First session of the Artistic Research Seminar with Anouk Hoogendoorn (MA) Amsterdam University and Marcelo de Melo (PhD) University of Brighton | ARRG works in collaboration with ARIAS (Amsterdam Research Institute for Arts and Sciences in order to bring together all education institutes involved in further developing and supporting artistic researchers projects and degrees. | The meetings take place on Friday afternoons from 14:00 to 16:30 at VOX-POP Creative Space of the Humanities in the city centre of Amsterdam. If you would like to attend our sessions, please contact the student assistant Emilija Angelovska - firstname.lastname@example.org; and the coordinator of the Research Group Dr Paula Albuquerque: P.Albuquerque@uva.nl.
|Date||11 October 2019|
During this meeting, Anouk Hoogendoorn, who is interested in associations and fabulates with what they propose, will start, and she will be followed by Marcelo de Melo, who concerns himself with the mosaical framework in sculptural and installation art. Below are their biographies.
Anouk Hoogendoorn's practice is both theoretical/textual and visual, rather a lure to think-feel than a fixed presentation. She plays with her associations and fabulates with what they propose. Her texts, photos, sketches, video- and audioworks are moments of these processes, which are not always understandable, but hearable; not personal, but intimate; and - being active in the emergent collectivity of Senselab – not lonely but together even when alone.
During a sweaty hot summer the ‘o’ key on Anouk Hoogendoorn's keyboard stopped working and simultaneously started adding o’s to all the other keys on the same row left of it. Suddenly in everything written there were jumping o’s; disappearing when typed, appearing when not.
The practice of writing and reading attuned to the o’s, relaying the o’s that were already jumping. Sometimes careful and subtle, skipping the wrapping of a word. Sometimes unexpected and sudden, spiralling back into the summer’s wetness. When the melting stopped and the freezing started, when all the summer writing had dried up, the wet reading traces were found again. The summer-o’s created an appetite to start sewing with the future-past traces of summer’s jumping o’s. In their producing of shifts, each o tastes, drops, stutters, colours, surges, emerges like never before or never again. The o in its tending-towards makes felt the world alive with potential in its not-yet but already-almost-almost-almost-not-yet, fabulating words and worlds to come.
The fabulatory is necessary for survival in a world where relationality and non-linear temporality are constantly backgrounded. It means to always carry the more-than in what is done, to not close it, to be part of another kind of conversation. To carry the more does not mean there do not still need to be ways of crafting conditions so things can land, have the chance to emerge, can be thought-felt in all possible ways. To start with being certain that writing and making art do not stand or fall with individual senses. Instead, with being certain that words, smells, sounds, colours, tastes already produce variations in the world. By trusting the world to produce variations, it allows a way to feel the shifts of variation. Then language does not become a mediator of those shifts, but instead a practice, a way of doing, an active participator in the encounter of word with world.
Marcelo de Melo (1972) is a Brazilian artist and researcher based in Amsterdam. He has recently completed a PhD in Art Practice developed at the University for the Creative Arts and awarded by the University of Brighton, England. His interest in material and visual culture is eclectic, ranging from classical archaeology to contemporary art and digital aesthetics. He has published and exhibited in several countries. Awards in France (2016), Turkey (2013) and USA (2003). Collections: Museu Nogueira da Silva, Braga, Portugal; Maison de la Mosaïque Contemporaine, Paray-le-Monial, France; Museu Guido Viaro, Curitiba and Galeria de Arte UFF, Niterói, Brazil; Museo de la Cerámica Contemporánea, Dominican Republic; and ESP-Ravennarte, Italy.