Talking Transformations: Home on the Move
(2022)
author(s): Ricarda Vidal, Manuela Perteghella
published in: Research Catalogue
This exposition comprises an online version of a travelling exhibition which was curated by Manuela Perteghella and Ricarda Vidal in 2018/19 as a direct outcome of our collaborative Arts-Council-funded project "Talking Transformations: Home on the Move".
The online exhibition charts the journeys of two poems about "home" around Europe and the transformations they underwent as they were translated through different languages and into film.
Initiated as a response to Brexit, the poetic journeys focused on the EU countries most important to migration into and out of the UK—for migration to the UK, Romania and Poland; for migration from the UK, France and Spain.
The online exhibition invites viewers to listen to the poets and translators recite their literary versions and to watch the artists' filmic interpretations. It also includes recordings of translations made by Ricarda and Manuela in response to the the multiple versions of the initial source poems. The exposition concludes with a section dedicated to reflections about the project by some of the people who took part in it.
At Home in Montreal’s Quartier des Spectacles Festival Neighborhood
(2021)
author(s): Edda Bild, Daniel Steele, and Catherine Guastavino
published in: Journal of Sonic Studies
Urban festivals have traditionally been considered incompatible with residential areas because of their contrasting sonic characters, where the sounds of festivals are treated as a nuisance for residents. However, the neighborhood dedicated to housing festivals in downtown Montreal is also the home of diverse groups of residents and workers. Based on a diary and interview study with residents of the Quartier des spectacles festival neighborhood, and building upon research on touristification, festivals as third places, and soundscape, we explored what it meant to be at home in a festival neighborhood, focusing on the sonic experiences of locals. Findings provided a more nuanced portrayal of everyday life in a dense, lively urban environment transformed through touristification. Residents do not consider the sounds of festivals as a primary source of annoyance; on the contrary, these sounds inspire them to engage with their neighborhood, suggesting a more porous living experience between indoor and outdoor spaces. Drawing on the characterization of other imagined residents by our participants, we conclude by introducing the idea of soundscape personas as a practical method in participatory decision-making for the future of the neighborhood.
Sounds of Another Home: Telepresence, COVID-19 and a Bioscience Laboratory in Transition
(2021)
author(s): Rebecca Carlson
published in: Journal of Sonic Studies
Based on an ethnography of a bioscience laboratory in Tokyo before and during the COVID-19 pandemic, this paper focuses on telepresence, and the growing demand for workers to maintain extended simultaneous presence in multiple electronic, or electronically augmented, spaces. In contrast to views promoting the liberating affordances of telework in the maintenance of healthy work-life balance (reduced commute time; increased “presence” in family life), an analysis of sound reveals the way the home becomes reorganized, and ultimately de-prioritized, under work demands. In particular, online meetings, which privilege discrete information exchange, position the home as a barrier to productive communications. Receding the soundscape of the home in this way reflects a normalization of the neoliberal imperative to find self-realization in workplace forms of sociality.
Love Manifesto; embodying disorientation through erotohistoriography.
(2020)
author(s): Jakub Jan Ceglarz
published in: Research Catalogue
In her book ‘Time Binds: Queer Temporalities, Queer Histories’ Elizabeth Freeman (2010) recognises the erotic body as a method to speak about non-normative experience of chronopolitics for queer identities. Ceglarz’s research borrows Freeman’s method (erotohistoriography) and applies it in practice-led fine art research in order to materialise pleasurable nooks of time and to create experiences of disorientating interruptions. His research seeks to disjoint the dominant narrative of pain and trauma in discourses on LGBTQI+ identities.
Ceglarz does this by focusing on materialising the experience of melancholy that emerges from the loss of spaces that served and cared for gay erotic practices. His
installation titled ‘Love’ (2019) uses a combination of works that reflect on the migration of these spaces from the partially public sphere into pre-dominantly private. In these works he uses phallic imaginary embedding it with the domestic materialities and practices; from plates, egg cups, table cloths and hand towels that are painted, embroidered ironed and displayed. Accompanying the installation is a performance piece comprised of: reading out aloud the ‘Love Manifesto’ (Ceglarz, 2019); a love letter addressed to ‘My Dear Old Faggots’: and phallic shaped glitter pieces thrown sporadically into the air from a coffee cup with the word ‘Cocksucker’ painted on it. To enhance this experience, Ceglarz also uses the poetry of Jean Genet in his pieces, attenuating the non-chrononormative melancholy that allows for the “collapse of past and future into an immediate intensity” (Johnny Golding, 2013).
The installation and performance piece formed the basis of a solo exhibition in the international artist-run space, Lab155, Bologna (2019), and were part of the international conference ‘Un-tie the Knot: Redefining normativity in Love’ (2019) part of ORGAN VITA arts festival in Croatia held in the Museum of Nicola Tesla, Zagreb.
Hienopesu 40 astetta / Delicate wash 40 degrees
(2017)
author(s): Elina Saloranta
published in: Research Catalogue
This exposition contains two video pieces that mirror each other (Two rooms and a kitchen 2010, Reflections in a window pane 2012) and an essay originally published in the Finnish-language audiovisual-culture journal Lähikuva 3/2013. The essay and the videos are part of my article-based doctoral thesis Laatukuvia ja kirjallisia kokeiluja/ Genre pictures and experiments in writing (University of the Arts Helsinki, Academy of Fine Arts 2017).
Soil Stories, Touching with your Eyes and Seeing with you Hands
(last edited: 2023)
author(s): Nalani Kailing Knauss
connected to: Royal Academy of Art, The Hague
This exposition is in progress and its share status is: visible to all.
I excavate soil’s history using the lenses of photography, geology, etymology, and anthropology. As a visual storyteller, I engage with soil while digging deeper to address questions of human relationship to the natural world and the feeling of being held within the landscape. I use soil as a metaphor for my personal search for belonging.
Can a visceral, human relationship to the earth beneath our feet help us in our fundamental search for connection? As I unearth humanity’s history, delving into all things soil, starting from an exploration of myths and indigenous beliefs, I start to reflect on my own relationship with the California landscape that I call home. I explore what it means to belong and reconnect. Through the physicality of foraging and making with clay, in combination with photographing rocks as my subjects I reflect on belonging as a human connection to place within nature. I write about the split and alienation humanity has gone though of viewing nature as something separate. The disconnection of the right side of the brain with its childlike playfulness, feeling, wondering, and meandering in comparison with modern life’s prioritization of the left brain with its over efficiency and logic.
What would happen if we started to think about soil as a living body and even as a form of language? This substance that we deem inanimate and dirty, and which we mindlessly dump our waste onto, is the memory keeper of human history.
Beneath the layers of substrate, I am curious as to what terminology we use and why. How are the words we use meaningful, and how do they impact our belief systems and values? Can we unlearn the notion that dirt is dirty? What do words say about other words? How can we redefine our language and in so doing change our belief systems which then affect the way we portray, represent, or photograph the natural world?
Photographic language is also a vehicle for the communication of certain narratives, which in my work I use as documentation. Through photography, I engage in a sensual experience of earth in all its substantive expressions: skin, soil, dust, rock, water. Soil and photography share a similar language. When viewing photography or connecting with earth, the audience leaves with an impression, a trace, which then affects the viewer. As a visual storyteller, I strive to awaken a remembering of ancestral knowledge and remind people of their primal kinship with earth.
Questions arise such as how do we engage with touch? What do we even sense in the landscape of our own body? What does this form of re-earthing and re-wording look like? Within a society that is fueled by consumerism and the all-important “I” as ego, can we, when relating to the natural landscape remember what it means to be collectively human in a symbiotic relationship with soil? Can we create a deeper relationship with something as simple as the ground beneath our feet?
My research has been informed by many a author such as Ursula K. le Guin- The Carrier Basket Theory, Dark Ecology by Timothy Morton, Braiding Sweetgrass- Robin Wall Kimmerer
Staying with the Trouble - Donna Haraway, Spell of the Sensuous David Abrum, Tim Ingold and the discourse surrounding Stadium General here at KABK
Housing Ecologies of Scale
(last edited: 2022)
author(s): Micaela del Puerto
This exposition is in progress and its share status is: visible to all.
This site exhibits the Master Dissertation of Micaela del Puerto Fernandez at KU Leuven University. The research invokes scale to learn from different events in our homes that are not comparable until we use the scale to put them at the same level and embody nature in a different way. The creation of an arch-scope as a new space of condensation of different scales and a starting point for thinking about how we design our houses. If we start to conceive living spaces through an arch-scope maybe we can design better habitats, which are able to keep an eye on all the multiple events that are important for a positive impact of a body being in a space.
Collecting Walks
(last edited: 2020)
author(s): Elsa van der Linden
This exposition is in progress and its share status is: visible to all.
catching moments by collecting walks