Musical Psycho Performance
(2024)
author(s): Gianmarco Moneti
published in: KC Research Portal
Although I love attending traditional classical music concerts, I have long felt that they missed certain aspects that would make them more relatable to the inner world of the audience. In this research exposition, I argue that this missing aspect is a social element and I guide the reader through a possible application of social themes to a classical music concert. On a formal level, I use the techniques of psychodrama – a form of group therapy – as a tool from which I borrow some fundamental concepts, along with the conception of characters, to understand how social themes can be addressed in a context in which multiple people connect to the same object. In this case, the object of common interest is the representation on stage. On a substantial level, I draw upon material I collected in my interviews with Clara Scarafia to study a social theme she has been directly involved with: suicide. The two levels are brought together in my pilot session, where I experiment through a sample of the complete performance I am designing and an audience questionnaire how psychodrama and the interview interact and influence one another. The goal is to show that the classical repertoire, with its complex emotional kaleidoscope and non-verbal language, can easily bear a social theme and enhance the collective reflection of relevant themes in our times.
Artistic Connectivity Unfolding
(2024)
author(s): Falk Hubner, walmeri ribeiro, Elisavet Kalpaxi, Marike Hoekstra, Eleni Kolliopoulou, Jessica Renfro, Isil Egrikavuk, Reyhaneh Mirjahani, Katy Beinart, Lizzie Lloyd, Chrystalleni Loizidou, Xenia Tsompanidou, Juriaan Achthoven
connected to: Fontys Academy of the Arts
published in: Research Catalogue
This publication presents the outcomes of the Connective Symposium, which took place at Fontys Academy of the Arts in Tilburg, in November 2022. The symposium was the first time that the professorship and research group Artistic Connective Practices, initiated in 2021, opened its work to the international field: We invited practitioners from all over the world to share their work and exchange about the concept of "artistic connectivity".
"Artistic Connectivity Unfolding" is an attempt to share the experiences during the symposium with the broader artistic research audience, and to contribute to the body of artistic research work that is socially engaged. The exposition is potentially many things: In part, it is a piece of documentation of the symposium, in part reflections on and proceedings of it. It is also an explorative contribution to our emerging and unfolding discourse of artistic connectivity, — unfinished, fluid and moving — and thus a springboard for our future work on artistic connectivity.
Citizen Science - a new field for the arts?
(2023)
author(s): Pamela Marjan Bartar
published in: University of Applied Arts Vienna
Pamela Bartar’s (Center for Didactics of Art and Interdisciplinary Education) contribution "Citizen Science – a new field for the arts?" links Citizen Science with art-based research. Providing an overview of current approaches, Bartar illustrates how contemporary art can significantly contribute to the democratisation of science and the societal proximity of research, particularly focusing on socially engaged practices and collaborative knowledge production.
Altodi Poltodi (This shore, That shore)
(2023)
author(s): Savyasachi Anju Prabir, Amrita Barua
published in: VIS - Nordic Journal for Artistic Research
Altodi Poltodi thinks through aspects of permeability and preservation, provoking an image of shadowy protector figures. How do they interact with a landscape, what could they want to protect and where do they mark their boundary lines? Drawing from the ancient stories of Rakhandars, mythic beings that guard or protect Goan villages, this collaborative process weaves personal stories with the land and history of Goa. Altodi Poltodi began as a conversation between two friends on a bridge over a river, in a state of suspension, connecting two shores – those of memory and the present.
Situating Personal Values in Artistic Practice: Towards a Reflective and Reflexive Framework
(2022)
author(s): Annick Odom
published in: KC Research Portal
In what ways can a musician use reflexivity and reflection to situate her personal values in her artistic practice? To answer this question and put the results into practice, the author combined archival and digital research, interviews, and fieldwork. By combining new and found materials inspired by Appalachian folk music and the state of West Virginia, the connected auto-ethnographic case study is a reflective attempt of the author to engage critically with her personal values of empathy, inclusion, and equity in her artistic practice. Using the reflective lenses of the author’s autobiography as an artist, the audience’s reactions, fellow artists comments, and literature review, she was better able to reflexively see her own assumptions and missteps, better allowing her to situate her personal values within her artistic practice. Besides creating a reflective framework by which other artists could consider their own artistic practice, she also found that by taking on new roles outside that of the traditional classically trained performer, she had a greater agency to influence and understand performance elements such as design and form, materials, context, audience, and production process.
Exploring taboos through Socially Oriented Design
(2022)
author(s): Yann Charles M Bougaran-Faivre d'Arcier
published in: Research Catalogue
Visualising taboos and societal issues.
For the last 5 years we've been investigating the possibilities to inform and communicate several societal issues and taboos such as loneliness, mental issues related problems and failure.
S.O.D. has been working with students, graphic designers and teachers in Russia, England, France, Norway, Finland and South Korea to investigate these problems within an international framework.
S.O.D.’s primary goal is to communicate. Based on the fact that graphic design is one of the best tools available to do so, I am constantly reminding our members to develop their ideas and to design in order to reach our goal, not to win awards. Graphic design is not a sport, but a set of tools and skills that allow us to do a specific work to solve a specific problem.
This approach is in line with the general understanding of design and its difference from art: in the Design: Creation of Artifacts in Society, it is understood as an activity where a gap is first defined and a solution is proposed, prototyped and developed. In the case of S.O.D the gap is a lack of attention to the problems of societal issues and taboos, and the design process focuses on developing solutions that could affect these issues in a positive way.
Our work can be seen as a non commercial use of Graphic Design, tending to communicate based on emotional responses from the audience instead of consumer's needs.
These projects have been a stepping-stone towards future investigations of societal or cultural themes may be put under a new light by using the means of S.O.D. By exposing societal issues as something different than an individualized fiasco. Perhaps S.O.D will make a small, but significant gesture of emancipation to those who feel the need to share their thoughts and make a change.
Probationary: An Artwork for Civil Servants
(2021)
author(s): Hwa Young Jung, Nathan Jones
published in: Research Catalogue
This exposition describes a game-artwork called Probationary, which was commissioned to present the 'lived experience' of men on probation. The game has been played by the men on probation ("on licence"), by criminologists at Liverpool John Moores University, by civil servants involved in probation services, and by a wide range of players in art and design contexts.
In the exposition we show how the question of who can and should play the game leads into fascinating critical trajectories unique to interactive arts of this nature: namely, if someone can interact with an artwork as an employee, how can the relation of art and work be recalibrated? What follows is a description of the theoretical basis for games as forms of critical media artwork, and a tentative framing of the concept of "Art for Civil Servants" as a method for social artivism. The exposition frames this example of "Art for Civil Servants" within a lineage of new media art, and socially engaged art, while seeking to distinguish an original methodology and emerging mandate for this form of artistic research.
The distinctive proposition of this exposition for the field of artistic research, is that art's utility as a research practice can be purposefully deployed outside of cultural fields. "Art for Civil Servants" is therefore a name for a speculative field of artistic research, which will draw on social science methodologies, and seek agency in the world in this way.
YEARNING TO CONNECT A Short Introduction to Music Curatorship
(2021)
author(s): Heloisa Amaral
published in: Research Catalogue
A presentation of the master elective With and Beyond Music combined with a description of own curatorial projects and the disclosure of findings of the research project Curatorship and Social Engagement, led by the lectorate Music, Education & Society.
The Eco-Mesh Approach: A Sustainable Methodology for Socio-Culturally Interrogative Artistic Research
(2020)
author(s): Charulatha Mani
published in: RUUKKU - Studies in Artistic Research
One of the most striking features of Artistic Research is that apparently disjointed issues including pressing calls to action from social, ethical, political and cultural perspectives can organically unfold, evolve, and shape interdisciplinary academic discourses through the centralised lens of artmaking. It thereby creates a holistic picture of research in a manner that only an artist’s singular perspective can yield. A methodology approach that looks from the enmeshed and messy microcosms of ecologies at interplay to the broader macrocosms of the world, through the lenses of socio-cultural interrogation and ethical accountability, I argue, presents an sustainable model for a decolonised artistic research ethos to emerge. According in this publication, I offer "an ecomesh approach" to achieving a framework for "socio-culturally interrogative artistic research" with music and culture as my two key modes of inquiry. As a female native culture bearer of South Indian Classical music now also active within the sphere of Western academia, I feel that I have an ethical responsibility towards the ways in which culturally contingent aspects of my music and culture are represented in and communicated to the world (both in education and artmaking). I leverage my insider/outsider position to problematise aspects of power, belonging, and ownership in global ecologies of dissemination and reception of material and material labour.
"Artistic Research on Socially and Environmentally Engaged Art - Ethics of Gathering
(2020)
author(s): Katja Juhola, Maria Huhmarniemi, Kaisa Johanna Raatikainen
published in: RUUKKU - Studies in Artistic Research
Art symposiums and similar gatherings in which international artists come together to collaborate are a longstanding tradition of the global art world. In 2019, artists and environmental researchers and experts were invited to work with a local school on environmental issues to create place-specific art and scientific collaborations. Three interdisciplinary teams focused on locally current topics. In this article, we present the process of one of them: the freshwater pearl mussels sub-project. In addition, we discuss the research practice of the International Socially Engaged Art Symposium and the ethics related to the gathering. The research practice included various forms of dialogue, such as presentations, structured group discussions, reflections, mentoring and art-based practice with community members. Tight living together in a humble, small house supported the dialogue. Environmental issues, critical environmentalist thinking and the ethics of the practices were discussed in the process. The ethical elements of the symposium were considered during the processes of defining the themes and aims, curating and producing the event, respecting peer artists and researchers, interacting respectfully with the surrounding community such as school children and community members in countryside villages, and non-human nature, considering the environmental footprint of the symposium and aiming for a meaningful ecological handprint. The documentation, data collection and research reporting also considered ethical issues. The research is part of a cyclic development of art symposiums as socially and environmentally engaged events.
The Lost and Found project: Imagineering Fragmedialities
(2019)
author(s): Jenny Sunesson
published in: VIS - Nordic Journal for Artistic Research
The Lost and Found project began as an attempt to challenge my own sound making in opposition to a linear, capitalist, narrative tradition, dominated by visual culture.
I wanted to explore the possibilities of sound as a counterpart material risking our perception of what sound is and what it can do.
To reach beyond my own aesthetic and sociocultural baggage, I started to experiment with chance operated live performance as a method.
By multilayering uncategorised sound scraps the work emerged to “produce itself” and I began to catch glimpses of alternative sound worlds and sites.
I called the method fragmenturgy (fragmented dramaturgy) and the alternative realities that were created; fragmedialities (fragmented mediality, fragmented reality).
Sosiaalisen muutoksen muotoilua
(2016)
author(s): Satu Miettinen0
published in: RUUKKU - Studies in Artistic Research
Sosiaalinen muotoilu “social design” on muutoksen muotoilua. Sosiaalisen muotoilun tavoitteena on käyttää taiteen ja muotoilun menetelmiä elämän laadun parantamiseen (Papanek 2006). Muutoksen tarve on sisäänkirjoitettu sosiaalisen muotoilun prosessiin. Tavoitteena on päätyä eri tilanteeseen mistä lähdettiin (Andrews 2011). Sosiaalista muotoilua toteutetaan kehittyvissä maissa tai yhteisöissä, jotka ovat syrjäytyneet tai syrjäytymisvaarassa (Miettinen 2006). Tämä artikkeli pohtii sosiaalisen muotoilun aiheuttamaa muutosta taiteilijassa, tutkijassa ja paikallisessa yhteisössä. Artikkelin tavoitteena on nostaa esiin sosiaalisen muotoilun aiheuttama muutosprosessi ja sen vaikutukset yhteisöön (Miettinen 2007). Taiteilija tai tutkija elää muutoksessa mukana ja yrittää tuoda paikallisille ihmisille edellytyksiä tulla toimeen muutoksen keskellä Artikkeli nostaa esiin sekä moniäänisen kehittämis- ja tutkimustyön haasteet että dialogin, joka tuottaa taidetta, tunnetta, muistoja ja muutosta tekijöissään. Artikkeli kysyy miten sosiaalisesti vastuullisen taiteen ja sosiaalisen muotoilun tekemisen prosessi muuttaa tekijöitään ja miten sen kenttä muuttuu ja määrittyy yhä uudelleen?
Artikkelin taustalla on taiteilija- ja tutkijaryhmän yli vuosikummenen kestänyt työskentely afrikkalaisten paikallisten yhteisöjen parissa. Tutkija- ja taitelijaryhmää on yhdistänyt pyrkimys ja mahdollisuus sosiaaliseen vastuullisuuteen. Projekteista viimeisin on ollut “My Dream World ” –hanke 2013-2015, jonka tavoitteena oli käyttää palvelumuotoilun menetelmiä etelä-afrikkalaisten ja namibialaisen työttömien nuorten palveluiden kehittämisessä ja osallistamisessa demokraattisemman ja tasa-arvoisemman yhteiskunnan rakentamiseen (Miettinen et. al 2014). Hanke sai tunnustusta osana Wolrd Design Capital Cape Town 2014 vuoden virallista ohjelmaa. Artikkelin aineistona toimivat projektin aikana dokumentoidut ryhmäkeskustelut, hankkeeseen osallistuneiden nuorten kirjoittamat tarinalliset luotaimet ja kommentit projektista sekä osana projektia tuotetut videot, valokuvat ja tekstiiliteokset. Artikkeli keskittyy erityisesti kahden työpajan aineistojen analysointiin. Työpaja Namibian Keetmanshoopissa ja työpaja Etelä-Afrikan Kimberleyssä San –nuorten kanssa. Projektissa toteutettiin yhteensä neljä työpajaa Afrikassa ja yksi työpaja Suomessa. Osana projektia toteutettiin myös näyttelyiden ja flash mob –esitysten sarja Suomessa ja Etelä-Afrikassa.
Artikkeli aukaisee “My Dream World” hankkeen kontekstia, johon sosiaalinen muotoilu sijoittuu ja sen haasteita ja mahdollisuuksia taiteilijalle tai tutkijalle. Taiteilija tai tutkija saa yhtä paljon tutkimuskohteeltaan kuin mitä itse pystyy sille antamaan. Artikkelissa pohditaan sosiaalisesti vastuullisen taiteen ja sosiaalisen muotoilun välistä keskustelua, toimintamalleja ja nimikkeitä, yhtymäkohtia ja eroavaisuuksia. Artikkeli nostaa esiin osallistavan ja yhteisöllisen taiteen nimike-runsauteen. Kenttä on niin elävä ja muutoksessa, että nimikeetkin syntyvät uudelleen.
Artikkeli tuo esiin paikallisen yhteisön, nuorten äänet käyttämällä apuna heidän kirjoittamiaan tarinallisia luotaimia ja sankarin matka –videotyökalun avulla kulkemaansa tarinallista matkaa. Nuoret kertovat toiveistaan ja unelmistaan sekä muutoksen tarpeesta. Sosiaalinen muotoilu ja sosiaalisesti vastuullinen taide mahdollistavat moniäänisen dialogin. Tämän tuloksena syntyy kuvia unelmista ja muutoksesta sekä nuoriin että taiteilijoihin. Artikkeli nostaa esiin kuvia ja videoita, jotka liittyvät prosessiin.
Notes on Red76's Occupy Yr. Home
(2016)
author(s): Heath Schultz, Samuel Gould
published in: Journal for Artistic Research
'Place setting: notes on Red76's Occupy Yr. Home' is a collaborative piece of writing between Heath Schultz and Sam Gould, primary organiser of the artist group Red76. The piece doubles as a critical review of the Red76 project 'Occupy Yr. Home' – a facilitated conversation in a participant's home around the themes of occupation and the domestic sphere. The text explores problems that plague much participatory art and social practice. Unique to this piece of writing is a parallel conversation (played out in the footnotes) in which Sam responds to Heath's review, offering anecdotes, clarifications, and thoughts. The dialogue within the footnotes suggests divergent viewpoints from the 'authoritative text'. In this way, the experimental form of the piece struggles with the important question of how different experiences of the same event can texture and complicate discourses around participatory art.
A taste of big data on the global dinner table
(2015)
author(s): Markéta Dolejšová
published in: Journal for Artistic Research
This exposition discusses artistic appropriations of issues related to the contemporary global food agenda and the possible impact of these interventions on the public’s food-related mindset. It begins with an overview of some of the most pressing concerns about the current state of global food production and continues by discussing how these concerns are affected by social networking technologies and online collaborations. Social initiatives and food activists, as well as artists and designers, have become interested in communal bottom-up efforts to refine the global flow of food commodities. The second chapter of this exposition discusses recent examples of contemporary food art/design works. Beside a theoretical overview, the author presents her own food art/design project ‘HotKarot & OpenSauce’ and offers an insight into the field from the perspective of a researcher-as-practitioner. The exposition aims to raise important questions about the potential of participatory art/design initiatives and critically address current global food issues, hence supporting consumers’ general awareness of what ends up on their plates, how it gets there, and under what circumstances.
Performatorium. Research and Documentation
(last edited: 2024)
author(s): Performatorium
This exposition is in progress and its share status is: visible to all.
PERFORMATORIUM is an artist-researcher duo (Olivia Jaques/Marlies Surtmann) as well as a laboratory for practice-oriented research with and through artistic means. Jaques/Surtmann have been working together since 2012: As part of the artist-curator collective Friday Exit (2012-2016), they experimented with various exhibition and discursive formats, ran a book club and founded Performatorium in 2017. One focus of the Performatorium is the interconnectedness of the local performance landscape in Vienna. Up to 2020, it offered space for joint experimentation and exchange as an independent, queer*feminist platform for performance. Currently the Performatorium explores the artistic realm as a laboratory by developing artistic performative research methods, activating and updating past performances.
Desperfilar as artes visuais, o objeto enlouquecedor e o movimento das coisas
(last edited: 2024)
author(s): OVF
This exposition is in progress and its share status is: visible to all.
Exposição do seminário "Desperfilar as artes visuais, o objeto enlouquecedor e o movimento das coisas", organizado dentro do programa “Arquipélago” promovido pelo ID_CAI - IDENTIDADES_Coletivo de Ação/Investigação (i2ADS). O evento pretende no âmbito das artes visuais e performativas fazer uma aproximação de uma análise transdisciplinar do perfil histórico, epistemológico e categórico no qual o sujeito e a natureza são percebidos, o território é pensado e a ciência se funde.
Este evento se insere no programa do projeto de investigação “From the top of the moutains we can see invisible monuments: transnational artistic investigation on landscape environmental changes caused by infrastructure space” (i2ADS), e acontecerá nas instalações do Instituto de Investigação em Arte, Design e Sociedade, na cidade do Porto, nos dias 3 e 4 de Outubro de 2024.
Ixodos2019: Notes 1
(last edited: 2024)
author(s): Chrystalleni Loizidou, Someone has to do this
This exposition is in progress and its share status is: visible to all.
We hereby begin to frame the internationally collaborative work of Ixodos to be reviewed, and propagated by the Research Catalogue and its affiliate institutions.
This exposition is based on questions initially asked by/with artist Livia Moura, Carolina Cortes, Bianca Berdardo, for Instituto Mesa.
Ixodos is an international platform for transversal-translocal art exchanges, facilitating and accompanying residencies, projects, exhibitions, the sharing of knowledge, and the building of our common soul and greater selves.
These art exchanges are not just between artists and art institutions but also between social, political and ecological projects and movements around the world, starting from Cyprus and Brazil. Ixodos was ritually initiated In June-August 2018 by Carolina Cortes, Chrystalleni Loizidou, Evanthia Tselika, and Livia Moura in Greece and Cyprus, initially in connection with Hippocrates' Garden in the island of Cos, It generated its second residency programme at A Casa Lar, Rio de Janeiro, in June-August 2019.
Ixodos é uma plataforma de intercâmbios, trocas, facilitando e acompanhando residencias, projetos, exposições, o compartilhamento de conhecimento, e a construção e expansão de uma alma comum e de nossas existências.
Esta troca artística não é apenas entre artistas e instituições artísticas, mas também de projetos e movimentos sociais, políticos e ecológicos (ambientais) no mundo, começando com Chipre e Brasil.
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?
The Agenda Group
(last edited: 2024)
author(s): FJ
This exposition is in progress and its share status is: visible to all.
The Agenda Group is a research group based at KMD, connecting artistic practices "with an agenda". The group enables crossover methods rather than media specificity, allowing space for different participants. "An agenda" is here understood as an aspect of socially engaged art practices. This relates to people, narratives and history alike and is about our shared values and contribution to society as artists. The engagement relates to issues outside of the artistic context and investigates how these issues might be mediated and moderated with
artistic means.
The Agenda Group is open for all kinds of artistic practices, but the focus of the discussions will be on artistic practice "as crucial to both individual and societal change and development" (KMD
Strategic Plan). The relationality between art and society is never as simple as it seems and these reflections involves the thinking of intensity in addition to formats, translation and displacement.
In this sense the agenda of an artistic project is crucial to the understanding of its implications.
The Agenda Group is a pragmatic platform to connect various members of staff at KMD (artistic-researchers, post-docs, PhD’s and maybe even MA-students). The main purpose is to meet
regularly, presenting and discussing the artistic research of each of the group members. An internal critical agenda.
Research group initiator: Professor Frans Jacobi
Aram Han Sifuentes - Let Us Vote!
(last edited: 2023)
author(s): Brandon Bauer
This exposition is in review and its share status is: visible to all.
An interview with the artist Aram Han Sifuentes on the occasion of her exhibition titled "Let Us Vote!" at St. Norbert College in the Fall of 2022. Aram Han Sifuentes is a fiber and social practice artist based in Chicago, IL, USA who works to claim spaces for immigrant and disenfranchised communities. Her work often revolves around skill sharing, specifically sewing techniques, to create multiethnic and intergenerational sewing circles, which become a place for empowerment, subversion, and protest. Her exhibition at St. Norbert College brings together works on democracy, citizenship, and political participation. This interview was conducted between Brandon Bauer and Aram Han Sifuentes during the Autumn of 2022.
मृगतृष्णा, Mirage: Reengaging socio-spatial peripheries through site-specific film
(last edited: 2018)
author(s): Lasse Mouritzen
This exposition is in progress and its share status is: visible to all.
In this essay I will discuss how social engaged and site-specific filmmaking has a potential to reengage socio-spatial peripheries.
Based on my recent residency at Flame University, February 2019 in Pune, I will describe how socio-spatial distinctions and peripheries are formed during processes of urbanisation. Following Ananya Roy and her description on the antagonism of utopia (Roy, 2011) I will look at the ambiguity between the blue print and the process of the build environment, and describe how the build environment and its function responds to its own process; the construction workers, the labor camps surrounding it. I will explain how my research evolved into a site-specific social-artistic film installation. Furthermore I will describe the potentials and advantages of using art-based research while working with social minorities through methods of non-conventional dialogues, soft interventions and visual communication.
I will argue how the social-artistic film, both during the process of the research, filmmaking and screening, can be seen to open up new reflections of socio-spatial peripheries. My argument is that site-specific social-engage art and research should not try to exchange understandings, facts or categories between different socio-spatial peripheries, like for example news, media or documentaries would do. Rather, site-specific social-engage art and research should form awareness of the complexities and questions relating to social inequality and complexity, not by exposing or translating knowledge from socio-spatial peripheries but by blurring or disguising it, as a mirage; encouraging interest and questions instead of answers. In this regard, I would argue in elaboration of Gayatri Spivak’s essential essay ‘Can the subaltern speak’ (Spivak 1988), that giving voices to the subaltern or the socio-political excluded has an inherent danger of remarking socio-spatial peripheries. My argument is therefore, instead of forming facts on socio-spatial peripheries or facilitating voices of the other, site-specific social engaged art can form questions, imaginations and curiosity even auto-fictions to open the peripheries instead of closing or confirming them.