FROM ART TO ECONOMY AND BACK: Initial steps towards the understanding of resonance, affect and love in nomadic systems through the case study of Lisbon Drawing Club
(2024)
author(s): Lígia Fernandes
published in: Research Catalogue
This research builds on 20 years of combined experience in economics and art, exploring how economic and relational systems shape emotional landscapes. The study investigates the intersection of art and economy through the lens of love, using resonance and affect to understand their relational dynamics. With a focus on nomadic practices exemplified by the Lisbon Drawing Club, the research examines how community-oriented art fosters relational bonds and emotional responses, particularly through drawing sessions. Employing autoethnographic and desire-based approaches, the project integrates mapping, community engagement, and artistic experimentation to deepen insights into art-economy relationships.
The Archeologist's Gaze
(2024)
author(s): Jehanne Paternostre
published in: VIS - Nordic Journal for Artistic Research
The Archeologist’s Gaze presents and reflects on a project on the restoration of ancient tapestries, following the award of a research grant to TAMAT (Museum of Tapestry and Textile Arts, Tournai, Belgium) in 2020-2021. After immersing herself in the museum's restoration workshop, looking for images, words, materials and gestures, Paternostre turned her attention to the reverse side of the tapestry. Studying the scraps of thread that had fallen to the floor, her vision of the tapestry was turned upside down, and the little bits of thread that gradually was picked up from the ground became the focus of the research. These details bore traces of many hands that had restored and repaired the tapestry over the centuries and told a story of care and attention, the inseparable opposite of monumental tapestries and mythical tales.
Reflections on walking and the disruptive experience
(2024)
author(s): Kenneth Russo
published in: HUB - Journal of Research in Art, Design and Society
Our main interest is based on understanding spatial relationships from first-person experience, from our virtual and real body. Through the act of walking, movement in real time, we become cursors that dash across the interface of reality. A continuous process that brings us closer to the production of meanings, new relationships and representations, and also a dialogue with space and time, and the network. This article seeks to present a series of disruptive experiences, documented by the authors themselves, which constitute an exploratory framework of space to discover different symbolic interrelationships, and sketch out constructions of the common space in haptic, political, social and cultural mode. It offers a repository of unexpected, intersubjective encounters, from the empirical practice of walking, which arouses new perspectives to be able to interpret circumstantial spaces, to lose oneself in ‘non-places’, or reflect as to how to approach the landscape and/or the city by opening new imaginaries that add value to the ‘glocal’ place that we traverse and/or inhabit.
Score: Mechanical Asynchronicity – audio album
(2024)
author(s): Martin Scheuregger, Danica Maier
published in: Research Catalogue
This exposition is the online, open-access audio album of 'Score: Mechanical Asynchronicity' by Danica Maier and Martin Scheuregger. The album allows you to play full ensemble versions of the project's two pieces, and also mix your own versions of each piece by combining and balancing the individual instruments. It accompanies the publication of a related 40-page book on the project from Beam Editions.
Ancestry – after DNA test – considered through Drawing
(2024)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
To the extent that this research is artistic, it involves the mediums of drawing, drawing towards painting, academic research, academic writing, fiction, and occasional use of video. If artistic research could be an entity with the opacity, so to speak, of such mediums, then it would not be necessary to mention its constituents. However, this is worth stating at the outset because in the author's view the Research Catalogue does have its own mediumistic basis: take the research off the platform and its form and concept alters. The topic of the research is a response to the author's genetic ancestral DNA test provided by i3S (Institute of Investigation and innovation in Health, Porto University). The author is one among a group of participants conducting individual research on the theme of 'Call for Drawing – Genetics and Identity'. This author's activity follows an exposition called 'Ancestry – before DNA test – considered through Drawing', published on the Research Catalogue. The activity concerns the charting of progress of thinking, doing and making up to and including two main pieces of visual-material work, with the expectation that the research will continue to develop.
Distanciation and other: implications of distance in an ancestry DNA project
(2023)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
The exposition focuses on the question of ‘distanciation’ that at-once both distances and furthers one’s understanding of the self through being drawn into a work of text – here taken in a broader sense to include also the visual-material – and geographical and temporal distance. The latter interpretation of distance relates to the artistic research project that contextualises the article, which is in response to a call for drawings on the question of genetics and identity, hosted by i3S (Institute of Investigation and Innovation in Health, Porto University). As part of this author’s response, and as an example that may, through its reading, cause some expansion of one’s notion of self, the novel ‘The Inheritors’ by William Golding is discussed. From the point of view of genetic ancestry, Golding’s novel involves incongruous recognition between a family of Neanderthals and a larger group of Homo sapiens, and a more psychological use of the term ‘other’ for foreignness and one’s negotiation of such initial reaction by oneself. The conjoined question of distanciation and other is considered through reference to a large drawing of the author in progress as part of the ancestry project at the time of writing, and through theoretical reference to the work of Paul Ricoeur, Jacques Lacan and Bracha Ettinger that helps elaborate on distanciation, the psychically interpreted other, and a maternal matrixial idea of pre- and post-natal I and non-I of the self in contiguous relationship not only with psychoanalytical theory, but also with global ancestral mitochondrial DNA.
Observations of: The Observation of Perception, considered through Drawing
(2023)
author(s): Mike Croft
published in: Research Catalogue
The exposition provides some indication of the content of an exhibition at Lugar do Desenho – Júlio Resende Foundation between 23 September and 28 October, 2023. Several artistic research projects have been explored by the author through drawing and writing between 2021 and 2023 while resident in Porto, Portugal. The projects have each been hosted by i2ADS (Institute of Art and Design Society) as part of a larger collaborative research project called 'The Observation of Perception', considered through Drawing. Two of the projects, or one project divided into two parts, are specifically a contribution to a genetic ancestry project – ‘Call for drawing – Genetics and Identity’ – hosted by i3S (Institute of Investigation and Innovation of Health), Porto University. The main formatting of all of the projects has been the Research Catalogue, in which the visual works that now comprise the exhibition have previously been placed in a multiple media context as artistic research.
Speech spoken: Two monologic transcripts and the return of interspersed sections of them to speech that oscillates between sense and non-sense
(2023)
author(s): Mike Croft
published in: Research Catalogue
The exposition brings into and adapts a previous recent practice concerning speaking while simultaneously drawing, audio-visually recording two states of the process, transcribing the monologues, and alternately interspersing them line-by-line. Such a practice is taken up at the level of the interspersed monologues to show and reconsider their content as potentially readable. To Editing and enabling such readability, however, returns spoken content to written, while reading it maintains the role of voice. The read content as short audio-recordings, termed cameos, wavers between sense and non-sense, while being read as if it were making sense. The particularities of this are discussed, with some theoretical reference. The reader can, if they wish, also view the drawings that generated, and had in their turn been generated by, the speech – although this is not essential to the purpose of the exposition.
Seminar – Of Artistic Research: considered through hybrid writing and visual practice
(2023)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
The exposition involves the adaptation of the psychoanalyst Jacques Lacan's logical square, to convey an idea of artistic research practice considered from the perspective of the human subject's position in its midst. As part of the discussion the author has used some evidence of a previous lecture presentation, integrating such material with that of a newer project concerning the visualization of a nightmare image of a phantom in a portal. The tools of the research are a hybrid form of writing that embroils fictional and academic modes as a language-based practice, and visual artistic practice. The author takes Lacan's idea of the confounding of any logical argument by automatic obfuscation of it by unconscious process, and imagines that he has an other to him as a subjective second voice. The question of voices is central to the research; the suggestion that one does speak to oneself in various ways simultaneously that may be fashioned as distinct and separate. It is argued that the research aspect of artistic practice involves just a section of Lacan's logical square, particularly concerning contingency. This orientation may call to question one's tendency to reason and find meaning from the necessary locus of inquiry from the vantage-point of the language-based Symbolic – of Lacan's three psychic structuring registers Imaginary, Symbolic, Real. The element of fiction provides a literary inclination whereby, while the artistic research speaks about itself as research and references a visual practice, the exposition could also be considered a language-based practice in its own right.
Intimate to and transcendent of transient time qua the seen and drawn in the present: an email to a painter/academic and his reaction
(2023)
author(s): Mike Croft, derek pigrum
published in: i2ADS - Research Institute in Art, Design and Society
The idea of the exposition was triggered by an email exchange between artists Mike Croft and Derek Pigrum on 30th November 2022. The two artists have for more than a year been maintaining an email correspondence on matters of mutual interest concerning their visual practice and theoretical explorations. On this occasion Croft had read something by the psychoanalyst Jacques Lacan on the automaton, the latter of which he knew to be of great interest to Pigrum, the email to Pigrum of which opens the exposition. The resulting email response from Pigrum has as its point of focus a visit he had made the day before to the KHM (Kunsthistorisches Museum) in his home city, Vienna, where what he terms ‘the automation of contingency that generates repetition’ was as usual in operation. The references Pigrum made in the email to his own artistic work and existing works of art and cultural and historical artefacts suggested his text might be divided and illustrated, the resulting format of which is the present exposition. Several additional responses to the email exchange’s content ensued, termed interventions in the exposition, leading to a closing email exchange dated 11th December 2022. A third email exchange between 13th and 14th December has resulted in a Postscript section. Croft’s contribution pivots, he suggests, around Lacan’s coined term ab-sense, very approximately interpreted to mean absence of meaning between patterns or continuum – in the linguistic context signifiers –that are nonetheless not reducible to mere nonsense. The running through, as it were, of contingency in Pigrum’s practice – which he points out is not his only interest and prompts a need to show the broader picture, as it were, a pivotal influence for him being Aby Warburg’s Atlas Mnemosyne – may be considered informed by sense more so than meaning. The exposition is an example of how an ongoing correspondence can be an important aspect of each artist’s practice.
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.
A to Z: Visualising Every Word in the Dictionary in Alphabetical Order
(2022)
author(s): Dave Ball
published in: VIS - Nordic Journal for Artistic Research
This exposition focuses on my 35-year-long project to visualise every word in the Concise Oxford English Dictionary in alphabetical order, A to Z. Begun in 2011, the point of departure here is a particular moment in the unfolding of the project: the recent completion of the final D-word, “dystopia”. A to Z is premised upon the carrying out of a defined conceptual rule: a “tactically absurd” commitment to a lifetime of artistic effort, whose ostensible folly gives rise to an ever-expanding body of work that appears arbitrary, unwarranted, and nonsensical, but which, through its playful insistence, might also be understood as operating in a new and alternative realm of sense.
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.
Artist-author in Action and Reflection
(2022)
author(s): Mike Croft
published in: Research Catalogue
Published as part of: Michael Croft, 'Artist-author in Action and Reflection' in 'Practices of Phenomenological and Artistic Research', (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, Volume 17 (2022), No. 1, ISSN 1913-4711
https//journals.library.ualberta.ca/pandpr/index.php/pandpr/index
Responsibility towards the Void
(2022)
author(s): Mike Croft
connected to: i2ADS - Research Institute in Art, Design and Society
published in: RUUKKU - Studies in Artistic Research
The question of responsibility is explored through drawing, specifically relating to a so-termed void space that ranges over a builder's yard and its immediate environment. The research is formatted as dated journal entries to show its chronological development, with the proviso that later stages may eclipse earlier stages, depending on their relevance. This looping, as it were, mimics the fact that the void space is best defined by the occasional circling of swifts, an observation that becomes a metaphor for how to try to articulate the space pictorially. Responsibility is referenced through theories of each of Levinas, Lacan and Foucault in relation to the Other, the latter of which is taken as the theoretical equivalent of void, but no less concerning responsibility. The author has drawn the site in such terms as locate the void in both the space that the site defines and a gap in the drawing process. This artistic effort is analogous demonstration of responsibility to that which is suggested by the theory. Responsibility is considered from the perspective of the personal and individual, automatically present in artistic commitment, in this case finding some explanation in theoretical thinking of the abstract notion of Other. The formatting of the process of attending to this theme and motif as research leads to a situation where drawing, as such, is but the predominantly visual tool alongside art writing, academic research, and graphic layout that provides live links to video clips and two explanatory texts.
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.
Diagramming Perception
(2022)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
This artistic research is a contribution to a larger research project titled ‘The Observation of Perception, considered through drawing’, hosted by i2ADS. The research begins with the hypothesis that perception can be diagrammed, in this case through and as a form of drawing that indicates how perception is for this investigator conceived and works in action. One of the two visual motifs of the work is also a meta-motif, in that as an action-camera placed over the eyes, it is the means by which the investigator records himself at work on the second main motif, which is his image as viewed in a circular hand-held mirror. The investigator approaches the initiative as a question of diagramming the self-same initiative, accepting whatever are its developed implications as the aesthetic of the work. Peirce's division of the diagram into elements of firstness and secondness, with the elusive recognition of diagram as an abstract entity before any communicative purpose, keys into a working practice that in any case veers towards the diagrammatic. The investigator's tendency to audio-visually record his working process has led him to a position where the logistics of the purpose paradoxically reveal the subjectivity – if not absurdity – of the self-same process. In this case, little by little, a contingent factor of a wart takes centre-stage as blind spot; at-once a torn hole within the drawing's material surface, the action camera as an illusory obstruction, and a factor that oscillates with and as the circular self-portrait. The presentation takes the viewer/reader through the process, largely perceptual, that is diagrammed on and as the artifactual outcome, the drawing.
My nature
(2021)
author(s): Kate-Elin Madsen
published in: Faculty of Fine Art, Music and Design, University of Bergen
Presentation of drawings and artistic research from 2018/19. Modules of drawings that are put together into large formats and recomposed.Experiments with photographic images, risograph printing and pencil drawing.
Viral Drawings: Transmission BC / QT / AV
(2021)
author(s): Karen Schiff
published in: VIS - Nordic Journal for Artistic Research
This exposition reflects on the drawings I was making at different stages during the COVID-19 pandemic. Initially they are compared to my long-term practice of making abstract drawings patterned on language, and then they are used to theorize a "poetics of transmission." This framework is discussed in relation both to how the virus is transmitted and to how ideas are created and circulated. Various analytical interpretations of the drawings are considered. At some moments, I treat dots in the drawings like ideas or virus particles; at other moments, the strategies I use for connecting the dots represent the process of generating ideas. The drawings become tools for the "research" of thinking through physical and intellectual contagion.
Coded Perception: 'Out of the Corner of One's Eye'
(2021)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
The exposition concerns how aspects of perception, mainly visual but not excluding other senses, are encoded within the artist’s drawing-based practice. Such coding is increased due to the artist's use of speech and its recording to eventually produce textual transcripts, and video evidence of the process of drawing while drawing. More inclusively stated, the artist’s practice oscillates between visual and linguistic means, and analogue and digital methods. As research, the exposition questions where and how coding is implicit in the artist’s perception during his approach to his work. Such questioning is enabled by a split between the artist in his reflexive involvement presented as speech transcripts and supporting screenshots from the video recording, and his reflective observation on the content of the transcript as if made by another-person interlocutor. The exposition is presented as a textual introduction and conclusion, between which is access to the full audio-visual recording of the drawing process and a flip-book presentation of the transcript and interlocutor interventions. The exposition's main image is the artist's finished drawing.
‘[…] Biology of One Body’s work’: A video collage of seconds counted while drawing + 2-minutes’ playback layered a number of times
(2021)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
A three-minute video, including title and credits, concerns a second re-working, in effect layer three, of a drawing that references incidental observation of the inside of a glass jar and additional materiality, such as an action camera worn in front of the eyes and how the jar is attached to the drawing’s surface to enable the process’s video recording. The audio concerns the counting of seconds while drawing and the prolonged intonation of the word RAUM, German for space. Each of these vocal elements directs and impacts on the drawing procedures, the latter of which are implemented with pencils designed for marking on non-porous surfaces such as plastic and glass, and erasure of such pencils on laminated white cardboard. The video fades in and out of the drawing at each of its three stages, two of which were from times prior to making the video, the last of the stages of which was up to the time of beginning the video. The video is also interspersed with scrolling typed indication of the various correspondences between the counting of time and phrases of spoken monologue, the latter of which has been divided into two audio layers through having been recorded onto both the camera’s microphone and an external voice recorder. At 1: 47mins of the video the content fades to a muted simple scroll-through animation of the completed drawing of the previous video content played back a number of times, which had been responded to through the layering of the drawing the same number of times across nine pieces of handmade paper, 51 x 36cm, in plastic-based pencils and acrylic paint. The video encapsulates the above-mentioned individual facets as a single entity that provides some comment on the diverse nature of time in the context of its experience in and as drawing.
Keywords: drawing; time; monologue; language; intonation
CHOREOGRAPHIC NATURE. A DISTANCED LOOK TOWARDS MOVEMENT (DANCE MOVIE 'NON-BREAKING SPACE' (2021) | ESSAY)
(2021)
author(s): Greta Pundzaite
published in: Research Catalogue
NON-BREAKING SPACE is a dance movie revealing the vulnerability of creation process to its context when questioning the nature of movement and looking at choreography through a zoomed-out lens. Thirteen minutes lasting continuous floating in sound, colour, shape and time starts with an impulse of a meandering line through drawing and of a floating thought through text imposing the interconnectedness and shared choreographic characteristics. The movie continues with moving mass, however, maintaining a distanced look towards movement.
Naturfilm
(2021)
author(s): Elisa Rossholm, Anna Sofia Rossholm
published in: VIS - Nordic Journal for Artistic Research
’Naturfilm’ (nature film) consist of three image based essays that reflect on the relation between mankind and nature in Swedish classical nature documentaries, and also on modernity’s negotiation of the separation of nature and human culture by large. The essays include reflections on landscape, natural resources, species and gender relations, indigenous cultures and media materiality. The essays combine images and voice-over, more specifically a series of drawings of still images from existing film footage combined with fragmentary reflections on the images as media inscription and representation.
The essays are media transformations of existing Swedish documentary films from the peak of the classical era, namely from the late 1930s until the early 1950s. In an ecological context, this period represents what is labeled ‘the great acceleration’, an increased exploitation of natural resources, and to some extent an intensified separation of nature and human activities.
Jaloittelemassa – Kävelemällä piirtäminen ja viivojen paikat
(2021)
author(s): Kalle Lampela
published in: RUUKKU - Studies in Artistic Research
Tässä ekspositiossa esitän, kuinka tuotan jälkeä ja havainnoin maailmaa kävelemällä. Jaloitteleminen saa kehon liikkeeseen, jonka jälki piirtyy paperille. Käveleminen piirtämisen keinona on kuitenkin sillä tavalla performatiivista, prosessuaalista ja syntyhetkensä tapahtumiseen kiinnittynyttä, että pelkästään jäljet paperilla eivät voi antaa siitä kattavaa kuvaa. Siksi tarkastelen jaloitteluani kokonaisuutena.
FERRY EXPERIMENT: READING LINE AND SOUND | PHYSICAL MOVEMENT LAB
(2021)
author(s): Greta Pundzaite
published in: Research Catalogue
Ferry Experiment: Reading Line and Sound aims to grasp movement in different artistic elements and trace their interconnection. A sound of a ferry trip Lisbon-Berreiro is recorded as if from two differing ears of a passenger. One traces the movement of detailed noise inside while the other lowers itself to the machinery and gives an impulse of the repetitive swing of moving water. A drawing is created as a result, dismounted to its detail and used together with the sounds as a continuation searching itself in the movement of a body.
Inappropriate COLLISIONS
(2020)
author(s): Catherine Baker
published in: Research Catalogue
Inappropriate Shift is the title of a co-authored chapter in Collective and Collaborative Drawing in Contemporary Practice [eds Journeaux and Gorrill] by Dr Catherine Baker (Birmingham City University and Kimberley Foster (Goldsmiths University). However, it is part of a larger project conceived in 2015 been the two authors that includes a number of drawing related activities and is ongoing called Inappropriate Collisions.
Walking the Newsroom: Towards a Sensory Experience of Journalism
(2020)
author(s): Sander Hölsgens, Saskia de Wildt, Tamara Witschge
published in: Journal for Artistic Research
We invite you to join us on a walk through the newsroom of a regional newspaper, Dagblad van het Noorden. We trace how the journalists perceive, articulate, engage, embrace, challenge, are receptive to, and give form to the ‘atmospheres’ of their workspace. The concept of atmospheres is central in how we have looked at the newsroom. On this walk, we explore the spatial, socio-cultural, rhythmic, tonal, and somatic characteristics of the recently redesigned newsroom, using video, sound, text, and drawing. Employing artistic methods, we want to let you experience this newsroom together with us – giving you insight into the journalists’ lived experience of their profession as fundamentally interwoven with the idiosyncrasies of their workspace.
Our host on the walk is online news editor Alfred Meester. Alfred walked us, Saskia and Sander, through the newsroom, which we visited as part of the project Exploring Journalism’s Limits (funded by the Dutch Research Council, NWO, project number: 314-99-205). Also joining us on this day is Ricky Booms, a visual artist invited to reflect on the space alongside us. Along the way, we encounter visual editors, interns, freelancers, editorial staff writers, and learn about the kinds of spaces that resonate with them.
The walk takes approximately 45 minutes.
Spin, Puppet, Spin: Drawing Estrangement
(2019)
author(s): William Platz
published in: VIS - Nordic Journal for Artistic Research
The life studio is an eccentric place and this exposition is populated by eccentric characters. The drawings and photographs contained in this research have all been created by studio puppets. Each puppet's awkward methods of working — stabbing, pulling, twisting a clutching hand — magnify the work’s unorthodox strategy. Puppets will illuminate the idiosyncrasies, malfunctions and estrangements typically surfeited in the life studio’s private sphere. This research responds to the work of E.T.A. Hoffmann (‘Spin, puppet, spin’) and George Méliès; puppet/art hybrid exhibitions; the Puppet Master horror franchise; and the lay figure of Gustave Courbet. Puppets are not alien in the life studio. Although they were typically concealed in the artist's process and hidden from public view, they were common fixtures until the 20th century. This exposition estranges artists and models from the life drawing apparatus and invites puppets to make pictures.
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.
Translucent surface/Quiet body, redistributed
(2019)
author(s): Katrina Brown
published in: Journal for Artistic Research
'Translucent surface/Quiet body, redistributed' is a dissemination of artistic research investigating drawing as a choreographic activity and bringing attention to the material, visual and haptic organisations of moving-drawing in relation to gravitational force and surface dimension. Working in residence and on a large table-like construction at the dance research centre L'Animal, Celrà in Catalonia, a moving-drawing body was recorded from beneath the receiving surface of the elevated table-top, offering an inverted view of surface contact between static and moving surfaces, between paper-glass and skin as the performing body worked low and close in the horizontal plane. The exposition presents a choreographic view of findings and highlights emergent coinciding capacities of surface (paper, glass, skin, screen) to support, receive, record, touch and display. Art historian Leo Steinberg’s notion of the ‘flatbed picture plane’ (1972) was reconsidered within a choreographic practice and research of moving-drawing relative to gravity, orientation and distribution of data. The exposition over the two-dimensional online page presents another surface on which to distribute observations, notes, findings as extended making-thinking, as documentary work-surface - and as flatbed.
MONUMENTS / Les frontières qui établissent les normes qui nous fondent n’existent pas ici
(2019)
author(s): Audrey Beaulé
published in: Research Catalogue
Tout a débuté par un désir et ce qui m’apparaissait comme une nécessité: tenter une relecture queer et féministe de l’abstraction.
Mapping Methods of the Millbank Atlas
(2019)
author(s): Shibboleth Shechter, Marsha Bradfield
published in: RUUKKU - Studies in Artistic Research
The Millbank Atlas is part of an ongoing collaboration that manifests as live projects developed in response to local desire and needs. Staff and student researchers of Chelsea College of Arts (a constituent college of University of the Arts London) come together with residents and others of the Millbank neighbourhood in Westminster to bring the Atlas into being. As both process and outcome, the Atlas creates meaning through conceptualising Millbank as comprised of reciprocal relations among the College and surrounding businesses, residential blocks, civil society groups, transportation links and other amenities, infrastructure and further aspects of this built and natural environment. Central here is the lived experience of Millbankers - those who reside, work and study in this London locale.
In what follows we revisit The Millbank Atlas to draw out a nascent aspect of our paper for VI Art of Research (AoR 2017). This begins with scoping our presentation for this conference, which was titled ‘The Millbank Atlas: Catalysing Practice-based Research in a Spirit of the Civic University’ to refresh our interest in the agency of collaborative practice-based research. We review our claim that as a community of practice < > practice of community, the Atlas catalyses through chiasmus. With this established we turn to our immediate concern: the catalytic role that mapping plays as the core practice in The Millbank Atlas. Drawing on Denis Wood’s sense of mapping as an alternative to mapmaking, we go on to propose the Atlas as an instance of counter-mapping. Aspects of the Atlas’ production, exhibition, dissemination and other impact are discussed with reference to counter-mapping as an emerging field with political purchase. Evidence of this includes the vital work of the Argentinian collective, Iconolasistas and the Counter\Mapping campaigns out of Queen Mary University in the UK.
The third part of this paper returns to the three core questions of AoR 2017. These we addressed at the conference with reference to the Atlas’ catalytic potential to generate communities through collaborative, practice-based research. In what follows here we consider the questions from a fresh perspective: the agency of counter-mapping to produce new understanding that is not only communicable but also critically compelling. Drawing as both a literal act of inscription and as figurative language proves vital in this regard (e.g. mark making but also drawing metaphors, such as drawing together, drawing out). The paper concludes by insisting that the catalytic value of counter-mapping resides between the critical and creative process of making the maps and their outcomes as evidence-rich artefacts. Finally, we indicate a direction for future enquiry: probing the agency of counter-mapping as practice-based research that gains traction through the maps’ discursive production as they are read and negotiated.
Searching for Catalysts in the Practice of Drawing
(2019)
author(s): Tero Heikkinen
published in: RUUKKU - Studies in Artistic Research
In this exposition, I discuss my recent exploratory drawing practice, with a background in design drawing. I have chosen to study and understand three-dimensional forms through drawing. Animation is looked at as a catalyst with which the forms and the task become better understood. I am looking at the alternation or tension between these ends: lines and shapes, still images and animations, while designing the shape of a hand and discussing what it is to know the shape of an object for the purposes of drawing.
Can a drawing be rehearsed?; or, There's no bowing in performance art
(2018)
author(s): William Platz
published in: Journal for Artistic Research
This exposition combines a practice-led research project titled 'Tullah and Tom: A Drawing Affair' with a reflective analysis of ‘performance drawing’—a tag deployed with increasing frequency in drawing research. Drawing has always been hybridised and concocted with other disciplines and research frameworks, but its contemporary associations with performance art, expanded theatre and the performing arts are under-examined. The co-option of drawing by performance lacks extensive critical engagement, as do significant aspects of the performance drawing process. The subject of this exposition is two of these unexamined aspects—rehearsal and the curtain call. Although there are analogies to be drawn with theatre, this research resists analogy and focuses on these phenomena within the context of drawing practice. Drawing rehearsals and curtain calls are peculiar and specific activities within the performance/drawing nexus, and their examination has yielded significant insight. One private and one public, these ancillary and parasitical processes bracket the performance drawing and fulfil pivotal roles in enacting, re-enacting, and disenthralling the drawing from its performance matrix.
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.
Drawing Exercises
(2017)
author(s): Tero Heikkinen
published in: RUUKKU - Studies in Artistic Research
In this exposition, I present three different exercises for drawing space and form that have been helpful in analyzing the current state of my drawings and refreshing my abilities. I look at the exercises in terms of skill building, reflective research practice and indwelling.
The study is a process of framing and re-framing drawing through devising drawing tasks for the self. These exercises steer the drawing towards different directions or reinforce the skill. The broader practice of drawing also includes this direction-setting, both building and being aware of a space of possibilities for the drawing practice. Thoughtful drawing exercises can become material for research in the arts.
ANCHORAGE: a phenomenology of outline
(2017)
author(s): Joe Graham, Steven Dickie, Chantal Faust
published in: Journal for Artistic Research
'ANCHORAGE' constitutes a collaborative piece of phenomenologically inspired drawing research, undertaken by artists Joe Graham, Steven Dickie, and Chantal Faust. Comprising forty drawings plus a written text, the objective is to ‘outline’ an understanding of the phenomenon of outline, described in an effort to overcome the traditionally definitive descriptions of it that abound (Rawson 1987; Maynard 2005; Thomas and Taylor 2003). In this respect, it constitutes both a relocation and an online extension of an earlier stage to the project, published in print: 'ANCHOR' (2015). In outlining an alternative form of reply to the earlier question (what is an outline?), the purpose of 'ANCHORAGE' is to revisit what was left uninspected or simply assumed; namely, whether an invariant understanding of outline in relation to drawing as a form of art might sensibly be defined. To address this notion, a variety of hand drawn ‘outlines’ by Graham, Dickie, and Faust are supplied for analysis, using original material from 'ANCHOR' as a guide. As lead investigator, the text by Graham seeks to unpack these variations as a part of a Husserlian-inspired methodology (Husserl [1950] 1999). This is geared towards seeking what an essential or perhaps even ‘truthful’ understanding of outline might look like, contingent on the drawings presented here.
About exchanging a portrait •
(2016)
author(s): Gert Germeraad
published in: Research Catalogue
This is a text concerning artistic processes. It has a starting point in a project where I am making a portrait of a colleague artist while he is making mine. During the making of this portrait and thereafter I question my ways of working in which I occasionally find myself confronted with artistic blocks. In a period of two and a half years I investigate and articulate my artistic process as it meanders and expends over the different attitudes and problems I encounter in my work. I give a critical analysis of my motives and working methods and try to extend the range of possible ways of working.
This text can be read as an extension of my previous text "Rationality, Intuition and Emotion, exploring an artistic process" that is published in the Journal for Artistic Research, JAR 3.
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.
Choreo-graphic Figures: Beginnings and Emergences
(2015)
author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil
published in: RUUKKU - Studies in Artistic Research
Choreo-graphic Figures: Beginnings + Emergences
Choreo-graphic Figures: Deviations from the Line is an interdisciplinary research collaboration involving artist Nikolaus Gansterer, choreographer Mariella Greil, and writer-artist Emma Cocker, for investigating the nature of ‘thinking-in-action’ or ‘figures of thought’ produced as the practices of drawing, choreography and writing enter into dialogue, overlap and collide.
Central is an attempt to find ways of better understanding and making tangible the process of research ‘in-and-through practice’ — the unfolding decision-making, the thinking-in-action, the dynamic movements of ‘sense-making’, the durational ‘taking place’ of something happening live — and for asserting the epistemological significance of this habitually unseen or unshared aspect of the artist’s, choreographer’s or writer’s endeavour.
Our research enquiry unfolds through two interconnected aims: we are interested in the nature of ‘thinking-feeling-knowing’ operative within artistic practice, and seek to develop systems of notation (and exposition) for sharing and reflecting on this often hidden or undisclosed aspect of the creative process. Through this specific exposition — Beginnings and Emergences — our intent is to share findings from the prologue phase and year one of our three-year research project Choreo-graphic Figures: Deviations from the Line, during which we have explored how various processes of ‘beginning’ performed within live artistic activity might create the conditions for processes of emergence to arise. The intent is to share some of the ‘figures’ developed within this research project for articulating ‘beginning’ within a collaborative artistic process (e.g. Figure of Circulation, Figure of Shared Vibrations, Figure of Clearing, Ordering and Emptying Out, Figure of Touch and Reaching Towards the Other), alongside reflecting on and attending to the process of emergence within artistic labour itself – a process we have called ‘figuring’. Figuring – we use this term to describe those imperceptible or barely perceptible movements and transitions at the cusp of awareness within the process of “sense-making”: the moments of revelation, epiphany, synchronicity, of change in tack or direction or pace, the decision to stop, do something different, begin again. Figuring manifests within those threshold moments within the creative process that are often hard to discern but which ultimately shape and steer the direction of the evolving activity. Our research involves cultivating practices of attention (a perceptual heightening, hyper-sensitizing, sharpening of alertness) for noticing these emergent figurings within the process of creative activity, and devising systems of notation for identifying, marking and even tentatively naming these processes of emergence.
In developing this exposition, our intent has been to remain faithful to the process of investigation itself. Rather than being conclusive, our exposition reflects the process of its own production; itself a diagramming of the multiple and at times competing forces and energies operative within the process of artistic collaborative practice. We propose an exposition that unfolds less as the linear explication of a process, but rather — like artistic process itself — more as an assemblage of overlapping and concurrent components, where attention shifts between the textual and the visual, between what is sayable and what is shown.
Collision
(2015)
author(s): gilda mautone
published in: Research Catalogue
COLLISION exhibition Enzo Giordano - Gilda Mautone
The project COLLISION brings together artworks by artists Gilda Mautone and Enzo Giordano.Based in Berlin, Mautone and Giordano have been working together for 5 years and consider their works as a whole.The artists explore psychological situations starting from their personal experiences as well as observing and responding to external circumstances. The impact between the intimate and public spheres translates in a conflict evoked by the title of the exhibition.Their practices, although different, share similarities in themes and approaches.Collision aims to activate a reflection on the psychological dynamics involved in the artist’s works, asking for the participation of the public.
COLLISION was exposed at the Italian Embassy of Copenhagen in March and consecutively in September in Milan at Officina Temporanea.Will also be presented at the Italian Embassy of Prague in November.
From: Wednesday 22 April 2015 at 18:00h
To: Sunday 5 May 2015 at 18:00h
Location:
Italian Culture Institute, Italian Embassy , Hiroshimastraße, 1 Berlin 10785
One Motorbike, One Arm, Two Cameras
(2015)
author(s): Ainara Elgoibar
published in: Journal for Artistic Research
The idea of creating a video work exploring the question of how an industrial robotic arm would see a handmade product is used as a pretext to generate a meeting point for different local agents in the framework of the production of an art project titled 'Rodar y Rodear' ('To Shoot and to Surround') (2013).
The heirs of a post-civil war motorbike manufacturer (MYMSA) and the Barcelona Fab-Lab found it interesting to take part in the production of this artistic project, which is a film event built on the idea of dislocation in the common uses of its leading actors: a motorbike restored as a museum piece and an industrial robotic arm programmed to produce the image of something that was fabricated with a pre-robotic sensitivity.
This exposition explores the connections that arise between production processes in commercial cinema and the automotive industry, and the capacity that artistic research has to create a singular and significant space for mutual exploration.
"What the Probes Report": An Exercise in Operative Fiction
(last edited: 2024)
author(s): Elena Peytchinska, Thomas Ballhausen
This exposition is in progress and its share status is: visible to all.
With Operative Fiction, we propose a practice of spatial storytelling that proceeds along the lingual dynamic of prepositions rather than verbs. The text body is embedded in the medial spatiality of a printed book, a digital interface, or a performance space. Thus, the site (of the text) becomes a constituent and inextricable part of the storytelling. Methods of spatial production invade the text's very texture; in turn, textual compositions influence the unfolding of space, place, and site. Not only the story (conveyed through the text) but the text itself, with its material and procedural potential, activates the site of its action; it entangles itself in the texture of the digital surface. Furthermore, our prepositional practice shifts the spatial (and textual) focus from “location“ to “position” and “positioning”, thus activating the relational potential of multiple textual and chrono-topical layers.
We begin our exercise in Operative Fiction with Thomas Ballhausen’s “What the Probes Report” by transposing the text from the surface of a printed page (FLORA, 2020) into the digital interface of a Research Catalogue exposition. The non-human protagonist, evoked through and evolving throughout the text, disrupts a subject-centred mode of narration: it is entangled in the word- and landscape of its development, thus becoming—by means of its procedural logic and function—a constituent part of its staging. The line, speculatively re-enacting the machines' functions, is the same, drawing the digital landscape's topographic texture. Applying a drawing technique typically used in a performance design draft, we explore the friction between staging and spacing by deploying minimally visible images and textual suggestions of direction. The operational plasticity of the technical images enables the congregation of dramaturgical intensities (staging) while disseminating and dispersing the story through the technological means of the exposition into hyperlinked virtual spaces (spacing). In addition to a linear reading mode, following the initial chronology of the story, we also propose a contingent reading mode activated through time codes. Acting simultaneously as elements of the drawing and as hypertext, these timelines imply the duration of a staged terrain, sometimes congregating multiple time zones within a topographic entity. Timelines act as “more-than-texts”, creating a multiplicity of positions and neighbourhoods, intertwining temporal aspects of space with the speculative grammar of the story.
Drawing Across x Along x Between x University Borders
(last edited: 2024)
author(s): DRAWinU
This exposition is in progress and its share status is: visible to all.
CONFERENCE, UNIVERSITY OF PORTO.
October 16, 17, 18th, 2024
::
Drawing Across :: Along :: Between University Borders considers the epistemological and transformative potential of drawing research to connect divergent areas in the university today. The conference focuses on drawing-based collaborations between art, science and society to tackle artistic, educational and societal challenges. We invite artists, scientists, educators, students, university policymakers and persons interested in inter-transdisciplinary practices across academia, research, and society to contribute and join the discussion in three possible directions:
ACROSS - In what ways are drawing practitioners challenging the disciplinary strictures that often constrain thinking and acting across divergent areas in the university?
ALONG - How can drawing activities be an ally of STEM education in the university, and how can STEM practices be an ally of drawing education?
BETWEEN - How can drawing-based practices and STEM disciplines collaborate to address the urgency of societal challenges?
My nature
(last edited: 2024)
author(s): Kate
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.
My nature
Nature is my source of inspiration – like many artists before me. My working process could be like that of a scientific process, but as an examination through an artistic approach.
I work with a kind of system that contain several single formats put together to form a larger drawing. The drawings contains a large number of copies of the same photograpic image which is interpreted through drawing. The modules are a photographic image taken from a tree – in one of the system – is the bark, in other it is the roots and the third thing is forms that grows out of the surface. The photograpic image is transfered via a risograph onto a surface that is suitable for drawing. The visual intrepretation happens in the organic structure, in the space between, in the rythms and in the lines. The drawing process is like drawing in pixels – while each module is a A3 format. Throughout the prosess the drawings are composisioned, arranged and rearranged, with the intention to form a new image still unknown and unseen - while some of the underlying and known image is still visible like fragments and fractals of the wholeness. In all the drawings is used soft pencils B – B9, all the works are from 2018. The size of 2 of the images are 164 x 236cm and 195 x 162cm. The third one has a looser composition where the empty space also play a role.
Visualizing the Betweens: Drawing Intersectional Discrimination Dialogues with Teenagers
(last edited: 2024)
author(s): letbal
This exposition is in progress and its share status is: visible to all.
This article shows how drawing can be used to discuss intersectional discrimination in a multicultural middle school. It reflects on the rhizomatic entanglements of conducting research through arts methodologies and applying design processes to develop an anti-racist art curriculum for middle school. To do this, I used a/r/tography to navigate a research diagram in which drawings from my students are used as valuable data to reflect and analyze the curriculum, my praxis, and multiple roles. I praised the importance of using drawing with seventh, eighth, ninth, and tenth-grade students as a visual thinking process in multicultural school environments to discuss and address all forms of discrimination. Applying principles of a/rt/ography, I documented their process journals while weaving them with the research diagram and theory. I also reflect on the international-mindedness mission statement from the International Baccalaureate in connection to the neo-liberalization and misconception of what global education is and how it is being practiced. I suggest that drawing as a performative research tool can produce non-verbal expressions leading to other ways of knowing relevant information for the artographer and students. This knowledge production is relevant to students’ live experiences regarding the intersections between social and political issues. However, more pedagogical approaches have to be developed to continue reinforcing the connections between social issues and climate change.
[Hyper]drawing
(last edited: 2024)
author(s): Russell Marshall, Phil Sawdon
This exposition is in progress and its share status is: visible to all.
[Hyper]drawing is a research project.
Hyperdrawing is an opportunity for [fine art] drawing practice.
This Research Catalogue exposition documents ongoing research into Hyperdrawing: Hyperdrawing is an ambiguous practice. Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity. Hyperdrawing has the capacity to enable and sustain drawing practices.
Drawing Disambiguation
(last edited: 2023)
author(s): Russell Marshall, Phil Sawdon
This exposition is in progress and its share status is: visible to all.
Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity.
Drawing Disambiguation can be seen as the process of resolving the conflicts that arise when drawing is ambiguous. Our hypothesis is that Drawing Disambiguation could be established as a methodology for Hyperdrawing. The initial enquiry will take the form of a collaborative drawing, with text and image all being seen as ‘marks’, ‘lines’ and ‘gestures’ in a drawn dialogue / discourse.
PS: What is a letter?
(last edited: 2023)
author(s): Dora Isleifsdottir, Åse Huus, Victoria Squire
This exposition is in progress and its share status is: visible to all.
PS: What is a letter?
is an artistic research project in progress by Dóra Ísleifsdóttir, Åse Huus, and Victoria Squire.
Score: Mechanical Asynchronicity
(last edited: 2022)
author(s): Danica Maier, Martin Scheuregger
This exposition is in progress and its share status is: visible to all.
A collaboration between visual artist, Danica Maier and composer, Martin Scheuregger - Score: Mechanical Asynchronicity takes a single historical lace draft from the Nottingham Lace Archive as the starting point for new live and installation-based visual-musical works.
The working process and presentation of Score: Mechanical Asynchronicity sees the fine artist become ‘composer’ and composer become ‘artist’. Their roles move from user – of each other’s discipline knowledge, aesthetic understanding and technique – to author of works that are contingent on their collaboration but can still be identified as belonging to their individual practices.
You can navigate this exposition through a series of prompts each focusing on a different aspect or way to engage with the work: Look, Listen, Read, Play, and Watch.
Read: offers an opportunity to understand further details about the project including pilot works, experimental development, key events and practical details.
Look: will share images of the scores created by Maier and Scheuregger, and the original historical lace draft.
Listen: gives you a chance to hear original music box sound pieces as well as Side A and B of the recorded pieces.
Play: allows you to ‘play with' the individual tracks allowing you to create a combined piece in various iterations including 1-4 musicians.
Watch: includes film documentation from four different concert versions to view.