THE QUIET REVOLUTION: STATE SOCIETY AND THE CANADIAN HORROR FILM
(2021)
author(s): Xavier Mendik
published in: Research Catalogue
This two-part UK/Canadian produced documentary provides an extensive analysis of horror cinema trends from the 1960s to the present day. It critically evaluates Canadian traditions of the genre through a range of pertinent methodologies in order to explore wider tensions surrounding national identity (part one, 70 minutes), as well as the struggles for representation as advanced by female and indigenous filmmakers (part two, 52 minutes).
That's La Morte: Italian Cult Cinema and the Years of Lead
(2021)
author(s): Xavier Mendik
published in: Research Catalogue
'That's la Morte: Italian Cult Cinema and the Years of Lead' is an 80 minute documentary that considers how cult and horror film cycles came to reflect wider anxieties within 1970s Italy. The documentary comprises of archival and film data from the decade alongside interview interventions from leading filmmakers, producers, performers, screenwriters musicians and historians.
How to Make Performing Arts Survive Time and Become an Accessible Archive: An Attempt to Register Performing Art’s Creation
(2021)
author(s): Greta Pundzaite
published in: Research Catalogue
While the momentariness of performing arts might be one of the most (if not the most) fascinating aspect of the art form allowing to experience the fragility of live events and creatures themselves, the context they depend upon, it is also approached as a great obstacle for a smooth evolution (or rather enriching and intriguing transformation) of the art form. It is believed that not having a medium that allows registering and archiving pieces of creation causes a constant loss. Having in mind that a certain amount of loss of any art form is inevitable, the performing arts situation is understood as quite unbalanced, or rather, problematic from the artist’s point of view. It is believed that not being able to access the history of creation (not from a historical but (more or less) direct contact with the creation point of view), tangles, straitens the potential of an artist, makes him/her feel the gaps of collective memory. By contemplating authenticity, repetition, difference, continuity, context and interconnection, creation is addressed as a collective and complex process. A piece of performing arts itself is approached in the same way (consisting of various interconnected elements), suggesting a similar approach towards the registration process. Work consists of the initial version of performance registration structure/system CYCLE and the essay ‘How to Make Performing Arts Survive Time and Become an Accessible Archive: An Attempt to Register Performing Art’s Creation’.
I'M NOT FROM HERE
(2021)
author(s): Greta Pundzaite
published in: Research Catalogue
I'M NOT FROM HERE is a journey to the sensory depths of memory, early years of life and associated rituals. A piece of text in two languages (one of which is Lithuanian, the mother tongue and the original language of the text) is presented along with the physical shape of named memories and sensorial experience of the text. 212 km railroad line connecting child's home with adult's one becomes the map of 2 hours 30 minutes lasting journey of thoughts.
,__ ^_. ||:_DOWN_DEEPCUTS_'LOCK[ANIMÉ.INVENTION] :||,•__\-‘ - - ÉTUDES FOR THE BEGINNING OF AN ONLINE PRACTICE
(2021)
author(s): Josh Spear
published in: VIS - Nordic Journal for Artistic Research
The Covid-19 pandemic of early 2020 has had a huge and wide-reaching effect. My group made up of four composer-performers called Bastard Assignments was not exempt. We were pulled to continue to make work, the difference now is that we are online at our individual homes and meeting each other on Zoom. Zoom is a company that has been around since 2011 and a lot of us have recently become familiar with it to celebrate birthdays at a distance, catch up with friends, or conduct our business. It was set up by a Chinese computer scientist who only after the ninth attempt at the application secured his visa to live in the USA. Since the beginning of 2020, the worldwide usage of Zoom has risen 67%, its use diversifying from corporate communications to domestic and arts activities. My compositional and performance work with Bastard Assignments is rooted in collaboration, devising, and group creation. It favours memorisation over the use of musical scores, emotional presence over reproducibility. As we take our work together into a purely online workspace, important questions arise. Through a new way of working online, does our adaptability bring about a new form? How will we understand this online work when and if normalcy returns? Skills that we learn as composer-performers are dropped, remade, and tested during this period, how will our practice have changed?
Haunted houses
(2021)
author(s): Emelie Carlén
published in: VIS - Nordic Journal for Artistic Research, Konstfack - University of Arts, Crafts and Design
This exposition uncovers the thought process behind and around the artworks Haunted Houses and Cold Readings. I focus my research on the two modernist buildings of E1027 and Villa Müller and the architects behind them. Through the production of these works I have been concerned with how narratives about these houses have been constructed and re-told – and how these narratives have changed as they have been 'rehearsed'. I have applied the methodology of rehearsal to my process in order to outline how historical writings and archival research can be used with the aim of finding alternative outcomes to what has already been written and said.
