Research Catalogue

research expositions

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  The Pedagogy of The Anarchive (last edited: 2019) author(s): Francisco Beltrame Trento This exposition is in progress and its share status is: visible to all.
  The Pedagogy of the Anarchive is a research proposal that aims to collectively build a hub for neurodiverse/crip/queer art and arts education practices. It is an in-disciplinary three-year project that will deliver multimodal outcomes, like an ever-mutating assemblage/installation, a film and publications. The boldness of the proposal relies on making visible underrecognized modes of perception and relationalities in arts education and artistic research, critically approaching them with pedagogies that deconstruct the archival neurotypical tendencies. To prototype the iterations of the material assemblage, we will use diverse materials and textures, like textiles, pieces of furniture and art supplies. Ideally, the space will be co-composed as we host activities. We will employ the anarchive as our conceptual and operational apparatuses. The anarchive emerged from the necessity to overcome the idea of archiving a past event or proposition. It understands the register or the objects not as representations or essences but through their traces that potentially can activate new propositions. Materials, like furniture, textiles, tape measures, acrylic tools, raw treated bamboo, paints and cardboard, are understood relationally. We ask: how can we assemble them to privilege underrecognized modalities of perception? It is “not documentation of past activity. It is a feed-forward mechanism for lines of creative process, under continuing variation (…) a cross-platform phenomenon (…) between media, between verbal and material expressions, between digital and off-line archiving, and most of all between all of the various archival forms it may take and the live, collaborative interactions that reactivate the anarchival traces, and in turn create new ones.” (Massumi, 2016). The theoretical framework we use is transdisciplinary, in the intersection of process philosophy (Erin Manning, Brian Massumi, Alfred North Whitehead, Gilles Deleuze and Félix Guattari), Queer Theory ( Lee Edelman, Paul Preciado, José Esteban Muñoz, Jack Halberstam), Critical Disability Studies, Neurodiversity and Neuroqueerness (Melanie Yergeau, Mel Baggs, Dan Goodley, Justine Egner) and the New Materialisms (Karen Barad, Stacy Alaimo, Jane Bennett). What the scholars from this extensive bibliography share, besides different their theoretical affiliations, is the appreciation of the concepts of relation and relationality beyond the human scope, recognising the agency of non-human bodies. For us, it is urgent to foreground that to begin undoing the neurotypical ableist and functionalist dominion of arts and arts education. It is also critical to bring awareness to the complex relations of causality that entangle the anthropotechnical construction of the man at the cost of the consequences of the Anthropocene. At the same time, the concerns and concepts shared by these scholars must be "bent" and re-thought by the lenses that detour the dominance of the Global North onto-epistemologies. Pereira (2019, p. 64), while talking about Decolonial Queer Theory, affirms that bending implies "a rereading of the Global North’s theories in order to revise them, bend them, scrutinise their silences and obliterations, and to make them speak differently".
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  Kelp Spillages (last edited: 2021) author(s): Francisco Trento connected to: Faculty of Fine Art, Music and Design, University of Bergen This exposition is in progress and its share status is: visible to all.
  *** This is a work in progress, not spell-checked and far for deployment.*** In this multimodal essay, I discuss some of the practices and experiences from the first Kelp Congress, part of the Lofoten International Arts Festival (LIAF, 2019). In the context of the festival, I participated in a workshop navigated by Dr Sabine Popp, Kelp Diagramming Collective. Transversally I touch issues regarding non-human agency, intra-action (Barad, 2003), and especially the understanding of the vegetable and algae life as the paradigm for thinking and developing new subjectivities and art (or not) practices, guided by the work of the Italian philosopher Emanuele Coccia. This essay was supposed to be presented in a video/online 30-min format during the 11th SAR International Conference on Artistic Research 2020 is organized by the Society for Artistic Research (SAR), Bergen.
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  i'm vrey into you (last edited: 2019) author(s): Francisco Beltrame Trento, Anouk Mirte Hoogendoorn This exposition is in progress and its share status is: visible to all.
  During the Montréal summer of 2018, two creatures met in Canada. One creature came back to Amsterdam, and we decided we needed to continue the conversation through a series of exchanged texts. We created a file on Google Docs, in which we could add our thoughts, not separating where the writing of one ends and where one begins. Sometimes we do not know where one's body starts and ends. This (an)archive exponentially grew and reached more than 100 pages. The collective writing was the development of techniques for living together even apart, and more than, to survive the neurotypical world. We decided to call it I'm vrey into you. It resonates with a book of exchanged missives between the media theorist McKenzie Wark and poet Kathy Acker in the mid-nineties, published as "I'm very into you". During that summer we watched the last season of the TV series Twin Peaks (1990-1991; 2017), in which one of the main characters' manufactured doppelgangers travelled to this world but kept some tendencies of his past iteration from the black lodge (speaking words back to front - we understood he saying vrey instead of yrev, that would be very in this world). This is a multimodal work that mixes text, images and videos, resonating with the contingency and non-fixidity of being neuroqueer, as Melanie Yergeau states. i'm vrey into you has several iterations. A tiny modified excerpt was published in Simulacrum Magazine (The University of Amsterdam). Another version, that has differences in its form and content, is going to be published at Inflexions Journal (Senselab, Canada).
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  A Diary on Slowness at Örö Fortress Island (2021) author(s): Francisco Beltrame Trento published in: RUUKKU - Studies in Artistic Research
  This exposition emerges from the field notes diary of the researcher during their stay in the Ores residency program at Örö Fortress Island. Örö, previously a military fortress, dates from the Russian Empire era and it was closed to visitation until 2015. The piece focuses on the temporalities enacted outside the city, in connection with more-than-human materialities, and, in contrast, discusses the neurotypical constraints of academic spaces. I criticise the (lack of) approach to neurodiversity in educational settings, and the temporalities implied in the required tasks in such settings, even when the subject is physically distant from the academic space. There is a growing interest in Slow scholarship (Ulmer, 2017; 2018). At Örö, I proposed experiments in video, photography and writing, by thinking with slowness in ontological terms. In this diary, slowness is approached conceptually and anecdotally, in a humorous autoethnographic fashion. The residence period coincided with the initial quarantine to neutralise the coronavirus pandemic, which resonated with the text, always existing in between a personal narrative and a conceptual discussion. The exposition features a photographic essay and several video clips.
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• A homage to my beloved Yuriy Kuchiev – A tale on neurodiversity, repetition and novelty (last edited: 2018) author(s): Francisco Beltrame Trento This exposition is in progress and its share status is: visible to all.
  This text approaches the author’s summer encounter with MT Yuriy Kuchiev, an icebreaker tanker built in Helsinki shipyard and delivered in fall 2019. The researcher investigates how their entanglement with a "hyperobject”, and other non-human entities produced an event of “oddification” (Borja, 2019) in the quotidian life, by relating them with their non-neurotypical subjectivity. The article outlines the neurotypical norms that convention repetition and echolalia to the incapability of producing novelty. The analysed sources of data are pictures, fieldnotes and instant messaging transcripts.
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