Love of God - Group Exhibition: A Retrospective Virtual Gallery
(2022)
author(s): Jeffrey Cobbold
published in: Research Catalogue
Love of God - Group Exhibition
Curated by Jeffrey Cobbold
September 14 - October 19, 2019
Artworks Trenton, Trenton, New Jersey (U.S.A)
2019 Curatorial Statement:
“…I will find you. I will always find you……A loving heart is the truest wisdom……To believe and be satisfied with just the way things are……No one has ever seen God……Jesus……Love is a circle……And what comes around goes around…”
The words above come from Love of God (L.O.G) Audio Quotation Database, a DIY online database and digital humanities project I started in 2015 when I was working as an intern within the Love of God Retreat Program in Lawrenceville, NJ. In order to create the database I asked the program’s high school student participants to find quotes about love and God that would help them reflect on the meaning of these words within their retreat program. These quotes are now the heart and inspiration for Love of God – Group Exhibition, which presents works from a selection of artists exploring issues of love and God revealed through artistic practice.
The artists featured in this volume are:
Jessica Browne-White (sculpture)
Jeffrey Cobbold (sound, video, text)
Devonte Roach (film)
Marina de Bernado Sanchis (drawing)
Together they create multiple entry points for one to consider the character of love, God and the intersections of both in our ever changing world.
Love of God – Group Exhibition takes on the spirit of the Love of God Retreat Program in Lawrenceville, NJ with its necessity for inclusive understandings about love and God. While Jesus was a central topic of discussion within the retreat program, there was no mandated opinion one was expected to have about him. Rather, the unifying aspect of this program was an affinity for music and the arts within the expression of community. Their community was intersectional, dealing with the differences of varied socio-economic statuses, sexual identities and divergent relationships with the organized Christian church amongst so many other forms of diversity.
The retreat program no longer exists as it did in 2015 due the disbursement of its high school participants and changes in adult leadership. The online database is now a relic of the digital humanities project that occurred at that time. Yet, this exhibition is an initial step toward sharing a glimpse of the spirit of this retreat program with others. I sincerely hope that the spirit of this exhibition will connect with you as you search for love and God in your personal life and within the communities you serve everyday.
Love of God Community Conversation (Luke 1:5-45)
October 12, 2019
Artworks Trenton, Trenton, New Jersey (U.S.A)
Featured presentation:
"Love, God, and Community" by Simone Oliver
2019 Community Conversation Statement:
This community conversation seeks to provide a space for theological and artistic reflection within the Love of God – Group Exhibition. A team of presenters will offer their individual reflections on love, God and community through engagement with Luke 1:5-45. Presenters will also consider the works of contemporary art and case study materials within the Love of God – Group Exhibition to aide their presentations. A time for discussion will be had between presenters and the audience for better articulation and understanding of divergent pathways toward love, God and community that can be useful for work in Christian ministry and contemporary art & culture.
Fast- and Stop- frame, and Real- time: video's comment on matters of observation of perception considered through drawing
(2022)
author(s): Mike Croft, Safa Tharib
published in: i2ADS - Research Institute in Art, Design and Society
The exposition is a presentation of work in progress, also involving reflective commentary, by two collaborators in a research project titled 'The Observation of Perception: considered through drawing', hosted by i2ADS Research Unit of the Fine Art Faculty of Porto University. The collaborators, a digital visual artist and an analogue-focused fine artist, are respectively involved in the research through visual story-telling and video, and drawing and its audio-visual recording. In the present circumstances, each of the works is considered through its video element specifically in relation to several manifestations of time. In the digital visual artist's case, time is formatted through and as fast-frame and stop-frame, and in the fine artist's case, real-time and a psychoanalytical inflection on real, often appearing in the literature capitalised as Real. The first author, who provides the written reflection, is the fine artist, while substantial visual work, a published paper, and some critical intervention is provided by the digital visual artist as a second author. The first author takes as a directive, aspects of the second author's paper, and reflectively critiques both his and his research collaborator's time-based work in their video manifestations. Theoretical references are to the digital visual artist collaborator Safa Tharib, the philosopher Henri Bergson and the psychoanalyst Jacques Lacan. The exposition ends with a question that emerges from the commentary, as to the applicability of the indexical signifier to consideration of digital as well as analogue practice.
Place to Action! Art that Inteferes
(2022)
author(s): Thalia Hoffman, Yannick Schop, Lakisha Apostel, Maryam Touzani, Alicia Cotillas Vélez, Robin Whitehouse, Bødvar Hole, Miro Gutjahr, Žilvinas Baranauskas, Anne-Claire Flora Mackenzie, Gaetan Langlois-Meurinne
connected to: Royal Academy of Art, The Hague
published in: Research Catalogue, KC Research Portal
The course Place to Action - Art that Interferes is motivated and inspired by places. More specifically: the histories, contexts, narratives, situations, circumstances and people’s interactions and intra-actions and relationships with locations, which form places. Lingering in places with attention, listening to them and experimenting the possible ways of movement within them.
These attentive gazes of places will initiate interdisciplinary artistic actions and interventions that aim to explore and reflect the possibilities of art to interfere.
Here on this exposition the group will share their findings and actions.
Kotini joki – Betoniin piirtyvä hiljainen vastarinta ja vastarinnan performatiiviset ulottuvuudet
(2021)
author(s): Mari Mäkiranta
published in: RUUKKU - Studies in Artistic Research
Tutkimusekspositioni keskiössä ovat pohjoisen jokialueilla toimivan aktivistiryhmän voimalaitoksen betonisiin ja alumiinisiin seiniin vuosina 2019–2020 maalamat, joen valjastamista kritikoivat kirjoitukset ja kuvat sekä erityisesti niiden poistamiseen liittyvä prosessi. Maalausten – erityisesti niiden jättämien tahrojen ja poistojälkien – pohjalta rakentamissani valokuva- ja videoteoksissa vuorottelevat melu ja merkityksistä tiheä hiljaisuus. Voimalaitosmiljööseen tehdyt maalaukset kehottavat ja vaativat, kamppailevat alisteisten tai marginaaliin jäävien ryhmien, luonnonsuojelijoiden ja kala-aktivistien rinnalla pohjoisen jokien käyttötarkoituksista ja luontoarvoista. Maalausten signaali asettuu poikkiteloin hallitsevien sääntöjen, energiayhtiöiden intressien ja yhteiskunnallisten järjestysten kanssa. Myös valokuva- ja videoteokseni kantavat mukanaan kamppailuja – ironisia kannanottoja ja merkitseviä muotoja siitä materiaalisesta semiosiksesta, jossa kuvat ja kirjoitukset muokkaantuvat kerroksiksi, pinnoiksi, umpeen maalatuiksi ja poispestyiksi, hauraiksi ja huokoisiksi vastarinnan signaaleiksi.
Valokuvateokseni (Virtaavaa 2020; Sulava maali 1-8 2020; (Epäonnistunut)) Lohitapetti 2020) ovat merkitsevän muodon näkemistä siinä, missä toinen näkee töhryn, lian tai sotkun. Videoteokseni (Siivouspäivä 1–3, 2020) ovat saaneet inspiraationsa jokiaktivisteille annetusta kehotuksesta siivota jälkensä. Siivoaminen – kuten myös taideaktivismin harjoittelu – on videoteoksissani osa performatiivista prosessia, jossa sitoudun kulttuurisiin toistokäytänteisiin, kuten ”oikein” tekemiseen, mutta jossa jää tilaa myös toistokäytänteiden ironiselle haltuunotolle, leikille ja liioittelulle.
Luonnonympäristö, valjastettu joki, on täynnä ristiriitaisia merkityksiä: hiljaisuutta ja melua, ihmisen rakentamaa infrastruktuuria ja ”koskematonta” luontoa. Betoniin maalatut kirjoitukset ja kuvat ovat nekin konfliktisia – huokoisia ja hauraita, metelöiviä, hiljaisia. Hiljainen vastarinta ei kuitenkaan taivu kahtiajakoihin, aivan kuten ympäröivä pohjoinen luontokaan ei näyttäydy vastakohtaisuuksina. Kuten Veli-Pekka Lehtola ja Outi Autti (2019) kirjoittavat, hiljaisen vastarinnan tekojen motiivit vaihtelevat. Paikoin vastarinta jää pimentoon, ja aika ajoin sen signaalit on määrä tulla kuulluiksi ja nähdyiksi.
Serious Personal Conviction – on measurements of conscience
(2020)
author(s): Björn Larsson, Carl Johan Erikson
published in: VIS - Nordic Journal for Artistic Research
In Serious Personal Conviction – on measurements of conscience, we encounter two groups of people interviewed on different occasions discussing consciousness and ethics in relation to the military system. One of the groups are men that during the 1970s and ‘80s chose to perform non-combatant service and now reflect on the choices they made as 18-year olds. The other group consists of young people of today trying to answer several questions regarding the right to take another person's life. The exposition is part of the artistic research project Refuse to Kill – stories of the conscientious objectors. Our methodology involves a montage of a large number of voices collectively collected through statistical surveys, open-call procedure via advertising in newspapers and the internet, interviews and searches in archives.
Performative Well-Being: Conditions of Sharing
(2018)
author(s): Alexander Komlosi
published in: RUUKKU - Studies in Artistic Research
Since Ruukku 8 has asked us to consider “conditions of sharing”, it seems apt, and interesting, to start this exposition about the conditions of sharing of performative well-being through a dialogue with the conditions of sharing that the Ruukku 8 editors, Mika, Tero, and Leena, have offered us. Here we go!
ANYWHERE ELSE BUT ME, art and introspection
(2018)
author(s): Antonio Olaio
published in: Research Catalogue
Having Duchamp's epitaph as a starting point, the exposition “Nowhere else but me (art and introspection)” deals with some of the most constant aspects of my research as an artist, through series of paintings, videos, songs, where the relationship between art and self-awareness is more evident and plays a central role in their the conceptual process and in their conceptual scope. But here, instead of emphasizing a unique subjectivity, we realise that an artist’s subjectivity might be a place, a place anywhere. A public space, potencially ubiquitous, as both mind and images might be.
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.
If film is a language, can birds make movies? An essay and two heretical descriptive systems
(2017)
author(s): Tim Ridlen
published in: Journal for Artistic Research
The work presented here uses the analogy of artists as talking birds and draws on research from cognitive ethology, linguistics, and film studies to ask, what kind of knowledge does art produce? Drawn diagrams and short structural videos illustrate but perhaps complicate or even obfuscate various parts of the text. The starting point is a 1966 film by Pier Paolo Pasolini, 'The Hawks and the Sparrows', alongside his essay published with the script, 'The Cinema of Poetry'. That text made a compelling argument about the nature of cinematic language, while his film imagined a world in which birds could speak. This essay – made up of text, drawn diagrams, and short video loops – takes the next logical step and asks, can birds make movies? The question is left unanswered, at least explicitly, and remains a figure or stand in for artistic forms of knowledge, research, and thought. This essay may not be of interest to those studying linguistics, cognitive ethology, or film history in earnest, but rather to those interested in visual forms of knowledge production and communication, humanistic explorations of the natural sciences, and the history of ideas.
This presentation is the first of a three-part series titled 'The Artist’s Field Library', an arrangement of essays and source materials that explore the mutually transformative relationship between art and the university. The second essay in the series deals with academic institutions as the site of artistic and political practices, as well as what stands to be won or lost, and the third deals with critical pedagogy.
Zurich Wind Tunnel Log II
(last edited: 2024)
author(s): Florian Dombois, Sarine Waltenspül, Mario Schulze, Fabian Gutscher, Christoph Oeschger
This exposition is in progress and its share status is: visible to all.
The wind tunnel of Transdisciplinarity Research Focus at the Zurich University of the Arts, ZHdK, in Switzerland runs artistic experiments since 2013. Video footage from 2018 onwards is logged here according to different cameras used.
For more information see:
http://www.zhdk.ch/en/fspt
http://blog.zhdk.ch/windkanal
http://windtunnelbulletin.zhdk.ch
http://modulus.zhdk.ch
https://www.researchcatalogue.net/view/56777/56778
Straying as Research
(last edited: 2024)
author(s): Katharina Swoboda
This exposition is in progress and its share status is: visible to all.
Katharina Swoboda
Straying as Research
My project deals with straying – specifically, with those animals to whom we usually attribute straying as a method: stray cats. They exist in almost all human population centers, although they are more noticeable in some cities than in others. In Vienna, they tend to operate in secret. Any search for strays opens up unexpected encounters, not only with cats, but with people and stories too. Stray cats may be part of the city, but they move along paths unknown to people. But what are the paths that they take? This project approaches straying with the help of media techniques such as video traps and GPS sensors on the one hand, and interviews and observations on the other.
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.
100 MOVEMENTS
(last edited: 2021)
author(s): Gerko Egert
This exposition is in progress and its share status is: visible to all.
100 VIDEOS
100 x 100 MOVEMENTS
EACH VIDEO = ONE MOVEMENT = 100 SECONDS
NO EDITS
DESERT DWELLING
(last edited: 2018)
author(s): Christine Hansen
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.
Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.
Rasch 15-22 : transposition not exhibition
(last edited: 2018)
author(s): Lucia D'Errico, Paulo de Assis
This exposition is in progress and its share status is: visible to all.
Rasch interventions in DA TA rush, Vienna, May 2016
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