Research Catalogue

an international database for artistic research

• 2019. 2019 Expositions 2019

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  Open Form. An Expanded Performer´s Role. (2021) author(s): Else Olsen Storesund connected to: Norwegian Artistic Research Programme published in: Faculty of Fine Art, Music and Design, University of Bergen
  Open form is a designation on a type of composition that is in some degree open. It is also a term in relation to understanding a genre. This means that I do not include for example Bach´s Die Kunst der Fuge (circa 1740), but Stockhausen´s Aus den sieben Tagen (1968) could be included. This project, however, is centered around the composers from The New York Scool, and composers related to The New York School: Christian Wolff, Pauline Oliveros, John Cage, Earle Brown, Morton Feldman and Cornelius Cardew. An Open form composition is graphic, text- or number-based. It may also be a combination of these three notational techniques and/or in combination with conventional staff line-notation.
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  RECURRENCES II - mezmerizing (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
  RECURRENCES II - mezmerizing a shared practice by Brynjar Åbel Bandlien at Henie Onstad Kunstsenter, Oslo, Norway Saturday 7. april 2018 With Ann-Christin Berg Kongsnes, Brynjar Åbel Bandlien, Magnus Myhr, Marte Reithaug Sterud and Roza Moshtaghi RECURRENCES II - mezmerizing is the second part of Brynjar Åbel Bandlien´s PhD-project as a research fellow at Oslo National Academy of the Arts in Norway in the Norwegian Artistic Research Program Video: Millimedia.no Thanx to Frank Bock, Kai Johnsen, Chrysa Parkinson and Amanda Steggell Program information: #mezmerizingrecurrences
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  RECURRENCES I (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
  RECURRENCES I - a physical lecture by Brynjar Åbel Bandlien at Henie Onstad Kunstsenter in Oslo, Norway. 1st of october 2017. English. 1 hour. With Brynjar Åbel Bandlien, Roza Moshtaghi and Kai Johnsen Recurrences I is the first part of Bandliens artistic research as a fellow at Oslo National Academy of the Arts - department dance (KHiO) in the Norwegian Artistic Research Program (NARP) Sound: Espen Hådi-Siverts Video: Millimedia.no Thanks to Chrysa Parkinson, Frank Bock and Amanda Steggell
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  Dancing Recurrences (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
  Dancing Recurrences – a performative practice within the field of dance and dance making by Brynjar Åbel Bandlien My research project aims to articulate and develop a performative practice that I have been working on over the last fifteen years. This practice can be applied to artistic processes within the field of dance and dance making. When a creative process is fully underway, certain situations, events, actions, movements, and states can be recognized as recurrent within the process. Recurrences, rather than being created or produced, manifest or emerge from the dancer´s practice. Once they have been recognized they can be understood and pursued as a forming aspect of artistic processes. The artistic aim has been to follow, participate, co-create and navigate in artistic processes using recurrences. The performative practice of recurrences is articulated by the presentations of #dancingrecurrences and the reflection materials of my dissertation. My two research questions are: How can the practice of recurrences become a way to understand artistic work as it develops?
 How can working with recurrences become both a performative practice within artistic processes and an artistic work in and of itself? I have been researching these questions from the position of a dancer, and I have asked these questions in different ways; through dance, through drawing and by interviewing other artists, dancers and dance makers. I have initiated my own research process; #dancingrecurrences, together with four other dancer researchers, starting from practice and from there moving on to reflection. I approach recurrences both as a practice and a reflection, with the assumption that within a dancer´s practice the mind and body are so deeply connected that they cannot be considered separately. Reflection is a physical process as well as a mental one, and practice is a conceptualization process as well as a physical activity. At the same time as I have been researching these questions on my own, they have been explored following the artistic processes of the project Amphibious Trilogies by Amanda Steggell, professor of choreography at Oslo National Academy of the Arts (KHiO). This makes the project an interesting collaboration both structurally and in content. However, in the final presentation of my work the focus will be on Dancing Recurrences and #dancingrecurrences. The work has resulted in a final publication of my reflections based on the findings informed by the artistic processes. The performative practice has resulted in three public presentations.
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  Dancing Recurrences (2020) author(s): Brynjar Åbel Bandlien published in: Norwegian Artistic Research Programme
  Brynjar Åbel Bandlien is a dancer, a facilitator of dance and Ph.D.-candidate at Oslo National Academy of the Arts - Department Dance. Over the last weekend of November 2019, Bandlien presented the result of his artistic research project Dancing Recurrences – a performative practice within dance and dance-making. The project was presented between 13:00 and 16:00 on Friday 29 and Saturday 30 November as well as Sunday 1 December 2019 in the Studio at Henie Onstad Kunstsenter at Høvikodden outsiden Oslo, Norway. Dancer researchers: Brynjar Åbel Bandlien, Ann Christin Berg Kongsness, Roza Moshtaghi, Magnus Myhr and Marte Reithaug Sterud. Filmed and edited by Josh Lake and music by Myuu (soundcloud.com/myuu). Supported by Oslo National Academy of Dance and Norwegian Artistic Research Program now Diku
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  Armenian Fingerprints (2019) author(s): Mariam Kharatyan published in: Norwegian Artistic Research Programme
  "Armenian Fingerprints - interpreting the piano music of Komitas and Khachaturian in light of Armenian folk music" is an artistic research project by pianist Mariam Kharatyan, at the University of Agder and the Norwegian Artistic Research Programme, during 2015-2019. Mariam Kharatyan is an Armenian classical pianist. Throughout this project she has been focused on the interpretation of classical piano music from the performer's perspective, aimed to find her own way of interpreting several major piano compositions written by the Armenian composers Komitas (1869-1935) and Aram Khachaturian (1903-1978). Approaching the interpretation strongly inspired from Armenian folk music, she has explored in-depth the impact of the interplay between classical and folk music in her playing, and what interpretational possibilities might emerge in piano works of Komitas and Khachaturian when listening to Armenian folk music and responding to it through musical expression in classical pianism. This exposition is the reflection of the project, on artistic processes, choices, and results.
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