ZoekresultatenZoekresultaten
Volg ons op
Volg ons op
Types
0Instelling
26Publicatiejaar
6Producttype
18Bestandstype
9Taal
5Onderzoeksthema's
13Publicaties met bestand/URL
2Projectstatus
3Zine-poster about ethics in the artistic research process.
ANDERSOORTIG MATERIAAL
Photography’s modern day quest was the reason for the research group Image in Context to start up a centre of expertise in which the insights of
photographers and artists concerning this problematic status of photography can be
brought together and studied. This centre of expertise PRICCAPractice (Photographic
Research in Cross-disciplinary and Cross-cultural Artistic Practices) conducts research
into the way in which professional photography is reinventing itself. It is aimed at the
artistic research practices of artists, designers and photographers into the status of
photography in our society. The focus lies on newly developed methods concerning
photography as part of an interdisciplinary artistic (and critical) research practice;
photography as a means of research to make reality visible again. For this reason it makes sense that photography should allow itself to be nourished and inspired by other reality seeking disciplines, such as sociology and anthropology. Based on her interest in processes which are socially meaningful, photography moreover connects itself with fields of study such as semiotics, cultural studies, art theory and philosophy. And in her forms of expression she learns from literature, theatre, and journalism as forms of representation. In other words, the centre of expertise researches how dimensions of reality in photography are made into problems in images which are not merely representations, but also a commentary on photography itself and which explore the narrative and communicative possibilities and limitations of the photographic image at the same time. We are looking for artistic research practices in which a new, authentic relationship between the photographic image and reality will be researched.
In this paper I would like to present a few of these practices.
PAPER
PRICCAPractice (Photographic Research in Cross-disciplinary and Cross-cultural Artistic Practices) is an online platform aimed at the artistic research practices of artists, designers and photographers into the status of photography in our society. The focus lies on newly developed methods concerning photography as part of an interdisciplinary artistic (and critical) research practice. PRICCAPractice’s objective is to examine how photography as a means of research can make reality visible again, and wants to investigate various photographic dimensions of reality in images that are not merely representations but also a commentary on photography itself and that, at the same time, explore the narrative and communicative possibilities and limitations of the photographic image. We are looking for artistic research practices in which a new, authentic relationship between the photographic image and reality will be researched. Our aim is to give photography a new position within art education and the artistic practice. Next to photography’s representational power we want to focus on its numerous research possibilities.
Frederiek Bennema introduces foraging as a strategy for learning and research within higher art education, and as a practice and an attitude focused on ecological thinking, care and dialogue. This article aims to offer insights into foraging and how it helps students navigate the landscape of art education. It further discusses how foraging relates to artistic research and how it can help position artistic research in relation to more established forms of research.
ARTIKEL
In het artikel ‘Polyphonic Landscapes, Genealogy of an Artistic Research Project’ beschrijft projectleider Joep Christenhusz het ontstaan van het conceptuele kader van het project en belicht hij centrale thema's als landschap, polyfonie, ecologische verstrengeling en sonische relationaliteit door de lens van wetenschappers als Bruno Latour, Anna Lowenhaupt Tsing, Steven Feld en Timothy Morton. Daarnaast geeft het artikel een overzicht van het collectieve proces en de verschillende activiteiten die in de loop van anderhalf jaar zijn ondernomen. De tekst sluit af met observaties over hoe de individuele projecten van de kunstenaars het centrale concept van landschap in een nieuw en onderscheidend licht hebben geplaatst.
ARTIKEL
Currently, advanced art education is in the process of developing (doctorate or PhD) research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into account that the artistic domain so far has tended to continually exceed the parameters of knowledge management? One could claim that the artistic field comprises the hermeneutic question of the humanities, the experimental method of the sciences, and the societal commitment of the social sciences. Will that knowledge influence the domain, the methodology, and the outcome of artistic research? Another major topic concerns not only the specificity of the object of knowledge of artistic research but above all whether and how artistic research and its institutional programs will influence topical visual art, its artworks and its exhibitions. These complex problematics with their various points of view and management models are mapped out through the contributions of theorists, curators, and institutions, from Belgium, France, Great-Britain, Italy, The Netherlands, Finland, Germany, and Sweden. May these contributions be a constructive impetus for a versatile debate which may influence the future role of advanced art institutions and the position of artistic research in the next decade.
NIET BEKEND
‘In recent years, the practices of artists in non-artistic environments have set my mind in motion. Where before I could marvel at the visual outcomes of the artistic process and would want to understand how processes of creating meaning could be described, I am now particularly struck by the way in which artists are present, by their way of looking, how they make decisions, when and how they act, how they take responsibility. I have conversations with them and ask questions to better understand their processes, and I explore literature to find people with a similar quest. This process of moving and being moved lies at the heart of the book The Artistic Attitude.’
BOEK
What does art know? It is not just one of the issues, it is the issue of current art schools and their politics: artistic research. But what is artistic research really about and what does it mean for contemporary art? All too often, weight is given to the academic aspect and the artistic part is overshadowed. The more interesting question is how art knows: how artistic thinking develops through artistic processes and takes shape in artworks. This is precisely the departure point of the artist, academic, and curator Lucy Cotter.
In twenty conversations with leading artists, she maps out an epistemology of artistic creation today. She manifests a type of research that is dynamically engaged with other fields, but thinks beyond concepts into bodily and material knowledge that exceeds language, revolutionizing our perception of art from the ground up.
NIET BEKEND
The Dutch national platform for artistic research organised a day of talks and discussion regarding the topic of ethics, care, and code of conduct for researchers. The introduction laid out several of the key topics and themes for the day, along with the social contexts (#MeToo, BLM, environmental crisis, Corona pandemic, GDPR, and further topics) that make it necessary to explicitly focus on ethics in our work.
PAPER
Utterances: Composing a Care- Informed Artistic Research Practice in the Cracks is a humble offering towards an alternative research practice that is guided by an ethics of care. It is an offering coaxed out of the side notes and the whispers of the Promiscuous Care Study Group, a collective formed within the cracks of the Willem de Kooning (art and design) Academy in Rotterdam.
BOEK
