The Porous Studio Amager took place as part of PSI #21 Fluid States North in Copenhagen 18-21.June 2015. http://fluidstatesnorth.ku.dk
The Studio was more than usually porous this year, due to some last minute cancellations, and most of the conversations took place via Skype. The only person from the working group physically present in the studio was Annette Arlander, although Johanna Householder and Charlie Fox contributed via Skype and Anne Robinson was present at a parallell event in an adjacent room. As usual Nicholas Johnsson created a beautiful poster based on the actual room on site. The focus of the studio this year - unlike the original proposal, here below - was on the possible uses of the Research Catalogue as a platform for collaborating and sharing practice within the working group. Although the RC has been conceived of as a publication platform, and is used by Journal for Artistic Research, Journal for Sonic Studies and Ruukku - Studies in Artistic Research for that purpose, it is also a good (and free) space for archiving and sharing artistic research in all forms of digital files, images, sounds and videos. And the level of privacy can be chosen by the artist(s). Hopefully we can make use of this platform to share material before the next meeting of the working group. For those interested in participating, please familiarize yourself with and register on the RC, here http://www.researchcatalogue.net
This is the latest version of the proposal or plan (presented here for archival purposes):
The Studio was more than usually porous this year, due to some last minute cancellations, and most of the conversations took place via Skype. The only person from the working group physically present in the studio was Annette Arlander, although Johanna Householder and Charlie Fox contributed via Skype and Anne Robinson was present at a parallell event in an adjacent room. As usual Nicholas Johnsson created a beautiful poster based on the actual room on site. The focus of the studio this year - unlike the original proposal, here below - was on the possible uses of the Research Catalogue as a platform for collaborating and sharing practice within the working group. Although the RC has been conceived of as a publication platform, and is used by Journal for Artistic Research, Journal for Sonic Studies and Ruukku - Studies in Artistic Research for that purpose, it is also a good (and free) space for archiving and sharing artistic research in all forms of digital files, images, sounds and videos. And the level of privacy can be chosen by the artist(s). Hopefully we can make use of this platform to share material before the next meeting of the working group. For those interested in participating, please familiarize yourself with and register on the RC, here http://www.researchcatalogue.net
This is the latest version of the proposal or plan (presented here for archival purposes):
POROUS STUDIO: AMAGER
A PROJECT OF
THE ARTISTIC RESEARCH WORKING GROUP
The PSI Artistic Research Working Group proposes the fifth incarnation
of the Porous Studio for PSI
#21 Fluid states North Atlantic. A primary concern of the Artistic Research Working
Group is to encourage and expand artist participation on the ground in PSI, to
integrate a multiplicity of approaches to performance art into the discourse in
PSI and to explore the relationship between artistic research and performance
studies. This year, in accordance with the theme fluid sounds we want to focus
on questions related to sound and site in artistic practice. To this end, we
propose the Porous Studio: Amager.
The Porous Studio is designed to encourage discussions
concerning artistic research related to performance art and/or artistic processes
and to support experimental combinations of critical theory, philosophy,
pedagogy, research and practice within the framework of the annual conference:
a productive lab of experimentation at the porous borders of theory, practice
and research. For more information about the concept, see http://psi-artistic-research-working-group.blogspot.fi
For this years meeting
we will examine the role of site and sound in the creation of performance art
by sharing our respective practices. We are excited about the possibility to
investigate issues around intimacy and distance, participation through telematics
as well as exploring the idea of audio papers, as indicated in the call. The final determination of participants depends upon the composition of
the Working Group at the conference. We look forward to productive linkages
with local artist and community groups as well. This is something we hope to
work on with members of the Organizing Committee. If a praxis
session is difficult to conceptualize within the structure, the porous studio
could be compared with a workshop or an extended roundtable, which can result
in one jointly produced audio paper or possibly several audio papers.
Contributors
(to date):
Johanna Householder,
will act as the convenor and present an overview of the development of the
porous studio to date. She will also do something focusing on
telematic presence, borrowing the title Presently
Absent.
Ray Langenbach is
currently working with infrasound technologies in different
sites, with voice-based performance and other technologies. He would enjoy the
opportunity to present his experiments in Copenhagen as part of the Artist
Working Group.
Charlie
Fox will focus on sharing the experiences of 'making and developing' the
artistic research practices that inform 'Detours2' with the title Detours
2 - Flatlands & Soundings. The work contains telematic and audio
performance. http://detours2.com
Anna Allgulin will in
her presentation Porous Theatre describe
the role of the sound of words in the acting methodology she is developing
based on the Stanislavsky-Vasiliev tradition.
Anne Robinson will' present Phonogenie': Sound Magic and invite a
small group of participants to respond to the possibility of dis-orienteering
through vocal performativity: lost at sea in the space between our island
selves and contributing to a collectively transgressive, sonic archipelago. The
workshop aims to experiment with rhythm, tempo and the time-bases of recording
methods, developing call and response patterns and exploring polyphony.
Annette
Arlander will present her project Trees Talk
- a series of site-specific audio plays, and discuss the implications of such collaborations
with vegetal life. If a holly or hazel can be found on Amager, she would be happy
to create a small sound installation on site.
SPACE, TIME & TECHNICAL REQUIREMENTS
A large open studio/performance/classroom with ample floor space of at least
80 square metres would be ideal. Some of us may also want to work outside. In
previous conferences we have asked for 6 hours spread over two days – 2 x 3 hr.
sessions. Each session will consist of participatory work, presentations of
works in progress, exercises, screenings and discussion. In terms of equipment
we need audio amplifier and speakers, video projector, one or two tables, about
20-30 moveable chairs and wifi access. Our audience/participants in the past
have been up to around 20 people. In order to attract local participants we
have usually made posters. Due to the exceptional character of the conference
structure this year, we are happy to negotiate these requirements in accordance
with the site and time schedule.
CONTACTS
CV:s
Johanna Householder has been making performances and other
artwork in Canada since the late 70s. She was a member of the notorious
satirical feminist performance ensemble The Clichettes, who performed across
Canada and the US under variable circumstances throughout the 1980s. While The
Clichettes practiced their own brand of pop culture detournment, Householder
has maintained a unique performance practice, often collaborating with other artists.
As one of the founders of the 7a*11d International Festival of Performance Art,
held biannually in Toronto, she has brought many international artists to the
festival. She is keenly interested in the histories of performance,
reperformance, and the effect that performance has had in contemporary art and
new media. Her most recent works include Portrait of a Situation, which toured
East Europe in June 2006 and Finland in 2007 and The Subject of Art:
Badiou/Miller/Cobain performed in various forms and venues including the
Interackje Festival in Poland and the Performance Studies International
conference in Zagreb in 2009. Approximations 1-3, video works produced in
collaboration with b.h. Yael, have screened in a number of international
venues. Her work is also represented in Prêt à Emporter/Take Out: Performance
Recipes for Public Space, edited by Christine Redfern for La Centrale,
Montréal, 2004 and Radical Gestures, Feminism and Performance Art in North
America by Jane Wark, 2006. http://apache.ocad.ca/faculty_biographies/bio.php?bid=1197&fac=art
Ray
Langenbach (MFA, PhD) creates conceptual performances, convenes
gatherings, documents aesthetic and social performance, and writes on cultural
theory, visual art, performance and queer culture. His installations, video and
performance art works have been presented in the United States, Europe and
Asia-Pacific. He co-convened the Perform: State: Interrogate: Performance
Studies international #10 Conference (Singapore 2004), serving on the Psi Board
of Directors from 2003-2005 and from 2009-20013. He curated/co-curated the 6th
& 7th Kuala Lumpur Triennials, Satu Kali International
Performance Art Symposium (2006) and three Asian Art and Performance
conferences in Helsinki (2012-14). Langenbach is Professor of Performance Art
and Theory, University of the Arts Helsinki. His installations and
performance art works have been presented in the United States, Europe and
Asia-Pacific at the Whitney Museum of Art, New York LACE (Los Angeles
Contemporary Exhibitions) Nevada Museum of Art, National Centre for the Arts,
Mumba, Artspace, Sydney, the Asia Pacific Triennale (Queensland Art Gallery),
Werkleitz Biennial, the Gwangju Biennale, Malaysia National Art Gallery,
Singapore Art Museum, Kiasma, Future of Imagination Festival (Singapore),
Asiatopia (Bangkok), ArtContact (Helsinki), and the Hong Kong Art Centre, among
others.
Charlie Fox is artistic director
of counterproductions. Counterproductions brings together artists, artistic
practices, the public and non-professional producers in collaborative projects
to generate new artistic culture, which is informed by and reforms contemporary
artistic culture; creating work that offers the potential of an art for all by
conjoining contemporary art practice, theory and method, to a street level
understanding and appreciation of artistic expression. Recent projects,
international exchange and collected activities include CGTV, Detours, Haemogoblin Society and DerCentreDerSpace (Marseille 2013/14).
Currently counterproductions is developing Detours2
London, an artist-designed cross London walking trail (2014-2016).
http://counterproductions.me http://charliefox.org http://decentrederspace.org
Anna Allgulin is an actress
and theatre director. Her doctoral research deals with 'the speaking actor'
developing her personal experience, which she had mainly in the Stanislavsky
tradition - namely the lineage of Knebel-Vasiliev - as she spent about a decade
acting in Anatolij Vasiliev's Moscow theatre in the end of last century. She
graduated in GITIS, Moscow 1994, and later also in TeaK, Helsinki 1999. She is
trying to systematize a common 'method - technique and thinking' for acting,
directing and teaching theatre, where the main focus and center lies in 'what
to do with the words'. All the rest one can find on stage - physical movements,
mise-en-scène, music, silence, acting, non-acting, concrete feelings and
perceptions, abstract thoughts and phantasies, different kinds and grades of
presence, different kinds and grades of contact, immanence, transcendence,
etcetera, even lightening - is in her method emerging only from 'actors
pronouncing words together' and from precise rules for that, defined and
developed during her research. She ran during a couple of years in the
early 2000'ths Blidö Biografteater in the Stockholm archipelago. Her research
performances in Finland are: "Grönholms Metod", "Sonen",
"Madde Min Vän" and "O!DiPUSS.A.S."
Anne Robinson’s practice is concerned
with the perception and politics of time passing, working experimentally with
duration, frame, exposure, paint, sound and movement. She recently curated the Over Time project, funded by Arts
Council England, featuring pieces by eleven contemporary artists working on the
Thames foreshore including soundscapes. Activities in in 2014 include: The Result of This Deception, song-film
for Lumen Festival, London, solo show Vital
Excess, Cass London, Thrashing in the
Static, song-film in Ghost On the
Wire, Deptford X 2014 and Folkestone Triennial Fringe. She presented the
paper: Enlarger Than Life: Song-Films and
Irrational Gestures psi20 in Shanghai. Other talks included GHost 13 at
University of the Arts, CSM and Feminism and Subjectivities Research Group at
Chelsea School of Art. Curatorial projects include: Time, Flesh
and Nerve, One More Time and Supernormal festival. In 2013, she made Inside Out Blues for a
Counterproductions residency during Capital of Culture year in Marseilles and
presented at psi 19, Stamford. She works with film as an artist educator,
currently senior lecturer at LondonMetropolitan University and completed a
practice-led PhD on temporality entitled The
Elusive Digital Frame and the Elasticity of Time in Painting in 2012. www.annerobinsonartwork.org
Annette Arlander (DA) is an artist, researcher and a
pedagogue, one of the pioneers of Finnish performance art and a
trailblazer of artistic research. She is educated as theatre director,
Master of Arts (philosophy) and Doctor of Art (theatre and drama). Arlander
was the first to be awarded a doctorate from the Theatre Academy, Helsinki (in
1999). In 2001 she was invited as professor of performance art and
theory to instigate the MA degree program in performance art and
theory (or Live Art and performance studies, as it is called today) a position
she held until 2013. In 2007-2009 she was also head of the research department
or Performing Arts Research Centre (Tutke) at the Theatre
Academy. Arlander’s research interests are related to artistic research,
performance-as-research, performance studies, site-specificity and the
environment. Her artwork is focused on performing landscape by means of video
or recorded voice, and moves between the traditions of performance art, video
art and environmental art. See http://annettearlander.com
