Graphic Storytelling
(2024)
author(s): Pinzón Lizarazo Oscar Daniel
published in: Research Catalogue
Esta página web recoge la memoria del proyecto narración gráfica a partir del proyecto Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con Cód. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Científico - CIDC de la Universidad Distrital Francisco José de Caldas.
Hace parte del proceso metodológico de desarrollo de la tesis doctoral Narración Gráfica de Experiencias: Intercambios en Imágenes de migración.
Como Laboratorio de investigación - creación ha indagado y trabajado en sus 17 años de existencia en procesos de creación, gestión, investigación, formación y producción de conocimiento desde tres líneas de trabajo:
- Imagen, arte y cultura: como campo de prácticas pedagógicas y estudios de la cultura; donde se cruzan diversos discursos sobre la identidad, los procesos de memoria, lo simbólico, es de interés la sistematización de prácticas artísticas en donde surgen experiencias generadoras de conocimiento sensible.
- El conocimiento libre: Trabaja en la elaboración conceptual de talleres y laboratorios de creación con procesos que se desarrollan desde el concepto de cultura hacedora, promueve el aprendizaje activo, la colaboración abierta, el D.I.Y. y su aplicación en diversos escenarios y contextos.
- La narrativa y la lectura: Se han trabajado procesos de mediación y agenciamiento desde hace mas de 15 años, acompaña sus procesos desde el estudio y elaboración de propuestas creativas que refieren a la narración gráfica y los cruces generados entre las nociones de objeto, plataforma, libro, público y sus relaciones en los procesos de difusión, promoción, producción, edición y diseño de piezas interactivas.
Este proceso fue concebido por Daniel Pinzón Lizarazo quien es Doctorando en Estudios Artísticos de la Universidad Distrital, Magíster en Escrituras Creativas de la Universidad Nacional de Colombia, Diplomado en Antropología del arte de Latir A.C. y el CIESAS en México, Diplomado en estudios editoriales por el Instituto Caro y Cuervo; Licenciado en educación artística de la Universidad Distrital, trabaja como docente, investigador y creador, ha sido gestor y asesor en el diseño de políticas referentes a las pedagogías del arte y la cultura.
THE ART OF THE WALK CYCLE
(2024)
author(s): Rania Ghazali
published in: Stockholm University of the Arts (SKH)
This exploration delves into the potential of emotional storytelling through walk cycles. Moving beyond traditional animation, it utilises the expressive power of modern tools to explore how line, shape, stroke weight, colour, texture, and sound can be manipulated to create abstract narratives that evoke deeper emotional experience for the viewer.
Drawing on a foundation of psychological principles, scientific research, and relevant articles, the walk cycles become abstract narratives, provoking introspection and emotional connection.
Projecting Form, Investigating Distance
(2023)
author(s): Agnese Cebere
published in: HUB - Journal of Research in Art, Design and Society
This exposition describes a process of investigating projection of form as a bridge between near and far, physical and virtual, anchored in the production of what I call “handheld devices” and a multimedia performance. It explores sympathetic dwelling in the crevices of the clay forms in relation to the smooth openness of the built environment of scientific and institutional space exemplified by the Phil and Penny Knight Campus for Accelerating Scientific Impact at the University of Oregon which graciously hosted me for a Center for Art Research Project Incubator residency and fellowship in 2023. In this text, I take up concepts of information and noise, distance and intimacy, affordances and the dynamics of action.
Repurposing Rage (or Rage Re-Boot)-- How Audience’s Outrage Supports Generative Processes in Theatre Making
(2023)
author(s): Nina Marlow
published in: Research Catalogue
This thesis explores process driven creation of new work over five months (April 2023 - August 2023) in Finland. Process included meditation in nature and performances of OUT RAGE, which asked audiences to participate by sharing a concern –outing a rage– with an eco-punk astral messenger. Final products were audience inspired potential products that integrated the overall process, including performance observations and reflections. As a theatre maker with an interest in social and environmental justice, I am invested in creating new work that speaks to the current human condition of our lack of agency on a dying planet. Embracing the certainty of global warming on a human scale, acknowledging anger in society without inciting violence, and then creating new work informed by a collective of participants are at the core of this thesis.
Bolas
(2023)
author(s): Figas
published in: Research Catalogue
Bolas is a decorative display font that offers two weight options (Regular and Bold).
A LIST OF NIKOS KOKOLAKIS WORKS, INCLUDING INSTRUMENTS OF THE OBOE FAMILY.
(2023)
author(s): Christos Tsogias-Razakov
published in: Research Catalogue
A LIST OF NIKOS KOKOLAKIS's WORKS, INCLUDING INSTRUMENTS OF THE OBOE FAMILY (March 2023).
A list of Nikos Kokolakis's works, including instruments of the oboe family, was published for the first time, after a personal interview with the composer Nikos Kokolakis about his works, in the frame of a Ph.D. research, about Hellenic (Greek) Oboe Repertoire, of the Ph.D. candidate: Christos Tsogias-Razakov.
Little Do They Know
(2022)
author(s): Olivia Rowland
published in: Journal for Artistic Research
This exposition functions as both a visual and poetic essay, and a manifesto for my methodology of ‘line’. My definition of ‘line’, defined here as:
‘The gestural and abstracting tandem force of drawing-and-writing as a narrative means to express selfhood.’
The exposition posits the methodology of ‘line’ as one alternate artistic means to artistically communicate feminine selfhood. The methodology of line works to resist the internalised assignment of feminine voice to a corporeal body.
Instead, ‘line’ communicates selfhood through poetic means and a sense of fragmented corporeality. Visually, the stark and abstracting nature of the drawn line, and the allegorical, metaphorical nature of writing present an abstracted self that playfully evades full understanding.
The titling phrase ‘Little Do They Know’ intones a kind of secret power on behalf of the speaker, and the presence of secret and intricate worlds to which the gaze of the spectator has limited access. It is on this premise which the exposition operates, articulating the presence (in all its anxiety, instability, rage, joy and frustration) of a playful and evasive selfhood that reclaims agency from the spectator’s gaze.
Do we create enough space for mistakes within the film system?
(2022)
author(s): Carina Randloev
published in: International Center for Knowledge in the Arts (Denmark)
Do we need to make more mistakes to keep the film language alive as cinema window no 1, in a time of high performance streaming platforms? Can we use the open process approach from visual art to do so?
In this exposition I will unfold thematic aspects related to: the audience, the film funding system, open processes, the production value, the space in between (art and film, documentary and fiction), something about language, the mistake, experiments, the ugly, and expectations on format.
The exposition is the result of six months of preliminary Artistic Research conducted at The National Film School of Denmark.
I lost time and space. Where am I? – Erzählen von chronischen Schmerzen
(2021)
author(s): Tabea Rothfuchs
published in: Journal for Artistic Research
Was passiert mit der inneren und äusseren Welt eines Menschen, wenn kein medizinisches Verfahren den Ursprung des erlebten Schmerzes (mehr) zu entziffern vermag? Wenn der Schmerz zum eigenständigen Krankheitsbild 'Chronischer Schmerz' geworden ist?
In einer Dialogserie mit Schmerzpatient*innen und Schmerzspezialist*innen erforsche ich in dieser Untersuchung – als Künstlerin und Schmerzerinnernde –, wie chronische Schmerzen das Leben beeinflussen, verändern und welchen Raum sie im Leben der betroffenen und behandelnden Menschen einnehmen. Oder als Kernfrage formuliert: Liegen Menschen mit chronischen Schmerzen im Leben anderer Menschen, in unserer Sozialstruktur und dem politischen System überhaupt drin?
––––
What happens to a person’s inner and outer world when no medical procedure is able to (further) decipher the origin of an ongoing perceived pain? When pain becomes an independent clinical picture called 'chronic pain'? In a series of dialogues with pain patients and specialists, I investigate in this study – as an artist as well as someone who remembers an episode of chronic pain – how chronic pain influences and changes lives and what space it takes in the lives of people affected and those providing treatment. Or expressed as a central question: Is there room for people with chronic pain in the lives of other people, our social structure and the political system at all?
Μove to the rhythm
(2021)
author(s): Ioannis Christoforou, Nicolas Delphinis, XF Fotiou, andreas Patsalidis, Loizos Georgiou
Limited publication. Only visible to members of the portal : Department of Multimedia & Graphic Arts - Cyprus University of Technology - [Internal]
In this project we tried to combine image and sound of our own construction, to create a dance composition with audiovisual effects.
The Plot, The Compositor, Mourning/Mistakes
(2021)
author(s): Alexandra Crouwers
published in: VIS - Nordic Journal for Artistic Research
In the Summer of 2019, a small family forest fell victim to a spruce bark beetle plague. Unusually mild winters caused larvae numbers to explode, and extreme drought weakened the otherwise more resilient trees. Expanding patches of dead forest can be found from the North Sea coast to the Baltics. The cleared forest became The Plot: a witness to climate change, and a gateway to dealing with ecological grief. My own eco-anxiety is utilized as a case study: how to deal with this new kind of loss? What is The Plot telling us? How do we move forward without losing hope? The exposition presents The Plot as fertile ground for artistic and collaborative research, including a contribution by Lisa Jeannin, a custom made font, moving image, and an audio work.
Good Morning! Good Day! Good Afternoon! Good Evening! Good Night!
(2021)
author(s): Anna Nurmela
published in: Research Catalogue
Process of a workshop organized by Aalto ARTS, Experimental Scenography Workshop that explores the Peripheries in Parallax. This exposition is based on an artistic research that was done between 05.10.2020-10.04.2021.
Including process ideas, photos and final exhibition, Matter.
Work title:
Good Morning!
Good Day!
Good Afternoon!
Good Evening!
Good Night!
Peripheries in Parallax: BRAVE NEW PERIPHERIES is organised by the four-year “Floating Peripheries – mediating the sense of place” artistic research project funded by the Academy of Finland (2017–2021).
Read more on https://pinp2021.aalto.fi/
Photography Bound: Rethinking the Future of Photobooks and Self-publishing
(2020)
author(s): Adria Julia
published in: Research Catalogue
Curated by Antonio Cataldo and Adrià Julià. Organised by Fotogalleriet, Oslo and KMD, University of Bergen. Throughout this three-day event, Adrià Julià's students at the University of Bergen will actively partake and lead discussions
Photo-based books and self-publishing are a vital emancipatory motor of discussion bringing communities across space and time together. The intent of this conference is manifold; firstly it aims to look at the historical structures for production that enable a multiplicity of voices to speak from their subjective positions. Secondly, addressing the current modalities that give contemporary practitioners, designers and publishers advantages and limitations within the field. Thirdly it addresses the future of photo-based publications through grant systems.
To rethink the current moment which is challenging existing structures and demanding systemic change, this seminar represents a desire to rethink the Nordic Photobook Award. Initially, Fotogalleriet ran the award from 2012–18 in order to accompany upcoming voices within the field by co-producing photobooks with chosen candidates.
The seminar's ultimate goal is to evaluate relevant structures of support providing the possibility to continuously provoke theoretical and practical change.
CONFIRMED SPEAKERS: Terje Abusdal, Abdul Halik Azeez, Heidi Bale Amundsen, Delphine Bedel, Bruno Ceschel, Paul Gangloff, Erik Gant, Hans Gremmen, Roberto Figliulo, Cosmo Großbach, Sohrab Hura, Kay Jun, Aglaia Konrad, Moritz Kung, Silja Leifsdottir, Hailey Loman, Catalina Lozano, Vijai Patchineelam, Bonaventure Soh Bejeng Ndikung, Anna-Kaisa Rastenberger, Mette Sandbye, Ursula Schulz-Dornburg, Ahlam Shibli, Æsa Sigurjónsdóttir, Ina Steiner, Niclas Östlind, Stanley Wolukau-Wanambwa, and Antonio Zúñiga. With a discussion about Nordic funding with Anne Lise Stenseth (moderator), Tom Klev, Henri Terho, Annika Thörn Legzdins, Klara Þórhallsdóttir and Tine Vindfeld.
Reclamation : Exposing Coal Seams and Appalachian Fatalism with Digital Apparatuses
(2020)
author(s): Ernie Roby-Tomic
published in: VIS - Nordic Journal for Artistic Research
The mountainous geography of Appalachia has been shaped by the coal industry since the post-Civil War Reconstruction Era of the United States. Mountaintop Removal (MTR) is a controversial and highly destructive surface-mining method flattening the mountains of Appalachian since the 1970s. The rise in massive energy consumption correlated to consumer electronics, automation, and technocratic neoliberalism have irrevocably flattened the surface and culture of Appalachia.
Reclamation is the final act in MTR mining in which the mine operator is obligated to ecologically restore the land. Where MTR sites were once hidden away, and even photographing them is considered an act of trespassing, today I can bear witness to the destruction of the mountain topology by connecting to Google's Earth (not to be confused with earth-Earth). Despite the remote locations and inaccessibility of the sites, the data is particularly rich due to the economical advantages of mapping the region for the coal industry.
In this exposition, I make my own reclamation as one in the generation born after the boom of coal production and its inevitable decline. I am reclaiming the 3D geospatial data of MTR and mining disaster sites, extracted from the servers of Google Earth. I recontextualize these geospatial assets to compose a visual prosopography of those surfaces.
Additive Photography
(2019)
author(s): Ives Maes
published in: Journal for Artistic Research
Since the invention of photography, there have been numerous hybrid experiments between photography and sculpture that testify to a continuous influence of sculpture on photography and vice versa. In my own visual work, I am researching the physical, sculptural and architectural aspects of photography. I am analysing a number of historical experiments, from the 16th century camera obscura pavilion to 21st century digital processes, which I apply to my artistic practice. A particularly important example is the photosculpture process of François Willème. In the late 1850s, he aimed at reproducing sculpture with the help of photography, creating a distinctive union between the two media. His method to extrude sculptures from photographs laid the ground principles for the 3D scanner and printer. In this exposition I bring to the fore how the work of Willème propelled its significant influence towards today, and how it inspired me to create new visual work. At the same time, this experience constitutes an exemplary case study on how theoretical research can steer the creation of visual research.
Between Agony and Ecstasy: Investigations into the Meaning of Pain
(2018)
author(s): Barbara Macek
published in: Journal for Artistic Research
Pains are moving, alluring us to world-making-activities, attuning our bodies with other bodies and therefore putting us in relation to others. Pains cut into our net of habits, and even the slightest pain causes a transformation. Pains are crushing, deeply distressing, showing us our limitations – but also our capability to go beyond our limits, to outgrow ourselves.
In the course of my literary research for this project I generated 10 PAIN CATEGORIES that I derived from poems, philosophical and literary texts on pain, and my own experiences. These poetical/pictorial categories differ profoundly from pain categories as they are to be found in common pain questionnaires: They refer to the existential dimension of pain and do not differentiate between physical and mental pain in order to overcome the myth of this dichotomy. The next step of my project consisted in going into the field to look at, imagine and feel into pain. I conducted methodical observations in the casualty departments of two Viennese hospitals and developed my own method of "self-reflective observation in the mode of seeing/feeling". The assemblages as part of this exposition present the results of these investigations and reconstruct different perspectives on PAIN as an EXISTENTIAL PHENOMENON.
GRAVITY OF ARTISTIC COMPETENCE
(2018)
author(s): Isabela Grosseova
published in: Research Catalogue
Writing from the position of being a PhD student at the Academy of Fine Arts in Prague, I address the subject of competences in artistic education in my dissertation. My aim is to give insight into the experiences of graduates of the Academy of Fine Arts in Prague, and to evaluate the impact of this education on their lives.
On Electronic Sound Sculptures: Circuits and Aesthetics
(2017)
author(s): Eirik Brandal
published in: KC Research Portal
This paper is first and foremost concerned with my methods for designing, constructing and composing with freeform electronic sound sculptures. It covers the topics of circuit modularity, network communication, interaction and sonification as a means to create nonlinear music, as well as architectural concepts that are either being utilized or that have been functioning as sources of inspiration toward the design of the sound sculptures. The reader will be guided largely through the perspective of my own work, but general ideas and concepts from similar artists will be discussed where applicable.
This exhibition is an island
(2017)
author(s): Kit Hammonds
published in: Journal for Artistic Research
Based around my catalogue essay for Yu-Chen Wang's exhibition 'Nostalgia for the Future' (Taipei Fine Art Museum and Centre for Chinese Contemporary Art, Manchester, 2016), I consider how exhibition narratives are formed. As an experiment in 'curatorial writing', the essay draws from the evolution of science fiction. The method is discussed as reflective rather than explanatory of the artist's practice.
Material in the artistic process
(2017)
author(s): Michael Kargl
published in: University of Applied Arts Vienna
The materials used in a work of art are not necessarily determined from the start. The contemporary artistic work process involves a great deal of experimenting in order to arrive at the most suitable material to realize an idea. In this test phase one also risks altering the complete work, its parameters, characteristics, and not least its final appearance. This process of material-based transformation has a two-fold effect: first, on the artwork itself (its haptic conditions), and then on its perception, which in turn influences the specific form of aesthetic recognition actuated by the artwork.
Extra-musical Systems in Music: their implementation in contemporary music in the context of multimedia
(2016)
author(s): Andrius Arutiunian
published in: KC Research Portal
The purpose of this research is to define methods of applying extra-musical and data-based systems in multimedia music works. The first part of the paper concentrates on the outline of the motivation and reasoning for using extra-musical systems from a composer's or sound artist's perspective and gives a historical precedent context. Parallels are drawn together with contemporary art and art critique examples. The second part of the research outlines the possible modes of the data-based systems application by analysing multiple multimedia works by composers or sound artists written in the last two decades including a piece by the author of the paper. The types of multimedia and its connection to sound are discussed, the conceptual deconstruction and its semiotic implications of the data used are analysed. The given conceptual and semantic context is applied for analysing the musical parameters and data's usage in sound control. Each of the pieces discussed outlines a particular mode of the conceptuality towards the extra-musical system usage and functions as a primal device for further conclusions drawn. The final part of the research consists of the general overview of the conclusions drawn and attempts to establish a general outline of the motivation and the resulting outcome behind the usage of the extra-musical systems in multimedia works.
A City Never Lies – Situational Irony and the Political Impact of Public Urban Space.
(2016)
author(s): Denise Ziegler
published in: RUUKKU - Studies in Artistic Research
In this text, I question the concepts of urban space and public art. Experimental artistic interventions are conducted using situational irony as a method for reflecting on the impact urban public space and its user can have. Instead of interrogating people and involving them in the process, the interventions put questions directly to public infrastructure, to walls, fences, buildings and pedestrian ways. In a post-Beuysian vein, an artist workshop is extended to public space in order to work with its mechanisms and possibilities. This is considered a political act. The research aims to contribute to the redefinition of concepts regarding how we look at and develop public urban space.
'Beware the Danger of Merging': Conceptual Blending and Cognitive Dissonance in the work of IOU Theatre
(2015)
author(s): Deborah Middleton, Tim Moss
published in: Journal for Artistic Research
This exposition introduces and analyses the work of British-based IOU Theatre, a company that has been exploring intermedial theatre and installation since 1976. IOU's work, we suggest, is characterised by their particular strategies for juxtaposing or fusing images, materials, and artistic media. We explore this aspect of IOU's practice through the lens of emergent cognition by drawing on Fauconnier and Turner's (2002) theory of conceptual blending.
While Fauconnier and Turner's work applies broadly to the process underlying many cognitive acts, their model enables us to develop a nuanced understanding of IOU's particular creative 'blends' and to identify a 'resistance to the blend’ that proves essential to the IOU aesthetic.
The authors have included first-person accounts of some of their own cognitive experiences in response to IOU's work as a way to track the application of conceptual blending in the reception and analysis of an artistic artefact or experience.
The exposition both introduces to a wider readership examples of IOU's oeuvre and proposes a reading of conceptual blending as a tool for understanding creative processes, analysing artistic artefacts, and discussing audience reception – in works that particularly exploit creative collisions of imagery or media. In this way, it is our intention to contribute to artistic research a methodology for analysis and a lens through which some key artistic strategies can be illuminated. Our approach may be of interest to those concerned with the making, analysis, or reception of artistic work that is intermedial in the broadest sense.
Can Philosophy Exist?
(last edited: 2024)
author(s): Zoe Panagiota (aka Betty) Nigianni
This exposition is in progress and its share status is: visible to all.
Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material.
The exposition exposes the question of what is artistic research. Usurping the mini-essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system.
Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I use visual art and figurative examples as illustrations, adapting from methods, such as the example, used in analytic philosophy.
I suggest that some artworks operate as philosophical provocations of the archive. "The artwork just exists", as Frank Stella argued. In this view, I ordered this exposition as a design proposal for two independent, yet interconnected exhibitions: one for the final artistic exhibition show; and one as a general overview for the artist's studio, set up as a stand alone, if parallel, exhibition.
Practices for the future / an Artogrphic approach
(last edited: 2024)
author(s): Sebastian Ruiz Bartilson
This exposition is in progress and its share status is: visible to all.
Task submission for course Dokumentation, reflektion och kritisk granskning / Documentation, Reflection and Critical Review
Application of Artographic methods towards own and/ or others dance practice.
Project "Practices for the future"
Replicas
(last edited: 2024)
author(s): Eleni Palogou
This exposition is in progress and its share status is: visible to all.
What triggered me to start this research is the multiplicity of reality. How something is represented, how it actually is and then how we all perceive it in our very own way. In that sense reality doesn’t exist, only versions of it. The lack of awareness of this multiplicity affects a lot our lives; what we believe, what we take as granted and how he behave.Through this practice based research I am experimenting on how to create moments of surprise and realization for the spectator.
I work with copies and representations, replicas as I like to call them. The Replicas can be made of different materials, can be virtual or very physical. Until now I used scale models, mirrors and projections but the list is endless; so are the different ways to use the replicas or the impact that they will have.
The way that the replicas are introduced to the spectator and their interaction is also very crucial in my work and another field to research. The movement and the body play a significant role to this. The special relationship that we have with our body, the way that we perceive it and how the movement can reset these relations and affect how we experience things.
JENNY SUNESSON
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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.
Ephemeral Traces
(last edited: 2024)
author(s): Daniel Sorrentino
This exposition is in progress and its share status is: visible to all.
"Ephemeral Traces" is an interactive performance and art installation that explores the temporal nature of visual perception through the manipulation of the scanning process. Challenging the conventional notion of time in photography, the artist employs a scanner as an artistic tool, generating visual "timelines" that capture the fleeting essence of the present moment. By intervening in the scanning process, the artist distorts time, stretching, compressing, and fragmenting everyday objects into ephemeral traces of light and form.
These temporal distortions are projected in real-time onto a white wall, transforming it into a dynamic canvas. Accompanied by a carefully curated soundtrack, the projected images create an immersive aesthetic experience that invites viewers to contemplate the fluidity of time and its impact on our understanding of reality. "Ephemeral Traces" seeks to engage the viewer in a dialogue about the ephemeral nature of time, the role of technology in shaping our perception, and the artistic potential of the mundane. Through the interplay of light, sound, and movement, the project offers a unique and evocative exploration of the fleeting moments that constitute our lives.
Warping Protest: Increasing Inclusion and Widening Access to Art Activism Utilising Textiles
(last edited: 2024)
author(s): Britta Fluevog
This exposition is in progress and its share status is: visible to all.
Art activism is powerful. Also known as activist art, protest art, visual activism, artivism and creative activism, it changes lives, situations and is and has been a powerful weapon across a whole spectrum of struggles for justice. Teresa Sanz & Beatriz Rodriguez-Labajos(2021) relay that art activism has the unique ability to bring cohesion and diverse peoples together and it can, as Zeynep Tufekci notes, change the participants (2017). As Steve Duncombe & Steve Lambert (2021) posit, traditional protesting such as marches or squats are no longer as important as they once were. As a result of my own lived experience in activist activities, I very much agree with Andrew Boyd & Dave Oswald Mitchell (2012) that the reason people use art activism is that it works, by enriching and improving protest.
In the past, when I lived in a metropolis and was not a parent, I used to be an activist. Now I no longer have immediate access to international headquarters at which to protest and I have to be concerned with being arrested, I am hindered from protesting. This project is an attempt to increase inclusion and widen access to art activism. By devising methods which include at least one of the following: that do not require on-site participation, that can take place outside the public gaze, that reduce the risk of arrest, that open up protest sites that are not “big targets”, that include remote locations, that involve irregular timing, my thesis aims to increase inclusion and widen access to art activism to those who are underserved by more mainstream methods of conducting art activism.
Textiles have unique properties that enable them to engage in subterfuge and speak loudly through care and thought(Bryan-Wilson, 2017). They have strong connotations of domesticity, the body and comfort that can be subverted within art activism to reference lack of this domestic warmth and protection(O’Neill, 2022). Being a slow form of art-making, they show care and thought, attention in the making, so that the messaging is reinforced through this intentionality in slow making.
Jorge Alvaro's academic and research space
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author(s): Jorge Alvaro Manzano
This exposition is in progress and its share status is: visible to all.
The essence of the video essay is to transfer the energy of the chosen audiovisual pieces to a new language. It aims to focus the viewer on a detail, a concept that articulates part of the narrative. In this series, different proposals converge to emphasize some relevant aspects of each selection.
The articles allow me to investigate and reflect on the topics I photograph or film, deepening and discussing my research with other authors
THE IDEA OF YOU
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author(s): Francesco Collavino
This exposition is in progress and its share status is: visible to all.
How can a physical dramaturgy generate transdisciplinary choreography and at the same time how is it influenced by new media?
first studio
A Tricky Performance (I will not give you what you want)
(last edited: 2023)
author(s): Femke Luyckx
This exposition is in progress and its share status is: visible to all.
This is an Integrated Assignment for COMMA, Joint Master Choreography Fontys&Codarts.
A research into expectations of the audience regarding aerial performances.
Why does she cry salty tears while he touches the sea
(last edited: 2023)
author(s): Jenný Mikaelsdóttir
This exposition is in review and its share status is: visible to all.
Thesis of the Royal Academy of Art, The Hague, 2023
BA Photography
Summary:
"Why does she cry salty tears while he touches the sea". Follows a search for understanding how being in cold water has a relationship with humans. More specifically if the sea is for people to be in or not - the upbringing stories from Iceland and a Nordic background is noticeable in how the author approaches the subject of the sea. From the perspective of being cautious towards it, yet fearful and therefore the quest is giving contrast on how the sea shapes people. On an emotional level yet spiritually as well. Questions regarding people’s place within the social context and, with others. The personal writings is intertwined with challenges people face and how it’s displayed in the art world. Research into how artist have dealt with overcoming bigger forces than themselves. The social element of a sea swimming community is discussed where recent acknowledgment in a modern society to be in cold water is ever present. This is done by interviewing people who have been tuned in with the sea, a former sailor and a sea swimmer.
The paper is divided into four chapters. Their titles serves the focus points. In Salt water, a look into the unknown, how artists deal with the sea as a natural force, admiration towards the sea with a connection to the emotional state. Community, is where the unknown offer a place to belong to, observing from a distance as well inside a sea swimming community. In Rituals, sea swim is investigated as a social act binding the community. Tales brings storytelling with focus on sailors and sea creatures.
Workbook of the Universe - 2023
(last edited: 2023)
author(s): Federico Federici
This exposition is in progress and its share status is: visible to all.
How to split the universe up into addends.
Rethinking urban movement through the frame of radical psychiatry
(last edited: 2023)
author(s): Dora Ramljak
This exposition is in review and its share status is: visible to all.
Thesis of the Royal Academy of Art, The Hague, 2023; BA Photography
Research is the ground for exploring the world. My research paper serves as a guide in the sensorial and caring experience of the world around us as. Written in stages in which patients enter and experience the sensory room, the transition from history to the future opens space for discussion and implementation of observed practices in individual realities.
The beginning chapters introduce radical movements in psychiatry while outlining the historical formation of disability as a social issue. Discussion around illness and disability is observed trough political and philosophical frame. Historical examples provide insight into how the space of the institution itself can re-shape into a progressing form, how the discussion about institutionalised people is de-stigmatised once the closed system of a hospital or an asylum opens to its surrounding environment, and how this can affect the position of healthcare, psychiatry specifically, on the level of a state.
The chapters bring forward current knowledge around body memory and studies around sensory treatments in institutionalized settings. In this chapters, the body is not solely observed in the setting of a hospital or asylum, but brought in the context of perceiving the body as a social and cultural object.
Short poetic digressions are moments of personal reflection, automatic writing that reminds me of moments when I saw the necessity to provide alternative models of care.
The paper contains interviews and transcriptions of conversations I had with my commissioners. Through conversations with medical workers and artists, I reflected upon the current state of care provisions, ranging from institutional care to self-care. The dialogues show sensibility and understanding that a shift in healthcare towards the re-humanization of the ill is needed.
Written in-between moments of working with materials in the workshop settings, research has acted as
Animated Ecology
(last edited: 2023)
author(s): Lina Persson
connected to: Stockholm University of the Arts (SKH)
This exposition is in progress and its share status is: visible to all.
In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.
Het Urban Future-project
(last edited: 2023)
author(s): Hans Scholten
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Central to this research of Hans Scholten is the Urban Future-project, which consists of a large archive of artworks made from 2002 until now. The original question underpinning this project was: what influence do chaos, entropy and fragmentation have on the viability of the rapidly developing urbanizing world?
In the course of the research project, the (literature and field) explorations led to the assumption that there is a demonstrable and necessary link between the quality of life in the city and vital social cohesion on the one hand and chaos, entropy and fragmentation on the other. In the artistic part of the research focuses on the question: is it possible to make the supposed connection between quality of urban life and chaos, entropy and fragmentation visible in artwork and, if so, how? In the written dissertation, working methods and strategies are contextualized and analyzed. The visual part derives from an artist's position which uses non-verbal, sensorial strategies to reach new insights. It mainly focuses on the visual and aesthetic possibilities of aspects of fragmentation, chaos and entropy because Scholten considers these aspects, as productive forces, to be the core of the experience of urbanization.
Eternal Stranger
(last edited: 2021)
author(s): Marta Frejute
This exposition is in progress and its share status is: visible to all.
This presentation is an attempt to look at my creative field, and to define my artistic research practices and methods from a memory studies perspective.
RECONNAISSANCE
(last edited: 2021)
author(s): Hélène MUTTER
This exposition is in progress and its share status is: visible to all.
This project represents more than 10 years of research about military and personal archives from the first Gulf War (1991). "RECONNAISSANCE" was the exhibition for my PhD thesis defense in 2020, both an artistic and a theoretical reflexion about images produced in conflict situation.
THINKING IN LAYERS, WORLDING IN LAYERS: POSTHUMAN LANDSCAPES IN EXTENDED DRAWINGS AND PRINTS
(last edited: 2020)
author(s): Britta Benno
This exposition is in progress and its share status is: visible to all.
I am using the printmaking and drawing artist way of thinking as a method of creating artistic research. Thinking in layers becomes a way of creating both: the artefacts and writing. The emphasis of the artistic research is divided in two extending and overlapping categories: first, conceptually worlding the post-capitalist landscapes – this becomes the study-case of the second and most imporant focus: the innovation of formal indermedial method when creating hybrid art.
ARC 2018
(last edited: 2018)
author(s): Carlos Roos, ACPA
This exposition is in progress and its share status is: visible to all.
First season of the art_research_convergence project. It comprises 6 ARC nights, starting June 2018. Exhibitions, performances, installations and lectures. Work in progress and finished work in need of feedback.
PRIMALISM UPDATED
(last edited: 2017)
author(s): Christopher Hollins
This exposition is in progress and its share status is: visible to all.
Primalism would be a way of looking at any object or event to remove the established ideas we use to recognise what we see. The aim of the Primalist Artist would be to reveal that art objects can be used to generate recall of what remains of an inherent 'animal' sensation that is suppressed in our minds by the learned ideas we use to categorize and classify what we see To achieve this view, art objects would have to be made to direct our responses to an inherent way of sensing that stems from our old powers of instinct. This is a directly opposed view to the educated definition of art – that looks to the production of works of higher learning. Primalist Art would hold no intellectual meaning or content, and it would have to be defined by an ability to disrupt our learned view of the world. Primalism is the result of a direct biological response from our minds to how we conceive of objects and events when deprived of all learned ideas, and the Primalist view is that our higher thought processes have evolved to stop a natural way of sensing in our day-to-day powers of observation.
Critique and the Cypriot Summer / Kral çıplak / Ήνταμπου κάμνουμεν δαμέ;
(last edited: 2017)
author(s): Chrystalleni Loizidou, Marinos Houtris
This exposition is in progress and its share status is: visible to all.
About this project
output from Critique and the Cypriot Summer,
an artist residency in the village of Lofou
4/7/2016 - 9/7/2016
with
Nurtane Karagil
Hayal Gezer
Marinos Houtris
Chrystalleni Loizidou
Invited by
Xarkis & Confrontation Through Art
with the support (in no special order) of
NIMAC
NeMe
ARTos
Re Aphrodite
Point Centre for Contemporary Art
Pater Theofanis
...
This exploration delves into the potential of emotional storytelling through walk cycles. Moving beyond traditional animation, it utilises the expressive power of modern tools to explore how line, shape, stroke weight, colour, texture, and sound can be manipulated to create abstract narratives that evoke deeper emotional experience for the viewer. Drawing on a foundation of psychological principles, scientific research, and relevant articles, the walk cycles become abstract narratives, provoking introspection and emotional connection.open exposition comments (0)
This exposition describes a process of investigating projection of form as a bridge between near and far, physical and virtual, anchored in the production of what I call “handheld devices” and a multimedia performance. It explores sympathetic dwelling in the crevices of the clay forms in relation to the smooth openness of the built environment of scientific and institutional space exemplified by the Phil and Penny Knight Campus for Accelerating Scientific Impact at the University of Oregon which graciously hosted me for a Center for Art Research Project Incubator residency and fellowship in 2023. In this text, I take up concepts of information and noise, distance and intimacy, affordances and the dynamics of action.open exposition comments (0)
Bolas is a decorative display font that offers two weight options (Regular and Bold).open exposition comments (0)
A LIST OF NIKOS KOKOLAKIS's WORKS, INCLUDING INSTRUMENTS OF THE OBOE FAMILY (March 2023). A list of Nikos Kokolakis's works, including instruments of the oboe family, was published for the first time, after a personal interview with the composer Nikos Kokolakis about his works, in the frame of a Ph.D. research, about Hellenic (Greek) Oboe Repertoire, of the Ph.D. candidate: Christos Tsogias-Razakov.open exposition comments (1)
Do we need to make more mistakes to keep the film language alive as cinema window no 1, in a time of high performance streaming platforms? Can we use the open process approach from visual art to do so? In this exposition I will unfold thematic aspects related to: the audience, the film funding system, open processes, the production value, the space in between (art and film, documentary and fiction), something about language, the mistake, experiments, the ugly, and expectations on format. The exposition is the result of six months of preliminary Artistic Research conducted at The National Film School of Denmark.open exposition comments (0)
In this project we tried to combine image and sound of our own construction, to create a dance composition with audiovisual effects.open exposition comments (0)
In the Summer of 2019, a small family forest fell victim to a spruce bark beetle plague. Unusually mild winters caused larvae numbers to explode, and extreme drought weakened the otherwise more resilient trees. Expanding patches of dead forest can be found from the North Sea coast to the Baltics. The cleared forest became The Plot: a witness to climate change, and a gateway to dealing with ecological grief. My own eco-anxiety is utilized as a case study: how to deal with this new kind of loss? What is The Plot telling us? How do we move forward without losing hope? The exposition presents The Plot as fertile ground for artistic and collaborative research, including a contribution by Lisa Jeannin, a custom made font, moving image, and an audio work.open exposition comments (0)
Process of a workshop organized by Aalto ARTS, Experimental Scenography Workshop that explores the Peripheries in Parallax. This exposition is based on an artistic research that was done between 05.10.2020-10.04.2021. Including process ideas, photos and final exhibition, Matter. Work title: Good Morning! Good Day! Good Afternoon! Good Evening! Good Night! Peripheries in Parallax: BRAVE NEW PERIPHERIES is organised by the four-year “Floating Peripheries – mediating the sense of place” artistic research project funded by the Academy of Finland (2017–2021). Read more on https://pinp2021.aalto.fi/open exposition comments (0)
Writing from the position of being a PhD student at the Academy of Fine Arts in Prague, I address the subject of competences in artistic education in my dissertation. My aim is to give insight into the experiences of graduates of the Academy of Fine Arts in Prague, and to evaluate the impact of this education on their lives.open exposition comments (0)
This paper is first and foremost concerned with my methods for designing, constructing and composing with freeform electronic sound sculptures. It covers the topics of circuit modularity, network communication, interaction and sonification as a means to create nonlinear music, as well as architectural concepts that are either being utilized or that have been functioning as sources of inspiration toward the design of the sound sculptures. The reader will be guided largely through the perspective of my own work, but general ideas and concepts from similar artists will be discussed where applicable.open exposition comments (0)
Based around my catalogue essay for Yu-Chen Wang's exhibition 'Nostalgia for the Future' (Taipei Fine Art Museum and Centre for Chinese Contemporary Art, Manchester, 2016), I consider how exhibition narratives are formed. As an experiment in 'curatorial writing', the essay draws from the evolution of science fiction. The method is discussed as reflective rather than explanatory of the artist's practice.open exposition comments (0)
In this text, I question the concepts of urban space and public art. Experimental artistic interventions are conducted using situational irony as a method for reflecting on the impact urban public space and its user can have. Instead of interrogating people and involving them in the process, the interventions put questions directly to public infrastructure, to walls, fences, buildings and pedestrian ways. In a post-Beuysian vein, an artist workshop is extended to public space in order to work with its mechanisms and possibilities. This is considered a political act. The research aims to contribute to the redefinition of concepts regarding how we look at and develop public urban space.open exposition comments (1)
Task submission for course Dokumentation, reflektion och kritisk granskning / Documentation, Reflection and Critical Review Application of Artographic methods towards own and/ or others dance practice. Project "Practices for the future"open exposition comments (0)
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.open exposition comments (0)
The essence of the video essay is to transfer the energy of the chosen audiovisual pieces to a new language. It aims to focus the viewer on a detail, a concept that articulates part of the narrative. In this series, different proposals converge to emphasize some relevant aspects of each selection. The articles allow me to investigate and reflect on the topics I photograph or film, deepening and discussing my research with other authorsopen exposition comments (0)
How can a physical dramaturgy generate transdisciplinary choreography and at the same time how is it influenced by new media? first studioopen exposition comments (0)
This is an Integrated Assignment for COMMA, Joint Master Choreography Fontys&Codarts. A research into expectations of the audience regarding aerial performances.open exposition comments (0)
How to split the universe up into addends.open exposition comments (0)
In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.open exposition comments (0)
This presentation is an attempt to look at my creative field, and to define my artistic research practices and methods from a memory studies perspective.open exposition comments (0)
I am using the printmaking and drawing artist way of thinking as a method of creating artistic research. Thinking in layers becomes a way of creating both: the artefacts and writing. The emphasis of the artistic research is divided in two extending and overlapping categories: first, conceptually worlding the post-capitalist landscapes – this becomes the study-case of the second and most imporant focus: the innovation of formal indermedial method when creating hybrid art.open exposition comments (0)
First season of the art_research_convergence project. It comprises 6 ARC nights, starting June 2018. Exhibitions, performances, installations and lectures. Work in progress and finished work in need of feedback.open exposition comments (0)
About this project output from Critique and the Cypriot Summer, an artist residency in the village of Lofou 4/7/2016 - 9/7/2016 with Nurtane Karagil Hayal Gezer Marinos Houtris Chrystalleni Loizidou Invited by Xarkis & Confrontation Through Art with the support (in no special order) of NIMAC NeMe ARTos Re Aphrodite Point Centre for Contemporary Art Pater Theofanis ...open exposition comments (0)