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Striper - sett i lys av Schillers ideer om menneskets grunndrifter i form
Get PDFStriper blir i denne studien undersøkt gjennom Friedrich Schillers konsepter om menneskets tre grunndrifter i form; formdrift, stoffdrift og lekedrift. Schillers teoretiske begreper brukes til å fokusere på forskning om form i forhold til menneskets trang til, og ønske om, å forme. Gjennom å vise konkrete eksempler av striper som er materialisert på ulike måter i kunst og design blir striper utvidet som typologi med å vise eksempler på sammenbindende striper, monomane striper, striper som tidsakser, striper og materialitet, trafikale striper, markerende striper, merkevare-striper, flettede striper, romskapende striper, striper som optiske illusjoner, organiske striper, hybride striper og likeverdige striper. Studien viser sammenheng fra estetisk praksis til mønsterdannelser i kvalitative forskningsmetoder. Studien viser hvordan Schillers begreper kan være relvante for å skape økt forståelse for verdien av estetiske undersøkelser.Striper - sett i lys av Schillers ideer om menneskets grunndrifter i formpublishedVersio
Danuta Haremska: Reminisens
No full textFotodokumentasjon fra Danuta Haremskas separatutstilling "Reminisiens" på House of Foundation, Moss, 14.04.2018-27.05.2018. Bildet viser to installasjoner: "Growing" og "Seeded".I min kunstneriske virksomhet arbeider jeg med installasjon, skulptur, tegning og maleri. Jeg bruker bevisst ulike uttrykksformer og materialer, og det er selve konseptet som avgjør valget av medium og materiale. Et gjennomgående tema er eksistens. Det som har hatt spesielt stor plass i mine refleksjoner er ulike overlevelsesstrategier knyttet til vår sameksistens med naturen. Jeg bruker ofte en tilnærming til prosjektene mine der ulike materialer får en stor rolle og metaforisk betydning. Motsetningsfylte kontraster som kan gi en følelse av uro og ambivalens er et viktig element i arbeidene mine.
Utgangspunktet for mitt siste prosjekt «Reminisens» er papirtråd. Jeg undersøker materialets organiske opprinnelse, og stiller spørsmål rundt materialets hukommelse: har organiske materialer et spor av, eller et minne om, sitt tidligere liv? Jeg ønsker å reversere tankeprosessen og gå tilbake til det stadiet der papiret var en levende plante.Prosjektet mitt handler også om materialets potensial, selv når det ser ut som det har mistet alle andre muligheter enn å utføre den funksjonen det er omformet til å ha. Jeg ønsker å rette søkelyset på miljøet og bidra til refleksjon rund vår bruk og forvaltning av naturresurser
A Guided Guide
No full textThis is part of the practical PhD in artistic research by Liv Bugge. The reflection includes: -"A guided guide" - reflection text -"Conversations" - An appendix of conversations - "To accept theirs, to make it mine, to wish it for myself" (Book)Reflectio
Ice fishing for stories on a sea of information
Get PDFSkriftlig obligatorisk arbeid levert som del av MA avslutningsarbeid ved Avdeling Kunstakademiet, 201
#GOSH remixes (mimeograph print media)
No full textDuring a study trip to the Jan van Eyck Academie, I applied knowledge gained from 'Training Nature' in the form of vector stencils to the mimeograph print process, with guidance from Erwin Blok.
Jan van Eyck Academie, Maastricht, 05.02.18 - 08.02.18
Deep Field
No full textPremiere: Black Box Theatre, Oslo, November 7. 2018Deep Field will be a performance for five dancers. It centers around running, and its affective qualities, both on behalf of the performers and the spectactors. Jenny Hval and Lasse Marhaug will compose the music.
Amongst runners, the much sought-after Runners´high denotes the affective state of euphoria where endorphins are released into the body. Endorphins act a lot like their medically engineered counterpart, morphine. They serve as a painkiller, and have through evolution helped humans survive through providing extra stamina for instance when chasing down animals. Endorphins are produced in the pre-frontal and limbic regions of the brain, which also light up in response to emotions like love.
With Deep Field, I´m curious to investigate how to produce this love-like euphoria amongst the running performers, and to what degree it can be contagious on the audience. This is based on ideas of kinesthetic transference; that one as a body can experience the movement of another body empathically through watching, feeling and hearing its presence space.
The affective qualities of running will also be approached through compositional strategies inspired by hypnosis and trance-inducing rituals. The dancers will run in a variety of slowly evolving patterns and formations that draw the audience in and ideally produce altered states and/or trance states. A trance state is usually seen as a state of mind being caused by cognitive loops where a cognitive object (thoughts, images, movement, sounds, intentional actions) repeats long enough to result in altered cognitive functions. Here, the repetition of pulse, movement and patterns in space are central to the trance induction.
Deep Field marks the end of my practice-based PhD at the Oslo National Academy of the Arts. Within my PhD-project “Affective choreographies”, I have produced and toured a number of works where various methodical approaches have been explored. Common to the works have been the notion of affect understood as something, which produces an altered states of being.
Consciousness and the idea of the self are much-debated topics in Western philosophy. Hence, there is little agreement on what exactly constitutes an altered state. The human sensorium limits our access to the objective world (we can only experience what our sensorium and brain capacity allows us to experience), but attempts to describe the relation between human consciousness and extra mental reality have created controversies. One can still identify two dominating views on altered states. Within constructivism, they are seens as something produced by the subject herself through (chemical) changes of brain patterns. Shamanism and mystical discourses, however, claim that altered states give us access to something essential or transpersonal; that we can catch glimpses of hidden facets of reality.
Either or, a common way to experience altered states is through psychedelic drugs (although the Runners´ high probably poses less risk). Psychedelic drugs have been used spiritually, therapeutically and recreationally throuhg the history if mankind. But as a consequence of the last 50 years´ prohibition of these, the scientific research on how they work has been limited. Supporters of psychedelic drugs question how this prohibition has coincided with what they see as a gradual suppression of cognitive freedom through brainwashing that keeps us focused on shopping, finance and warfare. It is of course tempting to reject these theories as drug-induced paranioa. However, it is highly problematic that economic progress that compromises nature and humanity, is what constitutes “development” in the Western world. We need new, sustainable models to organize society and ourselves in order to continue our existense.
With “Affective choreographies”, my aim is to produce the potential for new experiences, thoughts and ideas to occur amongst the audience. This founded in a belief in art as a motor for change, through taking the role as “utterly useless” in a society where most other things have a given and known purpose. When confronted with something that doesn´t perform as expected or that resists classification we have to look for new approaches, and in these moments of liminality there is a potential for the unpredictable and unforeseen to occur. This might be a small contribution to the above-mentioned challenges; however, I think art is a highly relevant in prompting new thinking and doing.
Choreography: Ingri Fiksdal. Music: Jenny Hval and Lasse Marhaug. Light design: Ingeborg Olerud. Costume : Signe Becker. Seam by: Axel Enquist. Performers: Sudesh Adhana, Jon Filip Fahlstrøm, Rannei Grenne, Louis Schou-Hansen and Synne Sørum. Producer: Nicole Schuchardt. Administrator: Eva Grainger and Kristin Skiftun. Photo: Istvan Virag. Video: Millimedia AS. Co-produced by: Black Box Teater (Oslo), BIT Teatergarasjen (Bergen), Teaterhuset Avant Garden (Trondheim) and apap-Performing Europe 2020 - a project co-founded by Creative Europe Programme of the European Union. Supported by: The Norwegian Arts Council, The Norwegian Artistic Research Program and Oslo National Academy of the Arts
To accept theirs, to make it mine, to wish it for myself
No full textPart of the practical PhD in artistic research by Liv Bugge. The reflection includes: A guided guide - reflection text ; Conversations - An appendix of conversations ; To accept theirs, to make it mine, to wish it for myself (Book)This book forms part of Liv Bugge's artwork To accept theirs, to make it mine, to wish it for myself developed and produced under the auspices of Public Art Norway (KORO) in connection with the construction of new cell blocks at Eidsberg and Ullersmo Prisons. Bugge takes as her starting point the idea that touch and the traces left by human bodies are a form of linguistic expression. Working in collaboration with inmates, Bugge sought out, and made casts of, physical traces left by former inmates: worn or vandalised surfaces and marks scratched into the walls. These casts were then made into positive or negative bronze casts that were reinserted into the buildings. This work investigates past interactions between human bodies and the surfaces in the prisons, and the traces left behind. By recording and making casts of these traces, Bugge transcribes what could be described as a physical language. The process was a kind of archaeological project that revealed incidences of former inmates'aggression: opinions scratched into surfaces: or quite simply traces or wear resulting from, for example, a person having sat in a particular way over a long period. The project attributed value to these forms of physical expression, which otherwise would have been erased, and the impressions made precious by being reinserted into the buildings as mini- monuments, instead of being removed. As well as serving as a guide to the 76 bronze casts embedded in the walls of the two prisons, this book contains texts by inmates, which were written in collaboration with Sara Orning and Ingvild Hellestrand of Monsternettverket and a text by Liv Bugge. With contributions by Benjamin, Claudiu, Haagi, Jatt, Jimmy, Jørn, M, Mantas, Marius, Per Erik, Tommy, Umit and Monsternettverket by Sara Orning and Ingvil HellestrandKORO and Oslo International Academy of the Art
20th International Minitextile Exhibition: CELEBRATION
No full textFoto av tekstilarbeiderDeltakelse på 20th International Minitextile Exhibition: CELEBRATION, Bratislava, Slovakia.
24. mai - 10. juni 2018.
Verk i utstillingen: "Family meeting" og "Sound of music" (tekstilarbeider)
Mail Art. By students and staff from Glasgow School of Art and the Drawing Lab at Oslo National Academy of the Arts
No full textPhoto documentationMail art - drawings and workshop results from cooperation between the Drawing Lab and Glasgow School of Art spring 2018, part of the project Common Craft.
Exhibition at Galleri Seilduken, Oslo National Academy of the Arts April 13 - April 20, 2018.
Academic coordinators: Tiril Schrøder and Karen Disen
Sommerforestilling med bachelor klassisk ballett 2018
No full textProgram og foto. Ballettforestilling vist 14., 16., 18.-20. juni 2018, på Seilduken, Hovedscenen.Avgangsstudentene på 3BA klassisk ballett, samt studenter fra 1BA og 2BA ballett har forestilling. 3BA danser utdrag fra Ohad Naharins ballett Mabul. Dessuten vises utdrag fra Pas de six fra Napoli, Svanesjøen, Raymonda, Artifact og The Giving.
Dansere fra 3BA: Helena E.K. Byrt, Heidi Cecilie Baastad Christensen, Shoma Ogasawara, Harald Röök, Alexandra Zavialova
Dansere fra 2BA: Simon Fyrevik, Elias Holm, Maja Lange Jønland, Laureen Laar, Sofie Ruthenbeck, Mani Samawi, Anna Embjørg Råkil Sletnes, Johanna Valen.
Dansere 1BA: Tiri Anemone Maria Berge, Jack Hartill, Nanny Hedberg, Maria Pushkova, Gabriel Räätäri Nyström, Rut Sahlberg, Aurora Stray-Pedersen, Nicole Wulfing.
Foto: Victoria Francisca Amundsen (fotografiene er fra prøver