Research Catalogue

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• Cultivating Anachronism: radical concert production techniques for historically-informed performers (last edited: 2019) author(s): Carlo Diaz This exposition is in progress.
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  Choreo-graphic Figures: Scoring Aesthetic Encounters (last edited: 2019) author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil-Moebius, Koch Simona This exposition is in progress.
  This research exposition aims at ‘scoring an aesthetic encounter’ with the multimodal — visual, textual, sonic, performative — findings from the artistic research project Choreo-graphic Figures. Choreo-graphic Figures stages a beyond-disciplinary encounter between the lines of choreography, drawing and writing, for exploring those forms of knowing-thinking-feeling produced in the slippage and deviation when different modes of practice enter into dialogue, overlap and collide. We model the exposition on the experimental score system developed within our research project, approached as a ‘research tool’ for testing how different ‘practices’ (of Attention, Notation, Conversation, Wit(h)nessing) can be activated for sharpening, focusing or redirecting attention towards the event of figuring (those small yet transformative energies, emergences and experiential shifts within artistic process that are often hard to discern but which ultimately steer the evolving action) and the emergence of figures (the point at which ‘something happening’ [figuring] coalesces into recognisable form). We ask: Can we create a digital archive capable of reflecting the durational and relational aspects of the research process, the energies and intensities of collaborative live exploration? Beyond the limitations of the static two-dimensional page, how can an enhanced digital format enable a non-linear, rhizomatic encounter with artistic research, where findings are activated and navigated, interacted or even played with as a choreo-graphic event? There are two routes through the exposition: The reader is invited to ‘dive in’ by navigating their own route through the research exposition through using the score (→ Play the Score), with the → Find Out More section operating with a contextualising function.
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  Framing Time (last edited: 2019) author(s): C.Berghäll This exposition is in progress.
  In my research I am collecting and drawing attention to natural fleeting occurrences. Those moments in time that can never be repeated and can only be experienced from a specific positioning. The reflection of the sun, a gust of wind on water, light in a mirror, the internal feeling of suspension, or a startle response that can never have the same effect more than once. Natural fleeting occurences happen because of an alignment of exact spatial relations - including the time of day, the weather the day before, the height of the observer - me - and a seemingly endless set of measurable spacial relations. I as the researcher label these individual spatial relations Positionings and am also interested in the ratio of when the positionings are choice or chance. My task as a Sceneographer is to observe and intervene in these Natural Fleeting Occurrences and investigate the positionings thoroughly so as to capture that moment in time and understand how specific spatial relations aligned to create the occurence. The next step in my research is discovering ways to document my data in order to present a retrospective scenography; a survey of past events or experiences. I have labeled the two methods of documentation I wish to explore: In Situ, and Legend, happening concurrently and/or asyncronisously.
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  Home page JSS (2019) author(s): Journal of Sonic Studies published in: Journal of Sonic Studies
  Home page of the Journal of Sonic Studies
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  The Emergence of Choreographic Material in 'Silent Pact' (2018) (2019) author(s): Paula Guzzanti published in: Research Catalogue
  About This exposition presents the documentation of the choreographic material of my performance piece 'Silent Pact' (2018). This work is a collaboration with voice artist Una Lee. This Exposition Includes: 1) Visual Essay (10 mins) 2) Photographic Documentation (2 images) 3) My mother's original letter (English version) 4) My mother's poem entitled 'Silent Pact' (English version) 5) Soundtrack version of the screen dance. 6) Essay 'On the Emergence of Choreographic Material in Silent Pact' (forthcoming publication in the Journal Corpografias) 7) GIFs of Choreographic Material Becoming (5 gifs) 8) Screendance 'Silent Pact' (2018) Background to the work The performance evolves from re-visiting an intimate affective trace –a letter from my mother– through dance improvisation and performance-making practice. In June 2015, I received a letter from my mother together with a poem entitled Silent Pact (28/06/1981-28/09/1981). The letter tells the story of my mother having to keep me in secret, as she got pregnant three months before her church wedding. I discover that my real birthday is three months earlier than what I had been celebrating all my life. In 2018, I am commissioned to create a piece as part of the International Women’s Day celebrations in Belfast; the theme was women’s silent voices. After considering various stories of women’s that were close to me, I remember my mother’s letter. This is what choreographer-dancer Silvy Panet-Raymond pointed to me as a ‘radical practice’ . Although I don’t consider myself exploring radical ways of creating performance, it was interesting for me to note that in this work the movement vocabulary contrasts dramatically with the movement in a series of pieces that share the same research focus – the affects of dance improvisation. In Silent Pact, there is a clear moving away from stylish vocabulary, I achieve a strong presence in a performance charged with emotional nuances and textures. I chose this work for discussing the emergence of choreographic material as I found that the resulting choreographic material emerged from a particular set of conditions that was a move towards defining my artistic signature.
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  Topographies of the Obsolete (2019) author(s): KMD, Arild Berge published in: Faculty of Fine Art, Music and Design, University of Bergen
  Topographies of the Obsolete is an artistic research project initiated by Professors Neil Brownsword and Anne Helen Mydland at Bergen Academy of Art and Design (KHiB) in collaboration with partner universities/institutions in Denmark, Germany, Switzerland, France and the UK. In 2012 the British Ceramics Biennial invited Bergen Academy of Art and Design (KHiB) to develop a site-specific artistic response to the former Spode Factory in Stoke-on-Trent as a key element of their 2013 exhibition programme. The project explores the landscape and associated histories of post-industry, with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes.
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Elisabeth Belgrano
Sweden

Koncon Master Coordinator
Netherlands (residence)

Duncan Higgins
United Kingdom

Albert Cheng-Syun Tang
Norway (residence), Taiwan (citizenship)

Bente Irminger
Norway

Linda H. Lien
Norway

Outi Condit
Finland

Daniele Pozzi
Austria (residence), Italy (citizenship)

Betina Abi Habib