Ongoing PhDs – Abstracts
3. November 2017, 16:27 Filed under:

Prof. Giaco Schiesser

Ongoing PhDs
>>Abstracts

González Méndez, Viviana
Moving in and through Different Landscapes.
Nomadic Strategies to create Installations / Landscapes
The central issue of this artistic-research based project is landscape in three dimensions: landscape as an experienced phenomenon, landscape as a cartography and landscape as an artistic research-based construction. These dimensions will be experimented from a nomadic and from below perspective and taking the installation as a main media.  For the research Installation is thought of, a) as an abstract machine that deals with the space as a system (in the dynamics between opening/closing). And b), from a nomadic perspective, as a constant displacement through and between places.
Main research questions are: How can landscape be understood as a phenomenon, as a cartography and a construction, from the perspectives nomadic and from below, taking installation as media?  How can these possibilities expand the artistic concept of installation? How to delve into the possibilities of installation understood as an increasingly open system? In other words:  How can my doctoral research contribute to create new types of artefacts related to landscape and installation?
The methodology will involve amongst others the experience of walking through a space and the observation of virtual ways of accessing space. The project will use strategies as: drift, randomness finding, carefully observation, collecting (objects, images, sounds descriptions, etc.), wasting time, and others.
Some main theoretical references are, in relation to landscape: Milton Santos, Michel De Certeau and Armando Silva; in relation to the nomadic: Jacques Atalli, Nicolas Bourriaud and Francesco Careri; in relation to territory and systems: Gilles Deleuze, Felix Guattari and Francisco Maturana, and in relation to artistic research and the media: Giaco Schiesser and Consuelo Pabón.

Herbordt, Bernhard / Mohren, Melanie
Institutionen als Kunst – Kunst als Institution.
Künstlerische Recherchen und performative Transformationen
Institutionen befinden sich im Umbruch. Bestehende Institutionen werden neu geordnet. Andere befinden sich in der Krise – als Folge politischer Veränderungen, städtebaulicher Möglichkeiten, leerer Haushaltskassen oder neuer globaler Anforderungen. Weltweit wird mit Neugründungen oder Umgestaltungen auf diese Entwicklung reagiert.
Mit dem kollaborativen künstlerische Forschungsvorhaben „Institutionen als Kunst – Kunst als Institution. Künstlerische Recherchen und performative Transformationen“ richtet sich unser Interesse insbesondere auf zeitgenössische Kunstinstitutionen, Organisationen von Künstler_innen und Institutionen, die selbst schon Kunst sind.
Nach der Sammlung und Analyse historischer wie neugegründeter Künstler_innen-Organisationen und anderer alternativer Institutionsentwürfe entwickeln wir das Experimentalmodell einer möglichen Institution zwischen Gästehaus, Akademie und Theater, implementieren dieses – u.a. durch die Verfahrensweisen aufführen, aufzeichnen, verschieben – in existierende Kontexte und beobachten die Ergebnisse in einer zu findenden Hybridpräsentation zwischen Lecture-Performance und (Online-) Dokumentation.
Im Zentrum stehen Fragen wie: Wie stellen sich Praktiken der (Selbst-) Kritik in Institutionen dar? Welche Modelle der Selbstorganisation, Transparenzsicherung und Partizipation werden eingerichtet? Welche Prinzipien der Kollaboration, Solidarität und des Gemeinsamen werden installiert? Wo verorten sich Institutionen zwischen Internationalisierung und lokaler Verantwortung? Welche gesellschaftlichen Veränderungsprozesse können durch sie initiiert werden? Welches Wissen produzieren sie? Und auf wie viel Fiktion sind Institutionen begründet?

Morais, Laetitia
Le Rayon Vert.
An Artistic Research Crossing the West Horizon
This practice-based PhD in Art departs from the green ray – an optical phenomenon, that consists in the sunlight diffraction by the curvature of the earth – which triggers, in the western coasts, where it is mostly seen, myths and love stories. This relation to an ungraspable event, unfolds into the challenges raised by disrupted perception; the active and non-active dichotomy inherent to long-range observations; the immanency of an event; the way fiction is then attributed to indiscernible happenings and how its reenactment evokes a rite of passage, in order to arise questions that may provide new views of “western horizons”.
Some of these questions can be enunciated as follows: To fix a point-of-view, a very precise goal, may still be seen, in the actual and western scope, as a strategy to achieve efficacy? How is inertia or non-action simultaneously active? In which way immanency is more effective than consistency? By stretching perception to its limits, may one inflect new imageries? And what is the role of these imageries, desires or myths in the development of a near future?
For dealing with these questions, I will use my own artistic practice as the platform. I started with a series of drawings, produced in 2016, entitled with the same name of this research – Le Rayon Vert (which intentionally maintains its French reference to Jules Vernes romance and Eric Rohmer’s movie, both based on the love myth in relation to the phenomenon), to unfold into other practical works, techniques and means that convey these questions further. These premonitory drawings were done by representing the traces of absent or unseen forms. From these, I intend to develop more complex works, that may function as stage scenes or installations, or even build-up situations, expecting to maintain them in their stage of latent immanency, transcribing the actual inquietude of our society.
It is through the openness of these artistic processes, that I hope to foster ideas and notions such as distance, inertia, speed, desire, enactment, affect-effect, immanency, efficacy and by putting them in tension with settled situations; to find clues or directions to trigger them and to make use of the gained knowledge (Erkenntnis), by the means of art.
Being a study on efficacy, on space and time, a relocation of imageries – making (thinking and doing) – aesthetics, it is also a key for an artistic discourse capable to dialogue without constraints, combining conceptual objections with experimental practice, raising pertinent questions about the western directions towards the future. I hope that my research will contribute to this reflection which is crucial for today’s society.

von Niederhäusern, Laura
FACE NO DIAL OF A CLOCK.
Investigating asynchronic experiences of present times by means of art
Within today’s life and work conditions, the economic imperatives and technological dispositives impose an In today’s life and work conditions, the economic imperatives and technological ranges impose an acceleration, whereas complexity and self-responsibility, by contrast, enhance the need for more time in decision taking. The PhD project questions practices of orientation by investigating conceptual and physical frameworks of timing.
How does one deal individually with the experience of today’s heterogeneous temporalities? How do institutions manage asynchronicity? What are the effects of the shift to less obvious and sizable time control of internalised and individualised chronopolitics in regard to a common cultural experience?
The research unfolds through a narrative inquiry method combining analytical and artistic approaches in an essayist method of film practice and writing. On the one hand, through the loose leitmotif of ‘failing clock-time’ different aspects of ‘the flattening of time’ are explored in a series of ‘case studies’. Situated in the fields of particular interest for the recent economic development of ’immaterial labour’, these empirical investigations operate through the role of lifetime (age, biography) and time moods (imperatives, indicatives, subjunctives) in the age of digital technology. On the other hand, by means of fragmentation, montage, film and textual interventions and extractions, the research at hand develops specific artistic techniques of focusing – to develop filmic thinking and thought-images as an empowering sense of orientation within the current, fragmented human existence.

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