Choreography as Reading Practice
My doctoral artistic research project (2013-2019) examines choreography as reading practice. In the research, the notion of choreography operates simultaneously as an analytical device, problem to be examined, and an artistic outcome. The primary method for the research is choreographic experimental practice that delves into the process of dynamic place-taking in which the human body couples with surrounding movements, from microscopic to telescopic, without the aim of mastering the movement. The research project contains two examined artistic parts; the first one consists of five choreographic projects and the second materializes choreoreading practice as performance with three performers.
The research practice delves into the conditions of movement and choreography through the following transformations:
from choreographer to choreoreader
from choreographing to choreoreading
from grounded embodied choreographic construction to
from human vessel to human atmospheric organism
In the framework of choreography studies, the research contributes to the shift and expansion from the historical notion of choreography as writing practice, in which the human body masters the movements to a choreoreading practice. The research project also contributes to the genealogies of site-specific and context-responsive practices, extending the notion of site to outer space.
Tohtorintutkintoon johtanut taiteellinen tutkimusprojektini (2013-2019) tarkastelee koreografiaa lukemisen praktiikkana. Prosessissa koreografia toimii samanaikaiseseti analyyttisenä välineenä, tutkimuskysymyksenä sekä taiteellisena lopputulemana. Ensisijainen tutkimumetodi on ollut kokeileva koreografinen praktiikka, jossa paikantuminen ja paikan ottaminen toimii taiteellisena strategiana jossa ruumis linkittyy sitä ympäröiviin liikkeisiin mikroskooppisesta teleskooppiseen mittakaavaan ilman liikkeen mestaroinnin tavoitetta. Tutkimusprojekti sisältää kaksi tarkastettua taiteellista osaa; ensimmäinen osa koostuu viidestä koreografisesta projektista ja toinen osa on koreolukemista materialisoiva esitys kolmelle esiintyjälle.
Tutkimuspraktiikka tarkastelee liikkeen ja koreografian olosuhteita seuraavin muutoksin:
maadoittuneesta ruumiillisesta koreografisesta
konstruktiosta astroruumiilliseen koreostruktioon
ruumis-säiliöstä atmosfääriseen ruumiiseen
Tutkimus asettuu siihen koreografiaa koskevaan historialliseen jatkumoon, joka laajentaa koreografian ymmärrystä kirjoittamisen praktiikasta, jossa liike ymmärretään mestaroituna materiaalina. Tutkimuksen esittelemässä koreolukemisen praktiikassa ruumis kytkeytyy liikkeeseen taiteellisessa prosessissa toisenlaisen asenteen kautta. Tutkimus sijoittuu myös paikka-, tila- ja kontekstisidonnaisen taiteen historian jatkumoon venyttämällä paikan ja tilan käsitteen ulkoavaruuden mittakaavaan.
What's it like?
I don’t know when a thesis begins, but I hope it ends somewhere. For Episodi, I've prepared "What’s it like?" – a juxtaposition of plans, thoughts, desires, and concerns. I suspect you will find contradictions I might not be aware of, and there are many choices left to make. Indeed, while I hope this exposition will help me throughout my thesis, I'm not trying to come to terms with my shortcomings, at least not yet.
What colour is Signature?
What Colour is Signature? acts as a platform with a score to play and experiment with different compositional structures. The platform aims to create a non-intensive means to enjoy the possible mental representations you may experience when listening to sounds that negotiate the amount of noise and information.
Fluxus and Avant Garde art in 1960s often explored the relation between noise and silence and how it is communicated within a space (during the so called ‘happenings’). Noise (or the source of randomness) shifts the listener’s perception to the non-sense that art often produces, and brings into play the attempt of the mind to focus on the mental representations it is creating. Therefore, the non-sense (noise and silence) in itself acts as a measurement of information.
Revisiting LAPSody through video and editing
This exposition consists of three videos that I have edited, using performance documentation of LAPSody 2019 as my material. I view the process of editing analogous to that of organizing and curating a festival: my signature is in the seams. A postscript describes some of the difficulties in this process.
Indicated by their Signatures: Nerisa Guevara’s Elegy#8 – The Pacific Ocean with a Post Script of Claude Boudeau’s Chaos.
Μηspace (mespace) ontology
©Olga Spyropoulou 2019
This writing is obscure because my mind is obscure since I fail to grasp “the role of convention in constituting the truth” . Error happens to find a space here.
This exposition performs an instance of anxiety before a definition. A space that appears empty but lacks emptiness, a μηspace (mespace). This space is purely fictional and utterly excessive. A space that is not pointing a way but translates something into existence. This writing aspires to move away from a formulation of theory and towards an exhaustion of thought.
Time is not of the essence to this performance, but its essence is addressed.
This exposition may act as an introduction to the concept of μηspace. I use the research catalogue both as a μηspace and as a space for reflection. This is an exposition that records an intense present, offers various points of entry to texts and exercises performing μηspace. It is a space for exploration and for thinking together.
Dear _____, Please Imagine my Birthday
How much of our sense of identity is filtered through social memory—the memory of others and our own? This is a reflection on a performative birthday which attempted to transplant the artist’s community from Victoria, Canada to Helsinki, Finland. Through the medium of larp, the performance explored the ways in which the self is socially produced and sustained through interaction, memory and community. In so doing, the larp offered a self-portrait in which the story of a self was produced collectively.
Episodi vol 6 Introduction
Episodi is a series published by the Live Art and Performance Studies (LAPS) pro-gramme in Theatre Academy of the Uniarts Helsinki. This sixth volume of Episodi, 'Signatures' consists of six online expositions by the MA students of the LAPS pro-gramme, Harold Hejazi, Katriina Kettunen, Yuan Mor’O Ocampo, Daniela Pascual Esparza, Olga Spyropoulou and Nicolina Stylianou, where these are reflections on the LAPSody festival that commenced on February 21-23, or individual research. For the first time, Episodi will be published in an online format using the Research Catalogue (RC) publishing platform.
Throws of Dice
My doctoral research project is a speculative spatial construct, an alternative labyrinthic infrastructure that is flexibly built within and as a response to the artworks it houses.
Existing in tension with the framework affecting it, the artworks and the texts leak out from the structure and are performed in and around the physical floorplan. This format renders the configuration of the research project visible and temporary, with the potential to be reformulated and adapted to future contexts. The labyrinthic structure allows the research to go off in different directions, enabling us to consider the multiple perspectives and modes of writing that constitute its story and the complex infrastructures that might support it.
As a strategy for artistic, social and political engagement and a reaction to a contemporary condition in which our claim to the positions we occupy is increasingly simplified, my research project creates a space of thinking, imagination and resistance. By confusing the functionality of language, it aims to make visible the power dynamics and infrastructures shaping our world. The notion of power is two-fold, the research examines, on the one hand, the complexity of human interactions and positions concerning hegemonic power structures and on the other hand, the relationship between the visual and the verbal and experience and affect.
A number of defining characteristics of our contemporary condition are matters of concern; the speed of the networked globalized economy, the control enacted by states and categorization and exclusion of culture. In artistic research (and the networked world as a whole) there is often a tendency to adopt an overarching view which seeks to unify under a single concept a multiplicity of events. However, here the strategy is to do away with the reductive way of doing theory and instead, to dismantle hierarchical relationships between categories. My research project also contributes to the genealogies of participatory practices and to bridge the gap between language and visual art, I am tapping into similarities and differences of a kind of a virtual staging offered by literature, visual art and digital technologies. I draw from literary strategies of speculative fiction, in particular, those of the French Nouveau Roman.
By using chance, paradox (aporia) and uncertainty as guiding principles and as revelatory tools this research endeavours to deconstruct and divert perception and language, emphasizing absurdity and creating sense rather than meaning. More particularly, the research constantly explores its own limits and reflects its involvement with the social and political structures it is addressing to create or anticipate new modes of existence.
This project requires the reader/viewer's active participation, leaving holes or unknowns in the narrative structure that moves through entangled nodes of connections and different temporalities to suggest alternative and expansive forms of viewing and making art and research.
The research uses my installation/performance Eden The Pow(d)er of Fear (2014) as a frame structure, both as a physical blueprint of a labyrinth and as a story. This approach is not intended as a retrospective view towards the work but proposes instead a speculative re-writing and re-scripting of a work that offers new 'portals' to other works and worlds, through other narrative and theoretical threads opening up new perspectives, concerns, times and spaces. The other works embedded in the structure are the moving image works Moderate Manipulations (2012) and Placeholder (2017).