Side FX
(2025)
author(s): Irina Österberg
published in: Research Catalogue
Across diverse mediums and form, the ‘human’ body, however transient, remains my main subject of events. What is seen, in the eyes of my mind, take place on surface, lens, material, and morph with one another, with the living moving body, disfiguring each other and reconfiguring themselves after consumption.
Embodied and disembodied appearances, reflect on the visceral and urgent presence of the human, live, body. At the start, the notion of mirror: a constant ever-changing image that is formed and deformed as each breath brings life to the body. Different media such as drawing, photography, printmaking, painting, voice, word, sound and video, interrelate with as output a universe of heterogeneous appearances, each with a common denominator: movement of the body and movement of the soul, between the gestural expression of charcoal drawing, the analogue and digital/post-produced sounds, still and moving images, to the carefully crafted and re-elaborated copper plates delivering prints.
At the moment these are called Side Effects, each one a bi-product of the previous step in the process of feedback loop.
“anthropomorphs”; two dimensional images derived from the superimposition of drawing and moving body (drawing>photo>painting>print)
“hesitations”; the more visceral exploration of embodied voice-movement integration, exploring frequencies and resonances of vocal output rooted within the organs of the body
“ghosts”; are the anthropomorphs restituted a third dimension. Sculptures rendered independent to move again, suspended in space, relating to nothing but to their history and to one another.
“multiplicity”; anonymous portraits overlapped and stop-motion animated, searching to grasp the ever-changing nature of (one)(multiple)self, faced with memory and its loss, ancient stranger twins, imagined encounters or the union of multiplicity as one.
Sound Body
(2025)
author(s): Zornitsa Stoyanova
published in: Research Catalogue
Sound Body is a project created by Zornitsa Stoyanova(BUL/USA) and Peter Sciscioli (USA), with an international cast of artists.
The project was created over 8 workshops and rehearsal days in Sofia, Bulgaria.
This is a written description of the project done specifically for a Master's degree assignment.
Professional Field Orientation
(2025)
author(s): jejote
published in: Research Catalogue
This exposition bundles the process of my research of the assignment Professional Field Orientation.
Working Class-ical Music: Exploring the creative potential of embodying working-classness in a folio of new interdisciplinary compositions
(2025)
author(s): AIDAN Teplitzky
published in: Birmingham City University
In my practice-based research I have developed a portfolio of new interdisciplinary compositions that explore the creative potential of embodying working-classness in classical music. The impact of my research is the production of a portfolio of compositions that effectively provide new considerations to various aspects of classical music’s culture, including:
• Performance Environment (Holding, The Damned, and The Weight of History and Background Etudes)
• Instrumentation (It’s Hard to Make an Oboe Sound Working-Class)
• Musical forms (Budget Cuts to Faure’s Piano Trio in D Minor and Theme With Variations Forced by Expectations)
• The experience of those working in/engaging with classical music’s culture (Budget Cuts to Faure’s Piano Trio in D Minor and The Weight of History and Background Etudes)
• Musical language (Seven Working-Class Time Pieces, Baguette Baton and Escapism).
The following exposition also provides a resource to address the stereotyping of working-classness in contemporary creative outputs, a methodology for how working-classness can be embodied in artistic practice, a display of how interdisciplinary methods can be used to effectively express the working-class experience, and a space for other working-class artists to express their class through classical music.
Collaborative filmmaking and the quest for a collective narrative
(2025)
author(s): Ylva Gustavsson
published in: Stockholm University of the Arts (SKH)
Collaborative filmmaking and the quest for a collective narrative.
Through exploring different kinds of collaborators strategies this project embarked on a quest.
Is there a way to create a narrative fiktion film that has is a founded in a kind of collective, existential mythology of contemporary life.
Expanding Public (Im)Possibilities
(2025)
author(s): Xenia Tsompanidou
published in: Research Catalogue
Documentation of the 'Expanding Public (Im)Possibilities' gathering, an international gathering of disciplines that perform public space |
Organized by the Fontys Professorship Artistic Connective Practices, Fontys MA Performing Public Space and Fontys Journalism.
