Nietzsche 5 : The Fragmentary
(2016)
author(s): Michael Schwab, Paulo de Assis
published in: RUUKKU - Studies in Artistic Research
‘Nietzsche 5 : The Fragmentary’ is a collaborative research exposition, which presents a number of compositions by the young Friedrich Nietzsche (organised top to bottom) as well as various layers of reflection, interrogation, and speculation (organised left to right). It focuses on a moment of transformation around 1872 when Nietzsche moved from a serious interest in music composition to a career as a writer and philosopher. This period also coincides with the breakdown of Nietzsche’s friendship with Richard Wagner. The exposition suggests that Nietzsche’s own music as well as that of Wagner serves as a (negative) point of reference for the later Nietzsche, whose work, following Maurice Blanchot amongst others, can be characterised through the notion of the fragmentary, which places it also in relation to early Romanticism, in particular the writings of Friedrich Schlegel, Novalis, and Friedrich Hölderlin. While Nietzsche’s more monumental compositions, such as his unfinished Mass (1860) and the symphonic poem Ermanarich (1861), may be more problematic, the exposition suggests that in some smaller pieces – in particular in So lach doch mal (1862) and Das ‘Fragment an sich’ (1871) – a sense of the fragmentary in Nietzsche may already be constructed.
Beyond interpretations that focus more narrowly on Nietzsche’s work, this research exposition sets out to render the notion of the fragmentary productive for the wider context of artistic research. It does so with reference to Nietzsche’s notion of the untimely as a way to challenge both the dominant instrumentalisation of research and the notion of contemporaneity that seems central to present-day artistic practice. This not only provides perspectives into artistic epistemologies but also, more concretely, provides the methodology by which the research itself and its exposition have progressed. The overall mode is, thus, also that of the fragmentary, in which various media including text and image as well as audio and video recordings are distributed across a two-dimensional grid allowing multiple relationships and readings to emerge. The research exposition aims not only to discuss but ultimately also to employ the fragmentary so as to touch upon a specific artistic and intellectual motivation that we have come to identify with Nietzsche and which we suggest is also relevant today.
PERFORMING WORKING PD HKU
(last edited: 2025)
author(s): Philippine Hoegen
This exposition is in progress and its share status is: visible to all.
Performing Working looks at work through the lens of performance and at performance through the lens of work. Who are we when we work, and who are we when we can't work (anymore)? What exactly is work and what is it not? In the research, the championing of waged work above all other activities is problematised, as well as its status as a condition for citizenship and social participation. We look at the social exclusion that this causes for different people, and try to make divers forms of hidden work explicit, exploring the value of that work and the dynamics of the invisiblisation of those doing it. We use performative, transdisciplinary and co-creative methods. A crucial aspect of the research is developing conditions for equity and reciprocity in collaborations between the various actors within the research.
JENNY SUNESSON
(last edited: 2024)
author(s): Jenny Sunesson
This exposition is in progress and its share status is: visible to all.
Jenny Sunesson (b. 1973) is a Swedish artist predominantly
working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and
derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.
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.