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I still have the best basketball card collection at Uranienborg school, what do you have?
Get PDFFlyer set: #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.This flyer-collection features an encounter with Patí Passero’s exhibit— I still have the best basketball card collection at Uranienborg school, what do you have?—a one day exhibition. The flyer-set is made the day after the exhibit, in the tail of the event
The archive in a closet
No full text6 flyers (1 HEX): 1) attempt; 2) try again; 3) do something else; 4) return; 5) unlearn; 6) crossover.Few would presently disagree that the conditions of our life and work on planet earth is immersive. Yet, can we imagine an existential leap—under these fundamental conditions—that will bring a simultaneous shift to the world and our lives?
Based on this question, the present flyer-series queries the expanded self: one not orbital to our ego, but a wider self that includes artefacts and natural occurrences, reflected e.g. in Gregory Bateson’s query into the cybernetics of the expanded mind.
In this connection the warehousing of human artefacts and natural occurrences (e.g., seen as resources) operate in a variety of modes reflecting the internal shifts in what e.g. Pierre Bourdieu understood as doxa: featuring opinion and assumption.
Instead of querying the relation between opinion/assumption vs. knowledge/critique—according to an established scholarly template—we may attempt a generative analysis of the shifts in opinion, assumption, knowledge and critique as a whole.
Thus, the shifts in the warehousing of the entities—artefacts/ occurrences—can be considered, and help us take awareness of the sideways/crabwise motion of change: which may be as much desired as it is difficult to detect.
The case-base elaborated on in the set, are from furniture design and archival studies. Furniture and archives always exist alongside: which means that they are in one aspect independent and comparable, in another aspect dependent and functionally supportive.
The case-materials are specific: the furniture materials are from Jørund Blikstad’s artistic research in furniture design for his PhD, while the other material hinge on specific insights from discoveries emerging from an ongoing interaction with the National Library.
Both interaction-arenas unfolded in the Spring of 2021—as the C19 pandemic foreclosed—and the flyer-set targets a where environmental humanities and STS (science technology studies) are joint: featuring the strategic potential of the flyer-HEX.
Essentially an experimental bid on exposition, or what exposition could be if transposed unto theory development. A task which may be as urgent as its occasions are rare. An effort, in league with practice, of a dramaturgical kind: combining the roles of the researcher and the in-house critic.draf
Hvordan kan bruk av analytiske verktøy fra Stanislavskijs system bidra til en bedre forståelse for og utforming av tittelrollen i Tsjajkovskijs opera Eugen Onegin?
Get PDFSkriftlig del av masterprosjekt. Avdeling Operahøgskolen, 202
Sommer KUF
No full textPlansjeverk m/32 enheter + appendiks på 10 enheterPresentasjon av plansjeverk og med kort forelesning, til KUF presentasjon på avdeling design 18.08.21 (KUF = kunstnerisk utviklingsarbeid og forskning).draf
QUAD
Get PDFFlyer set of 6 (1HEX) with these elements: #01 attempt; #02 try again; #03 do something else; #04 return; #05 unlearn; #06 crossover.This flyer-series is part of the QUAD-quadrilogy from the summer 2021. QUAD contains a double reference: 1) Samuel Beckett’s choreography named QUAD; 2) A set of positions posited by Bruno Latour to explore and map a territory of the terrestrial, as opposite to global, conditions that we may currently have to determine.
QUAD is composed of 4 flyer-sets of 6—4HEX—with each their different positions cast as roles: I) someone makes a statement based on assumption: II) someone else forwards knowledge in support of the assumption; III) a third role lies in coming up with a critique of that knowledge; IV) a fourth instance has/claims to have the know-how.
The present flyer-series, on metalepsis, claims know-how based on an understanding of how synecdoches and metonyms work, moving them from rhetorics (as tropes) to different approaches to sign production (semiosis). The job and resident principle of metalepsis as know-how, rests on signs as the signifying elements of agency.
Here, signs do not extend from language, and and are not a priori discursive subordinate to and inscribed in language: they articulate with language, but are not as language. This opens to explore as path where language and signs interfere with one another. And how events can catch up from contents, from behind: in the rear view.
Clearly, a demonstration has been given of the two modes of QUAD: 1) as an indicated role-set [standard/archetypical of all design processes]; 2) as 4 flyer-sets that are configured to mirror the role set. The QUAD accordingly is conceived in two modes: a restricted mode (of the roles) and an expanded mode (of the flyers). The latter feature design as the animating principle of a creative process.
In the last flyer #06 there is a hyperlink, at the bottom, allowing you to return to QUAD I.draf
black spot #01-06
No full textFlyer set of 6 (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.The flyer series draws up an often neglected discussion on late mediaeval/renaissance backdrop of modernism: whether referring to the Bauhaus, Samuel Beckett, Marcel Duchamp or Le Corbusier.
The series are panels developed in the wake of discussions related to this topic, with PhD fellow Bjørn Blikstad (furniture). They are prompted by his work, Georges Didi-Huberman’s project of visual anthropology and a perceived need to deconstruct C.G. Jung.
It is not possible to selve into the visual anthropology involving the crafts without passing through the alchemical heritage of emblems. Given that a turn to the crafts will determine a vantage point on what art does (as revealed in what it shows).
In this realm desire/libido and metaphysics—the gut and the stars—are entangled. Finding a method to deal with the tangle (their superposition and intra-action rather than separation) is a worthy challenge for contemporary artistic research.
Do we find anthropology in the repertoire of an expanded art history? Or, a related question, will the expanded field of performance—or, performativity—prove mediations in subject matters, and areas, that we walk around? The black spots on the “map”.
Images as panels, readable as an atlas. Reading what was never written. Performance.draf
The Biennial Form and the Narration of History: Thinking through “The Ghost Ship and the Sea Change"
Get PDFExhibitions are powerful tools for the staging of historical narratives. Since the 1960s, historiography through exhibition-making has undergone a re-conception through artistic and curatorial practice. Contemporary art biennials and other large-scale periodic exhibitions have provided important platforms for artists and curators to experiment with historical narration in ways distinctly different from historical museums, often placing an emphasis on context-specificity and the relationship between suppressed histories of the past and the political present. This article explores the potential of the biennial as a site of historical narration, using the curatorial process behind the 2021 edition of Göteborg International Biennial of Contemporary Art, The Ghost Ship and the Sea Change, as a case study. Proposing that the biennial form be used as a situated and poly-vocal countermodel to the master narrative of the historical museum, it argues for artistic and curatorial practices to be seen as continuations of ways of telling about the world preceding the modern discipline of History and the imperial boundaries between past and present, and fact and fiction.publishedVersio
Spatial Workstation
Get PDFFlyer series #01-#06 (1 HEX): dataset/-container.The flyer-series seeks to expand the Klein's group—as referred to by Rosalind Krauss (1979)—in the area of asymmetric interaction in various domains: communication, transaction, strategy and embodiment as an aspect of spatial competence becoming potentially more accentuated in the new digital strategies emerging under the conditions of quarantine (covid 19)
#01-#06—plug-ins
No full textDataset with 6 flyers (1HEX) with a structure of a modular diary (1 made and dated each day of a week). The modules are: a) attempt; b) try again; c) do something else; d) come back; e) unlearn; f) crossover.[WALKABOUT: click file NAVIGATION EXHIBIT]
This flyer-set looks as the techno-phenomenological aspects of attempting to develop a cogent spatial compound—integrating digital and analog assets—of hybrid learning situations that we are currently facing with Covid 19. The set attempts to tease out the dimensions of the challenges we face as innovators, under restrictive circumstances (attempting to transform restrictions into enablers).draf