ARTISTIC RESEARCH WEEK
Hosting teachers: Alex Murray-Leslie & Felix Gmelin.
Guest lecturers: Jeremiah Day, Mireia Saladrigues, Tone Åse, Annett Busch, Johan A Haarberg, Michael Schwab, Mari Sanden, Jordan Sand & Øyvind Brandtsegg.
Location: Kunstakademiet i Trondheim, Kunstarken (& evening of 31st Oct @ Nidarosdomen,Trondheim).
The Artistic Research Week shall contribute new understandings & increase the discursive level on what constitutes artistic research; through sharing experiences, insights and knowledge. The seminar invites presentations & propositions by cross-disciplinary practitioners, artistic research writers, editors, publishers & educators, together with invited artistic researchers inside & outside of the Trondheim Academy of Fine Art.
The Artistic Research week programme consists of performative presentations, round-table discussions, screenings, workshops, research performances, artist talks & more.
The seminar is mandatory for all MFA1 students. Though not mandatory, MFA2 students are encouraged to attend the week's activities.
Dates & times:
Monday, October 28th
10.00 Introduction to KIT Artistic Research Week by Alex Murray-Leslie & Felix Gmelin.
10.30 Presentation by Øyvind Brandtsegg.
11.30 Performative presentation by Mireia Saladrigues: 'We Could Have Turned Ourselves into Sugar'.
13.00 Discussion and performative lecture assignment with Mireia Saladrigues.
14.00 Presentation by Annett Busch 'Paratactics : Bringing it to another audience' Notes on a collaborative research laboratory and its methodology.
15.00 Presentation by Mari Sandern: mission driven artistic research.
Tuesday, October 29th
10.00 Presentation and readings with Jeremiah Day & Felix Gmelin: Hannah Arendt's 'Crisis in Culture'.
13.00 Presentation and readings with Jeremiah Day & Felix Gmelin: Hannah Arendt's 'Crisis in Culture' Part II - Explication, Elaboration, Exemplification.
Wednesday, October 30th
10.00 Presentation by Jeremiah Day: Research and Urgency.
13.00 Open Discussion - Sum Up with Jeremiah Day, Felix Gmelin & Alex Murray-Leslie.
Thursday, October 31st
10.00 Presentation by Johan A Haarberg: The Research Catalogue, An international data base for artistic research.
13.00 Discussion with Johan A Haarberg.
14.00 Presentation by Tone Åse: Artistic Research – an example.
19.00 Research concert by Oeyvind Brandsegg @ Nidarosdomen,Trondheim (optional attendance, special reduced price for students).
Friday, November 1st
10.00 Presentation by Jordan Sand.
10.30 Presentation by Michael Schwab: Journal for Artistic Research.
13.00 Assignment with Michael Schwab.
Jeremiah Day studied art at the University of California, Los Angeles, and subsequently the Rijksakademie in Amsterdam. Day was awarded a Netherlands National Research Foundation (NWO) prize to establish a pilot model for third-cycle education in the arts, leading in 2017 to the first Dutch PhD in art practice awarded by the Vrije University of Amsterdam. Day presently holds Post-Doctoral Fellowship at the University of the Arts Helsinki’s Center for Educational Research and Academic Development in the Arts, researching the teaching methods that emerged from the intersection of the visual arts and dance in the 1960’s and 70’s. Visual artist, Jeremiah Day is also trained in movement, drawing especially from his collaboration with the pioneer of postmodern dance Simone Forti. His work establishes a montage, where political and personal realities intertwine through different modes, including photography, video and movement in an idiosyncratic form of non-fiction. In 2020, Day will present "If It's For The People, It Needs To Be Beautiful, She Said" a multi-part project project collaboration with Badischer-Kunsverein (DE), Villa Romana (IT), Cente de Arte LAIT (FR) and If I Can’t Dance (I Don’t Want To Be Part Of Your Revolution) (NL). Jeremiah Day is represented by Arcade, London and Ellen de Bruijne Projects in Amsterdam.
Mireia Saladrigues is a visual artist and researcher as part of the Doctoral Programme, The University of the Arts Helsinki. Both her art practice and research have developed via inquiring about the experiences of art reception, gathering information about the contact of art with its public. It enters fully into the analysis of art institutions as spaces of social and economic production, with a particular emphasis on the productive and cultural definition of the roles of the public, and on the surveillance systems used by art centres and museums for indoctrination. Her research Behaving Unconventionally in Gallery Settings. Alteration in Cultural Practices for Re-articulating Relations among Makers, Objects, Audiences, and (Virtual) Museums documents and fosters human and non-human cases of alteration and strangeness in cultural practices by proposing an artistic and theoretical re-reading of unconventionality. It also experiments with implementing occasions for misrepresented behaviors that, within the (conceptual) architecture of display, are considered traditionally unacceptable.
Michael Schwab is an artist and artistic researcher who interrogates post-conceptual uses of technology in a variety of media including photography, drawing, printmaking and installation art. He holds a PhD in photography from the Royal College of Art, London, that focuses on post-conceptual post-photography and artistic research methodology. He is co-initiator and inaugural Editor-in-Chief of JAR, the Journal for Artistic Research.
Johan A Haarberg has extensive experience creating framework conditions for higher arts education and artistic research. He has been the Director of the Norwegian Artistic Research Programme, a national, cross disciplinary, governmental-funded organization created to stimulate the development of artistic research within higher arts education in Norway (2009 – 2013). He was previously the Director at Bergen National Academy of the Arts (1996-2009) and has been Vice-President/Treasurer for Society for Artistic Research during the period from 2013 to 2018. He is external Board Member at Stockholm University of the Arts and at the Faculty of Architecture and Fine Art at the Norwegian University of Science and Technology in Trondheim. He is external artistic research adviser to Rhythmic Music Conservatory, Copenhagen. From 2018 onwards, he has taken on the task as SAR (Society for Artistic Research) Executive Officer.
Øyvind Brandtsegg is a composer and performer working in the fields of algorithmic improvisation and sound installations. Recent writings include Csound: A Sound and Music Computing System (Springer, 2016, with J. ffitch, S. Yi, J. Heintz, O. Brandtsegg, and I. McCurdy). His main instruments as a musician are the Hadron Particle Synthesizer, ImproSculpt and Marimba Lumina. Hadron is an extremely flexible realtime granular synthesizer, widely used within experimental sound design with over 200.000 downloads of the VST/AU version. Brandtsegg uses it for live processing of the acoustic sound from other musicians. In this context he has also developed tools for live convolution and crossadaptive processing. As musician and composer he has collaborated with a number of artists, e.g. Motorpsycho, Maja Ratkje, and he runs the ensemble Trondheim Electroacoustic Performance (T-EMP) In 2008, Brandtsegg finished his PhD equivalent artistic research project on musical improvisation with computers. Øyvind has done lectures and workshops on these themes in USA, Germany, Ireland, and of course in Norway. Since 2010 he is a professor of music technology at NTNU, Trondheim, Norway.
Annett Busch is a freelance curator, editor, writer, and translator whose interest in radical forms of filmmaking and film criticism has led to her thinking of and in juxtapositions; for example, curating Tell it to the Stones: The Work of J. M. Straub and D. Huillet (2017), editing Ousmane Sembène: Interviews and Frieda Grafe: 30 Filme. Her focus has also been on audacious female artists, administrators, philosophers, and fighters, curating Women on Aeroplanes. She has taken catalyzing historical moments and their hangovers, as in the volume and exhibition After Year Zero; and focused on the politics and cultures of magazine production, as in Electronic Textures.
Annett Busch presents Paratactics; What grounds a research practice, which seeks to preserve the need, the value and the frame for many, sometimes incompatible storylines? Suggesting a form that can accommodate the multitude involved, to bring the entanglements to the surface, setting the footnotes loose and not smothering them with interpretation—a form of immanent critique and in continuous transformation. A display that con-forms documents and documentary practices, moving and still image, text and sound, archival material, essay writing and storytelling; that offers a multi-layered “reading” situation, unfolding horizontal or vertical storylines depending on the reader's choices. Within a virtual environment that comprehends untimely layered aesthetics, changing according to their content, aiming for critical awareness and knowledge transfer, but not for immersion. Not least to change the grammatical order how images, words and sounds are interlinked.
History never walks here, it runs in any direction.
Tone Åse interacts with fellow musicians both in the traditional sense of being a singer, and as a soundmaker, stretching the instrumental capabilities of the voice and electronics in the improvised interplay. Her work is very much developed through her collaborations with other musicians in various formats. This was the subject of her doctoral work in artistic research within NARP (2008-2012). Since 1994 she has released several CDs with the groups Kvitretten, BOL, Trondheim Voices, Voxpheria, and T- Emp. Åse has composed music for various ensembles and projects, including her own. From 2012 she took up the position of Associate professor at the Department of Music, NTNU. As part of the Artistic Research week, Åse will present, as an example, her artistic research into voice and live electronics, and look at how this work has expanded the artistic material and methods for her as a vocalist in her different formats. With this as a starting point, she will also discuss some important issues connected to the process of doing artistic research/being an artistic researcher. The example will be based on Åse’s doctoral work in artistic research (2009-2012).
Jordan Sand is a double bassist, vocalist, composer and collaborator from New York. Her compositions and performances as a soloist combine voice with the resonant, organ-like harmonic capabilities of bowed bass. In January 2020, Sand will begin a PhD in Artistic Research at NTNU, investigating how the harmonic layers of the double bass interact, exploring new ways in which bass and voice may interact, and expanding her core sound world to include electronic processes and the unique contributions of other improvising performer-composers. She will share a condensed version of her project plan, as well as how her goals and research questions have evolved leading up to the commencement of the project.