Silenced Womb
(2024)
author(s): Petra Kroon
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2022
Master Photography & Society
In Silenced Womb Petra Kroon ( @fotosvanpetrakroon) examines the age-old taboo on menopause. What does it mean to be systematically silenced for centuries? What effect does it have on how you are represented? How you are treated? And how do you behave? She explores these questions from three perspectives: the medical world, society and photography. She investigates what this in/visibility looks like and analyses what it does to her and to her allies. Since she wants to lift this taboo on menopause, she also makes some suggestions for a different representation.
Format Exhibition - Schallwirkungen auf Mensch und Tier
(2018)
author(s): ingrid cogne, Tobias Pilz
published in: Research Catalogue
In early 2015, the art-based research project Six Formats gathered a group of artists, curators, and researchers 1) to co-think about an Exhibition as well as 2) to articulate this particular format of communication as knowledge. In Six Formats, formats of communication are the central knowledge. Format, content, and context are in relations. The format Exhibition was placed at Kunsthalle Exnergasse. In order to be in line with the aim of KEX to serve artists, the research process was intended to work with the exhibition space. The research group decided to improve the acoustic qualities of the room - for talks, screenings, and performances - and to intervene in the space without interfering with an artist’s needs. This decision led to reflections on visibility and subtleness.
Six Formats investigated “exposition” - proposed by Research Catalogue - as a format of communication. For Cogne and Pilz, the format exposition could be explored as “one” space (one room, one poster, one painting). Six Formats invites the visitor/reader to circulate between fiction and reality and to let their activated thoughts navigate without searching for any truth.
The exposition 'Format Exhibition - Schallwirkungen auf Mensch und Tier' proposes a double entry.
The visitor can visit it as they would enter the physical space of the Exhibition Schallwirkungen auf Mensch und Tier at KEX: 1) little by little, randomly, maybe not noticing all the elements placed in the exhibition space; 2) glancing through the space or directly diving into the reading of the exhibition booklet that the research group treated as a fictional space. The visitor can also directly access the process the group had - written in black on a white background. They will meet a quite linear writing that Cogne and Pilz exposed in a nonlinear way.
Six Formats (FWF, PEEK, AR291-G21) takes every opportunity to challenge formats of communication and explore ways in which art-based-related knowledge can be presented and articulated as well as activating and circulating.
Under the Mirroring Surface
(2018)
author(s): Adam Kraft
published in: VIS - Nordic Journal for Artistic Research
In my work I experiment with interventional urban commons, through practices of altering and re-purposing existing structures. The work is both informal and transgressive in its methodology, with the core intention to investigate and participate in the shaping and making of the social city. Art and research can provide keys to accessing such a city in the making; a space where we can challenge the preconceptions of what is possible, and to imagine alternative strategies for the creation of realities.
This article presents a theoretical frame work together with a number of strategies practiced under the Lefebvrian concept of the ‘Right to the City.’
Marking the passage of time in space
(2017)
author(s): Lucila Nalvarte Maddox
published in: Research Catalogue
This text presents painting as a visual mechanism with which to communicate the otherwise invisible concept of the limitless passage of time in space. To do so, it demonstrates a series of ways through which the mind negotiates with the hand to process painting materials and techniques as part of an attempt to materialise the invisible. Consequently, the act of painting itself becomes both subject and motivating force. This project was first envisioned whilst travelling on a train high up in the Andes. My curiosity, although frightening was well rewarded when suddenly I noticed that the train tracks were not only limitless, but also invisible due to the speed of the train. At that moment, time and space became both eternal and invisible. Elucidating the invisible through sensory and non-sensory perception is not an easy task, for it implicates a conundrum that is no longer exclusively the domain of science but rather that of art and philosophy working in concert.