10 - 10 - 10 Edgelands:
(2024)
author(s): O'Brien & O'Brien
published in: Research Catalogue
Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the ‘walkies’ as a co-authored act of ‘making’ or ‘performing’ together.
As part of the practice based element of my PhD thesis, Deep Canine Topography, 10 - 10 - 10 Edge-lands, is a further investigation of the methodologies of Deep Canine Topography (O'Brien & O'Brien 2018). This series operates as a visual and sonic essay for each walk and explores memory, deep topographical imprints, and entropy between wild and post-industrial spaces and sub-urban sprawl, on the edge of the city of Leicester and the county of Leicestershire. During the 2020 Covid 19 pandemic lockdown, as part of permitted exercise, we undertook 10 Walks, of up to 10 miles, within a 10 mile circle of our home, just outside of the city centre. Covid 19 restrictions, remained in place in Leicester longer than in any other UK city or region.
Each title will take you to a different walk.
Click return to return to the title page.
Click Base Map to open a GoogleMap of the walk locations and GPS tracklogs (in a new window).
Clicking on the round MAP circle, on the title page, will take you to the central exposition of my PhD: Deep Canine Topography.
Deep Canine Topography: Re-connecting with the wild through the artistic practice of walking with companion animals.
(2024)
author(s): Darren O'Brien
published in: Research Catalogue
Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the ‘walkies’ as a co-authored, multi-species act of ‘making’ and ‘performing’ together.
This exposition operates as a central point from which to explore a number of mini expositions, undertaken as part of my practice based PhD.
Instruction:
When you arrive at the page you can use the map legends as hyperlinks to navigate to random points, or the mouse/trackpad to move around the page. Alternatively, you can navigate the page via the page map in the collapsible header menu.
An accompanying soundscape will automatically play throughout and documents a single walk from the human sonic POV. You can leave this to play whilst exploring the canine POV videos or pause it if you wish.
Click on the videos to play and again to stop. You can play more than one at a time.
X returns to the map.
This central Exposition acts as a meeting point through which to explore various experiments in Deep Canine Topography. Titled hyperlinks navigate to individual mini expositions. Each mini exposition has a route back to the landing page via the round MAP link.
You may feel lost or disorientated at times, but don't worry, this is all part of the process of navigation and hopefully offers a playful interactive and performative meander.
PLEASE WEAR HEADPHONES: Headphones are advised throughout to explore the immersive sonic elements of some of the practice encounters.
Reflections on walking and the disruptive experience
(2024)
author(s): Kenneth Russo
published in: HUB - Journal of Research in Art, Design and Society
Our main interest is based on understanding spatial relationships from first-person experience, from our virtual and real body. Through the act of walking, movement in real time, we become cursors that dash across the interface of reality. A continuous process that brings us closer to the production of meanings, new relationships and representations, and also a dialogue with space and time, and the network. This article seeks to present a series of disruptive experiences, documented by the authors themselves, which constitute an exploratory framework of space to discover different symbolic interrelationships, and sketch out constructions of the common space in haptic, political, social and cultural mode. It offers a repository of unexpected, intersubjective encounters, from the empirical practice of walking, which arouses new perspectives to be able to interpret circumstantial spaces, to lose oneself in ‘non-places’, or reflect as to how to approach the landscape and/or the city by opening new imaginaries that add value to the ‘glocal’ place that we traverse and/or inhabit.
Sounds of walking: Can sound re-present the embodied experience of movement time and distance in the landscape?
(2024)
author(s): Martin P Eccles
published in: Research Catalogue
In this thesis, having introduced my research questions, in Chapter 2 I present a layered analysis of the important contexts of my practice—walking, sound, walking poetry, and place. In Chapter 3 I present and discuss three works that together explore how it is that I know the world as a sensate embodied walker. In Chapter 4 I develop what I came to call replicated walks—walks made more than once in the same place. Begun in order to re-configure time, they also led me to extend my consideration of place beyond that defined by geography, to place defined by biological phenomena or socio-cultural coherence. In Chapter 5 I describe my emerging ideas of human-scale of place and my underlying ideas of island-ness. Initially I worked on real islands, walking circumferential routes and those defined by chance procedures. From this I developed an imaginary island in the foothills of Northumberland’s Cheviot Hills; made from the human-scale of my embodied walking this led to my creation of an imaginary pandemic island of containment, created in a city, in my locale, made, and made real, by the traces of my embodied walking. Together my works constitute a body of work that represents a contribution to knowledge with specific contributions of: the use of Replicated Walks as a method of experimenting with time and place; Walking Words – the presentation of poetic text in forms (concertina-fold books, scripta continua, scrolls) that requires walking to engage with it, and that also function as metonyms for my original walking act; Walking Islands –the use of human-scale walking to imagine an island into existence, and then invoke the island as a lens through which to continue to pursue the idea. My work also contributes knowledge to the methods of how to record the sounds of the world whilst walking through it, over extended distances and time.
Exploring North Nordic Landscapes in a ‘Hyper-constructive’ Fashion
(2022)
author(s): Marinos Koutsomichalis
published in: RUUKKU - Studies in Artistic Research
This exposition details an experimental art/research endeavour pivoting on an improvised exploration of the broader North Nordic region. It accounts for a hybrid, maximalist, and materialist performance practice that draws on an unconditionally eclectic exploration of a particular geographic region and of certain (non)human related activities and mobilities encountered therein. The endeavour is contextualised with respect to trains of thought and empirical research methods in experimental arts, object oriented ontology, non-representational theory, techno-scientific culture, post-humanism, and improvised ethnography. It is shown to concern, inter alia, on-location audio/video recording, DIY making, (found) physical artefacts, interviews, data displays, prose, cooking, knitting, and landscape cinematography/photography. The particular methods at play are detailed and theoretical ramifications are outlined. It is accordingly claimed that a structural, procedural, and sensory hybridity of sorts may bring forth original and genuinely exploratory artistic manifestations that contribute (non quantifiable, nor discursive) ways of knowing the North Nordic region under scrutiny; ones that lie at the crux wherein poetic, enactive, epistemic and speculative tactics meet, mingle, and intertwine. This exposition also features an extensive pool of audiovisual material to aid detail the method and to support this claim.
Ecologies of Practice: Landscaping With Beavers
(2020)
author(s): Laura Bissell
published in: RUUKKU - Studies in Artistic Research
An interdisciplinary group of ten researchers including artists, cultural geographers, and anthropologists, led by theatre-maker David Overend and human-geographer Jamie Lorimer, visited the Bamff estate in Perthshire, Scotland for four days to explore “landscaping with beavers” and the possibility of multispecies collaboration. Building on previous experiments in Performing Wild Geographies at the Knepp estate in Sussex in 2017 and 2018, this project hoped to further develop our understanding of wild performatives, exploring the shifts in the local landscape in the wake of the introduction of a keystone species. This paper reflects on what emerged from our transdiscipline experiments and what endeavouring to collaborate with more-than-human actants taught us about developing multispecies ecologies of practice.
DAYS IN BETWEEN
(2020)
author(s): Marianna Christofides
published in: VIS - Nordic Journal for Artistic Research
In accordance to generic tropes in the way the Balkans are represented, conflicts in the region are repeatedly ‘naturalized’ in their description, and attributed geological-seismological features. With the essay film Days In Between Marianna Christofides and her collaborator Bernd Bräunlich recursively visited the Balkans between 2011 and 2015, at first seeking out littoral borders where the course of the boundary remains indefinite. Rivers as invisible yet politically instrumental borders was one of the initial narrative strands. Having lost the first few years worth of audiovisual material, the data on the hard drive being unretrievable, they decided to return, only to find that the places no longer existed in the same way. Both topography and social fabric in ceaseless flux. Their approach extended accordingly, now focusing on loss, omissions, obfuscation and disappearance. The appropriation of nature’s workings in political discourse came to the fore. As did the filmmaker’s inhibiting yet empowering fringe location. Through a reflective lens of doubt agency was re-calibrated. The project grew wider in a recurring attempt at approaching, and began to expand, up until the present and in multiple iterations. Within this non-finite process the constant failure, and the beginning anew, became integral parts of the narrative.
Just a mere Spring to take: Embedding in Capitalocenic Atmospheres
(2019)
author(s): Christoph Solstreif-Pirker
published in: RUUKKU - Studies in Artistic Research
30 years after the publication of Félix Guattari’s “The Three Ecologies,” we are facing a turning point in the way we are encountering our environment. Established concepts of “nature” have proved to be considerably part of a grand homocentric design whose spatiality Peter Sloterdijk poignantly defined as the “World Interior of Capital.” To investigate these capitalocenic strata, it becomes necessary to re-territorialize institutionalized debates, conceptions and practices, and perceive contemporary landscapes as manifold, unknown and peripheral alterities.
This research exposition aims to encounter the capitalocenic field, its actors and inherent specificities, and to propose a peripheral methodology for its investigation. According to its etymological roots, periphery not only implies a field or site at “the outer surface”, but also refers to the Greek verb periphérō, meaning “to carry around.” This adds a proto-ethical component, as we become part of a carrying and compassionate interplay with virtual forces of capitalocenic dominance, violence, and destruction.
In this intimate moment of becoming peripheral, we are striving from the grand institutional narrative towards the fragility of an uncertain world interior. To Félix Guattari, this is an act of empathy, of an affective affinity and imaginary re-construction that unfolds new practices, grounds, and epistemologies of how to encounter our manmade planet. Furthermore, it highlights the importance of peripheral discourse on the edge of the planetary crisis, and unfolds a vibrant and democratic borderspace within the all-encompassing ecological trauma.
Departing from Victor Turner’s “social drama” and the unpredictability of a global monetary system, the research exposition focuses on the specific context of Iceland as a knot geographically located within the global fabric of the Capitalocene. Being the site of a massive banking crisis between 2008 and 2011, the island-state is seen as an artificial environment of capitalist warfare, based on an ecosystem of virtual forces that actualize themselves on a social, economic, cultural or ecological level.
Applying a situated performative research praxis, the research exposition affirmatively investigates this manifold and monetary-driven spatiality. As the research exposition suggests, performative research allows to confront the unpredictability of the capitalocenic field in all its complexity and to pave the way for “vanquishing [...] or even befriending“ the dominant forms of global financial market capitalism” (Gilles Deleuze, Logic of Sensation). “Just a mere Spring to take” is a discursive assemblage of various investigative highlights on a virtual, global and elusive phenomenon, aiming at peripherically unfolding horizons of performative thinking, and enabling a fragile intra-active confrontation with our vertiginous, traumatized but still living cosmos.
What can a process do? A passage from ritual to rituality
(2019)
author(s): Usoa Fullaondo
published in: Journal for Artistic Research
In this exposition I try to build new relationships between different creative processes arising from nature, life, and art. This is done by setting up visual, textual, and affective analogies through superimpositions of layers of images, sound, and text based on the book Un Atletismo Afectivo (An Affective Athleticism) (publication on paper, 116 pp, 2016) and the audiovisual work Trenza (Braid) (HD video, 55', 2017).
These two works were developed around a particular space, the fields of Aixerrota in Algorta (Bizkaia, Basque Country). The book is an attempt to translate my habitual experience of running through this space into art, while the film mainly focuses on observing and experiencing how the landscape was turned into a space for a festive event. Three separate narrative strands, each referring to a particular process, intertwine. The first of these is filmings of young people's actions as they prepare the space for the International Paella competition. A second strand consists of fragments of a voice-over by David Attenborough from the documentary Bowerbirds: The art of seduction (2000), which shows male bowerbirds building the bowers where they will court the female bird. The third strand includes sequences from my own work, which outline emerging processes of artistic creation and research.
The aim of this exposition is to share the singularity of processes in which the need to bond or to attach (Juan Luis Moraza, 2009) instigates a conscientious preparation of space that will allow an event to succeed. It also highlights the way in which some of these processes may interrupt the normal course of things and the self-absorption born from habit by opening up from the individual towards the collective, by confronting the tension resulting from an indeterminate end result, and by re-enacting aesthetic experience through the production of an audiovisual and sculptural landscape. The underlying question of the work relates to the potential of new arrangements of materials to open up new creative processes.
Return to the Site of the Year of the Rooster
(2019)
author(s): Annette Arlander
published in: RUUKKU - Studies in Artistic Research
This exposition is centred around a video essay, which uses some parts of Animal Years, a series of one-year performance-projects recorded on Harakka Island in the years 2002-2014, as examples to create a form of "digital autotopography". Returning to the site of the performance Year of the Rooster (2006) and Christmas of the Rooster - Tomten (2006) twelve years later serves as a starting point for reflections on the materiality of the site, on the birches growing there as co-performers, and on revisiting and assembling old works as way of doing things with performance.
they didn't bring enough water
(2019)
author(s): William Smart, Lindsey french
published in: Research Catalogue
In early 2016, Lindsey french and Willy Smart gleaned water samples during a series of anomalous rainstorms in the Southern Californian desert. Later, these samples were ‘released’ publicly via personal humidifiers.
Combining photographic documentation of humidity, the affected certainty of diagrams, and an associative written text that slips between theoretical and personal registers, the research exposition, “they didn’t bring enough water,” catalogs this process of reception and release.
The project floats on our attempt to follow a logic of water in our research — from the start then there is no pretense toward rigid methodology. We collected samples erratically, in line as much with our moods as with the sites we’d marked out in advance of the trip as potential intrigues. In other words, the bonds we seek out here aren’t those of solidarity, but liquidarity. Water is not then the tested object of our actions, but rather an active agent in our research. Crucially, the release was staged publically: the humidifiers fogged up the windows, our breaths mixed. Release here is meant in the sense of a record release — of circulation — rather than in the sense of a caged animal set free.
The materials collected in this research exposition include photographs of each water sample at the moment of its release, diagrams of forms taken by the released water vapor, and a written text. The text folds (but does not tie — liquidarity reigns here too) historic information on sample sites with personal associations and theoretical conversations initiated during the days of collection: during long drives, before sleep, and at the sites themselves. The text thus is loose — it slips between pronouns and landscapes and concepts — there’s not quite enough present perhaps for total coherence, like the sign we encountered at a trailhead at the beginning of the research trip — “THEY DIDN’T BRING ENOUGH WATER.” This apparent warning, with its seductive vagueness, would crystallize in the following days into an aphoristic methodology that is carried over into the presentation of materials here. What we didn’t bring perhaps we (perhaps you) will find here.
Practicing art - as a habit? / Att utöva konst - som en vana?
(2017)
author(s): Annette Arlander
connected to: Stockholm University of the Arts (SKH)
published in: RUUKKU - Studies in Artistic Research
This bilingual exposition (English and Swedish) presents and problematizes the relationship between artistic practice and habit, describing two projects that deal with repetition and place. The projects 'Solsidan' and 'Summer at Söder' were undertaken during the years 2015-2016 in Stockholm. The idea of repetition and returning to the same site were crucial, as in much of my previous works. Unlike them, neither of these two projects involved performances for camera; in both the actual practice consisted of video recording the view. The shift in emphasis from an artistic practice aiming to produce an artwork, into an activity undertaken mainly as an exercise, an activity, could be seen as a strand in the general trend in contemporary art since the 1960s and accentuated in this century towards valuing the 'working' of art above the work of art as an object. This trend can also be related to research and linked to the preference for various terms like practice as research, performance as research, creative arts research or, indeed, artistic research. - This exposition combines a description of the actual practice, with an encounter with the material generated through that practice and proposes that these works can exemplify artistic research as a speculative practice.
Shuttling
(2015)
author(s): Mick Douglas, Beth Weinstein, James Oliver
published in: Journal for Artistic Research
This exposition investigates practice-as-research dynamics through a project titled ‘Shuttle’, from which emerged a practice of ‘shuttling’ as a layered modality for processing methodological artistic research. An international crew of artists, designers, and performance makers enquire into peer-to-peer creative practice development: practices unfolding through the dramaturgy of a twenty-day, four-thousand-mile mobile performance-research journey in the deserts of the North American south-west. We trace the dynamics of a practice-as-research milieu through a suite of artistic operations, performatively elaborated through this rich-media exposition. Through ‘shuttling’, we generate parafunctional performative spaces and temporalities. Our spatio-temporal and sensory mode of research – conditioned, co-created, and situated as a mobile laboratory – posits reflexivity as an embodied practice, as a medium of ‘shuttling’ with the dynamic emergence of creative research practices.
Image as Site
(last edited: 2024)
author(s): ellenj
This exposition is in progress and its share status is: visible to all.
Devices that produce images, such as cameras and microphones, invite their users to engage with the world by enabling a network of relationships. By appropriating the concept of field from certain discourses of sound art and applying it to the moving image, visual artist Ellen Røed explores, in a series of collaborations, how camera based field recordings might operate across experience, mediation and representation. By considering the moving image as a form of site in itself, the activities of the project consider how moving images can manifest as a form of place on its own terms rather than as a mode of representing reality. The project builds on the capacity of video based art for enabling movement, transience, and body, in other words elements of performance characteristic to site.
Image as Site is an artistic research project at Stockholm University of the Arts (SKH), funded by The Swedish Research Council and SKH.
Parallax (House for an artist)
(last edited: 2024)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
Design for a new house, scrapped 2002, reworked 2021 with bird observatories on mud landscape.
Flipping the initial scaled sketches for the house, I selected the naturally lit staircase as the main sculptural and building element for bird observatories, spread on the mud landscape of a natural bird habitat. The sculptural structures are proposed to be installed on site following the parallactic model, which re-frames the site as the medium through the pieces.
Adventures in Deep Canine Topography. Part 3: The Beach Beneath or Feet: A Hunan-Canine Exploration of Wild Space (Film)
(last edited: 2024)
author(s): Darren O'Brien
This exposition is in progress and its share status is: visible to all.
Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the ‘walkies’ as a co-authored act of ‘making’ or ‘performing’ together.
Adventures in Deep Canine Topography Part 3 ‘Wild Spaces’ explores walking on the very edges of landscape and deep time connections with co-evolution of humans and canines. In this three channel video and binaural sound work, I’m interested in the role of immersive sound and film, from the canine POV, allows us to become entangled within the canine sensory experience as a way of enhancing and extending relational connections with wild spaces.
PLEASE WEAR HEADPHONES: Duration 10min:
Two Bodies Drawing:
(last edited: 2024)
author(s): Darren O'Brien
This exposition is in progress and its share status is: visible to all.
Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the ‘walkies’ as a co-authored act of ‘making’ or ‘performing’ together.
As part of the practice based element of my PhD thesis, Deep Canine Topography, this experimental embodied drawing practice employs global positioning technology, not as a navigational tool, but as a drawing tool which tracks relative and relational movements between human and canine bodies. Drawings are generated by tracking the movements of both human and canine bodies which in turn are animated using open source software to create a collaborative, human- canine mark making practice.
Clicking on the round MAP circle will take you to the central exposition of my PhD: Deep Canine Topography.
Further Adventures in Deep Canine Topography: Experiments in canine Soundscapes: Attending to Rhythm and Repetition.
(last edited: 2024)
author(s): O'Brien and O'Brien
This exposition is in progress and its share status is: visible to all.
Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the ‘walkies’ as a co-authored act of ‘making’ or ‘performing’ together.
As part of the practice based element of my PhD thesis, Deep Canine Topography, this practice based investigation of the performance of human-canine hybrid aesthetic walking practices, focuses on the rhythm and repetition of the urban walkies through Henri Lefebvre's Rhythmanalysis. Using sound, photography and GPS to document the daily repetitive morning walk, in urban Leicester, this presentation explores two such walks, one taken in January 2020, the other in March 2020, during the Covid 19 lockdown period. Both walks follow the same circular route. Both attend to the rhythms of the human-canine bodies, traffic, human conversation and canine olfactory signs and signifiers, exploring harmony and disharmony between the linear rhythms of production and more messy rhythms of nature. Binaural microphones are positioned close to the canine body to capture a soundscape from the canine perspective. Duration of both walks is around 13 minutes. Headphones are advised for a full spatial experience.
The sound will autorun on opening the exposition.
PLEASE WEAR HEADPHONES:
First presented at the Midlands 4 Cities, ARHC, Research Festival: July 13th_14th 2020:
Clicking on the round MAP circle will take you to the central exposition of my PhD: Deep Canine Topography.
Ninguém entra duas vezes no mesmo rio.
(last edited: 2024)
author(s): rodrigo queirós
This exposition is in progress and its share status is: visible to all.
“Misfortune is the echo of hope”
By looking attentively we can renew our world constantly, everything that surrounds, even the most banal is a portrait of hope. In this Exposition I choose to focus on what is directly around me, in a nearly autobiographical form, at a same time forming a kind of portrait of a city and a memory of a disappearance. Paradoxically, the disasters of what is no longer with us, that has been lost, is also what we should maintain in "echo" as an act of tenderness. In an exercise of simplicity that arises from the question "what is the shipwrecked person left with?" of Hans Blumemberg.
A Singe Breath
(last edited: 2023)
author(s): Darren O'Brien
This exposition is in progress and its share status is: visible to all.
Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the ‘walkies’ as a co-authored act of ‘making’ or ‘performing’ together.
As part of the practice based element of my PhD thesis, Deep Canine Topography, this 11 min video and musical composition is built around series of urban walks and utilises rhythms and repetition of breathing, walking, traffic and more than human encounters, including chance encounters with winged beasts. It explores the rhythms of nature and the human -canine hybrid body as a compositional strategy.
A Version of the work with the title 'Little Gestures" was also publicly exhibited at Two Queen Gallery, in October/November 2020, and featured geolocated sound walk which could be accessed via the Echoes Sound Walk app, on approach to the gallery.
Clicking on the round MAP circle will take you to the central exposition of my PhD: Deep Canine Topography.
Co-sounding: Towards a Sonorous Land
(last edited: 2023)
author(s): Budhaditya Chattopadhyay
This exposition is in progress and its share status is: visible to all.
Co-sounding: Towards a Sonorous Land is an artistic research that delves into an Acoustemological unpacking of the landscape, focussing on the site of Amstelpark. The project intends to inculcate a dialogic context within which an intersubjective approach to the perception of land as an equitable habitat of human and non-human lifeforms is developed. This mode of reciprocity and intersubjectivity helps to counteract the nature-culture binary with an ambient and environmental aesthetics in sound arts.
Project partners:
Zone2Source, international platform for art, nature and technology
Educational partners:
Honours Lab, ArtEZ University of the Arts
Project assistants:
Tobias Lintl (Academy of Fine Arts Vienna) - design and production support
Christoph Kummerer - coding support
Bidisha Das (KHM Cologne) - system and engineering support
Yann Patrick Martins (IXDM Basel) - coding support
Why Look at Humans?
(last edited: 2023)
author(s): Darren O'Brien
This exposition is in progress and its share status is: visible to all.
Operating at the intersection of fine art walking practice, psychogeography, critical animal studies and ecology, the practice of Deep Canine Topography seeks to reframe the humble act of the ‘walkies’ as a co-authored act of ‘making’ or ‘performing’ together.
As part of the practice based element of my PhD thesis, Deep Canine Topography, in this series of photographs the composition is framed by the canine body, through a chest mounted action camera, set to capture stills at intervals of 10 or 30 seconds.
The accompanying text is an adapted extract from John Berger's 1980 book Why Look at Animals, although in this version of the text the word animal and human have been swapped, thus shifting the position of the animal, looking at the human.
Clicking on the round MAP circle will take you to the central exposition of my PhD: Deep Canine Topography.
Final Assessment Presentation
(last edited: 2022)
author(s): Florinda Camilleri
This exposition is in progress and its share status is: visible to all.
A presentation of artistic research for the final assessment of the Master Performing Public Space program.
Performing with Plants - Att uppträda/ samarbeta med växter
(last edited: 2022)
author(s): Annette Arlander
This exposition is in progress and its share status is: visible to all.
EN
This exposition documents and archives the artistic research project performing with plants.
SVE
Denna exposition dokumenterar och arkiverar det konstnärliga forskningsprojektet att uppträda/samarbeta med växter.
Peripheries
(last edited: 2021)
author(s): Montserrat Fonseca Llach
This exposition is in progress and its share status is: visible to all.
The periphery is present in the distance, somehow the periphery finds its identity from the periphery. When the place of origin is out of reach, between signs of strangeness and marks of a foreign place, in a constant tension between “being and not being there”.
Travel, which makes the origin tangible, in a portable dimension of the landscape and its roots even in the distance. The trip implies a fixed point, from which it emerges and from there the "being in transit" becomes a primordial state of leaving and looking for a home.
The body becomes an intermediary of this space "in transit", the only constant territory, as an object that absorbs, adopting foam in constant transformation and flow. Foam that becomes tidal, goes, collects, returns, and from there as a loop, generating ties with the origin.
Hinterlands - Between Worlds exhibition
(last edited: 2021)
author(s): Jim Harold, Susan Brind
This exposition is in progress and its share status is: visible to all.
'Hinterlands' for the exhibition 'Between Worlds'
Renmin University of China, Beijing, 2015
The installation, ‘Hinterlands’, comprises two related elements: a wall painting with vinyl text; and four unframed photographic digital prints arranged on adjacent walls.
The wall texts are taken from a mixture of diary notes and descriptions of photographic images made by the artists, Brind & Harold, over a number of years whilst on research journeys. The texts are not chronologically ordered but, instead, are intended to be read as a series of text-images. Through typographic layout and proximity, the texts become interrelated whilst not being the direct traces of a linear journey or journeys. Rather, they tell of the small moments of travel and experience (un-photographable in some cases) that act as the truer registers of a journey; whether that journey is outwardly bound or inwardly focused. As a result the work seeks to allow these events and the phrases used to account for them to become liminal spaces - thresholds or hinterlands - through which the viewer's own imagination may engage with the artists’.
The photographs of desert space, details of the desert floor taken in the Egyptian a Desert, are similarly intended as the traces of real events and locations, while providing ambiguous spaces of reading and meaning.
ArsbioArctica Residency 2014
(last edited: 2021)
author(s): Annette Arlander
This exposition is in progress and its share status is: visible to all.
This exposition archives, documents and hopefully also exposes the work created during two one-week ArsBioarctica residencies at the biological station in Kilpisjärvi, in April and June 2014. It serves as an appendix to a text "Data, material, remains" to be published in Koro-Ljungberg, Loytonen & Tear (eds.) Data Encounters.
The Colors of the Leaves of Maine
(last edited: 2020)
author(s): RUUKKU Voices: Patricia Tewes
This exposition is in progress and its share status is: visible to all.
This work concerns the colors of the state of Maine where I reside part of the year. The climate of Maine is similar to southern Finland. The colors of Maine are the deep blue-green conifers covering the mountains, the clear ultramarine of the sky and the even darker ocean, the reds, oranges, and grays of the rocks, the almost day-glo green of the lichens on dark trees shining on a rainy night, and the transparent whitish gray of the fog. I have asked myself the question, if the temperature warms, no, when the temperature warms, how will this change? The vegetation will change, the forests in the far north of Maine will change from blue-green conifers to mixed forests, and the mixed forests in most of the state will become warm broadleaf forests. Forests in Maine will look more like New Jersey or Delaware, a yellow-green vs the blue green of our pines. Many of the lichens will not survive. The sea level will rise, and some of coastal Maine will be flooded. We will see migration of both plants and animals, including humans, northward as the climate shifts. It’s already starting to happen.
In my work, I use these plants to assist my human hand. The human-plant interaction in the work reflects human-plant interaction in the world. My background as a medical doctor led to my interest in the concept of plants as medicine for the mind and body. I print and paint in multiple layers on canvas or panels mixing these found plant materials, collage, and human-made marks. I am fascinated by the unique marks that can be made with these organic materials. The fact that small elements of plant matter are incorporated into my paintings adds to this fascination. I reflect on the changing colors of these plant materials as the climate warms. I try to reflect that in my work, relying on the work of scientist who create mathematical models of climate change to speculate how the colors in a place might change. My current work is a series of paintings that uses these models to show in the leaves themselves how the colors might change. The place chosen is Acadia National Park in Maine. The plan for the work is to translate this model of the leaf to other places under threat of change due to climate warming. How will the colors and vegetation change in these places as the temperature warms? In using plants in my paintings I hope to create a link between the human viewer and the plant.
Perhaps my use of plants in mark-making can help us gain a deeper understanding of our relationships to the natural world and our commonality of DNA in a world in which we are increasingly in opposition to nature.
The Green Man - scientific and artistic reflection on environmental issues
(last edited: 2019)
author(s): Ana Sladetic Sabic
This exposition is in progress and its share status is: visible to all.
„The Green Man“ art work is based on a real environmental research that was conducted on invasive tropical algae from the Adriatic Sea which belong to the most invasive species on the Earth. These algae are dangerous because they produce toxic compounds that destroy native species causing reduction in biodiversity and marine life. Despite its harmful effects on ecosystems, animal and human health the monitoring of these species in Croatia has been terminated due to lack of financial support. Through human body and circulatory system, this art work discusses fundamental issues present in research practice. Links in the work represent touch-activated voice lines that reveal the truth and actual state of scientific and artistic research practice.
DESERT DWELLING
(last edited: 2018)
author(s): Christine Hansen
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.
Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.
NOISE
(last edited: 2018)
author(s): ARNAU MILLÀ BENSENY
This exposition is in progress and its share status is: visible to all.
NOISE
A SONIC CHOREOGRAPHY WITH LIVE COMPOSING
Series of performance pieces. Each one is the result of a site-specific creation and research laboratory. The creation laboratories are focused on a specific city or location and on its inhabitants.
The first version of NOISE was created and executed in the city of Kitakyushu, Fukuoka prefecture, Japan.
VOL.1 NOISE - KITAKYUSHU
NOISE is an approach and a perception of a city, neighbourhood, town or area through the sounds that the space itself and its inhabitants generate.
From this sound material, movement and body perceptions are generated. They will later be developed to create the choreographic piece.
The composition in real time is organised through the language of Soundpainting. The entire soundpainting encoding is used to extract, analyse, dissect and sort all the sound and visual material that can be found in the apparent chaos of metropolitan and natural spaces.
For you ...
(last edited: 2017)
author(s): Jim Harold, Susan Brind
This exposition is in progress and its share status is: visible to all.
'For you …'
Susan Brind and Jim Harold
Woodside Library, Glasgow
As part of ‘Bitter Rose’, Glasgow International, 2016
including talk and performative readings
Over a number of years, artists Susan Brind and Jim Harold have been collaborating on an artwork that takes the form of a growing series of letters, with the working title Coffee Letters, that reference events witnessed since the turn of the 20th-21st Century.
The letters, based on the artists’ own experiences and observations, are written by an anonymous ‘I’ – from different years and various international locations – to an unknown ‘you’ – whose location is not known. The letters reveal a relationship, by means of reflecting upon historical and current events, and moments shared, that reaches across continents, cultures and time.
For you … was developed as a sculptural installation and a reading for the ‘Bitter Rose’ project that took place at different locations in Glasgow (8 April - 2 May 2016) devised for Glasgow International 2016, by writer, poet and musician Tawona Sithole and artist Birthe Jorgensen. Sithole & Jorgensen invited selected artists to devise a work for chosen locations distributed across the City of Glasgow so as to interact with the different communities located within and dispersed across the city.
Curious Arts – No. 5
(last edited: 2017)
author(s): Jim Harold, Susan Brind
This exposition is in progress and its share status is: visible to all.
'Curious Arts – No. 5'
CCA, Glasgow, 2011
Sculptural and sound installation
In December 2011 the CCA dedicated its major gallery spaces to a two-week programme that developed its support for writing and publishing within contemporary art practice: "This programme will review the progress of 2HB in the form of an exhibition, ... an events programme and place this activity in the broader context of an international book fair where we can consider how books travel and how we travel through books. ... It has felt like the quality and diversity of artistic practice in Glasgow has been accelerated by art writing and journal publishing, as if the intelligence and sensibility of artistic practice in the city has been harnessed to a new force. ... So, we are wondering: what kind of cultural motor is independent publishing in Glasgow, and how does writing act as a motor within the artist's own practice?"
Quoted from CCA, Glasgow - "2HB: What we make with words. Writing and publishing as motors within contemporary art practice", October 2011 (undated). Exhibition curators: Sarah Tripp and Jamie Kenyon.
Exhibiting Artists: Susan Brind & Jim Harold, Ruth Buchanan, Alex Impey, Paul Elliman, Kathryn Elkin, Hannah Ellul, Kate Morrell, Charlotte Prodger, Thom Walker, and Rebecca Wilcox.
Drawing upon research undertaken in the library at Hospitalfield House, Arbroath (an historic house on the east coast of Scotland), and by means of a sculptural sound installation, 'Curious Arts – No. 5 took the viewer on a journey from the private world of the writing desk to the landscape and a place of images, texts and the history of ideas.
Curious Arts – No. 5
(last edited: 2017)
author(s): Susan Brind, Jim Harold
This exposition is in progress and its share status is: visible to all.
'Curious Arts – No. 5'
CCA, Glasgow, 2011
Sculptural and sound installation
In December 2011 the CCA dedicated its major gallery spaces to a two-week programme that developed its support for writing and publishing within contemporary art practice: "This programme will review the progress of 2HB in the form of an exhibition, ... an events programme and place this activity in the broader context of an international book fair where we can consider how books travel and how we travel through books. ... It has felt like the quality and diversity of artistic practice in Glasgow has been accelerated by art writing and journal publishing, as if the intelligence and sensibility of artistic practice in the city has been harnessed to a new force. ... So, we are wondering: what kind of cultural motor is independent publishing in Glasgow, and how does writing act as a motor within the artist's own practice?"
Quoted from CCA, Glasgow - "2HB: What we make with words. Writing and publishing as motors within contemporary art practice", October 2011 (undated). Exhibition curators: Sarah Tripp and Jamie Kenyon.
Exhibiting Artists: Susan Brind & Jim Harold, Ruth Buchanan, Alex Impey, Paul Elliman, Kathryn Elkin, Hannah Ellul, Kate Morrell, Charlotte Prodger, Thom Walker, and Rebecca Wilcox.
Drawing upon research undertaken in the library at Hospitalfield House, Arbroath (an historic house on the east coast of Scotland), and by means of a sculptural sound installation, 'Curious Arts – No. 5 took the viewer on a journey from the private world of the writing desk to the landscape and a place of images, texts and the history of ideas.
'Curious Arts No. 6'
(last edited: 2017)
author(s): Jim Harold, Susan Brind
This exposition is in progress and its share status is: visible to all.
'Curious Arts No. 6' (a collaborative artist book work) Published by CCA, Glasgow, 2013.
ISBN: 978-0-9576732-1-2
The book work, 'Curious Arts – No. 6', results from a period of residency and research in the private library at Hospitalfield House in Arbroath on the North-East coast of Scotland. The original owners of the house, Patrick and Elizabeth Allan-Fraser, were both dedicated to the ideals of art and nature and, following their deaths in the late nineteenth century, the House has been run as a trust dedicated to developments in the visual arts, literature and music in Scotland and internationally.
Given the owners’ original ideals, the House, its library and the ensuing years of residencies hosted by the Trust, have secured Hospitalfield as a part of Scotland and the UK’s cultural heritage: it is a hidden gem. Brind & Harold engaged with the House and its collections over a 6-year period. While the intention of this book is, in part, focused by the ethos of the Allan-Fraser’s, the House, its library and collections, 'Curious Arts – No. 6' is a visual and textual analysis of the qualities of the place, particularly those of the eclectic holdings of the library, that focuses on the ideals associated with nature and landscape. The archive comes alive as soon as one asks the question: how might this historical knowledge inform our contemporary understandings of the natural world? To help answer this Brind & Harold commissioned a human geographer, Dr. Nina Morris (Edinburgh University), and the academic and curator, Dr. Francis McKee (CCA, Glasgow) to join their researches into the House and its holdings. The resulting 52 page publication includes their responses as texts, as well as a visual essay by the artists, and includes an introduction by Lucy Byatt, Director of Hospitalfield House.
Published by CCA, Glasgow, 'Curious Arts No. 6' has been produced with substantial financial support from The Royal Society of Edinburgh, along with funding from the Glasgow School of Art’s Research Development Fund, with the intention that it be freely gifted to Scottish public libraries and libraries within institutions of higher education in the UK, and selected art libraries internationally. Whilst we live in an age where the internet is proliferating as one means of knowledge storage and dissemination, private and public libraries remain invaluable as models of knowledge-gathering systems and as archives vital to our deeper understanding of the world. By gifting copies of 'Curious Arts No. 6' to libraries, Brind & Harold hope to symbolically connect the knowledge held in a small private library in Arbroath with libraries and readers elsewhere.
Curious Arts – No. 6
(last edited: 2017)
author(s): Susan Brind, Jim Harold
This exposition is in progress and its share status is: visible to all.
'Curious Arts No. 6' (a collaborative artist book work) Published by CCA, Glasgow, 2013.
ISBN: 978-0-9576732-1-2
The book work, 'Curious Arts – No. 6', results from a period of residency and research in the private library at Hospitalfield House in Arbroath on the North-East coast of Scotland. The original owners of the house, Patrick and Elizabeth Allan-Fraser, were both dedicated to the ideals of art and nature and, following their deaths in the late nineteenth century, the House has been run as a trust dedicated to developments in the visual arts, literature and music in Scotland and internationally.
Given the owners’ original ideals, the House, its library and the ensuing years of residencies hosted by the Trust, have secured Hospitalfield as a part of Scotland and the UK’s cultural heritage: it is a hidden gem. Brind & Harold engaged with the House and its collections over a 6-year period. While the intention of this book is, in part, focused by the ethos of the Allan-Fraser’s, the House, its library and collections, 'Curious Arts – No. 6' is a visual and textual analysis of the qualities of the place, particularly those of the eclectic holdings of the library, that focuses on the ideals associated with nature and landscape. The archive comes alive as soon as one asks the question: how might this historical knowledge inform our contemporary understandings of the natural world? To help answer this Brind & Harold commissioned a human geographer, Dr. Nina Morris (Edinburgh University), and the academic and curator, Dr. Francis McKee (CCA, Glasgow) to join their researches into the House and its holdings. The resulting 52 page publication includes their responses as texts, as well as a visual essay by the artists, and includes an introduction by Lucy Byatt, Director of Hospitalfield House.
Published by CCA, Glasgow, 'Curious Arts No. 6' has been produced with substantial financial support from The Royal Society of Edinburgh, along with funding from the Glasgow School of Art’s Research Development Fund, with the intention that it be freely gifted to Scottish public libraries and libraries within institutions of higher education in the UK, and selected art libraries internationally. Whilst we live in an age where the internet is proliferating as one means of knowledge storage and dissemination, private and public libraries remain invaluable as models of knowledge-gathering systems and as archives vital to our deeper understanding of the world. By gifting copies of 'Curious Arts No. 6' to libraries, Brind & Harold hope to symbolically connect the knowledge held in a small private library in Arbroath with libraries and readers elsewhere.
Volver, Ver, Mover
(last edited: 2017)
author(s): Belen Cerezo
This exposition is in progress and its share status is: visible to all.
This project explores the relationship between images and stones using as context stone-lifting , a rural sport played in the Basque Country and Navarre. Taking into account issues such as the materiality of photographic images, the performativity of stone-lifting and the materiality of the stones, this project utilizes photography to investigate the physical properties of the stones in relation to ultra-violet light through a series of photogrpahs. Also, the multi-channel video installation deals with the presence of rocks in the Basque landscape in places such as mountains, roads, quarries, sites of geological interest ... trying to understand how landscapes are constructed and their relationship with time and identities.
TALKING TREES
(last edited: 2017)
author(s): Annette Arlander
This exposition is in progress and its share status is: visible to all.
This exposition is presenting (and archiving) a work in progress consisting of site-specific sound installations or audio plays created for particular trees. The work is inspired by the ancient Celtic beth-luis-nion tree alphabet.
Bridge
(last edited: 2015)
author(s): Johan Sandborg
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.
Through a dialogue with an historical archive the project seeks to construct a fluid story of a confined landscape on the point of transformation. Through the negotiation of a multitude of images the project constructs a narrative that transcends the photographic vision as evidence, and questions whether vision can be more than comparable to the ground of an archaeological excavation. Through the use of the photographic essay as a method the intention is to try and interpret the changeability of the urban landscape.