Strategian sisäistäminen
(2022)
author(s): Mia Seppälä
published in: RUUKKU - Studies in Artistic Research
Tämä ekspositio asetettaa yksittäisen taiteellisen teon laajempaan julkiseen keskusteluun yliopistopolitiikan rakenteellisen kehittämisen synnyttämien ajatuksien liepeiltä. Eksposition keskeinen elementti on videoperformanssi ”Internalizing The Strategy”, joka tapahtuu kaikille avoimessa julkisessa paikassa - Eduskuntatalon edessä.
Strategia tulee vastaan mitä moninaisimmissa yhteyksissä. Tuntuu siltä, että kaikilla pitää olla oma strategiansa. Kunnat, yritykset, urheiluseurat, päiväkodit, korkeakoulut esittävät kilvan omia strategioitaan, mutta miten on strategian sisäistämisen laita? Yliopistojen strategioissa painotetaan maailman muutoksen mukanaan tuomiin vaatimuksiin reagoimista, johon yliopistoilla on korkeatasoista osaamista tuottavina instituutioina mahdollisuus ja suoranainen velvollisuus. Muutoksesta tuotetaan mielikuvia, jotka esitetään sekä pelottavina uhkakuvina, että mahdollisuuksia tarjoavina positiivisina kehityskulkuina. Asiantuntijakielen tarkoituksena on saada tietyt valinnat tuntumaan tarpeellisilta ja hyödyllisiltä. Tähän kieleen on upotettu tietty edistymisen vaatimus ja lupaus, jota on vaikea vastustaa.
Ekspositio pyrkii havainnollistamaan ja koettelemaan strategian sisäistämista taiteellisin keinoin, joka on suhteessa vaatimusten absurdiin luonteeseen.
Menetelmänä käytetään tekijän itse kehittelemää "poismaalaamisen" tekniikkaa, jonka lähtökohtana on digitaalisen valokuvan tai tekstin siirtäminen painomenetelmillä maalauspohjalle. Valittu kuva tai teksti liittyy olemassa oleviin rakenteisiin, formaatteihin ja vakiintuneisiin ajattelu- ja menettelytapoihin. Poismaalaamisessa tehdään näkyväksi merkityksen häilyvyys - teksti/kuva on ihmisen mielikuvien rakentama. Se on purettavissa ja uudelleen tulkittavissa. Kuvan rakentaminen tapahtuu strategiatekstin poistamisen kautta. Poistamisen on määrä virittää useita rinnakkaisia tulkintamahdollisuuksia, jotka liittyvät esimerkiksi tekstin/kuvan pysyvyyteen, kirjoittamisen, poispyyhkimisen ja päällekirjoittamisen suhteeseen sekä Taideyliopiston strategian osalta säädösten valta-asemaan.
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.
Future Guides for Cities: From Information to Home
(2018)
author(s): Michelle Teran
published in: Norwegian Artistic Research Programme
“Future Guides: From Information to Home” is an artistic research project on following: how to practice and theorize following. It was carried out between 2010-2014 within the Norwegian Artistic Fellowship Programme and around the Bergen Academy of Art and Design. A final exhibition of my artistic research, “Your Revolution Begins at Home“, took place at the USF Gallery and Cinemateket in Bergen, September 4-14, 2014. “Confessions of an Online Stalker“, a critical reflection text on artistic results of the research, was submitted in 2015.
images and their agency
(2017)
author(s): glad fryer
published in: Research Catalogue
The exposition Images and their Agency presents a text alongside a group of paintings. The text is a reflection on the practice-based research being carried out across a number of paintings concerning images and there agency. This project is ongoing.
We need to grasp both sides of the paradox of the image: that it is alive but also dead; powerful but also weak; meaningful but also meaningless. (wjt Mitchell, what do pictures want)
In the text I respond to W.J.T Mitchell’s suggestion to consider the aliveness and the deadness of images. I take a phenomenological perspective and consider how we experience their power and weakness, their meaning and meaninglessness - how we experience their agency. I do this by critically reflecting on a group of paintings I begun making in 2004; I enquire into the capacity of these paintings to address the agency of the image and how it is felt or experienced.
I am concerned with a common ontological or moral proposition that they as a group of images pose. This proposition of the image is the focus of my practice-based research.
I frame the enquiry into this group of painting through three sets of questions. The first set of questions concerns the image, which is explored through Badiou’s ideas on the truth process. The second concerns the body, which is explored through J. Bennett’s research into affect and trauma. The third concerns Flesh, which is explored through Merleau-Ponty’s phenomenological reflections on the relations between eye and mind.
In a Place like this
(last edited: 2024)
author(s): Johan Sandborg, Duncan Higgins
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.
In A place Like This sets out to investigate and expand the issues and critical discourses within Sandborg and Higgins' current collaborative research practice. The central focus for the research is concerned with how art, in this instance photographic and painted image making and text, can be used as an agent or catalyst of understanding and critical reflection.
The research methodology is constructed through photography, painting, drawing and text. This utilises the form of an artist publication as a point of critically engaged dissemination: a place for the tension between conflicting ideas and investigation to be explored through discussion.
The research question is focused on how the production of the image and the act of making images can communicate or describe moments of erasure or remembering in terms of historical and personal narratives with direct reference to moments of violence and place.
This is seen not in terms of a nostalgic remembrance of the past; instead as one that is rife with complicated layers and dynamics where recognition is denied the ability to locate a physical representation. Embedded in this is an exploration of particular questions concerning the ethics of representation: the depiction of ourselves and other? In this sense it brings into question an examination of the act of remembering as a thing in itself, through the production of the image and text, contexts of knowledge and cultural discourses explored through the form of an artists publication.
Where Can I Wish You Happy? [submitted to Royal Academy of Art, The Hague - 2023-06-29 22:16]
(last edited: 2023)
author(s): He Bo
This exposition is in progress and its share status is: visible to all.
Thesis of the Royal Academy of Art, The Hague, 2023
Master of Photography and Society
On 12 May 2008, at 14:28 Beijing time, an earthquake with a magnitude of 8.0 on the Richter scale struck my home province of Sichuan, China, killing 69,227 people, leaving 17,923 missing and injuring 374,643 in various degrees across China. At the time, I was at university in another city far from home.
In this thesis, My beginning question is how to fit myself who is absent from this earthquake into its history and the memories shaped by it. As a practitioner and researcher of photographic images, I want to reach out beyond the physical and psychological distance to the real memories of the earthquake understand its impact by describing, speculating and analyzing ready-made images about it and by explaining my own visual strategies, such as making and reworking photographs on this topic. These images contain 1) group photos of local people before the earthquake who were separated from each other in life and death by the it, 2) video clips taken by television camera reporters and other anonymous people on the day of the earthquake, and 3) the visual outcomes produced by people who look at or photograph the earthquake ruins which turned into tourist attractions now. In these ways, I highlight that we can encounter actively that earthquake through dealing with photographs about it and new photographic actions since then, in order to find possibilities to shape the postmemories for those Chinese who, like me, were absent or irrelevant at the time of the earthquake.
In September 2022, a new strong earthquake occurred in Sichuan. I regard it as a bridge to relate the 2008 earthquake to present-day China. At that time, China was still in the midst of an extremely rigorous Covid-19 prevention and control phase, with various restrictions trying to prevent the spread of the Covid-19 cascading from the top down. By putting the two earthquakes together to discuss, I argue that Chinese people should remember the disasters of the past so that we can find our place in new dilemmas to deal with them. We should face up to the pain others have experienced and are experiencing and reach out to help, instead of ignoring or avoiding our responsibility. As a Chinese studying an English-taught MA program in the Netherlands, the differences between the Chinese and English contexts, the temporal distance between the current Chinese context and the European historical context were gaps that I could not avoid in this thesis writing. These gaps are reflected by describing and reflecting on my act of going to the former site of the Auschwitz Concentration camp. Acting as a spokesperson, I brought the inappropriate reactions of some Chinese people in the present to the plight of their compatriots to that field of traumatic memories, emphasising the importance of confronting one’s own absence and distance from the disaster from the other’s side.
Effacer-Voir
(last edited: 2022)
author(s): Lynn Kodeih
This exposition is in progress and its share status is: visible to all.
Réfléchir aux politiques de l’image, par le biais de l’intime, du fragment et de la matière. Aborder la matérialité avec la maladresse d’une apprentie. Jouer de sa vulnérabilité, transformer sa fragilité en action. Effacer pour voir.
In an Image like this
(last edited: 2015)
author(s): Johan Sandborg, Duncan Higgins
This exposition is in progress and its share status is: visible to all.
I am no longer a stranger here,and the response to our misreading,only to see there is a flaw,not in the sense that it is less than perfect,rather that it is unconsidered,left unnoticed,left unopened,left untold,scratching that part of the mind,that can not let go of the conditions,for our seeing