓̿͐c̶͇̗̼̿̿ͅḩ̷̛̘̰͔̘͔͓̯͍̥̗̪̎͊͂͆̐͋͘n̶̨͚̖̰̘̜̲̻̒͑̍͑ŏ̵̪̟̲̠̰̯̲̯̜͈̏̉͘/̷̨̢̢̯̻̤̳̩̣̯̻̟̇͛̋́͛̿̔̒̆͠͝f̷̪̃̉̍̒̆l̶̡̬̠͇̗̯͙͕̻͔̓̕͜͝ͅę̶̨̖̘̟͙͙̟̲̈́̍̊̾̌̔̕s̷̹͙̬̺̘̞͚̥̦̳̎̒̑͗̂̽̍͛͘ḩ̶̖̯̥̦̲̱̳̘͙͍̜͒̄̑͒,̷̨̢͖̣̣̟̥͍͖̲͉͕́͗͛̓̅̂͠͝ ̵̲̜̝͎̺͎̝̏̂̆́̃͋̚a̵̖̒̏́̾n̵̢̰̱͂̄̒̋̆́̇̏́̈́̚ḏ̶̺̻͊̀̉̇́̊͒̃̑̿̚ ̷̡̧̤̩̻̯̦͎͙̦̬̓̐͊̿̎̈̊͌̏͝f̸͖̊̉͂ȃ̴̢̻͍͉̭͕̫̹̳̭̳̊̒͌b̵̤̩̬̤͌͊̈́͐̀̆̚͜u̵̩̗͊̌̉̊̐͋͑̽͑͘͘ļ̵̟̀͆̍̊ó̶̧̺͕̠̼͕̮̻͍̮̺͎͌̂́͛̒̄̓͠͠ṵ̶͔̟͓̜̘̻̭̓͋̏̄̈́̓͑͝s̵̛̘̬̗͍̼͎̅̀̀͛͋̈́͗͒͠ ̷͈̱̦̬͂̎͑͘ŗ̶̛̙̱̥͙̭̖ḕ̸̮͔͔͈͇̜̠͛̆̇̿͆͘̚͝ǎ̸̛̝̞̜̺̻̣̅͂͋̈́̄l̷̻͍̥̤̫̗̘͓̏͐̄̿̾̈̀͝ï̴̢̡̪͓̱̹̜̠̭̞̯̻̅̿͂t̶̢̖̔͂̓̈́̋̋̋͒͒͘̚ý̶̡̛̛̼̙̳̭̭̫̭̭̬̈́̓͊̓͗̈́̄̃͘͜.̸͙͑̄ ̸̞͌̌̄̾͗Ẉ̵̠̾̾͆̉͑̏̓̔͊̍͋̚͜ͅͅè̴̮̦̮̣͇̹͔̀͋͛̎̐́́̚͝͝ḷ̴͓̭̀͜c̶̢̟͖̘͓̟̀̓͗̃̂͌̓̂͛̾̀̚͜ö̵̙͇̤̣͓́̇͊̋͐̚ḿ̵͍̓̓͗̀͠͠ͅe̴̢̺̣͈͓͓̭̋̈́̐!̵̳̺͗̌̆̽́̿͂̀́͂̎

 

*QuARtz cluster invite SAR10 to celebrate the 10th anniversary of the conference and artistic research gaps and fails and queered forms on the porous borders of self/other, techno/flesh, and fabulous reality. Welcome!

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The Contemporary Contemporary

ARoS Aarhus Art Museum, Aarhus (Denmark)


Anthroposcenic Chronotopias

In the opening scene of Shakespeare’s The Tempest (1610) sailor men yell, “We split! We split! We split!” and in the wrecking they sob “All lost! All Lost! All Lost!”. For researchers Maslin and Lewis the Anthropocene began in the beginning of the 17th century with the irreversible cross-ocean exchange of species alongside a pronounced dip in atmospheric carbon dioxide centered on 1610 and captured in Antarctic ice-core records. Bruno Latour intervenes in the dispute of the dating of the Anthropocene and, relying on their hypothesis, picks up the argument by framing it within the cultural transition between the ‘old’ and the ‘new worlds’ and specifying that this transition was marked by a significant shift in the representation of time, namely the transformation of Western arbitrary time into the real time of the countdown to the Sixth Extinction. My artistic research on expanded theatre and time ecology in time of the collective acknowledgement of the Anthropocene undermines conventional theatrical takes on Western conceptualization of time and experiments on scenic alter-temporalities or anthroposcenic chronotopias. Focusing on the continuities between the stage and the backstage agencies, this paper will present recent works in which the stage is diffracted as a multifocal and transactional zone, (dis)appearing in between the agential fluctuations of the human proscenium and the other-than-human skene. Introducing the scenic dynamics of multitemporality, heterochrony and idiorythmy, this presentation will use artistic examples to address the time-specific mutation of my theatre practice in response to the contemporary ecological demand on the revision of the nature and goal of mimesis.

 

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Performance Studies International #22 _Conference

Performance Climates

University of Melbourne (Australia)


The Theatre Season

Staging and spectating seasons on the brink of ecological collapse

The Theatre Season is an artistic project which takes place during one year in the vicinity of an outdoor stage located in a public park in Helsinki. It consists of twelve ‘pieces’, tautologically named after the month during which they take place: (Piece of May, Piece of June …). For Psi#22, I would like to expose the project through addressing questions like: How is it possible to affect a spectator with the aporetic staging of a phenomenon such climate change which is invisible and perceptually resistant? How can one experience this resistance to representation and perception through scenic endeavor? How, through the repositioning of human theatrical agency within the spectral presence of the anthropocenic catastrophe (Morton), can contemporary ecotheatre (Chaudhuri) revisit the notion of ‘landscape play’ (Stein)? As a theatre director, conducting my doctoral studies in artistic research on the notion of ‘heterochronic theatre’, I explore the disruption of human theatrical co-presence and its expansion vis-à-vis nonhuman materialities and temporalities. My multimedia presentation will disclose my research hypotheses on the temporal turn from a theoretical, speculative, and possibly paradoxical confluence between deconstructive indecidability (Derrida) and diplomatic relationism (Latour).

 

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The Swedish Research Council's Symposium On Artistic Research

Research Ethics and Artistic Freedom in Artistic Research

University of Vaxjo

 

Exhibiting and/or/Vs exposing research on Hetrochronic Theatre?

Closure and disclosure of art practice interpretation.

The focus of my research is the question of what kind of alternative theatrical practice is generated from the permutation between the skene (the nonhuman ‘back-stage’ traditionally relegated to a function of surrounding ‘décor’ or storage or reserve of usable matters) and the proscenium (the place and time of human centred production of representation, or what we used to call a ‘stage’). Through this research I intend to ponder what happens to theatre when processing this permutation as a potential line of flight out of anthropocentrism on the brink of ecological collapse. For the symposium I propose to present the outcome of my first doctoral artistic part, which will take place in Helsinki next year. The artistic part will be displayed through two simultaneous ‘stages’: on one hand the exhibition of a chosen recent art project and on the other hand the exposition of the same project. In Växjö I would like to share and discuss this double-staging through the symposium’s orientations and by opening questions such as: What happens to art’s freedom to interpret in the shift from exhibition to exposition? What are the aesthetical, ethical and epistemological implications? How can one maintain ‘free’ artistry i.e. a non-mastering of the interpretative output of the art practice while articulating the latter for dissemination within the field of artistic research? How can exposition operate as a disclosing deconstructive methodology rather than a closing self-exegetical mode of control?