TO THE ONE I MISS
(2024)
author(s): Min Ji Cha
published in: Royal Academy of Art, The Hague
[SCHOOL] Thesis / Research Document of the Royal Academy of Art, The Hague, 2024.
[DEPARTMENT ] BA Interactive Media Design
[SUMMERY]
How can one unravel their relationship with a void through exploring their personal experience and knowledge of emptiness?
Starting from the long lost frustration and unfulfillment for the inner void that I entail and wanting to define and understand what this void is and gain safety and peace in mind with it. By unraveling the complicated knot of the relationship between human and inner void, looking into different experiences of “missing” in my personal life and knowledge of emptiness, such as Korean cultural background, Language gap in translation,
Definition of “Home”, Ambivalence in emotion, Moon jar, Clay and The connection in everything.
SUPER(IM)POSITIONS: Subverting Melodramatic Representation Through Personal Unpredictability
(2024)
author(s): Emilio Santoyo
published in: Research Catalogue
This Artistic Research in and through cinema explores the possibilities of using outdated melodramatic elements of cinematic representation in a new way, dissolving the intersection between the personal and the fictional as a tool for creating a redemptive act of filmmaking. "Super (im) positions: Subverting melodramatic representation through personal unpredictability" delves into the transformative potential of these elements within cinematic representation. By dissolving the boundaries between the personal and the fictional, this work engages in a redemptive act of filmmaking that reimagines melodrama. The approach employs a contemporary, polyphonic, and playful film language to propose a new form of melodrama—one that acknowledges its inherent perversity to challenge and deconstruct its toxic narratives.
Rooted in the pervasive influence of telenovelas and melodrama, particularly within Mexican culture, this exploration questions and critiques the genre's impact on cultural and individual perceptions of love and relationships. The research was catalysed by a significant personal and professional rupture, leading to a critical examination of the genre's conventions.
By employing a contemporary, polyphonic, and playful film language, Santoyo reimagines melodrama as a genre capable of portraying complex, personal emotions and generating critical, boundary-pushing narratives. This self-reflective genre deviation, temporarily termed the "New Melodrama," seeks to subvert traditional melodramatic tropes by acknowledging and confronting their perverse nature. Through this approach, Santoyo aims to dismantle the toxic knowledge perpetuated by conventional melodrama, offering a sophisticated and nuanced critique from within the genre itself. His work presents a trojan horse strategy, using the familiar systems of melodramatic representation to question and ultimately transform them, proposing a relevant and self-aware cinematic experience.
Through innovative use of superimpositions and a deliberate deconstruction of melodramatic mise-en-scène, this study aims to create a critical and self-reflective genre deviation termed "New Melodrama." This method seeks to subvert traditional cinematic conventions by integrating multiple perspectives and temporalities, fostering a richer, more complex narrative experience. Ultimately, the research stands as a trojan horse within the film industry, using the very mechanics of melodrama to critique and reinvent it, offering a fresh, introspective take on a genre often dismissed as superficial.
The Dreaming Archaeologist
(2024)
author(s): Athina Koumela
published in: Royal Academy of Art, The Hague
Thesis / Research Document of the Royal Academy of Art, The Hague, 2024. - MA Artistic Research
This thesis is a fiction-based text which attempts to answer to the research question of how can art and archaeology contribute to the blending of the fictitious with the real, which has direct consequences on our understanding of (art) history.
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.
Novel
(2023)
author(s): Zoe Panagiota (aka Betty) Nigianni
published in: Research Catalogue
Single channel digital video, with photography and text, 5' 41'', 2007
'Novel' is a half-photography, half-fiction digital video, which was inspired by my temporary dwelling in different cities during the period of a year. For my contribution to this catalogue, I briefly discuss the artistic process and thinking behind the project. In parallel, I reflect upon the possible theoretical links between visuality, narratives, architecture, and urbanism. I suggest that personal associations are definitive and significant in the ways we tend to occupy and subjectively interpret contemporary urban spaces.
After a lengthy process of collecting photographs and digital film footage, as well as selecting written material, some of it in the form of quotes, from my journal, I completed the video in 2007. My method was:
- I made preparatory sketches that I included in the video (film still 1).
- I used a montage technique I saw in one of Peter Greenaway's films: the separate 'window' on the top or bottom sides of the video (film stills 2, 4, 5) that denotes parallel action.
- I overlaid photographs (film still 3), a technique that allowed me to create the animating effect of the moving image, without using film footage.
In painting, the artist can make layers out of collaged material that might be unconnected or purposefully juxtaposed to the painting's subject. Using the above method, I asked the viewer to watch the video more like a moving series of paintings, rather than as a film.
The video, like my other video art work, was exhibited and archived under my artist's pseudonym, Betty Nigianni.
Written in 2012, the essay is a separate piece to accompany this exposition.
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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.
Strategies of Fiction
(2019)
author(s): Stephen Bain
published in: RUUKKU - Studies in Artistic Research
Fictional Worlds as Structures for Public Space Performance is an exposition that fractures into multiple parts, text, performance, spatial design, and creative writing. Fiction is seen as a device for creating shared experience, a familiar process in the performing arts but also observed in the public domain of politics, where a key example is taken to discuss the dynamics of how fiction may be both symbol and action. Relating aesthetics to politics through fiction as a method, a collective influence is confirmed by the event.
Fiction is split into various strategies in a poetic reflection on archetypes of space, proposed as 8 distinct fiction-types that open the way for common understanding. Using the format of a screenplay, 8 types are fleshed out and supported by reflections on influential international artworks and theories. Finally these types are used as a tool to analyse my own public space performance experiments in Auckland, New Zealand.
Interruption as Dissenting Gesture
(2016)
author(s): Sepideh Karami
published in: RUUKKU - Studies in Artistic Research
In this exposition I investigate the tactics of interruption as methods of engaging with the institution through artistic research and approaches. This is developed by drawing upon Jacques Rancière’s concept of ‘dissensus’, Chantal Mouffe’s ‘strategy of engagement’ and Michel de Certeau's idea of 'tactics'. Art as a dissensual activity turns artistic research into a dissident research that can serve to question academic consensus rather than conforming to its established structure. Interruption becomes a dissenting gesture.
I use a fictional and fictitious publication as a tool to 'interrupt' institutions. In this fictitious publication, I have borrowed Lieutenant Fontaine from Robert Bresson’s movie, ‘A Man Escaped’, and have introduced him as a protagonist of 'interrupting architecture', investigating his escape plan as an activity of 'architecting'. The journey of this publication goes through two short architectural narrations of two places: a prison (as discipline) and a library (as dominant discourse). These two narrations are combined with three formulae: amateur, fiction, misperformance or disloyalty; each acts as certain characteristics of dissidence. Together, these aim to raise the question: How do tactics of interruption contribute to dissensus in academia?
[SCHOOL] Thesis / Research Document of the Royal Academy of Art, The Hague, 2024. [DEPARTMENT ] BA Interactive Media Design [SUMMERY] How can one unravel their relationship with a void through exploring their personal experience and knowledge of emptiness? Starting from the long lost frustration and unfulfillment for the inner void that I entail and wanting to define and understand what this void is and gain safety and peace in mind with it. By unraveling the complicated knot of the relationship between human and inner void, looking into different experiences of “missing” in my personal life and knowledge of emptiness, such as Korean cultural background, Language gap in translation, Definition of “Home”, Ambivalence in emotion, Moon jar, Clay and The connection in everything.open exposition comments (0)
Thesis / Research Document of the Royal Academy of Art, The Hague, 2024. - MA Artistic Research This thesis is a fiction-based text which attempts to answer to the research question of how can art and archaeology contribute to the blending of the fictitious with the real, which has direct consequences on our understanding of (art) history.open exposition comments (0)