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Bregnernes ankomst: Franciska Birchens samlinger
Get PDFSkriftlig del av bacheloroppgave, avdeling Kunst og håndverk 2022.
Om kunst der befinder sig mellem naturvidenskab og poesi, om bregner der skriver digte og om en fiktiv forsker ved navn Franciska Birchen
Dopamining
Get PDFDopamining is a title constructed by combining two words. A noun and a verb. Dopamine and mining.
Roughly thirty different raw materials make up a total of 149 grams, which is the weight of an iPhone 6. The materials are extracted from several countries with a huge geographical spread, questionable working conditions, political situations and environmental policies. A device, more or less a part of ourselves, both physically and emotionally, is really just a composite of dredged up soil that carries countless of stories.
This still ongoing artistic research project attempts to reflect upon the social and material footprints that the Iphone leaves behind. At the core of this project is the method deciphering.
Contents:
Dopamining intro: Introduction to research project and progress report.
Encyclopedia of Emotions: On how to make an assembly line of all the emotional pictograms iOS has to offer. Making the digital analogue then making them digital again. 1565 hand painted emojis, oil on 40x40 synthetic canvas.
www.FieldNotes: Field notes from the process, a collection of visual material and text snatched from the www. An ever-growing document.
Wojak: A portrait of a meme. The Wojak. Made in ceramics (clay), the source material for out hand-held devices. The Wojak often used when expressing sympathy for a fellow 4chan troll. Aka the Feel you bro meme.
My Trip to Vesta: Documentation of my trip to the asteroid 4-vesta to harvest rare earth materials. Being a crew member for the artist Tom Sachs and a part of his space program.
Voodoo Material Studies: Implementing the deciphering method in my education and pedagogy. Students testing the method in IM221 Material Studies
Unfolding a vision embedded in a garment: Three tools from a toolbox for generating performance from costume design
Get PDFReflection and discussion on ‘how’ costume performs seems to be at the centre of inquiry of the research within the field of costume design, as presented at the Critical Costume conferences and the journal Studies in Costume and Performance. In various ways, costumes play an important role in most performances, a costume ‘does’ things, it performs and has agency. In recent years, we have experienced an increasing number of performances where costume acts as the starting element for a performance and, more often, we hear of costume designers instigating and leading creative processes in making performances. Costumegenerated performances are about to be considered an established genre. This research report aims to share some ‘tools’ that form a methodological framework – a toolbox – for generating performance with costume design as a starting point. The examples are drawn from my professional practice, informed by work undertaken in workshops held in the frame of the artistic research project ‘Costume Agency’ (2018–21), which I have been leading in collaboration with dramaturg and curator Sodja Lotker. I have found useful concepts in new materialism, as a critical framework that has opened up a new understanding of how humans and nonhuman actors interact and have adapted them for my use as a costume designer, director and researcher. The tools I focus on here are the following three: notions of ‘agency’ in the context of costume design; the concept of ‘situated knowledges’; and ‘visual dramaturgy' from the performing arts theory. These tools have proven to be useful in the processes of generating performance from the costume in my own practice and are offered in this research report to the wider community of costume researchers for further debate and development.Unfolding a vision embedded in a garment: Three tools from a toolbox for generating performance from costume designpublishedVersio
Faux Fair Pilot
No full textNavn på arrangementet: Artists' Book Fair
Sted: Oslo
Dato fra: 30. mars 2022
Dato til: 30. mars 2022
Antall besøkende: 200
Arrangør:
Arrangørnavn: Kunsthøgskolen i OsloFaux Fair is not merely a book fair, but a fake fair breaking the rules and opening the possibilities for artists' publishing. With around thirty KHiO artists participating in this inaugural public art fair, join us in the library to browse, banter and buy books. Artists: Aksel-Dev Dhunsi, Ane Hjort Guttu, Ane Thon Knutsen, Anna Weilhartner, Araitz Mesanza, Bendik Syversætre Johannessen, Camilla Luihn, Emil Kjærnli, Henrik Follesø Egeland, Iris Korsnes, Johan Andrén, Karina Sletten, Lexie Owen, Lisa Rosendahl, Magnus Munkholm Konopljak, Maryam Jafri, Markus Moestue, Mathilda Skoglund, Merete Røstad/Siri Solveig Nathalie Hermansen/MAPS, Mikal Diego Rojas Bøckman, Nora Mauroy, Patricia Carolina, Petrine Vinje, Robel Temesgen Bizuayehu, Siri Hermansen/Black Snow Press, Soo Jin, Tiril Haug Johne, Tris Vonna-Michell, Victoria Ydstie Meyer, Zarina Saidova/Master 1 Design og Illustrasjon klassen, Marte Johnslie
"Værelse" - Romlige utprøvninger i 1:1
Get PDFDet er forståelig at vi i centimeter kan måle hva som er stort nok, og hva som er passe, men hvordan måler vi opplevelse?
Interiørarkitektur handler om funksjon og estetikk, om vitenskap og opplevleser.
Romlaben brukes for å erfare og finne svar, men kanskje vel så viktig brukes den som et verktøy for å stille de "rette" spørsmålene
MQAR—Matching Qualities in Artistic Research
No full textSlides, manuscript, blurb.Session #12 (Artistic Research Week 2022)
Link to—Hands | The Double (Henrik Hellstenius and Ellen Ugelvik): https://vimeo.com/662338060
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).
This session was not a on artistic quality. We discussed qualities in plural. More specifically the qualities were are looking for in the artistic result and process in research and how we conceive a balance, equilibrium or parity between art and research in artistic research.
We perceive that this topic is more/less implicitly under debate in most artistic research projects, when discussed in conferences and gatherings. We ventured to develop and articulate some of our own ideas on the matter, based on case materials from two projects.
Henrik Hellstenius articulated his points on the backdrop of the project Extended Composition (terminated) focussing particularly on his work with Ellen Ugelvik on Hands. The Double. Theodor Barth similarly proceeded from his ongoing Project Spinoza, with Exhibit #14(1) as his case (see separate entry on KHIODA).
The two both operate in a hybrid artistic-academic space, with emphasis on the artistic space for Henrik Hellstenius, and the academic space for Theodor Barth. They exploit their hybridity and difference of emphasis to home in on slow—or, passive—registers of qualities, where aesthetic and epistemic dimensions of artistic research arguably may converge.
Hellstenius and Barth pitched for 20’ each and then engaged a discussion with the audience. The total duration of the session was 1 hour (09:30-10:30).
Link to #14/1—Lineup:
https://khioda.khio.no/khio-xmlui/handle/11250/2839044acceptedVersio
"Wheeling" environmental humanities— Educating designers in excess of what designers do
No full textIf—on our present horizon—design appears as environmental humanities gone live, education must be a key player in hatching and cultivating the awareness of this possibility.
If—on our present horizon—design appears as environmental humanities gone live, education must be a key player in hatching and cultivating the awareness of this possibility.
Presently field investigations in the design education at Oslo National Academy of the Arts (KHiO) are linked to public culture in different visual areas featuring surfaces, spaces, objects and the human body taught in three different study areas: graphic design & illustration, interior architecture & furniture design, clothing/fashion & costume design (presently clustering in areas of artistic research).
The theory curriculum of the MA programme opens for investigations in a broad sense: making—pace Tim Ingold—as field-investigations gone live. As our notion of the ‘field’ is becoming entangled with the environmental situation, the grounds of a discipline with a theoretical provenance in humanities are shifting, in the sense that design is environmental humanities gone live. An agenda for a reflective practice of making turned to environmental responsivity.
To activate video, please click slide number six.
Utgiver: OSEHpublishedVersio
The wound in its entanglements
Get PDFSummary English:
The artistic research project The Wound In Its Entanglements reflects upon the human body in its material entanglements, and centres around the following questions: What is touch within matter? How are bodies materialised? The project is informed by feminist new materialisms’ ongoing re-thinking of our material reality, in which a relational and process-oriented approach to matter—including the matter of living bodies—plays an integral part. The project is more specifically guided by the theories of key materialist and feminist scholar Karen Barad and her concepts intra-action/phenomena/agential cut. Seen through Barad’s agential realist perspective, bodies themselves “come to matter through the world’s iterative intra-activity – its performativity”. “Individuals” only exist within particular materializing relations in their ongoing iteratively intra-active reconfiguring. Approaching Barad’s performative body as biologically malleable and historicized in response to experience, the French philosopher Gilles Deleuze’s motif of the wound is used as a thinking tool in the project. His use of the term is explicitly temporal, insisting on a “ghostly” causality of the event, where echoes, resonances, and traces of the past have material effects in the form of changing forces on the present and future. As such, The Deleuzian wound is an embodied wound, one that can be seen as realising the history and the future of the body through a “stickiness of the past”—in a claim that historical harms live not only in the body of the individual, but in the intergenerational affectivity of whole communities. The key concern of the project, however, is not to solely “name” these urgencies and motifs, but, in fact to “materialise” the transformed mode of thinking these scholars gesture towards, through the creation of artworks in the form of sculptures and sculptural installations. Utilising a range of materials spanning from bacterial colonies to blood pressure medication to cochineal lakes in mixes that simultaneously change and create, the bodies of art “think” the intra activity of matter, in the course of realising it.
Sammendrag norsk:
Det kunstneriske forskningsprosjektet The Wound In Its Entanglements reflekterer rundt menneskekroppen og dens materielle forbindelser. Prosjektet fokuserer på følgende spørsmål: «Hva er berøring i materie?» og «hvordan blir kropper materialisert?». Prosjektet er inspirert av den feministiske ny- materialismens pågående retenking av vår materielle virkelighet, der en relasjonell og prosessorientert tilnærming til materie–inkludert materien i levende kropper–spiller en viktig rolle. Prosjektet lener seg spesifikt på teoriene til den sentrale forskeren og teoretikeren Karen Barad og hennes konsepter intraaktivitet/fenomena/agentisk kutt. Sett fra Barads perspektiv, så «materialiseres kropper gjennom verdens gjentakende intraaktivitet - dens performativitet». «Individer» eksisterer bare innenfor spesielle materialiserende relasjoner i deres pågående intraaktive rekonfigurering. The Wound In Its Entanglements ser Barads performative kropp som biologisk formbar og historisert. I denne lesningen brukes den franske filosofen Gilles Deleuzes sår-motiv («The Wound») som tenkeverktøy. Hans bruk av såret som begrep er temporær og ikke romlig, og insisterer på en «spøkelsesaktig» kausalitet, der ekko, gjenlyder og spor fra fortiden har materielle effekter på både nåtid og fremtid. Det Deleuziske såret er legemliggjort, det er et sår som realiserer kroppens historie og fremtid på samme tid. Det er også et sår som hevder at negative påvirkninger og skader som har funnet sted gjennom historien ikke bare lever i individets kropp, men preger generasjoner og samfunn. Prosjektets hovedanliggende er imidlertid ikke bare å «navngi» disse temaene, men å forsøke å «materialisere» disse teoretikernes tenkemåte gjennom produksjon av skulptur og skulpturelle installasjoner. Ved å bruke en rekke forskjellige materialer som for eksempel bakteriekolonier, blodtrykksdempende medisiner og karminbad, møtes materien i blandinger som samtidig endrer og skaper. Slik «tenker» kunsten materiens intraaktivitet mens den er i gang med å realiseres