‘Crowism’
(2025)
author(s): DAPHNA REVES
published in: Research Catalogue
The concept of 'crowism' allows to adapt the qualities of the crow and project them onto humanity's relationship. Like having an observation on the relation between a stat and the people culture motivation.
The feature of the crow, takes no burden of humanity society which mean: does not agree taming, presents an individual self-thought, cannot be restrained by regime and cannot be adapted to the pattern of the Western society.
The Sound of Software Tranquillity
(2021)
author(s): Erik Natanael Gustafsson, Baudry Benoit
published in: RUUKKU - Studies in Artistic Research
This exposition is an investigation into software tranquillity through sound. One second of activity on a laptop was recorded by tracing the function calls within the Linux kernel. Can software be wild or calm? If so, what would calm software be like? Imagining that the software could experience its own existence, is the nature of its tranquillity or activity apparent to it? Can we as humans experience the tranquillity of software, if it indeed exists, and can we experience it as tranquil? Listen to fragments of one second worth of real software (in)activity while we present and reflect on the outcomes of this investigation.
HALFLIFE
(2021)
author(s): shasti
published in: Research Catalogue
This exposition posits art as a form of contagious divination, a glimpse into the multiplicity of possible futures, and an examination of artists' ability to detect momentum towards unavoidable outcomes.
In 2014, I was selected by curator Heather Pesanti to participate in the City of Toronto’s annual Nuit Blanche festival, an overnight public art event spanning twelve hours in multiple neighborhoods that draws over a million people from the surrounding regions.
Spurred by my concerns about the inescapable gravity of mobile electronic media and "viral culture," my work was to be a performance premised on contagion, pointing to the monumental role that electronic media had assumed in mediating our direct experience, and the civic and societal fallout I believed would ensue. Little did I suspect how bizarrely prescient the work would turn out to be.
On October 6th, 2014, one hundred glowing “carriers,” dressed in fluorescent hazmat suits, wearing fluorescent LED-wired helmets in the dodecahedral geometric shape of an adenovirus, dispersed throughout the City of Toronto, each "testing" and “infecting” at least one hundred festivalgoers by marking their faces and hands with “spots” “lesions” and “rashes” using surgical swabs dipped into a beaker of invisible UV-reactive ink. Each "test subject" was then gifted a small UV pen lamp with built-in reactive ink marker and instructed to "infect" and "test" ten others.
It is estimated that HALFLIFE attained an "R-naught" value of ten, and through this performance, affected approximately one hundred thousand people.
Images of the performance went viral on Instagram for seventy-two hours, during which Toronto General Hospital admitted their first and only suspected Ebola case.
Art and Material
(2020)
author(s): Michael Kargl
published in: University of Applied Arts Vienna
This exhibition discusses the question of what the term material means in relation to artistic work. Starting from a classical understanding that describes the materials of art only retrospectively, the exhibition explores the impossibility of understanding material as something separated from the artist and the working process, and thus as something that can be definitively named. Rather, it is proposed to understand material as something that is subject to constant change and exists as such only at the moment of its comprehension as material. The concept of material thus changes from a fixed fact to a concept of a relational process.
A Few Notes on Getting Lost (Once Again)
(2019)
author(s): Michelle Teran
published in: VIS - Nordic Journal for Artistic Research
This essay is about risk in artistic research. It is about obstacles and turning points; a shift away from the familiar and move towards an unfamiliar terrain. It begins on a boat, heading to the North of Norway, in the darkness. December 2012 is when I turn away from a media art practice and move towards a more socially-engaged, activist way of working. I depart from Bergen; eventually arriving in Madrid, in the middle of an eviction crisis. Along the journey, I will invite various people to think with me, which takes the work in unplanned and unintended directions. I understand risk in the sense of ‘staying with the trouble’ (Haraway) until it becomes quite clear what is at stake. It is the risk we will take in finding meaning, by trying to locate the means to exist in and act on the present.
Materialising the Social
(2018)
author(s): Anna Catherine Hickey-Moody
published in: RUUKKU - Studies in Artistic Research
Socially engaged arts practices make new forms of sociability. They are intra-active, diffractive methods through which we are able to craft new social faces. Quantum literacies are the modes through which socially engaged arts practices occur: they are at once critical, performative, intra-active. Quantum literacies enable us to examine generative intersections between artistic research and academic research regarding life and matter, nature and culture. Taking into account the multiple processes of material-discursive production, translation, transformation, and diffraction that constitute socially engaged arts practice, this paper considers the material-discursive space of socially engaged arts practice as a way of re-assembling and re-making multicultural urban spaces currently fractured by differences in belief. The transversal line of socially engaged art practice with interfaith youth zigzags across, and brings together, a diverse selection of bodies, beliefs, knowledges, skills, and creates a material-discursive documentation of group subjectivity. Through an excavation of my recent arts workshops with interfaith children, I will examine the ways aesthetic practices perform a group subjectivity created through collaboration. Such a bringing together of nature and culture, of different races and beliefs in urban environments, is urgently needed. The British Government spends 40 million pounds on an annual basis on The Prevent scheme. For those unfamiliar with the scheme, Prevent is just one strand of the UK government’s counter terrorism policy which has 4 strands – to Pursue, Protect, Prepare, and Prevent.
Through prevent funding, local UK police forces have specialized Prevent officers, and both teachers and children are trained to identify radicalised children. On the southern side of the Globe, between 2015-16 Australian budget committed $22 million to ‘countering violent extremism’. This financial commitment reflects the fact that the everyday atmosphere of Australian life, in addition to British life, is characterised by implicit and explicit relationships to 'terrorism' prevention. This emphasis, indeed this atmosphere, and the financial investment it requires, has not reduced the quantity or severity of terrorist threats. More than anything, increased securitization has inspired a corresponding increase in violence and anxiety. The atmosphere of Islamophobia at the heart of such national imaginings that are mobilised to justify funding ways of ‘countering violent extremism’ is increasing. Taking these nationalizing cultural atmospheres as a point of departure, I look to establish transversal strategies for changing public culture and crafting interfaith belonging in Australia, and in the UK, through arts practices and public aesthetics. This paper reports on the early stages of a trans national art project that is designed to intervene in Islamophobic cultural imaginaries through socially engaged art as a vehicle for relationship building and social cohesion.
Exorcising Unhomely Street: Filmic Intuition and the Representation of Post-concussive Syndrome
(2017)
author(s): Susannah Gent
published in: Journal for Artistic Research
My interdisciplinary, practice-led research involves a diverse methodological approach, including experimental film production, continental philosophy, psychoanalysis, and neuroscience. In this exposition, I review the role of intuition in creative practice, and the influential factors when the work of art ‘happens’.
The short, experimental film Unhomely Street represents the experience of post-concussive syndrome through a surrealist narrative with historical accounts of atrocity and anti-capitalist polemics. Having employed a new approach to filmmaking — a spontaneous method in which artistic decisions are informed by emotional tone rather than narrative concerns — I reflect upon this creative play. I draw on the work of neuroscientist Antonio Damasio, specifically his view that emotion underpins consciousness, Freud’s theory of the unconscious, and Irving Massey’s understanding of metaphor as the original, pre-linguistic language of thought.
Artistic Research Does Not Exist … And How She Managed Not to Be Afraid
(2016)
author(s): Julian Klein
published in: Research Catalogue
“Fine, then,” fluted Fay, “sing me the reasons why you don’t exist, and I will whisper to you why you don’t have to be afraid – as long as you accompany me on the guitar.” – “But I can’t play the guitar!” –
“If you don’t exist,” continued Fay, “then you can also play the guitar, because you actually do exist, otherwise you wouldn’t be afraid of not existing, and from one such a false premise follows the entire universe.”
And so she played and played, sang her favorite fears and listened to Fay's eleven chords of consolation.
Parallax (House for an artist)
(last edited: 2024)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
Design for a new house, scrapped 2002, reworked 2021 with bird observatories on mud landscape.
Flipping the initial scaled sketches for the house, I selected the naturally lit staircase as the main sculptural and building element for bird observatories, spread on the mud landscape of a natural bird habitat. The sculptural structures are proposed to be installed on site following the parallactic model, which re-frames the site as the medium through the pieces.
The concept of 'crowism' allows to adapt the qualities of the crow and project them onto humanity's relationship. Like having an observation on the relation between a stat and the people culture motivation. The feature of the crow, takes no burden of humanity society which mean: does not agree taming, presents an individual self-thought, cannot be restrained by regime and cannot be adapted to the pattern of the Western society.open exposition comments (0)
This exposition is an investigation into software tranquillity through sound. One second of activity on a laptop was recorded by tracing the function calls within the Linux kernel. Can software be wild or calm? If so, what would calm software be like? Imagining that the software could experience its own existence, is the nature of its tranquillity or activity apparent to it? Can we as humans experience the tranquillity of software, if it indeed exists, and can we experience it as tranquil? Listen to fragments of one second worth of real software (in)activity while we present and reflect on the outcomes of this investigation.open exposition comments (0)
This exhibition discusses the question of what the term material means in relation to artistic work. Starting from a classical understanding that describes the materials of art only retrospectively, the exhibition explores the impossibility of understanding material as something separated from the artist and the working process, and thus as something that can be definitively named. Rather, it is proposed to understand material as something that is subject to constant change and exists as such only at the moment of its comprehension as material. The concept of material thus changes from a fixed fact to a concept of a relational process.open exposition comments (0)
This essay is about risk in artistic research. It is about obstacles and turning points; a shift away from the familiar and move towards an unfamiliar terrain. It begins on a boat, heading to the North of Norway, in the darkness. December 2012 is when I turn away from a media art practice and move towards a more socially-engaged, activist way of working. I depart from Bergen; eventually arriving in Madrid, in the middle of an eviction crisis. Along the journey, I will invite various people to think with me, which takes the work in unplanned and unintended directions. I understand risk in the sense of ‘staying with the trouble’ (Haraway) until it becomes quite clear what is at stake. It is the risk we will take in finding meaning, by trying to locate the means to exist in and act on the present.open exposition comments (0)
“Fine, then,” fluted Fay, “sing me the reasons why you don’t exist, and I will whisper to you why you don’t have to be afraid – as long as you accompany me on the guitar.” – “But I can’t play the guitar!” – “If you don’t exist,” continued Fay, “then you can also play the guitar, because you actually do exist, otherwise you wouldn’t be afraid of not existing, and from one such a false premise follows the entire universe.” And so she played and played, sang her favorite fears and listened to Fay's eleven chords of consolation.open exposition comments (0)
Design for a new house, scrapped 2002, reworked 2021 with bird observatories on mud landscape. Flipping the initial scaled sketches for the house, I selected the naturally lit staircase as the main sculptural and building element for bird observatories, spread on the mud landscape of a natural bird habitat. The sculptural structures are proposed to be installed on site following the parallactic model, which re-frames the site as the medium through the pieces.open exposition comments (0)