India/Germany: the Story of a Little Girl from India and Germany
(2024)
author(s): Jessica Varghese
published in: Royal Academy of Art, The Hague
Thesis / Research Document of the Royal Academy of Art, The Hague, 2024
Interactive/Media/Design (I/M/D)
As a child, moving from India to Germany changed the way I looked at and was perceived by society around me. Dancing between the extremes of complete integration and complete rejection of the culture, I found myself struggling with my sense of identity and belonging.
By using TV and stories and other forms of media I was able to learn about my second culture and maintain my first culture. Looking through the lens of entertainment media I consumed throughout my childhood as well as the changes in narrative unfolding before my eyes as I grew up I started to wonder: How did the media I consumed shape my view of the world around me and the way that others perceived me? How much of that media had good/bad POC representation? How much of it was specifically South Indian? How much of it could I relate to?
Örat nära munnen: samtal mellan film och filosofi
(2024)
author(s): Marius Dybwad Brandrud
published in: Stockholm University of the Arts (SKH)
This PhD project is a study in and through filmic conversations. The project addresses the role of conversation in philosophy education. While philosophy often is manifested in individually written form, this is a study of how filmic conversation can act as philosophical expression, mainly based on the film "Samtal om samtal" which is the principal material of this PhD project. The film begins by addressing the manner of which we speak to one another in a seminar; and by extension how that manner decides which philosophy is at all made possible: Who is speaking and who is listening? Whose experiences count and whose ideas are welcome? Yet, conversation is not only of interest as practice but also as expression. Sometimes something is said through/as conversation that could not have been expressed in any other form. What would happen if conversation, as a communal way of saying things, would constitute a form of philosophical expression in its own right, on par with the individually written text? What form would such an expression be allowed to take? Could philosophy be expressed through the medium of film? In and through the filmic conversation of this study, these queries also lead on to issues of representation and responsibility: What signifies the practice of making a film about or with someone? How are those involved in a film project affected, and how can the film act (in the world) independently? How could responsibility be understood in the process of making a film and regarding the final result? In addition to "Samtal om samtal", the text "Eftertext" is submitted. The text further explores the previously mentioned questions, but adds another layer in commenting on the filmic work of "Samtal om samtal". "Eftertext" also refers to the films "Ett jag som säger vi" and "Rehearsals", as well as the document "Transkription". These works are included as appendices, forming sub studies in the process of making "Samtal om samtal".
Assembling a Praxis: Choreographic Thinking and Curatorial Agency - Being and Feeling (Alone, Together)
(2023)
author(s): Lauren O'Neal
published in: University of the Arts Helsinki
What "moves" in an exhibition, if not the bodies of artists, audiences, and objects? How does conversation move us? What can speculative artistic research offer? This exposition, "Being & Feeling (Alone Together),” held at the Lamont Gallery at Phillips Exeter Academy in 2020, is part of my doctoral research project, “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” While some aspects of the project (including the title), were developed before the COVID-19 pandemic, most of the project unfolds in relation to myriad cultural, spatiotemporal, and civic situations that the pandemic produced. This situation required experimental and responsive curatorial methods that encouraged the project to move in unexpected ways.
[This exposition corresponds to Section Seven: Letting Things Move in the printed dissertation.]
Conversation-as-Material
(2022)
author(s): Emma Cocker
published in: Research Catalogue
Published as part of: Emma Cocker, 'Conversation-as-Material', in the Special Issue 'Practices of Phenomenological and Artistic Research', (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, [Vol. 17, No.1, 2022], pp.193-223. ISSN 1913-4711. See full issue here: https://journals.library.ualberta.ca/pandpr/index.php/pandpr/index
The Atemporal Event
(2021)
author(s): Helga Schmid, Kevin Walker
published in: Journal for Artistic Research
The COVID pandemic has prompted many people to reconsider their previous living and working rhythms and to consider alternatives. We believe that the global enslavement to the standardised time of clocks and calendars has had a negative impact on us individually, socially, and environmentally. We aim, therefore, to change perceptions of time by helping people step outside societal time, treating time instead as a malleable material that can be stretched and moulded.
This exposition describes our process, outcomes, and analysis in staging an event using an alternative approach based on natural and material time processes specifically related to the body and the external day/night cycle driven by light colour and intensity. In a twenty-four-hour event in London designed around chronobiological phases, we investigated our research question of how to change perceptions of time by treating it as a malleable material.
We discovered that treating time as a malleable material necessitates first stepping outside of the clock-time system: in our case, using daylight and bodily chronobiological phases as alternative time-givers. Dialogues using linguistic and non-linguistic means between ourselves, our collaborators and participants, as well as with our tools and materials, resulted in treating time as place, and places and things in temporal terms. We discovered that time is not only stretchable but can take different shapes and qualities, with multiple times existing alongside each other, by 'programming' actions and activities through performance, rhythm, and materiality.
Our research focuses on the broader issue of the ‘time crisis’ as identified by sociologists, chronobiologists, and philosophers, as a result of acceleration processes driven by digital technologies and contemporary 24/7 societal norms. We address this by bringing together Helga's research on ‘uchronia’ (temporal utopia or non-time) and Kevin's anthropological perspective on designing embodied experiences.
Choreo-graphic Figures: Scoring Aesthetic Encounters
(2019)
author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil, Simona Koch
published in: Journal for Artistic Research
We have developed this exposition for ‘scoring an aesthetic encounter’ with the multimodal (visual, textual, sonic, performative) findings from Choreo-graphic Figures: Deviations from the Line, an artistic research project by Emma Cocker, Nikolaus Gansterer and Mariella Greil. Choreo-graphic Figures stages a beyond-disciplinary encounter between the lines of choreography, drawing and writing, for exploring those forms of knowing-thinking-feeling produced in the slippage and deviation when different modes of practice enter into dialogue, overlap and collide. Within this exposition, our aim is not to present an exhaustive account of the Choreo-graphic Figures project. Rather, we seek to test the specificity of this online context for extending our investigation through the following questions: how can we create a digital archive capable of reflecting the durational and relational aspects of the research process, a mode of online dissemination that enacts something of the liveness or vitality — the energies and intensities — within collaborative live exploration? Beyond the limitations of the static two-dimensional page, how can an enhanced digital format enable a non-linear, rhizomatic encounter with artistic research, where findings are activated and navigated, interacted or even played with as a choreo-graphic event?
We have modelled the exposition on the experimental score system developed within our research project, for organising our process of aesthetic enquiry through the bringing-into-relation of different practices and figures. The score is approached as a ‘research tool’ for testing how different practices (of Attention, Notation, Conversation, Wit(h)nessing) can be activated for sharpening, focusing or redirecting attention towards the event of figuring (those small yet transformative energies, emergences, and experiential shifts within artistic process that are often hard to discern but which ultimately steer the evolving action) and the emergence of figures (the point at which the experience of ‘something happening’ [i.e. figuring] coalesces into recognisable form).
Within this exposition, our research can be encountered experientially through → Playing the Score, whilst the → Find Out More section contains contextual framing alongside conceptual-theoretical reflections on the function of our score and its ecology of practices and figures.
Dorsal Practices
(last edited: 2025)
author(s): Emma Cocker, Katrina Brown
This exposition is in progress and its share status is: visible to all.
Initiated in 2020, Dorsal Practices is a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker, for exploring the notion of dorsality in relation to how we as moving bodies orient to self, others, world. How does the cultivation of a back-oriented awareness and attitude shape and inform our experience of being-in-the-world? A dorsal orientation foregrounds an active letting go, releasing, even de-privileging, of predominant social habits of uprightness and frontality — the head-oriented, sight-oriented, forward-facing, future-leaning tendencies of a culture intent on grasping a sense of the world through naming and control. Rather than a mode of withdrawal, of turning one’s back, how might a back-leaning orientation support a more open and receptive ethics of relation? How are experiences of listening, voicing, thinking, shaped differently through this tilt of awareness and attention towards the back?
Connective Conversations
(last edited: 2024)
author(s): Falk Hubner
This exposition is in progress and its share status is: visible to all.
This is an exposition in progress.
Starting in the 2021/22 season, the professorship Artistic Connective Practices organises and curates a series of encounters with practitioners, the research team of the professorship and audience, in order to explore the notion of Artistic Connective Practices.
Dorsal Practices — Towards a Back-Oriented Being-in-the-World
(last edited: 2024)
author(s): Emma Cocker, Katrina Brown
This exposition is in progress and its share status is: visible to all.
This exposition forms part of a journal article, Katrina Brown and Emma Cocker, 'Dorsal Practices — Towards a Back-Oriented Being-in-the-World’, in Tara Page (ed.) With–In Bodies: Research Assemblages of the Sensory and the Embodied, Special Issue of Humanities 2024, 13, 63. https://doi.org/10.3390/h13020063
The article itself can be found here - https://www.mdpi.com/2076-0787/13/2/63
Assuming Asymmetries. Extra Research Time 2020/21
(last edited: 2021)
author(s): Joanna Warsza
This exposition is in progress and its share status is: visible to all.
Assuming Asymmetries. Conversations on Curating Public Art Projects of the 1980s and 1990s is a volume based on the dialogues between the curators and participants from some of the most complex and yet underresearched European and US public art exhibitions of the 1980s and 1990s. The discussions include and unpack such influential projects as “Culture in Action” curated by Mary Jane Jacob in 1993; “Sonsbeek 93” curated by Valerie Smith; “Endlichkeit der Freiheit,” an exhibition initiated by Heiner Müller and Rebecca Horn, on both sides of the former Berlin wall in 1990; “Construction in Process,” an artist-initiated site-specific exhibition in early 1980s Łódz, Poland; “Five Gardens” curated by Carlos Capelán in 1996 in Simrishamn and Ystad, Sweden, and “U-media” in 1987 Umeå, Sweden. The dialogues focus on such questions as: How does one ethically and culturally deal with asymmetries? How have the notions of situated or embedded knowledge changed over the last decades? How can artworks actually create meaning from the place where they're produced? What were the early attempts of de-monumentalizing art outside of the museums; and, finally, what actually is non-extractive curating.
Both books are edited by CuratorLab at Konstfack University of Arts 2020/2021: Anna Mikaela Ekstrand, Giulia Floris, Vasco Forconi, Edy Fung, Julius Lehmann, Maria Lind, Marc Navarro, Simina Neagu, Hanna Nordell, Tomek Pawłowski Jarmołajew, Marja Rautaharju, Erik Sandberg, Joanna Warsza
The process was led by Joanna Warsza and Maria Lind
Published as part of: Emma Cocker, 'Conversation-as-Material', in the Special Issue 'Practices of Phenomenological and Artistic Research', (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, [Vol. 17, No.1, 2022], pp.193-223. ISSN 1913-4711. See full issue here: https://journals.library.ualberta.ca/pandpr/index.php/pandpr/indexopen exposition comments (0)
This is an exposition in progress. Starting in the 2021/22 season, the professorship Artistic Connective Practices organises and curates a series of encounters with practitioners, the research team of the professorship and audience, in order to explore the notion of Artistic Connective Practices.open exposition comments (0)