Research Catalogue

Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material. The exposition exposes the question of what is artistic research. Usurping the mini-essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system. Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I use visual art and figurative examples as illustrations, adapting from methods, such as the example, used in analytic philosophy. I suggest that some artworks operate as philosophical provocations of the archive: "The artwork just exists", as Frank Stella argued. Artworks and archival artistic material are offered for aesthetic contemplation; they don't possess any "magical" qualities, they don't cause any phenomena or events in the world. In this view, I ordered this exposition as a design proposal for two independent, yet interconnected exhibitions: one for the final artistic exhibition show; and one as a general overview for the artist's studio, set up as a stand alone, if parallel, exhibition.

Here I move, is an artistic research project focused on composition and improvisation. The aim is to explore and develop flexible compositional tools that can adapt to a wide range of creative contexts — from symphonic orchestras to conceptual performance, from music to dance, and towards any interdisciplinary field I find artistically engaging. Improvisation is the main method of investigation: by performing solo, recording sessions, selecting specific fragments, and analyzing them, I generate new material that is then proposed to ensembles and commissioned projects. This cyclical process feeds a continuous reflection and contributes to the development of compositional strategies tested in diverse performance environments. The research revolves around three central questions: – How can I create compositional tools that remain adaptable to increasingly diverse contexts? – How does this system influence my own performance practice and interaction with other musicians? – How flexible is it within interdisciplinary settings? This project is part of the Jazz Composition course at the Jazzcampus in Basel, under the supervision of Stian Westerhus, with the support of Stephan Meidell, Tineke Postma, and Guillermo Klein.

A new filigrane sound object (or series of objects) in the making, w.i.p.

Table of contents JSS issues

The Grand Tour Experiment: A Transformative Traverse of the Picturesque Landscape was a human-pulled carriage journey that re-envisioned the eighteenth-century traverse of the picturesque landscape, the subject-objectification of the view, and the imperialistic impulse behind the voyage pittoresque. This artistic experiment visually, kinaesthetically, and performatively explored the transformation from landscape to image that formed the basis of modern perception, as part of the colonial legacy inherent within the picturesque view. The Grand Tour carriage was pulled by human labour, evidencing the forced labour economy that impelled the European Enlightenment, while demonstrating in human terms, the use, abuse, and commodification of human and non-human animals. The Grand Tour proceeded from Binche to Brussels to Antwerp, Belgium in 2022. The Grand Tour experiment investigated the eighteenth-century picturesque gaze, which travelled unchecked over the landscape in industrialised Europe, a harbinger of the annexation and enclosure of land that had been commonly owned, traditionally used, or publicly accessible, while portending the colonisation of lands abroad. The picturesque gaze, an imperialist mechanism, still fragments the landscape, excising two-dimensional pictures from the three-dimensional world around us, a vestige and augur of the destruction of lands, cultures, and peoples. Shifting between early modern and contemporary perception, The Grand Tour bisected space and time in a cleaving manoeuvre, creating new fault lines in which multiple planes of space-time might co-exist. This experiment tested whether a new neo-picturesque framework could be forged in a dimension of space-time that alters according to the perception and orientation of the traverser, casting contingent new imaginaries into physical and psychic realms where they may or may not become realities, according to Arno Böhler’s philosophy as artistic research approach (2019). This experiment envisaged a plurality that did not exist in the eighteenth century but may have already been limned in its myriad contradicting, contrasting, and diverging modes of sensing and experiencing the world around us in a relational and now relative notion of space-time. Download Accessible PDF

This exhibition presents an investigation into the folk music and dance practice polska, involving a group of Swedish folk musicians and dancers. The investigation employs optical motion capture (mocap) to explore interactive music and dance performances and create innovative artistic expressions by merging traditional practices with contemporary media technology. As a musician working closely with the dancers he plays for, the author explores ways to mediate dance through the sonification and visualisation of movement data. The focus is on the fundamental connection between sound and movement in this performance practice, particularly showcased in the project's centrepiece, Dancing Dots. Documentations of this and other works included in the exhibition present live music and dance with sonic and visual displays derived from mocap data, asking how such multi-modal mediations can facilitate understanding of the interplay between movement and music and open new avenues for artistic expression in this folk music practice. The use of optical motion capture is contextualised as a means of mediating music-dance through narrow streams of movement data, and the exposition introduces a web tool for accessible sonification of folk dance. The exposition applies music and dance theoretical concepts in designing the movement mediations, examines their relevance in an artistic context, and grounds the results in a practice-based understanding of the rhythmic/metric framework of the Swedish polska. Download Accessible PDF