Novel
(2023)
author(s): Zoe Panagiota (aka Betty) Nigianni
published in: Research Catalogue
Single channel digital video, with photography and text, 5' 41'', 2007
'Novel' is a half-photography, half-fiction digital video, which was inspired by my temporary dwelling in different cities during the period of a year. For my contribution to this catalogue, I briefly discuss the artistic process and thinking behind the project. In parallel, I reflect upon the possible theoretical links between visuality, narratives, architecture, and urbanism. I suggest that personal associations are definitive and significant in the ways we tend to occupy and subjectively interpret contemporary urban spaces.
After a lengthy process of collecting photographs and digital film footage, as well as selecting written material, some of it in the form of quotes, from my journal, I completed the video in 2007. My method was:
- I made preparatory sketches that I included in the video (film still 1).
- I used a montage technique I saw in one of Peter Greenaway's films: the separate 'window' on the top or bottom sides of the video (film stills 2, 4, 5) that denotes parallel action.
- I overlaid photographs (film still 3), a technique that allowed me to create the animating effect of the moving image, without using film footage.
In painting, the artist can make layers out of collaged material that might be unconnected or purposefully juxtaposed to the painting's subject. Using the above method, I asked the viewer to watch the video more like a moving series of paintings, rather than as a film.
The video, like my other video art work, was exhibited and archived under my artist's pseudonym, Betty Nigianni.
Written in 2012, the essay is a separate piece to accompany this exposition.
Note: Please disregard comment I posted about a notification that doesn't appear anymore.
Reclamation : Exposing Coal Seams and Appalachian Fatalism with Digital Apparatuses
(2020)
author(s): Ernie Roby-Tomic
published in: VIS - Nordic Journal for Artistic Research
The mountainous geography of Appalachia has been shaped by the coal industry since the post-Civil War Reconstruction Era of the United States. Mountaintop Removal (MTR) is a controversial and highly destructive surface-mining method flattening the mountains of Appalachian since the 1970s. The rise in massive energy consumption correlated to consumer electronics, automation, and technocratic neoliberalism have irrevocably flattened the surface and culture of Appalachia.
Reclamation is the final act in MTR mining in which the mine operator is obligated to ecologically restore the land. Where MTR sites were once hidden away, and even photographing them is considered an act of trespassing, today I can bear witness to the destruction of the mountain topology by connecting to Google's Earth (not to be confused with earth-Earth). Despite the remote locations and inaccessibility of the sites, the data is particularly rich due to the economical advantages of mapping the region for the coal industry.
In this exposition, I make my own reclamation as one in the generation born after the boom of coal production and its inevitable decline. I am reclaiming the 3D geospatial data of MTR and mining disaster sites, extracted from the servers of Google Earth. I recontextualize these geospatial assets to compose a visual prosopography of those surfaces.
La Prospettiva is sucking reality
(2018)
author(s): Antonio Olaio
published in: Research Catalogue
Visual an written essay exploring the conceptual scope of "La Prospettiva is sucking reality", a series of paintings, song and video I made in 2010.
It’s by following the idea that art is a construction of starting points, stimuli to mind, I reflect on my own work as an artist, or where my artistic work plays a central role on my seek for the understanding of the mechanisms of art and mind. Here exploring the conceptual possibilities raised by evoking "La Prospettiva", understanding the aesthetical experience as the place where image and reality become the same.
Extra-musical Systems in Music: their implementation in contemporary music in the context of multimedia
(2016)
author(s): Andrius Arutiunian
published in: KC Research Portal
The purpose of this research is to define methods of applying extra-musical and data-based systems in multimedia music works. The first part of the paper concentrates on the outline of the motivation and reasoning for using extra-musical systems from a composer's or sound artist's perspective and gives a historical precedent context. Parallels are drawn together with contemporary art and art critique examples. The second part of the research outlines the possible modes of the data-based systems application by analysing multiple multimedia works by composers or sound artists written in the last two decades including a piece by the author of the paper. The types of multimedia and its connection to sound are discussed, the conceptual deconstruction and its semiotic implications of the data used are analysed. The given conceptual and semantic context is applied for analysing the musical parameters and data's usage in sound control. Each of the pieces discussed outlines a particular mode of the conceptuality towards the extra-musical system usage and functions as a primal device for further conclusions drawn. The final part of the research consists of the general overview of the conclusions drawn and attempts to establish a general outline of the motivation and the resulting outcome behind the usage of the extra-musical systems in multimedia works.
Can Philosophy Exist?
(last edited: 2024)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material.
The exposition exposes the question of what is artistic research. Usurping the mini-essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system.
Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I use visual art and figurative examples as illustrations, adapting from methods, such as the example, used in analytic philosophy.
I suggest that some artworks operate as philosophical provocations of the archive. "The artwork just exists", as Frank Stella argued. In this view, I ordered this exposition as a design proposal for two independent, yet interconnected exhibitions: one for the final artistic exhibition show; and one as a general overview for the artist's studio, set up as a stand alone, if parallel, exhibition.
JENNY SUNESSON
(last edited: 2024)
author(s): Jenny Sunesson
This exposition is in progress and its share status is: visible to all.
Jenny Sunesson (b. 1973) is a Swedish artist predominantly
working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and
derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.
Aftermath (E for Installation)
(last edited: 2024)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023.
"There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived."
Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level.
The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic and cultural production.
Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso).
With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.
Workbook of the Universe - 2023
(last edited: 2023)
author(s): Federico Federici
This exposition is in progress and its share status is: visible to all.
How to split the universe up into addends.
SECOND COMING
(last edited: 2023)
author(s): Erik Valentin Berg
This exposition is in review and its share status is: visible to all.
SECOND COMING focuses on the role of mystery in choreographic practices, dancing and writing. The commitment, stemming from the need to partially understand the process of becoming in relation to my formation as a choreographer, departs from the question:
What combination of learnable skills, collegial support and obscure faith does an artist need in the age of uncertainty?
Thirty Sixth Series of the Next Kind of Series
(last edited: 2023)
author(s): Wim Kok
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The subject of the research of Wim Kok is __difference and repetition,__ an area which bears a direct relationship to Wjm Kok__s practice, in which the production of work always emerges and passes through series. It is also the title of a book by Gilles Deleuze that has been used as source and reference to explicate the research. Taking this book Difference and Repetition as a departure point, an ongoing series of writings was produced that sought to expose the different angles of the subject. The majority of these texts were published in diverse platforms, constituting an exchange with related subjects and his practice as a foundation for exploring other territories. A selected collection of these texts constitutes the dissertation. The presentation of this research will take place during the defense in the Grand Auditorium of Leiden University.
Las guerras púdicas
(last edited: 2022)
author(s): Lorena Croceri
This exposition is in progress and its share status is: visible to all.
In this exhibition I develop the concept of responsibility linked to performance art. Through the analysis of the performative installation Las guerras púdicas, I make an approach to the curated integration of fields: cultural practice of cooking, contemporary art, psychoanalysis, synoptic charts and language of war.
Translating Atmospheres
(last edited: 2021)
author(s): Cecilia Berghäll
This exposition is in progress and its share status is: visible to all.
An ongoing research and exploration of what it means to think and feel through mediums.
The interdisciplinary conceptual composition process
(last edited: 2021)
author(s): Linde Tillmanns
This exposition is in progress and its share status is: visible to all.
How does one translate concepts like Doughnut Economics into music and video? How can a performance create a safe and non/judgmental space for an open and constructive dialogue about big and difficult topics?
This is my journey on attempting to create such a performance; with a physical band, electronics and video. I am composing on different levels, collaborating with a video artist and producer, as well as curating the process.
Visual an written essay exploring the conceptual scope of "La Prospettiva is sucking reality", a series of paintings, song and video I made in 2010. It’s by following the idea that art is a construction of starting points, stimuli to mind, I reflect on my own work as an artist, or where my artistic work plays a central role on my seek for the understanding of the mechanisms of art and mind. Here exploring the conceptual possibilities raised by evoking "La Prospettiva", understanding the aesthetical experience as the place where image and reality become the same.open exposition comments (0)
Jenny Sunesson (b. 1973) is a Swedish artist predominantly working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.open exposition comments (0)
How to split the universe up into addends.open exposition comments (0)
SECOND COMING focuses on the role of mystery in choreographic practices, dancing and writing. The commitment, stemming from the need to partially understand the process of becoming in relation to my formation as a choreographer, departs from the question: What combination of learnable skills, collegial support and obscure faith does an artist need in the age of uncertainty?open exposition comments (0)
In this exhibition I develop the concept of responsibility linked to performance art. Through the analysis of the performative installation Las guerras púdicas, I make an approach to the curated integration of fields: cultural practice of cooking, contemporary art, psychoanalysis, synoptic charts and language of war.open exposition comments (0)
An ongoing research and exploration of what it means to think and feel through mediums.open exposition comments (0)