Research Catalogue

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  Dear _____, Please Imagine my Birthday (2019) author(s): Harold Hejazi published in: University of the Arts Helsinki
  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.
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  What's it like? (2019) author(s): Daniela Pascual published in: University of the Arts Helsinki
  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.
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  PERFORMED REALNESS: On Participatory Art and its Ethics (2018) author(s): Johanna Lecklin published in: University of the Arts Helsinki
  In my study, Performed Realness: On participatory Art and its Ethics, I address questions stemming from my artistic practice and concerning participatory art, the split between documentary and fiction, performed realness, the ethics of the abovementioned, and authorship. I discuss these topics in dialogue with other artists’ artworks and with theories. Nevertheless, my intent is not to execute a comprehensive study on works, that have the same traits as mine. Works with moving image, my own and other artists’, which leave me to wonder and perplex me were a starting point of my research. – Is this true? Are these people performing or are they just being themselves in front of the camera? Can one be in front of the camera without performing?
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  Intersecting travelogues: Wandering through practices and archaeologies of space, place and image. (2017) author(s): Paul Landon published in: University of the Arts Helsinki
  This exposition presents the moving image elements of the doctoral thesis Intersecting travelogues: Wandering through practices and archaeologies of space, place and image. The text of the thesis is built around an artistic practice that explores architectural and urban space, an exploration that is translated into time based images installed within and responding to interior architectural exhibition spaces. The space of the city and its architectures are scrutinised through their seemingly insignificant details: abandoned or underused buildings, older model cars, deserted streets, details that resonate as markers of changing and forgetting. The work reconsiders recent concepts of media history and archaeology and relates them to specific questions raised by contemporary artistic practice:  to the architectures and spaces of audio-visual presentation, to an archaeology of the city, to the mobile spectator of minimal art and installation practices as it engages with the redeployment of urban space through projection technologies, text and image. It promotes the activities of a corporeal, wandering subject that engages with the spaces of media as sites of forgetting and recall.   The text is structured as a collection of wanderings that are organised into six chapters each presenting experiences of different places visited and the ensuing reflections that these visits spawned. To wander, in the ways in which it is presented in this work, engages with a fragmentary process of seeking out and coming across sites and subjects of enquiry. To paraphrase Walter Benjamin, urban wandering entails the use of haptic perception and awareness of the city’s intrinsic details in order to lose oneself in it. Wandering informs and structures the text in terms of instances of arriving in unknown and distant locations as well as of getting lost in a familiar city.
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  Laatukuvia ja kirjallisia kokeiluja / Genre pictures and experiments in writing (2017) author(s): Elina Saloranta published in: University of the Arts Helsinki
  GENRE PICTURES AND EXPERIMENTS IN WRITING is a doctoral thesis in article form of the interaction between image, word and sound. It consists of five essays, which have been published or otherwise made accessible to the public in various forums for artistic research, plus a total of seven videoworks. The last of these videos is a wordless epilogue. The thesis also includes an introduction in the form of a letter.
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  Generational Filming. Video Diary as Experimental and Participatory Research (2017) author(s): Pekka Kantonen published in: University of the Arts Helsinki
  The subject matter of this research is the method with which I have approached my video archives. I have developed it together with Lea Kantonen, and it is a method of filming, watching and commenting that we have named Generational Filming. We watch and comment our home videos with people from different age groups, different specialists, and other viewers with different cultural and ethnic backgrounds. These discussions are filmed, and then added to the next edition as a new generation of the video to be shown to other audiences. Viewers help us conceptualise both the interpretations and the theorisation of our footage. We have arranged more than fifty screenings in order to analyse the data in a collaborative way. Generational Filming takes reflexivity to exhaustion or to a kind of saturation point. The chain of watching and commenting changes the meaning of the first shot, of the first generation of the chain. The focus of watching gradually changes from the viewed to the viewer. While listening to the interpretations made by previous viewers the subsequent viewers start to make comparisons between different cultural positions, and self-reflexivity begins to govern the experience of watching. My study concentrates on epistemological issues connected to the documentary approach. My research interest could be distilled into the following questions: What happens when an event is recorded (on film, video, etc.) and the recording is subsequently viewed? What are the truths, meanings and interpretations that emerge in the process of filming, editing, viewing and discussing a video diary? How does the spectator’s experience of watching change when watching filmed comments of that which has just been shown? In every chapter I concentrate on a special phase of the Generational Filming process: the birth of the idea, filming, performing for camera, arranging and indexing the material, editing, screening, commenting, and making new versions of the case study. My research consists of eight case studies. I borrow the term case study from sociology as it corresponds well to the manner in which I have both delimited and approached the areas of study. These eight case studies present an overall view of Generational Filming. With the term case study I refer both to the video and to the writings on it, which have been assembled as chapters in this book. The videos and texts are also case studies in themselves. In five case studies the first generation of video is a home video clip filmed in our home. One case study is based on a filmed song sang by Seto songmothers. One is a dialogical art project made together with a third artist about her summer identity. The eight case study is a museum project with Mexican indigenous people, Wixaritari, in which the method is used for planning a community museum. I recount the results of each case study and attempt to understand the significance of the method and its position in different academic and artistic discussions. I have categorised these discussions under four headings: Generational Filming in the tradition of moving images, Generational Filming as ethnography, Generational Filming as socially engaged art, and Generational Filming as artistic research. Doctoral thesis in fine arts includes three exhibitions made with Lea Kantonen: Favourite Place (2004) in the project space of the Museum of Photography Helsinki, Most Important in Life (2005) in Helsinki City Art Museum Meilahti, and Ripples at Home (2011) at Helsinki Kunsthalle. My part in these exhibitions has mostly consisted of the video documentation. In this book I write only about the works presented in the Ripples at Home exhibition.
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