The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the
Society for Artistic Research
. The RC is free to use for artists and
serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be
an open space for experimentation and exchange.
B.O.D.Y. - Between auditory fiction and body-reality
The exposition "B.O.D.Y. – Between auditory fiction and body-reality" is a summary of my project `B.O.D.Y. 2010´, which was represented from 2009 (ground work) until 2012 and includes theory, artistic practise, procedure, realisation, representation and perception. Thereby, the theories refer to my artworks and are summed up my artistic thesis. The artworks in this exposition are related to the theses of the academic and scientific fields. The artistic research for the audio and visual works is based on the project `B.O.D.Y. 2010´. This project is an intermedia project; it uses media such as photography and drawing, photography and sound installation, and music (sound/sonority/noise) and drawing. The research field is interdisciplinary in visual arts and music within the expanded scope of the transdisciplinary approach.
In the project B.O.D.Y., I used the time-based mediums of sound and performance which are the mixing layers of design, happening and performing. The act, as well as performance, is conceptual and improvisational which evokes, in contrast, the connotation of the objects with the body in real-time.
In the space design for the installation and performance, the horizontal dimension of this installation is variable. Each exhibition space of the installation and performance will be re-designed by the cross-disciplinary approach in the art such as in the representation's concept and artistic approaches.
This digital exposition is likewise a part of the concept and contemplation for the art book B.O.D.Y. about the conceptualisation for a multimedia art book design with intermedia artwork.
(Human studies in the keywords is not the area of studies such as human science.)
Untitled* [version-copy for maintenance]
Untitled* is practise-based artistic research, which is the exploration of geometry in drawing, notaion and sound composition (virtuality) and spatial installation and performance (physicality).
Its spatiality will explore in the context of visual arts and architecture in terms of the cross-disciplinary between Music and visual arts, that is through an intervention between two disciplines of visual arts and music towards architecture (design) methodically.
From threefoldness to multi-foldness
From threefoldness to multi-foldness: On Personal AI in visual arts and its perception in an artwork – What is artistic authenticity with AI in arts? In this project, I explore practically and theoretically, in particular rethinking philosophical reflection on “A thousand plateaus” (originally published as Mille Plateaux, volume 2 of Capitalisme et Schizophrenic © 1980 by Les Editions de Minuit, Paris) by Gilles Deleuze and Félix Guattari. I've been dealing with this book in my project since 2000. Therefore, I agree with the approach "Kunst kommt aus dem Schnabel, wie er gewachsen ist" (the title of an art catalog with 11 disabled artists) by Mosaik e.V. in Berlin, 2011. This artistic research addresses the issue of technology and humanities in arts. (Theorie und Praxis im künstlerischen Schaffensprozess)
In circles leading on – folkdance, a choreographic intersection
This research departs from a study, building on the relation between one’s own embodied cultural constitution and someone’s comprehension of the practice. Dealing with questions on what approaches that are needed to make different perceptions of dance the possibility to contribute to the development of the field. Placing a dancing body in center of the research gives rise to the position which yields the required perspectives. When dancing, the stance of representing a genre is assumed, taken and given in a concrete way, in this case – folkdance within contemporary contexts. Moving in circles through references from different discourses, and by allowing these circles to intersect in practice, the work achieves its critical point of view.
Circular Bowing, Cyclical Work
Karin Emilia Hellqvist
Circular Bowing, Cyclical Work explores the collaboration between composer Henrik Strindberg and myself, violinist Karin Hellqvist, from my viewpoint as performer and co-creator. On my initiative, as part of my PhD in artistic research at the Norwegian Academy of Music in Oslo, a cyclical collaborative practice is being developed. Our process differs from the conventional separation of roles that I have so far experienced as a performer of contemporary Western classical music. The exposition highlights how my understanding of the emerging concept of 'the artistic palette' develops through the shared work and dialogue around Cirkulära Stråk for violin and electronics, when expanding my practice and establishing a new work mode. Through examples from the artistic process, the exposition aims at further unfolding how we as collaborators develop ways of challenging each other. A keyword for my defiance of the traditional and formal task division, is the search for connection – connection to my collaborator, the work, and the embodied knowledge of my artistic palette. The exposition comprises written reflections, transcribed dialogue and sketches as well as video and audio documentation. Documentary video conversations are held in Swedish with English subtitles.
Back to Present
Back to Present discusses the themes, filming structure, and editing process of the short film A Day Becomes (2018). The film is part of Guava, a platform for art-actions that promotes the idea of free movement and the removal of borders east of the Mediterranean. In this exposition and in making the film, I explore the possibilities of political imagination regarding regional movement across borders in relation to the phenomenon of Time.
The exposition has two parts. The first, entitled Here, unfolds around discussion about the landscape; the second, called Now, suggests that how time is experienced can affect how one experiences one’s surroundings. The form of the texts correlates to the content, form, and making of the film. The film making text is set in the center of the exposition, and the other discussions push themselves in and spread over the page. Like the text, the film’s continuous timeline is dense and loaded with plural repetitions and conversations. The interlaced reflections and commentaries that characterize the text echo Yousef’s layered performance of time in the film.
With its layout and content, the exposition explores the film’s structure and embodied experience of the landscape through time: it is a way to rethink and re-feel the Here of this region through the lingering Now of the film.
This exposition was developed from my PhD thesis at the PhDArts program, Leiden University