Uniarts

Camino Events

 

Camino Events – which lend their name from the Research Pavilion's venue, Sala del Camino – consist of screenings, concerts, seminars, artist talks, performances and interventions from over 100 artists and artistic-researchers from art universities of Northern Europe. Admission is free - All are welcome!

NB. Event information is subject to change.

May

11.5.2017 Microhistories

Microhistories is a project and anthology that will be hosted by Magnus Bärtås (Konstfack) and presented together with lectures by artist/PhD candidate Behzad Khosravi Noori (also in the “You Gotta Say Yes to Another Access” exhibition) and curator and theoretician Suzana Milevska. The presentation includes a screening of a work by Iranian filmmaker Pirooz Kalantari.

Photo: Sandra Praun
 

12.5.2017 FUTURE STAGES/STAGE FUTURES

The two-hour presentations & discussion session is proposed as a critical amplification of Vincent Roumagnac's artistic research project 'Backdrop' shown in the exhibition. It is generated from the interest to diffract the research focus on expanded theatre and time ecology by discussing assumptions, perspectives and prototypes on the theme of 'Future Stages / Stage Futures', under the umbrella-topic of the Research Pavilion 'The Utopia of Access' and on the intersection of artistic research, performing arts, philosophy and architecture. The session will consist of two presentations and one collective exercise followed by an open discussion. By Vincent Roumagnac, Emmanuelle Chiappone-Piriou and Esa Kirkkopelto.

Photo: View of the installation The Theatre Season [Redux] by Vincent Roumagnac - Photo: Aurélie Pétrel (2016)
 

12.5.2017 Encounters in Virtual (Display) Environments

When institutions digitize their exhibitions, should also analogue conventions be (re)produced? How do agreements and tacit rules translate into replication of (gallery) spaces, online (re)presentation of artworks, and (simulated) autonomy of access?

While approaching Google Arts & Culture from singular methodologies, Mireia c. Saladrigues and Mario Santamaría revolve around the (potential and non-potential) pitfalls, gaps, and epistemologies of encountering art in virtual environments.

Photo: The Non-Imaginary Museum. National Museum of Modern and Contemporary Art, Korea. Mario Santamaría, 2013-2015
 

13.5.2017 CONCEPTION by Sami van Ingen

This unhinged and precarious spectacle is re-orchestration of a “cinematic event” and “the narrative” with the help of strips of found footage film and by using deconstructed elements of the cinematic projection process. This assemblage is combined with some live micro camera feed, which will slowly unravel itself.

Photo: Sami van Ingen
 

13.5.2017 The Pen is mightier than the Word

The Pen is mightier than the Word is a video work about artificial intelligence, research, Sci-Hub and Open Access publishing of research.
 

14.5.2017 Open Access - in and through Desire and Touch

Royal Institute of Art, Stockholm presents artistic research projects providing entries into wider notions of open access. Writer and researcher Mara Lee elaborates on ways to imagine agency and accountability through the inscription of desire. PhD candidate Emanuel Almborg screens "Talking Hands", a film about pedagogy at the Zagorsk school for deaf-blind children, and PhD candidate Maria Chehonadskih lectures on communist individuation in Soviet Marxism and beyond.

In photo: Mara Lee
 

PERFORMANCE WEEK (week 20)

    

17.-18.5.2017 Accessing Performance

A workshop, a seminar, performances and screenings addressing accessibility and performance, performing materiality past and present, as well as technology and mediation of performance. Organised by the Academy of Finland funded research project “How to do things with performance?" with Tero Nauha, Pilvi Porkola, Hanna Järvinen, and Annette Arlander.

Photo: Pilvi Porkola
 

19.-21.5.2017 Antitheses

As artistic researchers we are engaged with the process of exposing our research. These processes of exposition are naturally uncovered as documents of many kinds. This project is an attempt to grasp these processes as impermanent presentations, a kind of intervention and temporary counterpoint to the Research Pavilion. Antitheses is a project by doctoral researchers Matthew Cowan, Leena Kela, Ilya Orlov and Anssi Pulkkinen from Uniarts Helsinki (the University of the Arts Helsinki) in collaboration with Doctoral researchers in the arts from the University of Auckland.

Photo: Antitheses, copyright Matthew Cowan
 

30.-31.5.2017 Opaque Pools

An artistic research-event within Synsmaskinen by Frans Jacobi, Discoteca Flaming Star (Christina Barrio-Gomez & Wolfgang Mayer), Benedicte Clementsen & Åse Løvgren. A 2-day seminar/workshop/performance.    

Dark Pools is an emerging format of secret, algorithmic stock trading with an increasing impact on global economics. Based on the method of 'semantic fields', Synsmaskinen have created an art project that ’bounces’ off the opaque surface of the Dark Pools and shapes a reflective universe, part fiction, part wild research. Opaque Pools relates to the theme Utopia of Access by exploring an area of the exact opposite – a fundamentally closed system of financial value and power.

Photo: Discoteca Flaming Star: Sticky Stage in and with Arena / Kunsthalle Düsseldorf / 2016 (Photo credit: Claudia Gienger)

June

NETWORKS WEEK (week 23)

6.-7.6.2017 SAR Conference

SAR, the Society for Artistic Research, is a Society of Artistic Researchers: June 6+7, 2017, we will present the activities of SAR in an open discursive format, providing information about our activities: Research Catalogue, Journal for Artistic Research, Documentation of the SAR Conferences, the different Portals supported by SAR via the Research Catalogue and the option of Membership formats. 

Along with focused presentations by members of the SAR Executive Board we will invite the participants to share their points of view, provide experience about the development of Artistic Research accompanied by our activities in the field. The input of the participants, the community of people committed to Art and Research is vital for shared steps into the future. We will hold three presentation workshops, each about 3 hours, including breaks.
 

10.-11.6.2017 Exclusive Access: On the dynamics and vocabularies of co-option, care and the subaltern

The event looks at questions of how certain modes of promoting ”access” can operate as de facto modes of exclusion. It brings artists, researchers, and activists together to consider the following questions: What are the politics of access? Do strategies of inclusion replicate and reinforce imaginaries within hierarchical social structures? What performative work does the language on access, participation, inclusion, and diversity do? How can we shape new communal epistemologies, terms, institutions and practices?

 

MUSIC WEEK

 

14.6.2017 Blaha Lujza Tér

Blaha Lujza Tér is a piece of music composed by Johan Jutterström for and with Jennifer Torrence as part of the research project “Ng revisited”. With the piece, Jutterström and Torrence investigate the musician’s condition, the relationship between music and choreography, and music and space.

The same music material is performed twice in two extreme proximities to the audience: once far away and once very close. They also question if the digital space that the internet provided could be considered a third proximity. What would this mean for the piece?

The artists invite the audience to hear the piece from different distances and to discuss the intricacies of a live performance and a digital representation.

Photo: Blaha Lujza Tér, Röda Sten - Linda Oláh, 2016.
 

16.-17.6.2017 Encounters, Discussions, Experimentations:
Art, Research and Artistic Research in Music

In connection with the Uniarts Helsinki Research Pavilion in Venice, the Sibelius Academy is organising a Nordic research symposium "Encounters, Discussions, Experimentations: Art, Research and Artistic Research in Music” together with its partners, the Arne Nordheim Centre for Artistic Research at the Norwegian Music Academy and the Academy of Music and Drama at the University of Gothenburg. The two-day event focuses on music and the multifaceted interrelationships between music and research, as well as artistic research in music. One of the aims of the event is to generate Nordic collaboration to foster the planning and organising of research symposia/conferences and research projects as well as publications.

16.6. at 9.30 a.m., Theatre Space
Music with the Real: Asamisimasa with Johannes Kreidler, Matthew Shlomowitz and Henrik Hellstenius

The Artistic Research Project departs from a current critical debate that “Klangrecherche” – the search for new musical sounds – is over. There has been a growing fatigue in the field of New Music, due to strong focus on musical material, not its context.

Music with the Real consists of a group of composers and one performer that have a renewed interest in dealing with “reality” and the new ways it presents itself for us through digitalisation and new technology. The composers and musicians aim at shifting focus from pure abstract sound design towards engaging in a dialogue with familiar surroundings, engaging in the prosaic, the political and the concrete elements of our everyday culture. The outcome of the project aims to develop compositional and performance-related practices through cross-media works integrating audio and visual samples.

16.6. at 11 a.m., Seminar Room
Josué Moreno: Urban Sonic Acupuncture: Aural strategies for the city space

The event consists of a presentation in which Josué Moreno introduces and illustrates the theoretical and artistic background of his current artistic research on Urban Sonic Acupuncture and an enhanced sound walk by means of sonic acupuncture in the surroundings of the Research Pavilion using mobile devices.
 

16.6. at 12.30 p.m., Theatre Space
Marianna Henriksson: AD OLIO

Harpsichordist Marianna Henriksson performs early 17th-century Italian songs with trumpeter Verneri Pohjola and sound designer Tuomas Norvio. They explore the varied emotions in the music of the seconda prattica: Frescobaldi, Merula, D’India, Peri and Strozzi.

The aim is to give new perspectives on the emotional contents of the songs and to search for a musical encounter amidst this material. The artists improvise on and arrange the musical materials, creating emotional stages that are related to the affects in the original music. In that way, they look for an access to emotions that were expressed in music that is culturally and timely remote to us.

 

16.6. at 3 p.m., Theatre Space
Jennifer Torrence: No Say No Way

No Say No Way takes the form of a lecture-recital gone terribly wrong. It is about an attempt to give a presentation by an expert researcher and performer of the triangle.

The performer crumbles under the pressures of performance and becomes crippled by self-doubt. Ultimately, she fails to ever transfer any “real” knowledge to her expectant audience. Instead, the spectator is faced with the realities of failure. No information is transferred and no musical transcendence is achieved. With no logical way to conclude, the lecture-recital starts over from the beginning: the performer ever-hopeful for success and ever-poised to repeat her failures over and over again.

Tragi-comic and Sisyphean, No Say No Way is an expression of access denied. On the other hand, the work questions the nature of knowledge and its transference within the fields of music and performance. With Beethoven’s 9th Symphony at the core of the performance, No Say No Way also comments on human nature’s reliance on visions of utopia and transcendence.
 

16.6. at 4 p.m., Seminar Room
Walking Sonic Commons

Walking Sonic Commons is carried out by introducing an open workshop on the Venetian sonic environment. Two-day documentation of sounds by the participants will be followed by an afternoon of editing the gathered materials and uploading them to an open platform. During the discussion and presentations the acts of listening are contextualized to the concept of sonic commons, archiving, accessibility and the researchers’ contribution to preserving cultural heritage.

Photographer: Meri Kytö (2005)
 

16.6. klo 17.30-18.30 Theatre Space
Anders Hultqvist: A shrinking emptiness – meaning, chaos and entropy

The event presents and discusses two pieces: Entropic Pleasures by Anders Hultqvist and Spår av glömska (Traces of Oblivion) by Ole Lutzow-Holm. The lecture/concert is presented within a sound installation that contains an archive of the two compositions respectively.

 

17.6. at 9.30 a.m., Theatre Space
Marina Cyrino: “…ar que vibra, corpos que pulsam” – Vibrating air, pulsating bodies: transformations of flute practices in a multimodal collaborative context

In order to investigate transformations of the flute–flutist dynamic relation, Marina Cyrino explores and creates musical practices and performances that combine music with other art forms. Collaboration is the central method of investigating how the flute–flutist is contaminated by humans and non-humans – objects, spaces, processes, devices, beings – that act and bring different agencies that produce visible transformations in the familiar body-at-play, allowing the exploration of the flute playing in transformative ways.
 

17.6. at 10.30 a.m., Theatre Space
Elisabeth Belgrano & Björn Ross: GLORIES to NOTHINGNESS/Le Glorie del Niente/Lovtal till Intet

A performance-installation-act exploring intimate vocal encounters with All-and-Nothing. Three words/concepts/ideas set the stage for this performance act: UTOPIA-ACCESS-EXCLUSION. These words are diffracted through a vocal performance of musical fragments from operas and cantatas by Claudio Monteverdi (1567–1643), Francesco Sacrati (1605–1650) and Luigi Rossi (c. 1597–1653).

The performance act is a 380th anniversary celebration of the first public music drama event in Venice in 1637. It is also a UTOPIAN experience aiming to re-turn history to presence/future by following the gestures of the mid-17th-century society Accademia degli Incogniti that orchestrated a number of music drama events. This performance is an act in honour of a 17th-century open, yet secret, discourse on NOTHINGNESS made public in printed texts and staged OPEN ACCESS through a new ground-breaking, contemporary, trans-disciplinary art form: OPERA.

17.6. at 11.30 a.m., Theatre Space
Doctors of Folk Music at the Sibelius Academy – Historically Inspired Music Making (HIM) Meets Artistic Research

The performing musician as composer – ancient and contemporary investigations into sonic creativity: presentations by Pauliina Syrjälä, Krishna Nagaraja, Laura Sippola and Sirkka Kosonen. With teachers Sinikka Kontio and Kristiina Ilmonen

This round table session shares, demonstrates, investigates and discusses various access routes to the music making processes of the performing musician. The members of the group each conduct their own artistic research project involving composing, improvising, sound art and songwriting. In contemporary Finnish folk music, the age-old practice of making one´s own music has remained active, blending historically informed performance practice with contemporary visions. During the event, the group will also arrange interventions of open access music making in Venice and in the surroundings of the Research Pavilion.

17.6. at 2.30 p.m., Seminar Room
Miika Hyytiäinen: The Voice Map – compose for the person, not for a soprano!

The Voice Map is a tool that supports communication between a singer and a composer. The creator of the Voice Map method, composer Miika Hyytiäinen, demonstrates it with the analysis of the singer N.N’s voice and composes for her live on spot. Hyytiäinen has used the analysis method in his opera, Voice Box. We will see some of the most striking and funniest clips of this experimental music theatre piece.

17.6. at 3.30 p.m., Theatre Space
Mieko Kanno, keynote presentation "Quiet is beautiful: the aesthetics of softness today"

This presentation explores soft sound and soft playing in the practice of music-making today, with reference to 20th and 21st century music in particular. Softness offers a particular poetics and politics of listening. What kinds of softness do we have, and how is it articulated and communicated? Who is ‘producing’ it? Is our sensibility for softness changing?
 
There are at least two strands of historical development that have led to the present practice of softness in music. The first is creative in an imaginative sense: in the 1970s and '80s a number of composers (such as Feldman, Nono and Sciarrino) proposed new aesthetics of soft sound, against the prevalent opulent style of sound projection developed in the nineteenth and early twentieth centuries. The second strand is also creative but in a more practical sense: the last couple of decades saw musical communities develop the use of electronic amplification and digital sound processing (DSP). The impact of this development is less visible but more pervasive in our experience. Two examples will be presented in performance in order to articulate these kinds of softness. The aesthetics of softness puts the listener at the heart of perception. This presentation will conclude with thoughts on communication in music.
 

17.6. at 5 p.m., Theatre Space
Buono/Gemert/Karttunen/Muurinen: Et in Arcadia ego – an auditory meditation garden

How does an intrinsic utopia perform? Do we have an access to Arcadia? Et in Arcadia ego derives its inspiration from 17th-century European meditation gardens. The organic sound material recorded in advance is related to wooden instruments like organ pipes, psalteries and harpsichords, including also concrete sounds of wood, cones, stalks and sticks. These sounds and the repertory of the concert – d’Anglebert, Charpentier, Landi, Lynch – work as a basis for the improvisations sung by mezzo soprano Sofia Buono, played by harpsichordist Assi Karttunen and danced by Yoldia van Gemert. The sounds are projected into the concert venue by sound engineer Timo Muurinen.

 

NARP WEEK (week 25)
 

19.-25.6.2017 reSite

"reSite" is the contribution of the Norwegian Artistic Research Programme by 6 artists and research fellows, curated by Serge von Arx and Ellen Røed. Its endeavor is to create an open space across the city, consisting of various distinct locations where specific artistic research practices engage with the Venice Biennale. The respective projects inquire and question relationships between art and power as primordial agents in Venice. By subverting the notion of the biennale as an exposition, and rather enhancing it as a context of and site for research, the artists and researchers aim to raise awareness of local and temporal environments where art and finance meet and collide.

Photo by Serge von Arx, 2010


27.-28.6. CHOREOGRAPHIC

A two-day research event consisting of talks, discussions, workshops and performances / Valand Academy in collaboration with GradCAM, Dublin and the Department of Art, Goldsmiths

CHOREOGRAPHIC aims to test, interrogate and animate the valence of choreographic registers for artistic and cultural work within contemporary socialities. If we understand the choreographic beyond its normative association with dance as a set of language possibilities, procedural matrices and production protocols, how are its competencies to be understood in a post-skill environment?

The emergence of dramaturgy as a professional category within institutional curating attests to a new interest in the choreographic as work, as much as the interest in and circulation of dance and related forms under the conditions of museum displays and collection protocols. The largely consensual inscription of the choreographic into the broader milieu of artistic labour and commodities is one key perspective for this proposal; debates around practice- based research formats within HE institutions and their material and discursive supports are another. Against these backdrops, the choreographic aims to test the extent to which languages of the choreographic (discursive as well as performed) afford us the possibility to re-visit habituated languages of curating, artistic production and display.
 

29.6.2017 9am-12pm "Seeing with" workshop in the courtyard

Jana Unmüßig’s workshop invites distance as a productive agent for encounter. It is a practice of kindness, not intruding into the place of a thing, person, wind. In the workshop, we do seeing with things from everyday life while focusing on the experience of time and practicing remaining with a somatic body that we tune into through somatic bodywork at the beginning of the workshop. No previous body training required. Different references (e.g. Byung-Chul Han, Susan Rethorst) will be shared.

Photo: Jana Unmüßig
 

29.6.2017 12pm-6pm ADiE seminar "Embodied Practice and Artistic Research: Debating European Artistic Doctorates in Dance and Performance"

Discussions and exhibition of work in the Theatre Space

This seminar will explore the impact current European artistic doctoral education has on embodied movement practice. In so doing, the aim is to especially highlight the inclusive and exclusive tendencies such education has in light of degree requirements, the relationship between practice and theory, supervision as well as dissemination.

Artistic Doctorates in Europe (ADiE) is an EU funded project that convenes representatives from the Middlesex University, University of Chichester, Stockholm University of the Arts, University of the Arts Helsinki as well as the creative industry partners Dance4 (Nottingham), Kiasma Theatre (Helsinki), Zodiak Centre for New Dance (Helsinki) and Weld (Stockholm) to discuss and substantiate approaches to doctoral training in dance and performance and to enhance the interlinks between graduated doctoral artists-researchers and the creative industries. 
 

30.6.2017 10am-1pm "Becoming disabled": a performative workshop and installation, part I - Liisa Jaakonaho & Kristina Junttila 

Workshop around the theme of disability and access, seeing disability as a category that can be explored creatively, rather than as a biological ‘fact’. We offer an opportunity for participants to reflect on one’s own (potential) disability through simple and accessible exercises that leave traces to the space. We want to explore how disability might suggest different affective and relational experiences in relation to oneself, others and the environment.
 

30.6.2017 2pm-6pm #CHARP

Performative Exposition in Theatre Space by Simo Kellokumpu

2nd artistic part of Simo Kellokumpu's doctoral artistic research project: Atmospheric Choreography: Choreography as a reading practice towards contemporary movement ecology.

#CHARP forms with planetary and intergalactic movements. Imaginary scales and relations are produced. How to embody movements that create conditions for the choreographic to emerge? What happens to the movement when it is mediated to choreography?

The exposition shares the specific choreographic body-practice that is developed through the artistic processes and works done in the research process. Kellokumpu calls this practice ‘Choreography as a reading practice’

Working group: Outi Condit, Simo Kellokumpu, Paula Kramer and Vincent Roumagnac

July

1.7.2017 10am-1pm "Becoming Disabled" a performative workshop and installation part II, Seminary Space - Liisa Jaakonaho & Kristina Junttila 

Workshop around the theme of disability and access, seeing disability as a category that can be explored creatively, rather than as a biological ‘fact’. We offer an opportunity for participants to reflect on one’s own (potential) disability through simple and accessible exercises that leave traces to the space. We want to explore how disability might suggest different affective and relational experiences in relation to oneself, others and the environment.
 

PALAVER by Florian Dombois

Every Saturday the Galleria del Vento houses a reflective workshop in its Palaver-area (an architecture that allows for discourse and art) following different questions:
 

15.7.2017 Gold from Gust

How did, and how will, Venice benefit from the wind?

Venice obviously owes a large part of its treasures to the wind, ever since sailing boats brought trade to the city from all over the world. What are the physical vestiges of that rich and golden history? What did the wind do? What is it doing today? Which role will it play in Venice’s future?
 

22.7.2017 In the Agora of Art

How to share, how to challenge artistic practice and production?

One very basic description of scientific research defines it as “sharable” and “challengeable.” How can these two claims be translated into the art world? Which forms of sharing exist between artists, and which ones need to be developed? How do artists challenge each other’s work, and which new modes of debate need to be developed?
 

29.7.2017 Friendship between Artists and Scientists

How might artists collaborate with researchers from the natural and human sciences ?

All scientists seeking transdisciplinarity seem to have a problem. Whether this problem arises within or outside the sciences is intensely debated. But isn’t thinking in problems itself problematic? How can people who don’t share a problem work together? And how might people who don’t even share thinking in problems work together?

 
August

4.8.2017 Henrik Frisk & Stefan Östersjö: Repetition Repeats all other Repetitions: access perspectives on artistic research in music

This presentation has the format of a day-long laboratory looking into open form composition and interactive performance with electronics. Resulting from an extensive artistic research process between 2006 and 2016, the composition Repetition Repeats All Other Repetitions constitutes the point of departure for demonstrations of materials and discussions from aesthetic, scientific and political perspectives.

Photo: Gothenburg Biennale
 

5.8.2017 Not-yet Art. And for Good Reason?!

How does something become art?

Knowledge production is a much discussed issue. But does the research done at art universities perhaps not “produce” any “knowledge”? Well, why should it? Do artists actually need knowledge? What do artists need to make “something” into art? Perhaps research departments should “produce” this “something”? Something that isn’t yet art, but almost?
 

12.8.2017 Academia As a Resource

How can art universities support artists and the arts in general?

Isn’t the purpose of research to advance a given discipline? Thus, shouldn’t mathematical research advance mathematics? And shouldn’t artistic research advance the arts? How do art universities interact with freelance artists, who form the market and try to survive in it? What do art universities do to develop the art world besides producing new competitors?
 

12.-14.8.2017 “… to say ‚I prefer not to (and continue working)“

A Work Oriented Staging of Open Access and Collaboration in Artistic Research by SARN – The Swiss Artistic Research Network

In a theatrical space in Venice, SARN invites colleagues and the public during three days to work on stage and discuss and investigate the notions and practices of work and collaboration in the field of artistic research. SARN wishes to reflect work in terms of theatrical or theoretical staging and sharing. The assumption is that theory understood not as knowledge but as touching defines the modes of collaboration in artistic research. The work in Venice will function as a model for a restaging at the SARN Conference in Zurich from 8 to 9 December 2017.

Photo: Magali Dougados, Sarn symposium "Parenthesis", Geneva, 2014. Performance : "Knotting Time beyond Measure", by Amélie Brisson-Darveau, Christoph Brunner, Nicole De Brabandere, Verena Ziegler.

 

SCENE/SCREEN WEEK (week 33-34)
 

18.-27.8.2017 NIGHT PIECES: 3 x SPATIAL ACCESS TO 'THE VENICE'

NIGHT PIECES: 3 x SPATIAL ACCESS TO 'THE VENICE' consists of spatial interventions, their documentations and an installation by 3 artist-researchers. NIGHT PIECES explores "accessibility" into 'the psyche of Venice' via spatial citation, rhythm and double-exposure.

Photo: Elina Lifländer 2017
 

18.-27.8.2017 Out 2

Out 2 is a collective film installation and related explorative events, inspired by Jacques Rivette’s enigmatic 13-hour film Out 1: Noli Me Tangere (1971). Out 2 investigates "accessibility" to contemporaneity via historical moments. It intertwines documentary and fabricated fragments, also produced in the event, into a sculptural moving image composition.

Photographs by Harri Laakso and Maiju Loukola (2016)

September

8.-10.9.2017 HAUNTOPIA / WHAT IF
EARN Conference

Haunting has been employed to create a language for the ways in which an unfinished past (Avery Gordon) makes itself known in the here and now. Violent histories or stories make themselves known and cause disruptions, wronging the wrong (Eve Tuck). In the course of this exhibition and conference, we explore the potential of not just welcoming but conjuring the specters and make the unresolved social violence of the past demand their due. As our artistic practices invite ghosts to dance, we trace possible futures in the here and now.

The conference is organized by the Academy of Fine Arts Vienna as the annual event by the European Artistic Research Network (EARN).

Conference with lectures, artists' presentations and performance.
Including: the specters of Octavia Butler and José Munoz
Keynote lectures by Avery Gordon (UC Santa Barbara) and Eve Tuck (University of Toronto), and researchers from the EARN network


12.-17.9.2017 Artistic Agency / Agency of Art

Discursive dinners based on Master's students' projects performed partly in Venice and related to the theme Artistic Agency / Agency of Art and workshops Say It Loud! and Utopia around next best corner?, as well as invited guests on the theme Access and Utopia.

Organised by Academy of Fine Arts of Uniarts Helsinki.
 

19.9.2017 Imaginary Access: Exhibition-Making as Public Inquiry

In a moment of political turmoil and geopolitical re-alignment - marked by the rise of various populisms and fascisms - this workshop asks how the claims for exhibition-making as a form of public sphere work now stand. Bringing together perspectives from exhibition-making, exhibition-histories, and curating-as-inquiry, this workshop will explore the changing political imaginaries and 'public-ness' of exhibition and of curating's changing "globalisms".
 

23.9. Post-Colonial Artist-Organisation in African Regions?

Post-independence art institutions in many African countries demonstrate a move from Eurocentric-colonial to decolonial models. What are the organizational strategies originated by artists in post-colonial Africa? Given art’s ambivalent globalization and the wish to institute ‘alternative’ models (self-organisation) outside market-determined and state-sanctioned models, what can we learn from self-organised African contexts? (A Stretched Seminar)

Photo credit: Launch of Artist-Run Europe: Practice/Projects/Spaces, edited by Gavin Murphy & Mark Cullen at the Stretched Seminar "Action: Co-Organise!" 3 October 2016, Skogan, Gothenburg. Kjell Caminha, 2016.
 

30.9.-1.10.2017 The Digital Aesthetic in Utopia of Access

The Graduate School of Creative Arts and Media at the Dublin Institute of Technology will present a 2-day program of seminars, panel discussions, interventions and performances in line with the overall thematic of The Utopia of Access. The focus of the program will be twofold: firstly, to revisit questions of digital aesthetics in the wake of the development of computational analytics and cognitive computing, and secondly, to raise questions of new political economy through the development of new forms of economy, namely, the contributive economy.

Image: Jeanette Doyle 2017

October

4.-6.10.2017 Research Intensive: Contemporary Research - Open Access

Organised by The Contemporary Condition, Aarhus University; Exhibition Research Lab, Liverpool JM University and Liverpool Biennial; Art Research Collective, Plymouth University.

The workshop addresses the overall notion of “contemporary research”, drawing together discussions that operate in the domains of contemporary art and digital culture. We place our focus on the way in which temporal qualities can be made known in the context of academic research – as artistic modes of argumentation that unfold in time, through practice, and particularly through practice that involves the active role of machines and computation. The workshop also highlights the “open access” nature of contemporary research. The workshop disseminates its findings through the academic register of an online open access journal APRJA as well as newspaper format with short accessible articles for a general readership.

An open call for the participation for international researchers will be announced online soon.

Photo: Launch of excessive research newspaper at transmediale, 2016. Image: transmediale.


11.-12.10.2017 Access to Utopia

A public program for a space that does not exist, yet
by students of Praxis (The University of the Arts Helsinki) and CuMMA (Aalto Arts) 

Whose utopia is it anyway? And how to occupy it? The discursive programme takes the research pavilion in Venice as a starting point to think about access and utopia from a perspective of prefiguration. The programme is based on performative, sound and material investigations and critical inquiries, which will seek to inhabit spaces that should not exist and insist in materialising impossible hopes.

A constellation of materials gathers readings and documents that situate the reflection within different histories and strategies of activist knowledge production and artistic research. A three day + two nights programme starts with a collective sound improvisation, is followed by a day dedicated to critical reflections, listening to afterlifes and imaginations of possible radical futures. The third day consists of four workshops that propose to exercise different entry points to utopias in four different strands: rituals, media, affects and conflicts.

The programme is conceptualised and organised collaboratively by students of Praxis and CuMMA – the two curatorial study contexts existing in Helsinki advised by Anna-Kaisa Rastenberger, Nora Sternfeld and Marko Karo.