Sounding Out Vacancy: Performing (anything but) Empty Space
This exposition translates the intentions and experience of the 2014 performance Sounding Out Vacancy as a piece of spatial writing structured by four voices operating in unison to contest ‘emptiness’ as a condition of interior space. The seven-day performance occurred in a street-level urban central business district retail shop that, like many other ‘for lease’ properties in the city, had stood empty for several months. Its glass façade obscured from view, the performance broadcast sounds continuously from the interior space to the general public as an alternative advertisement of the shop’s availability. During the nine-to-five work day, sounds were harvested from the interior where construction hand tools and material surfaces interacted as a process of virtual renovation. While the city slept, the ambient sounds of the space persisted and put the shop’s vacancy into question.
Study of/as Commoning
Anette Baldauf, Vladimir Miller, Annette Krauss, Mara Verlic, Moira Hille, Hong-Kai Wang, Mihret Kebede Alwabie, Julia Wieger, Tesfaye Beri Bekele, Stefan Gruber
’Study of/as Commoning’ is one of the outcomes of a research project realized by a group of artists, architects and social theorists at the Academy of Fine Arts Vienna (2014–16). In times of ongoing environmental crisis, violent land grabbing and the aggressive financialisation of space, time and subjectivities, combined with global migration flows, the research group explored the debates on the commons and the different practices of commoning as potentially providing new entry points for a radical repudiation of neoliberalism. To date, the labor and conflicts involved in the process of commoning have chafed against a Western utopian understanding of the commons as a coming together free of friction. We explored commoning as a process, simultaneously made against and within, existing fields of power. As such, ‘Study as/of Commoning’ is part of a much wider endeavour to rethink and undo the methodological premises of Western sciences, arts and architecture, raising unsettling questions on (artistic) research ethics, accountability, and the entanglement of power and knowledge. In this context, ‘Study of/as Commoning’ considers commoning as a possible methodology, a modality of social relations, and the collective state of mind that framed the research group’s work together. Our research continuously encountered the limitations of Western concepts of the commons, framed as an enclosure that neglects conditions of coloniality and colonial dispossession. Is it possible to hold on to the empowering notions of commoning while acknowledging the significant absences within Western accounts on the commons and the many connections between the commons and the history of empire?
Site-integrity: a dynamic exchange between site, artist, device and audience
Site-integrity is a proposal for a working methodology - a particular but original mode of site-specific practice that potentiates a dynamic exchange between site, artist, device and audience. Non-haptic, non-temporal ways of representing place have come to dominate contemporary practice. When site is reduced to representation, the experiential qualities are lost. Site-integrity repositions the act of representation from its retrospective or projective dimensions towards that which is performed and is experiential. This exposition presents three specific projects; Assembly, Moving site/sight and Screen space that explore temporal relations with space and place via motorised recording/display devices. These projects are examples of artistic devices that contributes (not exclusively) to a specific practice - site-integrity.
Digitally Produced Jewellery: Tactile Qualities of a Digital Touch
Sofia Hallik, Darja Popolitova
The importance of tactile contact between the artist and their jewellery has increased over the last decade. More and more artists now implement digital technologies into their work process. This raises questions about the notion of tactility, something that is usually associated as something tangible or given to touch. The authors show that there is a different sensorial mode of engagement with jewellery presented on the screen: during the 3D modelling process or 3D printing. This article aims to investigate the intangible qualities of tactility in the field of digital crafts, while focusing on the material, technical, performative, and psychological aspects. The outcomes include a set of tactile qualities evoked by screen-oriented labour and machinery production: resolution sensitivity, thin-skinned data, psycho-performative realism; and fingerprints, incompleteness and glitch.
MEMORY AS A METHOD FOR FILMMAKING
Emilio Angel Reyes Bassail
This research develops a method for filmmaking that uses autobiographical memory as a guiding principle for the production of images. The proposed method comes as the result of a double gesture in which I wanted to a) acquire a subjective understanding of memory that came from artistic practice; and b) materialize the process of memory through film.
I used the filmmaking apparatus as a technique to give visibility to the process of remembering and forgetting: I worked with strategies such as the elaboration of a “memory diary”; the drawing of spoken portraits and locations based on memories; casting techniques which involved a dialectical approach towards memory; scouting trips to find places from my memory; hypnosis sessions as a technique to recover lost memories; reenactments of memories; a method to direct actors that relied on memory as a guiding mechanism; and the editing of the footage through a process of memory associations.
While doing this research, I inadvertently found that the techniques I used led to a process in which memories were rewritten through experimentation. Thus, the method produced a conceptualization of "memory" that frames it as a creative process. In the process of working on this project, I developed a very subjective approach to the craft of filmmaking that was informed by my particular relationship with memory. Thus, the proposed method of using personal memory as a core mechanism for the production of audio-visual products can be utilized as a tool for film education, promoting the creation of personal film languages based on an individual's memory, and as device to reflect on the subjective process behind an individual's artistic practice.