recent activity
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Digital Anarchive: Being in Contact - Encountering a Bare Body
(last edited: 2018)
author(s): Mariella Greil-Moebius
This exposition is in progress.
This digital anarchive was developed in reference to my doctoral research, a practice-as-research project that explores the concept of bare bodies and how to encounter them in contemporary choreography. My thesis draws on philosophical, bio-political and ethical discourse relevant to my discussion of the emergence of bare bodies in choreographic work, and creates a critical framework for a self-reflexive movement. Narrations of bare bodies emerge in both the written component of a choreographed book, and in the creative component consisting of the live event of a lecture performance inhabiting an anarchive.
The anarchive is a kind of research repository created and accumulated in the course of my PhD project and documented here in digital form.
Throughout I argue for acknowledging acts of baring and concealing as culturally situated, anchoring my thesis in reflections on performative encounters, unearthing their methodological weight and nanopolitical significance. I explore non-subjective performativity, implying a fluid conception of identity. Furthermore, I introduce the ideations of an-archic responsibility and choreo-ethics for reassessing contact and relation as an ethico-aesthetic project of current choreographic performances. These propositions get probed alongside a shift from spectator to wit(h)ness.
In the core chapter on bare bodies, I differentiate and untangle the tones and shades of the triplet naked, nude, and bare, each term referring differently to body and performativity. All in all, the choreographic is conceptualised as a complex field of revelatory experiences built on ecologies of aesthetic perception and realising ethico-political agency.
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Structure-Borne Sound for Music and Intermedia Creation
(last edited: 2018)
author(s): Otso Tapio Lähdeoja, Daniel Adrian Malpica Gomez
This exposition is in progress.
The object of the my Academy of Finland postdoctoral project (2014-2017)is to investigate and tap the potential of structure-borne sound as a medium for musical expression. Structure-borne sound is defined as audio-rate vibration induced into a solid element, giving rise to air-borne sound diffusion as well as to audiotactile perception when the vibrating element is brought in direct physical contact with the body. Structural audio vibration is an everyday phenomenon. It is omnipresent in music, for instance via the vibrating soundboards of chordophones and percussions. However, the electronic music praxis has almost exclusively adopted the moving-coil loudspeaker as its tool for sound diffusion. Structure-borne sound presents numerous possibilities for transforming a range of solid objects into sound-emitting speakers and thus a radical alteration of the established sound practice in music, theatre, installation art and intermedia forms. Sound can be induced into the structures and furniture of the performance space with structure-borne sound drivers, producing a macro-scale « instrument ». Sonically active architectures can also be designed, with altered acoustics or noise-cancelling properties. Audiotactile perception can be added to a concert setting, introducing a new perceptual dimension to the musical experience.
This line of research merges issues of artistic creation, sound perception and sound driver technology in order to create a fertile research dynamic between art, science and technology. The two central research questions are the optimization of structure-borne sound quality for musical use, as well as the combination of vibrating solid elements, audiotactility, acoustic instruments and loudspeakers into « composite aural spaces », i.e. spatial instances of multiple sound-source audio.
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All is as water runs
(last edited: 2018)
author(s): Magda Mayas
This exposition is in progress.
Magda Mayas is a pianist and researcher, exploring relationships between sound, space and the listener within improvised music. She experiments with a grand piano, objects, microphones, speakers and space.
Timbre and its dynamic inter relation to body, movement and objects is at the core of her research, which she investigates through performative projects.
Recent Publications list view
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Ecorchées
(2018)
author(s): Lisa Salamandra
published in: Research Catalogue
A theoretical linking of my "Raw Women", female figures from the series "Raw Meat" which feature a skinned, cut-up, recomposed body, with the "living dead" figure portrayed in the anatomical charts of the Fifteenth and Sixteenth centuries. I examine how our two images seek the representation of "truths" concerning the human body and its functionning as well as a common truth about the fate of the human flesh, and that of our human condition.
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PERFORMED REALNESS: On Participatory Art and its Ethics
(2018)
author(s): Johanna Lecklin
published in: University of the Arts Helsinki
In my study, Performed Realness: On participatory Art and its Ethics, I address questions stemming from my artistic practice and concerning participatory art, the split between documentary and fiction, performed realness, the ethics of the abovementioned, and authorship. I discuss these topics in dialogue with other artists’ artworks and with theories. Nevertheless, my intent is not to execute a comprehensive study on works, that have the same traits as mine. Works with moving image, my own and other artists’, which leave me to wonder and perplex me were a starting point of my research. – Is this true? Are these people performing or are they just being themselves in front of the camera? Can one be in front of the camera without performing?
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Format Exhibition - Schallwirkungen auf Mensch und Tier
(2018)
author(s): ingrid cogne, Tobias Pilz
published in: Research Catalogue
In early 2015, the art-based research project Six Formats gathered a group of artists, curators, and researchers 1) to co-think about an Exhibition as well as 2) to articulate this particular format of communication as knowledge. In Six Formats, formats of communication are the central knowledge. Format, content, and context are in relations. The format Exhibition was placed at Kunsthalle Exnergasse. In order to be in line with the aim of KEX to serve artists, the research process was intended to work with the exhibition space. The research group decided to improve the acoustic qualities of the room - for talks, screenings, and performances - and to intervene in the space without interfering with an artist’s needs. This decision led to reflections on visibility and subtleness.
Six Formats investigated “exposition” - proposed by Research Catalogue - as a format of communication. For Cogne and Pilz, the format exposition could be explored as “one” space (one room, one poster, one painting). Six Formats invites the visitor/reader to circulate between fiction and reality and to let their activated thoughts navigate without searching for any truth.
The exposition 'Format Exhibition - Schallwirkungen auf Mensch und Tier' proposes a double entry.
The visitor can visit it as they would enter the physical space of the Exhibition Schallwirkungen auf Mensch und Tier at KEX: 1) little by little, randomly, maybe not noticing all the elements placed in the exhibition space; 2) glancing through the space or directly diving into the reading of the exhibition booklet that the research group treated as a fictional space. The visitor can also directly access the process the group had - written in black on a white background. They will meet a quite linear writing that Cogne and Pilz exposed in a nonlinear way.
Six Formats (FWF, PEEK, AR291-G21) takes every opportunity to challenge formats of communication and explore ways in which art-based-related knowledge can be presented and articulated as well as activating and circulating.
artists using the research catalogue
Jaakko NousiainenFinland (residence)
Luk VaesBelgium (residence)
Susan WilliamsGermany (residence)
Jonathan BonnyNetherlands (residence), Belgium (citizenship)
all artists
