Research Catalogue

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  Μηspace (mespace) ontology (2019) author(s): ©Olga Spyropoulou 2019 published in: University of the Arts Helsinki
  Disclaimer: 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.
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  Simulacra (2019) author(s): Juanito Ocampo published in: University of the Arts Helsinki
  Indicated by their Signatures: Nerisa Guevara’s Elegy#8 – The Pacific Ocean with a Post Script of Claude Boudeau’s Chaos.
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  Revisiting LAPSody through video and editing (2019) author(s): Katriina Kettunen published in: University of the Arts Helsinki
  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.
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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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