Research Catalogue

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  My Plant (last edited: 2020) author(s): Roy Arild Hagalid This exposition is in progress.
  The process of taking care of this plant
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  „N.N-Zwischenliegend“ – non-calculable time, space and body (last edited: 2020) author(s): Erika Matsunami This exposition is in progress.
  Non-calculable time, space and body is the second part of the artistic research “N.N-Zwischenliegend.” This part consists of three main questions: How to create a documentary that is not binary proof? Is it possible to understand an artistic documentation (a work of art) as knowledge? Is it possible to conceive an artistic documentation (a work of art)? These questions refer to the subject of Arti-fact, resp. to the part three „N.N-Zwischenliegend" of my artistic research. In doing so, I attempt to investigate the subject of aesthetic contemplation, which frequently relates to the cultural evolution. For this I require self-reflection on whether a work of art could be a documentation on the topics of space, time and body. The third part of this artistic research is on spatial installation. The three important elements in this part are the photographs which I took in the city of Berlin, the sounds which I recorded in the city of Berlin, and the interviews with Berliners.
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  On Klänge - Space, Time and Body (last edited: 2020) author(s): Erika Matsunami This exposition is in progress.
  Collective artistic research on "Corona" (1962) by Toru Takemitsu. The start point of this artistic research is an artwork Corona-STEMS-GALAXYOMEGA (May 2020) by Lukas Huisman who a pianist and Ph.D. artistic researcher, he started to interpret "Corona" (1962) by Takemitsu together wit a composer Patrick Housen newly. I collaborate with him as a visual artist for a sound installation in this artistic project. Thereby Joint research subject is on "transculturality of sounds". As a visual artist, I research on the subject of time and space in "Corona" (1962) by Toru Takemitsu for the exploration of new interpretation. Thus theoretical exploration is in terms of ongoing artistic research in the philosophy of sound.
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• Standing on Earth (2020) author(s): Grėtė Šmitaitė published in: Research Catalogue
  The research of March-August 2020 approaches environment and society as constantly in-formation, while one is opening one’s eyes upon them, always a participant of them. The research was led by: -rigorous practice of observing, adapting and dancing ‘out in the open’. Seeking to uncover the dance that has the sizzling, restless feeling, the butterflies in the stomach. Dance that would primordially reveal connections between elements and in such way uncover the possibilities of experiencing what they are. Polyrhythms, joining consonant and dissonant were there as the access points. -reading Tim Ingold and diving into the understanding of the world that is worldling, that is changing as the weather does. -reading Contact Quarterly Contact Improvisation Source book, perceiving these meetings of letters as a platform that encourages to think around the power and various facets of contact; that inspires to build by staying in dialogue. -weaving webs of sharing one’s doings with other artists - staying in dialogue in the form of letters and calls. With: mentor of the research Stephen Batts and the very inspiring colleagues Christine Quoiraud, Rūta Junevičiūtė, Hanna Kritten Tangsoo, Magdalena Meindl, Lyllie Rouvière, Forough Fami, Iivy Meltaus and others. Last to mention the exchange that happened without my prior understanding with Giedrė Šmitienė who at that time was researching relations through the letters of poet Janina Degutytė.
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• The Freestyle Orchestra: Questioning Norms in Classical Concert Performance through Ross Edwards’ Maninyas Violin Concerto (2020) author(s): Chanda VanderHart, Sonja Schebeck published in: Research Catalogue
  The Freestyle Orchestra is a performance collective of classically trained musicians exploring and questioning the limits of how an orchestra can express music in performance. They strive to create an aesthetic Gesamtkunstwerk on stage, incorporating physical movement, aerial arts, staging, lighting, costuming, and fire manipulation in live music performance. Building on contentions regarding the inherent physicality of musical performance as well as precepts within Embodied Music Cognition Theory asserting that meaning-formation is corporeal, they themselves research, train and perform as interdisciplinary artists, constantly experimenting with novel ways to communicate the movement and gesture they experience when listening to music more immediately to their audiences. The collective is convinced that this aspect of inherent physicality is something which has been sacrificed to the work-centric focus of classical music (and therefore neglected within conservatory training), and believe manifesting the movement they perceive within some music is a natural process which can itself generate meaning for both performer and audience. They envision the body as an instrument and strive to amplify musical gestures and meaning through physical movement, simultaneously enhancing and more deeply expressing their own understanding of musical compositions. This exposition introduces a 2019 collaboration with Australian composer Ross Edwards which resulted in a choreographed performance in City Recital Hall in Sydney of the composer’s Maninyas violin concerto. It combines audio-visual footage, photos and texts contextualizing the research process, which included contemplation and re-enactment of Edwards’ own musical journey in creating his Sacred and Maninyas styles, a way out of a personal musical crisis. Edwards’ perspectives on the ecstatic and fundamental connections between nature, dance, ritual and music/sound fed the physical and stage treatment as well as the processuel, experimental research of the Freestyle collective as they constructed their own, interdisciplinary performance of the concerto.
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  How Do I Compose Music Based on Game Rules? Transforming the Emotions of a Game Into Music (2020) author(s): Il Hoon Son published in: KC Research Portal
  HOW DO I COMPOSE MUSIC BASED ON GAME RULES? Transforming the emotions of a game into music
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Susan Williams
Germany (residence)

Tero Heikkinen
Finland

Mia Engberg
Sweden

Steven Vit

Marit Eline van der Lei
Netherlands (residence)

Biro Daniel Peter
Norway (residence), Canada, Hungary, United States (citizenship)

Chrysoula Panagiotopoulou
Finland (residence), Greece (citizenship)

Nayeli Vazquez Bertely
Netherlands (residence), Mexico (citizenship)

Carlotta Bonura
Austria (residence), Italy (citizenship)