The Archeologist's Gaze
(2024)
author(s): Jehanne Paternostre
published in: VIS - Nordic Journal for Artistic Research
The Archeologist’s Gaze presents and reflects on a project on the restoration of ancient tapestries, following the award of a research grant to TAMAT (Museum of Tapestry and Textile Arts, Tournai, Belgium) in 2020-2021. After immersing herself in the museum's restoration workshop, looking for images, words, materials and gestures, Paternostre turned her attention to the reverse side of the tapestry. Studying the scraps of thread that had fallen to the floor, her vision of the tapestry was turned upside down, and the little bits of thread that gradually was picked up from the ground became the focus of the research. These details bore traces of many hands that had restored and repaired the tapestry over the centuries and told a story of care and attention, the inseparable opposite of monumental tapestries and mythical tales.
Skolbrandsarkeologi
(2024)
author(s): Patrickretschek
published in: VIS - Nordic Journal for Artistic Research
Skolbrandsarkeologi (“School Fire Archaeology”) is an artistic excavation (2022–2026) of Slättgårdsskolan in Skärholmen, Stockholm, led by artist Patrick Kretschek. The art project uses contemporary archaeology, participatory art, and documentary methods to explore the aftermath of the June 1, 2020, school fire. It combines text, photography, film, and artifacts to narrate the event through testimonies from students, teachers, parents, and the public. Exhibited locally at culture house FOLK in Skärholmen, it offers a space for reflection on loss, memory, and reconstruction.
"Inseparable": Music and Dance in a Cross-Disciplinary Practice
(2024)
author(s): Kalina Vladovska
published in: KC Research Portal
The following research observes the artistic creative process of a cross-disciplinary theatrical dance and percussion performance, called “Inseparable”. It discusses and analyses the process and methods behind the creation of the piece; the pros and cons of dance-percussion collaboration, and of working as a team of performer-creators; the involvement of a director; the creation of the final performance with a technical crew (light & sound); and the emergence of a mutual artistic language.
The cast includes Zaneta Kesik and Matija Franjes - two dancers (doubling as choreographers), and Joao Brito and Kalina Vladovska - two percussionists (doubling as composers), creating the narrative, dramaturgy, choreography and (some of the) music on their own. The director, Renee Spierings, was invited to be an external coach. Teus van der Stelt and Maurits Thiel - light and sound artists - took care of the final presentation. The four performances took place during and thanks to Muziekzomer Gelderland 2023 and were produced by Jarick Bruinsma.
Furthermore, in the research I discuss the social impact of the project's themes – technology addiction and human communication - and I examine a number of reactions and feedback from audience members.
The chosen form of presentation is a research exposition.
Building upon Ruins – Interweaving Metaphors
(2023)
author(s): Joanna Magierecka
published in: Journal for Artistic Research
Does the complexity of a work of art, composed of diverging narratives, present a possibility to connect to what we do not grasp? In this exposition I present interweaving as a compositional technique and dramaturgical strategy, through aspects of the creative process connected to and elements of three installations – part of a series called Ruins. The installations combine different aspects of storytelling, participatory strategies, media, and forms of expression. I believe that interweaving different and diverging fragments, allowing audience members to create their own performance dramaturgy and experience, can create an understanding of others and their experience. In that lies the possibility for a shared story – a collective story. Interweaving as a method is also present in the dramaturgy of the text itself – building up to an audio-visual representation of those elements and the written text. In this way, I hope the exposition lets the reader and me both investigate interweaving as a technique and experience it.
Contemporary Research
(2023)
author(s): Michael Schwab
published in: HUB - Journal of Research in Art, Design and Society
Artistic research is a comparatively recent development. Outside institutional definitions little work has been carried out to situate the phenomenon in a wider history of art as well as knowledge. This speculative article describes the present moment of artistic research as result of two developments: (1) a shift from notions of knowledge to notions of research, and (2), a shift from major to minor forms of making. At the same time, in line with understandings of contemporary art and as contemporary art, artistic research is not understood as historical project that unifies art and science; rather, artistic research is pitched as providing a transdisciplinary ground in which different disciplines and knowledges can enrich each other. On a historical scale, this development is seen as driven by the increased speed and complexity of our current world for which conventional knowledges offers only partial insights arriving often too late for decision-making. Building on Hans-Jörg Rheinberger’s concept of experimental systems and his notion of graphematic space, the paper suggests research to create sets of traces as proto-forms underdetermined in their aesthetic and epistemic status and, hence, beyond specific disciplinary contexts. Such space for research is understood as fundamentally artistic, also in opposition to notions of research as output-oriented types of investment. It is suggested that representation as epistemic form has been losing relevance, certainly for the arts and increasingly for the sciences. Artists are tasked to invent new, expositional forms of knowledge over and beyond representation to remain epistemically engaged in today’s fast and complex world.
Citizen Science - a new field for the arts?
(2023)
author(s): Pamela Marjan Bartar
published in: University of Applied Arts Vienna
Pamela Bartar’s (Center for Didactics of Art and Interdisciplinary Education) contribution "Citizen Science – a new field for the arts?" links Citizen Science with art-based research. Providing an overview of current approaches, Bartar illustrates how contemporary art can significantly contribute to the democratisation of science and the societal proximity of research, particularly focusing on socially engaged practices and collaborative knowledge production.
This is not / Dette er ikke
(2018)
author(s): Anne Marthe Dyvi
published in: VIS - Nordic Journal for Artistic Research
The language of art is often poetic and abstract.
Reduced and lawless in terms of grammar. I experience the poetic and abstract language as closer to the experienced world than the more concrete and descriptive language that is the norm in the majority of formulations in society. In my artistic practice at the moment, I work with color, movement and time. In the video medium. To say that art is a language is also an assertion, or a worn metaphor. We have no written language rules we agree upon in the arts, no defined alphabet. And maybe that's exactly what the making of art is? Creating form, while challenging form? Being the practitioner, and in that sense defining, in a landscape of concrete and abstract, in definite and indefinite and fluid and solid.
To create while shaping the form of it, is something else than performing within a given formation.
This contribution to a digital catalogue for artistic research are selections of my work, and thoughts, related to it translated into pieces of texts.
Some pieces of text along with some video pieces as well as a print from a video, a so-called 'still'. They are selected to function in different constellations, and for several reasons. A collage as a method and a way to relate to my own work, and with the selection, emphasizes the content of the texts. I apply my own thesis discussed in the text upon my contribution 'here' *. My contribution appears in Vis – Nordic Journal for Artistic Research. The digital is representation. It is not. It is equally important to me that this contributed in form acknowledges that making a presence in an internet-based database is not without hyperlinks. It appears because the other is.
* Where is 'here', what is 'here'?
(Video and video with sound.)
The visual material in this exposition is from the videos 'La ditt liv vitne'(2017), 'Essay on Colour'(2017) and Perceptual Cycle (2016). By Anne Marthe Dyvi.
Reconfiguring Think Tanks as a discursive, social model in contemporary art | Residencies as places of continuity, mutuality, free thinking and independent research
(2015)
author(s): Andrea Pagnes
published in: Research Catalogue
In general, art contains in itself a revolutionary quid, as the artist - through his/her work - provides an opportunity to look at the world in a different way from that to which one was used. The art has a function of perceptive awakening and therefore of sensorial activation. This is revolutionary, because it can change your perception of life that you have had up to that time. Out of this perspective, to reconsider artist in residencies as not mere hosting institutional containers, but as laboratories of continuative production of thoughts and ideas, might also reinforce the concept that a work of art is thus the end result of a specific process – possessing specific forms and aesthetic, and that it serves no purpose except that of channelling a very specific form of energy. It’s always a sort of communicative performance. It allows man to plumb his/her own conscience and to void it, as it’s only within empty spaces that energy can unleash its creative force. For it, it is required great effort and care not just from the artist who's temporarily involved, but from the ones who run the artist in residencies themselves.
Interviews with Massimo Cacciari and Franco Rella
(2015)
author(s): Andrea Pagnes
published in: Research Catalogue
Two conversations I had with eminent philosophers and thinkers Massimo Cacciari and Franco Rella on aesthetics, contemporary art and art theory issues in the mid 90s. The interviews are in Italian language as in origin.
My Body Asking Your Body Questions: VestAndPage (Verena Stenke & Andrea Pagnes) interviewed by Valeria Romagnini & Karlyn De Jong (Personal Structures |GAA Foundation)
(2015)
author(s): Andrea Pagnes
published in: Research Catalogue
Complete and revised version in origin of the interview with performance artist duo VestAndPage by Valeria Romagnini with additional questions by Karlyn De Jong, partly published in Personal Structures, vol. II, 2013. The artists analyze in depth issues such as the "here and now", the position of the Self, the value of freedom, relational paradigms and the importance of the audience.
TWO BODIES IN SPACE | DURATIONAL PERFORMANCE: The Quest for Authenticity in the VestAndPage Experience
(2015)
author(s): Andrea Pagnes
published in: Research Catalogue
Andrea Pagnes, from the performance art duo VestAndPage, presents a reflective piece that will become essential reading for anyone interested in durational and related performance practice. The particular focus on research concentrates the importance of the insights in this piece. Pagnes demonstrates the use of performance as a form of personal expression that leads to a greater capacity for sensitive interpretation and understanding.
—Ross Woodrow, Executive Editor Studio Research Journal
Collision
(2015)
author(s): gilda mautone
published in: Research Catalogue
COLLISION exhibition Enzo Giordano - Gilda Mautone
The project COLLISION brings together artworks by artists Gilda Mautone and Enzo Giordano.Based in Berlin, Mautone and Giordano have been working together for 5 years and consider their works as a whole.The artists explore psychological situations starting from their personal experiences as well as observing and responding to external circumstances. The impact between the intimate and public spheres translates in a conflict evoked by the title of the exhibition.Their practices, although different, share similarities in themes and approaches.Collision aims to activate a reflection on the psychological dynamics involved in the artist’s works, asking for the participation of the public.
COLLISION was exposed at the Italian Embassy of Copenhagen in March and consecutively in September in Milan at Officina Temporanea.Will also be presented at the Italian Embassy of Prague in November.
From: Wednesday 22 April 2015 at 18:00h
To: Sunday 5 May 2015 at 18:00h
Location:
Italian Culture Institute, Italian Embassy , Hiroshimastraße, 1 Berlin 10785
XRW (Implicature)
(last edited: 2025)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
50 A3 drawings black and coloured markers, including:
3 A3 collages on paper with newspaper cutouts and printed photos.
12 A3 drawings on paper with coloured markers + 1 A3 with black ballpoint pen and markers.
13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 wo-sided.
17 A3 drawings on paper with coloured markers.
1 drawing on sketchbook cover with red nail polish.
1 text drawing on sketchbook cover inside.
1 drawing on sketchbook cover back inside with black, orange and gold markers.
Some of the above is preparatory work for 4 large prints and 13 paintings.
22 A4 drawings with ballpoint pen.
I did/made the art between 2023-2024, from the perspective of the observer. I started writing the blog afterwards, from the summer of 2024.
I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012. I mixed this with stylistic elements of the architectural sketch, using heavily the black marker and stick figures. Much of this work is, amongst other, about children. I wanted to emphasise that, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition. Using this visual approach, I wanted to evoke a comically sharp twist to the otherwise dark subject matter.
"Pop and Politics" (Pop Og Politikk)
Where does the boundary run between art and popular culture? Pop art embraces the iconography of mass culture. Themes are taken from advertising comics, cinema and TV. The slick, impersonal style is a deliberate provocation.
In Norway, pop art is part of a broader left-wing protest movement. Everything from capitalism and imperialism to environmental and gender politics is subjected to critical scrutiny. The exclusive, unique artwork is replaced by mass-produced prints and posters, well suited to spreading a political message."
From the National Museum, Oslo, Norway, 2024.
For Nikos ('Rama', 'Mr X'), Filip ('Philip'), and Brandon - August, September, and October 2024. For "Tricky" and 'Eric' ("Paul V.") - January 2025. Who are not politicians, but are doing something political.
The text is written like a trip hop song. Some of the text is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. The art is influenced by Jean-Michel Basquiat,
Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022.
See exposition in connection with "The Origins of The Game", "Debris", and "The Loot".
Q&A
(last edited: 2025)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
I include questions I was given at the Janine Antoni workshop, Toynbee Studios, in 2010, as feedback to my work. Much of Janine Antoni's art is about the female body and cultural identity. I address the participants by the first names they used to introduce themselves at the workshop. The questions were given in writing to each participant by the rest of the group, to offer material for thinking further their artistic practice in their own time.
I include the answers I would give now, if I was asked the same questions.
Artists, architects and designers give interviews about their work. Amongst them, architects tend to write more and publish more written work in relation to their practice.
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.
Glossary
(last edited: 2024)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
The exposition outlines artistic terms and categories in relation to my artistic practice. Terms have been taken loosely from 'Art Now, Vol. 3', Hans Werner Holzwarth (ed.), Cologne: Taschen, 2012.
About the artistic notion of the postmodern:
"The postmodern would be that which, in the modern, puts forward the unrepresentable in presentation itself; that which denies itself the solace of good forms, the consensus of a taste which would make it possible to share collectively the nostalgia for the unattainable; that which searches for new presentations, not in order to enjoy them but in order to impart a stronger sense of the unrepresentable. A postmodern artist or writer is in the position of a philosopher: the text he writes, the work he produces are not in principle governed by pre-established rules, and they cannot be judged according to a determining judgment, by applying familiar categories to the text or to the work. Those rules and categories are what the work of art itself is looking for. The artist and the writer, then, are working without rules in order to formulate the rules of what will have been done. Hence the fact that work and text have the character of an event; hence also they always come too late for their author, or, what amounts to the same thing, their being put into work, their realisation (mise en oeuvre) always begin too soon. 'Post modern' would have to be understood according to the paradox of the future (post) anterior (modo)."
Jean-Francois Lyotard, 'The Postmodern Condition: A Report on Knowledge', trans. by G. Bennington and B. Massumi, Minneapolis: University of Minnesota Press, 1984, p. 81.
"A Postmodern Painting (Et Postmoderne Maleri)"
Postmodernism in visual art can be described as a variety of reactions to modernism. Notably anti-authoritarian in attitude, postmodern artists refuse to accept any one style as exclusively valid.
The French philosopher Jean-Francois Lyotard declares the era of grand historical narratives to be over. At the same time, artists show a renewed interest in art history. They twist traditions, use quotations and recycle older works in so-called pastiches. In this way, they undermine the modernist idea that art must be innovative and original."
Oslo National Museum, 2024.
THE IDEA OF YOU
(last edited: 2023)
author(s): Francesco Collavino
This exposition is in progress and its share status is: visible to all.
How can a physical dramaturgy generate transdisciplinary choreography and at the same time how is it influenced by new media?
first studio
The Emergent Artistic Object in the Postconceptual Condition
(last edited: 2023)
author(s): Jack Segbars
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
The dissertation of Jack Segbars investigates the fabric and the infrastructure of contemporary artistic production. The focal question is how the contemporary field of institutional artistic production is organised and how the relations between its actors and functions: artists, curators, institution, governance and theory are structured, and how the artistic object that results from their interaction is produced. The backdrop of this investigation, is the condition of cognitive capitalism. Production and working-relations in late capitalism as analysed by Paolo Virno, are characterized by the primacy of communications. It presumes that no longer there is a clear demarcation between aesthetics, labour and politics in the general make-up of production and economy.The second backdrop is the postconceptual condition, as formulated by British philosopher Peter Osborne. He describes how the authorship of the art-object has shifted to the institutional platform (museum, presentation-space) and how the ‘project’ has become the general form of production. This situation particularly affects artistic production and the relationships between the main actors in regards to who holds the authorship over the artistic object. Both these movements have led to significant changes in how to consider the status of authorship in artistic production. Together they shape the theoretical basis for the research.
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.
Assuming Asymmetries. Extra Research Time 2020/21
(last edited: 2021)
author(s): Joanna Warsza
This exposition is in progress and its share status is: visible to all.
Assuming Asymmetries. Conversations on Curating Public Art Projects of the 1980s and 1990s is a volume based on the dialogues between the curators and participants from some of the most complex and yet underresearched European and US public art exhibitions of the 1980s and 1990s. The discussions include and unpack such influential projects as “Culture in Action” curated by Mary Jane Jacob in 1993; “Sonsbeek 93” curated by Valerie Smith; “Endlichkeit der Freiheit,” an exhibition initiated by Heiner Müller and Rebecca Horn, on both sides of the former Berlin wall in 1990; “Construction in Process,” an artist-initiated site-specific exhibition in early 1980s Łódz, Poland; “Five Gardens” curated by Carlos Capelán in 1996 in Simrishamn and Ystad, Sweden, and “U-media” in 1987 Umeå, Sweden. The dialogues focus on such questions as: How does one ethically and culturally deal with asymmetries? How have the notions of situated or embedded knowledge changed over the last decades? How can artworks actually create meaning from the place where they're produced? What were the early attempts of de-monumentalizing art outside of the museums; and, finally, what actually is non-extractive curating.
Both books are edited by CuratorLab at Konstfack University of Arts 2020/2021: Anna Mikaela Ekstrand, Giulia Floris, Vasco Forconi, Edy Fung, Julius Lehmann, Maria Lind, Marc Navarro, Simina Neagu, Hanna Nordell, Tomek Pawłowski Jarmołajew, Marja Rautaharju, Erik Sandberg, Joanna Warsza
The process was led by Joanna Warsza and Maria Lind
THE GREEN RAY VISUAL GLOSSARY
(last edited: 2021)
author(s): Laetitia Catherine Morais
This exposition is in progress and its share status is: visible to all.
This webpage content is part of a PhD, which has been conducted as a practice-as-research based project, resulting in the submission of four artefacts, alongside by its questionings and insights.
These artefacts attempt to trigger a constellation of terminologies helpful for the actualization - folding past and future into the most emergent actuality - of artistic research. The terms are displayed taking a study on the qualities of the green ray effect, which functions as an open resource, once they can't be classified within a specific field.
A Dead Writer Exists in Words, and Language is a Type of Virus
(last edited: 2021)
author(s): Linda Stupart, Jakub Jan Ceglarz
This exposition is in progress and its share status is: visible to all.
"Virus" synthesises four years of performative and traditional research—engaging a range of contemporary artists, institutions, and writing practices to reformulate possibilities for art criticism and institutional critique within artworlds. This practice-based research offers new possibilities for embodied art criticism. The work makes visible, interrupts, and challenges the violent and patriarchal structures of the artworld, offering new modes and practices of feminist and queer artmaking, critique, and resistance. As well as the novella, "Virus" comprises sculptural elements, videos, performance, and a series of prints of spells written for/against the artworld.
This research contributes to performance art, situating itself on the borders of ritual, language, and performativity. The spell works are at the centre of a ‘re-emergence’ of witchcraft in art, and new possibilities for performance-as-criticism. "Virus" is a singular output in multiple fields—literary criticism; experimental writing; contemporary art; eco-feminism; queer theory, and objectification studies—and its multidisciplinarity contributes to each of these fields. Its assertion as an art object, in the form of writing, is an integral moment for the conception of the ‘Art Writing’ discipline.
The spells appeared in a major survey show of feminist art touring the UK (‘Still I Rise: Feminisms, Gender, Resistance’, 2018–19), as well as survey shows about witchcraft and contemporary art in Vienna and Cornwall. Stupart performed spells as research outputs at the University of Melbourne; 4S: Society for Social Science annual conference, Sydney; Edinburgh University; Reading University; and as an exemplary of practice-based research in the BCU PGCert lecture program.
"Virus" is the subject of two conference papers: Ass. Prof. Helen Hester (‘Towards a Theory of Thing-Women’, 2017) and Dr Holly Pester (‘Common Rest’ 2016). It is on university reading lists including: Royal Academy of Art, Copenhagen; Reading University; University of Cape Town; Queen Mary and Goldsmiths, London University; and LCC.
CALL ME WHEN YOU'RE HOME
(last edited: 2020)
author(s): Francesco Collavino
This exposition is in progress and its share status is: visible to all.
L’idea di questo lavoro è quella di utilizzare l’immagine degli astronauti e delle loro esplorazioni come metafora di un rapporto umano che si realizza nella spazio di una separazione.
Il titolo infatti è una frase che viene detta sulla soglia, nella partenza, è una formula di protezione che ci accompagna per tutto il viaggio come una grande dichiarazione d’amore.
In un altro livello riflettiamo sulla crisi del linguaggio di situazione satura, dove la comunicazione si è ormai rappresa, il linguaggio crolla su se stesso e cessa il dialogo. Si parla, ma non ci si comprende più perciò è necessario partire, lasciarsi per trovare modalità di comunicazione più efficaci.
In scena saranno presenti due interpreti, due individui, tra i quali non ci sarà una vera e propria interazione, se non la relazione che si viene a creare tra i loro corpi sospesi in uno spazio comune.
Il lavoro è impostato come fossero due soli distinti, ma che muovendosi possano creare un’unica opera d’insieme e magari questo porterà anche a un incontro.
The Archeologist’s Gaze presents and reflects on a project on the restoration of ancient tapestries, following the award of a research grant to TAMAT (Museum of Tapestry and Textile Arts, Tournai, Belgium) in 2020-2021. After immersing herself in the museum's restoration workshop, looking for images, words, materials and gestures, Paternostre turned her attention to the reverse side of the tapestry. Studying the scraps of thread that had fallen to the floor, her vision of the tapestry was turned upside down, and the little bits of thread that gradually was picked up from the ground became the focus of the research. These details bore traces of many hands that had restored and repaired the tapestry over the centuries and told a story of care and attention, the inseparable opposite of monumental tapestries and mythical tales.open exposition comments (0)
Skolbrandsarkeologi (“School Fire Archaeology”) is an artistic excavation (2022–2026) of Slättgårdsskolan in Skärholmen, Stockholm, led by artist Patrick Kretschek. The art project uses contemporary archaeology, participatory art, and documentary methods to explore the aftermath of the June 1, 2020, school fire. It combines text, photography, film, and artifacts to narrate the event through testimonies from students, teachers, parents, and the public. Exhibited locally at culture house FOLK in Skärholmen, it offers a space for reflection on loss, memory, and reconstruction.open exposition comments (0)
Pamela Bartar’s (Center for Didactics of Art and Interdisciplinary Education) contribution "Citizen Science – a new field for the arts?" links Citizen Science with art-based research. Providing an overview of current approaches, Bartar illustrates how contemporary art can significantly contribute to the democratisation of science and the societal proximity of research, particularly focusing on socially engaged practices and collaborative knowledge production.open exposition comments (0)
John Andrewopen exposition comments (0)
JON ANDER GARCIA /homeopen exposition comments (0)
Two conversations I had with eminent philosophers and thinkers Massimo Cacciari and Franco Rella on aesthetics, contemporary art and art theory issues in the mid 90s. The interviews are in Italian language as in origin.open exposition comments (0)
Complete and revised version in origin of the interview with performance artist duo VestAndPage by Valeria Romagnini with additional questions by Karlyn De Jong, partly published in Personal Structures, vol. II, 2013. The artists analyze in depth issues such as the "here and now", the position of the Self, the value of freedom, relational paradigms and the importance of the audience.open exposition comments (0)
Andrea Pagnes, from the performance art duo VestAndPage, presents a reflective piece that will become essential reading for anyone interested in durational and related performance practice. The particular focus on research concentrates the importance of the insights in this piece. Pagnes demonstrates the use of performance as a form of personal expression that leads to a greater capacity for sensitive interpretation and understanding. —Ross Woodrow, Executive Editor Studio Research Journalopen exposition comments (0)
I include questions I was given at the Janine Antoni workshop, Toynbee Studios, in 2010, as feedback to my work. Much of Janine Antoni's art is about the female body and cultural identity. I address the participants by the first names they used to introduce themselves at the workshop. The questions were given in writing to each participant by the rest of the group, to offer material for thinking further their artistic practice in their own time. I include the answers I would give now, if I was asked the same questions. Artists, architects and designers give interviews about their work. Amongst them, architects tend to write more and publish more written work in relation to their practice.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 can a physical dramaturgy generate transdisciplinary choreography and at the same time how is it influenced by new media? first studioopen 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)
This webpage content is part of a PhD, which has been conducted as a practice-as-research based project, resulting in the submission of four artefacts, alongside by its questionings and insights. These artefacts attempt to trigger a constellation of terminologies helpful for the actualization - folding past and future into the most emergent actuality - of artistic research. The terms are displayed taking a study on the qualities of the green ray effect, which functions as an open resource, once they can't be classified within a specific field.open exposition comments (0)