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Vis – Nordic Journal for Artistic Research

The new digital journal for artistic research “VIS” (http://www.visjournal.nu) was released April 9th 2018. The first Issue, Issue 0, features eight expositions, all connected to and designed in Research Catalogue.

Stockholm University of the Arts and Norwegian Artistic Research Programme have collaborated to establish a digital journal for artistic research (visjournal.nu). Every Issue will feature 5–9 Peer-Reviewed expositions and the journal will come out two times a year. The purpose of the journal is to serve as a basic source of knowledge for anyone who wants to learn and immerse themselves in artistic research in the Nordic region. The goal is to strengthen Nordic cooperation for artistic research. With this journal, we hope to contribute to insight, knowledge and awareness of methods, ethics and context in artistic processes.

The Steering Committee for VIS
Paula Crabtree, Vice-Chancellor, Stockholm University of the Arts
Johan Scott, Pro-Vice-Chancellor, Stockholm University of the Arts
Jenny Tyllström, Director of the Research Office, Stockholm University of the Arts
Cecilie Broch Knudsen, Chairman, Norwegian Artistic Research program
Hans Knut Sveen, Deputy Chairman of the Board, Norwegian Artistic Research program
Geir Strøm, Administrative Leader, Norwegian Artistic Research program

Editorial Committee for VIS, 2017-2019
Cecilia Roos, Vice Rector of Research, Stockholm University of the Arts
Anna Lindal, Head of Departement, Stockholm University of the Arts
Mia Engberg, Researcher in Film and Media, Stockholm University of the Arts
Magnus Bärtås, Professor, University of Arts, Crafts and Design
Darla M Crispin, Director of Arne Nordheim Center, NMH
Serge von Arx, Artistic Director Scenography Ostfold University College
Trond Lossius, Head of Research, Oslo National Academy of the Arts

Contact:
visjournal@uniarts.se



contact person(s): Heidi Möller

url: http://www.visjournal.nu

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  0. VIS Issue 0 Issue 0 features eight expositions created by researchers within the arts. Every contributor has been carefully chosen and invited by the Editorial Committee, with the view of presenting best practice within the field of artistic research.
  The expositions have gone through a dialogue-based peer-review which is something that the Editorial Committee would like to continue to develop in the coming issues, a process intended to be significant for VIS.
  Every exposition is presented on the VIS webpage and has an editorial text that explains why the contributor was chosen. The actual exposition itself, on the other hand, will be found in the database of the Research Catalogue. The expositions have their own designs and explore widely different topics, depending upon how each researcher has chosen to work within the offered format.
  
  The Editorial Committee would like to thank all the contributors for their inspiring work which sets the tone admirably for what we hope will follow.
  
  Editorial Committee: Cecilia Roos, Serge von Arx, Anna Lindal, Mia Engberg, Trond Lossius, Magnus Bärtås och Darla Crispin

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  Under the Mirroring Surface (2018) author(s): Adam Kraft published in: VIS – Nordic Journal for Artistic Research
  In my work I experiment with interventional urban commons, through practices of altering and re-purposing existing structures. The work is both informal and transgressive in its methodology, with the core intention to investigate and participate in the shaping and making of the social city. Art and research can provide keys to accessing such a city in the making; a space where we can challenge the preconceptions of what is possible, and to imagine alternative strategies for the creation of realities. This article presents a theoretical frame work together with a number of strategies practiced under the Lefebvrian concept of the ‘Right to the City.’
  open exposition comments (1)
• Documenting Experiential Authorship (2018) author(s): Chrysa Parkinson published in: VIS – Nordic Journal for Artistic Research
  Layered, scattered and synthetic traces of a performer’s authorship. A series of harmonic partials. Materials include photographs, audio recordings and writings sourced from performances the author participated in between 2013 – 2017. 1. Audio File: Sydney, Warsaw, Berkeley, 2016 Sydney Biennale: Adrian Heathfield/Ghost Telephone, 2016 Warsaw Museum of Modern Art: Boris Charmatz/Expo Zero, 2016 Death of the Documenter: Family Home, 2016 2. Photos (Zan Wimberly) of Sydney Biennale 3. Photos (Chrysa Parkinson) of Warsaw Museum of Modern Art and Family Home 4. Audio File: 7 Questions (4 voice recording), 2016-2017 with embedded questions from: Ilse, Louise, Klara, Yari, Adam, Kim, Hanah, Andreas. 5. Essay with Audio: Liminal Animates, Chrysa Parkinson 2013-2018 6. Audio file: The Glitch, Chrysa Parkinson 2015
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  Å LAGE ET LEMURIA (2018) author(s): Deleted user, Michael Duch, Lene Grenager, Hild Sofie Tafjord published in: VIS – Nordic Journal for Artistic Research
  Lemur spelar, skaper og kuraterer. Ensemblet arbeider som ein firehoda kropp, ei eining sett saman av sterke individ med eigne ambisjonar og agendaer, samstundes som alle har eit sterkt fokus på kreative gruppeprosessar. Lemuria er vårt fjerde verk i ein serie av prosjekt der titlar, konsept og strategiar frå det 20. århundre sin kunstmusikalske kanon blir omforma og gjenbrukt, i vårt bilde. Verket er ein konsertinstallasjon for ensemble, to songarar og live elektronikk, framført i ein spredt scenografi, for eit mobilt publikum. Verket vart bestilt av Borealisfestivalen og urframført i Grand Selskapslokaler i Bergen, 10.mars 2017.
  open exposition comments (0)
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  1 place 33 rooms – Portrait of a house (2018) author(s): Christine Petersen published in: VIS – Nordic Journal for Artistic Research
  1 place 33 rooms “Memory, including collective memory, is linked to houses. When we eradicate a place in the exterior world, we lose a major pathway into our own history.” Lena Lindgren, Morgenbladet, 2. November 2012 The project is based on a real place, a house in Oslo. I am interested in how our memory connects with places and houses, in expanding our understanding of what a house and a place are, seen from the perspective of our own cultural background, time and history – and in the perceptions and experiences that are associated with it. In the significance of how the rooms are organised in relation to each other and what happens if the room is freed from the context in which it stands. It is rare to experience an isolated room that doesn’t relate to anything else, torn from its place, time and spatial context. The neutral room simply doesn’t exist. A key aspect of architecture is the experience of going from one room to another. The way the rooms are organised in relation to each other affects the sense of what it is like to be in the house. From the starting point that architecture begins with a single room, I have explored what criteria a space has to fulfil to be called a room and how big it has to be. Everyone relates to rooms – whether it is a private room like a bedroom, kitchen, dining room, or a public space such as a café, library or railway station. The work comprises six physical installations, plus the book and archive “33 fortellinger” (33 stories).
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  This is not / Dette er ikke (2018) author(s): Anne Marthe Dyvi published in: VIS – Nordic Journal for Artistic Research
  The language of art is often poetic and abstract. Reduced and lawless in terms of grammar. I experience the poetic and abstract language as closer to the experienced world than the more concrete and descriptive language that is the norm in the majority of formulations in society. In my artistic practice at the moment, I work with color, movement and time. In the video medium. To say that art is a language is also an assertion, or a worn metaphor. We have no written language rules we agree upon in the arts, no defined alphabet. And maybe that's exactly what the making of art is? Creating form, while challenging form? Being the practitioner, and in that sense defining, in a landscape of concrete and abstract, in definite and indefinite and fluid and solid. To create while shaping the form of it, is something else than performing within a given formation. This contribution to a digital catalogue for artistic research are selections of my work, and thoughts, related to it translated into pieces of texts. Some pieces of text along with some video pieces as well as a print from a video, a so-called 'still'. They are selected to function in different constellations, and for several reasons. A collage as a method and a way to relate to my own work, and with the selection, emphasizes the content of the texts. I apply my own thesis discussed in the text upon my contribution 'here' *. My contribution appears in Vis – Nordic Journal for Artistic Research. The digital is representation. It is not. It is equally important to me that this contributed in form acknowledges that making a presence in an internet-based database is not without hyperlinks. It appears because the other is. * Where is 'here', what is 'here'? (Video and video with sound.) The visual material in this exposition is from the videos 'La ditt liv vitne'(2017), 'Essay on Colour'(2017) and Perceptual Cycle (2016). By Anne Marthe Dyvi.
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  luxurious migrant // performing whiteness (2018) author(s): Stacey Sacks published in: VIS – Nordic Journal for Artistic Research
  Stacey Sacks is a PhD candidate in Performing Arts at Stockholm’s University of the Arts. Her Doctoral Project Improvising Trickster takes form as a suite of hyper-disciplinary experiments with mask, clown, stop-motion animation, film, photography, sculpture, text, drawing and performance. Drawing on Gayatri Chakravorty Spivak’s concept of ‘critical intimacy’ the performance-essay 'luxurious migrant' reflects on whiteness and privilege and the performance of it. As an intra-cultural, auto-ethnographic excavation it attempts and possibly fails to critically engage with notions of access, authority and power from within the cultural canon. As such it is a creative experimentation with theory and performance, an exploration of the improvisatory impulse and what it means to be ‘on’ the moment. Since clown naturally contains transgressive elements, the project explores how the genre can be used in a neo-colonial context to subvert or interrupt the dominant discourse, whether satire and parody function as activism and if it is in fact possible to push back white supremacy through critical engagement and play, starting with a robust self-critique.
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