ARTISTIC RESEARCH- Classes/Seminars/Talks
Shwar_
- ‘oriental’/ottoman art:2-dimensional, avoided showing shadows because it would show at which time of day the drawing was drawn
- To avoid showing the time, to keep the drawing ‘forever’. (in relation to european and ottoman art being taught in schools in irak)
Oliver_
- Watching own home videos as his practice, as if he’s navigating his haunted house.
- Not just use hauntology as a lens but also to develop/further research into hauntology): the present is haunted by lost futures and post futures. Derrida’s idea that you imagine what the future would be like but it doesn’t happen. Eg: the dream of socialism that never happened that keeps haunting us. Time is out of joint.
- Links to Cervella & Brown on in-betweenness (ghosts exist in the in-between).
I’m not looking at hauntology in my decology term, I’m interested in the speculative futures only, not going so far into hauntology, in the sense that I think they could still happen.
Merete_
Research method
LABS: 6 core members
Research: 9 other members
Individual: institutions
If this is applied to my practice
LABS= ritual-workshops : core members 1 (Morena, Sarah Camille, Johanna, me), core members 2 (Nyala, Shiv, me), core members 3, core members 4
Research
Institutions: TrAP, Linderud Gård, Sletteløkka
Speculative futures- how can we tangibalize… ?
Using keywords when presenting art works (eg Merete’s land acupuncture)
Sensing bodies: what is the individual, how does it gain self-sufficiency in relation to body ecologies.
-Wolfgang Tillman, move away from the anthropocene. Visual aspect of his art occurs across Chtulucene (comprised of ongoing multispecies stories generating perceptions of alerntive worlds- Sarah’s claim)
-Artist’s work brings an ecological perspective to contemporary art.
- self-sufficient images- acknowledging agency other than artist with a capital A.
- artist book of images collaged together: a manual (inspiration for collages?)
- pictures, graphs, mathematical drawings, seed packages, medical information… what intuition is making him pick these pictures.
Franz_
- History of the weaving workshop Prindsens storgata (penal institution then used as social housing)
- History of the modern in norway, in textile industry.
- Weaving exercises as exercises for sensory/bodily experiences.
- Weaving in relation to the somatic responses based on how he feels
- Drawing on the woven fabric to document the space
Trude_ Risk + benefits of collaborative practices
- Merging different methods into one sculpture (technical + planned and intuitive)
- Benefits come when you take risks
- Working along together, both part has to be open for a change, leave room for autonomy, mutual respect of each other’s work, vulnerable + afraid to destroy what the other has made, interfere more in each other’s work
RAQS_
- Manual for documenting film-making: research is a second (unknown relationship to reality, double-take), correction to the 1st draft.
- What does it mean to re-write? Learning to read is how you see the world.
- Sometimes things in history don’t quite fit w memory and vice-versa. (ghosts)
- WHat is the presence of the past in the present? (Otsoshimi, Japan)
- How do you manifest something that exists.
- Workshop: memories that we remember that the other doesn’t (shiv)
- Movement: remembering + aid in forgetting what is remembered
- They start their work with how the space feels
- Experience of duration of time.
- Cinema as heterotopia? Place of memory, time capsule.
- Arkivering: the not knowing produces the conditions of the artwork.
- Check out ‘A letter to Amalia Jyran who will be fifty four in 2061 CE’ essay (on ownership and time)
- ‘At the grave of the unknown solider’ placing a flower on a grave to establish a time connection. First world war never ended (battles of 1st world war are still ‘happening’ in the same locations)
- Artistic research: get haunted by answers you receive, get answers then more questions
- Coronation park, 2015 (essay by?)
- The double-act of flower-time- eternal in the compassion that it evokes, an expression of Affect.
- Acupuncture practice - touch a nerve and effect is felt elsewhere.
- Their associative environment sustains the collective question
- Kept alive with massive disagreements
- Not division of labour as a form of living together (although not started with that)
- There’s an interview on how they work together on their website
- Trained in documentary film-making
- Coming from Delhi with these histories helped them to formulate questions for 22nd july (so their context
- Cyclical nature of gentrification?
- degradation - lack of basis services, exchange value of homes decrease
- increase in price- investments injects capital into properties (long-term investments), renew area’s æsthetic prompting new face for neighbourhood (modernization process?)
- expulsion
- commercialisation (becomes exclusive, gentrification is said to have cleared streets, forgetting origins...)
- grønland- soup + conversation nordic black
- way to document, way to log your research (notes, pictures, etc..). have to keep the materiality of experiences.
- art used towards enquiry
1. site-specific enquiry
- sites=living archives (methods: walking, mapping, tracing)
- intuitive fieldwork creates research question
2. Memory work (feminist + historical practice theory)
- embodied techniques (performative gestures, voice + drawing)
- these actions create a bridge b/w past + present, b/w invisible + intangible.
- this is the response to the intuitive fieldwork and space which makes difference b/w academia + artistic research
3. autobiographical + anthropological methods
- includes the ‘tools’ of each (anthropological tools=interviews, etc..)
4. Material Practices
- drawing, writing + collecting= conceptual tools + artistic forms
- based on all the previous steps
- the work ‘dictates’ the form of collecting + archiving
5. Relational + participatory strategies
- this is what often shifts the direction of the work
- workshops, participatory walks, etc.. this is always there, not always shown in pieces.
- map out who you’re talking to, collaborating with, interacting with (who goes in the credits is a negociation too)
6. ethical grounding
- relational commitment: accountable for how spaces + stories are represented (for me: add dialogue facilitation)
7. Iterative Process+ Open forms
- cycles of making, showing then re-making,
- not secondary outputs but active containers of knowledge
8. Public space is the research field: context + subject of research. (monuments: as a lens for community + space around memories, social sculpture)
9. Accessiblity + Access: not just practical but also conceptual + ethical. different levels of access is maybe more related to ‘reach’ of work (specific public but open to all)
10. Outcome
- practice-based research
- academic-based research
- research is part of artistic practice
- artistic research: questions might change.
- cartography of artists working with gentrification
- key artistic references on gentrification
- the gentrification timeline - the spanish case
CLICK FOR LINK TO ARTISTIC RESEARCH ASSIGNEMENT 2