Netværk
Center for Kunstnerisk Viden og Udvikling er i sig selv et netværk bestående af de syv medlemsinstitutioner og de mange projekter, der udvikles inden for de forskellige discipliner (se KUV-arkiv). Her spindes tråde af bl.a. metodisk, tematisk og æstetisk karakter på tværs af discipliner og her på siden kan du få et indblik i mange af de arrangementer, der sker på de enkelte institutioner, være det sig koncerter, performance, udstillinger eller andre offentlige præsentationer af KUV-projekter.
Netværket strækker sig ud over de danske grænser og viser en stærk international indsats på området. Her på siden deler vi derfor også relevante arrangementer, open calls, publicering mv fra det internationale miljø. I menupunktet til venstre under ” KUV Ressourser” findes desuden links til publiceringsplatforme, organisationer og andre relevante parter inden for Artistic Research.
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:
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.
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 25th 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 25th
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
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.

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.
- Abstracts for sessions: 500 words
- Abstracts for other presentation formats: 300 words
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-
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- Dr. Charles Carson, Associate professor of Musicology/Ethnomusicology at University of Texas at Austin, USA.
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- Dr. Flávia Motoyama Narita, Senior lecturer of Music Education at Universidade de Brasília, Brazil.
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- Dr. Kim Boeskov, Postdoctoral researcher at RMC, Denmark.
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- Dr. Oscar Pripp, Associate professor of Ethnology at Uppsala Universitet, Sweden.
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- Dr. Nan Qi, Associate professor of Music Education at Universidade Federal do Rio Grande do Norte, Brazil.
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- Dr. Emily Achieng Akuno, Professor of Music at The Technical University of Kenya.
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University of Music and Performing Arts Graz | Centre for Gender StudiesThe 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 |
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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!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-conditionImage: Kalle Hamm, Fantasy Being Devoured by the She-tiger, 2020.
- 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)