Kaapelitehdas Cable Factory Helsinki, meeting rooms Kela and Watti, basement, staircase D.
Tuesday 10.12. First Seminar Day
(hosted by the TAhTO doctoral student Elina Lifländer)
10.00-12.00 Presentation by the guest lecturer Kathleen Irwin, University of Regina, Canada: "The New Artistic Agency: how it got here and what it means in my current practice"
12.00–13.00 Lunch break
13.00–14.00 Association workshop by Elina Lifländer: "Between the different art fields"
14.00–14.45 Discussion with Annette Arlander andKathleen Irwin on the shared workshop (as background material, check the following text, Arlander, A. 2011.“Characteristics of Visual and Performing Arts” in Michael Biggs & Henrik Karlsson (eds.) The Routledge Companion to Research in the Arts, Routledge 2011, 315-332.)
15.15–16.00 Presentation by the TAhTO doctoral studentSirkka Kosonen
16.00–16.30 Discussion, questions and answers, end of the first day
Evening program: 19.00 Solo Concert by the Danish artistNielsen http://nielsen.re at studio La-Bás at the Cable Factory Staircase C
Wednesday 11.12. Second Seminar Day
(hosted by the TAhTO doctoral student Dirk Hoyer)
10.00-12.30 The Danish artist Nielsen interviewed by the TAhTO doctoral student Tero Nauha, discussion
12.30–13.30 Lunch break
13.30–16.00 Presentations by the Swedish guest doctoral students, including time for discussion :
13.30-14.10 Bruno Faria, Malmö Academy of Music, Lund University, Sweden
14.10-14.50 Nils Claesson, Stockholm Academy of Dramatic Arts, Sweden
15.20-16.00 Lisa Tan, University of Gothenburg, Valand Academy, Sweden
16.00–16.30 Final discussion, questions and answers, end of the TAhTO open seminar
Information about the guests:
Kathleen Irwin (Doctor of Arts, Aalto University): Head of Theatre Department / Professor of Scenography, Faculty of Fine Arts,University of Regina; Canadian Education Commissioner for the International Organization of Scenographers, Theatre Architects &Technicians; board member of the Canadian Association for Theatre Research and Scholarly Awards Co-ordinator ; ex-board member for the National Theatre School English Alumni Association; and ex-board member Associated Designers of Canada.
Space, identity, representation and performativity form the threads of Irwin´s creative practice, theoretical research and teaching. She is Artistic Director of Knowhere Productions, a site-specificperformance company that explores the relationship of local populations to particular places. She has also co-created a series of pedagogical web-based projects linking students around the world in a discussion of identity and location. As former Co-artistic director of ArtsAction Inc., an arts research entity, Irwinhas investigated the arts as driver / indicator of urban renewal. She publishes widely on these subjects in, among others, Canadian Theatre Research, Theatre Research in Canada, Critical Perspectives on Canadian Theatre and has contributed chapters to Performance Design (Museum Tuscalanum, Copenhagen) and Art in Public Places: Critical Perspectives (University of Toronto).Sighting, Citing, Siting(co-editor, University of Press) was nominated in two categories for the Saskatchewan Book Awards/ 2009.
She has taught at SAAR Summer Academy for Advanced Research in Helsinki.
Annette Arlander http://www.harakka.fi/arlander
Bruno Faria, Malmö Academy of Music, Lund University, Sweden
From the perspective of an instrumentalist (performer and instrument teacher), my research project reflects on how the transformations in musical thinking and writing of the 20thand 21stcenturies affect the musician’s experience, and investigates a possible way to access such transformed musical horizon through the practice of the sign language Soundpainting, created by Walter Thompson in the mid 1970s. The hermeneutical context set in motion bynew shapes of musical gestures, new musical symbols, and new forms to explore aspects of indeterminacy in music writing, at various levels, pose to the musician peculiar challenges and new paradigms. The research focuses on this hermeneutical horizon and examines issues related to language, musical gesture, musical expression, and creativity.
Nils Claesson, Stockholm Academy of Dramatic Arts, Sweden
The production of movies is, apart from being the result of the logistic and collaborative efforts of the many people involved, also the result of persisting patterns of thought: history, protocol, tradition. At the centre of this often non-verbal process is the storyboard, often getting more and more messy but understood and used by all artists involved. My research project into these processes departs from the making of an animated movie based on my own memory of Ingmar Bergman’s performance of Strindberg’s Ghost Sonata. During the process I will investigate my own memories, explore Bergman’s choices in a later performance of the same play as well amongst other aspects as the notion of time and pace in animated movies, use the Japanese concept ”kawaii”, and a series of paintings thematically or historically related to Strindberg’s play. Through the detailed making/analysis of the artistic choices in one particular movie I aim to say something about the narrative and aestethic structures, and their relationship to conditions for production and communication, in moviemaking in general.
Lisa Tan, University of Gothenburg, Valand Academy, Sweden
My PhD is taking the form of a trilogy of videos. I've been largely preoccupied with concepts set forth in the literary theory of Maurice Blanchot, and his writing on the space of death. Via the work of Rainer Maria Rilke, he explains that to know our own death is impossible, but that's when we see things as they are, when we don't look at everything in relation to ourselves and are given coveted access to the world—the type of access that animals and things have—but that we don't. The endeavor then is to approximate this experience, yet the solution doesn’t lie in becoming unconscious, rather more conscious—and in search of "higher or more demanding meanings—closer too, perhaps, to their source." (The Space of Literature).
What then, are the experiences that can edge one closer to the limits of subjectivity? How can one reach a state of dispossession, where Blanchot senses that "things are transformed into that which cannot be grasped? Out of use, beyond wear, they are not in our possession but are in the movement of dispossession which releases us both from them and from ourselves"? Seduced by these paradoxical concepts, my research casts attention towards embodied experiences that are transitional and uncertain in nature—that disconcertingly but generatively reside at the liminal transitions between states of consciousness and strata of history. The video works are subtly aided by literary figures such as Clarice Lispector and Susan Sontag, whose respective enigmatic presence gives way to discussions on morality, affect, states of becoming, and creative labor.
Student day for the TAhTO doctoral students (whole day) and the TAhTO board (morning session and lunch)
at the Icebreaker TARMO, Katajanokka, Helsinki
10.00–12.00 Planning session board and the students
13.00 onwards: the student meeting continues