Research Catalogue

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• PhD Meta-Exposé-Entwurf (last edited: 2019) author(s): Erika Matsunami This exposition is in progress.
  Dieser PhD Meta-Exposé-Entwurf ist ein Exposé für Ph.D. Kunst-Forschung.
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  Reading on Reading: Ecologies of Reading (last edited: 2019) author(s): Emma Cocker, Lena Séraphin, Cordula Daus This exposition is in progress.
  Reading on Reading is a series of experimental reading practices developed collaboratively by Emma Cocker, Cordula Daus and Lena Séraphin whilst working together in the Research Pavilion #3, Venice, 2019, for exploring what alternative modes of sense making are produced when reading is undertaken artistically, as an aesthetic activity. Reading on Reading explores three interrelated foci: How can aesthetic practices of reading: (1) Shed new light on the phenomenology (or how-ness) of reading? (2) Transform the often-solitary activity of reading into a shared or communal act — and what modes of sociality, solidarity and emergent ‘we’ emerge therein? (3) Operate as a disruptive process, unsettling normative conventions of reading through focus on the poetic, affective and material dimensions of readerly experience? Within this artistic research collaboration, we consider the act of reading beyond the relation of the reader to a text read, as a micro-political or ethico-aesthetic practice through which to re-consider — perhaps even re-organise — the relations between self and other(s), self and world. Reading is explored as an aesthetic activity for cultivating shared poetics of attention, for the re-sensing of language through embodied vocalisation, for tending to the temporary gatherings of ‘we’ that reading together affords. This exposition shares the reading practices tested and explored in and through the collaboration Reading on Reading, alongside reflection on the questions and concerns emerging within this enquiry. Whilst operating as a document or archive of a specifically time-bound research activity, the intention is that our reading practices have scope to be activated by other readers.
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• Reflection on the auditory and visual aspects of 'site-specific' in arts (last edited: 2019) author(s): Erika Matsunami This exposition is in progress.
  This artistic research is a cognitive research with regard to part three of „N.N-Zwischenliegend” that is based on auditory and visual aspects of site-specific installation, which is focused on their concepts and components in arts. Situs, which is included in site-specific, means the location, especially in the phrase in situ. A contemplation of in situ on the subject of „localization and an existing reality” is the starting point of this research, which is concerned with the topic of site-specific art as well as installation. Consequently I deal with Max Eastley’s concept of auditory aspects of site-specific installation and its seeing in, and theoretically I deal with the reflection of visual aspects of site-specific art in aesthetics and philosophy of art, especially with a paper „Dismantling the Frame: Site-Specific Art and Aesthetic Autonomy“ by Jonson Gaiger in which paper of his argument for the orientation of recent art practice towards what has come to be termed ‘site-specificity’, and as well as with site-specific installation in the contemporary spatial strategies. In conclusion I therefore question whether a site-specific art as well as installation still would be experimentation in the arts. And how? I mention thereby about Autonomy and its Identity in Arts.
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  The Musical Dyad - Crisis and Growth through Music (2019) author(s): Jessica Kaiser published in: Research Catalogue
  Music has the fundamental ability to open up spaces of intersubjectivity and social interaction. When two people engage in making music together, questions surrounding relationality arise: As a duo, the two individuals can musically act together in various ways. In fact, it is the wide range of relationality, from close attachment to the possibility of crisis, dissociation, or at least the struggle for togetherness, that unleashes the artistic potential. Confronting a piece of music, the question of relationship is prompted by music itself. To answer this question, the duo negotiates relational qualities through the process of interpretation. Together with the violinist Johanna Ruppert, I aim to explore how a developing interpersonal dynamic can be challenged and how it may respond to an audience that is made aware of the relational potential in the duo situation. In an open rehearsal format, we experiment with choreographic elements and (extra-musical) objects that can facilitate interaction. This performative approach allows to shift focus between different aspects of relation, such as connectivity, trust, resonance, fragility, embodiment or shared space. Drawing on the concept of musical empathy (Deniz Peters 2017) and joint feeling (Angelika Krebs 2015), this also entails questioning how empathetic processes, between co-performers as well as performers and listener, can be induced or intensified, without construing an artificial narrative. In a live research situation, the audience is called upon interfering and interacting with us as a duo. This may be by moving through the room, (re-)positioning us and/or themselves or intervening with vocal statements. Objects such as threads, ties, hoops or clothes can be used as additional provocative means. Venturing into a state of crisis, our relationship shall be put to the test, only to give rise to new possibilities of relation and eventually to come out of this crisis – strengthened in our togetherness.
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  Throws of Dice (2019) author(s): Henna-Riikka Halonen published in: University of the Arts Helsinki
  My doctoral research project is a speculative spatial construct, an alternative labyrinthic infrastructure that is flexibly built within and as a response to the artworks it houses. Existing in tension with the framework affecting it, the artworks and the texts leak out from the structure and are performed in and around the physical floorplan. This format renders the configuration of the research project visible and temporary, with the potential to be reformulated and adapted to future contexts. The labyrinthic structure allows the research to go off in different directions, enabling us to consider the multiple perspectives and modes of writing that constitute its story and the complex infrastructures that might support it. As a strategy for artistic, social and political engagement and a reaction to a contemporary condition in which our claim to the positions we occupy is increasingly simplified, my research project creates a space of thinking, imagination and resistance. By confusing the functionality of language, it aims to make visible the power dynamics and infrastructures shaping our world. The notion of power is two-fold, the research examines, on the one hand, the complexity of human interactions and positions concerning hegemonic power structures and on the other hand, the relationship between the visual and the verbal and experience and affect. A number of defining characteristics of our contemporary condition are matters of concern; the speed of the networked globalized economy, the control enacted by states and categorization and exclusion of culture. In artistic research (and the networked world as a whole) there is often a tendency to adopt an overarching view which seeks to unify under a single concept a multiplicity of events. However, here the strategy is to do away with the reductive way of doing theory and instead, to dismantle hierarchical relationships between categories. My research project also contributes to the genealogies of participatory practices and to bridge the gap between language and visual art, I am tapping into similarities and differences of a kind of a virtual staging offered by literature, visual art and digital technologies. I draw from literary strategies of speculative fiction, in particular, those of the French Nouveau Roman. By using chance, paradox (aporia) and uncertainty as guiding principles and as revelatory tools this research endeavours to deconstruct and divert perception and language, emphasizing absurdity and creating sense rather than meaning. More particularly, the research constantly explores its own limits and reflects its involvement with the social and political structures it is addressing to create or anticipate new modes of existence. This project requires the reader/viewer's active participation, leaving holes or unknowns in the narrative structure that moves through entangled nodes of connections and different temporalities to suggest alternative and expansive forms of viewing and making art and research. The research uses my installation/performance Eden The Pow(d)er of Fear (2014) as a frame structure, both as a physical blueprint of a labyrinth and as a story. This approach is not intended as a retrospective view towards the work but proposes instead a speculative re-writing and re-scripting of a work that offers new 'portals' to other works and worlds, through other narrative and theoretical threads opening up new perspectives, concerns, times and spaces. The other works embedded in the structure are the moving image works Moderate Manipulations (2012) and Placeholder (2017).
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  BC Time-Slip (The Empire Never Ended) (2019) author(s): John Cussans published in: Research Catalogue
  BC Time-Slip (The Empire Never Ended) is the first phase of a long-term artistic research project called The Skullcracker Suite. Taking its name from Philip K. Dick's 1964 novel Martian Time-Slip, the project uses the story of Dick's visit to Vancouver in 1972, and his stay at a rehab clinic for First Nations ex-cons, as a pretext to investigate the cultural politics of decolonization in British Columbia since the 1960's from ethnographic, Indigenous and science fictional perspectives, with a specific focus on the potlatch culture of the Kwakwaka'wakw peoples of the Pacific Northwest.
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Esa Kirkkopelto
Finland (residence)

Pilvi Porkola
Finland (residence)

Tero Heikkinen
Finland

Paul Deneer

Linda H. Lien
Norway

Niels Tausk

Russell Marshall
United Kingdom

Francisco Beltrame Trento
Finland (residence), Brazil, Italy (citizenship)

John Cussans
United Kingdom