Exhibition
The Dipoli Exhibition Space complements the thought-provoking insights of the conference papers, offering a unique lens through which to engage with the research and where ideas leap from the abstract to the tangible. A wide variety of artworks take up diverse mediums such as installations, screenings, photography, and performances. The projects not only complement but elevate the discourse, providing an additional perspective to the ongoing research.
Program Conference Exhibition
Thursday 30.11.23
17:15 – Welcoming words, Edel O’ Reilly, Curator, Aalto Exhibitions
17:25 – Performance, Marija Griniuk ‘The borders of the Body’ 2023
17:45 – Peformance, Luiz Zanotello ‘ Every Abyss is a Poem Yet Unfinished’, 2022
Friday 1st Decdember 2023
Exhibition Open until 19:00
Screening Programme on the Media Wall, Dipoli Gallery
1. Amy Salsgiver, Istanbul Running, 2023, 00:10:46
2. Andrew Brown, re-turning, 2013 – present, 00:05:03
3. Gian Luigi Biagini, CONTACT ZONE, 2022, 00:19:09
4. Jackie Leaver, Remnants and Layers: Beyond the Walls, 2022, 00:03:00
5. Katja Juhola, Forest, 2021, 00:10:40
6. Max Spielmann, Peripher_ies Re-wound, 2023, 00:10:09
7. Rose Butler, MfS agents’ briefcase and hidden camera training, 1970s in Rotall near Rosslau in Saxony-Anhalt, 2019, 00:13:33
8. Sara Gomez, CHOREOGRAPHIC UTTERANCES (work in progress), 2021, 00:18:00
9. Tanja Thorjussen, Song of songs – hymn to Shekhinah, 2023, 00:06:05
10. Tera Cho, Time After Time, 2023, 00:02:00
Amy Salsgiver
Video
Duration 10:46 min.
Istanbul Running is a composition for fixed media, live performers, and video score. The field recordings used were collected while running at various locations in Istanbul, as part of an ongoing exploration into local sounds and their potential for musical creativity. Performers and collected sounds surround the audience, sometimes allowing for equality among sounds, and at other times suggesting various sonic pathways which may be followed. The visual score bridges the gap between sound and experience, trying to make the abstract more familiar. The goal is to encourage musical ways of listening to everyday sounds, and by doing so to recognize our sonic agency in our own local environment.
Credits: Performers Kerem Öktem, Danae Palaka, Jashiin, and Amy Salsgiver. Recorded at MIAM Studio, Istanbul Technical University.Engineers: Baturalp Ozcan and Ayşe Yörükoğlu and fixed media mastered by Metehan Kökturk
Andrew Brown
Video documentation
Duration 05:00 min.
The video presents documentation of works created by each of the four artists involved in Returns, their ideas and findings tested and made visible at the following exhibitions: ‘Topographies of the Obsolete’ (British Ceramics Biennial, Stoke-on-Trent, 2013), ‘Returns’ (Bonington Gallery, Nottingham, 2015), ‘In Return’ (SIA gallery, Sheffield, 2016), and ‘re- turning’ (Airspace Gallery, Hanley, 2018). Additional material relates to recent investigations into a derelict Sheffield brick works. The documented works ‘trespass’ upon one another, facilitating individual and collective encounter, reflection, and speculation. They take the form of photography, site-specific drawing, soundwalking, and a workshop using clay, revealing ‘the ways of doing and making that emerge from a reverse glance’ and to test the potential of the ‘back stitch methodology’ for producing forward momentum.
Credits: Ed. Andrew Brown. Author details: Andrew Brown, Joanne Lee, Danica Maier, and Christine Stevens
Gian Luigi Biagini
Video
Duration 19:09 min.
CONTACT ZONE is a spatial performance in the “natrurecultural” space formed by of Donna Haraway’s “When Species Meet” and the dirty ground of a kennel.
Credits: co-author, camera and co-editing by Nathan Hendrickson
Jackie Leaver
Video
Duration 03:00 min.
In this short video of sequential images, photography and projection are used to foreground and make visible the overlooked, the mundane practices and materiality of a specific domestic space that forms the research focus of the explorative presentation Re-)Considering the Future Home from the Inside Out. The images fade from one to the next in a meandering visual journey that explores the domestic research space prior to its renovation, from the cellar to the attic. The past of the house is acknowledged along with embedded traces of the lives lived there. With a focus on aspects of each space that might easily go unnoticed – a metal ring, a tiled hearth, faded wallpaper and so on, the images are framed and scaled to foreground the subject matter that in turn reflect material manifestations of time and space.
Affiliate: Sheffield Hallam University, UK
Katja Juhola
Video
Duration 10:40 min.
Katja Juhola’s work Forest encompasses discussions held with participants during the International Socially Engaged Art Symposium (ISEAS). It includes the voices of researchers, nature activists, Wilderness Guide students, and artists. The colors employed symbolize the four seasons and also depict the destruction that humans inflict upon nature. The message is clear: how we treat our forests reflects how we treat ourselves. The loss of natural biodiversity poses a genuine threat to all life. The nudity portrayed in the film signifies a vulnerable, sensitive, and emotional relationship with nature, as well as the looming threats against the forest. The video performance was captured in Äkäslompolo, Finland in August 2020, immediately following the symposium. Juhola collaborated with her spouse, Jukka Juhola, and artist Tanja Koistinen.
Credits: conversations by Lea Kaulanen, entrepreneur based in Äkäslompolo, Finland. Ville Hallikainen, senior researcher based in Rovaniemi, Finland. Student Muonio Wilderness Guide School. Raisa Raekallio, visual artist based in Kittilä, Finland. Meeri Koutaniemi, photographer based in Helsinki, Finland.
Artworks were submitted to Ruukku Studies in Artistic Research (JAR)
Max Spielman
Video
Duration 10:09 min.
The artistic work a recall of the peripher_ies workshop-series, the subject of our re-imagining process. We tried to “secure the traces” of memory in a particular time worldwide. During the COVID-19 lockdown, we made various recordings that paired images and sound throughout the continents, creating an audio-visual inventory through participatory observation. This produced a record of astonishing collective moments that are accompanied by a certain urgency; in this tale, the human image is almost entirely absent. The collectively designed aesthetics that arose from this project are focused on building, nature/environment and technical equipment.
The charm of an old elevator. A rainy backyard. The metro passes by. An electric saw sings. All if we didn’t exist, as if it had never happened. A birdsong, a musical score of togetherness that exists as if we didn’t, as if it had never “happened”.
Credits: Authors: Andrea Iten, Max Spielmann, Catherine Walthard (Basel Academy of Art and Design Basel IXDM/FHNW) and Daniel Hug (Zurich University of the Arts, Department of Music)
Rose Butler
Video with dual screen mock-up of two single channel videos, B&W, silent, transferred from 16mm film. Extracts of archival footage from the Stasi Records Agency, Berlin. Ref: MfS, HA VIII, Fi 42+43.
Duration 13:33 min.
Training footage of Stasi informants learning how to use 16mm cameras hidden in briefcases. Shot in parts from an upstairs window, the film also contains scenes shot on the ground from the low angle of the briefcases and from height within nesting boxes. The films display signal practice between agents – a sneeze, tying of shoe lace, a stone in a shoe. One film is interrupted with a scene of a man tending to his baby. Due to the scarcity of resources in the former German Democratic Republic, films and tapes of transcoded material, were often recorded over and reused.
Within this footage creative learning, practicing of technique and the use of focus and tonal calibration charts takes place, whilst agents pose for the camera, film what is to hand and mess around with colleagues. This footage was produced under the auspices of the Socialist Unity Party, during which creative freedoms were increasingly censored and artist collectives were systematically subverted and broken up.
Sara Gomez
Video essay
Duration 18:00 min.
This is a video essay made up of three chapters, text 01, text 02, and text 03. Gomez wrote these three choreographic texts using objects, gestures, sounds, and words to talk about how art could give form to ideas and intuitions that had no aesthetic representation. The forms that the creative process of art can give to these ideas are means to make intelligible what cannot be thought due to the lack of nomination or aesthetic support. There, symbols and concepts come together to generate thoughts and reflections. This is a search that is moved by the seduction of matter over the body and vice versa; like the dance that writes figures, and the figures that shape the dance. It gives presence to what has not been named.
Affiliation: Universitat Autònoma de Barcelona, Department of Philosophy
Tanja Thorjussen
Video
Duration 06:05 min
Song of Songs – Hymn to Shekhinah is consisting of six videos taken on various locations in Stavanger, Alta and Rogaland, Norway. The hymns to nature, rivers, forests are paired with historical objects from the museum collection of the Archaeological Museum in Stavanger, University of Stavanger. The video is made for the exhibition Eden and Everything after at the museum. The action of singing to these relics of the past and the present living nature are meant to sooth and honor nature at large in these precarious times. The original Song of Songs is an ancient text/hymn about love and Shekhinah is an ancient Hebraic name for the feminine creatrix holy spirit present in all things.
Tera Cho
Video
Duration 02:00 min.
Time after Time confronts the perpetual human condition – the inheritability of ideologies, under this perpetually changing age, how it is inherited through time, generations, and eventually form into repeating patterns, mental processes that seem inevitable and inescapable. The sound is composed by repeating audio clips that transfer one identifiable sound into the other through time: child to woman, knife chopping to iron striking, factory to hospital. The audio transitions were generated through our sound morphing algorithm. The visualization was accomplished through our second algorithm, which offers a scenery that hasn’t been seen in STFT by making data perceivable by human beings through bestowing time sequence within data.
Artworks by Susana Patricia, Chicunque Agreda, Alexandra Cuarán Jamioy and Eliana Sánchez-Aldana, Gian Luigi Biagini, Ilaria Biotti, Andrea Botero, Clare Bottomley, Andrew Brown, Danica Maier, Joanne Lee and Christine Stevens, Rose Butler, Tera Cho, Jaana Erkkilä-Hill and Angela Bartram, Raquel Felgueiras, Sara Gomez, Marika Grasso, Marija Griniuk, Maia Gusberti, Carla Hamer, Katja Juhola, Mari Keski-Korsu, Jackie Leaver, Laureen Mahler, Anders Mathiasen, Katrina Maguire, Pablo Villalonga Munar, Richard Nash and Gary Clough, Henrik Nieratschker, Amy Salsgiver, Max Spielmann, Maiju Suomi and Elina Koivisto, Tanja Thorjussen, Giuseppe Torre, Niina Turtola and Luiz Gustavo Ferreira Zanotello