Research Catalogue

A cross disciplinary artistic research project that departs from, and investigates several encounters and alignments between Contemporary Art and Archaeology. Its primary goal is to create a broad selection of autonomous and collaborative artistic, poetic and scientific expressions and responses to Prehistoric Art and its contemporary images. It will seek to stimulate a deeper understanding of contemporary and prehistoric artistic expression and the contemporary and prehistoric human condition. The participating artists and archaeologists will create autonomous projects, but also interact with each other in workshops, seminars and collaborative artistic projects. The secondary goal of Matter, Gesture and Soul is to establish an international cross disciplinary research network at the University of Bergen and strengthen the expertise in cross disciplinary artistic and scientific work with artistic research as the driving force. The project is financed by DIKU and UiB and supported by Global Challenges (UiB)

On our way to a meaningful furniture industry. We find out what we know about it. What we do now. What we assume we know and do. We connect to others and find a way to change. Every step along the way is worth taking.

Cartilla que presenta buenas prácticas sobre danza inclusiva y accesible. Realizada por ConCuerpos Parte del Proyecto Danza para la Diversidad 2023. Apoyado por la Beca para el reconocimiento y la activación del patrimonio cultural de Sectores Sociales del Instituto Distrital de Patrimonio Cultural

The weft is an article that requests to hold time and attention about time-based art practices, especially the ones that rely on time as a medium with the usage of technology and multimedia formats to be presented live in the case of performance art, for example. The article is more than a dialogue of a theory, it is a speculation about the future of these practices in terms of cultural impact and sustainability. The questions and speculations posed a question about the status of these practices within the facilitation in educators and practitioners related to Time.

The exposition focuses on the question of ‘distanciation’ that at-once both distances and furthers one’s understanding of the self through being drawn into a work of text – here taken in a broader sense to include also the visual-material – and geographical and temporal distance. The latter interpretation of distance relates to the artistic research project that contextualises the article, which is in response to a call for drawings on the question of genetics and identity, hosted by i3S (Institute of Investigation and Innovation in Health, Porto University). As part of this author’s response, and as an example that may, through its reading, cause some expansion of one’s notion of self, the novel ‘The Inheritors’ by William Golding is discussed. From the point of view of genetic ancestry, Golding’s novel involves incongruous recognition between a family of Neanderthals and a larger group of Homo sapiens, and a more psychological use of the term ‘other’ for foreignness and one’s negotiation of such initial reaction by oneself. The conjoined question of distanciation and other is considered through reference to a large drawing of the author in progress as part of the ancestry project at the time of writing, and through theoretical reference to the work of Paul Ricoeur, Jacques Lacan and Bracha Ettinger that helps elaborate on distanciation, the psychically interpreted other, and a maternal matrixial idea of pre- and post-natal I and non-I of the self in contiguous relationship not only with psychoanalytical theory, but also with global ancestral mitochondrial DNA.

An interactive, mixed-media artistic research process – using somatic experience, dance, listening, storytelling, and visual arts to ponder on the topic of distance in research practice. The focal point of this research process has been the somatic feeling of distance and entanglement and exploring those through movement - captured on film, inspired by and enriched with music by Ólafur Arnalds. The written story is a secondary translation of the research process, formed by the somatic exploration, movement experimentation, painting, and the process of film-making. I’ve used watercolors as an aid to help me translate and express the inquiry in the form of text.