Side FX
(2025)
author(s): Irina Österberg
published in: Research Catalogue
Across diverse mediums and form, the ‘human’ body, however transient, remains my main subject of events. What is seen, in the eyes of my mind, take place on surface, lens, material, and morph with one another, with the living moving body, disfiguring each other and reconfiguring themselves after consumption.
Embodied and disembodied appearances, reflect on the visceral and urgent presence of the human, live, body. At the start, the notion of mirror: a constant ever-changing image that is formed and deformed as each breath brings life to the body. Different media such as drawing, photography, printmaking, painting, voice, word, sound and video, interrelate with as output a universe of heterogeneous appearances, each with a common denominator: movement of the body and movement of the soul, between the gestural expression of charcoal drawing, the analogue and digital/post-produced sounds, still and moving images, to the carefully crafted and re-elaborated copper plates delivering prints.
At the moment these are called Side Effects, each one a bi-product of the previous step in the process of feedback loop.
“anthropomorphs”; two dimensional images derived from the superimposition of drawing and moving body (drawing>photo>painting>print)
“hesitations”; the more visceral exploration of embodied voice-movement integration, exploring frequencies and resonances of vocal output rooted within the organs of the body
“ghosts”; are the anthropomorphs restituted a third dimension. Sculptures rendered independent to move again, suspended in space, relating to nothing but to their history and to one another.
“multiplicity”; anonymous portraits overlapped and stop-motion animated, searching to grasp the ever-changing nature of (one)(multiple)self, faced with memory and its loss, ancient stranger twins, imagined encounters or the union of multiplicity as one.
Beauty and the Act of Narrating Material Aesthetics
(2022)
author(s): Maria Høgh-Mikkelsen
published in: Research Catalogue
I have always been very engaged in the phenomenon of beauty. Not in the sense of being pretty, but beauty as that special ambience certain objects or spaces or even humans can have. I wonder and puzzle with questions like:
What makes something beautiful? Can one practise the creation of beauty? How do I create beauty? Is the creation of beauty a matter of talent? Or a matter of professional culture? So, I am not only absorbed in the phenomenon of beauty itself but also in the act of beauty-creation. And in how other people experience the beauty I have created. Where other people see only bricks and numbers, I have always seen patterns in both brick walls and phone numbers. So, if other people don’t see what I see, how do I then communicate with them in objects and spaces?
These are some of the questions I set out to answer in the artistic research project, I call Narrating Material Aesthetics. With the project I want to explore how we as designers embed stories and meaning in the objects we create.
Andrej
(2021)
author(s): Denisa Böserová
published in: Research Catalogue
The table was created on the topic of waste and its impact. The material I was based on
is a reference to the global production of a large amount of waste that cannot be
select repeatedly.
The Baby Bucha Project
(2019)
author(s): Anna Ting Möller
published in: VIS - Nordic Journal for Artistic Research
In this exposition, I confront my feelings about having been transnationally adopted. I do not consider adoption a ‘win-win situation’, and I encourage people to think critically about the practice as well as the glorification of it. The colorblindness with which I was encountered as a PoC growing up with white parents was an existential complication for me. I was plagued by feelings I could not understand at the time and grew isolated. I want to visually express the feeling of being estranged and alienated from one’s own body and the fear of drowning in one’s own skin. I have often felt compelled to unzip my skin suit and leave it next to my trousers in a heap on the floor. In this project, I grow my own skin in a vat – or more specifically, I grow a kombucha culture in tea and sugar. During the fermentation process, the kombucha culture creates a cellulose material that resembles human flesh. The process is a slow one, and developing the material demands a great deal of love and nutrition. In return, I get a self-produced material that enables me to work independently.
words meet material
(last edited: 2021)
author(s): Jelena Škulis
This exposition is in progress and its share status is: visible to all.
several authors met
in one millennium
and made words
nasty
our contribution to the common minority is meager but necessary / Elias Canetti, from Die Blendung, 1935
aspiration is to
reduce text
in its production
the conclusions are yet to come
questions will come at the end
-
Here I present little passages written by using autoethnographical approach and researching most important issues I cope during creative process. Selected short texts are the part of the artistic research connecting to themes about material and art through words. These little messages I call literature tattoos – usually performed on the skin, but the same action can emerge in the brain structure after reading. The video and artwork ’I have tried everything, nothing works’ were made in 2019, during the residency which was a part of Doctoral studies in University of Bergen, Faculty of Fine Art, Music and Design (Norway). There I was first time not using physical contact with community or handwork but was learning new technology - jacquard.
The texts in artwork =Co woven quotes from the books about artistic research. The set of rules or the menu of instructions are shown as possible (un)helper if you wish to perform (un)successful research being an artist. Phrases were picked out from books intuitively while practicing AR. The question is if, why or when they are helpful.
The whole AR is about analyzing links and boundaries between community, text and material.