P E R I C A R D I U M
(2023)
author(s): Sara Key, Max Landergård, Susana Santa-Marta
published in: Stockholm University of the Arts (SKH)
A COLLAB work about the current position of mankind where we are at in the NOW - a comment on that and an exploration of the automatization and the relationship between the human essence and the artificial.
Skin is the membrane that divides inside from outside, what is important and not, what is alive and not. Skin represents the human and at the same time the contrahent to the artificial.
We live in a time where everyone is trying to tell us which world will be the best for us to live in. We want you to tell you.
Pandemic performance: A Haunting of Haunts
(2022)
author(s): Garrett Lynch IRL
published in: Journal for Artistic Research
During the COVID-19 pandemic that started in 2020, galleries, theatres, and performance venues closed in accordance with social distancing, lockdown, and confinement policies. Art practice, and in particular performance art, faced an existential crisis: adapt its form or cease to exist for audiences. To adapt, performance art adopted video on the internet as a means through which to perform posing immense challenges to its understanding of performance, liveness, and what is considered physical or ‘real’. As a response, I started to create a body of work employing the methodology of practice as research (PaR) during periods of confinement of the pandemic.
Titled A Haunting of Haunts (2020–ongoing), the practice is designed to be situated within networks and is therefore classified as networked performance. The practice aims to enable artists to create performance under conditions of social distancing, lockdown, and confinement, to explore the idea of transposing performance from ‘real’ spaces to ‘virtual’ spaces, and to critique video as the dominant and largely accepted visual form employed in networked performance. This exposition proposes that while A Haunting of Haunts facilitates practice and assists in the development of a visual language specific to networks that consists of what are termed as networked images, thereby contributing to networked performance as a field of practice, it also highlights the hauntological condition of such a practice.
Artist-author in Action and Reflection
(2022)
author(s): Mike Croft
published in: Research Catalogue
Published as part of: Michael Croft, 'Artist-author in Action and Reflection' in 'Practices of Phenomenological and Artistic Research', (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, Volume 17 (2022), No. 1, ISSN 1913-4711
https//journals.library.ualberta.ca/pandpr/index.php/pandpr/index
Place to Action! Art that Inteferes
(2022)
author(s): Thalia Hoffman, Yannick Schop, Lakisha Apostel, Maryam Touzani, Alicia Cotillas Vélez, Robin Whitehouse, Bødvar Hole, Miro Gutjahr, Žilvinas Baranauskas, Anne-Claire Flora Mackenzie, Gaetan Langlois-Meurinne
connected to: Royal Academy of Art, The Hague
published in: Research Catalogue, KC Research Portal
The course Place to Action - Art that Interferes is motivated and inspired by places. More specifically: the histories, contexts, narratives, situations, circumstances and people’s interactions and intra-actions and relationships with locations, which form places. Lingering in places with attention, listening to them and experimenting the possible ways of movement within them.
These attentive gazes of places will initiate interdisciplinary artistic actions and interventions that aim to explore and reflect the possibilities of art to interfere.
Here on this exposition the group will share their findings and actions.
Multilayeredness in Solo Performance
(2021)
author(s): Søren Kjærgaard
published in: Rhythmic Music Conservatory, Copenhagen
This project investigates the multilayered potentials of solo performance with the intention of opening up the single player limitations often experienced during the creative process of play and practice.
In performance contexts ranging from acoustic solo piano to a digital code-based video keyboard, concepts of multilayeredness are explored through compositional and improvisational strategies, that include instrument topography, extended piano techniques, audio-visual sampling and digital keyboard mapping.
The purpose is also to create results that will contribute to how solo artists across formats can express themselves more dynamically and with greater flexibility in the interaction between their various materials and artistic ideas. A contribution also in terms of expanding methodological approaches to how solo performers and research practitioners can work iteratively and interactively in their reflective processes, inviting both a more verbalised and dialogic form, and to explore ways of documenting and communicating these processes in hybrids between text, sound and image.
falling like a monster
(2021)
author(s): Susanna Hast, Maryam Bagheri Nesami
published in: RUUKKU - Studies in Artistic Research
Falling Like a Monster is a collaborative and creative practice of writing and embodying inter-textuality and multi-modality in order to experiment a non-representational archive known as a two-sided article. This heterogenous crafted piece of writing resists the hegemony of academic and artistic narratives and suggests a transformative knowledge and an alternative practice of political freedom. In our writing, crafting, recording, and failing, we are playing with exhaustion, silence and stillness as monstrous counter-strategies.
The Body + The Lens: Shrink, Wax, Purge, Bleach.
(2019)
author(s): Tyler Payne
published in: Journal for Artistic Research
"The Body + the Lens: Shrink, Wax, Purge, Bleach" was a creative practice research project that investigated the relationship of (white) women’s embodiment to the lens of gendered advertising. To focus the research, a recently mainstreamed group of female cosmetic rituals were chosen — body-contour wear (SPANX), Brazilian waxing, salt-water cleansing, and fake tanning. The intent of the research was to interrogate the relationship between these body-correcting practices and the idealized image of the "Glossy Magazine Girl" — i.e. preternaturally thin, hairless, and unblemished by shades darker than pink — which now appear with more frequency in women’s everyday life, and have reconfigured the social construction of female gender. The (artistic-research) response to the subject matter was a series of video and photographic works in the genre of self-portraiture. These works attempted to critique the new norms of embodiment emerging through these practices through the researcher’s parodic undergoing of the cosmetic rituals themselves. This "carnal" methodology, following from the methodology of Louis Wacquant, is one that embodies the researcher in the social practices being researched, i.e. body-correcting practices. This method produced research results — embodied and affective — not available to purely observational research, which should interest the artistic research community and feminism generally. The images and videos de-fetishize and denaturalize the embodied product of the cosmetic rituals. My studio-led research reveals the intractable, comic "failures" in the face of the demands placed on the everyday performance of women’s gender. By doing so, it turns these failures to affirmation, as well as critique of the gender norm these practices construct.
Systems of Pain/Networks of Resilience (First Compilation)
(2017)
author(s): Meghan Moe Beitiks
published in: Journal for Artistic Research
'Systems of Pain/Networks of Resilience' is a creative exploration of observation and entanglement as tools for negotiating pain. Research on ecology, restoration, and psychology creates a series of videos, images, and performances. How do personal networks of resilience overcome systems of pain, both in human perspectives, and in ecologies? The project explores commonalities in the context of divisive cultural politics.
Artist Meghan Moe Beitiks begins her research with personal interviews. She discusses processes of recovery with people with both personal and professional experiences of trauma and recovery, including an ecological restoration specialist, an animal behaviourist, several survivors of abusive relationships, and many others. Clips from the interviews become the basis for visual and material explorations, generating videos, installations, and images. Stigma and prejudice emerge as barriers to healing – acceptance, observation, and listening, as common tools to accelerate it.
This compilation takes components of Beitiks’s research and arranges them within their own system of exploration. Observers’ perceptions of the work are both assisted and disrupted by audio descriptions. Originally intended to make the works accessible to non-sighted audiences, the descriptions also serve as an exploration of observation and objectivity. A seemingly unrelated pine wallpaper appears to have been unfairly categorised as “masculine,” prompting further questions about categorisation and labelling, as well as depictions of nature. Beitiks’s presence and movement in the work is described as androgynous, their body taking on the narratives described in the interview clips. Boundaries between various disciplines and narratives disappear—we instead experience the labour of connecting disparate entities, despite the limits of our own perceptions.
The slippery trail: The mollusc as a metaphor for creative practice
(2015)
author(s): Karen Savage
published in: Journal for Artistic Research
This exposition documents several years of process-driven practice-as-research. The work explores themes of womanhood, embodiment, and autobiography.
Throughout the exposition I argue that the embodiment of process is key to understanding practice-as-research. I propose that practice-as-research projects don't always begin with a ‘final output’ in mind. Instead, the practice of practice-as-research should be reconsidered throughout its development; it should use its potential for liminality. It is the demonstration of a ‘living process’ – living in process. However, what becomes key within the practice is a clear articulation of process, and how the research is recorded as part of that process. In this work, 'writing about practice' and performative practices are integrated, enabling a dialogue between various creative responses as well as offering access points to the research in a variety of forms.
This exposition explores ways in which we live in process through a presentation of text, visual essays, and short film and video pieces.
The work develops from creative artefacts and critical text into a piece of responsive writing, 'A Play of Characters'. This playtext reconsiders some of the influences in the work and explores the imagery of the whole project in a performative context.
The notion of embodiment and a 'living body of work' is developed further through the use of metaphor, in particular the metaphor of the mollusc. I use this to consider how practice evolves alongside process, 'housing' both the work and the process in both material form (the shell) and trace (the snail trail).
Different combinations of this work have been presented as performance installations, both at the University of Portsmouth, as part of my PhD examination in 2010, and at the University of Lincoln, as part of the Gnarlfest in 2014. However, by the very nature of 'living in process' this is a work that continues to evolve and 'live' in different forms. The purpose of this exposition is to explore the work in an accessible online form – one that offers alternative platforms and sequences, creating different possibilities and readings of the practice.
Performing with Plants - Att uppträda/ samarbeta med växter
(last edited: 2022)
author(s): Annette Arlander
This exposition is in progress and its share status is: visible to all.
EN
This exposition documents and archives the artistic research project performing with plants.
SVE
Denna exposition dokumenterar och arkiverar det konstnärliga forskningsprojektet att uppträda/samarbeta med växter.
A study of two dead trees
(last edited: 2020)
author(s): Iver Uhre Dahl
This exposition is in progress and its share status is: visible to all.
In a forest in the Hague there are two dead trees. The trees are neighbours of similar age. The have fallen over next to each other, felled by the rot of an invading fungi, which also appears long dead. The stumps and the roots, still attached to the ground, have been completely hollowed out by the rot. The hollow extends into the earth, seemingly through the roots.
The dark stumps stand in dark contrast to their vivid surroundings. The holes in them, created by the invading rot, and the dryness of dead wood make for a weird acoustic. It began as an attempt to study them. By drawing, climbing, listening to and singing into them I had hoped to unlock the potential I saw. This document is a journal of my observations on the trees, on my place in the forest and a report on the interventions they inspired.
Digital Stage
(last edited: 2020)
author(s): Julian Klein
This exposition is in progress and its share status is: visible to all.
Live Rehearsal and Performance Online
Wind Tunnel Log Zürich
(last edited: 2018)
author(s): Florian Dombois, Haseeb Ahmed, Sarine Waltenspül, Mirjam Steiner, Kaspar König, Reinhard Wendler
This exposition is in progress and its share status is: visible to all.
The wind tunnel of Transdisciplinarity Research Focus at the Zürich University of the Arts, ZHdK, in Switzerland runs artistic experiments since 2013. Video footage of it is logged her.
For more information see:
http://www.zhdk.ch/en/fspt
http://blog.zhdk.ch/windkanal
http://windtunnelbulletin.zhdk.ch
http://modulus.zhdk.ch
A COLLAB work about the current position of mankind where we are at in the NOW - a comment on that and an exploration of the automatization and the relationship between the human essence and the artificial. Skin is the membrane that divides inside from outside, what is important and not, what is alive and not. Skin represents the human and at the same time the contrahent to the artificial. We live in a time where everyone is trying to tell us which world will be the best for us to live in. We want you to tell you.open exposition comments (0)
The course Place to Action - Art that Interferes is motivated and inspired by places. More specifically: the histories, contexts, narratives, situations, circumstances and people’s interactions and intra-actions and relationships with locations, which form places. Lingering in places with attention, listening to them and experimenting the possible ways of movement within them. These attentive gazes of places will initiate interdisciplinary artistic actions and interventions that aim to explore and reflect the possibilities of art to interfere. Here on this exposition the group will share their findings and actions.open exposition comments (0)
Falling Like a Monster is a collaborative and creative practice of writing and embodying inter-textuality and multi-modality in order to experiment a non-representational archive known as a two-sided article. This heterogenous crafted piece of writing resists the hegemony of academic and artistic narratives and suggests a transformative knowledge and an alternative practice of political freedom. In our writing, crafting, recording, and failing, we are playing with exhaustion, silence and stillness as monstrous counter-strategies.open exposition comments (0)
EN This exposition documents and archives the artistic research project performing with plants. SVE Denna exposition dokumenterar och arkiverar det konstnärliga forskningsprojektet att uppträda/samarbeta med växter.open exposition comments (0)
In a forest in the Hague there are two dead trees. The trees are neighbours of similar age. The have fallen over next to each other, felled by the rot of an invading fungi, which also appears long dead. The stumps and the roots, still attached to the ground, have been completely hollowed out by the rot. The hollow extends into the earth, seemingly through the roots. The dark stumps stand in dark contrast to their vivid surroundings. The holes in them, created by the invading rot, and the dryness of dead wood make for a weird acoustic. It began as an attempt to study them. By drawing, climbing, listening to and singing into them I had hoped to unlock the potential I saw. This document is a journal of my observations on the trees, on my place in the forest and a report on the interventions they inspired.open exposition comments (0)
Live Rehearsal and Performance Onlineopen exposition comments (0)
The wind tunnel of Transdisciplinarity Research Focus at the Zürich University of the Arts, ZHdK, in Switzerland runs artistic experiments since 2013. Video footage of it is logged her. For more information see: http://www.zhdk.ch/en/fspt http://blog.zhdk.ch/windkanal http://windtunnelbulletin.zhdk.ch http://modulus.zhdk.chopen exposition comments (0)