| 1. |
|
|
| 2. |
- Bowman, Jason E., 1967
(författare)
-
PARSE Journal Issue #2 The Value of Contemporary Art
- 2015
-
Ingår i: http://www.parsejournal.com/issue/2. - Göteborg : University of Gothenburg. - 2002-0953. ; 1:2
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- With Professor Andrea Phillips (University of Gothenburg) and Dr. Suhail Malik (Goldsmiths, University of London) , I co-edited the second edition of the peer-reviewed PARSE (Platform for Artistic Research Sweden) Journal. This edition dealt specifically with questions of value in contemporary art and included a total of 11 peer reviewed contributions.
|
|
| 3. |
|
|
| 4. |
- Wilson, Mick, 1964
(författare)
-
White Mythologies and Epistemic Refusals: Teaching Artistic Research Through Institutional Conflict
- 2020
-
Ingår i: Teaching Artistic Research: Conversations Across Cultures. - Berlin : De Gruyter. - 3110662396
-
Bokkapitel (refereegranskat)abstract
- This essay outlines a heuristic model of a teaching practice that attempts to operate within the fundamentally contested field of artistic research by exploring the terms and processes of conflicted institutional practices and rhetorics. Taking account of the different ways in which artistic research has become a highly visible moment of institutional conflict, this paper outlines an approach to teaching early-stage researchers through active processes of knowledge conflict. The model outlined here proposes a group process by which fault-lines of conflict and disagreement may be thematized and operationalized within a teaching praxis. The provisional model being proposed is based upon concrete experiment and application over the last decade in a range of formal and informal educational settings.
|
|
| 5. |
- Orru, Anna Maria, 1976, et al.
(författare)
-
AHA! festival 2016
- 2016
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- For the third year, the AHA festival investigates the meeting between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture and the Department of Physics. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about exploring the world through art and science. We invite scientists (physicists, historians, astronomers, engineers), artists (dancers, musicians, painters, poets, acrobats) who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.The first year’s theme ’Embodiment’ (2014) explored the body as our anchor in the world, followed by the 2015 theme on ’Numbers’, a delightful net we cast over the world. This year's theme is ’Uni-verse,’ again a natural consequence of our interest in the relation between art and science. The elemental force that drives science as well as art is curiosity. Come be curious with us! During the festival we have chosen to divide the word universe into three: uni and "-" and verse. Uni means that something is combined into a whole. Verse means that we are turned in a direction, the origin of the word tells us that it is the plow that turns at the end of the field. And the dash "-" is all the spaces and cracks where new discoveries can grow. Art and science unfolds in the gap between what we know and what we want to know.
|
|
| 6. |
- Gunve, Fredric, et al.
(författare)
-
Madness and The Bastard in Motion: Learning/Teaching through Performance Studies (in Tilburg)
- 2015
-
Ingår i: 7th Teachers' Academy 2015 ENACT: learning in/through the Arts Tilburg, The Netherlands.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This paper performs a dialogue/an encounter between Madness (or the false mad Demidamia from the opera La Finta Pazza performed in Venice in 1641) and the Bastard (the illegitimate love child of arts, performance and education). Entangled they move through time, talking, confronting, shaping and diffracting a non‐existing form. Their method is about diffracting every inch of their journey. Meeting obstacles, facing resistance, walking into bubbles of flair and comfort, stepping into dilemmas and borderlands. Continuously asking themselves: What happens in the microscopic moment? When no/thing could even be imagined. On their way they challenge both time and existence. Learning through teaching through learning. Their journey is an ornamenting becoming in itself. It is an example of mattering as in meaning-‐making and knowledge processing, based on a performance of the indeterminable and affinity. The outcome in the performative encounter in itself – a potential model for teaching and learning in higher arts education.
|
|
| 7. |
|
|
| 8. |
- Chavarria Aldrete, Bertrand
(författare)
-
Unveiling the invisible : Documentary film
- 2022
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Unveiling the invisible (2022) is a short film about the Artistic Research project by Bertrand Chavarría-Aldrete, PhD candidate at Lund University in the form of a workshop for the blind and visually impaired.
|
|
| 9. |
-
In the archival multiverse, the blubber decays but the fever increases. : A contribution to VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden. Under the "Archives and Witnessing" section of the conference. Moderated by Åsa Sonjasdotter
- 2021
-
Konstnärligt arbete (film/video) (refereegranskat)abstract
- The presented work is composed by Marc Johnson — a memory worker — who is currently a Ph.D. candidate in performative and media-based practices at the Stockholm University of the Arts. The shared perspectives are engaging issues of violence from the center of an artistic practice-based research focused on archival practices and concerned with how a documentary heritage circulates, is formed, debated, shared, and re-interpreted.The lecture-performance starts by considering the “Rights of Nature” — from recent environmental litigations in Aotearoa (New Zealand), Bolivia, and Ecuador — which focus on the idea of legal standing. What does it take to enforce the legal personhood of a river or other natural entities?Marc Johnson investigates and reflects on some ways to deal with representations of murdered bodies — human and more-than-human (cellular life forms) — without replicating historical patterns of abuse? Under what conditions shall these documents, artifacts, or, images be seen?Marc Johnson collaborates with Hitomi Ohki 大木瞳 — Soprano singer — to expose how polyphony[1] and counterpoint[2] applied to cinema can be used practically to navigate the uncertain archive(s) of violence studies.Marc Johnson addresses the dynamics of archival silences[3] and archival amnesty[4] as an important reminder of the ways in which violence — despite its presence in the everyday life of most people mainly through paper-based, and online news media (including social networks) — can also be deeply buried and invisible through institutional and corporate powers and other means; nonetheless impacting the lives of ordinary people (as opposed to powerful people, military, political and business leaders).The proposal does not intend to resolve; but rather to expose and to put oneself in the presence of using the means of montage.Skepsis is the deployed strategy throughout the duration of the time-based work as defined by Jacques Derrida as a “vigilance, and attention of the gaze during an examination. […] One is on the lookout, one reflects upon what one sees, reflects what one sees by delaying the moment of conclusion.”[5] [1] A process of combining two or more voices so that they harmonize with each other but maintain their individuality.[2] A process of adding one or more melodies as an accompaniment to a given melody according to certain fixed rules; a composition in which melodies are thus combined.[3] Rodney G. S. Carter, “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence,” Archivaria, September 25, 2006, 215–33.[4] Tonia Sutherland, “Archival Amnesty: In Search of Black American Transitional and Restorative Justice,” ed. Michelle Caswell, Ricardo Punzalan, and T-Kay Sangwand, Journal of Critical Library and Information Studies, Critical Archival Studies, 1, no. 2 (2017): 1–23, https://doi.org/10.24242/jclis.v1i2.42.[5] Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 1993).
|
|
| 10. |
- Kular, Onkar
(författare)
-
Luleå Biennial 2022, Craft & Art - Learning Room
- 2022
-
Ingår i: Galleri Syster, IASPIS - Stockholm, Rajalla - På Gränsen, European Festival of the Night - Korpilombolo, Havremagasinet Länskonsthall.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Luleå Biennial 2022, Craft & Art, hosted by Konstfrämjandet (The Peoples Movement for Art Promotion) Norrbotten, took place place throughout the region from October 15, 2022 – January 15, 2023. The artistic directors for the 2022 biennale, Onkar Kular and Christina Zetterlund expanded its contemporary art remit to include crafts of many types, from everyday handicraft to Sami duodji and aimed to sustainably represent the richness of creative activity of Norrbotten and beyond. Recognising the expansive geography of Norrbotten, the Learning Room (extensive three month) programme of workshops, making circles, seminars, performances and talks allowed guests to access the biennial digitally through the biennial website. As well as scheduled film screenings, events through the Learning Room included making circles with Anna-Stina Svakko at Galleri Syster and Tekeste Solomon Gebremariam at the European Festival of the Night, Weaving circles led by textile artist Ida Isak Westerberg and Norrbotten’s Crafts Advisor, a workshop for youth organised in collaboration with KUBN in Haparanda, The Knowledge House for Craft hosted with Garland Magazine and Weaving Kiosk by Rosa Tolnov Clausen in collaboration with Haparanda municipality’s cultural department, Aine Art Museum and Resurscentrum för konst Norrbotten. The Learning Room had a physical stage at Galleri Syster and Havremagasinet Länskonsthall Boden for in-person events and the live broadcasting of a selection of activities from the biennial programme. Throughout the biennial the Learning Room screened loaned and commissioned films by filmmaker Karl-Oskar Gustafsson, the first Gulahallan ja birgen produced by Luleå Biennial in collaboration with Berit Kristine Andersen Guvsám, Gunvor Guttorm and Laila Susanna Kuhmunen and Good luck with your car produced by Luleå Biennial in collaboration with Region Norrbotten's Craft and Design Consultant. Loaned films included, Duoji máttut—Vætnoen maadtoe—Duoje máddoinformation and A conversation about leather tanning produced by Sameslöjdstiftelsen Sámi Duodji.
|
|
