Moving through Choreography – Curating Choreography as an Artistic Practice
(2021)
author(s): Marie Fahlin
published in: Stockholm University of the Arts (SKH)
The purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other.
Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’
Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process.
The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies.
The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.
Aural Transposition, Psychogeography and the Ephemeral World
(2020)
author(s): Katt Hernandez
published in: VIS - Nordic Journal for Artistic Research
Aural transposition sits at a crossroads between being a tool for practice and creating work, and being a tool that illuminates aspects of another entity. In day-to-day music practice, transposition can be an age-old tool for learning material, or a multi-layered exploration of an object or place. Transposition can also be a means of recreating places, real or imagined, through the transposition of ghost traces back into sound. And the transposition of spaces onto other spaces is possible through multichannel sound arrays. The territory for re-imagining both sound and place lies in the impossible space between the sounding entity at hand and the instrument that transposes it. Just as in the dérive of psychogeography, the spaces between well-trod paths leads to a world beyond the banal. This exposition first situates these practices in psychogeography, and amongst other artists whose work utilizes various transposition, soundwalking or psychogeographical practices. It then discusses those aspects of my own artistic practice and work—across a spectrum of electroacoustic music, improvised violin work and collaborative composition for an ensemble of mechanical string instruments— that are centered around aural transposition as an act of psychogeography.
Score: Mechanical Asynchronicity
(last edited: 2022)
author(s): Danica Maier, Martin Scheuregger
This exposition is in progress and its share status is: visible to all.
A collaboration between visual artist, Danica Maier and composer, Martin Scheuregger - Score: Mechanical Asynchronicity takes a single historical lace draft from the Nottingham Lace Archive as the starting point for new live and installation-based visual-musical works.
The working process and presentation of Score: Mechanical Asynchronicity sees the fine artist become ‘composer’ and composer become ‘artist’. Their roles move from user – of each other’s discipline knowledge, aesthetic understanding and technique – to author of works that are contingent on their collaboration but can still be identified as belonging to their individual practices.
You can navigate this exposition through a series of prompts each focusing on a different aspect or way to engage with the work: Look, Listen, Read, Play, and Watch.
Read: offers an opportunity to understand further details about the project including pilot works, experimental development, key events and practical details.
Look: will share images of the scores created by Maier and Scheuregger, and the original historical lace draft.
Listen: gives you a chance to hear original music box sound pieces as well as Side A and B of the recorded pieces.
Play: allows you to ‘play with' the individual tracks allowing you to create a combined piece in various iterations including 1-4 musicians.
Watch: includes film documentation from four different concert versions to view.