Drawing on her experience of collaborative artistic research, writer-artist Emma Cocker considers the three attractors — dare, care, share — through the connecting thread of openness. How might artistic research invite and encourage (give courage) towards an attitude or orientation of openness — within the process of enquiry and its sharing; towards others and the world; towards the practice of living and of life? Explored through the prism of openness, how might the three attractors — dare, care, share — open up conversations on the critical potential of risk, attention and being-with operative within artistic research practice?
This talk is my attempt to grapple with epistemological challenges around ecological concepts of sovereignty as an all-encompassing encultured form of knowing and being–an all-at-once-everywhere-everywhen-everything. In Indigenous cultures, the arts are centred as knowledge, as law, as repository of ecological encyclopaedias. Following that lead, I suggest that artistic modalities of knowing are crucial catalysts to how we might investigate the complex ecological challenges of our time because they provide ways of dealing with highly complex cross-modal all-at-once phenomena. In doing so, I make use of another term: the eco-sensitive as an affective, passionate practice of ecological relationalities.Drawing on her experience of collaborative artistic research, writer-artist Emma Cocker considers the three attractors — dare, care, share — through the connecting thread of openness. How might artistic research invite and encourage (give courage) towards an attitude or orientation of openness — within the process of enquiry and its sharing; towards others and the world; towards the practice of living and of life? Explored through the prism of openness, how might the three attractors — dare, care, share — open up conversations on the critical potential of risk, attention and being-with operative within artistic research practice?
What is the political potentiality of artistic research? What are the discerning differences in the currency of care in artistic practices and in collaborative strategies of sharing when artistic research is reoriented from the perspectives of colonial histories and from the global south? What are the measures of dare in the relationship between praxis and poiesis? Could propositions from decolonial theories offer a revitalisation of artistic research that attends to epistemologies that have been neglected or repressed in western art practices.
In this presentation I describe the connections between artistic research and decolonial strategies by proposing methods that facilitate epistemic disobedience, experimentation and counter-institutionalised artistic forms. As a film practitioner and researcher, I am interested in making visible elided histories and exposing marginal or oppressed experiences. Working with archives is one of the tactical moves in a decolonial strategy – a political praxis-poesis to reclaim certain images and positions that would otherwise not be visible.
I will ground these propositions in my recent project developed as a trilogy on race, gender and sexuality; sourced from a single institutional archive to reflect processes of negotiating what Walter Mignolo describes as aesthesis – in a movement between representation and enunciation.
The Art of Fake News: The Perpetration of Hoaxes by Dan’s Papers as an Artistic Means Toward Alternate Collectivities, Methodologies and Shared Ways of Knowing
by CatchNoBall - Suzi Teo and George Kan
in association with writers Andrea Coyotzi Borja Alexander Damianisch Cordula Daus Sepideh Karami Vidha Saumya
The aim of the project Social d[ist]ancing was to develop effective tools and strategies for networked co-creation.
Brass Art: On the Threshold - Virginia Woolf’s writing room
Brass Art (Chara Lewis, Kristin Mojsiewicz, Anneke Pettican) and Spencer Roberts with: Clear & Park and Cox Digital Ltd
Bois of Isolation workshop
queering gender binaries in the confines of pandemic
Dr Dawn Woolley and Dr AC Davidson
Kapps Freed: Caring to Explore, Daring to Imagine and Sharing an Australian legacy of pianism and electronic music
Presented by Cat Hope (Monash University), Stuart James (Edith Cowan University) and Gabriella Smart (Independent artist).
Polylogic organisms – performative assemblages of choreo-ethics (slowing gradually the BPM of the pomegranate)
Mariella Greil & Werner Moebius
Ventriloquial listening sessions:
an experimental ethics committee
with artist-researcher Rosie Heinrich and writer Daisy Hildyard
ASYMMETRIES IN THE URBAN SPACE
Ramon Parramon, Tània Costa, Gaspar Maza, Gerard Vilar
Collaborative research process
Art project using research and cross-disciplinary work, applied to contexts in transition and defined by asymmetries, in which ways of living, locations or activities are the result of instability, transience or fragility, circumstances which at the same time demand projects which open up to change these situations.
Mapping the Unseen ( 2019-2021)
Katrin Ackerl Konstantin
Mapping the unseen investigated unseen undiscussed topics, topics that are absent from public discourse, because of their implicit taboo potential.
Korsten & De Jong conduct Artistic Research. They are both independent artists, researchers and employed as lecturers in the art and theory department of ArtEZ, University of the Arts and they participate in the Professorship ‘Theory in Arts’. In ‘Paper-Performances,’ Korsten & De Jong circulate parts of recorded dialogues on theoretical notions structured or questioned by artistic form. The tension between theoretical and artistic practices is made productive in the field of artistic research.