escalating inter-activity: brieftopic glimpse in site-specific post-human improvised music
(2025)
author(s): Barbierato Leonardo
connected to: Enacting Artistic Research
published in: VIS - Nordic Journal for Artistic Research
There are moments within a performance where destruction and deviation from reality allow an alternative scenario to reveal itself. I argue that these moments can be called ‘brieftopic’, fleeting glimpses into a possible future (Behzad Khosravi Noori, 2024). But what are the connections between reality, deviation and alternative scenario? How can this brieftopia, which materializes for brief moments within a performative event, reverberate outside of it, propagating at a social and political level? During the site-specific improvisation series [in situ], it became evident to me that this brieftopia is tied to an artist’s relinquishment of control, leading to a decentralization of the performance. By introducing the case study, specifically the [in situ] performance held in September 2023 at the Maremma National Park, we will see how unforeseen, unpredictable, and non-linear interactions between myself, the audience, and the non-human components of the ecosystem in which we were immersed, shaped the performance itself, steering it in an unexpected direction and removing it from the continuum of artistic intention, audience perception, and everyday life reflection. In this brieftopia, in a sense, it is existence itself that is reduced to rubble, not for the love of rubble, but for the way out that passes through it, paraphrasing Walter Benjamin.
Music videos: Becoming Beethoven
(2023)
author(s): Tilman Skowroneck
published in: Research Catalogue
Two video clips from "re-enactment 2" at Jonsered Herrgård, September 6, 2021
Copy, tweak, paste: methods of appropriation in facsimile artists' books
(2017)
author(s): Rob van Leijsen
published in: Journal for Artistic Research
Iconic artists’ books from the 1960s and 1970s have recently been subject to numerous attempted appropriations by publishers and artists, resulting in the production of facsimiles and bootlegs of famous titles. The original versions of artists’ books from the 1960s and 1970s have become scarce over time because of the relentless interest of art dealers and antiquarians, who sell the books for extraordinary prices. Outside the art and book markets, rare artists’ books are mainly available for consultation in libraries or exhibited in showcases. A re-enactment tendency concerning artists’ books has become a recurrent phenomena, the result or answer to the scarce status some artists’ books hold today. Reviewing several re-enacted artists’ books produced by artists and publishers allows their methods of appropriation to be identified and the discourses of this practice to be pursued. Written from the perspective of a graphic designer, the focus lies on visible technical aspects of book production, such as materials and production techniques, which allow comparison of the books, their makers, and their discourses. The conclusion surveys the found methods used by artists and publishers and discusses future tasks in producing and disseminating re-enacted artists’ books, as well as redefining the position of graphic designers in this process.
Living Archive
(last edited: 2022)
author(s): Hermans Carolien
This exposition is in progress and its share status is: visible to all.
Over a period of five years (from 2013 to 2018) I have collected images of the physical play of my own children, with their friends and neighbor kids. Living archive is here defined as the documentation and collection of a series of play events over a period of five years. ‘Living’ refers to the act of archiving, as the documenting, recording and (re-) arranging of traces over time (Van Alphen, 2014). The archive is “not a passive storehouse of old stuff”’ (p.16), but an active site where knowledge (such a memories, traces) is not only stored but constantly re-constructed. The living archive is open, fragmentary and unstable (Ketelaar, 2018). It consists of more than a hundred photographic sequences and stand-alones that all serve as kinetic markers/traces of the original physical play event.