Little Do They Know
(2022)
author(s): Olivia Rowland
published in: Journal for Artistic Research
This exposition functions as both a visual and poetic essay, and a manifesto for my methodology of ‘line’. My definition of ‘line’, defined here as:
‘The gestural and abstracting tandem force of drawing-and-writing as a narrative means to express selfhood.’
The exposition posits the methodology of ‘line’ as one alternate artistic means to artistically communicate feminine selfhood. The methodology of line works to resist the internalised assignment of feminine voice to a corporeal body.
Instead, ‘line’ communicates selfhood through poetic means and a sense of fragmented corporeality. Visually, the stark and abstracting nature of the drawn line, and the allegorical, metaphorical nature of writing present an abstracted self that playfully evades full understanding.
The titling phrase ‘Little Do They Know’ intones a kind of secret power on behalf of the speaker, and the presence of secret and intricate worlds to which the gaze of the spectator has limited access. It is on this premise which the exposition operates, articulating the presence (in all its anxiety, instability, rage, joy and frustration) of a playful and evasive selfhood that reclaims agency from the spectator’s gaze.
The Yellow Folder. A Research on the Periphery of Life
(2019)
author(s): Paolo Giudici
published in: RUUKKU - Studies in Artistic Research
During his forty years career as orchestral clarinetist, my teacher Ernesto Olivieri (1905-1985) refaced, revoiced and repaired hundreds of clarinet and saxophone mouthpieces. He began even before he entered Bologna Conservatory with Bianco Bianchini, and continued refacing as a side activity, to meet his professional needs or to make some extra money during hard times (the Great Depression in Italy, World War II across Nazi Germany and occupied Europe, the immediate Post-war in Tito’s Yugoslavia). Often, though, he did the work out of friendship and always for his research and sound experimentation. Soon after he retired from his last position at the Teatro Massimo Bellini in Catania, he bought himself a typewriter and started a project he had long been planning: the “Treatise on the Clarinet Mouthpiece”, part memoir part refacing manual for clarinet students, complemented by the “Studies for Research”, a collection of short technical compositions devised to detect problems in mouthpieces and test the progress of the refacing work. When my teacher passed away and his widow entrusted me the yellow folder in which he kept the various drafts of the Treatise and the Studies, I attempted to edit that material for a print publication, guided by what I imagined were his intentions and the recent memory of our friendship. Overwhelmed by the vague structure, elusive content and faltering language of the text, I put the yellow folder in a drawer where it remained for over thirty years, until I recently came to reconsider the Treatise and the Studi in a different perspective.
Not only was his refacing practice marginalised within the conservatory and profession, but also writing remained a secondary practice and in advance excluded from consideration for being carried out autonomously, without formal training and outside the academia and the profession. Accordingly, the knowledge he created through those practices can be easily confused with technical skills, too limited in scope for today’s student and too marginal for the clarinetist, especially now that professional refacing services have become globally available, and that multimedia instructions and expertise are easily accessible over the internet. Thus, it would appear, Signor Olivieri’s knowledge is forever lost, trapped inside his text and irretrievably embedded in his life and practice. Nevertheless, this non-collaborative re-presentation of the Treatise and the Studies shows how his writing succeeds in exposing his refacing practice as research, and why this matters to artistic research today.
Wording
(last edited: 2022)
author(s): Lena Séraphin
This exposition is in progress and its share status is: visible to all.
This exposition is entitled Wording: on Collaborative Writing in Public Space, in short Wording. It is a continuous non-conclusive working space and a collection of research on collaborative writing. The aim of this attempt at writing is to shape a public space using words and to position ourselves in shared spaces and reciprocated texts. Wording has a performative quality as writers in public space are observed themselves, and the question is if this collective writing experiment acts as a countertext to the commodification of our corporeal selves. Wording is inspired by Georges Perec and his experimental work "An Attempt at Exhausting a Place in Paris" from 1974 and is facilitated by Lena Séraphin.
How I become a dancer
(last edited: 2019)
author(s): Danka Milewska
This exposition is in progress and its share status is: visible to all.
This research exposition is under construction
Somatic Journey or how I becoma a dancer.
Wyprawa somatyczna na wieś południowej Francji, niespełna 40 km od Zatoki Lwiej (Golfe du Lion), odbywa się pod moją skórą, w moim systemie nerwowym, w mięśniach, i czasem w stanie nawykowej amnezji, nie mającej nic wspólnego z wiekiem.
Mój system nerwowy notuje nowe odczucia wraz z nowym ruchem mojego ciała, a właściwie przypomina sobie to, co w nim doskonale zapisane – poczucie i stan równowagi, nasze prawo-od-narodzin do tańca, bez wysiłku, w swoim tempie, z uważnością i przyjemnością, a nawet błogością.
Te notatki i zapisy w ciele odbywają się porzez ćwiczenia somatyczne / somatic excursion according to Andrea Olsen. Ćwiczeniom towarzyszy somatic journal - zbiór niedokończonego lub przer(y)wanego myślenia, rysunków rozpoczętych ruchów, tekstów towarzyszących procesowi.
Zrealizowano dzięki wsparciu finansowemu miasta Bydgoszczy.
Trans*Writing Immanence and Transformation Towards a Political, Ethical and Aesthetical Theory of Writing as Artistic Research
(last edited: 2017)
author(s): Elisabeth Schäfer
connected to: University of Applied Arts Vienna
This exposition is in progress and its share status is: visible to all.
How can writing as an entangling practice of “artistic research” contribute to an understanding of these processes?
Can the figure of “Trans” as prefix (see method and title of the project: “Trans*Writing”), which is addressing the movement of crossing, be promoted as new thinking pattern for a writing that has the immanent tendency to exceed meanings, bodies, subjects, settings, knowledge, lives, spaces etc.?
This exposition is entitled Wording: on Collaborative Writing in Public Space, in short Wording. It is a continuous non-conclusive working space and a collection of research on collaborative writing. The aim of this attempt at writing is to shape a public space using words and to position ourselves in shared spaces and reciprocated texts. Wording has a performative quality as writers in public space are observed themselves, and the question is if this collective writing experiment acts as a countertext to the commodification of our corporeal selves. Wording is inspired by Georges Perec and his experimental work "An Attempt at Exhausting a Place in Paris" from 1974 and is facilitated by Lena Séraphin.open exposition comments (0)
How can writing as an entangling practice of “artistic research” contribute to an understanding of these processes? Can the figure of “Trans” as prefix (see method and title of the project: “Trans*Writing”), which is addressing the movement of crossing, be promoted as new thinking pattern for a writing that has the immanent tendency to exceed meanings, bodies, subjects, settings, knowledge, lives, spaces etc.?open exposition comments (0)