RUUKKU - Studies in Artistic Research

Making Artistic Research Public

Making something public is intrinsic to both art making and artistic research. This issue of RUUKKU focuses on the variety of ways artistic research is made public and on the effect of published artworks and research on their immediate surroundings, neighborhoods or environments. The issue discusses the relevance of changes and traces that published artworks and artistic research leave in public space and vice versa. The call was opened for researchers and artists to ponder artistic research's relation to its publicity in its diversity.

Seeding Actions (2022) Polina Golovátina-Mora, Sunniva Skjøstad Hovde, Tone Pernille Østern
The exposition shares the collaborative multispecies journey and addresses the issue of art, art-based research and of art-based research publishing. The three processes are seeing as intra-activity between multiple species, materials, media. It does not have a goal as destination but is driven by curiosity and care for and with each other. This ever-expanding becoming creates ever new world and possibilities and so the new knowing-being. The exposition is a map that combines different tracing and it is up to the reader to follow any direction they prefer at the moment.
open exposition
GRAPHIC NOVEL CLANDESTINE JOURNAL (2022) ANARTIST
The article describes, with a self-ethnographic position, the limit and potentiality of an "art of subjectivity" carried out by an a-modal "stranger" thrown into a foreigner country with abstract rationalist features that obstacle the immanent becoming(s) and repress the excess of a practice of interventions that is necessary to shape an uncoded "ethico-aesthetic territory". In this context of extinction the writer of the article, who is also the protagonist of the described art practice, presents the necessity of a new clandestine media for his art research publishing. After a brief outline of a Deleuzian theory of the media, he reveals and presents his project that consists of a "graphic novel clandestine journal". This "graphic novel style form" suits well to his practice of disruptive interventions in public space and the character-avatar "Anartist", which is the mask performed by the writer in its critical urban interventions. The "author" writes that our hyper-capitalist reality is already a form of dystopian graphic novel. For this reason the portrait of his action as a "graphic novel" is a form of realism and an aesthetic strategy to deal with it.
open exposition
Configuring the artist residency as a thinking, making, showing space (2022) Alira Callaghan
This exposition presents the format of an artist residency as a temporary, intense period of development that can exist between a studio and a gallery with the potential to be a semi-private/semi-public alternative to making creative research public. In this sense, the residency becomes a space for thinking, making, and showing art. In my practice-led doctoral research I identified the importance of this alternative site of engagement for focussing on the process (more so than outcomes) of artistic research.
open exposition
Strategian sisäistäminen (2022) Mia Seppälä
Tämä ekspositio asetettaa yksittäisen taiteellisen teon laajempaan julkiseen keskusteluun yliopistopolitiikan rakenteellisen kehittämisen synnyttämien ajatuksien liepeiltä. Eksposition keskeinen elementti on videoperformanssi ”Internalizing The Strategy”, joka tapahtuu kaikille avoimessa julkisessa paikassa - Eduskuntatalon edessä. Strategia tulee vastaan mitä moninaisimmissa yhteyksissä. Tuntuu siltä, että kaikilla pitää olla oma strategiansa. Kunnat, yritykset, urheiluseurat, päiväkodit, korkeakoulut esittävät kilvan omia strategioitaan, mutta miten on strategian sisäistämisen laita? Yliopistojen strategioissa painotetaan maailman muutoksen mukanaan tuomiin vaatimuksiin reagoimista, johon yliopistoilla on korkeatasoista osaamista tuottavina instituutioina mahdollisuus ja suoranainen velvollisuus. Muutoksesta tuotetaan mielikuvia, jotka esitetään sekä pelottavina uhkakuvina, että mahdollisuuksia tarjoavina positiivisina kehityskulkuina. Asiantuntijakielen tarkoituksena on saada tietyt valinnat tuntumaan tarpeellisilta ja hyödyllisiltä. Tähän kieleen on upotettu tietty edistymisen vaatimus ja lupaus, jota on vaikea vastustaa. Ekspositio pyrkii havainnollistamaan ja koettelemaan strategian sisäistämista taiteellisin keinoin, joka on suhteessa vaatimusten absurdiin luonteeseen. Menetelmänä käytetään tekijän itse kehittelemää "poismaalaamisen" tekniikkaa, jonka lähtökohtana on digitaalisen valokuvan tai tekstin siirtäminen painomenetelmillä maalauspohjalle. Valittu kuva tai teksti liittyy olemassa oleviin rakenteisiin, formaatteihin ja vakiintuneisiin ajattelu- ja menettelytapoihin. Poismaalaamisessa tehdään näkyväksi merkityksen häilyvyys - teksti/kuva on ihmisen mielikuvien rakentama. Se on purettavissa ja uudelleen tulkittavissa. Kuvan rakentaminen tapahtuu strategiatekstin poistamisen kautta. Poistamisen on määrä virittää useita rinnakkaisia tulkintamahdollisuuksia, jotka liittyvät esimerkiksi tekstin/kuvan pysyvyyteen, kirjoittamisen, poispyyhkimisen ja päällekirjoittamisen suhteeseen sekä Taideyliopiston strategian osalta säädösten valta-asemaan.
open exposition
The communication intent in 'matéria disponível’ (‘available matter') (2022) rosinda casais
This article is based on the personal work 'matéria disponível’ (2020) by Rosinda Casais and proposes to analyse the importance of communication-driven art in its different stages. This work emerged from the objective to explore the outdoor space as a space to communicate, during the period of the first lock-down (social distancing) due to CoVID-19, from march to june 2020. Crossing this period, she and her 5 years old daughter used the debris that remained in the courtyard of the building, where both live, and started communicating through objects with the neighbours. From the intention to interact with the other, this artwork fulfils itself, broadens and questions the communicative nature of the objects and the artistic practice as well. Concepts, along with the capacity of the objects to change the atmosphere of a place and the common/individual memories, were developed during this work towards a sense of communication from/to it and is discussed here.
open exposition