Vincent Roumagnac explores different medium from and within the broad notion of stage, from performance and installations to video experiments. His art practice is based on time-specific explorations of the scenic mutations that emerge from the strategy of permutation between the backstage and the stage agencies at the time of a shift of representational paradigm demanded by the current climatic crisis.
Music, and the arts in general, has always been a source of inspiration in times of crisis; it establishes rapport between peoples and cultures and serves as a laboratory for the creation and expression of cultural values.
Dissolving Borders invited proposals that will investigate and problematize how musicians create political spaces that transcend demarcated space and culture, on scales both global and local, macro and micro. We seek work that engages with the complex realities of inter-cultural contact, including issues of migration, communication, integration, acceptance, and symbiosis. As the world experiences radical displacement during an era of unprecedented enforcement of borders, we seek earnest engagements with the vibrant history of music’s entanglement with these issues. Looking to past musics, musicians, and scholarship, we encourage imaginations of music’s current and future role as a cultural and political agent.
The ten-day course has two components: the artistic research project of the participants, as it relates to any of the nine historical pianos that we can make available, and a collective Concours révolutionnaire around the 1803 Erard piano.
The Orpheus Institute proudly introduces the first Orpheus Research Summit: advanced professional development for artistic researchers in music, a brand new event for established artist-researchers. From 26 - 30 November 2018 at the Orpheus Institute, Ghent (Belgium). If you want to immerse yourself in an intensive week of artistic research and fully recharge, then don’t hesitate: apply before 7 April 2018 and secure your place! The number of participants will be restricted to 15.
In her work Cathy Van Eck looks for possibilities to compose relationships between sound, gesture and object. During the presentation, she will discuss her recent compositions and sound installations and how research and artistic output is combined in these. These include a research project with ethnographers on headphones, an interactive installation using wind, and performances exploring forms of demonstration. In all these works microphones, loudspeakers and several kinds of sensors play an important role. How these technologies interact with her aesthetic ideas will be an important focus during the talk.
Networks are everywhere these days. In effect, the new information technologies are interconnecting all aspects of our world, enabling unseen levels of social, political and economic interdependencies that characterise our times. The notion of Networks has become an extremely powerful metaphor, serving as a cornerstone for understanding this new complex, interconnected world.
Networks have transformed the creation, production and dissemination of art such as to change its very nature as a cultural artefact or human activity. Such a powerful trope allows for a wider range of interpretations and development. Moreover, it can serve as the ideal bridge between conceptual considerations from the technological and scientific domains, and creative/compositional enquiries from the artistic field.
This seminar provides a forum for exploring these ideas and approaches, their commonalities and representations and for considering the wider creative and explanatory potential of networks.
Baroque and classical pieces are performed with electric guitars, laptops, and video projectors. They are exploded into digital images and enacted by the breathtaking contemporary dancer Marlene Monteiro Freitas. Robert Schumann’s famous piano fantasies Kreisleriana, are played in dialogue with texts by Roland Barthes and Friedrich Nietzsche, submersed in a three-screen video projection and live-electronics.
The philosophy of Gilles Deleuze and its resonating discourses have become increasingly relevant to the field of Artistic Research, and Deleuze is now a key reference for many artist-researchers engaging with knowledge across artistic, academic and non-academic fields of practice. DARE 2015: The Dark Precursor was the first conference attempting to trace the encounter between artistic research and Deleuze’s world. The Second International Conference on Deleuze and Artistic Research, DARE 2017: Aberrant Nuptials, continues that mapping, readdressing the question ‘How can communication occur between heterogeneous systems?’ through the associated concepts of ‘aberrant nuptials’ and ‘zone of indeterminacy’.