Exposition

Art and Research Colliding (2014)

Mäki Teemu

About this exposition

en
This exposition concerns the relationship between art and research. It focuses on the questions: How can we define knowledge and research in the context of artistic research? What is artistic research? What is its goal? How is it different from other traditions of combining art and research? How should the university system react to and make use of artistic research? What is artistic knowledge and how is it used? How can we justify art as a special, flexible form of research? In what sense is art a philosophical and political practice – not just a way of communicating philosophical and political ideas and reasoning, but an especially powerful and holistic form of philosophy and politics? The first half of the exposition analyses and develops a line of reasoning about these concepts and categories. It also includes an attempt to justify art as philosophy/politics. The second half of the exposition lists the five main traditions of combining art and research and the pros and cons of each of them. The latter half of the exposition, in particular, uses images, videos, and music as examples of these traditions, and in some way as proof of the philosophical/political claim of the exposition. The whole exposition is built concretely from the viewpoint of a practicing artist, looking for insights and ways that could help him and other artists in their artistic work.

fi
Muutamia kysymyksiä ja huomioita taiteesta ja tutkimuksesta, joidenkin taiteellisten näytteiden kera. Mitä on tutkimus, mitä on tieto ja pyrkiikö edellinen tuottamaan ainoastaan jälkimmäistä? Miksi (jotkut) taiteilijat yrittävät työssään yhdistää taidetta ja tutkimusta? Mitä sillä yhdistelmällä voi saavuttaa? Mitkä ovat yhdistelmän riskit? Mihin yhdistelmää tarvitaan? Mitä on "taiteellinen tieto" tai "taiteen oma tieto"? Mitä siihen kuuluu ja miten se eroaa niin sanotusta tieteellisestä tiedosta? Missä mielessä taide on tutkimusta? Miten ja missä määrin pitäisi taiteen ja tutkimuksen yliopistomaailmassa yhdistyä? Tämä on taiteilijan kirjoittama teksti tai ekspositio taiteen ja tiedon suhteesta ja taiteellisen tutkimuksen luonteesta. Vaikka kirjoitan välillä hyvin yleisellä, epäpersoonallisella tasolla esimerkiksi tiedon ja tutkimuksen määritelmistä, näkökulmani on koko ajan taiteilijan. Myös päämääräni on taiteilijan, sillä etsin tässä ennen kaikkea sellaisia tiedon määritelmiä ja käyttötapoja, jotka auttaisivat taiteilijaa ja taiteellisen tutkimuksen harjoittajaa työssään – oli se työ sitten taideteosten tekemistä tai ei-taiteellista teorianmuodostusta.
typeresearch exposition
date01/01/2014
published26/05/2014
last modified26/05/2014
statuspublished
share statusprivate
affiliationSteering group of TAhTO (Doctoral Programme in Artistic Research)
licenseCC BY-NC-ND
urlhttps://www.researchcatalogue.net/view/49919/49920
doihttps://doi.org/10.22501/jar.49919
published inJournal for Artistic Research
portal issue5.


Simple Media

id name copyright license
84254 The Pussyhead - Vittupää 2002–1.12.2006, oil on canvas, triptych, 360 x 782 cm, (work number 567) Teemu Mäki CC BY-NC-ND
84253 pussyhead in exhibition in tallinn 2008 Teemu Mäki CC BY-NC-ND
84252 The Pussyhead, left panel b Teemu Mäki CC BY-NC-ND
84251 The Pussyhead, center panel b Teemu Mäki CC BY-NC-ND
84250 The Pussyhead, right panel b Teemu Mäki CC BY-NC-ND
84248 Mask of Agamemnon, Mykene, 2-2 Greeks CC BY-NC-ND
84249 Dakar Triptych in Dakar Biennale 2012, IMG_0562 Teemu Mäki CC BY-NC-ND
84247 xenakis iannis oresteia spiros sakkas strasbourg gualda Iannsi Xenakis CC BY-NC-ND
84246 dakar triptych in the making_MG_1164 Teemu Mäki CC BY-NC-ND
84245 darkness visible kansikuva Teemu Mäki CC BY-NC-ND
84244 Voodoo Women (of 3 Generations, Grand-Popo, 2009) Teemu Mäki CC BY-NC-ND
84243 perioverview1 Teemu Mäki CC BY-NC-ND
84242 perioverview4 (sex and work -text) Teemu Mäki CC BY-NC-ND
84240 perioverview3 Teemu Mäki CC BY-NC-ND
84241 perioverview2 Teemu Mäki CC BY-NC-ND
84239 perioverview6 Teemu Mäki CC BY-NC-ND
84238 perioverview7 Teemu Mäki CC BY-NC-ND
84237 Kuparinen Susanna, Eduskunta_3 - Piia Peltola, Santtu Karvonen, Noora Dadu - Kuva- Kai Bäckström Ryhmäteatteri CC BY-NC-ND
84236 Kuparinen Susanna, Eduskunta_4 - Matti Onnismaa, Mitro Härkönen, Santtu Karvonen, Robin Svartström - Kuva- Kai Bäckström Ryhmäteatteri CC BY-NC-ND
84235 Kuparinen, Susanna, Eduskunta_1 - Noora Dadu, Piia Peltola, Santtu Karvonen, Mitro Härkönen, Jari Hanska - Kuva- Kai Backström Ryhmäteatteri CC BY-NC-ND
84234 Sierra, Santiago, A Person in a Ditch, 2001, Helsinki, 3 Santiago Sierra CC BY-NC-ND
84233 Sierra, Santiago, A Person in a Ditch, 2001, Helsinki, 1 Santiago Sierra CC BY-NC-ND
84232 Freud, Lucian Girl with a white dog 1951-1952 Oil on canvas 76.2 x 101.6 cm Tate Gallery, London Lucian Freud CC BY-NC-ND
84231 Voodoo Women (of 3 Generations, Grand-Popo, 2009) Teemu Mäki CC BY-NC-ND
84229 01 'Round Midnight 2 excerpt from 0 to 2 min 45 sec Miles Davis estate / Sony CC BY-NC-ND
84227 davis miles black beauty live at fillmore west Miles Davis estate / Sony CC BY-NC-ND
84228 davis miles 'round about midnight Miles Davis estate / Sony CC BY-NC-ND
84225 2-01 Bitches Brew 1 excerpt from 2 min to 6 min Miles Davis estate / Sony CC BY-NC-ND
84224 davis miles live at the fillmore east it's about that time kopio Miles Davis estate / Sony CC BY-NC-ND
84222 2-01 Directions 2 excerpt from 1 min 30 sec to 7 min 30 sec Miles Davis estate / Sony CC BY-NC-ND
84221 coltrane john blue train John Coltrane estate CC BY-NC-ND
84219 01 Blue Train 1 excerpt from 1 min to 3 min John Coltrane estate CC BY-NC-ND
84218 davis miles the cellar door sessions 1970 kopio Miles Davis estate / Sony CC BY-NC-ND
84216 6-03 Inamorata 2 excerpt from 2 min to 6 min Miles Davis estate / Sony CC BY-NC-ND
84215 davis miles dark magus kopio Miles Davis estate / Sony CC BY-NC-ND
84213 1-01 Moja (Part 1) 2 excerpt from 4 min to 6 min Miles Davis estate / Sony CC BY-NC-ND
84212 coltrane john soultrane kopio John Coltrane estate CC BY-NC-ND
84210 01 Good Bait 1 excerpt from 0 to 2 min John Coltrane CC BY-NC-ND
84209 coltrane john ascension John Coltrane estate CC BY-NC-ND
84207 01 Ascension - Edition II 2 excerpt from 4 min 45 sec to 6 min 45 sec John Coltrane estate CC BY-NC-ND
84206 coltrane john sun ship kopio John Coltrane estate CC BY-NC-ND
84205 john coltrane olatunji concert kopio John Coltrane estate CC BY-NC-ND
84203 03 Amen 1 excerpt from 5 min to 7 min John Coltrane CC BY-NC-ND
84201 03 My Favorite Things 1 excerpt from 25 min 30 to 27 min 30 sec John Coltrane estate CC BY-NC-ND
84197 Annikka & Saara eng txt excerpt, have you been exploited-18 Teemu Mäki CC BY-NC-ND
84196 davis miles milestones Miles Davis estate / Sony CC BY-NC-ND
84194 Miles Davis, excerpt from 06 Straight, No Chaser 1, from 1 min 50 sec to 2 min 59 sec Miles Davis estate / Sony CC BY-NC-ND
51971 Teemu Mäki, basic image info text Teemu Mäki CC BY-NC-ND
51422 Teemu's basic text format Teemu Mäki CC BY-NC-ND
373188 Miles Davis, 'round About Midnight, cd cover Miles Davis CC BY-NC-ND
373189 John Coltrane, Blue Train, cd cover John Coltrane CC BY-NC-ND
373190 John Coltrane, Olatunji Concert (album cover art) John Coltrane CC BY-NC-ND
373191 John Coltrane, Sun Ship (album cover art) John Coltrane CC BY-NC-ND
373192 John Coltrane, Ascension, cd cover John Coltrane CC BY-NC-ND
373193 John Coltrane: Soultrane (album cover art) John Coltrane CC BY-NC-ND
373194 John Coltrane, Blue Train, cd cover John Coltrane CC BY-NC-ND
373195 Miles Davis, 'round About Midnight, cd cover Miles Davis CC BY-NC-ND
373196 Miles Davis, The Cellar Door Sessions 1970, album cover art Miles Davis / Sony CC BY-NC-ND
373197 Miles Davis, Dark Magus (album cover art) Miles Davis / Sony CC BY-NC-ND
373198 Miles Davis, Black Beauty - Live at Fillmore West (album cover art) Miles Davis CC BY-NC-ND
373199 Miles Davis: Live at the Fillmore East, It's about that Time (album cover art) Miles Davis / Sony CC BY-NC-ND
373200 Miles Davis, Milestones (album cover art) Miles Davis / Sony CC BY-NC-ND
373201 Miles Davis, 'round About Midnight, cd cover Miles Davis CC BY-NC-ND
373202 Teemu Mäki, Tšetšenia (in Putinist Russia), overviews and details of the installation, Kerava City Art Museum & Kemi City Art Museum, 2010 chechnya installation overview 1 Teemu Mäki CC BY-NC-ND
373203 Teemu Mäki, Tšetšenia (in Putinist Russia), overviews and details of the installation, Kerava City Art Museum & Kemi City Art Museum, 2010 chechnya installation overview 4, Politkovskaya Teemu Mäki CC BY-NC-ND
373204 Teemu Mäki, Tšetšenia (in Putinist Russia), overviews and details of the installation, Kerava City Art Museum & Kemi City Art Museum, 2010 chechnya installation overview 3 Teemu Mäki CC BY-NC-ND
373205 Teemu Mäki, Tšetšenia (in Putinist Russia), overviews and details of the installation, Kerava City Art Museum & Kemi City Art Museum, 2010 chechnya installation overview 2 Teemu Mäki CC BY-NC-ND
373206 Teemu Mäki, Dakar Triptych 2012, part 3, by Teemu Mäki + Collective, 300 x 200 cm, acrylic on canvas, A4-size repro Teemu Mäki CC BY-NC-ND
373207 Teemu Mäki, Dakar Triptych 2012, part 2, by Teemu Mäki + Collective, 200 x 300 cm, acrylic on canvas, A4-size repro Teemu Mäki CC BY-NC-ND
373208 Teemu Mäki, Dakar Triptych 2012, part 1, by Teemu Mäki + Collective, 300 x 200 cm, acrylic on canvas, A4-size repro Teemu Mäki CC BY-NC-ND
373209 Teemu Mäki, Markus Renvall and Badminton, a photo by Teemu Mäki, reSized_8bit_Markus_Renvall_2_2 Teemu Mäki CC BY-NC-ND
373210 Teemu Mäki, Hilkka Eklund – Seeing and Singing (a double portrait), part 1 of the photo diptych by Teemu Mäki, RESIZED_8bit_Hilkka_Eklund_1-2 Teemu Mäki CC BY-NC-ND
373211 Teemu Mäki, Hilkka Eklund – Seeing and Singing (a double portrait), part 2 of the photo diptych by Teemu Mäki, RESIZED_8bit_Hilkka_Eklund_2-2 Teemu Mäki CC BY-NC-ND
373234 Teemu Mäki, Dakar Triptych 2012, by Teemu Mäki + Collective, as shown in Dakar Biennale 2012, IMG_0562 Teemu Mäki CC BY-NC-ND
373235 Teemu Mäki, Markus Renvall and Badminton, a photo by Teemu Mäki, reSized_8bit_Markus_Renvall_2_2 Teemu Mäki CC BY-NC-ND
373236 Teemu Mäki, Dakar Triptych 2012, part 3, by Teemu Mäki + Collective, 300 x 200 cm, acrylic on canvas, A4-size repro Teemu Mäki CC BY-NC-ND
373237 Teemu Mäki, Dakar Triptych 2012, part 2, by Teemu Mäki + Collective, 200 x 300 cm, acrylic on canvas, A4-size repro Teemu Mäki CC BY-NC-ND
373238 Teemu Mäki, Dakar Triptych 2012, part 1, by Teemu Mäki + Collective, 300 x 200 cm, acrylic on canvas, A4-size repro Teemu Mäki CC BY-NC-ND
373239 Miles Davis, The Cellar Door Sessions 1970, album cover art Miles Davis / Sony CC BY-NC-ND
373240 Miles Davis, Dark Magus (album cover art) Miles Davis / Sony CC BY-NC-ND
373241 John Coltrane, Olatunji Concert (album cover art) John Coltrane CC BY-NC-ND
373242 John Coltrane, Sun Ship (album cover art) John Coltrane CC BY-NC-ND
373243 Miles Davis, Black Beauty - Live at Fillmore West (album cover art) Miles Davis CC BY-NC-ND
373244 Miles Davis: Live at the Fillmore East, It's about that Time (album cover art) Miles Davis / Sony CC BY-NC-ND
373245 John Coltrane, Ascension, cd cover John Coltrane CC BY-NC-ND
373246 John Coltrane: Soultrane (album cover art) John Coltrane CC BY-NC-ND
373247 Miles Davis, Milestones (album cover art) Miles Davis / Sony CC BY-NC-ND
373248 John Coltrane, Blue Train, cd cover John Coltrane CC BY-NC-ND
373249 Miles Davis, 'round About Midnight, cd cover Miles Davis CC BY-NC-ND
373250 Teemu Mäki, Voodoo Women (of 3 Generations, Grand-Popo, 2009, oil on canvas,200 x 300cm).jpg Teemu Mäki CC BY-NC-ND
373251 Lucian Freud (1922–2011), Girl with a White Dog, 1951–1952, oil on canvas, 76 x 102 cm, Tate Gallery, London Lucian Freud CC BY-NC-ND
373252 Susanna Kuparinen / Ryhmäteatteri, Eduskunta, Parliament, Ryhmäteatteri, Helsinki 2011, image 2 Ryhmäteatteri / Kai Bäckström CC BY-NC-ND
373253 Susanna Kuparinen / Ryhmäteatteri, Eduskunta_4 - Matti Onnismaa, Mitro Härkönen, Santtu Karvonen, Robin Svartström - Kuva- Kai Bäckström Ryhmäteatteri / Kai Bäckström CC BY-NC-ND
373254 Susanna Kuparinen / Ryhmäteatteri, Eduskunta_1 - Noora Dadu, Piia Peltola, Santtu Karvonen, Mitro Härkönen, Jari Hanska - Kuva- Kai Backström Ryhmäteatteri / Kai Bäckström CC BY-NC-ND
373255 Santiago Sierra, An overview of Person in a Ditch Measuring 300 x 500 x 300 cm, image 2 Santiago Sierra CC BY-NC-ND
373256 Santiago Sierra, An overview of Person in a Ditch Measuring 300 x 500 x 300 cm, image 1 Santiago Sierra CC BY-NC-ND
373257 Teemu Mäki, Tšetšenia (in Putinist Russia), overviews and details of the installation, Kerava City Art Museum & Kemi City Art Museum, 2010 chechnya installation overview 4, Politkovskaya Teemu Mäki CC BY-NC-ND
373258 Teemu Mäki, Tšetšenia (in Putinist Russia), overviews and details of the installation, Kerava City Art Museum & Kemi City Art Museum, 2010 chechnya installation overview 3 Teemu Mäki CC BY-NC-ND
373259 Teemu Mäki, Tšetšenia (in Putinist Russia), overviews and details of the installation, Kerava City Art Museum & Kemi City Art Museum, 2010 chechnya installation overview 2 Teemu Mäki CC BY-NC-ND
373260 Teemu Mäki, Tšetšenia (in Putinist Russia), overviews and details of the installation, Kerava City Art Museum & Kemi City Art Museum, 2010 chechnya installation overview 1 Teemu Mäki CC BY-NC-ND
373261 Teemu Mäki, a part of the installation Sex and Work, overview of the reading sofa, Valokuvakeskus Peri, Turku, 2008 Teemu Mäki CC BY-NC-ND
373262 Teemu Mäki, a part of the installation Sex and Work, overview of the reading sofa from above, Valokuvakeskus Peri, Turku, 2008 Teemu Mäki CC BY-NC-ND
373263 Teemu Mäki, a part of the installation Sex and Work, overview of the assemblage corner, Valokuvakeskus Peri, Turku, 2008 Teemu Mäki CC BY-NC-ND
373264 Teemu Mäki, a part of the installation Sex and Work, overview of some of the photos, Valokuvakeskus Peri, Turku, 2008 Teemu Mäki CC BY-NC-ND
373265 Teemu Mäki, a part of the installation Sex and Work, essay text on the wall, Valokuvakeskus Peri, Turku, 2008 Teemu Mäki CC BY-NC-ND
373266 Teemu Mäki, a part of the installation Sex and Work, interview screen, Valokuvakeskus Peri, Turku, 2008 Teemu Mäki CC BY-NC-ND
373267 Teemu Mäki, Darkness Visible, cover of the book Teemu Mäki CC BY-NC-ND
373268 Teemu Mäki, Voodoo Women (of 3 Generations, Grand-Popo, 2009, oil on canvas,200 x 300cm).jpg Teemu Mäki CC BY-NC-ND
373269 Iannis Xenakis, Oresteïa, album cover art Iannis Xenakis CC BY-NC-ND
373270 Agamemnon, The (so-called) Head of Agamemnon, a Greek death mask from 1550–1500 BC Teemu Mäki CC BY-NC-ND
373271 Teemu Mäki, Dakar Triptych in progress, Senegal 2012._MG_1164 Teemu Mäki CC BY-NC-ND
373272 Teemu Mäki, Pussyhead:Vittupää-triptyykki, part three, oil on canvas, 360 x 260 cm.jpg Teemu Mäki CC BY-NC-ND
373273 Teemu Mäki, Pussyhead:Vittupää-triptyykki, part two, oil on canvas, 360 x 260 cm Teemu Mäki CC BY-NC-ND
373274 Teemu Mäki, Pussyhead:Vittupää-triptyykki, part one, oil on canvas, 360 x 260 cm Teemu Mäki CC BY-NC-ND
373275 Teemu Mäki, The Pussyhead : Vittupää, 2002–1.12.2006, oil on canvas, 360 x 782 cm Teemu Mäki CC BY-NC-ND
373276 Teemu Mäki, The Pussyhead / Vittupää, as exhibited in Tallinn Art Hall 2007 Teemu Mäki CC BY-NC-ND
373277 Teemu Mäki, Hilkka Eklund – Seeing and Singing (a double portrait), part 2 of the photo diptych by Teemu Mäki, RESIZED_8bit_Hilkka_Eklund_2-2 Teemu Mäki CC BY-NC-ND
373278 Teemu Mäki, Hilkka Eklund – Seeing and Singing (a double portrait), part 1 of the photo diptych by Teemu Mäki, RESIZED_8bit_Hilkka_Eklund_1-2 Teemu Mäki CC BY-NC-ND
373219 John Coltrane, Blue Train (from Blue Train, 15.9.1957), excerpt from 1 min to 3 min John Coltrane CC BY-NC-ND
373220 Miles Davis, 'Round Midnight" (from 'Round Midnight, 26.10.1955/6.6.1956/10.9.1956), excerpt from 0 to 2 min 45 sec Miles Davis / Sony Columbia CC BY-NC-ND
373221 John Coltrane, My Favorite Things (from The Olatunji Concert, 23.4.1967), excerpt from 25 min 30 sec to 27 min 30 sec John Coltrane CC BY-NC-ND
373222 John Coltrane, Amen (from Sun Ship), excerpt from 5 min to 7 min John Coltrane CC BY-NC-ND
373223 John Coltrane, Ascension, edition Ⅱ (from Ascension, 28.6.1965),excerpt from 4 min 45 sec to 6 min 45 sec John Coltrane CC BY-NC-ND
373224 John Coltrane, Good Bait (from Soultrane, 1958), excerpt from 0 to 2 min John Coltrane CC BY-NC-ND
373225 Miles Davis, 'Round Midnight" (from 'Round Midnight, 26.10.1955/6.6.1956/10.9.1956), excerpt from 0 to 2 min 45 sec Miles Davis / Sony Columbia CC BY-NC-ND
373226 John Coltrane, Blue Train (from Blue Train, 15.9.1957), excerpt from 1 min to 3 min John Coltrane CC BY-NC-ND
373227 Miles Davis, Inamorata (from disc 6 of The Cellar Door Sessions, 12:1970), excerpt from 2 min to 6 min Miles Davis / Sony CC BY-NC-ND
373228 Miles Davis, Moja (Part 1, from disc one of Dark Magus), excerpt from 4 min to 6 min Miles Davis / Sony CC BY-NC-ND
373229 Miles Davis, Bitches Brew (from disc 2 of Black Beauty, 10.4.1970), excerpt from 2 min to 6 min Miles Davis CC BY-NC-ND
373230 Miles Davis, Directions (from disc 2 of Live at Fillmore East), excerpt from 1 min 30 sec to 7 min 30 sec Miles Davis CC BY-NC-ND
373231 Miles Davis, excerpt from 06 Straight, No Chaser 1, from 1 min 50 sec to 2 min 59 sec Miles Davis / Sony CC BY-NC-ND
373232 Miles Davis, 'Round Midnight" (from 'Round Midnight, 26.10.1955/6.6.1956/10.9.1956), excerpt from 0 to 2 min 45 sec Miles Davis / Sony Columbia CC BY-NC-ND
373233 Iannis Xenakis, Oresteïa II - Kassandra (1987), excerpt from 10 min 30 sec to 12 min 30 sec Iannis Xenakis CC BY-NC-ND
373287 Miles Davis, Inamorata (from disc 6 of The Cellar Door Sessions, 12:1970), excerpt from 2 min to 6 min Miles Davis / Sony CC BY-NC-ND
373288 John Coltrane, My Favorite Things (from The Olatunji Concert, 23.4.1967), excerpt from 25 min 30 sec to 27 min 30 sec John Coltrane CC BY-NC-ND
373289 Miles Davis, Moja (Part 1, from disc one of Dark Magus), excerpt from 4 min to 6 min Miles Davis / Sony CC BY-NC-ND
373290 John Coltrane, Amen (from Sun Ship), excerpt from 5 min to 7 min John Coltrane CC BY-NC-ND
373291 Miles Davis, Bitches Brew (from disc 2 of Black Beauty, 10.4.1970), excerpt from 2 min to 6 min Miles Davis CC BY-NC-ND
373292 Miles Davis, Directions (from disc 2 of Live at Fillmore East), excerpt from 1 min 30 sec to 7 min 30 sec Miles Davis CC BY-NC-ND
373293 John Coltrane, Ascension, edition Ⅱ (from Ascension, 28.6.1965),excerpt from 4 min 45 sec to 6 min 45 sec John Coltrane CC BY-NC-ND
373294 John Coltrane, Good Bait (from Soultrane, 1958), excerpt from 0 to 2 min John Coltrane CC BY-NC-ND
373295 John Coltrane, Blue Train (from Blue Train, 15.9.1957), excerpt from 1 min to 3 min John Coltrane CC BY-NC-ND
373296 Miles Davis, excerpt from 06 Straight, No Chaser 1, from 1 min 50 sec to 2 min 59 sec Miles Davis / Sony CC BY-NC-ND
373297 Miles Davis, 'Round Midnight" (from 'Round Midnight, 26.10.1955/6.6.1956/10.9.1956), excerpt from 0 to 2 min 45 sec Miles Davis / Sony Columbia CC BY-NC-ND
373298 Iannis Xenakis, Oresteïa II - Kassandra (1987), excerpt from 10 min 30 sec to 12 min 30 sec Iannis Xenakis CC BY-NC-ND
373212 Pier Paolo Pasolini: Teoreema, a low resolution extract (19 minutes) from the feature film (1968, 98 minutes). The estate of Pier Paolo Pasolini CC BY-NC-ND
373213 theorem_1968_-_trailer-oCGVIg1ksYU_fmt137-463607278 British Film Institute CC BY-NC-ND
373214 Susanna Kuparinen, Valtuusto 3, Tali Golf Course Intervention, 1.9.2010 Susanna Kuparinen / Helsingin ylioppilasteatteri CC BY-NC-ND
373215 Shoah - Official 25th Anniversary Trailer [HD] Claude Lanzmann CC BY-NC-ND
373216 The Treblinka Death Camp - Former SS member confesses Claude Lanzmann CC BY-NC-ND
373217 Jan Karski's emotional testiomony Claude Lanzmann CC BY-NC-ND
373218 Teemu Mäki, Trailer Moscow-Helsinki-Chechnya video 19.8.2010 Teemu Mäki CC BY-NC-ND
373279 theorem_1968_-_trailer-oCGVIg1ksYU_fmt137-463607278 British Film Institute CC BY-NC-ND
373280 Pier Paolo Pasolini: Teoreema, a low resolution extract (19 minutes) from the feature film (1968, 98 minutes). The estate of Pier Paolo Pasolini CC BY-NC-ND
373281 Susanna Kuparinen, Valtuusto 3, Tali Golf Course Intervention, 1.9.2010 Susanna Kuparinen / Helsingin ylioppilasteatteri CC BY-NC-ND
373282 The Treblinka Death Camp - Former SS member confesses Claude Lanzmann CC BY-NC-ND
373283 Shoah - Official 25th Anniversary Trailer [HD] Claude Lanzmann CC BY-NC-ND
373284 Jan Karski's emotional testiomony Claude Lanzmann CC BY-NC-ND
373285 Teemu Mäki, Trailer Moscow-Helsinki-Chechnya video 19.8.2010 Teemu Mäki CC BY-NC-ND
373286 Teemu Mäki, Annikka & Saara eng txt excerpt, have you been exploited-18.mov Teemu Mäki CC BY-NC-ND

comments: 5 (last entry by Andrea Pagnes - 03/06/2014 at 20:59)
Dirk Baecker 26/05/2014 at 14:30

The exposition is a very clear if a little verbose statement of most if not all of the important questions to be raised if it comes to posing the problems of the exposition. It does this in an encompassing and reflective way by the means of stating the questions and giving illuminating examples. The exposition is accessible, readable, very informative, and possibly a little too long.

David Casacuberta 26/05/2014 at 14:31

To understand human life, Dogen compared us to a fish living in the sea. If the fish leaves the sea it dies. The fish defines its environment by its needs and activity. The further it swims, the bigger its world becomes.
Artists swim freely in the sea of creations. We, philosophers never find our voice in that sea because we are too worried about establishing the limits, possibilities and capacities of that sea, so we never move in it.
However a fish can also be so worried about what’s beyond its surroundings that may never leave a particular spot of the sea.
Teemu Mäki has found a way to represent that tension, inviting artists -or maybe himself- to go beyond their usual practice and embrace artistic research but keeping the art format and expression.s

I found it difficult to swim in, as I need buoys for orientation in the forms of quotes and references. But I realize it is mostly a bad habit I’ve got for spending too much time in the academic world.

It’s good to dive in.

Jaana Erkkila 26/05/2014 at 14:32

Teemu Mäki embraces a wide variety of essential questions about the challenges that an artist has to deal with when entering the field of academic research. Mäki claims that there is a gap between an artistic experience and a verbalized theory and although it sometimes can be temporarily overcome there always remains an area that words cannot reach. He writes from his position as an artist and raises several important considerations in the fairly new academic area of artistic or arts-based research.

Our ways of communication and the language we use either builds understanding and open new ways of seeing the world or they create obstacles which hinder wider collaboration. Mäki claims to use a language that he calls “plainspeak” and he believes that by using a language which an “opponent” understands it is possible to change the world. I do agree with Mäki about the need to find a common ground in language in order to communicate, but I am not quite clear with whom he wishes to speak, whom he defines as his “opponent”.  In part of the text the academic world is clearly identified as an “opponent”, but it might be also the art world and those colleagues who see research as a useless activity for an artist, or who, according to Mäki, have questionable motivations for their research.

 You can hear through the article a clear criticism towards colleagues who according to Mäki have more or less undesirable reasons to conduct artistic research. He gives five reasons why some artists are trying to combine art and research and, although he gives an impression that his arguments are based on reasons given by other artists, there is no clear reference to interviews or where and how the data has been collected. Here we come to the question of “language”. If we as researching artists want to communicate with researchers from other academic disciplines we have to use a common language whether we like it or not. Does “plainspeak” mean basing arguments more on feelings or general beliefs than on information that can be traced and verified through simple research methods. I do appreciate the straight forward style that Mäki uses through his article, but its value is diminished by his excluding the usual methods of verifying knowledge. Although Mäki’s weakness is in generalising about artistic research even so his description of his own artistic work and anchoring it in the article is a useful contribution.

The most interesting part of Mäki’s article is represented in his ideas about artistic knowledge and art as a philosophical-political practice. Mäki writes about art as a subject: “art uses, art makes observations, art is constantly interfering and overlapping with contributing to non-artistic knowledge”.  Here speaks clearly an artist and gives arguments that are based on experiential knowledge. The flow of thoughts is bright and clear. The author clearly knows what he is writing about. Perhaps this illustrates well why artists should research. We do have a depth of knowledge which comes from experience, a knowledge which researchers from other disciplines do not have. The field of artistic knowledge is still a large and unknown territory and there is much to explore and to apply in disciplines outside the art world. Mäki writes that art does not have to be content with asking good questions – it can also try to answer them. And the answers can best be found by practicing artists.

Peter Patchen 28/05/2014 at 15:50

We are considering many of the same questions at Pratt Insititute. Thank you for an insightful exploration of the topic.

Andrea Pagnes 03/06/2014 at 20:59

A difficult challenge, full of traps and pitfalls, is to address and discuss theoretically and from different perspectives issues such as:

  • Where are the boundaries and what are the connections between art, knowledge, and research in the broadest sense of the terms?
  • What are they actually substantially, qualitatively, quantitatively, and relationally – that is to what extent do they interrelate and ‘leak’ into one another (what is their level of ‘interference’)?
  • How it is possible to determine and to which extent are they useful and beneficial for one each other, remaining equally valid for themselves?

In fact, someone can easily fall into clichés, specious statements, and mere opinions that are too captious and personal.

 

As Teemu Mäki is both an artist and an academic, the ‘bipartisan’ balance he has been able to maintain in his exposition (for the reader) is admirable – but more interesting is that the source of his exposure stems from his primary status as an artist, and is not dictated by professorial habit. There is a strong stand in all this, not in defence of what and how an author says and writes, but rather due to a deep necessity to dissect freely and express in words argumentation as such, trying to fathom the most intimate folds of art making.

 

From an academic perspective, one can surely object to the assumptions and considerations and the style of writing, even say ‘the contrary of the contrary’ with as much authority and with reference to influential topics of equal or greater validity. However, from my perspective, what actually emerges from Teemu’s effective analysis as a whole, is almost an open invitation to artists to consider from different perspective their process of making art – how and why, to unveil and reveal, to be more understandable, not just for the others, but mainly for themselves.

 

Of course, as artists, for instance, it would be much easier to associate with what Gerhard Richter once wrote: ‘Talk about painting: there’s no point. By conveying a thing through the medium of language, you change it. You construct qualities that can be said, and you leave out the ones that can’t be said but are always the most important.’1 Or, as academics, it would be easier to remark on a certain excessively flamboyant attitude when artists attempt to write about their art process and research. Nevertheless, in this case, I would venture a comparison between what ultimately emerges from this text (in terms of artistic research) and what Robert Storr stated (which I find somehow pertinent and which gives evidence to the whole exposition): ‘It is not right to say that making is secondary and thinking is primary. It is not right to pretend that not knowing is more creative than knowing. It is not right to pretend that knowing is creating.’2

 

Taking into account the methods of critical thinking and forward thinking, to find possible fruitful dialogues and tangible balances between the ineluctable necessity of creative freedom in a particular artist research and the rigour and discipline required by the academic canons is to try to build new gateways between two worlds, apparently so distant from each other, but which need to coexist. And yes, I believe this is possible by outlining dialectically new methods that are open and interchangeable and by respecting the several differences that may arise by working in this way.

 

In fact, there is neither bias nor deployment in what Teemu writes: preferably, anything is left open to further discussion, something that he – as author – has made perfectly clear, as clear as what he’s writing about. Actually, flexible recall – the quality that discerns the many subjects that are usefully explored in any artistic research – becomes a key to improve the approach for both sides: the one of the artist and the one of the spectator. Continuously questioning mental processes of discernment and evaluation implements the benefits of reflecting on tangible and intangible areas, and consequently the spectrum of possibilities widens. A determining factor is suggesting and indicating the usefulness of setting a flexible range of parameters and variable factors that may reconcile philosophical evidence with common sense, abstract diagnosis with concrete results, the creative with the academic.

Artistic researchers draw information from observation, experience, reasoning, communication, and life, and their highest validity is not just when their outcomes go beyond the partiality of the individual subject – because anything that is human is by nature partial – but when their core values include clarity, accuracy, precision, and evidence.

 

Obviously, despite the breadth of Teemu’s analytical thesis, he has to draw his authorial conclusions in the end. Nevertheless, ultimately there is no definite guarantee that would formally allow us to scan the extent to which art and research have collided and dovetailed with each other; in fact, an absolute truth does not exist, especially if facing this kind of argumentation. Fortunately, when debating such themes, this is also what makes vital and stimulating the possible discussions that follow. What I mean is that someone might also never have all the information necessary for stating a thorough assessment, first, because it is impossible to neither generalise nor explain an artistic research expressed as such into rules or preordered schemes, and, second, because the thoughts that follow will always be partial (as this is their constitutional nature) and in need of subsequent experimentation and verification.

 

The intellectual and cultural value of an artistic research, I think, always resides in its quality of inexhaustible work in progress, fluid and open. The term ‘artistic research’, in its essence, could be translated metaphorically as an open yard where different ideas, questions, and temporary answers find their common ground and meet, clash, revolve, and evolve. In fact, anything can be put into discussion continuously, but then there will always come a moment when someone has to stop thinking and start making with what she or he knows (or presumes to know), letting the process continue on its path, concretising.

 

Analysing the many facets of the topic, which indicate a variety of application models that the author states are all equally valid even if they differ from one another, lead me – as reader – to further analysis and insights, which, as I myself am primarily an artist, corresponded to my own aspirations, urges, and inclinations. As the author’s observations are proactive, even though they remain within the confines of purely philosophical analysis (specifically, the almost surgical dissection of the terms art, knowledge, and research and of what they imply when joined together in different contexts, as well as the application – or better the extension – of the methodologies of critical thinking to them), from his offered perspective the text allowed me to navigate and observe the realm of my thoughtful abstraction (which is of course part of my creative process, as well as many other factors); with it, what is triggered inside myself and through agreement makes me decide for this or that solution.

 

It is a matter of fact that research is ultimately exploration and the essential dimension of art itself and its greatest strength ‘is in the continuation of thinking beyond verbalisable reasoning’ (Teemu Mäki). This is also because of perceiving and intuiting – and not just for rational pondering, which is, however, fundamental in the process. When the author describes art as a ‘human-made method for moulding our lifeworld, thus an excellent form of innovative and embodied moral pondering’ (though I personally would rather use here the term ethical), the term art, in its essence, is for me still something too complex to be reduced to some definition only. However, these kinds of sentences are exactly the ones that can promote possible, fruitful, and dialectical discussions among readers. For instance, when it is said that art expresses ‘what one would like the world and the self to become and how’, I personally do not consider this to be always the main concern that artists have – for many artists, if anything, the primal urge (due to a profound pulsional drive which is always personal and particular) is to express visions, worries, and wishes in a unconventional way, translating the reality and the world in which they live to produce and generate reflections on issues that often differ from one another. Diversity of social and cultural backgrounds plays a large role in all this, as well as in the comprehension and definition of what the word art means.

 

On the other hand, one of the crucial points outlined in Teemu’s exposition (and also given by concrete examples) is that specific research can be totally embedded into artworks – it does not always have to take the form of a theoretical text written by the artist (or others) to accompany or explain his or her artworks. In fact, it is undeniable that the process of making art is research in itself.

 

In Teemu’s own words, this becomes very clear because ‘we should be able to detect a significant research tendency in much of art, not just in the kind of scholarly writing or art making which labels itself as a combination of art and research […] Art as such produces, contains, and spreads knowledge, including when it does not go through any academic machinery that produces theory-grounded explanations of it […] [Art is] a flexible source that can be used with various personal approaches and interpretations – and that is enough.’ I see in these stated sentences a great opportunity for anyone interested in starting analysing a variety of art practices (and consequently final products) and comparing them with his or her own: practices of innovative cultural significance that, once understood and metabolised, become enriching for one’s way of thinking, opening up further, unexpected possible applications/solutions to the many new questions that arise and prolong the creative journey. To choose to write on such a topic from the artist’s perspective also makes a formidable contribution to other authors, allowing them to discuss the content constructively, as it is the ideas that are more vital, and the more they differ, the more fertile is the ground of the debate. It is unquestionably a propositive way of writing, where ‘yes or no’ and ‘right or wrong’ statements reduce their raison d’être.

 

For instance, having read Teemu’s text a few times, I have been driven to analyse in greater depth the dichotomy between critical thinking and creative thinking, and with it the role that my imagination plays in my own artistic research – for me, in art, imagination is often more important and valuable than knowledge itself, which I view as being limited mainly to what someone knows and understands, while imagination, because it can transform the ordinary into the extraordinary, embraces the entire world and everything in it that can be known and understood. As Tim Hurson wrote, we may “imagine the thinking process as a kayak paddle. One side stands for creative thinking, the other for critical thinking. If you always used the creative paddle, you’d go around in circles. If you always used the critical paddle, you’d go around in circles the other way.” 3 To make the kayak move forward, “the key is to alternate between the two: creative, critical, creative, critical.” 4,

 

Footnotes

 

  1. Gerhard Richter, ‘Notes, 1964–65’, in Texts: Writing, Interviews and Letters 1961–2007, ed. by Dietmar Elgar and Hans Ulrich Obrist (London: Thames and Hudson, 2009), pp. 29–36 (p. 35).
  2. Robert Storr, ‘Rules for a New Academy’, in Art School (Propositions for the 21st Century), ed. by Steven Henry Madoff, (Cambridge, MA: The MIT Press, 2009), pp. 65–67 (p. 66).
  3. Tim Hurson, Think Better: An Innovator’s Guide to Productive Thinking (New York: McGraw-Hill, 2008), pp.46-47
  4. Ibidem p.47

Comments are only available for registered users.