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.”
GIRL ARMY – Narrative painting in space TYTTÖARMEIJA – Kerronnallinen maalaus tilassa Katja Tukiainen
(2024)
author(s): Katja Tukiainen
published in: University of the Arts Helsinki
ABSTRACT
Girl army – Narrative painting in space
In my doctoral research in fine arts, I study narrative
painting in space and examine the narratives of spatial
painting series and other spatial assemblies of paintings.
My paintings’ imagery deals with girlhood, womanhood,
and the colour pink. A girl army – a wild and non-vi-
olent group of girls – acts as a guide on my journey of
exploration. My paintings’ girls take over various spaces.
My artistic research includes a written section in
which I report how my research proceeds, enabling me
to find new ideas through verbal language. The written
section deals with my artistic work process and non-ver-
bal knowledge, and it describes how the search for words
adds to my understanding of narrative, narrators, focal-
isation, and immersivity. As artistic work and writing
blend into a trajectory, I establish the words alongside
non-verbal knowledge, and, in the end, I venture to ob-
serve my works’ feminism.
My research includes three public exhibitions of works
that explore painting narratives, the colour pink, and
placing in various spaces. The exhibitions took place dur-
ing a period of ten years, as follows: My solo exhibition,
Playground – My work is my pleasure, was on display at
Galleria Korjaamo in autumn 2009, the painting instal-
lation Paradis k (Kidnap) was part of the Eyeballing! ex-
hibition at the Museum of Contemporary Art Kiasma
in 2012, and my painting series Paradis r (Rascal) was
on display in the Vallaton – Rascal group exhibition at
the Vantaa Art Museum Artsi during 2017–2018. My
research’s main stages are closely related to these three
exhibitions included in my research. My research ques-
tions follow, along with the works, a painting’s simultane-
ous, linear, and temporally stretched narrative. I explore
how paintings, in different spaces, turn into stories and
immersive experiences, inviting viewers inside of them.
I invite the reader into a story in which I wander,
wearing a trainer on one foot and a high-heeled shoe
on the other. I compare painting with a comfortable
trainer and the painting’s analytical observation with
a high-heeled shoe. As an artist-researcher, I feel like
I am standing near my paintings in contrapposto. My
research shows how the heel wears out and the words
become familiar little by little. Theorists Mieke Bal and
Kai Mikkonen, as well as various other researchers, art-
ists, and their works, support my journey. Written lan-
guage, too, can be wild and experimental, and it is the
very element that turns my works into a form that can
be verbally shared.
Verbalising my research has revealed that a part of my
works’ narrative becomes complete only when I leave my
workspace and the works are exposed to views and inter-
pretations. During my research, I realised the diversity of
interpretations and the extent of factors that have influ-
enced my work. The key results of my research include
the understanding that an artist’s research process opens
to be shared and followed through words. The definitions
suggested by words do not invalidate a painting’s liberty
to be completely indefinable, but they help to understand
the various ways a painting’s narrative works.
Katja Tukiainen 8 March 2022
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.
Shadows of Intimacy, collaboration with Jia Yu Corti
(2023)
author(s): Zoe Panagiota (aka Betty) Nigianni
published in: Research Catalogue
Interactive digital art installation for dance performance in collaboration with choreographer Jia Yu Corti, London Contemporary Dance School (The Place), 2011.
Dance improvisation by Robert Anderson and Kathy Crick.
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.
Ant-ic Intra-Actions
(2018)
author(s): Fiona MacDonald
published in: RUUKKU - Studies in Artistic Research
Ant-ic Intra-Actions – an experiential exploration of artistic co-production with wood ants.
Some works and their afterlife
(2018)
author(s): Mika Elo
published in: RUUKKU - Studies in Artistic Research
In this exposition I present a cluster of works with regard to their subtle interconnections, often not consciously constructed or intended in any particular ways at the time of their conception. The afterlife of these works, however, enact aesthetic intra-actions of their ensemble. Shedding light on some parts of this cavernous network of pressing matters I make an attempt of explicating the ways in which artistic thinking might get "diffracted" into many part-processes that are both divergent and entangled. In the course of my presentation, I try to be sensitive towards the fact that these strings of thinking are distributed in a complex manner across the divide of sensibility and intelligibility. In terms of the chosen approach this implies avoiding the use of discursive explanations as the main medium of explication. This "method", if it can be formalized as one, involves priorizing the material circumstances of particular articulations, both verbal and non-verbal, over content-oriented gestures of translation.
images and their agency
(2017)
author(s): glad fryer
published in: Research Catalogue
The exposition Images and their Agency presents a text alongside a group of paintings. The text is a reflection on the practice-based research being carried out across a number of paintings concerning images and there agency. This project is ongoing.
We need to grasp both sides of the paradox of the image: that it is alive but also dead; powerful but also weak; meaningful but also meaningless. (wjt Mitchell, what do pictures want)
In the text I respond to W.J.T Mitchell’s suggestion to consider the aliveness and the deadness of images. I take a phenomenological perspective and consider how we experience their power and weakness, their meaning and meaninglessness - how we experience their agency. I do this by critically reflecting on a group of paintings I begun making in 2004; I enquire into the capacity of these paintings to address the agency of the image and how it is felt or experienced.
I am concerned with a common ontological or moral proposition that they as a group of images pose. This proposition of the image is the focus of my practice-based research.
I frame the enquiry into this group of painting through three sets of questions. The first set of questions concerns the image, which is explored through Badiou’s ideas on the truth process. The second concerns the body, which is explored through J. Bennett’s research into affect and trauma. The third concerns Flesh, which is explored through Merleau-Ponty’s phenomenological reflections on the relations between eye and mind.
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
(Un)Realised Projects
(last edited: 2025)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
"Unlike unrealized architectural projects, which are frequently exhibited and circulated, unrealized artworks tend to remain unnoticed or little known. But perhaps there is another form of artistic agency in the partial expression, the incomplete idea, the projection of a mere intention? Agency of Unrealized Projects (AUP) seeks to document and display these works, in this way charting the terrain of a contingent future."
From AUP-eflux Archive
In painting, the artist can also be a model for the artwork. In performance art, artist and model come together for the performance. The exposition explores the role of figuration in contemporary art.
Some of the material was selected for my participation in conceptual artist's Janine Antoni workshop, "Loving Care", Performance Matters: Performing Idea, Toynbee Studios, Whitechapel Gallery, London, 2010.
With essay about Marina Abramovic's work, published at eflux/Art and Education papers, 2012; originally presented as a conference paper at the Yale Centre for British Art, 2010, slides including the artist's writings.
Fragments of the research for the installation project, developed in the studio and through my participation in urban research workshops, have been archived at AUP-eflux Archive.
In a Place like this
(last edited: 2024)
author(s): Johan Sandborg, Duncan Higgins
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.
In A place Like This sets out to investigate and expand the issues and critical discourses within Sandborg and Higgins' current collaborative research practice. The central focus for the research is concerned with how art, in this instance photographic and painted image making and text, can be used as an agent or catalyst of understanding and critical reflection.
The research methodology is constructed through photography, painting, drawing and text. This utilises the form of an artist publication as a point of critically engaged dissemination: a place for the tension between conflicting ideas and investigation to be explored through discussion.
The research question is focused on how the production of the image and the act of making images can communicate or describe moments of erasure or remembering in terms of historical and personal narratives with direct reference to moments of violence and place.
This is seen not in terms of a nostalgic remembrance of the past; instead as one that is rife with complicated layers and dynamics where recognition is denied the ability to locate a physical representation. Embedded in this is an exploration of particular questions concerning the ethics of representation: the depiction of ourselves and other? In this sense it brings into question an examination of the act of remembering as a thing in itself, through the production of the image and text, contexts of knowledge and cultural discourses explored through the form of an artists publication.
CCFT
(last edited: 2024)
author(s): Johan Sandborg, Duncan Higgins, Bente Irminger, Linda H. Lien, andy lock, Ana Souto Galvan, Susan Brind, Shauna McMullan, Yiorgos Hadjichristou, Jim Harold, DÁNIEL PÉTER BIRÓ
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.
As we move towards the first quarter of the third millennium, the impermanent and shifting influence of globalisation, economic division, migratory encounters, social media, historic narrative and tourism is having a major impact in our understanding of the making, belonging and occupying of place. It is widely documented that these conditions are contributing to a growing sense of displacement and alienation in what constitutes as place making, occupying, and belonging.
CCFT is asking how interdisciplinary artistic research practices contribute and share new critical understandings to aid this evolving understanding of place making, belonging and occupying?
The Truth in Painting 1993: The World Trade Center Bombers
(last edited: 2024)
author(s): Martin Lang
This exposition is in progress and its share status is: visible to all.
1993 was the year of the first Islamist terrorist attack on American soil. The World Trade Center was bombed on the twentieth anniversary of its construction. Most of the bombers were apprehended and now reside in US maximum security prisons (you can check which prison houses who online). Some have since died of natural causes.
Khalid Sheikh Mohammed is currently in Guantanamo Bay for his role in the 9/11 attack. He was not initially charged with the 1993 attack, but confessed to masterminding it. During his interrogation by the CIA, Mohammed was subjected to waterboarding more than 180 times. He is generally believed to have bankrolled the 1993 bombing, but his nephew, Ramzi Ahmed Yousef, is believed to have masterminded it. Yousef was also implicated in the 1993 Benazir Bhutto assassination attempt. Abdul Rahman Yasin is the only convicted WTC bomber to escape justice. The Iraqi authorities informed the Americans of his capture and that he had crucial information regarding the bombing. Inexplicably, the US did not respond, and he was subsequently released (he remains on the FBI most wanted list).
The Twin Towers, representing global trade, were a symbolic target for religious indignation long before 9/11. Could the bombing have been a religious rejection of the New World Order described above?
The Truth in Painting 1993: Runaway Train
(last edited: 2024)
author(s): Martin Lang
This exposition is in progress and its share status is: visible to all.
In 1993, Soul Asylum released Runaway Train, which became a global hit. The music video featured real-life missing children taken from the “milk carton kids” campaign. It quoted the statistic that there were over one million youth lost on the streets of America. I always wondered what happened to the missing children in the music video. When a child goes missing, something has happened to them, and it is at least hypothetically possible to find out what (the truth is out there). Originally, I set out to create a piece of investigative art that would shed some light on the whereabouts of these children, but I ended up painting their portraits. Painting is a way of lifting normalised stories of tragedy into the heightened position of portraiture – ordinarily reserved for people in positions of power. These forgotten kids were unceremoniously eulogised on milk cartons because abductions in 1993 were so ordinary that Americans consumed them while eating their cereal.
Soul Asylum made different music videos for the different countries in which they released their single: I concentrated on the missing people from the British version. Tragically, many have been found dead. In one case, a child was located because of the video and returned to his parents: he later blamed the video for returning him to the abusive domestic situation from which he had being trying to escape. Some have been found alive; more are missing presumed dead. Because 1993 was pre-internet (indeed, pre-digital), the amount of information about each missing person available on the web varies greatly. Perhaps the most heart-breaking discovery from this research was that one child’s parents continue to be extremely active – resulting in continuous police activity, local newspaper coverage and even offering a reward for information leading to the whereabouts of their daughter's body – while another missing person has no information about him at all on the web or in local newspaper archives.
FÖRNIMMELSER
(last edited: 2023)
author(s): Anna Eborn
This exposition is in progress and its share status is: visible to all.
Jag har länge beskrivit mig själv som en "klippande regissör". Först nu har jag börjat klippa andra regissörers verk.
Ganska omgående i mötet med en regissör i klipprummet, kände jag likheter mellan hur dialogen kring gestaltning brukar se ut mellan mig och min fotograf på inspelning. Min essäfilm och undersökning handlar om detta, om att kommunicera kring filmen gestaltning.
FÖRNIMMELSER
Med hjälp av ledord och skisser ur mina anteckningsböcker i kombination med passager ur filmer jag klippt vill jag försöka synliggöra metoder och tillvägagångssätt jag arbetar med för att förstärka en filmisk gestaltande form.
Men kan man ens ha en fast metod som klippare?
Finns det likheter mellan hur en fotograf och regissör pratar om gestaltningen under inspelning och regissör och klippare diskuterar senare i en films tillblivelse?
Ganska ofta kommer jag reflektera mot en bok: Anteckningar om Cinematografi av Robert Bresson från 1975.
”Gräv i din förnimmelse. Se efter vad som finns i den. Analysera den inte med ord. Översätt den till systerbilder, till ekvivalenta ljud. Ju precisare den är, desto klarare blir din stil. Stil: allt som inte är teknik.” Bresson
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.
Intertwined - What does it mean to be a creative person of faith?
(last edited: 2019)
author(s): Joshua Hale, Kelly J. Arbeau
This exposition is in progress and its share status is: visible to all.
From the most religious to the most secular, no artist ever knows exactly where their creative process is leading—but we all seem to have faith that we will get there. Many factors underlying creativity are also crucial to the act of having faith. These shared factors include ambiguity tolerance, openness to mystery, engaging with paradoxical thinking, perseverance, and questioning. Additionally, those who practice each (creativity, faith) share many guiding phrases, such as “take it one step at a time,” “go with your heart,” and “trust the process.” This interdisciplinary arts-based research project explores the experience of being a self-identified creative who practices a faith or religion. The exhibition combines methods from arts-based research, human centered design, and phenomenology to describe the intersections between the creative practices and faith perspectives of 15 individuals. The experience of our participants is that of creativity and faith combining—intertwining—to form an interactional, hybrid experience that is profoundly different from each experience on its own.
A Carnal Formula: Music, painting and the creative process
(last edited: 2018)
author(s): Matthew Noone
This exposition is in progress and its share status is: visible to all.
How do a painter and a musician make work together? What elements of creative process are shared between music and the visual arts? And perhaps more interestingly, what are the divergences?
This exposition focuses on an artistic residency in the Burren College of Art as a case study exploring theoretical frameworks for making and perceiving music and sound. It uses my own creative process moving between composing and print making as a dialogue between different forms of perception. Drawing upon phenomenology and deconstructionism, this exposition argues that aesthetic responses are paradoxical, in that both painting and music can touch a pre-cognitive body based knowing yet at the same time there is no absolute meaning. This conundrum is equated with Merleau-Ponty’s idea of a ‘carnal formula’ and I attempt to extrapolate this idea through outlining my creative processes.
Educational transduction
(last edited: 2016)
author(s): Iñaki Imaz Urrutikoetxea
This exposition is in progress and its share status is: visible to all.
From the conviction that artistic practise is, in a deep sense, investigation, this exhibition is about its relationship to teaching. It is about the search for a balanced way to articulate the discursive and the material; it is about making art while speaking or writing about it without renderning it banal or attempting to exhaust the meaning of producing and what is produced; without intending to justify it solely through the ineffable nature of the material.
As a possible means of resolving this, I propose transduction as a methodological resource for making the passage from the studio into the classroom a natural, effective movement. Transduction is then seen as an exemplary resource for supporting artistic discovery without the need to analyse or explain it while making full use of it.
The most important contribution of this exhibition is that here, transduction is not seen merely as an object for speculation and analysis, but as the way in which the exhibition has grown and taken shape. These texts were written while the paintings were being made and the exhibition environment designed, in different styles (summary, theoretical reflection, manifesto). The relationship between text and image is not exactly the habitual relationship between work and its representation, but is constructive and structural in the sense that I have attempted to form the exhibition as a work in itself.
I consider this exhibition to be of interest to anyone preoccupied with art education as a practice.
In an Image like this
(last edited: 2015)
author(s): Johan Sandborg, Duncan Higgins
This exposition is in progress and its share status is: visible to all.
I am no longer a stranger here,and the response to our misreading,only to see there is a flaw,not in the sense that it is less than perfect,rather that it is unconsidered,left unnoticed,left unopened,left untold,scratching that part of the mind,that can not let go of the conditions,for our seeing