Rewritable Creatures. Correspondence between Daniel Aschwanden, Vera Sebert and Lucie Strecker on Mimesis and Hybridity in Choreography
(2023)
author(s): Lucie Strecker, Vera Sebert
published in: University of Applied Arts Vienna
Lucie Strecker (Angewandte Performance Laboratory and Department of Art and Communication Practices) reveals the artistic working process preceding a production with the contribution "Rewritable Creatures", reflecting on mimesis and hybridity in choreography through an exchange of letters with the late performer Daniel Aschwanden (Angewandte Performance Laboratory and Department of Art and Communication Practices) and the author Vera Sebert. As the three letter-writers search, speculate and ask each other questions, the text becomes a written performance, revealing an immediate, polyphonic approach to the subject that allows readers to become part of the performance. In this way, processes of hybridisation become manifest in writing. The performance, however, cannot be completed; Aschwanden’s sudden death interrupts the text, turning the contribution, in a sense, into a memorial to an artist, friend, and colleague and the readers into witnesses.
A Singing Orna/Mentor's Performance or Ir/rational Practice
(2019)
author(s): Elisabeth Laasonen Belgrano
published in: RUUKKU - Studies in Artistic Research
This exposition is an orna/mentor’s doing, an attempt, an essay, a performance, a line-of-thinking, a series of relations, a performance-research-model, a beginning of an orna/mentor’s manifesto. It might appear chaotic for some, and inviting for others. Its aim is to allow for the visitor to dive into the ‘orna’ (as in ‘urn’ meaning: an ornamented vase) mentored by a vocal performer. The exposition performs the raw and asymmetric intimacy of a research process searching to penetrate into (while at the same time radically opening up) that-which-is-yet-to-be-known. The performative caring has created an endless amount of philosophizing figures/sounds-in-themselves, as ornamented variations of an original musical score; a translation of one doing of another doing of another doing. Included in this exposition - as yet another ornamented variation – is a ‘peer-review-dialogue’ (a Q & A) between the orna/mentor and a Chorus of Unknown Reviewers. This dialogue has been included to clarify (or perhaps confuse even more) some of the questions that might arise in the mind of the visitor while moving through the exposition.
The aural garden of sounding materials: performing within the materiality of Et in Arcadia ego-music performance
(2018)
author(s): Assi Karttunen
published in: RUUKKU - Studies in Artistic Research
'Et in Arcadia ego'-music performance is an auditory garden deriving its inspiration from 17th-century European meditation gardens. It was premiered at the Helsinki Music Centre in autumn 2016 and performed again in summer 2017 as a part of the Venice Research Pavilion of the University of the Arts Helsinki.The performance was initiated as my KeKe-project 2014 (Sibelius Academy’s former Development Centre, KeKe) and the research question was, how to develop classical music’s performance practices by subtly varying its performative parameters. By pre-recording organic sound material related to wooden instruments like organ pipes, psalteries and harpsichords, including also concrete sounds of wood, cones, stalks and sticks, these sounds were projected into the concert venue and heard among the music repertory and alive improvisations. Moreover, I wanted to pose a question, whether a concert venue could be understood as a compound of resonating elements and shapes. Is it possible to animate the concert venue by studying its auditory features more carefully? The 'Et in Arcadia ego'-performance develops performativity of classical music by subtly varying and extending its performative techniques. This artistic research is articulated in line with phenomenologists such as Don Ihde and Maurice Merleau-Ponty and philosopher Gaston Bachelard.
NOTES ON PERFORMANCE ART, THE BODY AND THE POLITICAL
(2017)
author(s): Andrea Pagnes
published in: Research Catalogue
When I use the term ‘political’ related to performance art, I intend to set forth a space of possible, civil negotiation for and among artists and audience to analyse and further debate on how to overcome and transform schemes, rules, conventions and barriers, socially and culturally.
Curatorial text published in the post event catalogue of the second edition of the Live art exhibition project Venice International Performance Art Week "Ritual Body-Political Body" (2014) conceived and curated by VestAndPage.
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
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.
MADNESS & BASTARD in MOTION: Learning through Performance Studies (Artistic Research Project 2013-2015)
(last edited: 2018)
author(s): Elisabeth Laasonen Belgrano, Fredric Gunve
This exposition is in progress and its share status is: visible to all.
Projektet undersökte genom ett konceptuellt och performativt förhållningssätt offentliga scenrum där en uppluckringen mellan pedagogik och konst skapas, liksom mellan arketyperna läraren och konstnären. Genom att på olika sätt utnyttja de porösa skikt som ligger mellan dessa yrkeskategorier och praktiker skapas genom projektet nya intra-aktiva möjligheter, transdisciplinära möten, sammanfogningar eller fusioner. Vad sker mellan lärandet och konsten på gestaltandets tröskel, i det mikroskopiska ögonblicket? Vad uppstår när de vanor, yrken och tillhörigheter vi vanligtvis beskriver oss som förändras och nya titlar, yrken och praktiker formas? Projektet sökte genom begrepp och koncept att formulera de skeenden och tillblivelser som uppstår genom två temporära ingångar och arketypiska karaktärer i den GALNA och BASTARDEN - Madness and the Bastard.
Projektet genomfördes av Elisabeth L. Belgrano (fil dr i Scenisk gestaltning samt dåvaranda gästlärare vid Konstnärliga fakulteten, Göteborgs universitet) och Fredric Gunve (lektor vid Högskolan för design och konsthantverk, Göteborgs universitet) under perioden september 2013 - juni 2015 inom ämnet performativa konstarter/
konceptuell performance/konstnärlig-vetenskaplig högskolepedagogik; parallellt med Fakultetsgemensamma kollegiet för Performance/Performativitets verksamhet. Finansiering delgavs från Konstnärliga fakulteten/GU via kollegiets verksamhet.
When I use the term ‘political’ related to performance art, I intend to set forth a space of possible, civil negotiation for and among artists and audience to analyse and further debate on how to overcome and transform schemes, rules, conventions and barriers, socially and culturally. Curatorial text published in the post event catalogue of the second edition of the Live art exhibition project Venice International Performance Art Week "Ritual Body-Political Body" (2014) conceived and curated by VestAndPage.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)
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)