recent activity
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S I R E N E N
(last edited: 2019)
author(s): Katharina / K.H. Hauke
This exposition is in progress.
Komm, besungener Odysseus, du großer Ruhm der Achaier!
Lenke dein Schiff ans Land, und horche unserer Stimme.
Denn hier steuerte noch keiner im schwarzen Schiffe vorüber,
Eh' er dem süßen Gesang aus unserem Munde gelauschet;
Und dann ging er von hinnen, vergnügt und weiser wie vormals.
Uns ist alles bekannt, was ihr Argeier und Troer
Durch der Götter Verhängnis in Trojas Fluren geduldet:
Alles, was irgend geschieht auf der lebenschenkenden Erde!
Das Wissen um alles was war und ist auf der Welt ist ein inkommensurables. Es ist kein wissenschaftliches und kein narratives Wissen, sondern mit der Welt gleichzusetzen, die/da diese aus ihrer Geschichte hervorgeht und ihre Existenz bedeutet. Dem Gesang der Sirenen zu lauschen würde bedeuten, in der Welt aufzugehen. Das glückliche und wissende von hinnen Gehen, das die Sirenen beschreiben, wenn auch nicht unbedingt einen biologischen, keinen Zerfall von organischen oder materiellen Strukturen in andere, die nicht uns bedeuten. Letzteres wäre eine gängige Lesart der Sirenen, an deren Ufern sich Gebeine modernder Menschen anhäufen, wie die Göttin Kirke verkündet.
Als menschliche Wesen existieren wir auf weiteren Ebenen (selbst wenn diese in strukturiertem Material (zB Gehirnen, Institutionen, Büchern,…) explizit sind): einer sozialen/gesellschaftlichen, einer sprachlichen als deren Basis und Material.
Indem die Sirenen aus einem Mund singen, lösen sie sich ineinander auf und deuten eine andere Lesart ihrer Gefahr an: wenn das Ich, die kleinste Einheit von Gesellschaft, die Identität, Fundament unseres (sprachlichen) Denkens infrage gestellt werden kann, dann entziehen sich unserer Gesellschaft, Werten und Wissen ihr Grund.
Spätestens seit der Dialektik der Aufklärung aber wissen wir, dass wir was dieses Fundament in sich birgt und dass wir ein anderes suchen.
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What is a musical error?
(last edited: 2019)
author(s): Erika Matsunami
This exposition is in progress.
This artistic research „What is a musical error?" is an exploring musical error and its potential creativity in performance as well as improvisation. This research is in connection with „N.N-ZWISCHENLIEGEND“ – NON-CALCULABLE TIME, SPACE AND BODY, consequently on auditory perception 'seeing-in', in a part of research in regard to these of evolutionary linguistics. Therefore I explore the the multisensory philosophical approach Beyond Vision, Casey O’Callaghan (Oxford: Oxford University Press, 2017) from the aspect of auditory perception practically and theoretically, in the field of sonic art, aesthetics, and philosophy (of art) which relate to neuroscience. I explore the subject “auditory and multisensory perception” in his approach of which takes the forms of perception and awareness among senses beyond vision in his theses, I also deal with his theses in the process of developing my account of ästhetisches Dasein.
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From threefoldness to multti-foldness
(last edited: 2019)
author(s): Erika Matsunami
This exposition is in progress.
From threefoldness to multti-foldness: On Personal AI in visual arts and its perception in an artwork – What is an artistic authenticity with AI in visual arts?
Recent Publications list view
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The Musical Dyad - Crisis and Growth through Music
(2019)
author(s): Jessica Kaiser
published in: Research Catalogue
Music has the fundamental ability to open up spaces of intersubjectivity and social interaction. When two people engage in making music together, questions surrounding relationality arise: As a duo, the two individuals can musically act together in various ways. In fact, it is the wide range of relationality, from close attachment to the possibility of crisis, dissociation, or at least the struggle for togetherness, that unleashes the artistic potential.
Confronting a piece of music, the question of relationship is prompted by music itself. To answer this question, the duo negotiates relational qualities through the process of interpretation. Together with the violinist Johanna Ruppert, I aim to explore how a developing interpersonal dynamic can be challenged and how it may respond to an audience that is made aware of the relational potential in the duo situation.
In an open rehearsal format, we experiment with choreographic elements and
(extra-musical) objects that can facilitate interaction. This performative approach allows to shift focus between different aspects of relation, such as connectivity, trust, resonance, fragility, embodiment or shared space. Drawing on the concept of musical empathy (Deniz Peters 2017) and joint feeling (Angelika Krebs 2015), this also entails questioning how empathetic processes, between co-performers as well as performers and listener, can be induced or intensified, without construing an artificial narrative.
In a live research situation, the audience is called upon interfering and interacting with us as a duo. This may be by moving through the room, (re-)positioning us and/or themselves or intervening with vocal statements. Objects such as threads, ties, hoops or clothes can be used as additional provocative means. Venturing into a state of crisis, our relationship shall be put to the test, only to give rise to new possibilities of relation and eventually to come out of this crisis – strengthened in our togetherness.
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Throws of Dice
(2019)
author(s): Henna-Riikka Halonen
published in: University of the Arts Helsinki
My doctoral research project is a speculative spatial construct, an alternative labyrinthic infrastructure that is flexibly built within and as a response to the artworks it houses.
Existing in tension with the framework affecting it, the artworks and the texts leak out from the structure and are performed in and around the physical floorplan. This format renders the configuration of the research project visible and temporary, with the potential to be reformulated and adapted to future contexts. The labyrinthic structure allows the research to go off in different directions, enabling us to consider the multiple perspectives and modes of writing that constitute its story and the complex infrastructures that might support it.
As a strategy for artistic, social and political engagement and a reaction to a contemporary condition in which our claim to the positions we occupy is increasingly simplified, my research project creates a space of thinking, imagination and resistance. By confusing the functionality of language, it aims to make visible the power dynamics and infrastructures shaping our world. The notion of power is two-fold, the research examines, on the one hand, the complexity of human interactions and positions concerning hegemonic power structures and on the other hand, the relationship between the visual and the verbal and experience and affect.
A number of defining characteristics of our contemporary condition are matters of concern; the speed of the networked globalized economy, the control enacted by states and categorization and exclusion of culture. In artistic research (and the networked world as a whole) there is often a tendency to adopt an overarching view which seeks to unify under a single concept a multiplicity of events. However, here the strategy is to do away with the reductive way of doing theory and instead, to dismantle hierarchical relationships between categories. My research project also contributes to the genealogies of participatory practices and to bridge the gap between language and visual art, I am tapping into similarities and differences of a kind of a virtual staging offered by literature, visual art and digital technologies. I draw from literary strategies of speculative fiction, in particular, those of the French Nouveau Roman.
By using chance, paradox (aporia) and uncertainty as guiding principles and as revelatory tools this research endeavours to deconstruct and divert perception and language, emphasizing absurdity and creating sense rather than meaning. More particularly, the research constantly explores its own limits and reflects its involvement with the social and political structures it is addressing to create or anticipate new modes of existence.
This project requires the reader/viewer's active participation, leaving holes or unknowns in the narrative structure that moves through entangled nodes of connections and different temporalities to suggest alternative and expansive forms of viewing and making art and research.
The research uses my installation/performance Eden The Pow(d)er of Fear (2014) as a frame structure, both as a physical blueprint of a labyrinth and as a story. This approach is not intended as a retrospective view towards the work but proposes instead a speculative re-writing and re-scripting of a work that offers new 'portals' to other works and worlds, through other narrative and theoretical threads opening up new perspectives, concerns, times and spaces. The other works embedded in the structure are the moving image works Moderate Manipulations (2012) and Placeholder (2017).
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BC Time-Slip (The Empire Never Ended)
(2019)
author(s): John Cussans
published in: Research Catalogue
BC Time-Slip (The Empire Never Ended) is the first phase of a long-term artistic research project called The Skullcracker Suite. Taking its name from Philip K. Dick's 1964 novel Martian Time-Slip, the project uses the story of Dick's visit to Vancouver in 1972, and his stay at a rehab clinic for First Nations ex-cons, as a pretext to investigate the cultural politics of decolonization in British Columbia since the 1960's from ethnographic, Indigenous and science fictional perspectives, with a specific focus on the potlatch culture of the Kwakwaka'wakw peoples of the Pacific Northwest.
artists using the research catalogue
vincent roumagnacFinland (residence), France (citizenship)
Björn RossDenmark (residence), Sweden (citizenship)
Ana Souto GalvanUnited Kingdom (residence), Spain (citizenship)
Joshua HaleCanada (residence), United States (citizenship)
Matthew GaleaMalta (residence)
all artists
