Research Catalogue

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  PACIFIC PATCH PEOPLE (last edited: 2020) author(s): Lisanne Fransen This exposition is in progress.
  My graduation project is called the Pacific Patch People — a climate fiction story. It is a (1) research project, (2) world-building exploration and (3) short film packaged all together, about a future civilisation that has settled on the Great Pacific Garbage Patch in the year 2120. With this story at its core, the threefold project is exploring if it is possible to tell a hopeful narrative, about an inspiring community, taking place in a future world unhinged and disorganised by climate changes.
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• COLLECTING MEANINGFUL MATERIALS (last edited: 2020) author(s): Tsz Yan Chan This exposition is in progress.
  WRITE LATER
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• Exhibition Research Lab: As Real As You Want (last edited: 2020) author(s): Tatjana Macic, Alexander Koch, Natsumi Sakai, Bo Wielders, Iver Dahl, John Androulakis, Todor Rabadzhiyski, Robin Pieterse, Ryan Lim Zi Yi, Marta Iwanek, Juwon Lee, Ain Nurul Ain Binti Nor Halim, Lui Wolstencroft connected to: Royal Academy of Art, The Hague This exposition is in progress.
  As Real As You Want is a group exhibition on the edge of the physical and virtual world. We focus on navigating the virtual and real spaces, experiences and conversations. The Exhibition Research Lab (ERL) is part of the Art Research Programme of the Lectorate Art Theory & Practice, at the Royal Academy of Art, the Hague. ERL is tutored by Tatjana Macic, a visual artist, writer, and researcher. This interdisciplinary course offers students practical and theoretical knowledge and understanding of exhibition-making in general, and of the potentialities of exhibition-making in relation to their own artistic practice in particular. Is an exhibition a mere platform for presenting an artwork? Or is it an intrinsic part of the creative process? Where lies the difference and what are the implications of these different positions for the artist’s research process and artistic practice? Why do artists make exhibitions anyway? During the Covid-19 pandemic, students decided to make the exhibition online. Working from Singapore, South Korea, Greece, Bulgaria, Japan, Canada and the Netherlands, they engaged in an experimental collaborative process, that resulted in the online version of As Real As You Want. When circumstances permit, the second part of the exhibition will unfold into the physical gallery spaces at KABK. Students created new work, critically reflected upon this process, as well as investigated the possibilities of an exhibition as a framework for research, experiment and (re-)presentation. Special attention was given to the possibilities of artistic innovation based on Deleuze and Guattari’s concept of the rhizome. Participating artists are students from the Bachelor Fine Arts and the Master Photography & Society: Juwon Lee, Bo Wielders, Marta Iwanek, Iver Uhre Dahl, Natsumi Sakai, Ryan Lim Zi Yi, Robin Pieterse, Yannis Androulakis, Todor Rabadzhiyski, Nurul Ain Binti Nor Halim, Lui MacRae Wolstencroft and Alexander Peter Lorenzo Koch. Tatjana Macić is a visual artist, writer, and researcher. In her artistic practice, she is mostly exploring the intersection between visual arts, theory, exhibition-making, education, and language. She is teaching Artistic Research at the Bachelor Fine Arts, and tutoring the Exhibition Research Lab (part of the Art Research Programme). Together with Maarten Cornel, she leads Research and Discourse at the Royal Academy.
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  SIMPLICITY OF STRONG EMOTION: Study on the performance style of Frederic Mompou based on his recording of Cants Màgics (2020) author(s): Blanca Maria Martínez Vilanova published in: KC Research Portal
  Frederic Mompou i Dencausse (1893 - 1987) was one of the most intriguing Spanish composers of the 20th century. His music, often described as pure for its beauty and apparent simplicity, has captivated the attention of numerous critics and musicians around the world. The majority of the production of Mompou is dedicated to the piano, instrument that he mastered despite his reluctance to perform for large audiences - similarly to F. Chopin. The aim of this research is precisely to investigate the way Mompou performed his pieces, in other words, his performance style. My investigation is divided into two clear sections: on the one hand, chapters one and two provide the reader with a theoretical framework (biography, style, and influences; on the other hand, chapters three and four constitute the practical and most important part of my research. Concerning this last one, I analyze Cants Magics (1919), the first piece that presents a defined unique style, and its corresponding recording performed by Mompou himself in 1974. The result of this proces is the creation of a new annotated score to visually demonstrate the different expressive resources he uses to enhance the expression of his composition. Examples of these are dislocations, tempo fluctuations, voicings, rubati and pedalling. Lastly, in chapter four I apply partof the above-mentioned Mompou's pianistic techniques into other compositions from Musica Callada. These serve me to formulate an experienced-based reflection on the matter.
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• From the forest to the concert hall (2020) author(s): Anna Lachegyi published in: KC Research Portal
  My aim for this research is to discover more about the equipment I use every day and to see if having a practical and technical knowledge about the viola da gamba bow and bow making in the 16-18th century in general will affect my playing and artistic decisions. In today’s practice, bows with a screw mechanism and white hair are the most common type used by viola da gamba players. Iconography and treatises show us that the screw system was not in use until the middle of the 18th century, and the choice of the type of wood, hair, or the shape and length of the bow is very diverse. As the main part of my research, I have spent a lot of time in a workshop, learning the process of bow making, with the result of three bows. This experiment helped me to explore which parts of the bow affect our playing the most, how the frog system or the tension relate to the articulation, and the quality of wood to the quality of the sound. Bow makers are artists who through their wood-working help the musicians to express their music. In my presentation, after an overview of how the bow changed during the 16-18th century, I will describe my experience in the workshop with pictures and videos and finish with a demonstration of the bows I made.
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• Singing and Well-being - The Experiences of Professional Choir Singers (2020) author(s): Laura Ginström published in: KC Research Portal
  Name: Laura Ginström Main subject: Ensemble Singing Supervisor: Gerda van Zelm Title of research: Singing and Well-being - The Experiences of Professional Choir Singers Research question: How do professional choir singers describe the effects of singing and the professional life on their well-being, and what is the importance and effect of singing-related well-being for my own artistic development? Summary of results: Singing in choirs has been an integral part of my life, and I have personally experienced enjoyable physical sensations, positive emotions and social bonding associated with choir singing. Researching this topic further, I learned that these experiences can be described as singing-related well-being. According to a growing number of studies amateur choir singing produces various beneficial effects on health and well-being. Research on professional singers about their experiences and occupational well-being has been much scarcer. Based on the limited studies, they might not enjoy all of the same benefits of singing as amateurs do. The goal of this research was to start closing this research gap and to learn what professional choir singers have to say about singing-related well-being. I created an online questionnaire to gather experiences from professional singers, and also kept a diary of my own well-being experiences during professional choir projects. Analysing these two sources of data revealed that professional singers did recognise many of the well-being experiences associated with singing. However, professional choir singing was not perceived as something especially relaxing or therapeutic, which are common themes emerged from research on amateurs. The social aspects of choir work were deemed important in experiencing singing-related well-being, as well as the conductor’s artistic approach. For me personally, these well-being experiences have been the motivation for my career choice and for this research, and they also serve as an indicator of my development as a musician. The format of this research is a thesis. Biography: Laura Ginström (1992) is a Finnish mezzo-soprano who has studied vocal pedagogy and clinical psychology in Helsinki. Her love for choir singing brought her to The Hague, where she started in the new Master Specialisation Ensemble singing at The Royal Conservatoire in 2018. She currently studies with Noa Frenkel and sings projects with The Netherlands Chamber Choir as a part of the master’s course. She is passionate about combining her two careers in singing and psychology, being particularly interested in the beneficial effects of singing on the body and the mind.
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Bert Mooiman
Netherlands

Klas Nevrin
Sweden

Eleni-Ira Panourgia
France (residence)

Marko Uzunovski
Netherlands

Lisanne Fransen
Sweden (residence)

Andrea Sodomka

JULIE MARSH
United Kingdom (residence)

Behzad Khosravi Noori
Sweden (residence), Iran (citizenship)

Carl Johan Erikson
Sweden