The 25 % of Peter Spissky will be held February 2-3 in Malmö. The first part is a show (which coincides with the opening of the Palladium Baroque festival February 2-5 2012) with Hurra Baroque orchestra under the musical direction of Peter Spissky, that takes as it’s starting point the creation of an opera staging for a major festival, where we – through the eyes of four central people (the Director, the Assistant, the Musician and the Scenographer) – get to follow and experience the Vices and Virtues connected with such a project. The performance features over 20 singers and instrumentalists performing some of the most exquisite works from the baroque opera repertoire of Handel and Vivaldi, the language will be a mixture of Swedish, English and Italian.
The second part of the 25% will be a seminar at the Inter Arts Center February 3, between 9.30-12 am, with PhD and composer Henrik Frisk as opponent.
- Author: Ylva
- Published: Jan 30th, 2012
- Category: All activities, Performance, Seminar
- Comments: Comments Off
JAR , Journal of Artistic Research, is a free online journal that focuses on artistic practice as research, re-negotiates art’s relationship to academia and couples the multi-media and social capabilities of the web with peer-reviewing and scholarly rigour. JAR invites original submissions from artists with or without academic affiliation who wish to contribute to the ongoing debate about research in the arts, and reflect on artistic practice, processes and research in exchange with a group of engaged peers. For the next issue, JAR2, the journal JAR now invite submissions up until mid-March 2012 (new issues are released twice a year)!
At the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg, Lena Dahlén will have her public defence in performing arts Monday January 30 at 1 pm. Both the defence and the thesis is in Swedish (Jag går från läsning till gestaltning. beskrivningar ur en monologpraktik ) and Faculty Opponent is Professor Karin Helander, Stockholms university. The defence will take place at Schildknechtteatern (Teater 2), Academy of Music and Drama, Fågelsången 1, Gothenburg. More information (in Swedish) can be found here, and the full thesis (in Swedish) can be found here.
Lund university is organizing a workshop, All that was left, January 26-27 that moves between medical history and art history in order to explore all that was left after the daily work on Tornbladsinstitutet, an embryologic institution founded in Lund 1931. The purpose of the workshop is to develop a greater understanding of the collection, and enable further research on the material, which consists of a large collection where fetuses from many animals, including humans, can be compared with each other and over time.
Frida Hållander, artist and PhD candidate will together with artist Linda Shamma Östrand highlight some reflections on the collection. During the presentation – “Our inexorable quest for original shapes” – they will talk about Tornbladinstitiuets material on the basis of their own background and the artistic practice that we conduct. More information and schedule can be downloaded here. (photo Malin E Nilsson)
Mark Fleishman is Associate Professor and Head of the Department of Drama at the University of Cape Town. The main thrust of his research work has been undertaken in the area of performance practice in workshop spaces with co-investigators. He is a director of Magnet Theatre and has created 20 new works for the company over the past 24 years, performed nationally and internationally. He is also involved in a number of development projects in urban townships and rural communities using theatre as a tool for social transformation. His most recent research has focused on the ways in which performance contributes to remembering in the postcolony and on migration and the dramaturgy of displacement.
Wednesday January 25 he will be giving a lecture at the Stockholm Academy of Dramatic Arts, at 17.30 in the D-house cinema space.
His talk will explore the particularities of performance as a mode of research politically, philosophically and pragmatically. In the main it considers the proposition that Performance as Research is a series of embodied repetitions in time, on both micro (of bodies, movements, sounds, improvisations, moments) and macro (of events, productions, projects, installations) levels, in search of a series of differences. It investigates the proposition in terms of Bergson’s notion of ‘Creative Evolution’ and Deleuze’s engagement with it, and is concerned with questions such as: What nature of differences does performance as research give rise to? Where do the differences lie, in the repetitions or in the spaces in between? And, is there a point at which the unleashing of differences is exhausted, a point at which, perhaps, the evolution becomes an involution, either a shrinkage of difference, an inverted return to the same, or in the Deleuzian sense, a new production no longer dependent on differentiation but on transversal modes of becoming? It ends by examining certain pragmatic issues associated with Performance as Research in institutional contexts.
a.pass is a one year artistic research program, based in Antwerpen, Belgium: open to artists and theoreticians with an interest in exploring the performative and/or spatial dimensions of their practice. The program addresses artists who are working in the performing arts and want to start an artistic research in a professional research environment, free from production constraints – and artists to whom the concepts of performativity or/and scenography are (relatively) new, but who want to explore them in-depth, in relation to their own practice. In a context of self-organization and collaboration the participating artist create a personal trajectory throughout workshops, individual mentoring and interaction with the other participants. At the end of this period, you present and communicate your research. There are free application deadlines for this postmaster program: in January: to start in May, in May: to start in September and in September: to start in January the following year.
Beside the post-master programs, a.pass invites artists and theoreticians — also those possibly already engaged in a PhD in the Arts — to develop independent artistic and transdisciplinary projects producing knowledge and tools relating to the key issues of the a.pass programs.
More information about both this later possibility and application requirements for the program can be found on the website: www.apass.be, questions can be addressed to email@example.com.
April 26-27 there will be an interdisciplinary artistic research conference in Lucerne, Switzerland, organized by SARN (Swiss Artistic Research Network) & Lucerne University of Applied Sciences and Arts, School of Art & Design, on the topic of the stakeholders and impact of artistic research.
The majority of artistic research projects impact on public contexts by contributing to both innovative and socially engaged solutions. Artistic research often functions as a bridge between the process of creating artworks and explaining, processing, and positioning them in a public framework. Artistic research is – more than established fields of research – transdisciplinary and involves the public as central stakeholders. Artists doing research can answer questions as to the relevance of their research, by explaining its relation to social, civic or collaborative work with other disciplines. Analyzing and communicating with artistic means forms the core of artistic research and offers a multitude of methods and competences to public and professional spheres.
The conference We, The Public invites artists/researchers to present and discuss their work from this perspective and focus on the new forms of interaction and knowledge, methods and tools emerging from artistic research. The deadline for the call for presentations is January 20th 2012.
- Author: Ylva
- Published: Jan 14th, 2012
- Category: All activities, Performance, Seminar
- Comments: Comments Off
Monday evening January 23 A Language at War, with music composed by Kent Olofsson will be performed in Lilla Salen at the Royal College of Music in Stockholm. The following day, between 10-12 there will be a seminar entitled Composing Sonic Art Theatre – re-thinking music drama. During the seminar Kent will talk about his previous work with musical form and material in instrumental work, and how his knowledge and approach is reformulated in relation to text and acting. Point of departures will be Hamlet II:exit ghost and A Language at War, performances where he worked with Teatr Weimar in order to find new methods and approaches for musical drama and contemporary performing arts.
Since March 2009 the four Swedish Schools of Architecture at the Royal Institute of Technology, Chalmers University of Technology, Lund University and Umeå University have collaborated to form a research network. A main objective for this collaboration is the establishing of a national research school in architecture – ResArc – starting with the spring semester of 2012. The research school will answer to the task of being a strong conjoining force for current and future research environments, the research society and the architecture practice. ResArc will be launched at a kick off at School of Architecture in Lund, February 9-10 2012. Invited speakers will lecture on “Tendencies in Architectural Research”. These lectures will also constitute the first course instance in the first ResArc PhD course, called Tendencies in Architectural Research. The two strong research environments “Ar-chitecture in the Making” and “Architecture in Effect” will also be presented in connec-tion the event. The programme for ResArc kick off is now set and we warmly welcome you to register for the event! Register by mailing your name, title and affiliation to: firstname.lastname@example.org, with a deadline for registration January 18th 2012. Full invitation and schedule can be downloaded here.
Thursday January 12th, CRYSTAL and Drottningholms Slottsteater welcome you to a magical evening under the direction of Goldin+Senneby. The opening event marks the beginning of a month-long exhibition also entitled Money Will Be Like Dross at CRYSTAL. In conjunction with the seasonal opening of the gallery district, a bus will transport willing visitors from Hudiksvallsgatan 4B to the royal theatre at Drottningholm, which opens its otherwise winter closed premises for one night only.
The bus ride between the contemporary gallery district and the uniquely preserved 18th century theatre stages an encounter between financial theatre and 18th century alchemy. During the 1780’s Drottningholm was the home of August Nordenskiöld, mineralogist and Swedenborgian, employed by Gustav III to produce gold through (secret) alchemical experiments. The gold was intended to finance Sweden’s military and economic expansion, but Nordenskiöld, guided by a different agenda, wanted to produce so much gold that its value would be lost and the “tyranny of money” abolished. In the ongoing project The Nordenskiöld Model, Goldin+Senneby explore the relation between contemporary finance and Nordenskiöld’s utopian ideals and alchemical experiments. Money Will Be Like Dross is an open rehearsal of a play in the writing by the British playwright and dramaturg Pamela Carter. The audience is welcomed to the Drottningholm theatre by Goldin+Senneby, and guided into the project’s meanderings at the very site of Nordenskiöld’s practice. On behalf of the artists, the magician Malin Nilsson introduces an unfinished experiment: A magic trick that will be produced at gallery CRYSTAL during the month long exhibition period. Please contact email@example.com to book a seat on the bus to Drottningholm (January 9 latest) or for more information about the project.