Ars Memoriae
(2024)
author(s): Maarten Vanden Eynde
published in: Faculty of Fine Art, Music and Design, University of Bergen
Ars Memoriae, The Art to Remember analyzes the role of art within the larger history and evolution of external memory devices. It looks at material traces of remembering and the invention of an ever-changing body of language expressions, like signs and symbols, to enhance communication capabilities. I followed the process of externalizing emotions, knowledge, and information, starting in the Palaeolithic Stone Age about 3 million years ago, until, in a speculative future, it will be internalized again using artificial wetware, neuro-computers, and DNA coding. > Click on the image to download the PDF.
Why I Paint Thousands of Circles
(2024)
author(s): Leanna Moran
published in: VIS - Nordic Journal for Artistic Research
Why I paint Thousands of Circles explores psychological barriers and multilayered themes that stem from a single horrific event that involved Moran’s father and his brother. The artist collates information, photos and constructs an ar(t)chaeological archive where family photos, product imagery, together with newspaper clips to form units of a historical and psychological mind map. The exposition becomes an auto-ethnographical exploration of mid 90's working class North West London. The repetitive painting process, exposed and documented in the exposition, functions as transformative method, where ambiguous feelings of a violent upbringing are directed towards the creation of a visual system with an inherent logic – “creating some kind of beauty out of ugliness.”
The Ever Changing Instrument
(2024)
author(s): Anders P. Jensen
published in: Rhythmic Music Conservatory, Copenhagen
The project explores the artistic potential of unpredictability, specifically within the context of electronic music. By referring to an original instrument design—including programming a number of randomized systems—a series of compositions for keyboard instruments were developed. The central theme is the relationship between dialogue and loss of control during the creative process. This project was documented intermediately with new music, as well as technological and procedural reflections.
Running as Connective Practice?
(2024)
author(s): Falk Hubner, Heleen de Hoon
published in: Fontys Academy of the Arts
In this exposition, Falk Hübner and Heleen de Hoon share the process and reflections of their collaborative research project "Running Tilburg". In this project, Falk aimed to connect to an urban surrounding by means of long distance running.
In September 2021, Falk Hübner started his work as professor of Artistic Connective Practices at Fontys Academy of the Arts in Tilburg, The Netherlands. Together with dramaturge Heleen de Hoon, he decided to get to know and connect to the city and the new surroundings by running it, and explore running as a connective practice - literally through spending time with feet on the ground.
Heleen and Falk asked a group of colleagues, all living in the city, to share places to run by, and related stories to these places. Guided by these stories Falk and Heleen created a map and a script for a 53K run, documented by video, photos and field notes. Rather than presenting conclusive findings and final reflections, the purpose of this exposition is to share the documentation of the process and the experience. Thus, we understand the project and this exposition quite literally as a first step to lead to potentially next and new steps.
Multiplayer - Softenings and Inquiries into Matters of Toxoplasmatic Ectoplasm
(2024)
author(s): Niels Lyhne Løkkegaard
published in: Rhythmic Music Conservatory, Copenhagen
This project investigates Western musical instruments as being critical and even dangerous sites, which should be approached with the greatest of caution.
Approached as liminal interfaces between the living and the dead, suspended between past(s) and present(s), turning these instruments into both paranormal and parasitic sites, which should be treated as such.
Instruments as pathological contaminated bodies of parasitic discourse ready to jump at you and embed themselves in you, sedimenting within you and, subsequently, playing you.
Instruments as haunted sites saturated with ghostlike matters of toxoplasmatic ectoplasm, fostering ghosts with the capacity to possess and inflict pain on to other bodies, active in the past as well in the present.
With an interest in the notion of instrumentalization and what instruments can mean, control, and do to bodies, instruments are approached from a safe(r) distance through different (group) interventions, raising questions on how best to emolliate and soften the instrumental body?
How to soften the big silent? How to soften the sedimented?
