Research Catalogue

an international database for artistic research

• No Show (2024) author(s): Steinunn Knúts Önnudóttir published in: Research Catalogue
  This exposition contains six letters about the work No-Show that was performed in Reykjavík in 2020. The performance is a part of the artistic PhD research "How Little is Enough?" Sustainable Methods of Performance for Transformative Encounters in Malmö Theatre Academy at Lund University. The letters address different aspects of my artistic practice and research such as motivation, method, affect, ethics and the findings. No Show is a series of five immersive participatory performances, solitary experiences performed in five private homes in different neighbourhoods of Reykjavík in June – August 2020.
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  Hacka Skolan. Ett arbete om: kunskaper och elevers blivande i skolan (2023) author(s): Jason Norda connected to: Konstfack - University of Arts, Crafts and Design published in: Research Catalogue
  Vad vill man ens lära sig? Det här arbetet handlar om hur elever tillåtas undersöka sitt lärande i skolan. Hur man synliggör den kunskapen som elever har skaffat sig. Med ett processbaserat lärande, deleuziansk affektperspektiv och kunskapsteori ramas ett undersökande in där elevers vilja får styra och elever och lärare gemensamt lägger en grund för vilka kunskaper som ska belysas utan att lärarens förförståelse dikterar villkor. Genom ett undersökande i skolan tillsammans med nio gymnasieelever utvecklas också ett en egen fråga som rör vad ett forskande slutarbete kan vara, hur det kan gestaltas och läsas. – What do you even want to learn? This work is about how students are allowed to examine their learning in school. How to make the knowledge that students have acquired visible. With a process-based learning, Deleuzian affect perspective and epistemological theory, a framework is made for a research in which students' will is allowed to govern and where students and teacher can together lay a foundation for which knowledges can be understood without the teacher's pre-understanding dictating conditions. Through the research, which is made together with nine high school students, a separate question is also developed, asking what a final-project-research can be, how it can be written and read. –   Konstfack Institutionen för bild- och slöjdpedagogik Självständigt arbete i Bild 30 hp Ämneslärarprogrammet med inriktning mot arbete i gymnasieskolan (Bild - Media) VT22 Handledare: Miriam von Schantz & Miro Sazdic Examinator: Anette Göthlund
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  Assembling a Praxis: Choreographic Thinking and Curatorial Agency - Open House: A Portrait of Collecting (2023) author(s): Lauren O'Neal published in: University of the Arts Helsinki
  “Open House: A Portrait of Collecting,” a curatorial project held at the Lamont Gallery at Phillips Exeter Academy in 2015, is part of my doctoral research on “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” The "Open House" exhibition was initially about collecting and caring for objects, a traditional function of museums. Curating with a choreographic mindset encouraged me to address other questions, including how objects and collections foster emotional connections. My initial question for the project, “How to do things with objects?” soon became “How do objects arrange spaces of relation between people and ideas?” Themes include community, memory, identity, taxonomy, preservation, accumulation, value, story, exchange, and display. [This exposition corresponds to Section Five: Arranging Spaces of Relation(s): What Can Objects Do? in the printed dissertation.]
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  Moving through Choreography – Curating Choreography as an Artistic Practice (2021) author(s): Marie Fahlin published in: Stockholm University of the Arts (SKH)
  The purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other. Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’ Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process. The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies. The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.
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  Walking with Soldiers: How I learned to stop worrying and love cadets (2020) author(s): Susanna Hast published in: Journal for Artistic Research
  “Walking with Soldiers” examines an auto-ethnographic moment of marching across the city of Helsinki with first-year cadets of the Finnish National Defence University. In a reparative reading, the walk dismantles boundaries of bodies, critiques, and affects. Through a walking methodology and autoethnography, the present exposition demonstrates how the author began orienteering within military structures through an affective investment. The exposition is a researcher’s journey across subjectivities and difference in a female civilian body. Epistemologically, it brings theory closer to the skin; and empirically, it offers insight into the affective world of belonging. “Walking with Soldiers” is multimodal and polyphonic: it consists of a text for reading, three audio tracks for listening and co-walking, as well as illustrations created by Julia Järvelä based on photographs taken by the author. The provided materials can be selectively attended to. The artistic technique used in the exposition is seduction: the reader/listener is invited into an experience. The exposition is a conversation between critical military studies and artistic research: it gives artistic attention to a military march and places importance on the acoustic and vibrating qualities of academic research. The writing itself subverts the practice of authoritative scholarly writing by presenting descriptive work as theoretical work, and by using citations as companions from the outside.
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  Interrogating the notion of 'frock consciousness' through the practice of dressing and responding to dressed bodies (2020) author(s): Jennifer Anyan published in: Journal for Artistic Research
  Within my practice as an artist that draws upon my professional experience as a fashion stylist, I have undertaken a broad range of practice-based projects in the last thirteen years that deal with the identity and dress. This exposition seeks to use Virginia Woolf’s notion of frock consciousness as a framework to demonstrate how each of the projects has contributed to a body of research that has enabled me to make a contribution to knowledge in terms of how the practice of dressing ourselves impacts upon one’s consciousness and experience of being in the world. Lisa Cohen in her essay "Frock Consciousness”: Virginia Woolf, the Open Secret, and the Language of Fashion (1999) reminds us that, whilst the idea of frock consciousness discussed by Woolf in her diary of 1925 might at first appear to be an oxymoron, one word concerned with coverings and the other a quality of mind, clothes “lie between what we understand to be public space (the social world at large), and what we consider private (the body of an individual)” (150:1999).
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  You and Me and Everything Around Us (2020) author(s): Zoe Panagiota (aka Betty) Nigianni published in: Research Catalogue
  Single channel video, 3’, 2008 The probe for the work was the philosophical question what it is to exist in the world: in environments, with others, people, objects, surfaces; and whether the answer can be intuited. The work evokes the temporality of such experiences, which is contingent upon the ever-changing nature of things. Objects have often had multiple owners, and so they carry traces of previous worlds. When encountering objects new to us, we may find ourselves appropriating them through affective attachment to assimilate them into our world. Inspired by the everyday lives of the house's occupants, the work is also about the affective bonds developed during and because of their temporary co-existence. Experimentation with overlaying resonates with the artistic expression of overlapping materials, textures, spatial qualities, and reflected images. Photographs, film footage and sounds were recorded in an improvised way over a one year period in an old house in Walthamstow, East London. The artistic treatment of the subject matter as a time-based media assemblage, which exploits the home style video format, critiques popular staged presentations of everyday life, while exploring the house as an evolving over time system.
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  Animalium (2019) author(s): Lise Hovik published in: VIS - Nordic Journal for Artistic Research
  Animalium is a continuation of the artistic research project Neither Fish nor Fowl which investigates the significance of affect in performing arts for kindergarten kids and consists of theatre-making, film making and writing. Affect has been philosophical, emotional, and material inspiration in the creative process, and in relation to the young children audience. The theatre project developed by Teater Fot is Inspired by posthumanist philosophies, and the project investigates human as animal in musical and sympoietic interplay with young children. We investigate the strange and weird in-between, in transition, in the undefinable; neither fish nor fowl, but perhaps chickenlion, orangerobot, dragonurchin or birdfish? The exposition is a translation from theatre to text, pictures, sound and video, and explores how the translation twists, twirks and turns the theatre into virtuality. By this translation details come close-up and new shapes and colours emerge – the body and space of theatre are transformed and translated into the strange materiality of the screen, and the work will expand in time.
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  What can a process do? A passage from ritual to rituality (2019) author(s): Usoa Fullaondo published in: Journal for Artistic Research
  In this exposition I try to build new relationships between different creative processes arising from nature, life, and art. This is done by setting up visual, textual, and affective analogies through superimpositions of layers of images, sound, and text based on the book Un Atletismo Afectivo (An Affective Athleticism) (publication on paper, 116 pp, 2016) and the audiovisual work Trenza (Braid) (HD video, 55', 2017). These two works were developed around a particular space, the fields of Aixerrota in Algorta (Bizkaia, Basque Country). The book is an attempt to translate my habitual experience of running through this space into art, while the film mainly focuses on observing and experiencing how the landscape was turned into a space for a festive event. Three separate narrative strands, each referring to a particular process, intertwine. The first of these is filmings of young people's actions as they prepare the space for the International Paella competition. A second strand consists of fragments of a voice-over by David Attenborough from the documentary Bowerbirds: The art of seduction (2000), which shows male bowerbirds building the bowers where they will court the female bird. The third strand includes sequences from my own work, which outline emerging processes of artistic creation and research. The aim of this exposition is to share the singularity of processes in which the need to bond or to attach (Juan Luis Moraza, 2009) instigates a conscientious preparation of space that will allow an event to succeed. It also highlights the way in which some of these processes may interrupt the normal course of things and the self-absorption born from habit by opening up from the individual towards the collective, by confronting the tension resulting from an indeterminate end result, and by re-enacting aesthetic experience through the production of an audiovisual and sculptural landscape. The underlying question of the work relates to the potential of new arrangements of materials to open up new creative processes.
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  The Red Shoes Project Revisited (2018) author(s): Lise Hovik published in: Journal for Artistic Research
  The author addresses various approaches to artistic research on the basis of her own artistic research project, The Red Shoes Project (2008-14), which consists of three closely related theatre performances for young children (0-3 years). The project was concerned with the development of dance theatre for the youngest children, in which opportunity was given for the children to participate actively and bodily in the performances. As a PhD project The Red Shoes Project (Hovik, 2014) explored the theatre event through three different art settings, following theories on performative aesthetics. Methods and research design are from the field of artistic research. The Red Shoes [De Røde Skoene] (2008) was a dance theatre performance for 1-year olds, Red Shoe Missing [Rød Sko Savnet] (2011) was an art installation, and Mum´s Dancing [Mamma Danser] (2011) was an improvised dance concert, both for 0-3 year-olds. All of these productions had red shoes as a connecting theme and playful artistic material. Playing and musical communication are core concepts guiding this interdisciplinary artistic research practice. The research methodology changed during the 6 years of artistic research and theoretical studies. Henk Borgdorff’s division into an interpretative, instrumental and performative research perspective (Borgdorff, 2012) provided a comprehensive theory for the development of this research process. These research perspectives together are helpful methodologies in the artistic process of creating art for the very young, and the artworks demonstrates the possibility of creating common artistic experiences between performers and children, in which both can take part in reciprocal interaction and improvisation. This exposition aims to give a presentation of the artistic research process as a whole, leaving out the more theoretical discussions from the PhD thesis, emphasizing the visual aspects of the artistic works . As the initial research questions from 2008 might be outdated today - there are a multitude of interactive performances for babies in 2018 - the presentation will touch upon some new relevant works and perspectives within this topic. Looking back on the research process and outcomes, focus will be on the investigating progress and methods in this specific artistic research. The exposition will connect text and visual research material, and open some internal reflections on the development of the research questions along the way. The shifts in methodological perspectives will be highlighted as this still can be fruitful in further research on the topic, both as artistic and academic research.
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  Aesthetics of inhuman touch: notes for 'vegetalised' performance (2018) author(s): mirko nikolić, Neda Radulovic published in: RUUKKU - Studies in Artistic Research
  The article aims to develop the notion of posthuman/ist performance art, drawing from and continuing the line of work developed by Karen Barad. Starting from the critique of anthropocentrism of performance studies, we try and apply the notions of affect and intra-action to account for interspecies entanglements in the context of performance arts. The article will tackle several main issues in attempt to acknowledge more than human agencies participating in the event of performance: how do we understand and reconfigure the notion of body in performance? Whose bodies count as present and who gets the credit as the subject/creator of the performance? As the territory to investigate these questions we look at the vegetal-human co-performances, especially through touching intra-actions. We try to figure what a desiring-touching between these radically different embodiments and modes of being would entail, and, through this critique of performance studies, we make steps towards 'vegetalising' both affect theory and agential realist theory of intra-action.
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  Information for foreigners: chronicles from Kashmir (2016) author(s): Nandita Dinesh published in: Journal for Artistic Research
  'Information for Foreigners: Chronicles from Kashmir (IFF Kashmir)' is an adaptation of Griselda Gambaro's 1992 play of the same time. Directed and written by this researcher in July 2015 in close collaboration with a theatre company in Srinagar, 'IFF Kashmir' uses techniques from site-sensitive, promenade, and immersive theatre to perform narratives surrounding the conflicts in the region. Beginning with a description of the foundations and development of 'IFF Kashmir', this exposition puts forward insights that have emerged around the notion of 'balance': from an evolution of balance vis-à-vis narratives of victimhood and perpetration to considerations of balance regarding representations of time (the past, the present, and the future).
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  Sound Art / Street Life: Tracing the social and political effects of sound installations in London (2016) author(s): Christabel Stirling published in: Journal of Sonic Studies
  This article draws on ethnographic fieldwork conducted in London (2013-14) to address the social and political effects of installation and place-based sound-works. I begin by reviewing a number of theoretical approaches to the city, using my own and others’ ethnographic accounts of London to problematize some of the affirmative conceptualizations of the city being propagated by non-representational theories and cultural geographers. In so doing, I provide the theoretical and contextual substratum for my ensuing discussion of the sound-works, and offer an initial view on why physical urban public space remains crucial to progressive politics. I then examine the sonic re-arrangement of public space in three site-specific sound installations. Through ethnographic analysis of the social dynamics summoned into being by each sound-work, and the “multiple mediations” that animated such dynamics (Born 2005), I offer interpretations as to whether, and if so how, the sound installations might be enlisted as part of a process oriented towards mobilizing democratic designs.
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  Sticky currents: Drawing folds in serial exhaustion (2015) author(s): Nicole De Brabandere published in: Journal for Artistic Research
  The affective qualities of surfaces (and the skin) in drawing operations, wedging clay, and video are developed in this research exposition by activating them with both the concept and the practice of exhaustion in emergent series. The practical and conceptual framework emerges along side Deleuze's 'The Fold', Deleuze and Guattari's concepts of the 'smooth' and the 'striated', and Stefano Harney and Fred Moten's 'The Undercommons'. The images, videos, poetics, and concepts of the exhibition develop folding textures and generate charged affective worlds with the force to modulate habits and attunements. As these emergent worldings intensify an emergent corporeal, they also activate a research process that continually folds over and across itself, opening up to new affects, concepts, and subjectivities. Folds exhaust themselves in the multiple, unspeakable midst, until the gentle vibration sparks a current and starts to resonate the fine hairs on the surface of the skin so that they again become sticky.
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  In and out of memory: exploring the tension when remembering a traumatic event. (2015) author(s): Anna Walker published in: Journal for Artistic Research
  The modernist approach to trauma points to an occurrence that demands representation and yet refuses to be represented (Roth 2012: 93); the intensity of the experience makes it difficult to remember and impossible to forget, making any form of recollection inadequate. This exposition explores the repetitive and unresolved notion of trauma using 11 September 2001 as the entry point to navigate a pathway backward into the past and all that was remembered, and uncovers what was forgotten in an effort to lay a traumatic memory to rest. The research began with a journal written on the day of and days following the disaster, which up until a couple of years ago remained closed and unread. Personal remembering is layered upon a well-established collective memory of the event and a vast array of literature, art, and theory written in response to 9/11.
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  NEITHER FISH NOR FOWL / VERKEN FUGL ELLER FISK (last edited: 2024) author(s): Lise Hovik This exposition is in progress and its share status is: visible to all.
  This exposition is a documentary project on the artistic research project Neither Fish nor Fowl. The research project consists of theater making, film making, workshops, performances and writing, and explores the wondrous worlds of becoming in theatre for early years. Together with my theater company Teater Fot, I have been investigating the significance of affect as philosophical, emotional, and material inspiration in the creative process, and in relation to young children in Theater for Early Years. Neither Fish nor Fowl was conducted as a performance project from April 2017 to March 2020. During this period, the research process was documented in RC, presenting methods, writings, and reflections along the way. The pre-production performance (for babies 0-2) was shown at the festival Olavsfestdagene in Trondheim, Norway, summer 2017 and at Trondheim Kunsthall autumn 2017. The full production, Begynnelser (for 3-5 years), was presented in april 2018 in co-production with the venue Teaterhuset Avant Garden in Trondheim. Baby Becomings (0-2 years), was presented at festivals and for kindergartens in Trondheim autumn 2018, and the final version Himmel & Hav / Sky & Sea was presented at Rosendal Teater in in March 2020, touring kindergartens for one week. Animalium (2019) was a a kind of spin-off with film making, workshops, visiting exhibition spaces and eventually article writing with an exposition in VIS - Nordic Journal for Artistic Research #2 on the theme Estrangement. In 2020-22 Animalium has become a new research project, looking at post humanist approaches to different sites such as kindergarten spaces, libraries and art exhibition spaces. We are developing new performance strategies with deepening our improvisational and listening skills into a more-than-human sympoietic intra-playfulness. Trying to perform these concepts, we might understand more of what they actually mean to our artistic practice.
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  Rubberneckers (last edited: 2023) author(s): Joana Dos Santos Almeida This exposition is in review and its share status is: visible to all.
  Thesis of the Royal Academy of Art, The Hague, 2023 BA Fine Arts This Thesis is comprised of a series of chapters, which combine personal observations and analysis of existing theory and literature regarding the concept of trauma within the artistic context. Throughout the text, I explore the choices and intuitive origins of the artistic practice with reference to my own experiences and connect them to my interest in the traumatic. Using Griselda Pollock’s writings on Trauma and art as a foundation, I explore the theoretical sides of trauma and how it operates, specifically that of psychoanalytical, scientific and philosophical texts. I aim to weave connections between the act of observation inherent to the artistic practice and the same spectacle associated with violent subject matter. This becomes the basis for the development of what I call, the ‘traumatic method’, which involves my ongoing research into this relationship. Questions of affect and embodiment become key components of this thesis in regards to the function of using trauma as a conceptual starting point during the artistic process. Specifically the importance of re-enactment and treating the traumatic as a medium within itself rather than simply subject matter.
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• 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.
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• The relationship between gesture, affect and rhythmic freedom in the performance of French tragic opera from Lully to Rameau (last edited: 2023) author(s): Jed Wentz connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  Jed Wentz explored the links between gesture affect and rhythmic freedom in the performance of the tragédie en musique in a number of videos.
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