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If I could wish for something (Amor Rojo film, part 2)
No full textOriginalverkets komponist: Jan Mech / Bruja de Texcoco
Besetning: Principal cinematography Miriam Ortiz Camera assistant Fernanda Vázquez Additional cinematography Gisela Castillo, Lilian Cuervo, Luchadoras, Regina López, Esthel Vogrig, Liz Misterio & Una Pardo Editing Simon Arazi & Dora García Editing assistant Guillermo Mendiguren Music Jan Mech Theme song “Nostalgia” by La Bruja de Texcoco, 2021 Sound recording Isis Puente Sound mix and design Laszlo Umbreit Sound mix assistant Luc Aureille at Le Fresnoy Color grading Baptiste Evrard at Le Fresnoy Credits Fairuz Production Auguste Orts, Olga Rodríguez, Estelle Benazet (Le Fresnoy) & Alaíde Castro Hernández (Antítesis Films).
https://vimeo.com/569065854If I could wish for something is a documentary film, the second chapter (2020-2021) of the large project Amor Rojo (2018-2022), an archive research, writing and art film project walking the labyrinth of female freedom and love as political weapon. Amor Rojo (Red Love) uses as a red thread the figure of Alexandra Kollontai (1872-1952), a Marxist theorist and October revolutionary, radical feminist and sexual activist.
The documentary film If I could wish for something focuses on the culturally and politically vibrant years of A. Kollontai as an ambassador in Mexico (1926-27) as her work was translated into Spanish for the first time (1926); and how her legacy lives today in the newest forms of Latin American transfeminism
Researching historical print archives to integrate 'found' knowledge into post-digital printmaking workshops
Get PDFResearching historical print archives to integrate 'found' knowledge into post-digital printmaking workshop
Crisis & Care: flyers #01-#06
No full text[WALKABOUT: click file NAVIGATION EXHIBIT]
Preparation and modular diary for the Artistic Research Week (ARW) at KHiO, week 4, January. The flyer series aims at maturing the configuration of a collaborative situation—distributed in two sessions (#15 and #8)—and materials proposed for a professional interaction on crisis & care, in the framework of ARW: Hospitality, Vulnerability, Vitality. Topic advanced by Camille Norment.
The purpose was to see if it was possible to develop a perception of agency amongst the participants, myself included, based on input that was neither completely predictable nor entirely random. First by inquiring into extremes—counterposing victimhood and excellence—to see how the topics in the group would surface in this tensional field. A tensional and hybrid field.
It is further queried as the moral doxa—assumption, opinion or tacit norms—counterposed to ethics: the latter being tied to an epistemic obligation to critical thinking, knowledge and research. How the moral doxa subscribes to reactive positions, before inquiry (rather than the reverse). The foundations of ethics possibly being: a) that learning outcomes are transposable; b) criticality.
In the context of the Zoom conference: the gallery of real-time videos we are watching that we do accept as placeholders (with “voting-rights”, as it were, or the right of voice). This is an example of transposition: without this aesthetic-epistemic operation, we would not have a platform for reaching anything conclusive. Yet it is a collaborative platform: ranging from budgets to research.
Then to criticality. One flyer is devoted to inquire on an outcome from one of the projects we were going to interact on in ARW (session #8); to determine a mode of engaging with the project, from a position of professional respect and artistic trust, without being considered as partisan to the work, but rather in a position to discuss it and hatch new repertoires in it from within.
The possibility to engage on indigenous terms, without turning to mimetic complicity. Here the development of agency relating to the work as it is—and not an instance of existing cultural and discursive stereotypes—is instantiated by the activity of flyer-production, turned out to be a key to address difficulties I could not seem to manage in a more leisurely research project.
Working to dislodge the art in the art—as a basic communicative act—combines the developing agency and random-processing in specific ways, that may be linked to the obligation to the art work which is not ideal, or related to what it should address or resolve, but its material existence. The art in the art released from the work, on condition of a work of hatching disordered systems.
Keys to the flyers: #01 homo sacer; #02 existential excellence; #03 ethics and moral doxa; #04 contingencies of the artistic material; #05 cleaning the slate between projects; #06 communication as an aesthetico-epistemic operation.
AWR sessions:
#15 Crisis and Care. Panel. Participants: Bojana Cvejic, Petrine Evinje, Mette Edvardsen, Bjørn Blikstad, Linda Gathu and Theodor Barth.
#8 TRANSPOSITIONS—JAR, Mette Edvardsen and modular diaries. Participants: Mette Edvardsen and Theodor Barth.
NB! the flyers are intended as THEORY PROTOTYPES that are informed by interaction before, during and after.draf
Reflexive Dramaturgy - Scenic Digital Book Launch by Tore Vagn Lid
No full textI dette prosjektet går skuespillere, lyd- og billedkunstnere i kunstnerisk dialog med boken "Refleksiv dramaturgi". Boken utgjør siste del av et flerårig kunstnerisk forskningsprosjekt som Tore Vagn Lid har ledet som professor ved Kunsthøgskolen i Oslo. Universitetet i Bergen skriver: Selve lanseringen av boken på norsk tok i 2019 form av en audiovisuell iscenesettelse på Litteraturhuset i Oslo. Med et team av kunstnere og teknikere arbeidet forfatteren med boksidenes tekster og struktur, slik at disse i seg selv ble gjenstand for språklige, klanglige og visuelle undersøkelser. På denne måten nærmet eksperimentet seg et stoffskifte mellom teori og praksis som gav mulige innganger til spørsmålet om hva kunstnerisk forskning kan være. Motivert av dette konseptet, og nå også for et engelsk språklig publikum, vil det nye arbeidet forfølge en tredelt strategi, hvor kunstnerisk refleksjon — produsert gjennom ulike former for praksis — hentes tilbake til skriftens og bokens refleksjonsformer, for så igjen å bli gjenstand for nye kunstneriske former for refleksjon. Denne dramaturgiens fram og tilbake-bevegelser er en viktig del av det Tore Vagn Lid har kalt for en refleksiv dramaturgi. Arbeidet blir et appendiks eller postludium til Lids flerårige kunstneriske forskningsprosjekt ved KHiO/Teaterhøgskolen, samtidig som det markerer første etappen i et samarbeid som tilknyttet gjesteforsker ved Senter for vitenskapsteori, Universitetet i Bergen. Medvirkende: Gisken Armand, Anders Elsruud Hultgreen, Tore Vagn Lid, Marie Blokkhus, Øystein Nesheim, Tor Christian F. Bleikli, Susann Kambestad, Bjørn Willberg Andersen, Morten Skage Arrangementet skjer i et samarbeid mellom Prosjektprogram for kunstnerisk utviklingsarbeid, Kunsthøgskolen i Oslo v/Teaterhøgskolen, Transiteatret-Bergen, Senter for vitenskapsteori (UiB) og Hordaland Kunstsenter.The book «Reflexive Dramaturgy» makes up the last part of a perennial artistic research project that Tore Vagn Lid has been leading as a professor at the Oslo National Academy of the Arts. The launch of the Norwegian edition of the book in 2019 was in the form of an audio-visual staging at Litteraturhuset in Oslo.
Together with a team of artists and technicians the author was working with the texts and structure of the book pages so that they themselves could become subject to linguistic, acoustic and visual examinations. In this way the experiment approached a kind of metabolism between theory and practice that could give possible answers to the question what artistic research can be.
Inspired by this concept, and now also for an English-speaking audience, this new work will follow a three-part strategy where artistic reflection – produced in different forms of practice– will be brought back to the forms of reflection of the writing and the book, and then again become subject to new artistic reflections. The back-and -forth movements of this research approach is an important part of what Tore Vagn Lid has called a reflexive dramaturgy.
The official premiere will be streamed directly from Hordaland Kunstsenter, Sunday, January 31, 2021 at 20:30. The work is a kind of appendix or postlude to Lid’s artistic research project over several years at the Theater Department at The Oslo National Academy of the Arts. At the same time, it is the first stage of a new collaboration as a guest researcher at the Center of Science Theory at Bergen University.
Those involved:
Gisken Armand, Anders Elsrud Hultgreen, Tore Vagn Lid, Marie Blokhus, Øystein Nesheim, Tor Christian F. Bleikli, Susann Kambestad, Bjørn Willberg Andersen, Morten Skage
EN OPPSTILLING
Get PDFLysbilder (paneler)
Manuskript (lapper)Prøve—bidraget søker å demonstrere en sidelengs transposisjon mellom panelverk, oppstilling og atlas. Oppstillingen undersøker posisjon, situasjon og opptak i tegning under feltarbeid, og plansjenes leselighet som panelverk i ettertid.
«Å lese noe som aldri ble skrevet» er blikket Georges Didi-Huberman utvikler på basis av Aby Warburgs minnesatlas MNEMYSYNE. Tilnærmingen kommer her til anvendelse på ms./plv. 1247 ved Nasjonalbiblioteket med tittelen « Erindring af Fjeldreisen i 1820. Tilegnet min Ven Boeck. Keilhau. Christiania 1821.» Leselighet betinget tegningens etterliv.
Metoden kombinerer proksemikk og semiotikk i forståelsen av mennesket i geologisk tid, der tegninger opptrer som stratifiserte opptak mellom holdning og handling. En gjenopptegning av det jordlige med vekt på høydeperspektiv, sittestilling og proksemiske koter.
Dømmekraftens røfter i en livssone preget av kontrastene mellom det korte menneskelivet, geologiens lange tid og tegningens mellomtid som formidler dem. Oppstillingens tid er materialistisk, kartografisk og utgjør en dekonstruksjon av begrepet ANTROPOCEN (et begrep med basis i mennesket som livsform, som langt overskrider menneskelivet og det større historiske rammeverket).
Innlegget er et eksempel på en visuell tilnærming i utviklingen av tekstlig innhold, der det er de visuelle plansjene og tekst lappene som tilsammen utgjør panelene, og gestalter den teoretiske refleksjonen. Med en tydelig henvisning til loggboken som basis format. ThB.
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Lenke til streamet seminar: https://mediasite.nb.no/Mediasite/Play/ee23c8253f7349199a8da09287dd162f1d
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Prof. Siri Hermansen (Kunst i offentlig rom, KHiO) bidro også ved samme anledning. Rammen for bidraget er samarbeid mellom Nasjonalbiblioteket og KHiO.publishedVersio
analysis theory development
No full textThe present introduction to documentation from MDE 545 | Theory 2—Theory Development, is short. Since a fuller outline of course contents, approach and process is given in the editorial preface to the Essay anthology that you can access and download from the column of attachments to the left. See also the lineup of photos documenting the book, made by Araitz Mesanza and Kristine Øverland Lie.
Where MDE 504 | Theory 2—Theory in Design Practice is dedicated to book presentations, observations logged in a format called BlackBook, and to reflective autonomy, MDE 545 | Theory 2—Theory Development is dedicated to analysis, a logbook called Research Portfolio, and the multiplication of references (in a needed variety of media): in the present course, the logbook format called Research Portfolio is used as a backdrop for a writing assignment. A 1000 word essay written by the students, on a chosen topic with selected images.
The course evaluation is integrated into the structure and method of the course, and documented here by two flyer series that were consecutively posted on the LMS used by the school (Canvas) on a weekly basis, as the course progressed. The first series #01-06 is a thematic flyer set that sets the course in motion, while picking up on topics and signals from the students. The second series A-B is synoptic flyer set that picks up the notions in the course, as the contents from the students are picking up in the last part of the course.
During the course we had 4 artistic research conversations, featuring PhD fellows Bjørn Blikstad and Ida Falck (both from design), Petrine Vinje (from Art and Crafts) and Kristin Norderval (from Opera).
As MDE 504 | Theory 1—Theory in Design Practice, MDE 545 | Theory 2—Theory development, takes place 10 Fridays. Each session is a 1-day intensive course, where all student deliveries, pertaining to the course, are done in the afternoon. Both courses are sandwich courses, in the sense that the transdisciplinary arena it offers, is an occasion for students to pick up on their specialised courses, in aspects that call for independent theoretical queries.
The preface places the students’ essays in a context with the working conditions of the lockdown and COVID19 pandemic, that had lasted for a year when the students did their essays. The term was invaluable in its impact on the professional respect and artistic trust, needed to complete the theory curriculum of our MA programme, as they passed on to MA2. Cf, documentation on MDE 551|Theory 3—Synthesis (featuring last year’s course with a different class).
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In ESSAYS/FORSØK:
A) Part 1 on ontological materialism—Lærke Bang Barfod, Harald Lunde Helgesen, Sindre Burås, Sverre Brand, Nina Havermans, Araiz Mesanza, Embla Sunde Myrva;
B) Part 2 on critical horizons—Emil Holmberg Lewe, Ruth Emilie Rustad Martinsen, Julie Lundegaard Christophersen, Finn Robert Jensen, Camilla Martinsen, Sana Khan Niazi, Anna Marthea Øren;
C) Part 3 on epistemic reflection—Hallbjørn Kjellsson Hognestad, Margaret Abeshu, Kristine Lie Øverland, Nicolo Groenier, Pauline Ader, Hanne Søreide Haugen, Anna Noll, Jens Kristoffer Bøyesen Vik, Jennie Steen.publishedVersio
Urban Museum
Get PDFSkriftlig del av masterprosjekt, MA Design, Interiørarkitektur og møbeldesign, 2021.
Foto- og videodokumentasjon.The Urban Museum is looking at the current situation in the fields of interior architecture and museology.
The aim is to open up a new way to interact with the public for a more democratic approach by strengthening social interactions outside the museum walls. This project is also challenging the hierarchy of curatorial practices through collaboration
Exhibits #01-06
No full text[WALKABOUT: click file NAVIGATION EXHIBIT]
Though the title of this series is #exhibitions, none of the elements in the flyer-series deals with exhibition in plain and non-perturbed sense.
The source of perturbation is the Corona/Covid-19 pandemic—evidently—but provides the occasion to investigate forms of collective viewing, in a range of detail that under “normal” circumstances would have been backgrounded/marginal.
The forms of display that have emerged during the pandemic, though broadly resonating with the idea and function of exhibits, still have lacked one/more essential features regularly associated with ‘publicness’.
Events gathering subaltern crowds–whether in or outdoors–tuned to a range of meanings/phenomena that would readily eschew the public attention under “normal” circumstances. Such as sightings, disappearances, trans local connections, monsters (teratology), ephemeral bodies and books.
All of which are articulated from concrete displays in art and design, featuring what has been previously called a ‘learning theatre’.
WORKS discussed:
#01—Evergreen Corona (directed by Nicolai Fontain)
#02—First significant, First Reflection, First Find (print & drawing, Enrique Guadarrama Solis, Galleri Seilduken)
#03—Pristine-urban transactions (walk by Theodor Barth)
#04—The Peacock Cabinet (Bjørn Jørund Blikstad)
#05—Everyday Miniature (video-diary by Katarina Caspersen)
#06—Time has fallen asleep in the afternoon sunshine (directed by Mette Edvardsen
Utvikling av metoden språkovergang i møte med scenisk integrering (2015-2021)
No full textDenne teksten beskriver et kunstnerisk og pedagogisk utviklingsarbeid utført og skrevet av høgskolelektorene Miriam Sogn og Maria Rosanna Wennersten, som begge har undervist ved Teaterhøgskolen siden høsten 2013. Sammen har de gjennom de siste 6 årene utviklet en metodisk fremgangsmåte og form for studentenes første møte med scenisk integrering i emnet språkovergang. Arbeidet har vært utført årlig og form og metodikk har blitt evaluert og justert underveis. Studentene har selv oversatt tekster, og har brukt et semester på å forberede seg på en workshop med fokus på scenisk integrering og som har endt i en åpen time med publikum