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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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  From threefoldness to multi-foldness (last edited: 2020) author(s): Erika Matsunami This exposition is in progress.
  From threefoldness to multi-foldness: On Personal AI in visual arts and its perception in an artwork – What is artistic authenticity with AI (technology and which kind of (Wort fehlt/word missing) and how) 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)
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  N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (last edited: 2020) author(s): Erika Matsunami This exposition is in progress.
  „N.N-Zwischenliegend“: Ich forsche zum Thema "Paradoxität" in einer Kunst (Praxis und Theorie) von einer Dokumentation (Realität) – Zeit, Raum und Körper. Eine künstlerische empirische Forschung. Diese Kunst-Forschung ist die Fortsetzung von der Kunst-Forschung „still/silent“ (This artistic research is the continuation of the artistic research "still/silent"). Erster Teil ist N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (in der Bildwissenschaft und Ästhetik), diese Forschung geht es nicht um digitale photographische Technik, sondern um digitale photographische Technik und experimental Photography heute, und um (Neo-) Repräsentationstheorie (Multimodalität und experimental Dokumentation) : In part of my artistic research in the N.N-Zwischenliegend project – namely digital photography – I am investigating the potentiality of inspiring errors and imperfection, employing three research methods. First, according to the definition, “errors” in this artistic research are not intentional, but rather are created in the concept by chance due to natural phenomena in the digital camera. In the concept of experimental documentary photography of N.N-Zwischenliegend, I did not try to photograph things (Dinge) and objects (Gegenstände) only, but rather I tried to grasp temporal and spatial depth as well as the potentiality of the natural phenomenon. I have implemented this idea in an image with photographic techniques and double exposure, whereby these photographs were combined in the same documentary photo series. Second, I examine the photos for errors from the perspective of different disciplines such as photochemistry, physics, phenomenology, cognitive science, science of images, philosophy, and psychology to reflect whether there are flaws or gaps in the entire N.N-Zwischenliegend series. Third, in the N.N-Zwischenliegend project, I deal with the image as an error or gap with the philosophical reflection on the theme of “estrangement” in the photographic perspective as a narration. If the potential of the fault opened up to us, and if the error thus contributed to an “elasticity” of consciousness or the illusion of depth, I thus question the paradox of seeing in arts, which refers to the question: "Could the fault inspire us in this sense?". To answer this question, in this article I connect to the evolution of consciousness from the perspective of psychology and neuroscience. “The AST (Attention Scheme Theory) covers a lot of ground, from simple nervous systems to simulations of self and others. It provides a general framework for understanding consciousness, its many adaptive uses, and its gradual and continuing evolution.”1 At the same time, it deals with the question of experimental or digital photography today, its perfection and errors in both the world of artistic photography as well as digital culture. 1: Graziano, Michael, A New Theory Explains How Consciousness Evolved - A neuroscientist on how we came to be aware of ourselves, The Atlantic, June 2016.
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  RECURRENCES II - mezmerizing (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
  RECURRENCES II - mezmerizing a shared practice by Brynjar Åbel Bandlien at Henie Onstad Kunstsenter, Oslo, Norway Saturday 7. april 2018 With Ann-Christin Berg Kongsnes, Brynjar Åbel Bandlien, Magnus Myhr, Marte Reithaug Sterud and Roza Moshtaghi RECURRENCES II - mezmerizing is the second part of Brynjar Åbel Bandlien´s PhD-project as a research fellow at Oslo National Academy of the Arts in Norway in the Norwegian Artistic Research Program Video: Millimedia.no Thanx to Frank Bock, Kai Johnsen, Chrysa Parkinson and Amanda Steggell Program information: #mezmerizingrecurrences
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  RECURRENCES I (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
  RECURRENCES I - a physical lecture by Brynjar Åbel Bandlien at Henie Onstad Kunstsenter in Oslo, Norway. 1st of october 2017. English. 1 hour. With Brynjar Åbel Bandlien, Roza Moshtaghi and Kai Johnsen Recurrences I is the first part of Bandliens artistic research as a fellow at Oslo National Academy of the Arts - department dance (KHiO) in the Norwegian Artistic Research Program (NARP) Sound: Espen Hådi-Siverts Video: Millimedia.no Thanks to Chrysa Parkinson, Frank Bock and Amanda Steggell
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  Dancing Recurrences (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
  Dancing Recurrences – a performative practice within the field of dance and dance making by Brynjar Åbel Bandlien My research project aims to articulate and develop a performative practice that I have been working on over the last fifteen years. This practice can be applied to artistic processes within the field of dance and dance making. When a creative process is fully underway, certain situations, events, actions, movements, and states can be recognized as recurrent within the process. Recurrences, rather than being created or produced, manifest or emerge from the dancer´s practice. Once they have been recognized they can be understood and pursued as a forming aspect of artistic processes. The artistic aim has been to follow, participate, co-create and navigate in artistic processes using recurrences. The performative practice of recurrences is articulated by the presentations of #dancingrecurrences and the reflection materials of my dissertation. My two research questions are: How can the practice of recurrences become a way to understand artistic work as it develops?
 How can working with recurrences become both a performative practice within artistic processes and an artistic work in and of itself? I have been researching these questions from the position of a dancer, and I have asked these questions in different ways; through dance, through drawing and by interviewing other artists, dancers and dance makers. I have initiated my own research process; #dancingrecurrences, together with four other dancer researchers, starting from practice and from there moving on to reflection. I approach recurrences both as a practice and a reflection, with the assumption that within a dancer´s practice the mind and body are so deeply connected that they cannot be considered separately. Reflection is a physical process as well as a mental one, and practice is a conceptualization process as well as a physical activity. At the same time as I have been researching these questions on my own, they have been explored following the artistic processes of the project Amphibious Trilogies by Amanda Steggell, professor of choreography at Oslo National Academy of the Arts (KHiO). This makes the project an interesting collaboration both structurally and in content. However, in the final presentation of my work the focus will be on Dancing Recurrences and #dancingrecurrences. The work has resulted in a final publication of my reflections based on the findings informed by the artistic processes. The performative practice has resulted in three public presentations.
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Ivar Grydeland
Norway (residence)

Nguyen Thanh Thuy
Vietnam (citizenship)

Rafal Hanzl
Norway (residence), Poland (citizenship)

Francesco Collavino

Jonathan Reus

Jaakko Ruuska
Finland

John Andrew Wilhite-Hannisdal

Francisco Beltrame Trento
Finland (residence), Brazil, Italy (citizenship)

Darren O'Brien
United Kingdom