Research Catalogue

an international database for artistic research

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  Towards a Non-Identity Art (2013) author(s): Rory Harron published in: Journal for Artistic Research
  This exposition addresses the motivation behind the recent turn in contemporary art toward displaying non-art and the work of outsiders. It begins by providing an alternative interpretation of Marcel Duchamp's Fountain before tracing the historic roots of the vanguardist strategy of self-negation in art and its affinities with communal creativity. Developed from my research on artist exits, I then affirm an expanded creativity. I posit that an egalitarian art could be realised within exhibitions in which anyone can exhibit. Such a polemical outlook seeks to problematise the ownership of the identities within the field of artistic production. Ultimately it seeks to further the egalitarian drive in contemporary culture and encourage a reconsideration of set identities. However, these assumptions will in turn be problematised as the research is driven by Theodor Adorno’s non-identity thought. This involves a rejection of strong self–identification alongside a commitment to egalitarianism. Considering this, the worthwhile search for a non-identity art is forever elusive.
  open exposition comments (5)
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  Latitudinal Conversations (2013) author(s): Don Asker, Helen Herbertson published in: Journal for Artistic Research
  In this project we examine the process of creating performance. 'Latitudinal Conversations' documents conversation and thoughtful reflection between two choreographers over two years. It includes periods when conversation extends into body-centred field and studio work, where thoughtful voices and bodies ‘talking’ are intertwined. It is multi-modal in form exploring the intersection of kinaesthetic, sonic (including vocalisations), and visual image data. The project takes an emergent methods approach, trusting the particular nature of the participants’ interests and curiosity to provide impetus and direction. It is an endeavour that eschews final determination and conclusions in favour of an unfolding dialogue that allows two individual perspectives to intersect and find points of differentiation and resonance. What ‘emerges’ are insights into the drivers and motivations of these particular practices, making transparent many of the tacit or underlying methods, values, and assumptions of the choreographers. The research underlines the cyclical and continuous processing of experience, thoughtful reflection and awareness, and potential for action in the future. In this process notions of embodiment and the capacity of the situated body to kindle metaphors are reappraised.
  open exposition comments (2)
• Upper Styrian Big Band Folk: Exploring Local Identity and Authenticity in Jazz (2013) author(s): Michael Kahr published in: Journal for Artistic Research
  Upper Styrian Big Band Folk is an arts-based research project which has aimed for the exploration of local identity, authenticity and meaning as manifested in and interrelated with jazz composition and performance. This exposition outlines the project, its underlying aesthetic values and presents a critical reflection of the work. Two videos show the musical scores and audio recordings of two selected compositions for large jazz orchestra which represent a significant aspect of artistic research in this project. A hermeneutic reading of the music offers insight into the work's contextual background and aesthetic matters.
  open exposition comments (4)
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  Doha (2013) author(s): Miriam Ewers published in: Journal for Artistic Research
  During 2011-2012, I joined Virginia Commonwealth University’s Art and Design School in Qatar, a small country diplomatically and culturally important in bridging eastern and western cultures. There, my daily interactions with students naturally stimulated many questions of how a visual culture can lay the groundwork for better understanding between people of different nationalities. If asked to be mediators or interpreters or agents of culture in our globalized context, what would these young artists seek to convey? In turn, what narratives could I draw forth to contribute to a fuller understanding of those living and working in Qatar? I decided to pursue answers to my conundrum in conjunction with my students.
  open exposition comments (1)
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  Rationality, Intuition and Emotion - Exploring an Artistic Process (2013) author(s): Gert Germeraad published in: Journal for Artistic Research
  This exploratory text communicates the relation between my figurative sculpture and abstract drawings in an attempt to find the deeper grounds in my artistic work. During this project writing has become a connecting element, both as a description of my artistic process and as an integrated part of my work. In this writing I have tried to be open to underlying motives and early in this project it became clear that memories of psychotic episodes that I experienced in my twenties would start to play a crucial part in the description of my process. The psychoses had a prodigious impact on the formation of the person I have become and still play an important role as an undercurrent of emotional energy in my daily life and in my art. However, since I don’t want my art to be perceived through the point of view that I was once a psychiatric patient, I hardly ever talk about it. In this exposition I explore how, if I want to explore deeper layers in my work, I can no longer avoid this part of my past.
  open exposition comments (3)
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  10 Diary Entries [2010-12] (2013) author(s): Simon Granell published in: Journal for Artistic Research
  This work is an exploration into a personal use of spoken language though a predefined process intended to mirror that of my painting practice. A similar process of self-imposed limitation is applied with the aim of suggesting both an autobiographical residue of my own thinking, and open up a potential dialogue for the reader. A series of ten quotations taken from a painting diary are paired with words and punctuation from a series of books that I own. This process has been repeated until all ten quotations have been paired, one word and punctuation mark at a time, creating lists of footnotes, the suggestion being that language has been acquired in this manner. The relationship between word and associated footnote becomes the source of play, frustration or familiarity. The intention is to demonstrate that this deterministic process far from being reductive in its effect, has resulted in the words being read either as part of a whole or reintegrated and reoriented into something new through a process of appropriation rather that engenderment. The hope is that this procedural limitation can act as a trigger for the reader to resequence and reconfigure the references through association and connection that might say something about them in terms of age, taste and perhaps even prejudice. While painting is the subject of the quotations, the implication is that this is constructed by material from another source. This has a distancing effect, which I hope has drawn some parallels with the process of making a painting itself. The footnotes have become detached for the quotations and are free to be re-cited, and act less to affirm or underline and more of leave a trace.
  open exposition comments (4)