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Practice Sharing is an online context for creating connections between artist-researchers, and for identifying different approaches to language-based practice within the field of artistic research. Artist-researchers are invited to share examples of their own language-based artistic research — focusing on specific ‘practices’ (in other words, specific processes, approaches or methods; ways of working, constellations of activity or framing patterns, particular projects or lines of enquiry-in-practice). The intent is not to define or fix what language-based artistic research is but rather to reflect how it is practised in its diversity.* See 'call' for contributions. 

The focus on language within artistic research is considered from a broad and transforming perspective to include diverse fields such as visual arts, performance, film, theatre, music, choreography as well as literature; where language-based practices might include (as well as move beyond) different approaches to writing, reading, speaking, listening. 

* Whilst the aspiration is to be truly open to the diversity of artistic researchers working with language-based practices, submissions that are in any way discriminatory will not be accepted.

Re-sensing <

Lena Séraphin: 

My current research interest is collaborative writing. It has been inspired by a book, An Attempt at Exhausting a Place in Paris, that Georges Perec wrote in 1974 by making observations on Place St-Sulpice in Paris. The aim is to replay this writing experiment within a group and to engage with the result, namely a multitude of observations stemming from intersecting perspectives.

At this point in spring 2020, I am looking at works from the 70’s that engage with non-fictional approaches, such as Chantal Akermans shortfilm La Chambre. It is intriguing how a non-fictional approach results in (technical) choices such as real time editing, breaking the fourth wall and the film camera moving 360°. In a similar line I have an interest in observational writing, and diverse restrictive writing assignments that evade fiction. Another issue that interests me are the liminal aspects of descriptive text, and to enquire into what can replace a failing medium. 

One tentative function of Perec’s writing experiment might be a kind of re-instalment of the everyday in cold war Europe. What could this intent be today, and might it become a re-enactment of the everyday? 

In my doctoral thesis issues of fictional potentialities are discussed, especially in contact with controlling master narratives, and I think what I am trying to express here is if fictional potentials or fictioning could be an option when realities are falling through.