Florian Dombois (President) - Bern, Switzerland
Anna Lindal (Vice-President) - Gothenburg, Sweden
Darla Crispin (Vice-President) - Ghent, Belgium
Jan Kaila - Helsinki, Finland
George Petelin - Brisbane, Australia
Stephen Scrivener - London, Great Britain
Sofie van Loo - Antwerp, Belgium
Michael Schwab (Editor in Chief) - London, United Kingdom
Annette Arlander - Helsinki, Finland
Henk Borgdorff - Den Haag, The Netherlands
Vanessa Corby - York, United Kingdom
Barnaby Drabble - Zürich, Switzerland
Gerhard Eckel - Graz, Austria
Mika Elo - Helsinki, Finland
Julian Klein - Berlin, Germany
Dieter Lesage - Brussels, Belgium
Claudia Mareis - Bern, Switzerland
Michel van Dartel - Rotterdam, The Netherlands
Johan Verbeke - Brussels, Belgium
Florian Dombois is an artist and has focused on the study of landforms, labilities, seismics, scientific and technical fictionality, and on their various representational and media formats. He is professor at Berne University of the Arts and heads the institute Y. Born 1966 in Berlin, he is living in Cologne (D) and Berne (CH). Together with Michael Schwab he initiated JAR.
Selected Exhibitions:
| 2010 | "Deutscher Klangkunstpreis" Museum Glaskasten Marl (D) (group) |
| 2009 | "Off the Record" Galerie gelbe MUSIK Berlin (D) (solo) |
| 2009 | "A Fantasy for Allan Kaprow" CIC Cairo (EG) (group) |
| 2008 | "Essential Landscape" Galerie Bischoff Bern (CH) (duo with G. Steinmann) |
| 2007 | "What are the places of danger?" Imprimerie Basel (CH) (solo) |
| 2007 | "art_clips.ch.at.de" ZKM Karlsruhe (D) (group) |
| 2006 | "The Sound of Music" VolkSystem Toulouse (F) (group) |
| 2006 | "Pre-Emptive" Kunsthalle Bern (CH) (group) |
| 2006 | "Brekzien" Galerie Haferkamp Cologne (D) (solo) |
Selected Publications:
Kunsthalle Bern (ed.): “Florian Dombois: What are the places of danger. Works 1999-2009“, Berlin 2010 (in print).
Dombois, F., Mareis, C., Schwab, M., Bauer, U. M. (eds.): "Intellectual Birdhouse", Amsterdam 2010 (to be published in autumn)
Dombois, F.: "L'art comme recherche", in E. During et al. (eds.): In actu. De l‘experimental dans l‘art, Paris 2009, pp. 191-202
Dombois, F. and E. Schaerf: "Palaver", Bern/Berlin 2008
Dombois, F. and G. Krneta: "Nah am Original", Basel 2007
Dombois, F.: "Seismic Stations", Cologne 2002
"The Journal for Artistic Research needs to be independent and solely concerned with quality in artistic research. Institutional and non-institutional artistic researchers should be aware of their different environments and take care that neither institutions nor freelance artists are excluded and their voices are balanced at any point."
Anna Lindal studied in Stockholm, Switzerland and USA and has been working as a musician all over Europe and has been a member of a large number of different chamber music groups. Anna Lindal cooperates with many composers and has had a lot of works written directly for her, among others a violin concerto by Anders Hillborg and the violin concerto ”Bastet” by Marie Samuelsson.
| 1973 | Soloist Diploma Musikhögskolan Stockholm. |
| 1977 | Konzertdiplom Konservatorium Luzern, Switzerland |
| 1979-83 | active as chamber musician (Luzerner Streichquartett) and in different chamber- and symphony orchestras in Switzerland |
| 1983-2001 | Concertmaster Royal Philharmonic Orchestra Stockholm |
| 2002-2006 | Professor of violin Royal College of Music Stockholm |
| 2006 | vice principal Royal College of Music Stockholm |
| 2004- | Vice President Royal Music Academy Sweden |
| 2004 | Received from His Majesty the medal ”Litteris et Artibus” for extraordinary achievements as a violinist. |
| 2007-2008 | Expert in the Committee for Artistic Research at the Swedish Research Council |
| 2008 | appointed Dean at the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg |
Has had many commissions in different cultural and educational institutions. Participating in the research project “Towards an expanded field of music” on musical interpretation with funding from the Swedish Research Council
Many close cooperations with artists, authors, filmmakers, choreographers and different musical genres with focus on contemporary art music. Has also made regular tours and recordings with Argentinian instrumental tango, free improvisation and barock and classical repertoire on original instruments.
Darla Crispin (Vice-President)
Darla Crispin is Senior Research Fellow at the Orpheus Research Centre in Music (ORCiM), Ghent, Belgium. A Canadian pianist and scholar, Dr. Crispin has worked as a solo performer and accompanist in Europe and Canada, specialising in musical modernity in both her performing and her scholarship. Her work in the conservatoire sector has involved leadership of postgraduate studies at the Guildhall School of Music and Drama, followed by five-year tenure as Head of Graduate School at the Royal College of Music, which she carried out until 2008. Dr. Crispin’s most recent work focuses upon the ramifications of practice-based research for musicians, scholars and audiences. Publications on this theme include a collaborative volume with Kathleen Coessens and Anne Douglas, The Artistic Turn: A Manifesto (Leuven 2009).
Book:
| 2009 | The Artistic Turn: a manifesto (Leuven 2009), Co-authors: Kathleen Coessens and Anne Douglas |
Book Chapter:
| 2007 | Some Noisy Ruminations on Susan Sontag’s “Aesthetics of Silence”. In Silence, Music, Silent Music, eds. N. Losseff and J. Doctor, (Ashgate 2007) |
Selected Publications in Refereed Journals:
| 2010 | Schoenberg’s Wounded Work: Interpretative Themes and the String Quartet in F sharp minor Opus 10. In Austrian Studies 16 (Manley Publishing, for the Modern Humanities Research Association) |
| 2007 | Gold(berg) Mining: contemporary perspectives upon JS Bach’s masterpiece revealed by recordings. In Proceedings of IAML-IAMIC-IMS Conference June 2006 – Gothenburg (Unisa 2007) |
| 2005 | ‘Wine for the Eyes’: Re-reading Alban Berg’s Setting of Der Wein. In Austrian Studies 13 (Manley Publishing, for the Modern Humanities Research Association) |
Editing:
| 2009 | ‘New Paths: Aspects of Music Theory and Aesthetics in the Age of Romanticism’ part of Collected Writings of the Orpheus Institute, (University of Leuven Press). Editor. |
| 2009 | ‘Unfolding Time: Studies in Temporality in Twentieth Century Music’ (part of Collected Writings of the Orpheus Institute), (University of Leuven Press). Editor. |
"Artistic Research provides fresh opportunities for us to reflect upon how art conveys its meaning to us. Through focussing upon the perspectives of practitioners, it has the potential to convey news insights about art, culture and the wider social spheres from which these emerge. The Journal for Artistic Research is an important resource for dissemination of this new knowledge".
Jan Kaila (born 1957) studied at the Department of Postgraduate Studies at the Finnish Academy of Fine Arts from 1997 to 2002. The subject of his doctorate, completed in 2002, was Photographicality and Representation in Contemporary Art. Kaila worked in the 1980s and 1990s as a full-time and visiting contracted teacher and lecturer in several Nordic photography schools, including the University of Art and Design Helsinki and the School of Photography at Göteborg University. In 2001, he was elected Professor of Photography at the Estonian Academy of Arts, and, in 2004, he was appointed Professor of Artistic Research and also Head of the Department of Postgraduate Studies at the Finnish Academy of Fine Arts. In 2008, he was elected Vice Rector of the Academy. Since his PhD Kaila has published and lectured regulary about artistic research. Kaila was together with Henk Slager the foundidg member of European Artistic Research Network (EARN) in 2004. Since 1980, Kaila has held one-man exhibitions and participated in group shows in many European countries, the United States, Japan and South Korea. Kaila has also worked as a curator and has published writings about visual art and photography.
Selected exhibitions:
| 2010 | "The Russians are Coming", Havrefabriken, Boden, Sweden (group) |
| 2008 | Nameless Science Project, Apex Art, New York, USA (group) |
| 2007 | Photographic Gallery Hippolyte, Helsinki (solo) |
| 2006 | The German Church, Sibiy, Romania (solo) |
| 2006 | Flash Cube, Samsung Museum of Art, Seoül, South Korea (group) |
| 2005 | Rochkunstbau, Betheim, Berlin, Germany (group) |
| 2004 | New Realities, Reykjavik Museum of Photography, Iceland (group) |
| 2003 | Art Hall, Tallinn, Estonia (solo) |
| 2003 | Gokan, 4th biennale of Finnish Art, Kioto Art Center, Japan (group) |
Selected publications:
| 2008 | "The Artist’s Knowledge 2." Research at the Finnish Academy of Fine Arts (ed.) KUVA, Helsinki |
| 2007 | “Vad är meningen med forskning och doktorsstudier i konst?” [What is the Purpose of Research and Doctoral Studies in Art?] In Art Monitor 1/2007, Faculty of Arts, Gothenburg University, Sweden. |
| 2006 | "The Artist’s Knowledge." Research at the Finnish Academy of Fine Arts (ed.) KUVA, Helsinki. |
| 2006 | "Space in Pertti Kekarainen’s Photographs” In Breaking The Ice, Kunstmuseum Bonn, Germany. |
| 2006 | “Elina Brotherus Suite Francaise” In Zones of Contact - 2006 Biennale of Sidney, Australia. |
| 2004 | “What is the Point in Doctoral Studies in Art?“ In Balkema, Anette and Slager, Henk: Artistic Research, Series of Philosophy and Art Theory, Amsterdam. |
| 2002 | "Valokuvallisuus ja esittäminen nykytaiteessa". Teoksia 1998-2000, [Photographicality and Representation in Contemporary Art, Works 1998-2000] Musta Taide & KUVA, Helsinki. |
| 2002 | “Dialog” In Marjaana Kella. Van Zoetendaal publishers, Amsterdam, Netherlands. |
| 2002 | "Traces, Imprints and Tales" – Japanese Contemporary Art Draws from Tradition. Catalogue by the Finnish Artists’ Association, Helsinki |
George Petelin lectures in art theory at the Queensland College of Art, Griffith University where he convenes postgraduate studies. He has worked in many aspects of the art industry. Apart from teaching art for over fifty years he exhibits as a photographer and a draughtsman. For six years he wrote art criticism for Australia’s national newspaper the Australian and for four years operated a progressive commercial art gallery. He has also curated an exhibition at the Queensland Art Gallery. He has been secretary and president of the Association des Critiques d’Art (Australian Section) and a founding member of the Artworkers’ Alliance. He was instrumental in establishing the first University degree programme in Contemporary Australian Indigenous art in Australia. George Petelin’s PhD traced the relation of political and economic discourse in the Sydney Biennale. He lives and works in Brisbane, Queensland, Australia.
Selected Artistic Research:
| 2009 | 'proppaNOW', proppaNOW 2004-2008, QIAMEA (Qld Indigenous Arts Marketing and Export Agency), (Book Chapter) |
| 2009 | What does photography document? ACUADS, Brisbane. (Scholarly paper) |
| 2008 | 'Xstrata Coal Emerging Indigenous Art Award 2008', Artlink, vol.8, no.3, (Review) |
| 2008 | 'Can we trust our ground control?' in Junctures the Journal of Thematic Dialogue, vol.1, no.11, 2008.(Academic paper) |
| 2008 | Looking for Paradise, Solo exhibition of 12 digital photographs, Queenlsand Centre for Photography, July 26 to August 17, 2, (Exhibition of own work) |
| 2008 | Stendahl Syndrome curated exhibition of bioart, George Petelin Gallery, Southport. (Exhibition Curation) |
| 2008 | Ooga-Booga: Whitefella Kitsch and Mysticism, George Petelin Gallery, Southport. (Exhibition Curation) |
| 2007 | Alluring Dystopias, George Petelin Gallery, Southport.(Exhibition Curation) |
| 2007 | Friendly Fire, ProppaNow, George Petelin Gallery, Southport.(Exhibition Curation) |
| 2006 | 'Visual Art Doctorates: Practice-Led Research, Quasi-Research or Research Per Se', in Media International Australia, vol.118, University of Qld, Brisbane. (Scholarly paper) |
| 2006 | Josephine Ulrick & Win Schubert Photography Award, Gold Coast City Art Gallery. (Own artwork in group exhibition) |
| 2006 | Inquiry into Self & Other, digital self-portrait, Colonial to Contemporary: Queensland College of Art 125 Years, Dell Gallery.,QCA Griffith University. (Own artwork in group exhibtition) |
| 2004 | ‘History of the Campfire Group’ Fireworks Gallery Brisbane 2004.(Book Chapter) |
| 2002 | ‘Recent Curatorial Strategies: Desperate Invention and/or Contained Connoisseurship? Biennale Forum, AGNSW, May 16, 2002. (Public address) |
| 2002 | ‘Art Education through Electronic Media’ in Art Defining Community, Brisbane; Flying Arts Inc. Sept. 2002. (Scholarly paper) |
| 2002 | Research Training in Visual Art Benchmarking Work in Progress Presentation ACUADS Conference Brisbane, Oct. 5, 2002. (Scholarly paper) |
| 2000 | Asessing Creativity’ Independent Education Vol 30, No 1. April 2000 (Scholarly paper). |
| 2000 | ‘Private Rooms: 10 years of painting by Anne Wallace Artlink Vol 20 No 4 Dec (review). |
| 2000 | 'Why we cannot do without Modernism: The case of the 6th Sydney Biennale', Aust. & N Z Art Association Conference, Dec. 2000. QUT Brisbane (Scholarly paper) |
| 1998 | 'Art as Research', Developing as Researchers (2nd Edition), GIHE, Griffith. (Scholarly paper). |
"I see artistic research as a most exciting historical phenomenon for both art and research. In no other age has art so successfully integrated into the academic sphere. Today it is evident that the unique methods and processes of artists can contribute greatly to the creation of knowledge in every field. At the same time, this association with research affords art a liberation from the direct forces of the art market. I believe that the traditions of art practice and research have much to offer each other. "
Having studied Fine Art, Stephen Scrivener undertook a PhD in computing and subsequently conducted research in drawing recognition systems and computer-mediated, collaborative design. Since the 1999, his research interests have focused on the theory and practice of artistic and designerly research. A resident of London, he is Director of Doctoral Programmes at the CCW Graduate School, University of Arts London.
Selected grants:
| 2006-2008 | Consolidating understanding and experience of practice-based research, AHRC funded. |
| 2000-2004 | UNITE - Ubiquitous and integrated teamwork environment, EC funded. |
| 1994-1997 | FASHION-NET/TEMIN I, II, III , EC funded. |
| 1992-1995 | Searching visual databases using visiospatial depiction, SERC/ESRC/MRC) |
| 1988-1992 | Establishing the communicational requirements of designers cooperating remotely |
Selected professional activities:
AHRC and EPSRC Peer College member
Fellow of the Design Research Society
Founding editor-in-chief, International Journal of Co-Design, Taylor and Francis
Member of AHRC Peer Review Panel 2: Visual Arts, and Mediai 2001-2004
Member of RAE Sub-panel 63, 2005-2008
Selected publications:
Scrivener, S.A.R. (2009) The roles of art and design process and object in research. In: N. Nimkulrat and T. O’Riley (eds). Reflections and connections: On the relationship between creative production and academic research. [e-book] University of Art and Design Helsinki: Helsinki
Scrivener, S. A. R. (2006) Visual Art Practice Reconsidered: Transformational Practice and the Academy. In: M. Mäkelä & S. Routarinne (eds.) The Art of Research: Practice in Research of Art and Design. University of Art and Design: Helsinki, pp 156-177.
Scrivener, S.A.R. (2002) Characterising creative-production doctoral projects in art and design. International Journal of Design Sciences and Technology, 10 ( 2), pp. 25-44.
Scrivener, S.A.R. (2002) The art object does not embody a form of knowledge. Working Papers in Design, 2. http://www.herts.ac.uk/artdes/research/papers/wpades/vol2/scrivenerfull.html (accessed 20/6/2003)
Scrivener, S.A.R. (2010) Transformational Practice, In: M. Biggs and H. Karlsson (eds). The Routledge companion to research in the arts. Routledge: Abingdon, to appear.
“The creative practices and products that are central to knowledge production and dissemination often seem absent from the artistic research discourse. This is perhaps in part due to the fact that artistic researchers have exploited systems of knowledge exchange operating in other research fields, such as science and technology, which are more suited to the textual than the visual. I see the Journal for Artistic Research as a sign that the artistic research community is positioned to develop systems of knowledge sharing consistent with artistic and academic values.”
Sofie Van Loo curated the groupexhibition Gorge(l).Oppression and Relief in Art (Royal Museum of Fine Arts Antwerp, 2006-2007) with artworks by Bracha L. Ettinger, Orla Barry, Peter Buggenhout, Alda Snopek, Boris Debackere, Robert Seidel, Frida Kahlo, Ana Mendieta, Francesca Woodman, Louise Bourgeois, James Ensor and many others. Working as independent curator/writer on art since 2007 Van Loo curated the groupexhibition The Aerials of Sublime Transscapes (Lokaal 01, Breda-Antwerp 2008) with works by Johan De Wilde, Jakrawal Nilthamrong, Amal Kenawy, Alda Snopek, Maryam Najd and many others, Trigger (2008-09, Tatjana Pieters, Ghent) with Julia Spínola, Frederic Geurts, Johan De Wilde, Ariel Schlesinger and Adriaan Verwée. She was the curator of two solo-exhibitions by Peter Buggenhout at the Herzliya Museum of Contemporary Art (near Tel Aviv, Israel) and Abhay Maskara Gallery (Mumbai, India). Since 2008 she prepares a PhD on contemporary art and Bracha L. Ettinger’s concepts ‘borderlinking’, ‘differenciation/ differentiation’, ‘trans(sub)jectivity’ and the artwork as ‘transject’(supervisor: Prof.Dr. Paul Vandenbroeck, KULeuven). Since 2008-2009 Van Loo researches ‘abstract-realism(s)’ as artistic and curatorial research in a 21th century context. Van Loo teaches as guest lecturer/coach at the Karel De Grote Hogeschool/ Sint-Lucas Antwerp and at Transmedia/Sint Lukas Brussels. At the moment she works with CA2M in Mosteles (Madrid) on the catalogue of the groupexhibition Antes Que Todo (curators: Manuela Moscoso and Aimar Arriola, opening 17th september) and with the artists David Bestué/Marc Vives in collaboration with Hangar/Miro Foundation in Barcelona (opening 15 september).
Michael Schwab (Editor in Chief)
Dr. Michael Schwab is an artist and artistic researcher who interrogates post-conceptual uses of technology in a variety of media including photography, drawing, printmaking and installation art. He is tutor at the Royal College of Art, London, research associate at the Berne University of the Arts, Switzerland, and research fellow at the Orpheus Institute, Ghent. He received his PhD in Photography ('Image Automation: Post-Conceptual Post-Photography and the Deconstruction of the Photographic Image') from the Royal College of Art in London in 2008, his MA in Photography from the London College of Printing in 2000 and his M.A. in Philosophy ('Nietzsche and Heidegger: Metaphysics as Problem') from the University of Hamburg in 1996. Since 2003 his exhibitions and associated events have increasingly focused on artistic research. He lives and works in London (UK) and Ketsch (D). He is co-initiator of JAR, the Journal for Artistic Research.
Selected Exhibitions:
| 2009 | "Aberrations" Academie Royale des Beaux Arts de Bruxelles (B) (solo) |
| 2009 | "Components of the Image" +44 141 Gallery, Glasgow (UK) (group) |
| 2008 | "Figurations of Knowledge", Villa Elisabeth, Berlin (D) (group) |
| 2008 | "Full Circle", studio 1.1, London (UK) (duo with Eduardo Padhila) |
| 2008 | "Distance Circles", Estonian Academy of Arts, Tallinn (EST) (solo) |
| 2008 | "figure", The Tramdepot Gallery, London (UK) (solo) |
| 2007 | "Full Circle", Huisrechts, Amsterdam (NL) (duo with Eduardo Padhila) |
| 2007 | "Objet d’Art", Alexia Goethe Gallery, London (UK) (group) |
| 2006 | "Notions of Drawing", Artbust, CIP House Exhibition Space, London (UK) (group) |
| 2002 | "Soul Windows", Domo Baal Gallery, London (UK) (group) |
| 1998 | "Remembering Times Past’, Apexart Gallery, New York (USA) (group) |
Selected Publications:
Schwab, M. "First the Second: The Supplemental Function of Research in Art." In: Caduff, C., Siegenthaler, F. & Wälchli, T. (eds.) Art and Artistic Research: Music, Visual Art, Design, Literature, Dance. Zürich: Zürcher Hochschule der Künste/Scheidegger & Spiess, 2009, pp. 56-65.
Schwab, M. "The Power of Deconstruction in Artistic Research." Working Papers in Art & Design 5, 2009.
Schwab, M. "First, the Second: Walter Benjamin’s Theory of Reflection and the Question of Artistic Research." Journal of Visual Art Practice 7.3, 2008, pp. 213-223.
Schwab, M. "Paris". London: Copy Press, 2008.
Schwab, M. [Untitled]. In: Casey, M. and McAree, P. (eds.) as if something once mentioned now plain to see, Birmingham: Colony, 2007, pp.
Schwab, M. "Artistic Research and the Role of Critique." Reflections on Creativity. Dundee: Duncan of Jordanstone College, 2006.
Schwab, M. "The Photographic Image." In: Rabagliati, J. (ed.) George Hanson Critical Forum. London: Royal College of Art, 2004, pp. 111-127.
"Artistic research is first of all an ambition. It is an ambition to transform not only art and education, but also what is considered to be knowledge. The Journal for Artistic Research will be a success if it helps shifting existing registers of knowledge, which are after all also registers that delimit art from other occupations. It still remains unclear how artistic research is best communicated; the Journal for Artistic Research is also an experiment with modes of presentation and dissemination across a field of practices not limited to art."
Annette Arlander is an artist, researcher and a pedagogue. She is one of the pioneers of Finnish performance art (in the 80s) and belongs to the trail blazers of artistic research (in the 90s). Arlander is theatre director, Master of Arts (philosophy) and Doctor of Art (Theatre and drama). She was the first to be awarded a doctorate from the Theatre Academy in Helsinki (in 1999). In 2001 she was invited to be professor of performance art and theory at the Theatre Academy and started the MA degree program in performance art and theory (or Live Art and performance studies, as it is called today). In 2007-2009 she was also Head of the research department or Performing Arts Research Centre (Tutke) at the Theatre Academy. www.teak.fi/annette_arlander
Arlander’s art work is focused on performing landscape, i.e. by means of video or recorded voice. Her research interests include artistic research, performance as research, performance studies, site specificity, landscape, and the environment. www.harakka.fi/arlander Some of her video works can be viewed online at www.av-arkki.fi
or www.av-arkki.fi/web/index.php?id=35&artist=2064
Research publications (referee):
"Event scores for performing interruptions" in Tiina Mäntymäki and Olli Mäkinen (eds.) Art and Resistance. Proceedings of the University of Vaasa. Research Papers 290. 2009, 153-168.
"Huomioita hiekassa – maisema, esitys, liikkuva kuva ja liike kuvassa" [Notes in Sand – landscape, performance, moving image and moving in the image] in Laura Gröndahl, Teemu Paavolainen & Anna Thuring (eds) Näkyvää ja näkymätöntä [Visible and Invisible], Näyttämö ja tutkimus 3, Teatterin Tutkimuksen seura Helsinki 2009, 49-68.
"Finding your way through the woods – experiences in artistic research", Nordic Theatre Studies Vol 20, 2008, 28-41.
"Miten maisema minua liikuttaa" [How the landscape moves me] in Olli Mäkinen & Tiina Mäntymäki (eds.) Taide ja liike [Art and Movement], Vaasan yliopiston julkaisuja Tutkimuksia 282, Vaasa 2007, 143-181.
"Performing Landscape – Many Places, Many Patrons" in Irene Eynat-Confino (ed.) Patronage and the Stage, Prague 2006, 167-179.
"Performing Landscape – Acting Text", Nordic Theatre Studies Vol. 15, 2003, 60-76.
Other research publications:
"Characteristics of Visual and Performing Arts" in Michael Biggs & Henrik Karlsson (ed.) The Routledge Companion to Research in the Arts (to be published October 2010)
"Performing with Trees: Landscape and Artistic Research" in Freeman, John Blood, Sweat & Theory – Research through practice in performance, Libri Publishing 2010, 158-176.
"Kohtaamispaikka, epäpaikka, vastapaikka ja performanssi" [Meeting place, non-place, counter-site, performance] in Lea Kantonen (ed.) Ankaraa ja myötätuntoista kuuntelua [Listening with rigour and compassion], Academy of Fine Art, Helsinki 2010
"Artistic Research - from Apartness to Umbrella Concept at the Theatre Academy, Finland" in Shannon Rose Riley and Lynette Hunter (eds.) Mapping Landscapes for Performance as Research - Scholarly Acts and Creative Cartographies, Palgrave Macmillan 2009, 77-83.
"Yksityisestä julkiseen" [From Private to Public] in Risto Pitkänen (ed.) Taiteilija tutkijana, tutkija taiteilijana [The artist as researcher – the researcher as artist], Nykykulttuurin tutkimuskeskuksen julkaisuja 90, Jyväskylän yliopisto 2007, 131-158.
"Performing Landscape", in Soile Veijola (ed.) Landscapes of Presence – Aesthetics, Amenities and technologies University of Lapland Publications in the Social Sciences B 47, Rovaniemi 2003, 145-168.
"Artistic research can be understood as a form of research in itself, different from, but possible to juxtapose with, other forms like philosophical, historical, ethnographic research etc. However, if we are not constantly focusing on the artworks (or artistic practice) and their role in the research project, then the specific knowledge embedded in artworks, artistic practices and the artists themselves is easily bypassed, colonized or assimilated into familiar forms of research. On the other hand, a dichotomy based on the idea of equivalence, which originally meant to strengthen the position of artistic work, can easily develop into an apartheid situation where artistic research has some privileges based on the traditional freedom of art, but no access to knowledge production in and of itself. Strict dichotomies between art and research, art and scholarship, art and science, or art and theory all lead to absurdities and tend to devalue embodied and tacit knowledge. Contemporary art is often involved in various forms of knowledge production. And it is not only the knowledge of artists that is embodied and situated. Or so it seems from a Helsinki perspective." (Arlander in Riley & Hunter 2009, 81-82)
Henk Borgdorff studied music theory in The Hague and sociology and philosophy in Leiden. He has lectured music theory and aesthetics at the conservatoires of Hilversum, The Hague and Amsterdam. In 2002 he was appointed professor of Art Theory and Research at the Amsterdam School of the Arts and in 2008 research fellow at the Royal Academy of Fine Art, Design, Music and Dance in The Hague. From September 2010 he will be professor of Research in the Arts at the Royal Academy in The Hague and visiting professor of Aesthetics, with focus on artistic research, at the Faulty of Fine, Applied and Performing Arts at the University of Gothenburg (Sweden). Borgdorff is founding editor of the Dutch Journal for Music Theory and co-founder of the practice-based doctoral program in music, Docartes, in Ghent (Belgium) and the master program Artistic Research at the University of Amsterdam.
Selected professional activities:
Honorary member of the Dutch-Flemish Society for Music Theory (since 2009)
Expert member of the ‘Erkenningscommissie’ of the Flemish Government (assessment of academisation of higher education in Flanders) (2008)
Member of Strategic Working Group on Research of the HBO-raad (The Netherlands Association of Universities of Applied Sciences) (since 2006)
Member of the Platform of professors at Universities of Applied Sciences and co-founder of the Forum voor praktijkgericht onderzoek van de HBO-raad [Forum for Practice-based Research of The Netherlands Association of Universities of Applied Siences]. (2005-2009)
Member of MIDAS (Musical Institutions with Doctoral Arts Studies) (2004-2008)
Secretary of the board of the Dutch Association of Aesthetics (1998-2001)
Reviewer for the Austrian Science Fund, the Swiss National Science Foundation and the Academy of Finland.
Selected publications:
The Production of Knowledge in Artistic Research. The Routledge Companion to Research in the Arts. Michael Biggs & Henrik Karlsson (eds.) 2010 (forthcoming in October 2010)
Research in a Conservatoire (together with Michiel Schuijer). Dissonanz. Journal for Research and Music (Switzerland) 2010 (forthcoming in June 2010)
Where are we today. The State of the Art in Artistic Research. Yearbook for Artistic Research 2010. Swedish Research Council, pp. 17-31
Artistic Research as Boundary Work. Corina Caduff, Fiona Siedenthaler, Tan Wälchli (eds.) Art and Artistic Research. Zurich Yearbook of the Arts 2009, pp. 72-79.
Artistic Research within the Fields of Science (Sensuous Knowledge 06). Bergen, Bergen National Academy of the Arts 2009.
Practice-based Research in the Arts. Cathy Brickwood (Ed.), Mapping E-Culture. Virtueel Platform. Amsterdam 2009, pp. 97-103.
Die Debatte über Forschung in der Kunst. Künstlerische Forschung. Positionen und Perspektiven. Zürcher Hochschule der Künste (Institute for the Performing Arts and Film) 2009, pp. 23-51.
Artistic Research and Academia: an Uneasy Relationship. Autonomi och egenart - konstnärlig forskning söker identitet (Autonomy and Inividuality - Artistic Research Seeks an Identity), Yearbook for Artistic Research 2008. Swedish Research Council, pp. 82-97.
Der Modus der Wissensproduktion in der künstlerischen Forschung. S. Gehm, P.Husemann, K. von Wilcke (Hg.), Wissen in beweging. Transcript, Bielefeld, 2007, pp. 73-80.
Artistic research and Pasteur's quadrant. Close Encounters - Artists on artistic research. Dans högskolan. Nämnden för konstnärligt utvecklingsarbete. Dans - forscknng och utveckling. University College of Dance, 2007:2, pp. 79-84.
The Debate on Research in the Arts (Sensuous Knowledge 02), Bergen, Bergen National Academy of the Arts (2006).
The Conflict of the Faculties - On Theory, Practice and Research in Professional Art Academies. The Reflexive Zone - Research into Theory in Practice. HKU 2004, pp. 117-124.
“In all these considerations, we have to keep in mind that artistic research is not so much about ‘theory’ as about ‘material thinking’: the articulation of pre-reflexive knowledge and experience, embodied in art works and creative processes. It creates room for that which is unthought: the idea that all things could be different. It actually seeks to postpone ‘theory’, to re-route judgments, opinions and conclusions, and even to delay or suspend them indefinitely. Artistic research is the deliberate articulation of this unfinished material thinking.”
Vanessa Corby is an art writer. She trained as a painter in the North East of England in the early 1990s before undertaking a MA (1995–97) and PhD (1998–2002) in the theory, history and criticism of art at the University of Leeds. Her research creatively draws on the material operations of art to reveal the means by which artistic protocols, culture, history and the social may be rethought and represented.
Her writings about Tracey Emin (2007) and Eva Hesse (2006, 2010) have considered the ways in which art practice negotiates the ideologies that define cultural memory. In those texts she proposed a rereading of the historical moment artistic production to articulate hitherto silenced experience of born of ethnicity and sexual difference. As part of this on going project she is currently compiling a collection of essays on the subject of art practice and cultural memory with Elsa Chen (National Kaohsiung Normal University).
This project has demanded a hybrid methodology that combined tools of cultural studies, feminist analysis, psychoanalysis, the social history of art, sociology and knowledge born of practice. This transdisciplinary mode of scholarship drew attention to the role of art historical discourse in the construction of ‘meaning’ for works of art. As such her present research is exploring the potential of art making and the physical presence of the audience at the point of art’s reception to critique the uses to which psychoanalysis has been put in the history and criticism of art.
For Corby the community of researchers and theoretical framework that the concept of artistic research enables configures a space in which art practice may be relieved of what, as Mieke Bal noted, has been its traditional, subsidiary status as illustration to historical and intellectual argument. Instead artistic research conceives of creative production as a generative, hybrid mode of enquiry whose form is implicit to the new knowledge it produces. As such its value resides not only in its potential as research but in the opportunity for dialogue with the traditional discourses of the academy that it presents.
Vanessa Corby is Lecturer in the theory, history and practice of Fine Art at York St John University, UK. Her monograph Eva Hesse: Longing, Belonging and Displacement is published by I B Tauris (2010).
Barnaby Drabble is a freelance curator, writer, editor and teacher. His work focuses on social and political aspects of contemporary art in the broader context of visual culture. Projects have addressed issues of public space, urbanism, migration, intellectual property and civil disobedience. He has curated numerous independent exhibitions, screenings, discussions and events in the public space. He contributes to art magazines, writes texts for catalogues, websites and thematic publications and has edited two collections of texts on curating. He is co-founder of the discursive archiving project Curating Degree Zero, the office for cultural research and action Drabble+Sachs and the Postgraduate Program in Curating at the Zurich University of the Arts. He holds a PhD in visual culture and his ongoing research involves analysis of recent socio-political art exhibitions, with a focus on the question of the public’s role in the exhibition.
Selected Editing:
Swiss Exhibition Award (ed.) Bundesamt für Kultur, Bern Switzerland 2010-.
Curating Critique (ed.) Revolver Verlag, Frankfurt Am Main, February 2008.
Curating Degree Zero – an international curating symposium (ed.) Verlag für Moderne Kunst, Nürnberg, 1998.
Selected Writing:
“Art Taking Place. A Debate” inTimon Beyes, Amelie Deuflhard, Sophie-Thérèse Krempl eds. Parcitypate, Artistic Interventions And Urban Space. Niggli AG,2009.
“Between the Museum and the Street”in Megabuster – Kriegsgebeit Kinderzimmer. Fink Verlag, 2009.
“Inside the Black Cube – Barnaby Drabble in Gespräch mit Donatella Bernardi” in Damian Jurt ed. Wie wichtig ist der Kick für dich? Boabooks, Geneva, 2009.
“Ein zweites Leben” in Loge, Stadtgalerie Bern, 2007/2008. Bern, 2009.
Selected Curating:
Kunst Station Triemli, Kunst und Bau project for the Triemli Hospital, Zürich. (2009 ongoing)
Nothing to Declare - Triennale Zeitgenössische Kunst Oberschwaben. Group exhibition at the Zeppelin Museum, Friedrichshafen, Palais Thurn und Taxis, Bregenz and Kunstraum Kreuzlingen. (April - July 2008)
Ein Zweites Leben – A Second Life, Group exhibition at the Stadtgalerie / Loge, Bern. (September-October, 2007)
Selected Teaching:
Maps (Master of Art in Public Spheres), l'Ecole cantonale d'art du Valais, Sierre. (2009 -)
Postgraduate Program in Curating, ZHDK, Zürich University of the Arts, Zürich. (2005 -)
Y - Institute for Transdisciplinarity, HKB, Bern. (2007-2008)
Gerhard Eckel is an artist and researcher working with sound. He trained in musicology at the University of Vienna and studied electroacoustic composition with Dieter Kaufmann at the Vienna Hochschule für Musik and darstellende Kunst. At the Acoustics Research Institute of the Austrian Academy of Sciences he carried out his PhD research in the field of psychoacoustics. Scholarships brought him to the Institute of Sonology in Utrecht and IRCAM, the computer music department of the Pompidou Centre in Paris. He was employed as artistic-scientific researcher at IRCAM (1989–1996) and at Fraunhofer IMK in Germany (1996–2005). In 1995 and 2000 he worked as a composer-in-residence at the Banff Centre for the Arts in Canada. He served as Edgar Varèse visiting professor at the Electronic Studio of the Technical University of Berlin in 2002. From 2000 to 2003 he coordinated the European project LISTEN, which defined and explored immersive audio-augmented environments from a scientific and an artistic perspective. In 2004, Eckel worked as artist-in-residence in Krems, Austria. Since 2005 he is professor of Computer Music and Multimedia at the Institute of Electronic Music and Acoustics, University of Music and Performing Arts in Graz, Austria. From 2007 to 2010 he headed the artistic and scholarly research project "Embodied Generative Music" funded by the Austrian Science Fund FWF. In the academic year 2009/10 Eckel served as research fellow at the Orpheus Research Centre in Music in Ghent, Belgium. His current project "The Choreography of Sound" (2010-2013), which he developed with the Spanish composer and researcher Ramón González-Arroyo, is funded by the FWF through its new artistic research funding program PEEK.
Selected Publications:
Eckel, G., "La maîtrise de la synthèse sonore," Les Cahiers de l'IRCAM, Recherche et Musique, No. 2, Centre Georges Pompidou, Paris, 1993.
Becker B., Eckel, G., "On the use of Computer Systems in Contemporary Music," Proc. of the 1996 Int. Computer Music Conference, Int. Computer Music Assoc., San Francisco, CA, 1996.
Eckel, G., "Exploring Musical Space by Means of Virtual Architecture", Proc. of the 8th Int. Symposium on Electronic Art, School of the Art Institute of Chicago, 1997.
Eckel, G., "Immersive Audio-Augmented Environments - The LISTEN Project", Proc. of the 5th Int. Conf. on Information Visualization, IEEE Computer Soc. Press, Los Alamitos, 2001.
Eckel, G., “The LISTEN Vision“, in: „Beat Zoderer – Der doppelte Boden ist tiefer als man denkt“, ed. Kunstmuseum Bonn, exhibition catalogue and CD, Bonn, 2003.
Eckel, G., “Audio-Augmented Reality - ein neues Medium für die Klangkunst”, Sonambiente Berlin 2006, ed. Helga de la Motte-Haber et al., Kehrer, Heidelberg, Germany, 2006.
Eckel, G., Pirrò, D., Sharma, G.K., "Motion-Enabled Live Electronics", ed. Fabien Gouyon, Álvaro Barbosa, and Xavier Serra, Proc. of the 6th Sound and Music Computing Conference, Porto, Portugal, 2009.
Eckel, G., Pirrò, D., "On Artistic Research in the Context of the Project Embodied Generative Music", Proc. of the Int. Computer Music Conference, Int. Computer Music Assoc., San Francisco, CA, 2009.
Selection of Works:
| 2010 | "Catabolizer", sound installation, Borealis festival, Bergen (Norway) |
| 2008 | "Bodyscapes", intermedial composition, with Valentina Moar and David Pirrò, Graz (Austria) |
| 2008 | "Texturen", multiple, Galerie Stadtpark, Krems (Austria) |
| 2008 | "staircase", permanent sound installation, with David Pirrò, Martin Rumori, Gerriet K. Sharma, and Christos Zachos, Graz (Austria) |
| 2005 | "Un-Orte", sound environment, Academy of the Arts, Berlin (Germany) |
| 2005 | "IMPULSE / RESPONSE", sound environment, Klosterneuburg (Austria) and London (UK) |
| 2004 | "Fenster", solo exhibition, Galerie Stadtpark, Krems (Austria) |
| 2003 | "Raumfaltung", installation, with Ramón González-Arroyo, Beat Zoderer and Oswald Egger, Kunstmuseum Bonn (Germany) |
| 2001 | "Gehäuse", sound installation, Donaueschingen festival (Germany) |
| 2000 | "Camera Musica", virtual sound installation, Expo 2000, Bonn (Germany) |
| 1999 | "Traverse", structured improvisation, with Vincent Royer, Kunstmuseum Bonn (Germany) |
| 1998 | "Stele", kinetic sound sculpture, ZKM Karlsruhe (Germany) |
| 1993 | "en face", music installation, Mediale Hamburg (Germany) |
| 1989 | "Dispersion", concert installation, Konzerthaus Vienna (Austria) |
| 1986 | "Der Zufall geht …", computer music composition, Vienna (Austria) |
Dr. Mika Elo (b. 1966) is a researcher and lecturer in visual culture at Aalto University, Department of Art and Media Pori. He has participated in discussions on photography, artistic research and philosophy in the capacity of curator, visual artist as well as researcher. The topics of his published articles range from Walter Benjamin and Jean-Luc Nancy to photography and media theory. His doctoral thesis Valokuvan medium (“The Medium of Photography”, 2005) examines the points of departure and challenges of the theory of photography and philosophical media theory. His current research is entitled "Figures of Touch in the Expanding Field of Photography" (figuresoftouch.com)
Selected exhibitions and other art projects:
| 2010 | Tangents. Performance, Forum Box, Helsinki |
| 2008 | Art as Research. Conference exhibition. Villa Elisabeth, Berlin, Germany |
| 2007 | Toisaalta tässä / Here Then, TR1, Tampere, Finland |
| 2007 | Elo-Chagas-Mühlenstedt, Atelierhaus Roter Hahn, Bremen, Germany |
| 2003 | Hospitalities, Voipaala Art Centre, Voipaala, Finland |
| 1996 | Synthesis – Young Finnish Photography, Museum for Photographic Art, |
| 1995 | LUMO 95 -Photographic Art Festival, Gallery Becker, Jyväskylä, Finland |
| 1995 | Voice-over supplement to Friedl Kubelka’s film “Max Turnheim”, Kiasma, Helsinki |
Selected curatorial work:
| 2006 | Square Minutes – Young Finnish Photography (together with Harri Laakso) |
| 2004-5 | Helsinki Photography Festival 2005 (together with Brett Rogers) |
| 1996 | Helsinki Photography Festival 1996 (together with Jan Kaila) |
Selected publications:
| 2010 | "Text to Fredl Kubelka's film Max Turnheim". In Secret Identities of a Psychoanalyst. Viewpoints on the works of Friedl Kubelka (Friedl von Gröller). Ed. Elina Saloranta. Helsinki: Finnis Academy of Fine Arts. |
| 2010 | "Extending, Transferring, Responding". In Secret Identities of a Psychoanalyst. Viewpoints on the works of Friedl Kubelka (Friedl von Gröller). Ed. Elina Saloranta. Helsinki: Finnis Academy of Fine Arts. |
| 2009 | "Passages of Articulation: Art and Research Touching". In Reflections and Connections On the relationship between creative production and academic research. Nimkulrat, Nithikul; O'Riley, Tim (eds.). University of Art and Design Helsinki. Link |
| 2007 | "Walter Benjamin on Photography: Towards Elemental Politics". Transformations (Issue 15). Link |
| 2007 | "Valokuvan kieli käännöstehtävänä / The Language of Photography as a Translation Task". In Mika Elo (ed.) Toisaalta tässä /Here Then. Photorographs as Work of Art and as Research. Helsinki: University of Art and Design Helsinki and The Finnish Academy of Fine Arts. |
| 2005 | "Aura und Spur in der Fotografie". Zeitschrift für kritische Theorie 20/21. |
| 2005 | "Die Wiederkehr der Aura". In Christian Schulte (ed.) Walter Benjamins Medientheorie. Konstanz: Univestitätsverlag Konstanz. |
| 2005 | "Toiston taide / The Art of Repetition". In Mika Elo & Brett Rogers (ed.) To be continued... / Jatkuu... Helsinki Photography Festival catalogue, Helsinki and London: Photographic Gallery Hippolyte & British Council. |
| 2005 | Souvenirs. Mika Elo & Kyungwoo Chun. Seoul: Sigonart. |
"Taking the cue from Benjamin’s philosophy of language, the task of a media theorist operating in the interstices of different media can be likened to the task of the translator. [...] In other words, the media theorist or artist/researcher who has assumed the task of the translator must tune their language to 'to match the level of the work of art'"
Julian Klein is director of the Institute for Artistic Research in Berlin, Germany, and lecturer in direction at the University of Arts Berlin and in performance art and artistic interdisciplinarity at the University of Music and Performing Arts Frankfurt am Main, Germany. Currently he is also research fellow at the Institute for Biology at the Freie Universität Berlin. After he studied composition, mathematics and physics and worked as directing assistant, stage composer and theatre director, he became founding member and artistic director of the interdisciplinary performance art group "a rose is". From 2003 he was member of the Young Academy at the Berlin-Brandenburg Academy of Sciences and Humanities and the German National Academy of Natural Scientists Leopoldina, where he was (among other) speaker of the research groups "Relativity" and "Future of Work", and member of the research groups "Representation", "Defense", "Rhythm", and "Other Minds".
Selected works and productions:
Emolution. On world emotion development. (2009/2010. Research Project)
HUM - the Art of Collecting (2008. a taxomanic parcours through the scientific collections of the Natural History Museum Berlin) - www.taxomania.de
sub date - an Exploration (2009. subway-opera)
So actually I was being you the whole time, and I didn't even know (2006. Performance installation)
I do a lot of things that I don't do, and I don't do some things that I do do, but not always (2005. Salon Performance)
WINDOWS (2004. Music Theatre)
machone @ X Wohnungen (2004. Hiphop Performance in a Kreuzberg Flat)
But now for the profound truth maybe (2003. Concert performance)
Brain study (2001-2004. Performance Installation for interconnected Brain Players)
Short Vitae of the Idiots (2001. Radiodrama after Ermanno Cavazzoni)
The Space Adding Game (1998. Artistic Radiofeature)
O (1996/97. Staged Symphony)
Quintet for Arno Schmidt's Readers (1995. Literature Performance)
Selected text publications:
What is artistic research? [Was ist künstlerische Forschung?] in: Gegenworte 23 - Berlin-Brandenburgische Akademie der Wissenschaften 2010.
On the Dynamics of Moved Bodies. The Foundations of the Aesthetic Relativity Theory [Zur Dynamik bewegter Körper. Die Grundlagen der ästhetischen Relativitätstheorie], in: J. Klein (Ed.): per.SPICE! - Reality and Relativity of the Aesthetic. Berlin: Theater der Zeit 2009. S. 104-134 [english publication in press at Zentrum für Literatur- und Kulturforschung Berlin]
HUM - the Art of Collecting [HUM - die Kunst des Sammelns]. form&zweck Berlin 2008
Glaube Liebe Hoffnung von der Kraft der Überzeugung - in: Schubotz, R. (Hg), other minds, Mentis Paderborn 2007
On Relativity - janus 17, Antwerpen 2004
"Art and science are not separate domains, but rather two dimensions in the common cultural space. This means, research is not then or only artistic, if carried out by artists, but deserves the attribute artistic, where, when and by whom whatsoever been made to a specific quality: the mode of artistic experience. Artistic experience is itself a form of reflection. And furthermore, whether implicit or explicit, artistic knowledge is embodied knowledge. The knowledge that artistic research strives for, is a felt knowledge."
Dieter Lesage, born in 1966, is a Belgian philosopher and writer. He studied philosophy at the Catholic University of Louvain (Leuven) and the Ecole des Hautes Etudes en Sciences Sociales in Paris. In 1993 he obtained his Ph.D. at the Institute of Philosophy in Louvain on a dissertation Names like Faces. A consolidation theory of proper names [Namen als gezichten. Een consolidatietheorie van de eigennaam]. Dieter Lesage was a research-assistant at the National Fund for Scientific Research (B) (1989-1993), a post-doctoral researcher at the Institute of Philosophy of the Catholic University of Louvain (1993-1995), a scientific attaché at the Center for European Culture of the Royal Academy of Sciences, Letters and the Arts of Belgium (1994), a cultural policy advisor to the Secretary of the Flemish Parliament (1996), a visiting professor at the Piet Zwart Institute of the Willem De Kooning Academie (Hogeschool Rotterdam, NL) (2003-2005) and full-time visiting professor at the Institut für Kulturtheorie of the Leuphana Universität Lüneburg with a Eurolecture grant from the Alfred Toepfer Stiftung F.V.S. (2007). Dieter Lesage is a professor and senior researcher at the Department of Audiovisual and Performing Arts Rits (Erasmus University College Brussels), member of the Editorial Board of Afterall. A Journal of Art, Context and Enquiry (London-Los Angeles) and member of the International Advisory Board of Art & Research. A Journal of Ideas, Contexts and Methods (Glasgow). He published several books on nationalism, racism, multiculturalism and globalisation and curated several international group exhibitions. Dieter Lesage lives in Berlin.
Selected Publications:
2010 Dieter Lesage & Ina Wudtke, Black Sound White Cube, Vienna, Löcker Verlag, 2010, 112 pp., ISBN 978-3-85409-547-7.
2007 Dieter Lesage & Kathrin Busch (eds.), A Portrait of the Artist as a Researcher. The Academy and the Bologna Process, (AS#179), Antwerp, MuHKA, 2007, 152 pp., ISSN 07735855.
2007 Dieter Lesage, A Portrait of the Artist as a DJ. Notes on Ina Wudtke, Brussels, VdH Books, 2007, 64 pp., ISBN 978-90-888-1002-2.
2004 Dieter Lesage, Vertoog over verzet. Politiek in tijden van globalisering, Amsterdam/Antwerp, Meulenhoff/Manteau, 2004, 364 pp., ISBN 90-5990-018-9. [Discourse on Resistance. Politics in the times of globalisation]
2004 Jan Blommaert, Eric Corijn, Marc Holthof & Dieter Lesage, Populisme, Berchem, EPO, 2004, 189 pp., ISBN 90-6445-339-X. [Populism]
2002 Dieter Lesage, Peut-on encore jouer Hamlet?, (traduit du néerlandais par Monique Nagielkopf), Paris, Les Impressions Nouvelles, 2002, 48 pp., ISBN 2-906131-45-8. [Can one still play Hamlet?]
1999 Herman Asselberghs & Dieter Lesage (eds.), Het museum van de natie. Van kolonialisme tot globalisering, Brussel, Yves Gevaert, 1999, 276 pp., ISBN 2-930128-12-7. [The nation’s museum. From colonialism to globalisation]
Selected Artistic Productions:
2010: After Empire: Part I – a video by Herman Asselberghs, scenario by Herman Asselberghs and Dieter Lesage, 50 mins (forthcoming).
2008: A Portrait of the Artist as a Researcher 2.0 – an exhibition co-curated with Ina Wudtke, at the Beursschouwburg, Brussels (5-14 March 2008), with Jacques André, Herman Asselberghs, Sven Augustijnen, Sonia Boyce, Jill Magid, Ina Wudtke, as part of the research project Re:RESEARCH (department Rits, Erasmus University College Brussels).
2007: Output (rmx.) – concept and scenario of a video shown at the exhibition A Portrait of the Artist as a Researcher, freiraum/quartier21, MuseumsQuartier Vienna (12 July 2007 – 26 August 2007).
2007: A Portrait of the Artist as a Researcher – an exhibition and series of lectures co-curated with Ina Wudtke, at the Freiraum/quartier21, in the MuseumsQuartier Vienna (12 July 2007 – 26 August 2007), with Annette Wehrmann, Ina Wudtke, Office Kersten Geers David Van Severen, Herman Asselberghs, as part of the research project Re:RESEARCH (department Rits, Erasmus University College Brussels).
2006: Portret van de kunstenaar als resident/ A Portrait of the Artist as a Resident — editor and curator of an issue on artistic residencies of the Belgian performing arts journal Etcetera, at the request of Sarma, with contributions by Jan Ritsema, Hito Steyerl, Boris Buden, Jill Magid, Martin Nachbar, Tanja Dückers, and Ina Wudtke. Published in english on www.b-kronieken.be and in German by the Volksbühne am Rosa-Luxemburg-Platz Berlin.
2006-: A Portrait of the Artist as a Worker (rmx.) — collaboration on the scenario for the video by Ina Wudtke, produced for the group exhibition Academy at the Museum van Hedendaagse Kunst Antwerpen (15 September 2006 – 26 November 2006) (12 mins.). Produced with the support of the Department of Audiovisual and Performing Arts Rits, Erasmus University College Brussels (research project ‘Performing Theory, 2005-2006). The video was also shown at a.o.:
- the 53th International Short Film Festival Oberhausen (3 - 8 May 2007), in a subdivision of the programm ‘Kino Museum’, curated by Emily Pethick;
- Ina Wudtke’s solo exhibition A Portrait of the Artist as a DJ, Studio Voltaire London (17 May - 10 June 2007);
- the international conference Künstlerische Forschung und der Bologna Prozess, Akademie der bildenden Künste Vienna (1 June 2007);
- the group exhibition A Portrait of the Artist as a Researcher, freiraum/quartier21, MuseumsQuartier Vienna (12 July 2007 - 26 August 2007);
- the programm ‘Where is the Contemporary Art Today?’, curated by Paz Aburto Guevara, as part of the conference ‘A Institucionalização da Arte Contemporânea: a Crítica de Arte, os Museus, as Bienais, o Mercado de Art’, in the Museo de Arte Contemporaneo in Sao Paulo (4 October 2007);
- the group exhibition Bohemian Work Out, lothringer13/laden, München (12 October 2007 - 1 December 2007);
- Ina Wudtke's solo exhibition Griot Girl, kjubh Kunstverein, Köln (22 February 2010 - 21 March 2010).
The video has also been published on the dvd magazine Compiler #03, Arbeit/Work, 2009, 130 mins., colour, stereo, pal, 4:3, ISBN 978-3-9522859-2-3.
2006: Output — installation within the collective installation Reflections, with Herman Asselberghs and Ina Wudtke, presented in the group exhibition Academy at the Museum van Hedendaagse Kunst Antwerpen (15 September 2006 – 26 November 2006), an initiative of Siemens Arts Program, in cooperation with Museum van Hedendaagse Kunst Antwerpen, Van Abbemuseum Eindhoven, Kunstverein Hamburg and Goldsmiths College London.
1999-2002: Lost nation — concept and production of an installation on nationalism and globalisation, commissioned by v.z.w. Gojim 5.1. Bureau of Identity Research, in collaboration with Herman Asselberghs, Johan Grimonprez (video), Ann Clicteur (set design), and Els Opsomer (graphics design). Exhibitions:
- 25 February 1999 - 20 March 1999: Beursschouwburg (Brussels, B).
- 18 May 2000 - 10 June 2000: Forum Stadtpark (Graz, A) in the group exhibition ‘Delay’, curated by Ruth Mauer and Michael Zinganel, with works by Katharina Copony, Josef Darbernig, Veronika Dreier, a.o.).
- 7 May – 9 June 2002: Galerie im Parkhaus (Berlin, D) in the group exhibition <representin’>, curated by Ina Wudtke, with works by Andreas Gram, Tara Herbst & Nicolas Siepen, Gerd Holzwarth, Art Jones, Peter Piller, Hinrich Sachs, Katja Reichard, Bettina Sefkow and Ina Wudtke.
- 31 July – 4 August 2002: 5. Werkleitz Biennale >Zugewinngemeinschaft<, (Tornitz/Werkleitz, D).
This project included the production of the video ‘Lost Nation’ (18 mns.) by Johan Grimonprez (distribution: Argos, Brussels, B).
Dr. Claudia Mareis (1974) is design- and cultural scientist. She works as regular research lecturer for design theory at Berne University of the Arts in the research area communication design. Within this area she is head of the field ‘design as epistemic culture’, where methodology and theory formation for design research are taken further and established. Furthermore she is a regular lecturer for design theory and methodology at several Swiss and German design and art universities. She is board member of the ‘Deutsche Gesellschaft für Designtheorie und -forschung’ DGTF and member of the Board of International Research in Design BIRD of Editorhouse Birkhäuser. She is author and editor of several publications, articles and book chapters within the area of design and design research.
Book publications (selection):
Mareis, Claudia: Design als Wissenskultur. Interferenzen zwischen Design- und Wissensdiskursen seit 1960. Bielefeld 2010 (in preparation).
Mareis, Claudia; Joost, Gesche; Kimpel Kora (Hg.): Entwerfen. Wissen. Produzieren. Designforschung im Anwendungskontext. Bielefeld, 2010.
Dombois, Florian; Bauer, Ute Meta; Mareis, Claudia; Schwab, Michael: (Eds.): Intellectual Birdhouse: Artistic Practice as Research. Amsterdam, 2010, (in preparation).
Mareis Claudia, Klanten Robert, Bourquin Nicolas (Hg.): Altitude – Contemporary Swiss Graphic Design. Berlin, 2006.
Recent Articles (selection):
Mareis, Claudia: The ›Nature‹ of Design. Konzeptionen einer impliziten Wissenskultur. In: Mareis, Claudia; Joost, Gesche; Kimpel, Kora (Hg.): Entwerfen. Wissen. Produzieren. Designforschung im Anwendungskontext. Bielefeld, 2010.
Mareis, Claudia: Unstete Grenzen der Designwissenschaft. In: Jonas, Wolfgang; Romero-Tejedor, Felicidad (Hg.): Positionen zur Designwissenschaft. Kassel, 2010.
Mareis, Claudia: Design Research – New approaches to knowledge production in Design. In: Caduff, Corinna; Siegenthaler, Fiona; Wälchli, Tan (Hg.): Kunst und künstlerische Forschung. Zürich, 2009, S. 88–97.
Mareis, Claudia: Kunst und Design als epistemische Praktiken. In: Selke, Stefan; Dittler, Ullrich (Hg.): Postmediale Wirklichkeiten. Wie Zukunftsmedien unser Leben verändern. Hannover, 2009, S. 203–222.
Mareis, Claudia: Of sharks and dolphins. Reflections on practice-led design research based on the research project »Artistic Modes of Depiction for Understanding Managing Professionals in Healthcare«. In: Focused. Current Design Research Projects and Methods. Bern, 2008, S. 167–180.
More detailed information: http://www.zwei-null.ch/
Michel van Dartel is curator and project manager at V2_, Institute for the Unstable Media. As a curator he coordinates the events series Test_Lab - a demonstration and discussion platform for artistic research and development - and organizes various other national and international events on electronic art. As project manager he mediates between artists and developers in artistic productions. Prior to his current appointments, he worked as a cognitive scientist at Maastricht University, where he investigated knowledge representation in robot models. Michel holds an MSc in Cognitive Psychology and a PhD in Artificial Intelligence. He also is a skateboard veteran, founding member of music group The Rose Frustrates, and DJ.
Selected publications:
van Dartel M.F. (2010) Enactive Media: an art-psychology dialogue. In: A. Smelik (ed.) The Scientific Imaginary in Visual Culture. V&R unipress GmbH: Göttingen. ISBN 978-3-89971-756-3
van Dartel, M. (2010) Vertraagd en onherroepelijk te gronde gaan. (Review of Jonathan Schipper's 'The Slow Inevitable Death of American Muscle') Tubelight *Special* 67.
van Dartel, M. (2010) Het gedroomde lichaam in schuursponsjes van de Wibra. (Review of Lucy McRae's Hyper Human's) Tubelight *Special* 67.
van Dartel, M. (2009) Truth in media art through sensory-motor coordination. In: Thea Brejzek and Wolfgang Greisenegger (eds.) Monitoring scenography 2: Space and Truth. Zurich University of the Arts. (Published with support of the Swiss National Science Foundation.)
van Dartel, M. (2008) Multimodal art and media. In: Massoni, G. et al (Eds.) Ad!dict Inspiration book #29 "In.tangible.scape.s", pp.64-70.
van Dartel M., Misker J., Nigten A., van der Ster J. (2007) Virtual Reality and Augmented Reality art explained in terms of sensory-motor coordination. In: Luciani A. and Cadoz C. (Eds.) Proceedings of 4th International Conference on Enactive Interfaces, Grenoble, France.
van Dartel, M., Verhoog, L.., Posthuma de Boer, M. (2007) Nano Fashion. In: Ad!dict Inspiration book #27 "The Nano Research", Chapter 2, pp.40-45.
Johan Verbeke obtained his PhD in 1990 and joined the School of Architecture Sint-Lucas (W&K) in 1991 where he was appointed professor in research design. He initially focused on digital media, new technologies and CAAD (computer aided architectural design) and was coordinator of several international projects and organizer of international conferences in this field. He is member of the Council of eCAADe (Education and Reseach in Computer Aided Architectural Design in Europe) and Editor of IJAC (International Journal for Architectural Computing). He was evaluator and reviewer is the most recent European Framework for Research (FP5 and FP6), especially in the field of Digital Cultural Heritage.
In 2003 he finished a period of study on innovation, creativity and knowledge processes and became head of the School. Since then, he is developing Research by Design(ing) in Sint-Lucas, started the series Reflections and initiated RTS (Research Training Sessions). This (pre-)doctoral programme focuses on research developments in relation to architectural practice and the design studios. Recently he also got interest in research management and knowledge creation issues and in interdisciplinary projects. His research interests moved to ‘research by designing’ and artistic research covering a wide range of fields (Architecture and Urban Design, Interior Design, Music, Fine Arts, ...). He is running PhD seminars in this field and published several papers on the theme. He was and still is the driving force for the related research developments in the School. Recently he moved to the position of vice-dean of the (new) Faculty of Architecture and Arts (Associatie K.U.Leuven). He is supervising several design and practice based PhDs and was and is evaluator of practice based research projects.
Selected publications:
Johan Verbeke and Martijn Stellingwerff (ed.) (2001), {ACCOLADE}, Architecture – Collaboration – Design, European Workshop, August 2000, Brussels, Belgium, published by TUDelft Press.
M. Stellingwerff and J. Verbeke (eds.), AVOCAAD, Fourth International Conference, April 2003, Brussels, Belgium (published 2004).
J. Verbeke, Gerard de Zeeuw and Architectural Research, Systems Research and Behavioural Sciences, Vol. 19, pp. 159-166, March –April 2002.
J. Verbeke and R. Glanville, Knowledge creation and Research in Design and Architecture, EURAU 2004, Marseille, France.
M. Belderbos and J. Verbeke (eds), The Unthinkable Doctorate, Proceedings of the International Conference, April 2005, Sint-Lucas Architecture, Belgium, 2007.
J. Verbeke, Research by Design in Architecture and in the Arts, in Reflections 7, January 2008, Sint-Lucas (W&K), Belgium, pp. 10-15.
J. Verbeke, Setting up the Research Training Programme: the General Context, in Reflections 7, January 2008, Sint-Lucas (W&K), Belgium, pp. 53-67.
J. Verbeke, Developing Architectural Research through Design – Experiences with Research Training Sessions, Architectural Inquiries Conference, 24-26 April 2008, Chalmers University of Technology, Sweden.
J. Verbeke and A. Jakimowicz (eds.) Communicating (by) Design, Proceedings of the international conference, Brussels, Belgium, 17-19 April 2009.
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