Two Bobs and a Steve
(2024)
author(s): Pavlos Kountouriotis
published in: Research Catalogue
Two men, one score, two saws, one falls. Propelled by their inability to let go, these two men dash to rush with all they have got to grab anything they find that can help them keep on going. This is just another example; an otherwise obsessive, geeky score with the most expected outcome. Immersed within the world of Steve Reich, their goal is to find the human within the mathematical function of the score and to discover the immanent dramaturgies emerging from within this inanimate system.
Searching for Korean traditional music – Exploring rhythms and improvisational possibilities
(2024)
author(s): Michael Lee Sørenmo
published in: Research Catalogue
This exposition present my study about Korean traditional music in combination with improvisation and composition. It focuses specially on Korean rhythm with both the Korean drum janggu, and the drum kit.
I am going to present my work by giving an insight on my practice methods, discoveries and compositional work. And show how I gradually developed this project during my masters study.
This exposition also explores a theme related to identity, and finding back to ones roots through learning traditional music.
Dreamachinery
(2024)
author(s): Ruthia Jenrbekova
connected to: Academy of Fine Arts Vienna
published in: Research Catalogue
The exposition presents individual outcomes of the collective PEEK project “The Magic Closet and the Dream Machine: Post-Soviet Queerness, Archiving, and the Art of Resistance” (AR 567), which was implemented in 2020—2024 by four artists/researchers: Katharina Wiedlack, Masha Godovannaya, Iain Zabolotny and Ruthia Jenrbekova. The overall conceptual frame, based on the well-known artefact called “Dreamachine”, has been developed by this collective, however, the exposition at hand present a particular approach and outcomes by its author, a PhD-in-Practice candidate Ruthia Jenrbekova.
Our experimental art-research project was a study of queer lives in a number of post-soviet cities. One of the project’s ambition was developing and testing an experimental artistic methodology, which in my version is called “Dreamachinery”. Trying to connect it to a particular artistic tradition that I labeled as “Queer Light & Magic”, I present here a few outcomes of my personal interactions with the participants of a series of workshops that I conducted in the cities of Almaty, Tbilisi, Yerevan, Berlin and Vienna.
Politics of collective movements in post-socialisms
(2024)
author(s): olia sosnovskaya
connected to: Academy of Fine Arts Vienna
published in: Research Catalogue
The research addresses collective movements and their exhaustion (bodily and political) in post-socialisms, focusing on choreographies of protest actions, socialist mass celebrations and raves, and the relation between festive and the political.
The project departs from archival materials on the socialist mass celebrations and the experience of the 2020-21 anti-governmental uprising in Belarus, re-addressing it in the context of the current Russia’s invasion in Ukraine, which involves Belarusian territories and infrastructures, and of the anti-war resistance. It analyses specific collective choreographies (state parades, protest marches and gatherings, raves, various acts of disruptions and sabotage) and traces the transformations of “the political” and political movement in post-socialisms, while approaching the notion of post-socialism critically (in its equating different historical experiences and being always bound to the past on one hand, or seen as non-linear and non-unified on the other).
The project tackles those issues through the concept of a movement score (movement notation), used in dance studies to graphically record, analyze, preserve (archive) and transmit (further perform) dance and movement. In this research, a movement score is seen as any kind of graphic transcript of movement (including text) that intersects multiple temporalities of its enactment, and is used as a tool to critically approach the temporality of political action and to question the linear time of revolutionary event.
28208
(2024)
author(s): Nuria Díaz-Tejeiro
published in: Research Catalogue
El día 16 de Marzo de 2024, 20 personas se reunieron a contar los narcisos vivos y muertos que hay en el prado de narcisos de Santa Maria de la Alameda. Contaron 28208 narcisos. 20793 vivos y 7415 muertos.
the gaze as a protest
(2024)
author(s): ujjwal utkarsh
connected to: Academy of Fine Arts Vienna
published in: Research Catalogue
My PhD project lies in the intersection of observational filmmaking and the act of protests. For me, the observational form is not really geared towards the goal of objectivity but rather with a sensorial experiential approach an intent to make the invisible, visible. The position of the auteur becomes critically important here. In this position it is important for me that I do NOT claim or seem to be claiming ‘their position’ or voice. And while being an outsider, it is an attempt to not just look ‘at them’. But rather an attempt to ‘be with’. Through this presentation, I would like to explore this position further and also explore as to if through such an approach can then various realities be acknowledged as realities without being reduced to singular notions of truth?
My PhD project lies in the intersection of observational filmmaking and the act of protests. For me, the observational form is not really geared towards the goal of objectivity but rather with a sensorial experiential approach an intent to make the invisible, visible. Through this presentation I would like to further eXplore the position of the observer or the auteur. The position of the observer becomes critical as it defines and is interconnected with what to look at, and how to look. While ‘observing’, for me it is important that I do NOT claim or seem to be claiming ‘their position’ or voice. And while being an outsider, it is an attempt to not just look ‘at them’. But rather an attempt to ‘be with’. Can such a position then help us acknowledge various realities as realities and not reduce them to singular notions of truth?
My PhD project lies in the intersection of observational filmmaking and the act of protest. For me, the observational form is not geared towards objectivity but rather as a sensorial experiential approach with an intent to make the invisible, visible. In this case, the position of the auteur or the observer becomes critical. For instance, it is important for me that I do NOT claim ‘their position’ or voice. And, while being an outsider, to not just look ‘at them’ but rather attempt to ‘be with’. In this presentation, I will further explore this position and see if in trying to be with and be adjacent to an ‘other’ while observing, can we evoke the possibility of a multiplicity of narratives? Can then various realities be acknowledged without being reduced to singular notions of truth?