Research Catalogue

The start point of this artistic research is an artwork Corona-STEMS-GALAXYOMEGA (May 2020) by Lukas Huisman who a pianist and Ph.D. in performing arts/piano in classic-modern music, he started to embodiment "Corona" (1962) by Takemitsu together with a composer Patrick Housen newly. I collaborate with Housen as a visual artist for a sound installation in this artistic project. Thereby the forthcoming Joint artistic research "variations" which relates to this artistic research on Klänge - Space, Time and Body, I as a visual artist, explore the subject of time and space in "Corona" (1962) for pianist(s) by Toru Takemitsu for the exploration of new interpretations. My practical contribution performance in the site-specific installation for variation I is "Corona" without Pianist for 4 ch discrete sound installation in 2020 is an invisible sense such as literary musical expression in "who is left to drift in the loneliness of the remaining scent." Thus theoretical exploration is in terms of ongoing artistic research in the philosophy of sound. The aim of this artistic research is a new multi-layered open score "Variation I, II and III".

Documentación del proceso de investigación pedagógica en danza inclusiva llamado Zona de Creación Accesible Para el 2020 ConCuerpos ha estructurado una investigación pedagógica a profundidad sobre el desarrollo de técnicas en un contexto inclusivo. Realizaremos 4 laboratorios y 4 periodos de asimilación en donde los miembros de la compañía tendrán el tiempo de estructurar entrenamientos que respondan a sus necesidades y deseos específicos. Partimos de la pregunta ¿Qué es ser un/a bailarín/a de nivel profesional en la danza inclusiva? Esta pregunta se aborda de manera subjetiva, concretando competencias específicas que se desean alcanzar. Estudiando técnicas como Piso Móvil, Danza Moderna, Danza Contacto y Pilates, cada quien desarrollará su propio lenguaje, principios y ejercicios para originar una técnica propia. Esta investigación pretende aportar a la profundización de nuestro campo, abriendo posibilidades concretas para la profesionalización de bailarines diversos

Conceived and co-organised by Emma Cocker, Alexander Damianisch, Cordula Daus and Lena Séraphin, this Society of Artistic Research Special Interest Group (SAR SIG) provides contexts for coming together via the exchange of language-based research. The intent is to support developments in the field of expanded language-based practices by inviting attention, time and space for enabling understanding of/and via these practices anew.

The transmission and communication of musical concepts and the ways in which they influence or interact with creativity are central to the ontology of music, but this aspect is rarely tackled head-on by musicians themselves. In language, the typical realm of semiotics and semantics, translation theory serves as an interesting and rich field for investigations into the nature of meaning and communication of meanings. In my research, I propose that the application of various translation theories to the field of music opens up new ways of exploring the “meanings” of music, as well as new methodologies for creating musical novelties. To demonstrate this theory in practice, I have chosen to develop and apply translation theories to Evan Parker’s solo soprano saxophone music and translate this music to my own solo double-bass playing, creating new and original solo music on the double-bass.

This exposition conveys the final results of Anne Haaning's artistic research project Half Hidden, which she has been conducting as a PhD Candidate with Oslo National Academy of the Arts in collaboration with the Academy of Arts, UiT The Arctic University of Norway and the Norwegian Artistic Research Programme. ​ Through the prism of the mineral cryolite, extracted from Greenland by Denmark in the years 1857–1985, the project seeks to uncover hidden structures and histories imbedded in technology. It has done so by exploring analogical correspondences at a specific intersection of technology, myth and colonialism; the method it employs to this end is an investigation of the ontological context of digital image production. Denmark extracted the rare mineral cryolite in Greenland between the mid nineteenth and the late twentieth centuries. Essential to the mass production of aluminium, cryolite proved critical for the shipbuilding and aviation industries during World Wars I and II. The mineral was so important that the cryolite mine was put under US administration during the German occupation of Denmark in World War II. But this history has been virtually erased from the collective memory and consciousness of the Danes. Today, the flooded mine is a scar in the Greenlandic landscape covered by a pervasive mirroring water plane concealing a significant part of the Danish-Greenlandic colonial history.

The Pinacoteca de São Paulo museum, managed by the State of São Paulo Culture and Creative Economy Department, presents from October 26, 2019, to February 16, 2020, the show Adrià Julià: Nem mesmo os mortos sobreviverão [Not Even the Dead Will Survive] — the first solo exhibition of the artist, born in Barcelona in 1974, to be held in Brazil. The show is curated by Fernanda Pitta, the museum’s curator, and artworks will be displayed on the courtyard and in two rooms adjoining the long-term exhibition of Pinacoteca’s collection, on the second floor of the museum building. The works call into question the implications of the techniques of replication, printing and authentication that directed the flow of images in the early days of photography.