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Writings from the Finnish Academy of Fine Arts - No1 - Secret Identities of a Psychoanalyst. Viewpoints on the works of Friedl Kubelka (Friedl vom Gröller)
Writings from the Finnish Academy of Fine Arts is a new series of publications that will come out a few times per year. The first issue, edited by artist Elina Saloranta, concentrates on the Austrian photographer, psychoanalyst and experimental filmmaker Friedl Kubelka (Friedl vom Gröller). The articles are based on presentations given in a symposium arranged by the Program of Postgraduate Studies at the Finnish Academy of Fine Arts.
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Denise Ziegler: On Features of the Poetic – The Mimetic Practice of the Visual Artist (2010)
The key aim in the theoretical section of Ziegler's dissertation is to analyse her own mimetic practice by comparison with Aristotle's Poetics. Ziegler transfers the concept of mimesis from poetics into visual art by applying it to her own artistic research.
The starting point of Ziegler's mimetic practice lies in situations that contain some mundane, unobserved or inadvertent human activity or traces of the same. Ziegler's term for such phenomena is "undefined gesture", and she analyses their links to poetic expression.
In a dialogue with Aristotle's Poetics, Denise Ziegler searches for concrete guidelines for artistic practice, thereby adapting the mechanisms of poetics into her own practice and more broadly into the field of conceptual contemporary art in general. She approaches Poetics from her personal perspective, that of a visual artist in Finland in the 2000s – not as an historian or a philosopher.
The four chapters in the book illustrate Ziegler's concept of the undefined gesture from different perspectives: its starting points, its reconstruction as a work of art (its mimeticity), its expressive power, and its links to poetry. She also anchors the concept to examples of her own work, and more generally to phenomena in the visual arts.
Ziegler analyses mimesis by ascribing different meanings to the term in the four chapters of the book. In the first chapter, she discusses mimesis in relation to her own practice. In the second chapter, the concept is considered as a practice for the expression of creative imagination. The theme in the third and fourth chapters of the book is mimesis as a holistic and as an interpretative expression of human activity.
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Marjatta Oja: Kolmiulotteinen projisointi – tilanneveistos tekijän ja katsojan välissä (
2011).
Marjatta O
jan kuvataiteen tohtorin tutkintoon sisältyvä julkaisu.
Ojan taiteessa käsitellään liikkuvan kuvan, telineiden, peilien ja muiden projisointiin sopivien materiaalien avulla kuvan hajoamista osiin (näyttely)tilassa ja siten syntyvää uudenlaista katsojan/kokijan tilannetta. Oja kartoittaa tutkimuksessaan liikkuvan kuvan rajoja tilassa. Häntä kiinnostaa myös tekemisen prosessi kokonaisvaltaisesti taiteilijan työhuoneelta lähtien. Ojan päämääränä on rakentaa tutkimuksellinen ”monitilanteinen” prosessi, jossa katsoja ei eläydy ainoastaan valmiiseen teokseen vaan myös mahdollisiin mielentiloihin, joita taiteilijalla on ollut teosta työstäessään.
Ojan työ problematisoi ajankohtaista kysymystä taiteilijan ja katsojan välisestä suhteesta: Voivatko liikkuvan kuvan esityksen uudenlaiset välitilat muuttaa taiteilijan roolia, siten että dialogi olisi mahdollinen ei vain teoksen vaan myös taiteilijan kanssa?
Marjatta Oja:
Three-Dimensional Projection – Situation Sculpture between the Artist and the Viewer (2011)
Marjatta Oja’s doctorate in fine arts includes an extensive publication.
The art of Marjatta Oja employs moving images, racks or stands, mirrors and projection materials to explore the dispersing of images in space and the new situation this gives rise to for the viewer. One of Oja’s aims is to map the spatial boundaries of the moving image. She also has a holistic interest in the process of art making, starting from the studio. She wants to construct a ‘multi-situational’ research-like process in which the viewer does not identify merely with the finished piece, but also with the possible states of mind experienced by the artist while making the work.
Oja’s research explores the topical issue of the relationship between the artist and the viewer: can the new kinds of intermediate spaces of moving image works alter the role of the artist so as to facilitate a dialogue not only with the works, but also with the artist?
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Henk Slager: The Pleasure of Research (2012)
In 2006, Henk Slager initiated – together with Jan Kaila and Gertrud Sandqvist – the
European Artistic Research Network (EARN), a network investigating the consequences of artistic research for current art education in symposia
, expert meetings, and presentations such as
A Certain Ma-ness (Amsterdam 2008),
Epistemic Encounters (Utrecht 2009),
Arts Research: Publics and Purposes (Dublin 2010),
Tables of Thought (Helsinki 2010),
The Academy Strikes Back (Brussels 2010), and
Art as a Thinking Process (Venice 2011). Departing from a similar focus on artistic research, Slager produced various curatorial projects such as
Flashcube (Leeum, Seoul 2007),
Shelter 07 (
The Freedom of Public Art in the Cover of Urban Space, City of Harderwijk 2007),
Translocalmotion (co-curator 7
th Shanghai Biennale 2008),
Nameless Science (Apexart, New York 2009),
Becoming Bologna (Collatoral Project Venice Biennale 2009),
Critique of Archival Reason (Royal Hibernian Academy, Dublin 2010),
Artistic Anthropology (NJP Art Center, Seoul 2010),
As the Academy Turns (Collaborative project Manifesta 8, Murcia 2010) and
Any-Medium-Whatever (Georgian Pavilion
, Venice Biennale 2011).
In
The Pleasure of Research, Henk Slager treats the above-mentioned activities and projects as points of inspiration and shows how the discussion on artistic research delving into issues such as knowledge production, artistic thinking, medium-specificity, context-responsiveness, and counter-archival display, has affected the current state of art and education. He concludes that today's debate on art education and artistic research echoes the semiotics debate in the 1970s, in which a formatting, academic order tried to discipline semiotics into a traditional, academic domain. Therefore, a reconsideration of artistic research is currently required; a reconsideration in line with Roland Barthes’ former response to a semiotics in the process of becoming static. In Henk Slager's view that requires a stance where artistic research is considered a “gaya scienza”: a temporary autonomous activity focusing on the intellectual pleasure of an experimental method and an implicated form of artistic thought.
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