FACT stage one
(2024)
author(s): Jenny Sunesson
published in: Stockholm University of the Arts (SKH)
The research project FACT stage one aims to test the sonic capacity of fragmenturgy (developed by Sunesson 2014–19) as a method to unsettle polarised positions of areas and sites existing outside of the visual power structures and political strongholds.
The long-term purpose is to develop a Fragmenturgy ACtion Tool (FACT); a transitory toolbox for cultivating fragmenturgy methods and actions.
FACT stage one consists of a comprehensive case study carried out in collaboration with a group of students aged 18–23 based at Uppsala Community College in Sweden, which was explored as a site during 2021.
Image copyright: Christina Hillheim
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.
Re-imagining: A Case Study of Exercises and Strategies
(2019)
author(s): Hanna Järvinen
published in: RUUKKU - Studies in Artistic Research
Exploring a case of a historian collaborating with dance makers on the contemporaneity evident in a past work, this exposition outlines how the corporeal methods of dance practice can assist a historian in their archival inquiry just as the historian's methods can subvert dominant ways of understanding re-performance of past dance. Interest in how past performances survive and are made to re-signify in the present and what is the role of the archive in a performing art are growing trends in both dance and performance scholarship and in performance practice. Drawing from this scholarship and critical performances, I distinguish between reconstruction (re-creation of dance from the archive) and re-imagining (working from the present practice towards corporeal relationship to past dance) to argue that any performance holds potential to uphold and conserve as well as question and subvert predominant histories of the art form. In contrast to theories of performance that juxtapose performance with history, repertoires with archives, I argue that it is possible to perform the epistemological questions through emphasis on what is not known. The practical exercises used in the studio and the strategies in the performance of Jeux: Re-imagined (2016) offer one example of destabilizing earlier claims to knowledge about a historical work. The seven pages of this exposition follow the structure of the seven events of the performance.
Resurrecting Dead Darlings Exposition
(last edited: 2024)
author(s): Ryan Mason, Annamari Keskinen
This exposition is in progress and its share status is: visible to all.
Situated within the broader discourse of artistic research, Resurrecting Dead Darlings- A Palindromic Process of Artistic Rebirth amplifies the project's commitment to reinvigorating the dialogue between artists and spectators through the process of engaging with dead darlings. It introduces a multimedia archive tailored to enhance performances by allowing deeper insight into the artistic process—highlighting the evolution from initial concept to performance and the subsequent reinvention. This synthesis encapsulates the project's approach to fostering a dynamic interplay between viewing and creating, where spectators are invited into the intimate spheres of artistic reimagining, and creators are offered reflective distance to view their work through the audience's eyes.
This initiative recognizes the evolving nature of artistic research, emphasizing the move towards integrating research-focused methodologies and embracing diverse forms of creation. Doing so enriches the artist/spectator relationship, positioning it as a foundational element that drives the creative cycle forward. The exposition is a tangible interface for this engagement, offering a conduit for transdisciplinary exploration and a deeper mutual appreciation of the artistic journey. It reaffirms the project's role as a vibrant platform for collaboration, discovery, and the continual reshaping of the artistic experience, echoing Thar Be Dragons’ vision for a participatory and reflective artistic culture.
The exposition is a platform for the artists to document their work, acting as a supportive tool and a gentle invitation to convert embodied thinking into words, which can often prove challenging. It embraces a variety of approaches, including texts, sound recordings, and videos, all designed to exist in an adaptive format that accommodates constant evolution and development. The material within doesn’t necessarily explicate the contents of the exposition but rather works as a collaborative interlocutor. While the primary working language is English, Finnish is also occasionally used.
* Dead Darlings are ideas that, for one reason or another, have been set aside, abandoned, or otherwise not realized. They can be scenes, psychophysical movement spaces, modes of performance, or sets of actions based on fictional situations and settings.
Projeto Solo
(last edited: 2024)
author(s): Cristiana Bouça Nova Macedo
This exposition is in progress and its share status is: visible to all.
(PT)
O Projeto Solo, tem como base o estudo de solos e matérias naturais portuguesas como um dos elementos principais de aplicação no campo das artes plásticas. Através de workshops, pretende-se que os estudantes alarguem o seu conhecimento dos materiais que utilizam diariamente, assim como pensar sobre os diferentes solos e pigmentos de Portugal.
(EN)
The Soil Project is based on the study of Portuguese soils and natural materials as one of the main elements of application in the field of fine arts. Through workshops, the aim is for students to broaden their knowledge of the materials they use on a daily basis, as well as to think about the different soils and pigments in Portugal.