I AM THE CAMERA: Designing a site-specific screen work
(2024)
author(s): Nathalie S. Fari
published in: Research Catalogue
The site-specific screen work I AM THE CAMERA proposes how a specific place, in this case, the Hasselblad Memorial at Götaplatsen (Gothenburg, Sweden) can serve as a basis for generating a performance and/or documentary material. Drawing from site-specific performance, performance documentation and filmmaking, it uses the framework of a performance laboratory to explore the relationship between embodiment and audio-visuality; especially by experimenting with how the interplay between three characters and their technological devices can contribute to develop a performative and cinematic language.
No Show
(2024)
author(s): Steinunn Knúts Önnudóttir
published in: Research Catalogue
This exposition contains six letters about the work No-Show that was performed in Reykjavík in 2020. The performance is a part of the artistic PhD research "How Little is Enough?" Sustainable Methods of Performance for Transformative Encounters in Malmö Theatre Academy at Lund University. The letters address different aspects of my artistic practice and research such as motivation, method, affect, ethics and the findings.
No Show is a series of five immersive participatory performances, solitary experiences performed in five private homes in different neighbourhoods of Reykjavík in June – August 2020.
Transformative Encounters Podcast
(2024)
author(s): Steinunn Knúts Önnudóttir
published in: Research Catalogue
"Transformative Encounters" is a podcast series dedicated to the exploration and unpacking of the concept "performative encounters" within the realm of contemporary performance and how it can be understood. This series forms an integral part of the knowledge dissemination deriving from the artistic research project How Little is Enough? that is centered on sustainability and social change, conducted at the Malmö Theatre Academy by Steinunn Knúts Önnudóttir under the umbrella of Agenda 2030 a transdisciplinary Graduate School within Lund University. In the podcast, Steinunn extends invitations to european artists and theorists, fostering performative encounters where they engage in in-depth discussions and multifaceted explorations of this concept from diverse perspectives.
The podcast series is edited and produced by Steinunn Knúts Önnudóttir with the support of Inter Arts Centre at Lund University and Malmö Theatre Academy.
Music: Halla Steinunn Stefánsdóttir
Pleased to Meet you
(2024)
author(s): Steinunn Knúts Önnudóttir
published in: Research Catalogue
This exposition is a documentation and dissection of the work Pleased to Meet You, a performative encounter with the more-than-human. The work has been presented in two editions, at Lokal/RDF, Reykjavík, Iceland, November 2022, and at IAC, Malmö,Sweden, March 2023.
The exposition examines the relations specific elements of the work and connects it to the artistic PhD research "How Little is Enough?" Sustainable Methods of Performance for Transformative Encounters in Malmö Theatre Academy at Lund University.
Island
(2024)
author(s): Steinunn Knúts Önnudóttir
published in: Research Catalogue
The exposition is a documentation and dissection of the performance Eyja/Island that was peformed in 2020. The performance is a part of the artistic PhD research "How Little is Enough?" Sustainable Methods of Performance for Transformative Encounters in Malmö Theatre Academy at Lund University.
It contains a video essay about the process of creating the work that describes both motivation and methods, a manuscript, photographs of the performance and a video interview with Gréta Kristín Ómarsdóttir a co-creator of the work.
Island
Eyja is a piece about what it means to belong; what ties a person to a community or a place and what kind of commitment it requires to be a part of something.
The challenges of the island reflect the global challenges of current times. In the performance guests are invited to critically investigate their own ideas on what it means to belong.
The guests are invited to mirror themselves in a staged journey through the life and values of the islanders. Through walks, observations, genuine exchange, symbolic gestures and structured dialogue, topics on quality of life on the ´island´ are contemplated.
Site Awareness in Music – recontextualizing a sensation of another place
(2020)
author(s): Knut Olaf Sunde
published in: Norwegian Academy of Music
The project argues that a sensation of another place is vital to the recognition of unfamiliar perspectives.
Space and sound are inextricably connected. The surroundings and context are central to how we perceive external stimuli, such as images, events, history, ideas or music. The brain interprets and make choices by association, based on what the body perceives and based on previous knowledge and experience. How humans listen, hear, see, perceive, interpret and react to our surroundings are based on our cognitive structures.
An unformatting of society is needed.
A risk makes the body and brain aware and alert. Adrenalin is released to the blood, enabling the organism to sudden and severe effort. Risk implies something unestablished, uncertain, a danger, something unknown. Risk implies the possibility of failure and ultimately death. Risk increase anxiety and excitement, enabling the alertness needed to maneuver away from or solve problems. When something is at stake, interest is set into play. The unknown is by its very nature beyond the body’s experience.
The project is about increasing the awareness of the situational and contextual implications of music. This is enquired through three works. For each site or situation I work with, I analyze its characteristics, such as acoustical conditions, the relations of the place to its surroundings, the shape of the landscape and historical or political context.
I try to create immersive, audiovisual projects that are connected to a certain place.
I aim to involve qualities and characteristics from the place, shaping a conversation, putting something at stake.
I conceive a music activating the place, making created situations.
I do this because there is a close link between memory, comprehension and place.
The sense of place and ability to navigate is essential to our memory and bodily existence in the world.
Main supervisor: Ole Lützow-Holm
Second supervisor: Marianne Heier
Talking field: listening to the troubled site
(2017)
author(s): Budhaditya Chattopadhyay
published in: Journal for Artistic Research
This exposition examines my recent multi-channel sound composition 'Decomposing Landscape' (2015), inquiring into the complex, nebulous, and evolving relationship between sound and site that is thoroughly challenged in the practice of phonography or field-recording-based sound artworks dealing with environmentally troubled sites. Phonography-based compositions and sound artworks are developed through location-aware listening and field recordings made at specific sites and landscapes. The compositional strategy in these works relies on artistic interventions through the intricate processes of field recording and processing of recognisable environmental sounds using multi-channel spatialisation techniques. The artistic transformation renders these sounds into a blurry area between compositional abstraction and a portrayal of their site-based origins. The question is, how much spatial information is retained and how much abstraction is deployed in these sound artworks? A discussion of this work sheds light on some approaches and a methodology of handling site-specific evidence in sound art production.
JENNY SUNESSON
(last edited: 2024)
author(s): Jenny Sunesson
This exposition is in progress and its share status is: visible to all.
Jenny Sunesson (b. 1973) is a Swedish artist predominantly
working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and
derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.
Observatorium (2024)
(last edited: 2024)
author(s): Daniele Pozzi
This exposition is in progress and its share status is: visible to all.
Site-specific feedback circuit at Palazzo Russo, San Cesario di Lecce, Italy, March-April 2024.
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.
Configuration
(last edited: 2022)
author(s): Hanns Holger Rutz
This exposition is in progress and its share status is: visible to all.
Configuration was the title given to a site-specific installation in Riga. This RC entry both documents work in progress and fragments of an ex-post reflection on the piece.
VOICES_ruukku_peripheries/katveet issue: FLOATING PERIPHERIES Conference 2019 – Sites and Situations
(last edited: 2020)
author(s): Maiju Loukola, Mari Mäkiranta
This exposition is in progress and its share status is: visible to all.
FLOATING PERIPHERIES CONFERENCE 2019 – SITES AND SITUATIONS was an international conference on artistic research organized by the research consortium “Floating Peripheries – mediating the sense of place” between Aalto ARTS Department of Film, Tv and Scenography and University of Lapland’s Faculty of Art and Design.
The conference and the curated event of experimental and situated artistic research practices, “Sites and Situations Art Event”, took place on 14 – 16 January 2019 at the University of Lapland in Rovaniemi.
This "VOICES" exposition presents a selection of conference and post-conference contributions (essays, articles, conference papers, abstracts, afterthoughts and images) by participating artistic researchers, scholars and students across disciplines, aesthetics and practices. It also presents a "visual journey" of the art event, curated by the artist-in-consortium Pia Euro.
The conference focused on the notion of periphery/ peripheries in relation to the varied methods, materials, concepts, questions and ideas accurate in the fields of artistic research and visual studies. During the 3-day international event, which took place at the heart of the arctic periphery, a multitude of peripheral sites and situations were speculated as multi-layered and complex phenomenon – as conceptual, spatial and site-responsive domains, aesthetically and spatially shaped and experienced associations, representations and practices through different mediums in arts and epistemologies. The conference included presentations, artistic interventions, discussions and installations.
The exposition editors are Maiju Loukola, Mari Mäkiranta and Pia Euro.
The "Floating Peripheries" consortium is funded by the Academy of Finland during 2017–2021.
(See more: https://floatingperipheries.fi/about/)