Drawing Disambiguation
(last edited: 2023)
author(s): Russell Marshall, Phil Sawdon
This exposition is in progress and its share status is: visible to all.
Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity.
Drawing Disambiguation can be seen as the process of resolving the conflicts that arise when drawing is ambiguous. Our hypothesis is that Drawing Disambiguation could be established as a methodology for Hyperdrawing. The initial enquiry will take the form of a collaborative drawing, with text and image all being seen as ‘marks’, ‘lines’ and ‘gestures’ in a drawn dialogue / discourse.
PS: What is a letter?
(last edited: 2023)
author(s): Dora Isleifsdottir, Åse Huus, Victoria Squire
This exposition is in progress and its share status is: visible to all.
PS: What is a letter?
is an artistic research project in progress by Dóra Ísleifsdóttir, Åse Huus, and Victoria Squire.
Score: Mechanical Asynchronicity
(last edited: 2022)
author(s): Danica Maier, Martin Scheuregger
This exposition is in progress and its share status is: visible to all.
A collaboration between visual artist, Danica Maier and composer, Martin Scheuregger - Score: Mechanical Asynchronicity takes a single historical lace draft from the Nottingham Lace Archive as the starting point for new live and installation-based visual-musical works.
The working process and presentation of Score: Mechanical Asynchronicity sees the fine artist become ‘composer’ and composer become ‘artist’. Their roles move from user – of each other’s discipline knowledge, aesthetic understanding and technique – to author of works that are contingent on their collaboration but can still be identified as belonging to their individual practices.
You can navigate this exposition through a series of prompts each focusing on a different aspect or way to engage with the work: Look, Listen, Read, Play, and Watch.
Read: offers an opportunity to understand further details about the project including pilot works, experimental development, key events and practical details.
Look: will share images of the scores created by Maier and Scheuregger, and the original historical lace draft.
Listen: gives you a chance to hear original music box sound pieces as well as Side A and B of the recorded pieces.
Play: allows you to ‘play with' the individual tracks allowing you to create a combined piece in various iterations including 1-4 musicians.
Watch: includes film documentation from four different concert versions to view.
A Change in Perception
(last edited: 2022)
author(s): Garry Barker
This exposition is in review and its share status is: visible to all.
An artist’s narrative that sets out to introduce the starting point for a new body of evolving work that will grow out of an interrogation of somatic perception and interoception.
As the corona virus pandemic emerged the artist Garry Barker had just been given a commission to develop a series of playing cards that were designed to help people develop conversations about their bodies. However lockdown prevented many proposed activities taking place, initial packs of cards were produced but they couldn’t be used to play the suggested games, and the artist was asked if he could develop an online version. The artist’s research then began to change direction and questions were asked about the nature of perception itself, the body and somatic awareness. Research was refocused on inner body perception and neuropsychology and associated drawings were made in response to a growing awareness of internal body schemas, together with visualizations of relationships between interoception and exteroception. Gradually what emerged was the artist’s realization of how important his own imagination was in building images of how we feel about our inner bodies.
CHOREO–GRAPHIC FIGURES. Deviations from the Line
(last edited: 2020)
author(s): Nikolaus Gansterer, Emma Cocker, Mariella Greil
connected to: University of Applied Arts Vienna
This exposition is in progress and its share status is: visible to all.
"CHOREO–GRAPHIC FIGURES. Deviations from the Line"
The interdisciplinary research project “CHOREO–GRAPHIC FIGURES. Deviations from the Line” (2014 - 2017), led by artist Nikolaus Gansterer (Austria/Vienna) in collaboration with choreographer-dancer Mariella Greil (Austria/Vienna) and artist-writer Emma Cocker (UK/Nottingham), in dialogue with a team of international critical interlocutors was approved funded by the FWF/ PEEK research grant of Austria.
With ‘arts-based research’ at its heart, this research project stages an inter-subjective encounter between drawing (Gansterer), choreography (Greil) and writing (Cocker) in order to
a) investigate those forms of ‘thinking-feeling-knowing’ produced through collaborative, interdisciplinary exchange, ‘between the lines’ of drawing, dance and writing,
b) explore the performativity of notation (figures of thought, speech and movement) for articulating and making tangible this enquiry,
c) contribute new knowledge and understanding to debates about the specificity of artistic enquiry and expanded practices of drawing, dance and writing.
The project explores the nature of ‘thinking-in-action’ or ‘figures of thought’ produced as the practices of drawing, choreography and writing enter into dialogue, overlap and collide. Through processes of reciprocal exchange, dialogue and negotiation between the key researchers, "CHOREO–GRAPHIC FIGURES. Deviations from the Line" will interrogate the interstitial processes, practices and knowledge(s) produced in the ‘deviation’ for example, from page to performance, from word to mark, from line to action, from modes of flat image making towards transformational embodied encounters.
DESERT DWELLING
(last edited: 2018)
author(s): Christine Hansen
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.
Rebody
(last edited: 2017)
author(s): Gerhard Eckel, Michael Schwab, David Pirrò
This exposition is in progress and its share status is: visible to all.
Rebody (2010) by Gerhard Eckel, Michael Schwab and David Pirrò is a video and installation piece in which the captured motion of a dancer is transformed into a dynamic drawing that informs a musical composition. The piece explores the dance movements, the drawing algorithms and the musical structures in an attempt to create aesthetic resonances and convergences. The work investigates how structured creative processes can transpose rather than represent the dancer's movements. Rebody is based on motion-capture data collected from Bodyscapes (2009), an intermedial solo dance performance by Valentina Moar (choreography/dance), Gerhard Eckel and David Pirrò (composition).
Orientalism Revisited: Istanbul and its cemeteries
(last edited: 2015)
author(s): Carla Swerts
This exposition is in progress and its share status is: visible to all.
This article is part of my research ‘Orientalism Revisited’ in which I question the representation of the East in the West, and explore the value of Orientalism as a genre for contemporary artists. The contemporary western art world is reluctant to consider the Orient as an artistic subject. Trying to dissociate Orientalism and its connotation with western imperialism remains a difficult and delicate matter. Moreover, the current political instability and the distrust of Islamic culture only complicate the situation. In addition to these ideological reasons, formal elements are responsible for the decline of interest in Orientalist art as well. The iconography of the nineteenth-century Orientalist painters is characterised by exotic fantasies expressed in exuberant colours, resulting in stereotypical images. The power of the Orient as an artistic subject does not reside in creating a twenty-first-century sequel to this imagery, but in representing the Orient through sensory impressions based on the perceptions of the artist.
While travelling in the Middle East, I reconsider the Orient as a source of artistic inspiration. At the moment I am residing in Istanbul, the bridge between East and West, a city balancing between two different worlds.
In this project I explore the cemeteries of Istanbul. Walking through the cemeteries is in a certain way walking through art history. Cemeteries offer a subtler version of the exotic East, and are the only places that still breathe the Orient of the past. You recognise elements and scenes of Orientalist paintings, which makes you perceive your surroundings in a different light. The cemeteries make you look at the paintings in another way as well and give insight in the way the Orientalist artists look at these environs.
This is one reason why I like strolling through Ottoman cemeteries in Istanbul, but my walks are of a more direct use for my own artistic practice as well. At a certain point you have to let go of the route the orientalists laid out for you, and look at your surroundings without their loaded contexts; empty-minded. When you forget about the orientalist frame, the opposition between East and West, the threatening urban development projects, religion, death,… you may see things that strike you as an artist: the pointy shape of the gravestones echoed in the minarets, in the cypresses and in the skyscraper in the distance; the lemon squeezer-shaped domes and beautifully sculptured headstones of the graves changing colour in harmony with the hour of day; the white marble on the ground and salmon pink walls fertilizing the green colour of some exotic-shaped greenery; …
The Oriental cemeteries have a great deal to offer the artists that draw inspiration from their surroundings. These impressions should be formulated before they vaporise, in words, drawings, photographs,… as a means to extend the artist's visual archive. Istanbul's graveyards – where the tombs are a reminder of the transience of life – are places that at the same time help me pause this transience; by recording sensations artistically. Dwelling in cemeteries makes me a more eloquent artist, help me call a halt to volatility.
I present the cemeteries through my own written impressions, travel literature, old photographs, orientalist artworks, and my own images. I use my archive to make associations; thematic, verbal and visual. This associative method is part of my artistic research in which I want to present my impressions of the Orient as a freely expanding musical composition.
ARCHE-FOSSIL
(last edited: 2015)
author(s): Catarina Patrício
This exposition is in progress and its share status is: visible to all.
Arche-fossil is a series of drawings presented in the exhibition «The Rest and the Gesture» a project which seeks to strengthen the contemporary reception of the World Heritage Site of Palaeolithic Art of the Côa Valley in Portugal.
Apparently separated, there exists a reunifying invisible line from stone to paper, from the engravings to the drawings, as if the engravings had freed themselves from the pre-cinematic stone and began moving, as if expanding its protocinematic essence.
Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity. Drawing Disambiguation can be seen as the process of resolving the conflicts that arise when drawing is ambiguous. Our hypothesis is that Drawing Disambiguation could be established as a methodology for Hyperdrawing. The initial enquiry will take the form of a collaborative drawing, with text and image all being seen as ‘marks’, ‘lines’ and ‘gestures’ in a drawn dialogue / discourse.open exposition comments (0)
PS: What is a letter? is an artistic research project in progress by Dóra Ísleifsdóttir, Åse Huus, and Victoria Squire.open exposition comments (0)
Rebody (2010) by Gerhard Eckel, Michael Schwab and David Pirrò is a video and installation piece in which the captured motion of a dancer is transformed into a dynamic drawing that informs a musical composition. The piece explores the dance movements, the drawing algorithms and the musical structures in an attempt to create aesthetic resonances and convergences. The work investigates how structured creative processes can transpose rather than represent the dancer's movements. Rebody is based on motion-capture data collected from Bodyscapes (2009), an intermedial solo dance performance by Valentina Moar (choreography/dance), Gerhard Eckel and David Pirrò (composition).open exposition comments (0)
Arche-fossil is a series of drawings presented in the exhibition «The Rest and the Gesture» a project which seeks to strengthen the contemporary reception of the World Heritage Site of Palaeolithic Art of the Côa Valley in Portugal. Apparently separated, there exists a reunifying invisible line from stone to paper, from the engravings to the drawings, as if the engravings had freed themselves from the pre-cinematic stone and began moving, as if expanding its protocinematic essence.open exposition comments (0)