Re-enactment as Research, A monologue
(2025)
author(s): Clare Bottomley
published in: RUUKKU - Studies in Artistic Research
In this half paper, half soliloquy, I aim to propose re-enactment as a research method. Through textual analysis and situated reflections, I will explore the potential of re-enactments in performative returning to destabilize and reconfigure canonical understandings of the past, and consider any implications this understanding of re-enactment can have within research approaches
Den kunstkliturgiske kiste
(2025)
author(s): Liv Kristin Holmberg
published in: Norwegian Academy of Music
Kunstens grenser. Prosjektet er både er performativt og diskursivt: Kunstliturgien er en undersøkelse av kirkerommets potensial som kunstarena og en utprøving av kunstens grenser og stedsforandrende kraft i kirkerommet som offentlig rom. Man kan si at kirken befinner seg i et estetisk vakuum. Dette eventuelle tomrom kan tenkes som et mulighetsrom.
Kirkemusikerens performative potensial. Prosjektet er samtidig en undersøklese av kirkemusikerens performative potensial. Prosjektet innbefatter en ambisjon om å utvikle og utvide organistens rolle og utvikle en performativ estetikk for musikere, basert på egne erfaringer og kunstnerisk utvikling av rituelt musikkteater og liturgisk orgelspill.
Utvikling av liturgisk musikk. Som del av det kunstneriske utviklingsarbeidet inngår samarbeid med et utvalg komponister- der vi i fellesskap vil utvikle musikalske material og konsepter, spesialskrevet for prosjektet og meg som utøver.
Kunst og religion. Kirken var, en gang i tiden, stedet for kunst. Er det fortsatt slik? I lys av Reformasjonsjubileet i 2017, innehar prosjektet, på et overordnet plan, en refleksjon over spennet mellom samtidskunsten og kirkekunsten siden reformasjonen, i norsk kontekst.
Parallelt er Kunstliturgien en undersøkelse og refleksjon over forholdet mellom tro og kunst, estetikk og religion.
Prosjektet har også en spirituell og eksistensiell ambisjon: Kunstliturgien er en undersøkelse av kunstens transformerende dimensjon.
The Boundaries of Art
The project is both performative and discursive: The Art Liturgy is an exploration of the church space’s potential as an arena for art, and an examination of the boundaries of art and its transformative power within the church as a public space. One might say that the church exists in an aesthetic vacuum. This possible emptiness can be understood as a space of possibility.
The Performative Potential of the Church Musician
At the same time, the project investigates the performative potential of the church musician. It includes an ambition to develop and expand the role of the organist and to cultivate a performative aesthetic for musicians, based on personal experience and artistic development within ritual music theatre and liturgical organ performance.
Development of Liturgical Music
As part of the artistic development work, the project involves collaboration with selected composers — together we will develop musical materials and concepts, written specifically for the project and for me as a performer.
Art and Religion
The church was, once upon a time, the place for art. Is that still the case? In light of the Reformation Jubilee in 2017, the project carries, on an overarching level, a reflection on the tension between contemporary art and church art since the Reformation, in a Norwegian context.
In parallel, The Art Liturgy serves as an inquiry and reflection on the relationship between faith and art, aesthetics and religion.
The project also holds a spiritual and existential ambition: The Art Liturgy is an exploration of art’s transformative dimension.
Trombone Compositions Written by Modern Day Female Composers, Inspired by Amy Riebs Mills
(2025)
author(s): K L Blackburn
published in: Codarts
This research paper belongs to the Performance Practice area of study. It is to give more insight into a not so well known female composer, Amy Riebs Mills. It’s also to understand why there is not so much brass music written by women. As well as finding new ways to compose and create unique pieces to add into the trombone repertoire whilst working with a female composer. Using research methods such as literature, interviews, reenactments, experiments, analysis of scores and recordings. I wanted to take time to explore an area that I'm passionate about and give another example to the future generation of female brass players, as nothing should change because of our gender.
I looked to find approaches that suited my playing when it came to the parameters of articulation, dynamics and glissando; as well as exploring the attributes it takes to compose a challenging but enjoyable piece influenced by the works of Amy Riebs Mills. Examples include: Red Dragonfly, Golden, Catharsis, One More Mountain and Journey One: Hints of the Middle East. Additionally, I worked alongside a talented female composer, creating a personal piece of music that explores interesting parts of the trombone.
I reached an artistic result of two new pieces for the trombone. Approaches to the parameters were explored, achieved and an analysis of Mills’ works were organised and utilized. I used this creatively in pieces that show not only my intended outcome, but also a part of myself. I hope that this research now provides information in an area that was not so commonly known and can also show that women can be powerful.
Mother of the unlikely: the unifying nature of the milonga
(2025)
author(s): Julián Muro
published in: Codarts
Throughout my career, my work has been dedicated to incorporating aspects of Argentine traditional and popular music along with those of Western Classical Music, Jazz, Northern and Sub-Saharan African music, Argentine Rock, and Pop. In the case of this research, I continued and deepened the work I started more than ten years ago with my project Dingungu, which focused on highlighting the African presence within Argentine music. Although the album had a great component of historical research, I did not have the tools to articulate it into academic writing, which was added to the fact that Afro-Argentine history was and still is a difficult area of study, facing backlash and ideology-related omission throughout Argentine academic and political history. This project of artistic research has allowed me to conduct a thorough exploration of this aspect of the cultural and historical identity of the country while providing inspiration to compose, arrange, and record six new pieces of music.
Performing Precarity
(2024)
author(s): Laurence Crane, Anders Førisdal, LEA Ye Gyoung, Io A. Sivertsen, Lisa Streich, Jennifer Torrence and Ellen Ugelvik
published in: Norwegian Academy of Music
To be a contemporary music performer today is to have a deeply fragmented practice. The performer’s role is no longer simply a matter of mastering her instrument and executing a score. Music practices are increasingly incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performing is increasingly precarious.
Tracing Practices – questioning and circulating archives
(2023)
author(s): Per Roar, Camilla Graff Junior, Luisa Greenfield, Myna Trustram
published in: VIS - Nordic Journal for Artistic Research
Our exposition comes out of a conversation and explorative research process about the performative potential of archives, both publicly and personally, shaped by four different artistic mediums and practices in film, performance art, choreography and essay writing. The shared medium has been through the use of text and online communication.
The research was developed through ongoing monthly meetings and notes that were taken since April 2019. From those meetings, we laid a structure where we each created our parts of what became the score for "Living and Lasting", which we first performed in Oslo and then in Berlin in 2022*. This score is the pivot point of our exposition.
Our working process includes considerable elements of risk and surprise by alternating between collaborative meetings and individual work. The first time we perform a new piece none of us know exactly what or how the others will present. Along with the audience, we experience portions of the text, movements, and media put together for the first time, without knowing whether the whole thing will coalesce, diverge, or fall apart.
(*) In Oslo at the 2022 Nordic Summer University (NSU) and in Berlin at the symposium “Who tells y/our story?” by the artistic research project MEMORYWORK (2021-2024).
On the Indeterminate Training Technologies of a Reconstructed Bauhaus Choreographer. A Research Practice Between Speculative Historiography, Architectural Invention, and Performative Co-enactment
(2023)
author(s): Thomas Pearce
published in: Journal for Artistic Research
This exposition proposes a method of artistic research that uses (and disobediently misuses) techniques of reconstruction as a mode of performative, artistic, and architectural invention. Our speculative notion of reconstruction challenges inherited disciplinary notions of historiography and simultaneously functions as a propositional and generative tool. The exposition revolves around the discussion of a research and performance project entitled Jakob K., which reconstructs the works of fictional Bauhaus choreographer and gymnastics teacher Jakob Klenke (1874–1941). This reconstruction was the product of a collaboration between performance artists and architectural researchers, involving field work, site-specific re-enactment, 3D scanning, animation, and digital fabrication, and culminated in a series of live performances at Kampnagel (Hamburg) and during the 2019 Bauhaus 100 centennial.
The exposition is structured around a series of multimedia sections, each of which departs from an element of the performance’s architectural and medial framing, describes aspects of the artistic research process, and uses these as a lens for theoretical reflection. In analogy to our working method, which created the project as an ongoing layering of spatial and choreographical ‘evidence’, this method of discussing the project consecutively adds layers and connections to the project-assemblage that is Jakob K. Throughout the exposition, a practice emerges that challenges notions of solely human-authored and human-centred design and performance; proposes a set of techno-speculative training practices while challenging historical discourses on body optimisation; and subverts disciplinary uses of technology, prescriptive logics of representation, and techniques of reconstruction, misusing them instead in disobedient ways and reinventing them as creative affordances that can challenge dominant techniques of power.
Symposium in Motion - Addressing Dizziness. Navigating Possibilities in Collectives.
(2023)
author(s): Ruth Anderwald, Laura Brechmann, Leonhard Grond
published in: Research Catalogue
This process-oriented working symposium discusses ways of localizing, recognizing, approaching, and countering dizziness on different scales and disciplines – from the somatic and the built environment to interspecies and post-colonial contexts. Through the prism of art, architecture, philosophy, somatics, post-colonial theory, and remembrance cultures, we aim to find ways to uncover the layers of physical, social, and architectural dizziness in historical, political, social, fictional, present, and future contexts.
Tree of Dawn: Translation as a Method
(2022)
author(s): Aurora Del Rio
published in: VIS - Nordic Journal for Artistic Research
This research is part of my doctoral project Archetypes of Contamination, which focuses on the relationship between symbolic images and processes of environmental transformation. This exposition, Tree of Dawn, develops by looking for the correspondence between radioactive contamination and the traditional Latvian image of the Sun-Tree as found in the Dainas, an ancient form of poetry transmitted orally through songs. My artistic process uses a re-creation and re-interpretation of ritualistic practices. With a focus on radioactive contamination, my research looks at how the experience of contaminated spaces can be read through specific myths connected to the land to interfere with the creation of personal and collective realities. The exposition moves through methods of translation as a way of reflecting on the limits of knowledge, where translation is thought of in the wider senses of transposition, deciphering, decoding, and reading through.
Soft to the Touch: Performance, Vulnerability, and Entanglement in the Time of Covid
(2021)
author(s): Jennifer Torrence
published in: VIS - Nordic Journal for Artistic Research
What is the nature of human touch and human contact in contemporary music performance, both in general and in the context of the COVID-19 pandemic? In a time when bodies must be kept at several meters distance, what comes of works which explicitly call for closeness, physical contact, and sharing? How might these works be interpreted differently in light of the COVID-19 pandemic? Percussionist and performer Jennifer Torrence reflects on the impact of the pandemic on her artistic practice and on her research as part of the project entitled Performing Precarity, which seeks to explore the inherent risks in performance when musicians and audiences are entangled in codependent structures. In light of COVID-19, this exposition attempts to unfold and trace modes of vulnerability in contemporary music performance—from human contact via eye contact and physical touch, to the precarious negotiation of shared space—and to reflect on how such encounters might breed new understandings and knowledge.
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.
PERFORMATIVE THEOLOGY
(last edited: 2026)
author(s): Network for Performative Theology
This exposition is in progress and its share status is: visible to all.
The purpose of this exposition is to collect data of what Performative Theology can be and become primarily within an academic research but also beyond. The expo will be a timespace nurtured by members the Network for Performative Theology, established 6 October 2022 in Oslo.
Cairene Car-Culture: How are Automobility and Social Behavior Linked to The Development of The Soundscape and Urban Fabric of Cairo.
(last edited: 2025)
author(s): Abla Mohamed Abd El Naby
This exposition is in progress and its share status is: visible to all.
Cairo’s soundscape has witnessed changes due to the ongoing urban structure developments that accommodate the number of vehicles passing through the city. The soundscape produced by this growing automobility is affected not only by vehicles but also by their owners' behavior. Cairenes use their cars as a communication tool and an extension of private space. By viewing the vehicle as a component of the soundscape as well as a space that filters it, this study examines the synergy between social behavior, automobility, urban structure, and their interdependent relationship on the soundscape of Cairo. The study responds to literature elaborating on acoustic ecology, car culture, urban structure, and social behavior. The methodology applied in this study follows practice-based phenomenological research while documenting and reflecting on car cultural practices in Cairo from an aural perspective. Grounded theory contextualizes the analysis of archived audio and video material, semi-structured interviews, and performances. Performances are used as a form of action research to collect public responses and as a reflective outcome where selected participants are observed as they partake in a staged performance.
Stolen Voices
(last edited: 2022)
author(s): Rebecca Collins
This exposition is in progress and its share status is: visible to all.
Stolen Voices is a multi-component output consisting of four performances, an album, a peer-reviewed journal article and a book publication. The output is a collaboration between Rebecca Collins (University of Edinburgh) and Johanna Linsley (University of Dundee). Stolen Voices forms part of their five-year (2014–2019) project which invests eavesdropping as a method, combining this with a semi-fictional detective story. An ‘event’ has taken place in 4 sites on the UK coast (Bournemouth, Felixstowe, Seaham in County Durham and Aberdeen) and Collins & Linsley have been tasked to investigate. Eavesdropping is both subject and methodology of the research. Fieldwork in the form of site explorations and the practise of eavesdropping is combined with research into social, political and economic dynamics at the borders and margins of the UK, such as immigration and the impact of climate change on coastal landscapes.
PERFORMANCE PHILOSOPHY GOT
(last edited: 2022)
author(s): PP GOT
This exposition is in progress and its share status is: visible to all.
... with this expo the intention is to create and capture a branch of the international Performance Philosophy Network in Gothenburg, Sweden... an open spacetime for philosophizing and sharing through acting, moving and meaning-making...
Ornamentation based upon More-Than-Human-References: Moving Towards an Ecology of Trust
(last edited: 2022)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
This performance-presentation exhibits ornamenting processes of I/ voice /force and becomings between sounding notes/structures/forms. In short: articulating mattering-processes through force and form. Following a transforming web of acts and encounters, desire and urge - becomings of I/voice - are continuously meeting that-which-isn’t-yet-known. The form (or stage) presented, is a landscape and a twisted borderland made up of nomadic theory (Braidotti 2011) and artistic operatic madness (Belgrano 2014). The force is a chorus of intra-active voices mourning the loss of a city, loss of life and loss of trust. Departing from a nomadology illustrated conceptually, politically and contextually by Braidotti, the I/voice/force move through structures of sound, characters, emotions and statements chanted out of fear and pain. Each vocal sound marks a conclusion and a beginning. Limiting. According to Lacan, limits - being wounds or scars, or marks ”of irreplaceble losses as well as liberal thoughts.” According to Deleuze, limits - ”points of passages, thresholds, and markers of sustainability” (Braidotti 2011). Limits = Conclusions and Beginnings. What comes in between all limits are transformations, as in complex ecosystems of indeterminable encounters. Everyone being part of such an encounter is being touched by the presence of its in/non/human neighbours. Together they form a world of more-than-human-references. An irrational structure in it’s own becoming. The purpose of this paper is to show how each vocally fragmented ’conclusion-transformation-beginning’ of a microscopic moment, generates patterns being part of much larger global patterns. Along the way every act and every turn of I/voice/force will, by means of emergent properties, be diffracted and giving birth to multiple voices. One voice will become I-being-more-than-one-voice, trusting in its own ways, colours, shapes, forms, and non-sensical appearances. As a result, this paper calls for further investigation of transformative processes with/out limits, and thus moving towards an Ecology of Trust.
ORNAMENTING (FORM) AN ECOLOGY OF TRUST (FORCE): Exploring Force and Form through Performance /Performativity
(last edited: 2020)
author(s): Elisabeth Laasonen Belgrano, Fredric Gunve
This exposition is in progress and its share status is: visible to all.
"Let them burn down the library in Alexandria. There are powers above and beyond papyri. We may be temporarily deprived of the ability to rediscover these powers, but we will never eliminate their energy.”
Antonin Artaud
(in: Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century. Ed. Atay Citron, Sharon Aronson-Lehavi, David Zerbib, Bloomsbury, 2014)
ORNAMENTING (force) an ECOLOGY of TRUST (form)
Exploring Force and Form through Performance /Performativity
23 April, 2015
Pǝ'fɔ:m(ǝ)ns PERFORMANCE/PERFORMATIVITY CROSS FACULTY GROUP
Faculty of Fine, Applied And Performing Arts, University of Gothenburg
What is this power the goes beyond and above structures, rules, and material? An energy and a force, moving ongoingly, turning through any space, ruled by indeterminacy and the emergency of the unexpected. An energy risking its own values, or even the values of others. With these words in mind we proceed asking ourselves: HOW are we as human beings handling our individual forces and energies when facing new and unexpected challenges; or simply when we allow our forces to creatively and madly travel as free and boundless energies; or when our forces are under attack, and when we need to respond or to perform a critical resistance to regimes and superior powers? What can be understood about all non/in/human forces – when we allow ourselves to closely observing our own performative acts of knowing, mattering, sensing, questioning, understanding and making decisions?
The Faculty Group for Performance /Performativity invites you (this is an open invitation!) to an entangled encounter. It is an invitation to enter an academic environment on equal terms, allowing for a broad and at the same time a deep investigation into processes of understanding and knowing. The purpose of this event is to magnifying the motion of force, by placing patterns and fragments of performative ‘doings’ under a microscope and intra-actively analyzing the results in relation to form, space, time, senses, voices, products of knowledge, learning/teaching, and every day practices. We believe there is a need for tracing patterns of forces between scholarly, artistic and scientific doings (forces/practices and forms/theories that at first might appear distant from one another) through a blurred, diffused and diffractioned encounter - in order to re-generate new knowledge. When defining our own ‘doings’ in society we can eventually continue to design solutions creating changes in our habits. In a long-term perspective these changes can transform into new ways of meeting nature, but also in meeting one another as members of a complex global community. The aim of this entangled encounter is to turn forces and forms of academic traditions slightly upside-down/inside-out, somehow mirroring ‘the uneasiness’ sensed around us in our global society. Our common task will be to create an environment where boundaries between subjects and objects at first remain undefined and uncertain in order to intra-actively articulating new knowledge while ORNAMENTING (force) an ECOLOGY of TRUST (form).
For more information:
https://www.facebook.com/events/871813436209632/
Elisabeth Belgrano & Fredric Gunve
Sensuous Learning
(last edited: 2018)
author(s): Gry Worre Hallberg
This exposition is in progress and its share status is: visible to all.
In my artistic practice I operate from the intentions articulated in the Sensuous Society manifesto - a potential future world governed by aesthetic principles instead of the current economic written as a response to the financial crisis in 2008 and to the ongoing ecological crisis. Since then I have investigated the role of the sensuous in a sustainable future and currently operate from the overall research question: What is sensuous transformation and how does it contribute to a sustainable future through Sensuous Learning processes?
Sensuous Learning is a conceptual frame and process-oriented tool to explore the lived learning experiences that are unfolded in the performative framework of my ongoing large-scale project Sisters Academy – The School of a Sensuous Society - through which I invented Sensuous Learning as a terminological entity as presented in the TEDx talk Sensuous Learning (2015). The findings of Sisters Academy are Sensuous Learning contributions. I will include our 'archive of detritus' (Reason, 2003) when unpacking Sensuous Learning by situating it theoretically and methodologically and by unfolding and further developing how it is also a novel immersive and interactive performance and learning method with transformative potential that may support a transition towards a more sustainable future.
The concept has the potentiality of covering a wider and more differentiated field, which is already happening through our contributions in various contexts artistic, educational, activist and research-oriented which is the intersection in which we operate.
Diabelli Machines
(last edited: 2018)
author(s): Paulo de Assis, Lucia D'Errico
This exposition is in progress and its share status is: visible to all.
Diabelli Machines is a series of performances, lectures, articles, or installations that operate different forms of problematisation of Beethoven’s Diabelli Variations, op. 120. Every single instantiation of this research project questions the original work, disclosing its ruptures, and reconfiguring it in a different regime of perception and signification. Beyond historiographical, philological, organological, or sociological investigations, this project aims at creatively, yet rigorously, engaging with the historically available materials related to Beethoven’s Diabelli Variations and its compossible futures.
MusicExperiment21 Timeline
(last edited: 2018)
author(s): Paulo de Assis, Lucia D'Errico
This exposition is in progress and its share status is: visible to all.
A visual representation of the complete activities of MusicExperiment21 with hyperlinks to the most relevant events, performances, publications and meetings.
In this half paper, half soliloquy, I aim to propose re-enactment as a research method. Through textual analysis and situated reflections, I will explore the potential of re-enactments in performative returning to destabilize and reconfigure canonical understandings of the past, and consider any implications this understanding of re-enactment can have within research approachesopen exposition comments (0)
To be a contemporary music performer today is to have a deeply fragmented practice. The performer’s role is no longer simply a matter of mastering her instrument and executing a score. Music practices are increasingly incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performing is increasingly precarious.open exposition comments (0)
This process-oriented working symposium discusses ways of localizing, recognizing, approaching, and countering dizziness on different scales and disciplines – from the somatic and the built environment to interspecies and post-colonial contexts. Through the prism of art, architecture, philosophy, somatics, post-colonial theory, and remembrance cultures, we aim to find ways to uncover the layers of physical, social, and architectural dizziness in historical, political, social, fictional, present, and future contexts.open exposition comments (0)
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)
The purpose of this exposition is to collect data of what Performative Theology can be and become primarily within an academic research but also beyond. The expo will be a timespace nurtured by members the Network for Performative Theology, established 6 October 2022 in Oslo.open exposition comments (0)
Diabelli Machines is a series of performances, lectures, articles, or installations that operate different forms of problematisation of Beethoven’s Diabelli Variations, op. 120. Every single instantiation of this research project questions the original work, disclosing its ruptures, and reconfiguring it in a different regime of perception and signification. Beyond historiographical, philological, organological, or sociological investigations, this project aims at creatively, yet rigorously, engaging with the historically available materials related to Beethoven’s Diabelli Variations and its compossible futures.open exposition comments (0)
A visual representation of the complete activities of MusicExperiment21 with hyperlinks to the most relevant events, performances, publications and meetings.open exposition comments (1)