Artistic
Research
Week 2022

Welcome word to the digital participating audience for the Artistic Research Week 2022 “Embodiment”

Mid-way assessment – Sara Eliassen, PhD research fellow at the Academy of Fine Art. The artist will do a presentation of her project-in-progress Mediating Uncertianties, followed by a conversation with artist/ filmmaker/ educator Didem Pekün. The conversation will be moderated by Jan Verwoert, writer and research leader at the Academy of Fine Art.

In 1930, German film composer and author Friedrich Hollaender wrote “Wenn ich mir was wünschen dürfte,” famously performed by Marlene Dietrich. Hollaender’s old Weimar song inspires the foundation of Dora García’s exhibition If I Could Wish for Something, shown jointly at Netwerk Aalst and Fotogalleriet Oslo. Translated, the verses of the song read: 

If I could wish for something I’d feel awkward What should I wish for, a bad or a good time? 

If I could wish for something I’d want to be only a bit happy because if I were too happy I’d long for being sad 

In this session he discusses the concept of opera from the composer’s point of view:
How do you compose musical drama?
What role does the librettist play?
How important is the collaboration with the soloists / performers in the earliest phase of the composition process?

 

 

 

In this session Arely Amaut, Stacy Jo Scott and Sigrid Espelien will open up their ongoing artistic process and collaboration Poetics of Landness. Sigrid has moved her studio to ROM gallery in Oslo for two weeks and concurrently there will be a work in progress exhibition at Carnation Contemporary in Portland where Arely and Stacy Jo will be present.

Om du frågar en operaälskare vad det är med opera som den älskar är det nog få som skulle framhålla olika librettons tematik eller narrativ. En del skulle referera till uppsättningar som stora upplevelser, men för samtliga står sannolikt musiken i sig i första rummet. Och ännu mer precist: de som får musiken att ljuda ur sina kroppar – sångarna.

A performative presentation of Fernanda Branco’s research Environment embodiment – towards enchanted narratives. Exposing how research practices can find a stream into performativity by sharing embodied practices dialoguing with relations of inner and out experiences. Focusing on the fluidity state of listening, on resonances, on skin perceptions, on blurriness of borders.

How do we approach the unknown?
This workshop aims through associations and bisociations to build chains of images. We are going to do several actions that makes traces. What to do is connected to sensuous experiences, observance, feelings, materials, memories, movements, etc..

A performative presentation of Fernanda Branco’s research Environment embodiment – towards enchanted narratives. Exposing how research practices can find a stream into performativity by sharing embodied practices dialoguing with relations of inner and out experiences. Focusing on the fluidity state of listening, on resonances, on skin perceptions, on blurriness of borders.

“A metalogue is a conversation about some problematic subject. This conversation should be such that not only do the participants discuss the problem but the structure of the conversation as a whole is also relevant to the same subject. Only some of the conversations here presented achieve this double format.”
Gregory Bateson, Steps to an Ecology of Mind

Designers are no longer expected to simply create form, function, or aesthetics. Design and science are fusing together, as new innovative materials are emerging from collaborations between designers and scientists. Fungal materials are renewable, sustainable and bio-degradable. 

Within the field of dance studies perceiving and acting have often been split, creating false division between the dancer and the dance. This binary limits choreographic understanding and the understanding of why people like to dance. It has grown out of outmoded physiological and neurological understandings that held sensory perception to be primary and reduced motor skills to a mechanical afterthought.

This artistic research project is aimed at exploring narrative accounts of Norwegians who self-identify with a multicultural and/or immigration background(s). It has been collecting stories of their lived experiences, with special interest in an event that happened in a public space and has been experienced as a life changing moment.

Anne-Linn Akselsen in interview with Janet Panetta, related to the research project “Contemporary dance – a workbook”, about different methods for teaching contemporary dance or teaching dance to contemporary dancers.

MEMORYWORK is a platform for sharing interdisciplinary artistic research on performative memory work. The project is developed by artists with backgrounds in Choreography, Theatre, Performance Art and Art in Public Sphere. MEMORYWORK comes out of a research collaboration at Oslo National Academy of the Arts (KHIO) between the departments of Dance and Art & Craft.

Somatic Costume Dressing Room – ´Rest and Water`

What if costume (to include everyday clothing) is designed live, in the moment, on bodies, in order to care for, attend and respond to the psychophysical needs of wearers? How can costume mend through its touch – supporting the need for rest, reconnection, rejuvenation, repair?

Postponed until further notice

I forbindelse med oppsetningen av Mistero Buffo av Dario Fo, hvor Terje Strømdahl var skuespiller og jeg selv var regissør, ved Teater Innlandet, 2020, oppstod det under prøvene noen gode diskusjoner. Samtalene dreide seg om hvilket forhold skuespilleren har til regissøren, – og omvendt. Under prøvene ble det klart for oss at Terje, altså skuespilleren,  forholdt seg til regissøren, altså meg, som en autoritet, ja, nesten som en farsfigur.

Analog og Digital tegning:

Presentasjon av den kommende antologien «Digital og analog tegning i museet» fra Museumsforlaget, red. Rikke Lundgreen & Anna Carin Hedberg

Resilience and Ethics in Dance Education (REDE) is a research project initiated by the academy of dance, at Oslo National Academy of Arts (KHiO). The REDE project aims to empower dance students and strengthen their future professional potential. 

Short name: MQAR (Matching Qualities in Artistic Research) Contributors: Henrik Hellstenius (Prof. of composition at NMH); Theodor Barth (Prof. of theory and writing at KHiO).

I Camilla Luihns utstilling Det som blir igjen har hun hentet inspirasjon fra antikke greske og romerske gulvmosaikker der matrester og søppel er avbildet. Disse ble kalt ufeid gulv (asàrotos òikos) og kan ha vært et visuelt bevis på overflod og rikdom. Andre tolkninger kan være at det var mat for de døde, som et tidlig eksempel på memento mori.

In this talk, artist/associate professor Marte Johnslien (KhiO) and art historian Ingrid Halland (UiB/AHO) will introduce their research project The Materiality of White which explores how the Norwegian innovation Titanium Dioxide has changed surfaces in art, architecture and design—making the world whiter, brighter and cleaner looking.

This lecture delivers practice-led research from the artist’s position as print ‘maker’ within contemporary craft. The methodology embodies David Pye’s first-hand account of the workmanship of risk and the project integrates Computer Numerical Control (CNC) milling to overcome process limitations; to realise scalable complex multi-block relief prints and to allow further exploration in colour printing.

The documentary The Tattooed Sun is a close-up portrait of artist and filmmaker Shwan Dler Qaradaki’s late mother. A poetic and moving personal narrative, it is told through watercolour and ink drawings, with a subjective narrative voice. At a point in our life, most of us experience the death of the person who once gave us life – our own mother. What thoughts and perspectives do we have in such a situation?

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MEMORYWORK is a platform for sharing interdisciplinary artistic research on performative memory work. The project is developed by artists with backgrounds in Choreography, Theatre, Performance Art and Art in Public Spaces.

Anne-Linn Akselsen in interview with Janet Panetta, related to the research project “Contemporary dance – a workbook”, about different methods for teaching contemporary dance or teaching dance to contemporary dancers.

The Field is a performance with one dancer and a surrounding soundscape.

The work speculates on the body’s plastic nature and what it would look like if we could see this capacity of receiving and creating form happening on a neurological level in the brain.