The Archeologist's Gaze
(2024)
author(s): Jehanne Paternostre
published in: VIS - Nordic Journal for Artistic Research
The Archeologist’s Gaze presents and reflects on a project on the restoration of ancient tapestries, following the award of a research grant to TAMAT (Museum of Tapestry and Textile Arts, Tournai, Belgium) in 2020-2021. After immersing herself in the museum's restoration workshop, looking for images, words, materials and gestures, Paternostre turned her attention to the reverse side of the tapestry. Studying the scraps of thread that had fallen to the floor, her vision of the tapestry was turned upside down, and the little bits of thread that gradually was picked up from the ground became the focus of the research. These details bore traces of many hands that had restored and repaired the tapestry over the centuries and told a story of care and attention, the inseparable opposite of monumental tapestries and mythical tales.
Permanent traces
(2024)
author(s): Matevž Čebašek
published in: Royal Academy of Art, The Hague
Research Document of the Royal Academy of Art, The Hague, 2023. BA Photography.
The research paper serves as a base for understanding the memories on a case of a person with dementia and their connections to the medium of photography. Photography is used as an attempt to retrieve my grandmother’s autobiographical memories which are often hard to retrieve. It is based on the assumption that every memory, no matter how vague, is still accessible by restoring to a proper process, similar to the latent image on the photographic film that becomes visible only after appropriate processing. Based on existing experimental memory research I constructed a method of finding a cue that can trigger specific memories in a conversation. Photographic images from the past were used as a base of the conversation. In most cases, they didn’t directly trigger involuntary memory, but they served as a starting point for a conversation, allowing my grandmother to start actively thinking about a period of her life. Due to dementia, the responses within one conversation were often repeated, yet after some time, the chain reaction of retrieving memories allowed her to remember some specific details. Her understanding of the fragility of memories was constantly present. On multiple occasions, she expressed that an artificial device, such as photography or writing, should be used to preserve them. The research doesn’t give a complete understanding of how memories and their retrieval work in general, but it gives a better understanding of how it can efficiently be done with my grandmother. The process I developed can be applied to other people if properly adjusted to them. I believe that essentially what counts is not what kind of cue we choose, but that we patiently take time to listen and guide conversations with some previous knowledge about their past.
The past is rotting in the future: Exploring the Aesthetics of Absence in the daily life
(2024)
author(s): Alexandra Corcode
published in: Royal Academy of Art, The Hague
The Past is Rotting in the Future: Exploring the
Aesthetics of Absence in Daily Life, embarks on an
exploration of absence within the human daily life, examining
its manifestation through relations, processes,
and objects. It seeks to understand how absence is not
merely a void but a significant presence that shapes perception,
memory, and imagination. Through a multi-disciplinary
approach that integrates personal narrative with
academic writing, this research investigates the ways
in which absence is performed, textured, and materialized.
Central to the thesis is how photography, as both a
personal and artistic practice, serves as a critical medium
for discussing and visualizing absence, navigating
through personal experiences of loss, and broader philosophical
questions about how absence influences and
constitutes our understanding of the world.
HANDLE WITH CARE
(2024)
author(s): Athina Eleftheriou
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2023
BA Textile and Fashion Design
The aim of this thesis is to explore how setting up interaction between personal memories and the materiality of ordinary used objects contribute in new perspectives within the fashion context.
The Unbody of Construction and the Memory of Placeness
(2023)
author(s): Marija Griniuk
published in: RUUKKU - Studies in Artistic Research
The study explores the connectedness of the narrative of the artwork to the sociopolitical contexts of the public space in change. Through the reflexive artistic research within the project “Construction” I aim to discuss how Memory is bound to the Body. I investigate how Constructs of the public space embody the Memory and how demolishing of those constructs impact the narrative of the presence within absence.
PPC – A PROJECT TO CRITICAL REAPPRAISAL OF THE HISTORY OF THE MÜHL "COMMUNE".
(2023)
author(s): Elisabeth Schäfer
connected to: Academy of Fine Arts Vienna
published in: Research Catalogue
This open exposition was designed by Elisabeth Schäfer, Paul-Julien Robert, and Ida Clay as members of the PPC FWF PEEK project to critically examine the history of the Mühl "commune"/sect at Friedrichshof/Burgenland Austria.
Founded by the Viennese Actionist artist Otto Mühl in 1972 and dissolved by the Communards in 1990, the "AA Commune" was initially dedicated to raising awareness of habitualization through domination in everyday socio-cultural life practice and to liberating people from the sphere of influence of powerful social institutions. Their declared goal was to overcome authoritarian institutions such as the state, the church, the bourgeois family, capitalism, and patriarchy with the help of science, art, and liberated sexuality. The social experiment ended in a highly authoritarian system within a controlled community. Mühl was sentenced to seven years in prison for multiple sexual abuse.
Together with contemporary witnesses, the project strives for a re-examination and reappraisal of the commune and its effects through "research in and through the arts" by building a research space collaboratively designed by artists, contemporary witnesses and scholars as a reservoir for the joint exploration of individual and collective historical aspects of the AAO: (Re)writing of Reality Through Discourse.
This open exposition is one share of this (re-)writing through discourse. It presents an overview and excerpt from the three-year artistic research project in the form of a research landscape in which various formats can be visited as stages of research. In the form of a mapping we have embedded audio, video and text products into the research landscape of our project. Central locations of this landscape are the Friedrichshof in Burgenland, Austria, site of the former "commune"/sect & the Volkskunde Museum Vienna as national cooperation partner of the project.
Title of the project: PPC - Performing Primal Communism. (Re)writing of Reality Through Discourse
Principal investigator: Paul-Julien Robert
Project Team: Ida Clay, Thomas Marschall, Elisabeth Schäfer
Research location: Academy of Fine Arts Vienna (Institute of Fine Arts | IBK) | Karl-Schweighofergasse 3 | 1070 Vienna
Cooperation partner: Volkskundemuseum Wien
Funding: PPC is an FWF PEEK project [AR568] Project duration: 2020-2023
Assembling a Praxis: Choreographic Thinking and Curatorial Agency - Open House: A Portrait of Collecting
(2023)
author(s): Lauren O'Neal
published in: University of the Arts Helsinki
“Open House: A Portrait of Collecting,” a curatorial project held at the Lamont Gallery at Phillips Exeter Academy in 2015, is part of my doctoral research on “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” The "Open House" exhibition was initially about collecting and caring for objects, a traditional function of museums. Curating with a choreographic mindset encouraged me to address other questions, including how objects and collections foster emotional connections. My initial question for the project, “How to do things with objects?” soon became “How do objects arrange spaces of relation between people and ideas?” Themes include community, memory, identity, taxonomy, preservation, accumulation, value, story, exchange, and display.
[This exposition corresponds to Section Five: Arranging Spaces of Relation(s): What Can Objects Do? in the printed dissertation.]
Splitting Mammalian Weeds: Monster for a Memory
(2023)
author(s): Shana De Villiers
published in: Research Catalogue
This is not a thesis of trying to mine a singular understanding, but a collecti(ion)(ve) body of research composed into a gesture. Other than my memories, I have only grazed the surface of the topics I will discuss (even then, memories are at the fragile grace of synaptic connections) There are holes here, tears that will take a lifetime to mend. As I will mention later, I am not interested in a singular whole. Holes, however, are curious places with a warm spot for happenings, so I am okay with the holes.
All patchworks are several and my obsession with their cobbled nature does not mean there are no moments of stillness and clarity. This work is an archive of the muddiness of being and I invite you to draw parallels with your own logic as you stumble through this patchy, leaky, weed forest.
Scented Rooms
(2023)
author(s): Shauheen Daneshfar
published in: VIS - Nordic Journal for Artistic Research
The exposition Scented Rooms aims to be a form of resistance that finds itself in poetry and politics, poetic imagery, re-thinking censored archives, existential reflections on photography and cinema, and dance.
At the very core of the research is an important historic icon in Iran; The country's oldest theater which was burnt down by extremists during the 1979 Islamic Revolution, closed forever and has decayed over time. The burning of this theater, along with many others, was the starting point for imposing restrictions on art and culture.
The research departs contextually from the efforts of the Islamic government to control civil society. It is a reaction to a history of imposing a specific language discourse and discarding elements that represent a non-religious view, visual changes in the urban space and limiting access to specific types of information that refer to citizens’ collective memory.
Giving agency to this theater, the research aims to revive the collective and public memory of a society, being the voice of those that have been silenced for a long time.
The Anonymous – A Documentary Memory and Transformation Project
(2023)
author(s): Bengt Bok
published in: VIS - Nordic Journal for Artistic Research
De anonyma (The Anonymous) is a research project on memory and transformation that is divided into three parts: a book, a audio work, and a film. Over the past twenty years, Bengt Bok has returned several times to a former Nazi concentration camp north of Berlin. The first time he visited the site, he was shocked by the former death camp’s immediate proximity to a surrounding village. A community. Not only today but when the camp was still in use by the Nazis. How could people carry on living so nearby? He subsequently transformed the memories of his personal encounters, experiences and observations both in the camp and in the village into a book, which he, in turn, transformed into a sound work and, finally, into a film. In this exposition, Bok explores what became specific to, and distinctive about, each of the three different expressions or works — in other words, which narrative components remained, which disappeared, and which were added.
A Spectral Geology
(2022)
author(s): D.A. Calf
published in: Journal of Sonic Studies
Monuments exist as loci of official history, designed to be resilient and permanent. However, the world around them is in constant flux, questioning their continued significance. Drawing on fieldwork undertaken at monument (spomenik) sites in the former Yugoslav republics of the Western Balkans, together with archival sources, A Spectral Geology is a creative outcome of a continuing speculative investigation into sound and its potential contribution to alternative historical narratives. In imagining sound as a geological, sedimentary medium with the potential to transmit and sequester memory, it considers the possibility of hearing the murmured traces of the past through its excavation.
I lost time and space. Where am I? – Erzählen von chronischen Schmerzen
(2021)
author(s): Tabea Rothfuchs
published in: Journal for Artistic Research
Was passiert mit der inneren und äusseren Welt eines Menschen, wenn kein medizinisches Verfahren den Ursprung des erlebten Schmerzes (mehr) zu entziffern vermag? Wenn der Schmerz zum eigenständigen Krankheitsbild 'Chronischer Schmerz' geworden ist?
In einer Dialogserie mit Schmerzpatient*innen und Schmerzspezialist*innen erforsche ich in dieser Untersuchung – als Künstlerin und Schmerzerinnernde –, wie chronische Schmerzen das Leben beeinflussen, verändern und welchen Raum sie im Leben der betroffenen und behandelnden Menschen einnehmen. Oder als Kernfrage formuliert: Liegen Menschen mit chronischen Schmerzen im Leben anderer Menschen, in unserer Sozialstruktur und dem politischen System überhaupt drin?
––––
What happens to a person’s inner and outer world when no medical procedure is able to (further) decipher the origin of an ongoing perceived pain? When pain becomes an independent clinical picture called 'chronic pain'? In a series of dialogues with pain patients and specialists, I investigate in this study – as an artist as well as someone who remembers an episode of chronic pain – how chronic pain influences and changes lives and what space it takes in the lives of people affected and those providing treatment. Or expressed as a central question: Is there room for people with chronic pain in the lives of other people, our social structure and the political system at all?
Between plant fossils and oral histories: tracing vegetal imaginaries from Donbas, Ukraine
(2021)
author(s): Darya Tsymbalyuk
published in: RUUKKU - Studies in Artistic Research
This exposition brings together multiple contexts, narratives and modes of expression to tell multispecies (hi)stories about and from Donbas region, Ukraine, where a military conflict broke out in 2014. By engaging with fossils, paleobotany and testimonies of internally displaced persons, the exposition explores vegetal imaginaries of the region in a series of drawings and questions stories we tell about Donbas and displacement, and ways in which we tell them.
Piskan ställningen
(2021)
author(s): Livia Prawitz
published in: VIS - Nordic Journal for Artistic Research, Konstfack - University of Arts, Crafts and Design
The courtyard, laundry room, and areas for beating carpets are collective facilities in the private sphere of the home. In Stockholm you can find carpet hangers in connection to many apartment blocks even though they are very seldom used nowadays. The act of whipping carpets is an act that aims to get rid of the dirt – the remnants of life. Cleaning is a repetitive work, where something needs to be done over and over again without it producing something new.
The project Piskan ställningen consists of an essay, sound pieces, and sketches in different materials and is divided into three parts; the one who beats, the beater itself, and that which constitutes a stand for the beating. The various associations to the carpet hanger and the carpet beater form the basis of the project that centres around questions concerning repetition and productivity, place and time, the boundary between the public and the domestic sphere, and how dangerous the pursuit of alleged purity, hygiene, science, and light can be. Through text, sound and images, personal and collective memories, and the object's associations regarding reproductive labour, city planning, violence, the welfare project, and childish games are intertwined.
The material also contains other associations to control and power – with the whip as a means of threat and punishment, and an exploration of different forms of emptiness in relation to architecture, social structures, and mental space. Through a younger and an elderly woman's narrative voice, we follow an associative thought chain that interweaves the public, the domestic, and a bodily sphere. The setting is a society where she comes home from work to yet another form of monotonous routines, where cars get burned down, and tables are placed under vases, whilst someone has been digging a hole down in the city.
Through sketches in different materials, I approach the carpet beater by exploring its shape. My attempts to repeat the knots lead to a series of variations on the memory of whips where mistakes constitute the basis of new forms. In the project repetition and variations in sound, text, and drawing becomes another way of approaching repetitive work
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.
Demmin – letting a city sound
(2020)
author(s): Mareike Nele Dobewall
published in: VIS - Nordic Journal for Artistic Research
The project ’Demmin – eine Stadt zum Klingen bringen’ (’Demmin – letting a city sound’) explores the history and stories of the German city of Demmin in a dialogue between the local choir, Peenechor, and the site of Haus Demmin. During a two-week workshop the choir and Mareike Dobewall explored how to vocalise other stories, of the inhabitants of Demmin and the two decaying buildings known collectively as Haus Demmin (the ruins of an 11th century fortress and a former mansion). In a sonic dialogue between ageing voices and decaying architecture a vocal performance in the open air was created. Stories, history and fairy tales took new shape through vocal music, and un-listened sound was given presence. The site-determined performance allowed for the memory and the imagination of the visitors and the participants to rise up and become a part of a holistic experience.
MEMORY AS A METHOD FOR FILMMAKING
(2019)
author(s): Emilio Angel Reyes Bassail
published in: Journal for Artistic Research
This research develops a method for filmmaking that uses autobiographical memory as a guiding principle for the production of images. The proposed method comes as the result of a double gesture in which I wanted to a) acquire a subjective understanding of memory that came from artistic practice; and b) materialize the process of memory through film.
I used the filmmaking apparatus as a technique to give visibility to the process of remembering and forgetting: I worked with strategies such as the elaboration of a “memory diary”; the drawing of spoken portraits and locations based on memories; casting techniques which involved a dialectical approach towards memory; scouting trips to find places from my memory; hypnosis sessions as a technique to recover lost memories; reenactments of memories; a method to direct actors that relied on memory as a guiding mechanism; and the editing of the footage through a process of memory associations.
While doing this research, I inadvertently found that the techniques I used led to a process in which memories were rewritten through experimentation. Thus, the method produced a conceptualization of "memory" that frames it as a creative process. In the process of working on this project, I developed a very subjective approach to the craft of filmmaking that was informed by my particular relationship with memory. Thus, the proposed method of using personal memory as a core mechanism for the production of audio-visual products can be utilized as a tool for film education, promoting the creation of personal film languages based on an individual's memory, and as device to reflect on the subjective process behind an individual's artistic practice.
50 Billion Micrograms. In the Search of the Aftermath of an Event
(2019)
author(s): Christine Hansen
published in: Journal for Artistic Research
This exposition provides an example of how art can offer an alternative way of understanding the past through my work “50 Billion Micrograms”. The project explored a forgotten media event from 1979, in which a gigantic meteorite supposedly landed in a remote lake on the west coast of Norway. The exposition attempts to demonstrate how ambiguity was a fuel the project. In the process what I call "fluctuating thinking" was an important method. This meant that I let seemingly irrelevant and speculative elements be part of the process. In this process, the different conceptual and aesthetic elements had to be studied carefully to consider whether random ideas and speculative elements were relevant for the work. However, such an open-ended approach is often fundamental to artistic research, I argue. I had no hope of finding the answer about the meteorite or explaining this natural phenomenon. My interest was to dwell on the uncertainty and keep the wondering alive. What became increasingly important was to explore the search itself through images and sound. The exposition also ask what is an event, what keeps an event alive? Were does fact and fiction interlace?
SOUNDMEMORIES OF ASIA
(2016)
author(s): Max Haberl
published in: Journal of Sonic Studies
The project is about the process of auditory memories related to initial impressions.
It is also an experiment of how we are experiencing different soundscapes of different cultures.
Which words can describe sounds, which we are not used to?
Can we listen to the past? Which memories are still in mind?
Collecting different material (recordings, diary, photos) allowed me to create a multimedia homepage.
Where are the Ears of the Machine? Towards a sounding micro-temporal object-oriented ontology
(2015)
author(s): Morten Riis
published in: Journal of Sonic Studies
Drawing on micro-temporal media archaeology paired with object-oriented ontology, this paper will develop new ideas regarding non-human conceptualizations of sounding media, memory, time, and sound objects. Studying the way in which music machines collect and store auditory data enables us to get closer to the inner functioning and self-reflections of our sounding apparatuses, creating alternative perspectives on mediated representation and the various temporal processes unfolding within technology. Thus an interweaving of object-oriented ontology and media archaeology is unfolded, taking its starting point in a practical engagement with electro-magnetic recording devices which execute what could be described as applied ontology, something that generates awareness of the moment when media themselves become active archaeologists of knowledge.
In and out of memory: exploring the tension when remembering a traumatic event.
(2015)
author(s): Anna Walker
published in: Journal for Artistic Research
The modernist approach to trauma points to an occurrence that demands representation and yet refuses to be represented (Roth 2012: 93); the intensity of the experience makes it difficult to remember and impossible to forget, making any form of recollection inadequate. This exposition explores the repetitive and unresolved notion of trauma using 11 September 2001 as the entry point to navigate a pathway backward into the past and all that was remembered, and uncovers what was forgotten in an effort to lay a traumatic memory to rest. The research began with a journal written on the day of and days following the disaster, which up until a couple of years ago remained closed and unread. Personal remembering is layered upon a well-established collective memory of the event and a vast array of literature, art, and theory written in response to 9/11.
Playing by Heart
(2015)
author(s): Inês Serrano Diogo
published in: KC Research Portal
Name: Ines Serrano Diogo
Main Subject: Classical Trumpet
Research coach: Susan Williams
Title of research: Playing By Heart
Research question: Is the application of the Playing by Heart memorization model
useful for learning and performing trumpet orchestral excerpts?
Summary of the results:
The main objective while undergoing this research was to put the PbH memorization
model to test in a real life situation. However, this endeavor resulted in many secondary
realizations. Firstly, the very concept of “playing from memory” has evolved from being
a process that pursues the interiorization of the rhythmic and melodic figures that
compose what we call music (playing without any physical memory aid) to a much more
emotional, even spiritual involvement of one’s consciousness with the message the
particular music tries to convey, its content and not just its form. This it to say that to
know the very essence of what a musical excerpt stands for as well as its context is a
much more powerful method than to simply learn it by memory: it is playing it by heart.
Although the PbH memorization model was designed to improve performance, the
obtained results revealed that while this method sharply boosts such traits as focus and
accuracy y (which make for better music), it may have damaged other aspects of
performing that require an external; awareness, like a performer’s presence on stage for
example. Another interesting effect of this research was its lack of selectivity. This means
that although the performer tried to apply the PbH memorization model to a select
number of excerpts, the method’s nature (as well as the performer’s brain’s nature) made
it impossible to avoid some of its principles to bleed into other excerpts, which were not
meant to be affected. The Playing by Heart memorization model is considered applicable
and useful in learning and performing trumpet orchestral excerpts.
Biography:
Ines Serrano Diogo was born in Portimao, Portugal, and started playing the trumpet by
the age of 8. She finished her trumpet bachelor degree in Escola Superior de Musica de
Lisboa (Portugal) in 2012, and is currently finishing her master degree with orchestra
specialization at The Royal Conservatoire in The Hague.
how musicians use their brains
(2014)
author(s): Enno Voorhorst
published in: KC Research Portal
When our modern brain developed 100,000 year ago, it perfectly suited the circumstances of that time. Therefore, we remember some things very easily like faces, tastes, routes and also music as a part of the social interaction. Music is an essential feature of the human existence and that is why when we hear a song we like, we will most likely recognize it easily the next day. This is why commercials use images, logos and rhyming texts together with jingles. The information stays in our minds easily, and more completely when it is repeated often. I will refer to this as the natural memorization path.
Memory athletes are able to learn the order of cards in 30 decks within an hour. What they use is the natural memorization path. Simply put, they take a route in their own house, and place images on this route. After learning this they walk along this route and find all the images in the right order. This system is called the Loci-system and was used already by the Greeks.
Musicians can also use the natural memorization path because music also settles easily in our mind. Hearing a song even once is often enough to have it settle in our brains. For musicians, this is a very practical tool for memorization but first some work has to be done. I will go into this later. We can learn more easily, more quickly and, above all, with much more enjoyment. The work that has to be done is developing a solid and immediate translation from the music in our mind to the instrument. For this solfeggio, harmony and analysis are essential tools.
Finally, I will provide some practical tips for a high-functioning brain to learn and to memorize music.
Mattolaituri (Carpet Pier)
(last edited: 2025)
author(s): Hanna Vahvaselkä
This exposition is in progress and its share status is: visible to all.
Mattolaituri (Carpet Pier) was site-specific temporary wooden construction, located on the bank of the Pankajoki River, in small city of Mikkeli, in Eastern Finland, during summer 2023. The artwork was sort of wooden narrative or negation of monument; a memory-bound sculpture, pondering how memory and materials intertwine.
This exposition is a documentation of the artwork but it also includes texts and other material related to the context, background, starting point and reception of the artwork.
Image as Site: Unarchiving Nono
(last edited: 2024)
author(s): ellenj
This exposition is in progress and its share status is: visible to all.
Unarchiving Nono (2017 – 2022) by Ellen Røed and Bjørnar Habbestad operates as a form of comment or intervention on archiving musical material hidden away from an acoustic everyday life. The project has developed through a method where human memory is examined and activated as a carrier of the musical material, and where musical material is moved out of the archive and unfolded into a local reality. Through an iterative process of listening, remembering and performing each performance is influenced by a new layer of spatial acoustics and everyday sounds, stored with the musical performance, gradually building up to trandform the musical material by spatial layering.
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.
CONSTITUIÇÃO COM ANTERO DE QUENTAL
(last edited: 2024)
author(s): Clara Sefair
This exposition is in progress and its share status is: visible to all.
Deslocamentos trânsatlânticos em ambos sentidos. 8500km de distância. Quatro gerações. Um edifício.
CCFT
(last edited: 2024)
author(s): Johan Sandborg, Duncan Higgins, Bente Irminger, Linda H. Lien, andy lock, Ana Souto Galvan, Susan Brind, Shauna McMullan, Yiorgos Hadjichristou, Jim Harold, DÁNIEL PÉTER BIRÓ
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.
As we move towards the first quarter of the third millennium, the impermanent and shifting influence of globalisation, economic division, migratory encounters, social media, historic narrative and tourism is having a major impact in our understanding of the making, belonging and occupying of place. It is widely documented that these conditions are contributing to a growing sense of displacement and alienation in what constitutes as place making, occupying, and belonging.
CCFT is asking how interdisciplinary artistic research practices contribute and share new critical understandings to aid this evolving understanding of place making, belonging and occupying?
CARDS
(last edited: 2024)
author(s): Alice Martucci
This exposition is in progress and its share status is: visible to all.
CARDS are writings for, around and with elements of my artistic research which have taken shapes and found names during the two years of my master in choreography at the Danish National School for Performing Arts in Copenhagen.
critical mapping with the camera eye
(last edited: 2023)
author(s): Jule von Hertell
This exposition is in progress and its share status is: visible to all.
This exhibition investigates places in Mallorca, Spain and how sites of crimes during the dictatorship and civil war can be examined from the present to their past using documentary film approaches. Is it possible to uncover the layers and interconnections of a place with its history and entanglements using filmic images of the present and different voices from interviews, quotes from documents and letters, sounds and the artists voice-over? This exhibition will be created as part of the work on the ongoing PhD project “Memory in Documentary Essayistic Film” located at University of Fine Arts Hamburg.
It involves capturing a place and its inscriptions, reflecting on the history of the location, Spanish-German entanglements, and transnational memory through the camera images.
Neem Plaats
(last edited: 2023)
author(s): Lucia Koevoets
This exposition is in progress and its share status is: visible to all.
Neem Plaats; een performatieve installatie door Lucia Koevoets
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.
Paredes-Meias
(last edited: 2023)
author(s): Ana Miriam Rebelo
This exposition is in progress and its share status is: visible to all.
“Paredes-Meias” revisits the itinerary proposed by project “Peregrinações” produced and presented at the event “Manobras no Porto”, in 2012. Working form testimonies form participants, which are also residents of the parish of Vitória, a visual and sonic narrative was constructed, that proposes to discover fragments of the memories and daily lives of different generations of inhabitants.
This short animated film intends to document experiences of this place, intersecting past and present in a common space, where collective and individual memories build the identity of the place. Because this identity is also made up of routines, gestures and paths repeated day after day by successive generations, this path is proposed as a cycle, with no beginning or end, in which the spectator can enter and exit at any given time.
The photographs evoke the memory of these places, visible in buildings, streets, and walls marked by time, in which the traces of individual passages are inscribed. Small animated moments were drawn over them, sketched and simplified, volatile as memory. A sound recording of the itinerary was added to this visual component, complementing it with a layer from the present time.
"Paredes-meias" was awarded with the Best Documentary Project prize, by Manobras no Porto 2012
Direction: Ana Miriam & David Doutel
Photography: Ana Miriam
Animationo: David Doutel & Vasco Sá
Sounf design: Pedro Pestana
Eternal Stranger
(last edited: 2021)
author(s): Marta Frejute
This exposition is in progress and its share status is: visible to all.
This presentation is an attempt to look at my creative field, and to define my artistic research practices and methods from a memory studies perspective.
MATERIAL STRATEGIES
(last edited: 2019)
author(s): Sage Canellis, Camilla Eeg-Tverbakk, Electa Behrens
connected to: Norwegian Artistic Research Programme
This exposition is in progress and its share status is: visible to all.
Material strategies explores ways of practicing materiality in relation to artistic processes of creation. It responds and aims to contribute to questions related to sustainability and the antropocene, identity and subject formations, and appropriation and cultural exchange.
With reference to object oriented philosophy and new materialism as an ethical ground, the proposed research project will investigate voice and body as material in relation to spaces, architecture and objects. How can we as artists to a greater extent listen to the agency of the material and let it shape our artistic work? How do human ideas, emotions, visions and memories come into play when the artistic strategy calls for less power and control over the material? How are performative and material practices articulating the embodied nature of memory?
The project will further develop pedagogical areas that are fundamental to the teaching practices at NTA. Professor in Dramaturgy and Performance Camilla Eeg-Tverbakk will lead the project reflecting her recent PhD project Theatre-ting, toward a materialist practice of staging documents, which deals with object oriented philosophy as a framework for investigating dramaturgical practice and the ethics connected to staging documents. Other involved staff members are: Assistant professor Øystein Elle, Professor in scenography Jakob Oredsson, Assistant professor Electa Behrens, and research fellow Ingvild Holm.
We arranged a two days international seminar at VEGA scene in Oslo on 28. February and 1. March 2019.A two weeks practical workshop, culminating in a public presentation and discussion happens between 29. April and 10. May 2019.
Nomadic Conversations- Cyprus
(last edited: 2019)
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.
Nomadic Conversations research approach utilities participatory practices, where ideas and decisions develop through a responsive process in order to address both tangible and intangible knowledge. This is organised as interwoven, overlapping and interrelated meeting points, sites for single or multiple field trips. Nomadic Conversations constitutes characteristics of potential instability, conflict, memory of tragedy and repressed history.
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
The Archeologist’s Gaze presents and reflects on a project on the restoration of ancient tapestries, following the award of a research grant to TAMAT (Museum of Tapestry and Textile Arts, Tournai, Belgium) in 2020-2021. After immersing herself in the museum's restoration workshop, looking for images, words, materials and gestures, Paternostre turned her attention to the reverse side of the tapestry. Studying the scraps of thread that had fallen to the floor, her vision of the tapestry was turned upside down, and the little bits of thread that gradually was picked up from the ground became the focus of the research. These details bore traces of many hands that had restored and repaired the tapestry over the centuries and told a story of care and attention, the inseparable opposite of monumental tapestries and mythical tales.open exposition comments (0)
Thesis of the Royal Academy of Art, The Hague, 2023 BA Textile and Fashion Design The aim of this thesis is to explore how setting up interaction between personal memories and the materiality of ordinary used objects contribute in new perspectives within the fashion context.open exposition comments (0)
The study explores the connectedness of the narrative of the artwork to the sociopolitical contexts of the public space in change. Through the reflexive artistic research within the project “Construction” I aim to discuss how Memory is bound to the Body. I investigate how Constructs of the public space embody the Memory and how demolishing of those constructs impact the narrative of the presence within absence.open exposition comments (0)
This is not a thesis of trying to mine a singular understanding, but a collecti(ion)(ve) body of research composed into a gesture. Other than my memories, I have only grazed the surface of the topics I will discuss (even then, memories are at the fragile grace of synaptic connections) There are holes here, tears that will take a lifetime to mend. As I will mention later, I am not interested in a singular whole. Holes, however, are curious places with a warm spot for happenings, so I am okay with the holes. All patchworks are several and my obsession with their cobbled nature does not mean there are no moments of stillness and clarity. This work is an archive of the muddiness of being and I invite you to draw parallels with your own logic as you stumble through this patchy, leaky, weed forest.open exposition comments (0)
Monuments exist as loci of official history, designed to be resilient and permanent. However, the world around them is in constant flux, questioning their continued significance. Drawing on fieldwork undertaken at monument (spomenik) sites in the former Yugoslav republics of the Western Balkans, together with archival sources, A Spectral Geology is a creative outcome of a continuing speculative investigation into sound and its potential contribution to alternative historical narratives. In imagining sound as a geological, sedimentary medium with the potential to transmit and sequester memory, it considers the possibility of hearing the murmured traces of the past through its excavation.open exposition comments (0)
This exposition brings together multiple contexts, narratives and modes of expression to tell multispecies (hi)stories about and from Donbas region, Ukraine, where a military conflict broke out in 2014. By engaging with fossils, paleobotany and testimonies of internally displaced persons, the exposition explores vegetal imaginaries of the region in a series of drawings and questions stories we tell about Donbas and displacement, and ways in which we tell them.open exposition comments (0)
The project is about the process of auditory memories related to initial impressions. It is also an experiment of how we are experiencing different soundscapes of different cultures. Which words can describe sounds, which we are not used to? Can we listen to the past? Which memories are still in mind? Collecting different material (recordings, diary, photos) allowed me to create a multimedia homepage.open exposition comments (0)
Mattolaituri (Carpet Pier) was site-specific temporary wooden construction, located on the bank of the Pankajoki River, in small city of Mikkeli, in Eastern Finland, during summer 2023. The artwork was sort of wooden narrative or negation of monument; a memory-bound sculpture, pondering how memory and materials intertwine. This exposition is a documentation of the artwork but it also includes texts and other material related to the context, background, starting point and reception of the artwork.open exposition comments (0)
Unarchiving Nono (2017 – 2022) by Ellen Røed and Bjørnar Habbestad operates as a form of comment or intervention on archiving musical material hidden away from an acoustic everyday life. The project has developed through a method where human memory is examined and activated as a carrier of the musical material, and where musical material is moved out of the archive and unfolded into a local reality. Through an iterative process of listening, remembering and performing each performance is influenced by a new layer of spatial acoustics and everyday sounds, stored with the musical performance, gradually building up to trandform the musical material by spatial layering.open exposition comments (0)
Deslocamentos trânsatlânticos em ambos sentidos. 8500km de distância. Quatro gerações. Um edifício.open exposition comments (0)
This exhibition investigates places in Mallorca, Spain and how sites of crimes during the dictatorship and civil war can be examined from the present to their past using documentary film approaches. Is it possible to uncover the layers and interconnections of a place with its history and entanglements using filmic images of the present and different voices from interviews, quotes from documents and letters, sounds and the artists voice-over? This exhibition will be created as part of the work on the ongoing PhD project “Memory in Documentary Essayistic Film” located at University of Fine Arts Hamburg. It involves capturing a place and its inscriptions, reflecting on the history of the location, Spanish-German entanglements, and transnational memory through the camera images.open exposition comments (0)
Neem Plaats; een performatieve installatie door Lucia Koevoetsopen exposition comments (0)
This presentation is an attempt to look at my creative field, and to define my artistic research practices and methods from a memory studies perspective.open exposition comments (0)
Nomadic Conversations research approach utilities participatory practices, where ideas and decisions develop through a responsive process in order to address both tangible and intangible knowledge. This is organised as interwoven, overlapping and interrelated meeting points, sites for single or multiple field trips. Nomadic Conversations constitutes characteristics of potential instability, conflict, memory of tragedy and repressed history.open exposition comments (0)
A project by ME21open exposition comments (0)
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 seeingopen exposition comments (0)