Grenseland - i stemmen
(2024)
author(s): Berit Norbakken
published in: Norwegian Academy of Music
Dette prosjektet er en kunstnerisk utforsking av stemmens klanglige egenskaper, med utgangspunkt i en klassisk utøverpraksis, og av spenningsfeltet som oppstår mellom tradisjon, teknikk, stil og sjanger når disse konfronteres med hverandre og hybridiseres. Dynamikken mellom elementene som veves sammen, utforskes gjennom begreper og konsepter hentet fra Karen Barad: diffraksjon, intra-aksjon, agentisk kutt, re-turning og entanglement. Jeg lanserer begrepet diffraktiv refleksjon som metode for å anse materialer på nytt gjennom intra-aksjon og sammenvevinger av spacetimematter. Fortiden åpnes opp for å anses på nytt, når tid /rom blir rekonfigurert, kuttet sammen-med/fra, og vevet sammen i nye relasjoner gjennom diffraktiv refleksjon. Alle delene i prosjektet, aktivitet og eksposisjon, er forbundet – entangled. Området undersøkelsene foregår i, defineres som Grenseland. Arbeidet viser hvordan en kan åpne opp – og utfordre – en etablert praksis ved å ta i bruk nye og uvante grep fra andre praksiser.
THE [ W A L L S ] WE CREATE : on distance in research practice
(2023)
author(s): Ewa Łączkowska
published in: Research Catalogue
An interactive, mixed-media artistic research process – using somatic experience, dance, listening, storytelling, and visual arts to ponder on the topic of distance in research practice.
The focal point of this research process has been the somatic feeling of distance and entanglement and exploring those through movement - captured on film, inspired by and enriched with music by Ólafur Arnalds.
The written story is a secondary translation of the research process, formed by the somatic exploration, movement experimentation, painting, and the process of film-making. I’ve used watercolors as an aid to help me translate and express the inquiry in the form of text.
Soft to the Touch: Performance, Vulnerability, and Entanglement in the Time of Covid
(2021)
author(s): Jennifer Torrence
published in: VIS - Nordic Journal for Artistic Research
What is the nature of human touch and human contact in contemporary music performance, both in general and in the context of the COVID-19 pandemic? In a time when bodies must be kept at several meters distance, what comes of works which explicitly call for closeness, physical contact, and sharing? How might these works be interpreted differently in light of the COVID-19 pandemic? Percussionist and performer Jennifer Torrence reflects on the impact of the pandemic on her artistic practice and on her research as part of the project entitled Performing Precarity, which seeks to explore the inherent risks in performance when musicians and audiences are entangled in codependent structures. In light of COVID-19, this exposition attempts to unfold and trace modes of vulnerability in contemporary music performance—from human contact via eye contact and physical touch, to the precarious negotiation of shared space—and to reflect on how such encounters might breed new understandings and knowledge.
Moving through Choreography – Curating Choreography as an Artistic Practice
(2021)
author(s): Marie Fahlin
published in: Stockholm University of the Arts (SKH)
The purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other.
Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’
Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process.
The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies.
The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.
This Untethered Buffoon or the Trickster in Everything
(2020)
author(s): Stacey Sacks
published in: Stockholm University of the Arts (SKH)
This Untethered Buffoon or the Trickster in Everything is a documented artistic research project (Doctoral Thesis) in Performative and Mediated Practices, comprising a series of excavations and vivisections of W(w)hiteness through clowning, making and thinging. This work/play traverses the fields of critical whiteness studies, performance and clowning, visual and cultural anthropology and decolonial critique.
This eclectic mash-up of history, memory and trauma unfolds from my original question: as an actor, which bodies is it appropriate for me to inhabit? Via hyper-disciplinary experiments of the impulse and
what it means to be ‘on’ the moment, the research fabricates a series of clowters, performed entanglements of clown and character passing between various continents, temporalities and situated histories.
SQUIRM is the title given to both the final performance essay as well as to the reflective documentation emerging from this research. As experimentations with auto-ethnography and productive discomfort, the performing essays in SQUIRM document, animate and satirise explorations of W(w)hiteness, privilege and colonial logic. At the intersections of histories, they dig through remnants of collective memory, personal genealogy and shame, in the hope of reassembling new, sharper ways of giving and receiving attention.
From inside the body of this performer SQUIRM is about TONGUE-ING, about licking the future into softness by reinvigorating ancient clown practices to poke at whiteness in the current age. It’s about squirming and laughing through the discomfort of privilege in what feels like a crumbling time.
But mostly it’s about feeling great in a beard.
Walking As Practice WAP23
(last edited: 2024)
author(s): WAP
This exposition is in progress and its share status is: visible to all.
WALKING AS PRACTICE
WAP23 was a process-based residency during September-November 2023, where artists using walking as a method delved into each others’ knowledges and things they encountered together at BKN, the Northern Stockholm Archipelago in Sweden. Fieldworks, share sessions and seminars were created jointly to locate and entangle structures, narratives and themes for walking. The residency formed a transformative, dynamic space for art that engaged with life and nature towards critical and poetic explorations, influenced by the immediate surroundings: the forest, lakes, sea and people living in the rural area. Processing how walking is interlocked in our artistic practices, this exposition represents a gathering of texts, visuals and audio from the walking art residency.
The selected artists contributed with interdisciplinary practices, primarily drawing, photography, video, performance and dance. They worked both individually, in spontaneous constellations and in group sessions. The dissemination of the program took place in share sessions upon arrival of new artists - including dinners, open studios, walks, workshops etc. In addition, as the program unfolded, each artist developed their own exposition.
Diffracting the Copenhagen Interpretation
(last edited: 2024)
author(s): Søren Kjærgaard, Amilcar Lucien Packer Yessouroun, Carla Zaccagnini
This exposition is in progress and its share status is: visible to all.
This KUV project intends to investigate, through theory and practical experiments, the possible implications that concepts such as spacetime, entanglement, uncertainty, non-locality, and diffraction, proposed by quantum physics, have on artistic practice and narratives.
As a collaboration among artists from different fields and different Educational Institutions, the research will nourish from this encounter as well as from the interaction with students and the contributions of specialists.
VOICE and the UNKNOWN
(last edited: 2019)
author(s): Nordic Network for Vocal Performance Research
This exposition is in progress and its share status is: visible to all.
The aim of this artistic research symposium is to allow for VOICE to act as a guide into the UKNOWN. Through an entangled mish-mash of intra-active events (performances, installations, workshop and seminars) participants will be invited to explore the potential power of VOICE and its impact on the UNKNOWN or ’that-which-is-yet-to-be-known’. In 17th century Venetian academic circles VOICE was considered to be a symbol of NOTHINGNESS (Calcagno 2003). VOICE was also the primary tool in the creation of the opera genre (Belgrano 2011). Questions driving the event include: how can we understand VOICE in contemporary every day performances, based on both sensuous and intellectual knowledge? What specific vocal features will emerge if we allow VOICE to be the guide into the UNKNOWN aspects of life and living? The symposium will be staged as the first one out of three events, allowing for the project to eventually grow into an international platform for Vocal Performance Philosophy, based at IAC. This first event is a seed highlighting the significance of the theme; the second event will be presented as an intra-active performance-workshop; the final event will be organised as an international symposia.
The symposium is curated by
Nordic Network for Vocal Performance Research (https://www.researchcatalogue.net/view/399282/399283), Nordic Network for Early Opera (http://www.earlyopera.org), and
Network for Performance Philosophy (https://performancephilosophy.ning.com/about).
An interactive, mixed-media artistic research process – using somatic experience, dance, listening, storytelling, and visual arts to ponder on the topic of distance in research practice. The focal point of this research process has been the somatic feeling of distance and entanglement and exploring those through movement - captured on film, inspired by and enriched with music by Ólafur Arnalds. The written story is a secondary translation of the research process, formed by the somatic exploration, movement experimentation, painting, and the process of film-making. I’ve used watercolors as an aid to help me translate and express the inquiry in the form of text.open exposition comments (0)