This special issue is the result of two processes that approach artistic research from the domains of artistic practice in film and its implications for research in film education institutions. The first part of the editorial describes the impetus for the conference Transversal Entanglement - Artistic Research in Film organized and hosted by the Institute for Artistic Research IKF1 at Film University Babelsberg, with considerable support from GEECT2, which took place from 3-5 June 2021 - on site and online. The second was through an open call for papers on the topic of artistic research in film and audiovisual media which aimed to augment and expand the scope of the submissions generated from the conference.

Read the issue here.

MA David Hilmer Rex will be defending the dissertation Artistic practice and systems change: A mission-oriented sector of art

The dissertation will be available for reading in a digital version before the defence following a statement from the borrower promising to delete the file afterwards. If you wish to read the dissertation please contact David Hilmer Rex at dhr@cc.au.dk.

The defence is scheduled for three hours and is open to the public. All are welcome.

October 7th, 1pm-4pm @ Aquaporin, Nymøllevej 78, 2800 Kongens Lyngby

What does it mean to invite people who have not chosen dance as their profession, people we call children, young people, and others, to meet in the choreographic process? To dance, to perform, to choreograph together? What could it mean? 

Taking Laura Navndrup Black’s Artistic Research project "Imagining the imagination of the Other" as a starting point, this four-day symposium invites participants to (re-)approach the idea of access within the field of participation and choreography. 

The symposium emphasises shared practical speculation and requires every participant to take part in all sessions. The programme alters between workshops and presentations and concludes with a collective reflection session facilitated by Lisa Nyberg (SE).

Solveig Styve Holte (NO), Alice Chauchat (FR/G), Gillie Kleiman (UK), Deborah Macedo (BRA) and Laura Navndrup Black (DK) will share selected aspects of their work and research through practice, discussions and presentations. Together we will think up ways to meet across, dive into or move beyond difference.

October 12th-15th @ The Danish National School of Performing Arts

I forbindelse med Copenhagen Architechture Festival 2022, som i år har temaet ”Stedsans”, inviterer Kunsthal Charlottenborg til kuratorisk talk om ’Sence of Place’ i samtidskunstudstillingen. Den lituanske kurator Raimundas Malašauskas, et af helt store navne på den internationale kunstscene, fortæller om sine kuratoriske eksperimenter. Kunsthal Charlottenborgs kurator Henriette Bretton- Meyer og kurator Charlotte Sprogøe, der kuraterede kunsthallens off-site sommerudstilling Copenhagen fortæller om deres kuratoriske blik på hvordan kunsten i dag spiller sammen med de steder den indtager og den samtid den er en del af.

Arrangementet vil være gratis, og samtalen vil være på engelsk.

Onsdag den 5. oktober kl. 17-19 @ Charlottenborg Art Cinema

An Advanced Practices Programme Event in Collaboration with SixtyEight Art Institute

10 September 2022

LOCATION:School of Visual Arts, Royal Danish Academy of Fine Arts in the Hirschsprung auditoriet.

Peder Skrams Gade 2 opgang A, 3. sal. 
(please follow the signs posted outside the building)

SixtyEight Art Institute is pleased to announce a two-part talk/workshop event, ‘Absent Audience: Practising Terminology,’ organised in collaboration with The Advanced Practices programme at Goldsmiths, University of London, The International Center for Knowledge in the Arts and the Laboratory for Arts Research, The School of Visual Arts, Royal Danish Academy of Fine Arts.

The Absent Audience project emerged from the Practice Laboratory of the program. Led by group members, the talk presents the two years of collective research about the 2nd Johannesburg Biennale curated by Okwui Enwezor in 1997. The presentation digs into “diffractive case study” research, which as a notion and methodology, engages with the multiple and fragmentary knowledges of the event, using the latter as a portal to know adjacent, opaque, distant or parallel narratives that are potentially present in or around the event itself, but often repressed by dominant systems or mundane status quos.

The talk develops around a series of questions: What does it mean to be an audience of an event displaced from us (as potential publics) both geographically and temporally? How can we reactivate the forces of the event starting from the urgencies of our space and time? Can the terminology emerging from the research become a tool to disseminate and diffract the different trajectories and lines of flight from the event?

Schedule for this two-part event:

11.00 - 13.00: Joint the talk by the Advanced Practices Lab. 
Presented by: Anne Julie Arnfred (Roskilde University and Goldsmiths), Gema Darbo (Goldsmiths), Zoe Keller (Goldsmiths), Francesca Lazzarini(Goldsmiths), and Vaida Stepanovaite (Goldsmiths). This presentation will be followed by a talk by the visual artist and researcher Sarah Pierce. The closing discussion between all researchers will be moderated by artist Hugo Hopping(SixtyEight Art Institute). This talk is open to the general public and requires no reservations.

14.00 - 17.00: Workshop’ Practising Terminology.’ 
This joint workshop will be an opportunity to work directly with the organisers and researchers of the event. Considering the open-ended nature of the Absent Audience project, ‘Practising Terminology’ is a workshop that draws from the methodologies and notions presented during the talk to expand them with the participants. Through a diffractive approach and positioning ourselves as the absent audience of each other’s practices, the workshop involves the participants in a series of discursive activities articulated around a terminology graph produced in the Absent Audience project. The aim of ‘Practising Terminology' is twofold: on the one hand, it will make the methodologies available to the practitioners as tools for reflection on their own works. On the other hand, it proposes to share and expand the research knowledge through the participants’ multiple knowledges.

ON THE ORGANISATION OF THIS EVENT

Absent Audience: Practising Terminology is organised as a collaboration between the SixtyEight Art Institute and the Advanced Practices programme at Goldsmiths, University of London, to learn from the reciprocity of two entities immersed in questions of research-based knowledge and its publics in the cultural field. The ‘Absent Audience’ framework was first outlined as a two-day Goldsmiths virtual conference in June 2021, with keynote speakers Gabi Ngcobo and Sarah Pierce.

The event is made possible with the generous support of COST for Short Term Scientific Mission and the Department of Visual Cultures at Goldsmiths College, University of London, The International Center for Knowledge in the Arts and the Laboratory for Arts Research at the School of Visual Arts at the Royal Danish Academy of Fine Arts.

HOW TO PARTICIPATE IN THE WORKSHOP

This workshop is for artists, curators, and, more broadly, researchers in the cultural field interested in research-as-practice, exploring how to work with the idea of absent audiences and the diffractive case study in practice. We're looking to put together a dynamic group of workshop participants whose work and research will engage productively with the day's presentation. Therefore, seats are limited and available through an open call until 2 September 2022.Please send your name, affiliation, and a 150-word statement framing your research to info@sixtyeight.dk.

We will confirm your participation on or before 4 September.

Anne Julie Arnfred is a curator of visual art and PhD fellow at Roskilde University (2019-2022) & Visiting PhD fellow at Advanced Practices Goldsmiths (2019-2022). She received the Elite Research Travel Grant 2021 from the Danish Ministry of Higher Education and Science and has several years of experience as a curator at well-known Danish art institutions such as Nikolaj, Copenhagen Contemporary Art Center (2007 - 2016) and The Museum for Contemporary Art, Roskilde (2016 - 2017). Arnfred works in between various knowledge-based practices, questioning how we know, how we practise, and what we consider valuable to evaluate.

Gema Darbo is a curator and a researcher based in London. Her practice is informed by aspects of visual culture, digital humanities and the production of curatorial knowledge. As a researcher, she questions individuation in curatorial practices while exploring transdisciplinary, co-relational and collaborative modes of creation and transmission of knowledge. Darbo is co-initiator of Widephoto, a non-profit curatorial platform that led a series of initiatives for the exchange, learning and debate of contemporary photography in Barcelona. She is granted a curatorial residency in Spain institutionally supported by Matadero, Loop, and Fabra i Coats, where she is currently working on an exhibition that will take place at Center d'Arts Santa Mónica in September 2022.

Jiaying Gao is a fellow PhD student in the Advanced Practices programme at Goldsmiths University of London, UK. Her research investigates the intersection of the body perceptions and the archives, particularly within the frame of Dance museums. She has an extensive research experience in the fields of Chinese dance, as well as cultural and ethnic policies and their impact on social and economic development at local, national and international levels. Gao is currently undertaking a practice-based project that aims to extend and reflect the performativity of identities and affects in dance archives.

Zoe Keller is a researcher (Advanced Practices Goldsmiths - 2019-2022) and an assistant curator based in Geneva. Her research interests expand around matters of collections and archives and their multiple articulations between the poetic and the political. In the past years, she has been involved in different art institutions, such as HEAD-Geneva (University of Art and Design), MAMCO (Museum of Modern and Contemporary Art – Geneva), Le Centre de la Photographie Genève, and The Warburg Institute in London. She is currently leading a collaborative publication project with the artist Batia Suter using a found collection of ‘archetypal’ images.

Francesca Lazzarini is a curator of visual art. For her PhD in Advanced Practices at Goldsmith, London, she is looking at the post-photographic as a dynamic space to rethink ways of togetherness with and through images. Lazzarini worked for Fondazione Fotografia Modena (now FMAV) and its School for Advanced Studies from its initiation in 2007 until 2013. She has then undertaken an independent path orienting her curatorial practice toward long-term projects based on research, collaboration and experimentation. Among them: are POIUYT (2017 - ), Neuro-Revolution (2019-2020), Talking (about) Images (2018-2019), and Stories from the Edges (2015-2016). She directs the art residency program AiR Trieste which she founded in 2016.

Sarah Pierce is an artist based in Dublin. Since 2003, Pierce has used the term The Metropolitan Complex to describe her project, characterised by forms of gathering, both historical examples and those she initiates. The processes of research and presentation that she undertakes demonstrate a broad understanding of cultural work and a continual renegotiation of the terms for making art, the potential for dissent, and self-determination. Pierce is also a lecturer at the National College of Art & Design in Dublin where she teaches on the BA Visual Cultures and the MA/MFA Art in the Contemporary World. She holds a PhD in Curatorial Knowledge from Goldsmiths College and an MFA from the College of Architecture Art & Planning at Cornell University. She is a past participant of the Whitney Museum Independent Study Program in New York (1995), and is past Board member and Chair of Project Arts Centre in Dublin.

Vaida Stepanovaite is a curator of contemporary visual art and cultural and political discursive practices contextualised mainly within the histories and presences of the post-socialist region. Stepanovaite practices and writes through the problematics of self-organisational communal practices and questions of radical resistance, undertaking practice-based doctoral research at the Advanced Practices programme, Goldsmiths. She is a co-establisher of a publishing platform with a communal itch, Lost Property Press, under which she also is an Assistant Editor of an upcoming book “Paths to Autonomy” (ed. Noah Brehmer, Lost Property Press, Minor Compositions/Autonomedia, 2022). She is also the Editor-in-Chief of Artnews. Lt and Head of organisation.

SixtyEight Art Institute is an artistic/curatorial research organisation looking to uncover, develop, and further exchanges between artists and curators and their creative labour. Currently on view They Say We Are Seeking to Understand What's Been Going On with artists Anastasia Sosunova and Jeremiah Day, curated by Caterina Avataneo, and open until 20 August. This exhibition is the eighth instalment of our two-year programme of exhibitions, Memoirs of Saturn, kindly supported by the Danish Arts Foundation, Det Obelske Familiefond, Beckett-Fonden and Københavns Kommune Rådet for Visuel Kunst.

13 Sept. - 16 Sept. 2022

Place: Rhythmic Music Conservatory Copenhagen, Leo Mathisens Vej 1, 1437 Copenhagen

Organizer: Sound Studies Lab at Department Arts & Cultural Studies – in collaboration with the Rhythmic Music Conservatory Copenhagen and the Royal Academy of Fine Arts Copenhagen

Sounds are ever present: They continue to envelop and move through you and me in every single moment. But what agencies drive those sounds, what sort of personae are performed, in historical periods as well as today or in the near future? What social relations occur as a result of sound? And how might our embodied experiences and sensibilities create new bodies of knowledge?

To which forms of experiences with our bodies, with objects, within social relations and with peculiar situations and sensibilities might this lead? Which sonic fictions escort us and how do we listen with our sonic corpus?

In this four-day conference, researchers from the Sound Studies Lab at UCPH and international scholars such as Andrey Smirnov, Jordan Lacey, and artists like Niels Lynne Løkkegaard invite you to explore these questions of an anthropology of sound.

The conference includes keynote lectures by Salomé Voegelin and Dylan Robinson, research workshops by Jenny Gräf Sheppard, Ania Mauruschat, and Giada Dalla Bontà, sound works and performances as well as roundtable discussions that contribute to the work on an Encyclopedia of Sound Studies, currently conceived by Michael Bull, Holger Schulze, and Jennifer Stoever.

Join us, the Sound Studies Lab, into these sonic experiments of sensing and thinking.

Program and registration here.,

The Institute for Art Theory and Cultural Studies of the Academy of Fine Arts Vienna kindly invites you to the defense of Lisa Nyberg's dissertation project Pedagogies of the Unknown – Studying for a Future, Without Guarantees.

Date: Friday, June 10, 2022; 10am - 12pm

The event will take place online, please find link below.

This PhD project starts from the question: how can we study for a future unknown? In light of anthropogenic climate change, a global environmental crisis, and its destabilizing impact on social and economic systems, there is an urgency to examine how we relate to the future in our pedagogy; how we anticipate, imagine and prepare through our teaching and our studies. In the search of pedagogies that are open to not knowing – to contingency, unpredictability and change – the question arises: what could a pedagogy look like that supports our studies with and for the unknown?

Lisa Nyberg is a visual artist based in Malmö, Sweden. She explores the radical possibilities of pedagogy and performance through processes that involve collective, embodied, transgressive and critical practices. In her work, she examines cultural and educational canons from an intersectional feminist perspective. This means creating situations and structures where learning can take place, as well as intervening in existing structures and institutions. Nyberg’s work takes the form of self-organized spaces, institutional processes, workshops, performances, installations, books and sound pieces. Nyberg teaches regularly at art academies in the Nordic countries, such as The Royal Danish Academy of Fine Arts, The Danish National School of Performing Arts, Konstfack, Valand Art Academy, Malmö University and others.

Please find more info and zoom link here.

ARKEN og Det Kongelige Kunstakademis Billedkunstskoler inviterer til konferencen Rewilding the Museum. Konferencen fokuserer på museets rolle i den økologiske krise og finder sted på ARKEN og Det Kongelige Danske Kunstakademi i København fra d. 1-2. juni 2022. Sidste tilmeldingsfrist er 27. maj. 

Læs mere om programmet her:

Se program her

Se mere her

Just Do It – exploring the musician’s use of bodily performance

Accordeonisten Andreas Borregaard præsenterer her to solo performanceværker knyttet til hans ph.d.-projekt i kunstnerisk forskning ved Norges Musikkhøgskole. 

Projektet har titlen ”Just Do It – exploring the musician’s use of bodily performance” og afsluttes efter planen i november 2022.

 

PROGRAM

Louise Alenius/Andreas Borregaard: Relationer (2021) 

Philip Venables/Ted Huffman: My favourite piece is the Goldberg Variations (2021) 

HVOR & HVORNÅR

Torsdag d. 12 maj 2022, klokken 11.00-12.15

Studiescenen, Rosenørns Allè 22, Frb. C

Fri entre

 

OM VÆRKERNE

Louise Alenius/Andreas Borregaard: Relationer 

I dette værk opdages, undersøges, afprøves og afvises relationer. Mellem komponisten og musikeren, mellem musikeren og værket, mellem kroppen og instrumentet, mellem mennesket og dyret. 

Philip Venables/Ted Huffman: My favourite piece is the Goldberg Variations 

My favourite piece is the Goldberg Variations is based on interviews with Susanne Borregaard (mother of accordionist Andreas Borregaard) conducted during the summer lockdown of 2020.  

Andreas approached me about writing a piece involving extended performativity beyond simply playing the accordion. I was drawn to the idea of the accordionist as storyteller, almost in the troubadour sense. We met with writer Ted Huffman in Berlin to speak about Andreas’ own life and work, which in turn led to interviews with his mother over Skype.  

My work with Ted often uses verbatim text and this piece continues our exploration of queer histories. From this interview material, we formed eleven snapshots of a life over seven decades.  

Foto: Niels Borregaard/Pierre Martin

Søndag den 15/5, kl 14:00
Konservatoriets Koncertsal, Odeon

Odeons Kvarter 1, Odense C

Alt afhænger af øjnene der ser, siger man. Richard Andersson ser ingenting. Han er blind og har været det i mere end halvdelen af sit liv. I de første år efter han mistede synet var han stadig i stand til, at huske ansigter på sine kære, huske farver, visualisere motiver og genkalde billeder og situationer for sit indre blik. Men de indre billeder er falmet med tiden og der er sket en langsom transformation. For nu er farver blevet til lyde, former er blevet til rytmer, minder er blevet til musik. Nu afhænger alt af ørerne der hører.

Med U-synlig har Richard undersøgt hvad der sker når en visuel perception af et kunstværk sprogliggøres og ordene transformeres til musik. På baggrund af synstolkninger af billedkunstværker har han komponeret en række værker, der løfter ét menneskes beskrivelse af en sanseoplevelse ud af sproget og forvandler den til musik.

Foruden Richards egne kompositioner byder aftenens koncert også på musik af Richards studerende ved Syddansk Musikkonservatorium, der, ligesom Richard, har komponeret værker baseret på sproglige synstolkninger af billedkunst de ikke har set.

Medvirkende:

Richard Andersson, kontrabas
Nikolaj Bangsgaard, trommer
Laura Kjeldsen, tenorsaxofon
William Mannerland, kontrabas
Christoffer Beenfeldt Holgersen, piano
Sigvard Sejerø Madsen, altsaxofon
Toke Lynggaard Larsen, guitar

Fredag den 29/4, kl 14:00
Konservatoriets Koncertsal, Odeon

Odeons Kvarter 1, Odense C 

I KUV-projektet ”Veje til udvikling af den klassiske musikers fremtidige scene” tilføjer Arne Balk-Møller, via afkodende ”læsninger” af underliggende lag i instrumentalmusik, klassiske instrumentalværker dramaturgiske elementer, som fx musikerens egne ord som digt-citater, ligesom han også undersøger det nære slægtskab mellem musik og dans i afdækningen af musikkens iboende bevægelser og på baggrund heraf udvikler metoder til at koreografere musikerperformance i koncertsituationer. ”Andantino som kammerspil” er et eksempel på de kunstneriske udtryk, der skabes i projektet.

Musik af F. Schubert

Medvirkende:
Klaver: Karin Viktoria Jacobsson
Kontrabas: Thora Jaeger
Sang: Leander Christian Nybo
Violin: Arne Balk-Møller

Indstudering: Mette Borg
Koreografi: Vidar Hansen
Lys: Peter Hellsøe

Benspændet er det bevidst besværlige, det selvvalgte og det påførte. Det er muligheder og det er begrænsninger. I denne podcastserie taler Christina Holm Dahl med musikere (og et par andre), som fascineres af benspændet og den indbyggede kompleksitet. Samtalerne er en del a Christinas KUV-projekt "Benspændets kunstneriske potentiale", som der kan læses mere om her:

https://www.sdmk.dk/udviklingsvirksomhed/kuv-benspaendets-kunstneriske-potentiale

Første samtale er med organist og kantor Lars Nielsen Sardemann om hans projekt KorImpro, hvor kirkemusikken og kirkekorsangerens traditionelle rolle udfordres.
https://podcasts.apple.com/dk/podcast/1-bensp%C3%A6ndets-kunstneriske-potentiale-lars-nielsen/id1275777203?i=1000558010637

Anden samtale er med dramaturg Ursula Wyller, som er instruktør for Boreas Korteater. Korteater Boreas arbejder med en kombination af kor og teaterarbejde og ofte i tæt fysisk kontakt. Under corona perioden blev dette et altgennemtrængende benspænd, som Ursula og Korteater Boreas formåede at vende til en kunstnerisk undersøgelse, dog ikke uden store udfordringer.

https://podcasts.apple.com/dk/podcast/2-bensp%C3%A6ndets-kunstneriske-potentiale-ursula-wyller/id1275777203?i=1000558711846

RMC byder på tre dage med oplæg, performances, koncerter og panelsamtaler under vidensfestivalen i april.

Er du nysgerrig på, hvordan forskning foregår på Rytmisk Musikkonservatorium (RMC), så kan du opleve en række forskende kunstnere fortælle (og spille), når den landsdækkende vidensfestival Forskningens Døgn traditionen tro løber af stablen den sidste uge i april.

Oplæg, performances, koncerter og panelsamtaler er fordelt over tre dage på RMC:

Fredag 22. april et heldagsseminar, med dels en række præsentationer af succesfulde nye samarbejder mellem kunstnere og forskere, og dels en dybdegående og undersøgende session om improvisation og fællesskaber.

Onsdag 27. april og torsdag 28. april to eftermiddage, hvor fem studerende fra RMC's solistuddannelser inviterer publikum med ind i deres praksisbaserede research-projekter.

Se meget mere om programmet for arrangementerne på RMC herunder - og klik her for mere om Forskningens Døgn.

Det Jyske Musikkonservatorium inviterer til seminar. På seminaret præsenterer konservatoriets undervisere deres forsknings- og udviklingsprojekter i tale, lyd og billede. De mundtlige oplæg fortæller om musikalske samarbejder og samskabelse på tværs af genrer og fag. Projekterne præsenteret i posterform giver et indblik i så forskellige emner som multikanalsteater, imaginære soundtracks, lykkebækkener, skabende dirigenter og musik for multiple strengeinstrumenter. Seminaret præsenterer desuden to kunstneriske indslag.

Fredag d. 29. april 2022, kl. 14:00-16:40

Se mere her: https://musikkons.dk/det-laver-vi-ogsaa/forskning-og-udvikling/rama-research/djm-forskningsseminar-2022/

The conference Connect/Cut explores the infrastructures that mediate space, time, visibility, and access in the arts and beyond.

Registration is now open for the conference “Connect/Cut. Infrastructures and Collective Activity” at University of Copenhagen South Campus on April 6-8. Please register now to join three days of sharing, discussing, and critical thinking about the conditions of doing things together. Keynote speakers: Siegfried Zielinski, Carolina Rito and Shannon Mattern.

If artworks come about through collective activity within “art worlds”, as American sociologist Howard Becker describes, this means that the production, reception, and distribution of any form of art is (also) a matter of social concern connected very concretely to the sensuous realities of everybody. With ongoing discussions on the need for rethinking the protocols and classifications regulating museums, (digital) archives, collections, and public spaces to better reflect the concerns of diverse populations, this focus on art as a social, material and foremost collective activity, is as urgent now as in 1982. This conference insists on the importance of ongoing interdisciplinary discussions of how such activity is imbricated in spatial, temporal, formal and distributive networks that can all be analyzed under the heading of infrastructure.

Read more about the conference.

Christian Danielewitz

Hidden Flow: Artistic Research on the Frontlines of Extraction

Time:	Friday the 8.th of April 2022 1pmDoors will be closed precisely at 1pm.
Place:	Kunstakademiet – Auditoriet HirschsprungPeder Skramsgade 2, Opg. A, 3. salVIA ELEVATOR PRESS 3B
Assessment committee:	Professor Holger Schulze (Chair)Copenhagen University
	Professor Eleanor Carpenter,Umeå University
	Associate professor Jacob Lund,Aarhus University
Head of defense:	Professor Isak Winkel Holm,Copenhagen University
Copy of the thesis will be available at the Royal Library’s faculty library, the Black Diamond and by emailingmaibritt.borgen@kunstakademiet.dk

Summary

This dissertation discusses two different art projects and the theory, methodology, and fieldwork that have shaped and informed them. Both projects revolve around the socioenvironmental damage caused by the extraction of some of the minerals which are most essential to contemporary society: rare earth elements (used in electronics) and phosphate (primarily used in agricultural fertilizers). The mining of these minerals is a notoriously toxic enterprise. Thus, the extraction predominantly takes place in locations populated by marginalized groups and ethnic minorities – far from the affluent Global North. Taking both material witness (such as irradiated photographic negatives) and environmental discourses/activism as strategies, the dissertation discusses how fieldwork-based artistic research can materialize and articulate elusive and pervasive forms of toxic pollution in key mining zones. The primary sites in question are the radioactive mineral waste deposit Weikuang Dam in Inner Mongolia, China, and the contaminated village Gad Gomene in western Senegal. The dissertation’s main proposition is that the primacy of fieldwork as an artistic research methodology is the shift in perspective from an external and somewhat detached vantage point to an internal position that engenders a much more intimate knowledge and connection with ecologies, agencies, and people. Fieldwork is thus driven by a hands-on investigation of the hidden flow (i.e. toxic drifts) from within the damaged environments of extraction and waste. However, the dissertation also makes the case that fieldwork is to a large degree informed and shaped by local knowledge and observations. Thus, undertaking fieldwork means to share agency with those who live in the toxic environments, and to include in our deliberations and institutions the voices of people whose perspectives are too often excluded. Moreover, the dissertation discusses how my fieldwork is engaged with various philosophical and theoretical ideas in a continuous dialogue, which produces both operative and discursive terms with which to think through the entanglement of materialities: the mineral-machine feedback loop and the map-territory assemblage are two key terms developed during this PhD research project, which are applied in both my fieldwork and my exhibition-making. 

The seminar On Curating: Location as Co-Curator presents international curators working with experimental curating using location in new ways.  

Speakers 

LA-based American curator Neville Wakefield, exploring the ways in which art behaves outside of institutional contexts, and director of location specific projects Elevation in the Swiss Alps and Dessert X in the in the Southern California desert and Saudi Arabia.  

French curator Rebecca Lamarche-Vadel, director at Lafayette Anticipations in Paris and previously curator at RIBOCA2 & Palais de Tokyo, exploring the exhibition as experimental form and live formats. 

Professor at the Sculpture School Simon Dybbroe Møller presents AYE-AYE, an independently programmed micro-institution within the institution O-Overgaden, and his KUV research project First There Was Light. 

Program for March 25^th Festsalen 1 – 4 pm. 

1: Welcome by moderator Charlotte Sprogøe, researcher at The Royal Academy.

Presentation of the speakers and the overall theme Location as Co-Curator.

1.10 pm: Curator Neville Wakefield presenting his curatorial projects. Q & A. 

2 pm: Curator and Director Rebecca Lamarche-Vadel presenting her curatorial work. Q & A. 

Short break 

3: pm Artist and Professor Simon Dybbroe Møller presenting his research and curatorial work.  

3:45 pm Round up dialogue in the room. 

The afternoon will end with a book-release for a new publication by curator Charlotte Sprogøe published by Billedkunstskolernes forlag with the title Curating Intensities – Attitude, Tonalities and Dreams, on curating as lucid dreams and new approaches to location in contemporary exhibition projects. The publication can be purchased on the day for the amount of 100 Dkkr. 

The talks on the day will be held in English, with presenters on zoom and others present in the room 

SEMINAR SERIES ON CURATING AND SITE 

The symposium is the second in a series of three KUV research-based international seminars on contemporary curating, location and context. The third seminar is set to take place in October 2022. 

The seminar is a part of the KUV research project ‘Site Uncertain: New ways of understanding site specificity’ and hosted by the Site Lab at The Royal Academy. ´Site Uncertain’ is research project focusing on a contemporary revised idea of the site-specific. Combining artistic, curatorial and educational perspectives, ‘Site Uncertain’ explores contemporary understandings of the site-specific as well as practices and strategies relating to context in off-site exhibitions. The project is led by a curator and Ph.D. fellow and curator Charlotte Sprogøe, in collaboration with artist and curator Carla Zaccagnini, professor at the School of Conceptual and Contextual Practices, who is leading the development of the prototype laboratory ‘Site Lab’ together with artist and teaching assistant Lea Anić. 

Image: Doug Aitken ‘Mirage Gstaad’, 2019  from ELEVATION 1049: Frequencies

Torsdag den 17. marts kl.17-18 præsenterer Toke Møldrup og Christian Westergaard deres KUV projekt: Fra specialisering til almen praksis – HIPP i moderne opførelsespraksis ved et koncertforedrag på Studiescenen, Rosenørns Allé 22, 1970 Frederiksberg C. Projektet er gennemført med støtte fra Kulturministeriets pulje for KUV.

Læs mere her: https://www.dkdm.dk/da/event/koncertforedrag-med-toke-moeldrup-og-christian-westergaard

The presentation will be in Danish, but a video will be available on the RDAM website in a version texted in English from April 25^th

AMBISONIC NIGHTS #3, February 25th, kl 17-19 @ the Sound Lab
The Royal Danish Academy of Fine Arts, Kongens Nytorv 1, Entrance E, at the bottom of the Italian Stairs

By Jenny Gräf Sheppard, Stephen McEvoy

This is an open-house event featuring the newly installed Ambisonics chamber at the Laboratory for Sound.
The Ambisonics chamber is a space for experiencing 3D sound. Audience members are invited to experience excerpts from spatial sound works created by the Ambisonics Research group.

The Sonic Orientations project deals with Ambisonics and its implications for the listening subject in sound, VR and other Media Art formats. By exploring this immersive sound technology and associated practices from a theoretical perspective, the aim is to sound out new perspectives on subjectivity, agency and narrative. The project activity includes Sonic Orientations Ambisonics Research (SOAR) group activity, teaching, public talks and exhibitions that support international dialogue and establish the space as a site for research on immersive sound in Media Art.

The Ambisonics format evades our conventional notions of space, physics and directionality. It has the potential to upend subject-object relations, offering a completely new way of entering into time-based narrative in Media. The technology and physics that are behind Ambisonics subverts conventional notions of a sound source, in that the multiple speakers involved interact in ways, and in that interaction, the illusion of spatial sound is created. Therefore it is a dynamic between sound fields that produces a sense of sound, directionality, of sounds of space. For this reason, the study of Ambisonics is a ripe area for exploring themes of New Materialist intra-action and entangled agencies.

The project Sonic Orientations is funded through a KUV grant for artistic research from the Danish Ministry of Culture.

In this ninth edition of ANMAtalks, we give the floor to Thor Madsen who will present his artistic research project Performance Machine. Thor is a guitarist and teacher at the Danish National Academy of Music. 

The session takes place on Friday the 25th of February from 10-10:45 CET on zoom. 

In Performance Machine, Thor Madsen investigates interactions between human and computer with the aim of developing a new kind of solo performance where human and computer are in dialogue with each other. The music that is played affects the computer’s output which then affects what is being played etc. A feedback loop is created between human and computer which is the foundation of their interaction. 

In this process a number of interesting questions arise:

What is meaningful feedback? What happens with the guitar playing when the guitar simultaneously becomes the instrument and controller? How does it affect the guitar playing that the reaktion from the computer has to be achieved through playing rather than triggered by a button? Can some of the rules for the interaction between human and computer be transferred to the communication between people? And can we gain more knowledge about how people interact musically through this process? 

Join the presentation and find out! 

ANMAtalks is an initiative for sharing knowledge between students, staff, and management of the Nordic and Baltic academies for higher music education and anyone else who might be interested. ANMAtalks is initiated by the ANMA ExCom and is being developed by Keld Hosbond (Vice Principal at RAMA) and Camilla Overgaard (Project Coordinator of ANMA talks).  

Save the date and join ANMAtalks!

Register here to receive the zoom link.

Would you like to know more about ANMAtalks?

Contact:

Project Coordinator

Camilla Overgaard

anmatalks@gmail.com

I 12 Musicians from Another Place undersøger musiker og komponist Thommy Andersson, hvordan en dybere indsigt i musikeres kulturelle og musikalske mangfoldighed kan danne grundlag for en ny tilgang for komponisten til kompositionsprocessen. Baseret på 12 musikers musikalske mangfoldighed og kulturelle baggrund, formuleres og testes strategiske modeller for udvikling af transparente genrenneutrale værker og samarbejder gennem dialogiske kunstneriske eksperimenter.

Samtale er hjørnesten i udviklingen af ​​musik i dette projekt. Den ikke-kontrollerende fænomenologiske samtale, hvor alt er relevant og interessant for alle parter.

Hvordan kan vi som komponister bruge vores erfaring, hvor vi også frigiver oplevelsen i den kreative proces?

Virker vores metoder?

Hvad er komponistens egentlige rolle?

Projektet har udviklet en række modeller og metoder til videre undersøgelse, samt en enkeltstående dokumentar, der kaster lys over projektets mangfoldighed.

Projektet kan også være en del af en bredere international indsats for at beskrive og udforske de relativt nye tendenser blandt levende komponister, der arbejder gennemsigtigt med musikskabelse på et genrenutralt niveau. Her er notation, orkestrering, fysisk placering, skabelse af blanding i sig selv naturlige grundelementer, der er forankret i kunstnerisk praksis, mens den miljømæssigt relaterede mangfoldighed er et overset aspekt af skabelsesprocesserne.

Det vil være muligt at opleve præsentationen ved følgende begivenheder:

ESBJERG, KONSERVATORIETS KONCERTSAL, SDMK, KIRKEGADE 61
22/11 kl. 12:00 – 16:00 Åben lytning // Live session
23/11 kl. 12:00 – 16:00 Åben lytning // Live session
24/11 kl. 10:00 – 14:00 Åben lytning // Live session
24/11 kl. 18:30 Projektpræsentation, Filmvisning og debat
24/11 kl. 20:00 Koncert

ODENSE, KONSERVATORIETS KONCERTSAL, SDMK, ODEON, ODEONS KVARTER 1
25/11 kl. 18:30 Projektpræsentation, Filmvisning og debat
25/11 kl. 20:00 Koncert

KØBENHAVN, KONCERTKIRKEN, BLÅGÅRDS PLADS
26/11 kl. 19:00 Projektpræsentation, Filmvisning og debat
26/11 kl. 20:30 Koncert

Du kan læse meget mere om ”12 Musicians from Another Place” her:
https://www.sdmk.dk/udviklingsvirksomhed/kuv-12-musicians-from-another-place-part-2

Celloprofessor ved Det Jyske Musikkonservatorium Henrik Brendstrup afslutter sit kunstneriske udviklingsprojekt ”In dialogue with Bach” med en offentlig præsentation af projektet onsdag d. 6. oktober kl. 19.00 i Kammermusiksalen, Musikhuset Aarhus.

Alle interesserede er velkomne.

Ved præsentationen fortæller Brendstrup om projektet og viser bl.a. videoklip fra arbejdet. Som ekstern moderator medvirker den internationalt berømte finske cellist Anssi Karttunen.

Tredobbelt dialog med Bach

Bachs seks cellosuiter er helt centrale værker i cellolitteraturen. Med udgangspunkt i disse suiter for solocello undersøger projektet arbejdsformen ”dialogisk komposition”, idet Brendstrup har inviteret seks nutidige komponister til hver at skrive et nyt værk for solocello, baseret på én af de originale seks suiter af Bach og i tæt samarbejde med ham selv og hans studerende.

Gennem projektet er der opstået en dialog mellem Bach og de nutidige komponister, mellem udøver og komponist i skabelsen af det nye værk, og en refleksion i forbindelse med tilbagevenden til den gamle musik, nu i nyt perspektiv.

Ud over dialog mellem tidsepoker repræsenterer projektet også en dialog mellem stilarter, idet to af komponisterne (Erik Ørum von Spreckelsen og Kasper Bai) har rod i den rytmiske musik. De øvrige fire er studerende i klassisk komposition, dels ved Det Jyske Musikkonservatorium (Monika Szpyrka og Pawel Malinowski), dels ved Norges Musikhøjskole (musikkonservatoriet i Oslo) (Elias Nurmi og Astrid Solberg). Komponisterne har fået helt frie hænder i forhold til hvordan de vil knytte an til det oprindelige værk.

Dialog mellem komponister og udøvere

Det Jyske Musikkonservatoriums cellostuderende har i forbindelse med projektet intensiveret arbejdet med Bachs oprindelige suiter. Desuden er de blevet præsenteret for de nye værker allerede på skitseplan og er herved blevet introduceret til nye spillemåder og teknikker, og de har bidraget til den skabende proces ved workshops med komponisterne. På denne måde er både de studerende og Brendstrup medskabere af den ny musik.

Slutproduktet er seks nye værker, der dels kan indgå i det moderne repertoire for cellister, dels kan bruges generelt som teknisk grundlag for indstudering af samtidsmusik. En præsentation af et udvalg af værkerne kan findes her.

Kunstnerisk Udvikling

Alle fastansatte ved konservatorierne kan arbejde med kunstneriske eller pædagogiske udviklingsprojekter. Herigennem sikres en løbende udvikling af såvel kunstneriske som pædagogiske redskaber og indsigter og dermed det videngrundlag, som uddannelserne hviler på.

Moderator ved Henriks Brendstrups fremlæggelse af sit udviklingsprojekt er som nævnt den finske cellist Anssi Karttunen. Karttunen har omfattende erfaring som solist og kammermusiker og er ikke mindst kendt for sit arbejde med ny musik, bl.a. har han spillet over 170 verdenspremierer. Desuden har Karttunen arbejdet specifikt med at bringe unge komponister og udøvende sammen, et projekt han har udviklet i samarbejde med komponisterne Kaija Saariaho og Magnus Lindberg

Call for projects | Deadline 24 October 2021
Ignorance is Strength? Artistic Expression and Biopower in the Post/Pandemic Age

The European Alliance of Academies launches this call for projects on the topic of biopolitics, exploring the relation between governments and their citizens, especially in the context of the (post)pandemic crisis. The call aims to challenge contemporary artists to reflect on their own practices in the aftermath of the COVID-19 pandemic, and in the wake of ongoing societal and political shifts.

We invite proposals from artists whose works grapples with aspects of critical cultural research, especially on social and political issues furthered by the current pandemic. Participating artists may consider Michel Foucault’s concepts of biopolitics and biopower in explorations on social inequality, the impact of digital media on individuals and communities, the advent of the so-called fake-news and growing distrust in state governments. How did the pandemics underline the systemic flaws in contemporary societies and what other opportunities of change are there to be considered?

Proposals should entail interdisciplinary research based on innovative methods and strategies in the digital/technological sphere and delve into the different aspects of transformative and reflective artmaking. Taking into consideration recent studies on the far-reaching negative effects of COVID-19 on women across domains—from gendered divisions of labour to economic stability- proposals focusing on gender inequality are encouraged. See more

The resulting exhibitions, talks, residencies and events will further focus on how artistic creation in Europe was affected by the pandemic in the largely different contexts across the continent. How do various art systems adapt to social distancing, lockdowns, political tensions, and interrupted activity? How should we act on the principles of participation and cultural exchanges in a time of crisis and how do we redefine a new space for artistic creation beyond geopolitical borders? Artists are encouraged to critically engage in transnational dialogues on the status-quo of artistic labour, society and the international art-scene.

Together, we seek solutions and new opportunities for the art sector, exploring the potential of trans-European collaboration in the post/pandemic age.

Conditions
The European Alliance of Academies can fund each artistic project selected up to 5,000 euros plus a lump sump for material and production, relative to the artistic discipline.

Target Group
The call for projects is directed at artists and students from all artistic disciplines who are represented by the institutions and academies of the European Alliance of Academies. In order to foster European artistic co-creation, applications from artistic duos or groups from different countries of the European Union will be viewed favourably.

Format | Digital & Analogue
The selected artists will be invited to create an artwork in their preferred artistic discipline, but mainly in a digital format, based on the concept of the project and using artistic research methodology. Artistic research will take the form of residences and workshops, physical or digital, with the findings shared via digital forms of cooperation and presentations – corresponding to the open-ended, process-oriented and participative nature of digital artworks.

The artworks will be displayed on a digital platform created by the European Alliance of Academies whereby it will represent both analogue and digital art. A critical conscious approach to the interplay of the off and online, and their different bio political conditions for being “present”, could be emphasized in order to highlight the duality and shift of artistic expression in the digital sphere.

We encourage participating institutions to organize an analogue presentation of the artworks in their own institution or art spaces, with exhibitions, video screenings, conferences, and panel discussions, and to enhance this with contributions by local artists, scholars, and cultural workers; these latter activities are to be funded and organized by members of the Alliance via their own national or local funding.

Curatorial Team

The authors of the project concept and its curatorial team is the Alliance Working Group 6, composed of Anca Poterasu, Cristina Stoenescu, and Josip Zanki (organizational project support: Christiane Lötsch). Additionally, Prof. Kristoffer Gansing as well as members of the Akademie der Künste will form the jury.

Project proposals should include

• Project outline (500–700 words) including visual material
• Working method
• Short biography and contact details
• Portfolio of work (pdf, max. 2-5 MB)

Timetable

The deadline for project proposals is 24 October 2021
Project proposals and idea of presentation should be sent to: loetsch@adk.de

Until 22 November 2021
Selection of artists by the curatorial team

Until 15 April 2022
Artistic research and realization of artworks (residences, workshops, and digital cooperation)

May–December 2022
Online presentations of artworks on the digital platform of the European Alliance of Academies and other local activities (exhibitions, video screenings, conferences, panel discussions)

Download a PDF VERSION of the call.

Er du interesseret i at søge en praksisbaseret, kunstnerisk ph.d.? Er du som aktiv billedkunstner eller kurator interesseret i at bruge din praksis som forskningsmetode til at opnå ny viden? Eller som kunsthistoriker at udvikle et forskningsprojekt tæt på eksisterende, levende kunstmiljøer? Så har du muligheden for at høre mere.

Onsdag den 22. september kl 14.30 holder Kunstakademiet informationsmøde for alle, der er interesserede i at vide mere om ansøgningsprocessen for forskningsstipendier gennem Novo Nordisk Fondet (NNF) til ph.d, postdoc og mindre projekter. Stipendierne er et samarbejde mellem Kunstakademiet, NNF og et relevant universitet, og de forskellige institutioner vil deltage i informationsmødet. Arrangementet finder sted i Det Hirschsprungske Auditorium på Kunstakademiet. Det vil også være muligt at deltage via zoom På dagen vil fungerende leder af Laboratoriet for Kunstens Forskning, lektor Maibritt Borgen, give en generel introduktion til ansøgningsprocessen og fortælle om forskningen på Kunstakademiet. Der vil også være en repræsentant fra NNF til at fortælle om processer og regler, samt en repræsentant fra Institut for Kunst og Kulturvidenskab på Københavns Universitet. Sted: Kunstakademiet, Det Hirschsprungske Auditorium, Peder Skrams Gade 2 Dato: Onsdag 22. september Tid: 14.30 til 16.30 Det vil også være muligt at følge mødet digitalt. Ønsker du at dette, bedes du sende en mail til emil.meilvang@kunstakademiet.dk Læs mere om ansøgningsprocessen og deadlines 2021 her

Ved ENTRE DEBAT LIVE taler vi om omverdensrelationer til de kunstnerskaber, pædagogiske praksisser og de kunstneriske udviklingsvirksomheder, der finder sted på de kunstneriske uddannelser. Ved denne anden begivenhed i rækken skal vi tale om samfundsudviklende kunstnerskaber – hvad er de og hvad kan de? Vi har inviteret filminstruktør Patricia Bbaale Bandak, leder af CATCH Majken Overgaard og rektor på Rytmisk Musikkonservatorium Henrik Sveidahl til at tale sammen over temaet ‘Samfundsudviklende kunstnerskaber’. Samtalen modereres af Pernille Skov fra CAKI. Om ENTRE DEBAT LIVE Som underviser, forsker eller studerende på en kunstskole må vi spørge os selv, hvad kvalitet og relevans er i den kunstneriske praksis og virksomhed, og hvorledes dette stiller sig i relationen til en omverden. For at understøtte og udvikle disse refleksioner har vi inviteret en række samtalepartnere, der på forskellig vis er i berøring med de kunstneriske uddannelser og den kulturelle sektor bredere set, til at drøfte spørgsmålet om omverdensrelationer i kunstnerskabet og den kunstneriske virksomhed. ENTRE DEBAT LIVE er en del af ENTRE-programmet, der understøtter udviklingen af entreprenørskab som vidensområde på de videregående kunstneriske uddannelser. Patricia Bbaale Bandak blev færdig som instruktør på Den Danske Filmskole i 2019. Siden har hun arbejdet på dokumentarfilmen Better I go Suffer, som hun vandt Nordic Talents 2019 med. Filmen er nu på New Danish Screen – Det Danske Filminstituts talentudviklingsordning. Sideløbende skriver hun på fiktionsfilmen Wannabe, som handler om en 12-årig ugandisk pige, der bor på Falster i 1997. Hun er splittet mellem to verdner og leder efter sit eget ståsted – ikke ulig Patricias egen opvækst, som hun deler med os i Villa Villakulla, hendes afgangsfilm fra Filmskolen. Derudover er hun er medforfatter på serien Queens, og hun har instrueret teater på Mungo Park, udviklet installationer i eget navn, deltaget i talks, podcasts og radio-interviews. Patricia arbejder med identitet, sorg og tabuer og behandler sine tematikker gennem både lys og mørke. Kort fortalt bruger Patricia sin stemme, og hun har i sit kunstnerskab et ønske om at gøre det på en måde, som sætter et kulturelt aftryk der fæstner sig i samfundet. I januar 2021 interviewede Girls are Awesome Patricia til deres serie ‘Role Models’ – du kan se interviewet her Majken Overgaard er programleder i CATCH, Helsingør Kommunes Center for kunst, design og teknologi. Majken Overgaard har gennem sin karriere fokuseret på synergierne mellem teknologi og samtidskunst med det overordnede mål at udforske det tværfaglige univers, hvor kunst, videnskab og teknologi krydsbefrugter og danner et kreativt miljø for udvikling af nye ideer, eksperimenter og opfindelser. Som uddannelsesaktivist har hun igangsat adskillige aktiviteter for kvinder og andre underrepræsenterede grupper inden for kunst og teknologi.  Udgangspunktet og motivationen for Majken har altid været de tværfaglige og verdensomspændende muligheder, som både kunst og teknologi rummer, samtidig med at de udfolder individers såvel som samfunds potentiale og får mennesker og ideer til at vokse og komme til at leve. Aktuelt arbejder Majken sammen med Institut for Fremtidsforskning om et projekt, der fokuserer på kunstens indvirkning på vores fremtid. Hun arbejder også sammen med videregående uddannelser om at udvikle nye praksisbaserede initiativer i relation til byen og fællesskabet – herunder et samarbejde med AIRlab på IT Universitetet, hvor partnerne sammen undersøger mulighederne for at formidle byens historie via augmented reality og lyd. Læs mere om CATCH her Henrik Sveidahl er netop blevet genindsat om rektor på Rytmisk Musikkonservatorium, hvor han har styret konservatoriet gennem både rørte og rolige vande siden 2005. Henrik blev bl.a. genansat med afsæt i hans overbevisning om, at kunstnere kan bidrage med langt mere i samfundet end hvad der er tilfældet i dag, og at dette bør afspejles i de kunstneriske uddannelser. Kernen i uddannelserne på konservatoriet vil fortsat være at skabe, udøve og formidle musik og musikoplevelser, men det er en vision at udvide mulighedsrummet for, hvor og hvordan det kan gøres. Senest har de på Rytmisk Musikkonservatorium udviklet et nyt eksternt semestermodul på bacheloruddannelserne som musiker og komponist. Her skal de studerende indgå i partnerskab med eksterne aktører for at udvikle og gennemføre kunstneriske, kunstpædagogiske eller andre projekter, som har fokus på de muligheder og udfordringer, der ligger i mødet mellem kunsten og det omkringliggende samfund. Samtidig har RMC åbnet et nyt internationalt forskningscenter for Kunstnerisk Medborgerskab, hvor forskere fra hele verdenen samles for at dele viden om, hvordan kunst og kunstneres rolle i samfundet kan forstås på nye måder og videreudvikles. Læs mere om RMC her TILMELDING Begivenheden er åbnet for alle interesserede, men der er begrænset antal pladser til IRL-eventet, og undervisere fra de videregående kunstneriske uddannelser har fortrinsret. Samtalerne bliver live streamet, og det vil være muligt at stille spørgsmål til oplægsholdere undervejs. Den fysiske begivenhed finder sted på Rytmisk Musikkonservatorium på Holmen d. 24. september 2021 kl. 10.00 – 12.00 For tilmelding til dagen, skriv til caki@caki.dk Angiv venligst om du ønsker at deltage ved fremmøde eller via live stream samt hvilken skole, du er tilknyttet (hvis nogen). For spørgsmål, kontakt pernille@caki.dk PRAKTISK ENTRE DEBAT LIVE afholdes på Rytmisk Musikkonservatorium på Holmen og er for alle undervisere ved de kunstneriske uddannelser. Det er gratis at deltage, men du bedes tilmelde dig ved at sende en mail til caki@caki.dk Hvis din skole ikke dækker dine rejseudgifter i forbindelse med din deltagelse på symposiet, er det muligt at få dine transportudgifter dækket. For mere info, send en mail til pernille@caki.dk eller ring til Pernille Skov +45 27 37 75 67.

Invitation to propose presentations for the Swedish Research Council Symposium on Artistic Research 2021

  Researchers in artistic and practice-based research are invited to submit proposals for presentations at this year’s symposium on artistic research. The symposium will be held on 24–25 November, on the theme of Articulations. The deadline for proposals is 1 September.   Articulation is a central feature of artistic research. Articulation can be regarded as a process where the relationship between different elements is made discernible, tangible and possible to mediate, and where the forms, dependencies and consequences of understanding are made visible. The purpose of this year’s symposium is to open up a dialogue about articulation as “theorising in practice”, about knowledge-related freedoms and opportunities, but perhaps also about the rights and obligations that research entails. How does artistic articulation impact on theory formation and concept development? How can artistic articulation be expanded within other research fields? In what way does artistic research follow up the articulations it develops? The symposium will focus on the articulations and the theoretical and conceptual development that occurs within the framework for artistic research, but will also critically consider the importance of articulations as knowledge contributions in more general terms. In order to deepen the discussion, we are inviting proposals for articulations that, in addition to relating to the overall theme, also consciously and creatively relate to the combined online and on-location format of the event. The symposium will be held on 24–25 November and is arranged by the Swedish Research Council, in collaboration with Malmö University (School of Art and Communication/K3) and Inkonst, and will be held in both Swedish and English.   The detailed program will be published here: Symposium on Artistic Research 2021 - Vetenskapsrådet (vr.se)   VR artistic research symposium 2021 | Malmö University (mau.se)  

Guidelines for abstracts

  Themes We welcome abstracts that address subjects such as:

• how articulation, as theorising in practice, can be made conscious and visible, be materialised and changed within the framework for an artistic research project
• how specific articulations can contribute to creating understanding in a certain context
• how artistic articulation can function critically in relation to academia, professions and the market
• how artistic research can contribute to a broadened research discussion on the challenges of conceptual articulation.

Format Abstracts submitted shall also present a proposed format, such as individual presentation, workshop, performance, round-table discussion, debate, etc. Proposals for sessions shall include information on all the researchers included in the session.   Scope

• Abstracts for sessions: 500 words
• Abstracts for other presentation formats: 300 words

Deadline Please send your abstract to Maria Hellström Reimer, Scientific Adviser in Artistic Research at the Swedish Research Council, no later than 1 September. Notification of the proposals accepted will be given no later than 1 October 2021.

OM FESTIVALEN

Tårnby Park Performance Festival er en festival med nye værker og samarbejder mellem internationale og lokale kunstnere på tværs af generationer og grænser, hvor mødet med det ukendte og ufærdige er i fokus. I løbet af vores 5 dages festival vil vi gerne prikke til din nysgerrighed. Vi har inviteret kunstnere fra blandt andet Kroatien, Bulgarien, Ungarn, Slovenien og København til at vise deres arbejde i Tårnbyparkens grønne bakker, fodboldbaner og forsamlingshuse. Gennem performances, workshops og en daglig picnic, vil vi sammen skabe en åben stemning hvor der eksperimenteres, leges og udveksles, om man er barn, ung, eller gammel.  

OM PROGRAMMET

Vi har lavet et program der aktivt arbejder med corona-restriktionerne og gjort dem kunstnerisk produktive. De internationale kunstnere der ikke kunne rejse ind i landet har vi sat sammen med herboende kunstnere og sammen har de skabt helt nye performanceværker på afstand. Vi er værter for formatet Pass it on – tre internationale værker er under lockdown blevet videregivet til lokale kunstnere og bliver nu vist til festivalen. Vi har inviteret unge og etablerede kunstnere til at vise works-in-progress samt børn og unge til at tage del i spontane teaterworkshops. Til sidst afholder vi arrangementet Art in Amager, hvor lokale kunstnere og institutioner inviteres til at udveksle om fremtidens kunst i samspil med en hverdag på Amager. Vi glæder os til at se dig til Tårnby Park Performance Festival. Tårnbypark Allé 22, 2770 Kastrup   Link til festivallen

This special issue of Periskop  arrives during a pandemic, as planetary cracks deepen and social injustices, structural and systemic discriminations (racism, sexism, trans- and homophobia, ableism, classism and so on), inequalities, climate disasters, displacements, and wars continue to unsettle our present. In times like these, this special issue asks: How can we reclaim artistic research? And how are artistic research practices engaging in the co-creation of other worlds in response to different forms of social crises and planetary destruction?   This special issue of Periskop  arrives during a pandemic, as planetary cracks deepen and social injustices, structural and systemic discriminations (racism, sexism, trans- and homophobia, ableism, classism and so on), inequalities, climate disasters, displacements, and wars continue to unsettle our present. In times like these, this special issue asks: How can we reclaim artistic research? And how are artistic research practices engaging in the co-creation of other worlds in response to different forms of social crises and planetary destruction?   Contributions by: Julie Edel Hardenberg, Imayna Caceres, Zahra Bayati, Helen Eriksen & Gry Olsen Ulrichsen, Christina Marie Jespersen, Gry Worre hallberg, Nanna Lysholt Hansen, Lisa Nyberg   Edited by: Katrine Dirckinck-Holmfeld, Camilla Graff Junior, Lise Margrethe Jørgensen & Charlotte Hauch.   See more here

Registration Deadline is 26 May.   In presentations, lectures and conversations artists from an international field will provide insight into their artistic research processes in film and audiovisual media. You are invited to contribute your thoughts, experience and knowledge in plenary discussions.   Eija-Liisa Ahtila, Lola Arias, Annika Boholm, Filipa César, Claire Denis, Kristoffer Gansing, Kersti Grunditz Brennan, Thomas Heise, Christian Iseli, Rachael Jones, Olivier Marboeuf, Jyoti Mistry, Laura von Niederhäusern, Arturo Delgado Pereira, Ella Raidel will be speakers at the conference.   MORE INFORMATION at the Conference Website   A GEECT event organized by IKF Institute for Artistic Research at Film University Babelsberg KONRAD WOLF in cooperation with Erich Pommer Institute and UNESCO Cities of Film Network.  

På seminaret præsenterer en række af Det Jyske Musikkonservatoriums undervisere deres forsknings- og udviklingsprojekter i tale, lyd og billede.   De mundtlige oplæg fortæller om udvikling af nye former for komposition og musikundervisning.   De projekter, der præsenteres i posterform, afspejler konservatoriets musikalske mangfoldighed med emner som fx interpretation, embouchuredystoni og lyttediversitet blandt e-musikstuderende.   Seminaret bliver afholdt online via platformen Zoom fredag d. 23. april 2021 kl. 14.30 -16.30.   Seminaret er åbent for alle interesserede, også for publikum udefra.   For Zoom-link og program se mere info på DJM's hjemmeside.

Every day, we connect to digital technologies with an intensity where many no longer consider a divide between our online and offline existence. In an ongoing pandemic, online interfaces have effectively replaced physical access to art, objects, and human interaction. The lived impact of our digi-physical symbiosis now rapidly manifests; from the subtle physical changes we experience in our bodies to the global effects of energy consumption by digital technologies. On April 22, 2021, the ongoing artistic research project Digital Materialities will present The New Mud, the first of four symposia in which we invite artists and researchers to think collectively from and about the materials on whose foundations we build our supposedly immaterial digital life. This session, centered on mud, is organized by Rikke Luther, guest researcher on the project and a former ph.d-researcher at the Academy.   Nastier weather, prompted by the climate changes that energy consumption fuel, creates new, unpredictable, muds. Older and more stable habitats are threatened. In 2021, Nature: Geoscience published a new study on the effect of climate breakdown on the Atlantic Meridional Overturning Circulation, or, in short AMOC.^[1] The AMOC, which regulates the circulation of northward flow of warm, salty water in the upper layers and a southward flow of colder, deep waters of the Atlantic, is at its weakest in a thousand years. As a consequence, increased heatwaves in Europe and storms on the eastern seaboard of north America will increase mud flows in some areas while in others, mud will harden and effect the tree cover and vegetation vital to the carbon cycle.   To predict future patterns, researchers glean proxy data from ancient sedimentary muds and ice-cores from Greenland, as if the past returns to reclaim control over an unpredictable future. Nations may be defined by their laws, but ecosystems and muds do not obey laws or boundaries. To learn from them, a new way of thinking is needed.   In this one-day Zoom-event, four artists and collectives will present on-going work in allied fields cross-referencing the theme of mud, allowing them to explore the emerging places of fragility and isolation, of melting and transformation, of dark imagination and darker fact.     Date:                  22 April 2021 Location:           https://kunstakademiet.zoom.us/j/68137444818?pwd=NnRGQXp5Zjc1bk5YcEFUeFZld2ZoUT09 Time.                  11:00 – 17:00 Access:              Passcode 728751     Schedule   Session 1 11-12.30   Introduction: Rikke Luther   Presentations: Lise Autogena and Nomeda and Gediminas Urbonas Audience Q&A     Lunch 12.30-13.30     Session 2 13.30-15.00   Presentations: Rikke Luther and Pia Rönicke   Audience Q&A     Contributors    Nomeda and Gediminas Urbonas are artists, educators, and co-founders of the Urbonas Studio, an interdisciplinary research practice that facilitates exchange amongst diverse nodes of knowledge production and artistic practice in pursuit of projects that transform civic spaces and collective imaginaries. Nomeda is Research Affiliate at MIT and Gediminas Associate Professor at MIT’s Program in Art, Culture and Technology.  Gediminas and Nomeda will discuss pedagogy of theSwamp School, initiated at the 16th Venice Architecture Biennale 2018, and the ideas pertinent to the book Swamps and the New Imagination, Sternberg, MIT Press, 2021.   Pia Rönicke is an artist, researcher, and former associate professor at the Royal Academy in Copenhagen, and currently attached to Lund University & Malmö Art Academy. Röncike will talk about her current project Drifting Woods, Deserted Forest. Lise Autogena is an artist and professor of Cross-Disciplinary Study at Sheffield Hallam University in the United Kingdom. Her film Kuannersuit/Kvanefjeld (2017) was made with long-term collaborator Joshua Portway. Lise will talk about the film and the new research platform for scientists, artists, and others, she is establishing in Narsaq, Greenland. Rikke Luther is an artist and lecturer, based at the Laboratory for Arts Research, The Royal Danish Art Academy in Copenhagen. She has worked in groups, co-founding Learning Site and N55 but has worked solo since 2015. Her current work examines the rapidly shifting political and environmental landscapes that result from assuming away the earth dynamics of natural resources and commercialising them.  Luther’s recent doctoral work Concrete Aesthetics: From Universal Rights to Financial Post-Democracy was based at the Royal Danish Academy, University of Copenhagen, and at the MIT Program in Art, Culture and Technology, where she was an affiliate.   Digital Materialities is Maibritt Borgen, Karen Harsbo, Malene Bang, Rikke Luther and Oskar Kolliander. The researchproject is generously funded by the Ministry of Culture, KUV-puljen.  

RMC invites you to attend the final presentation of the artistic research project "Rooms of Resonance” by associate professor, reed-player and composer Lars Greve.   See also the Facebook Event   Rhythmic Music Conservatory in Copenhagen (RMC) invites you to attend the final presentation of the artistic research project "Rooms of Resonance” by associate professor, reed-player and composer Lars Greve. The presentation will be transmitted online from Copenhagen Contemporary at Refshaleøen on 22nd of February from 4 pm to 6:30 pm CET. Greve will present his results in a combined live concert and lecture, followed by a dialogue with two opponents and questions from online attendees. Attending opponents at the presentation are composer and sound artist Rune Glerup, associate professor at the Royal Danish Academy of Music, and pianist and composer Søren Kjærgaard, associate professor at RMC.   The event can be accessed via this Live-YouTube link: https://youtu.be/eu_w4Uc4JKI   Greve's artistic research on "Rooms of Resonance" has investigated the following main question: "What are the artistic potentials in improvising on an acoustic instrument, in a room where selected objects are brought into vibration?" Greve has explored this through his artistic practice, while hoisting technological, methodological and artistic experiencesand insights.   To get an audiovisual impression of the project, we invite you to see this short introduction movie: https://www.youtube.com/watch?v=wlSNXwB2YA4&feature=youtu.be  

We are delighted to announce the digital launch of Copenhagen Centre for Research in Artistic Citizenship (CReArC) at Rhythmic Music Conservatory, Copenhagen, Denmark.     The launch will take place on February 23, 2021 at 17.00–19.00 CET. We would be very happy to have this opportunity to welcome you to the opening of our new research centre. To participate in this event, please register using the following Zoom link: https://rmc-dk.zoom.us/meeting/register/u50tcOGhqDIpGtNmuuID84XwWW3I3AnetQTH     Henrik Sveidahl (Principal), Lars Brinck (Head of Research), Maria Westvall (Director CReArC)     Programme:   17.00–17.25 Welcome by Principal Henrik Sveidahl, Lars Brinck, Maria Westvall & Duo Cosmo Broosch   17.25–17.55 Short talks by CReArC Network of International Scholars:  

• • • Dr. Charles Carson, Associate professor of Musicology/Ethnomusicology at University of Texas at Austin, USA.

 

• • • Dr. Flávia Motoyama Narita, Senior lecturer of Music Education at Universidade de Brasília, Brazil.

 

• • • Dr. Kim Boeskov, Postdoctoral researcher at RMC, Denmark.

  17.55–18.10 Questions and discussions. Duo Cosmo Broosch   18.10–18.40 Short talks by CReArC Network of International Scholars:  

• • • Dr. Oscar Pripp, Associate professor of Ethnology at Uppsala Universitet, Sweden.

 

• • • Dr. Nan Qi, Associate professor of Music Education at Universidade Federal do Rio Grande do Norte, Brazil.

 

• • • Dr. Emily Achieng Akuno, Professor of Music at The Technical University of Kenya.

  18.40–18.50 Questions and discussions   18.50–19.00 Closure with Lars Brinck, Maria Westvall & Duo Cosmo Broosch.   For more information about the centre and the speakers’ biographies, please see attached document.   If you have any questions, contact research assistant Niclas Nørby Hundahl at ninhu@rmc.dk  

University of Music and Performing Arts Graz | Centre for Gender Studies The Fragility of Sounds Lecture Series [Online] For an exchange across disciplines and cultures, this series of online lectures brings together composers, performers, musicians, scientists and researchers in order to explore terrains of music theatre. We look into movement, space and the body in connection with performance and electronic music, as well as into society and environment, identity and gender in the context of composing. We understand music theatre in the widest sense of the term: music theatre is sound moving in/through/with space and time. Music theatre is a collaborative process that necessitates co-operation and collaboration.   Further information and links under https://www.fragilityofsounds.org/fragility-of-sounds-lecture-series/   The series is curated by Pia Palme and Christina Lessiak as part of the Artistic Research Project PEEK AR 537 On the Fragility of Sounds funded by the FWF Austrian Science Fund.   Join us on an inspiring journey into contemporary music, theatre, listening, and culture: come to explore new ideas, discuss, and critically comment the various results and insights. All lectures are available for free and will be in English. Duration approximately two hours each.   Tuesday 9 February 2021 – 5 PM [CET/UTC+1] Elisabeth Schimana: Sound as Score Susanne Kogler: “The fragility of sound” – On Possible Connections between Aesthetics and Politics in the 21st Century Thursday 11 February 2021 – 5 PM [CET/UTC+1] Irene Lehmann: On the theatricality of experimental listening situations Electric Indigo aka Susanne Kirchmayr: From Idea to Realisation – Susanne Kirchmayr speaks about her artistic process Saturday 13 February 2021 – 7 PM [CET/UTC+1] Join us for the dernière online screening of WECHSELWIRKUNG - an experimental theatre and stay on for the artist talk afterwards with Paola Bianchi, Juliet Fraser, Pia Palme, Irene Lehmann and Christina Lessiak Thursday 18 February 2021 – 5 PM [CET/UTC+1] Malik Sharif: Composition and Musicology as Artistic Research: The Case of Ruth Crawford and Charles Seeger Christina Lessiak: How Feminism Matters: An exploration of an artistic research project Thursday 25 February 2021 – 5 PM [CET/UTC+1] Darla Crispin: Fragile sounds, robust text and the mediating potential of mutually-attentive listening Flora Könemann: The silent draw: exploration of the void through embodied listening and drawing – an exercise lecture Thursday 4 March 2021 – 5 PM [CET/UTC+1] Aistė Vaitkevičiūtė: Emerging in the Process: Alternative Musical Thinking Recalling Archaic (Female) Existence Sarah Weiss: Precarious Resistance: On Women Singing Transgression in Ritual Contexts Thursday 11 March 2021 – 5 PM [CET/UTC+1] Veza Fernandez: Tremor – Video performance and artist talk Chikako Morishita: Composing ‘Narrative Dissolution’: Framing Subjectivity in Music Composition Thursday 18 March 2021 – 5 PM [CET/UTC+1] Pia Palme: With. The significance of a preposition for my artistic practice.   contact: pia.palme@kug.ac.at

The 12^th SAR Conference on Artistic Research invites submissions that relate to the three attractors care, dare and share. It will be the first SAR conference organized as a live online event. Applicants are welcome to respond to the challenges of live online conferencing in a creative way. We are calling for artistic researchers to present their work, processes, methods, discoveries, knowledge interventions, new insights, understandings, and to engage in exchange—in actions and words, in complex and simple, conventional and unconventional, robust and fragile ways.   See more: https://www.sar2021vienna.ac.at/

Oslo National Academy of the Arts organizes a week focusing on artistic research from 25 to 28 January. The digital programme consists of workshops, presentations, round-table discussions, screenings, exhibitions, artist talks etc.

Hospitality Vulnerability     Vitality

One of the most important tasks we have this year is to find ways to own and to express agency through the challenges that have surfaced as new variables in our practices, our every day, and how we relate to the world. “Hospitality Vulnerability Vitality” sets the framework for "openness” in the face of challenges, in the reception of causal effects from the unexpected, and in allowing for multiple perspectives. It speaks to visions and processes that are inherent to artistic practice, and the positive impact and invigoration that can be achieved when adopted as a strategy for forging new artistic ground. Artistic research is an integrated part of the activities at Oslo National Academy of the Arts and plays a central role in forging a unified artistic community. The Artistic Research Week aims to contribute to a wider understanding of the nature of artistic research, to showcase what is being developed, and how this research relates to the greater disciplinary and socio-cultural contexts. It also aims to  increase the discursive level on artistic research, through sharing experiences, insights and knowledge that is generated through practice-based research with faculties, students and a wider audience. This year’s Artistic Research Week activities are open to the public online only. The registration is now open! Welcome!

Hospitality Vulnerability     Vitality

En av de viktigste oppgavene vi har i år er å finne måter å eie og uttrykke vårt virke gjennom de nye utfordringene som har dukket opp som variabler i vår praksis, vår hverdag og hvordan vi forholder oss til verden. «Hospitality, Vulnerability, Vitality» setter rammeverket for “åpenhet”. Vi står ovenfor nye utfordringer, ser nye årsakssammenhenger fra det uventede, og dette tillater oss å se ting fra flere perspektiver. «Hospitality, Vulnerability, Vitality» snakker til visjonene og prosessene som er iboende i kunstnerisk praksis, den positive og oppkvikkende påvirkningen som kan oppnås når visjonen brukes som strategi der ny kunstnerisk praksis smis. Kunstnerisk utviklingsarbeid og forskning er en integrert del av aktivitetene ved KHiO, og spiller en sentral rolle i oppbygningen et samlet kunstnerisk miljø. Med forskningsuken har vi som målsetting å bidra til en bred forståelse for kunstnerisk utviklingsarbeid og forskningens «essens» for å vise frem hva som er under utvikling og hvordan forskningen relaterer til større disiplinære og sosiokulturelle kontekster. Med forskningsuken ønsker vi å styrke diskusjonen om kunstnerisk utviklingsarbeid gjennom å dele opplevelser, innsikter og kunnskap som er generert gjennom praktiskbasert forskning med avdelinger, studenter og et større publikum. Arrangementene på årets Kunstnerisk forskningsuke vil kun holdes gjennom en KHiO-sentralisert online “hub”. Du kan registrere deg her. Velkommen!

Welcome to the 2021 EARN/NWO Smart Culture Conference - January 26 - 30, organized in collaboration with HKU University of the Arts Utrecht, NWO (Dutch Research Council), and BAK, basis voor actuele kunst, Utrecht. Scroll down for the full programme of talks and workshops plus information about how you can participate. Registration deadline is January 8, 2021.  

Proposition

After an omnipresent “Research Decade,” the concept of artistic research currently seems to be in need of a recharge. Pressing questions are: Should we talk about a postresearch situation or a postresearch condition? Could this be compared with how poststructuralism relates to structuralism as its philosophical comprehension and the elaboration of its consequences? And how could a postresearch condition address contemporary art practices? To answer these questions, it is important to start from the three conceptual spaces that fundamentally determine what we mean by research: creative practice (experimentality, art making, potential of the sensible); artistic thinking (open-ended, speculative, associative, non-linear, haunting, thinking differently); and curatorial strategies (topical modes of political imagination, transformational spaces for encounters, reflection and dissemination) – and to comprehend these spaces in their mutual, dynamic coherence as a series of indirect triangular relationships. From whatever conceptual space one departs, an artistic research practice could signify a transversal constellation – as a creative proposition for thought in action. Yet, that mode of research could never be reduced to a method of one of the three constituents. Thus, artistic research cannot be equated with creative innovation, disciplinary knowledge production, or political activism. It seems urgent now – and this is the starting point of this conference – to profoundly challenge and question the issue of how to articulate and present the condition of the intersection between the three conceptual spaces. For this purpose, an intensive program of workshops, presentations, propositions, screenings, and publications has been developed.   See more: https://www.hku.nl/en/study-at-hku/hku-college/pre-phd-programme/the-postresearch-condition

Alle interesserede er velkomne til denne online præsentation via zoom af professor Jens Christian ”Chappe” Jensens kunstneriske udviklingsprojekt: The Electro Acoustic Experience – Orkestermusik i nyudviklet elektronisk kontekst.   Du kan overvære præsentationen kl. 16:00-17:30 via dette zoom-link.   Gennem projektet har Chappe eksperimenteret med nye strategier for komposition, improvisation og instrumentation for stort jazzorkester i sammenhæng med avanceret elektronisk lydbearbejdning. Chapppe er professor i komposition og arrangement ved konservatoriet og leder af konservatoriets bigband. Målet med projektet er at udvikle nye elektroakustiske koncertformer, hvor det store jazzorkester bringes sammen med den elektroniske komponist og performer i et ligeværdigt møde. Arbejdsprocessen er foregået som en udforskning af tværfaglige samarbejder med en række etablerede kunstnere, fagfæller og studerende. I løbet en toårig periode har projektet manifesteret sig i 10 koncerter og omkring 100 kompositioner skabt dels af Chappe selv, dels af tilknyttede professionelle kolleger samt studerende fra Det Jyske Musikkonservatorium. Koncerterne har haft medvirken af Det Jyske Musikkonservatoriums kor og orkestre, Blood Sweat Drum + Bass, Aarhus Jazz Orchestra, Randers Kammerorkester samt ToneArt ensemblet Moving Circles. Der er blevet eksperimenteret med bl.a. surroundsound, interaktive Visuals og elektronisk bearbejdning af live bigbandmusik. Ved fremlæggelsen vil Chappe fortælle om de strategier, arbejdsformer og metoder, som han har udviklet i forbindelse med skabelsen af de mange forskellige koncerter. Undervejs bliver der afspillet videoklip fra koncerterne. Chappe vil derudover reflektere over de opnåede resultater og projektets potentielle bidrag til kunstnerisk udviklingsvirksomhed. I forbindelse med præsentationen medvirker komponist, arrangør og orkesterleder Peter Jensen som moderator og kritisk bedømmer. Kunstnerisk udviklingsvirksomhed (KUV) ved musikkonservatorierne kan eksempelvis omfatte komposition af ny musik, indspilning af sjældne værker eller udvikling af nye koncertformer m.m. I modsætning til kunstnerisk praksis skal kunstnerisk udviklingsarbejde have en undersøgende karakter, være originalt og nyskabende og være ledsaget af en refleksion over resultat og proces.

https://kunsten.nu/journal/featured-categories/tema-praksisbaserede-kunstforskere/

ARCtalks is a series of panel discussions moderated by Hannes Andersson, where members of the Artistic Research Community together with invited guests from various context share their research, processes and thoughts on relevant topics. For this 1st session of the online ARCtalks, we are happy to welcome Kristoffer Gansing (Professor of the newly formed ‘International Center for Knowledge in the Arts’ (and former Artistic Director of the Transmediale festival) to share his thoughts on artistic research in a panel discussion together with ARCers Hermen Maat and Simona Kicurovska, who will present their research and share their views on empathy and embodiment.   Date & Time: 27. 01. 2021, 10 h.   For more info and registration: ARCtalks1 with bios & general info   The talk is organized by The Artistic Research Community in the North (ARC) which is a dialectic umbrella organization for explorative research-creation, composed by a network of researchers and knowledge institutions in the north of the Netherlands.

Torsdag d. 3. december kl. 18-20 Leder af Filmskolens animationsinstruktøruddannelse Jon Andreasen har i de sidste par år udforsket, hvordan man kunsterisk kan udvikle fiktionsuniverser. I workshoppen giver Simon dig nogle værktøjer, og du kommer til at udvikle din egen storyworld i en lille praktisk øvelse. Du kommer også til at møde to filmskoleuddannede instruktører, der i særlig grad har arbejdet med universer - både i deres afgangsfilm og i de spillefilm og tv-serier, som de har lavet i deres karriere efter Filmskolen. Til workshoppen vil du høre om deres erfaringer og kan både stille spørgsmål til dem og til Simon Jon Andreasen. Sådan deltager du: 1. Send en mail med tilmelding til: storyworld@filmskolen.org 2. Modtag Zoom-link og password en halv time før workshoppen begynder. 3. Nyd workshoppen og spørg løs i chatten. Thursday, December 3, 2020 at 6:00 PM – 8:00 PM UTC+01

KuvA Research Days 7–9.12.2020 The sixth edition of KuvA Research Days, arranged by the Academy of Fine Arts at Uniarts Helsinki, addresses a highly complex and heterogeneous set of framing conditions of knowing, learning, thinking and being together. As it happens, the question of framing conditions also affects the event itself. This time the onsite, live participation to Kuva Research Days, at the Exhibition Laboratory gallery (Merimiehenkatu 36, Helsinki), is limited due to COVID-19 virus regulations, but parts of this three-day event can be experienced online as well. All participants (both on site and online) are asked to register their participation via an online form. The deadline is Thursday December 2, 2020.Please note that the times given in the schedules are in Finnish time (Finland). Please also note that some of the individual parts of the Days program is in Finnish. Register here  Read program Welcome also to participate and/or explore the documentations of the event to be published afterwards through the Uniarts Helsinki's Research Catalogue portal. Look at the Uniarts Helsinki Research Catalogue portal here The last exhibition at the Exhibition Laboratory this autumn is hosted by the Doctoral programme at the Academy of Fine Arts. Doctoral trainee Jack Faber curates the exhibition Cooking for the Apocalypse that is open 20.11–9.12.2020. The exhibition deals with questions concerning our relationship with the environment and other species. The exhibition shows works by students, teachers, and other guest artists. Look at Cooking for the Apocalypse Facebook event  Read more about the exhibition Cooking for the Appocalypse   

Image: Kalle Hamm, Fantasy Being Devoured by the She-tiger, 2020.

 

Seminar på det nye kollegium, Öresund Collegium for Artistic Research. Seminaret  ”Artistic Research in the Firing Line” har sit udgangspunkt i kontroverserne om Bogdan Szybers underkendte afhandling og The Vienna Declaration. Dato: 24. September 2020 kl. 10:00 til 12:30 Hele programmet er ellers her: https://www.thm.lu.se/en/event/artistic-research-in-the-firing-line-sept-24    

KUV-præsentation og Koncert (nyt værk) På Det Kongelige Danske Musikkonnservatorie. Niels Rosing-Schow har modtaget støtte fra Kulturministeriets pulje til kunstnerisk udviklingsvirksomhed og konservatoriet til et projekt inden for 'artistic research'. Dette forskningsarbejde med titlen How does it make sense? Perceptually informed musical composition fordyber sig her i ny viden inden for et tværdisciplinært felt, bl.a. perceptionspsykologi, semiotik og psyko-akustik og søger at drage nogle konsekvenser heraf for sit musikalske udtryksfelt. Denne indsigt ligger til grund for kompositionen af et nyt værk, som her får sin førsteopførelse. NEW WORK (uropførelse) DISTANT CALLS(MELODIES & MOVES) Medv.: Athelas Sinfonietta Copenhagen, dir.: Jean Thorel  

• Dato: Fredag den 30. oktober 2020
• Tidspunkt: kl. 17:00 - 18:30
• Sted: Studiescenen, Rosenørns Allé 22
• Entré: Gratis adgang, men begrænset antal pladser (der kan ikke reserveres pladser, så vi anbefaler at komme i god tid)

Det Jyske Musikkonservatorium årlige forskningsseminar gennemføres pga. corona-pandemien online. Seminaret er som altid åbent for publikum udefra. På seminaret vil konservatoriets undervisere præsentere aktuelle forsknings- og udviklingsprojekter i foredrags- og posterform. Under overskriften “På sporet af den skabte lyd – brobygning mellem epoker og genrer i 2020’ernes musik” vil årets seminar bl.a. fortælle om udvikling af nye måder at spille, øve, komponere og kommunikere musik på. Se det fulde program her. Seminaret slutter kl. 16.30.    

CU i cyklus kunne ses i LOKALE (Griffenfeldsgade 27, 2200 Kbh.N.) fra d. 22. april til den 4. maj. OG vil kunne ses igen til Alt:cph på Fabrikken for Kunst og Design der er udskudt til september 2020 og igen på KH7Artspace til december 2020. CU er betegnelsen for kobber i det periodiske system. Og CU i cyklus kan lyde som de remser man laver når man for eksempel skal huske grundstofferne i det periodiske system udenad. Honey Biba Beckerlee’s soloudstilling undersøger sammenhænge mellem kobber og hukommelse, både i computere, geologi og biologisk liv. Kobbers naturlige formation i naturen forekommer i mønstre, som kan aflæses af geologer og fortælle dem om hvor, hvornår og hvordan det kom til. Man kan sige at kobber opbevarer sin egen historie i mønstre. Mønstre der ligner de mønstre vi skaber med kobber for at opbevare information, når vi laver RAM hukommelse eller såkaldt core memory og memory microchips. Nyere forskning peger også på at kobber er et nødvendigt mineral i vores kroppe og at ubalancer af kobber i hjernen påvirker vores korttidshukommelse negativt. CU i cyklus er en installatorisk billedliggørelse af kobbers geologiske cyklus hvor udvalgte mønstre af kobber fra mineraler, RAM moduler og hjerneskanninger væver sig ind og ud af datacentrenes server racks. Støttet af Grosserer L. F. Foghts Fond, Århus Kulturpulje & Statens Kunstfond Honey Biba Beckerlee (1978) er uddannet fra Det Kgl Danske Kunstakademi, samt Goldsmith College. Hun arbejder som billedkunstner og har for nyligt deltaget på udstillingen Cosmic Existence på Den Frie. Hun er ph.d.-stipendiat på Det Kongelige Danske Kunstakademi og Århus Universitet, med et praksisbaseret forskningsprojekt under titlen Digital Matters, der søger at respondere på paradokset mellem forestillinger om immaterialitet i digital teknologi og udryddelsen af råmaterialer grundet overforbrug. Phd titel Digital Matters Phd Periode 1. September 2018 - 31. August 2021 Website: www.honeybibabeckerlee.com