Mireia

c. Saladrigues

Mireia c. Saladrigues
2019-2021 Updated Research Plan_

 

Behaving Unconventionally in Gallery Settings.
Alteration in Cultural Practices for Rearticulating Relations among Makers, Objects, Audiences, and (Virtual) Museums.

 

Foreword_

Here you’ll find a summary of my research plan and further information about my inquiry like progress’ reports and detailed information of the ongoing artistic outputs. Furthermore, recent artistic projects and exhibitions can also be seen at the main page of this website.

Unconventionally Behaving in Gallery Settings is being carried out within the Doctoral Programme at the Fine Arts Academy, University of the Arts Helsinki. Jan Kaila, the main supervisor (period: 2013-2021), Julie Harboe, as side-supervisor (period: 2018-2021) sharpen the focus of the inquiry.

Hito Steyerl, as a former co-supervisor (period: 2013-2018) and professors Mika Elo and Michael Schwab (Academy of Fine Arts), Leena Rouhiainen and Esa Kirkkopelto (Theatre Academy) contribute with insights and critical support. Relevant feedback is also given by external specialists Alicia Vela (University of Barcelona), Natàlia Cantó (Open University of Catalonia), Oriol Fontdevila (Central Saint Martins), Jorge Luis Marzo (BAU), and Sonia Fernández Pan (independent curator and art critic).

 

Summary_

“Culture, once embodied, produces challenges to itself”
Carrie Noland (2009)

Through a combination of speculative, archival, deconstructive, dialectical, topological, sym-poietic, and digital practices, the ongoing research launches both studio and in situ implementations for documenting and fostering situations of agency that could renew the paradigms of engagement to/within art practices. It experiments with instigating occasions for misrepresented (human and non-human) behaviours that, within the conceptual (virtual and non-virtual) architecture of display, could be considered non-conventional and traditionally unacceptable.

The inquiry approaches cultural alteration as a consequent and simultaneous stage to social conditioning, and reacts on the reduction of the imaginative capital by proposing an artistic and theoretical re-reading of alteration and unconventionality as fertile “tools” of response-ability.

The different thematic axes of the research –(de)formation of the spectator; production of the (dis)interested gaze; (dis)embodiment of institution; (es)titution; and (V)SF spaces– focus on the disciplinary structures that have founded our familiar relationships with art, in order to inquiry practically, discursively, and interpersonally into how (cultural) subjects produce a fruitful tension in the very culture whose inscriptions they bear. Thus, the (virtual and non-virtual) roles of spectators, art workers, artworks and spaces cannot be totally fixed by institutions and social environments, however institutions and environments are crucial to the portrayal of the evolution of culture.

The papers and artistic outputs resulting from collaborations with professionals, amateurs and individuals with marginal and non-marginal relations to art, act as mediations within formal and informal art institutions. This aim is to activate topological situations where pre-fixed positions are blurred and radical gestures, subaltern stories and non-conventional attitudes, misbehaving (digital) spaces, disobedient artworks, and (virtual) materials unfold.

 

Central Questions_

  • Which kind of artistic (making-with and site-specific) methodologies do I need to implement to gently inquire about situations of agency within the paradigms of engagement to art?
  • How to address which kind/s of (digital and analogue) relations are potentially in tension with the meanings and functions traditionally assigned to spectators, art workers, objects and spaces?
  • How can the existing roles of spectatorship and instruction (within gallery settings) be mobilised to bring about unexpected, unconventional and propositional relationships with art?
  • Can specific artistic mise-en-scène interventions be envisioned and developed to trigger (and not to fix) the regulated distant gaze of the spectator?
  • How can alteration and unconventionality in behaviour be mobilised so to reflect and (sym-poietically) challenge the traditional configurations among makers, objects, audiences, and museums?
  • How to escape “representation” so not to neutralize the potentialities that interpellation hosts when it comes to renovating cultural paradigms?
  • How to generate thinking in artistic research that would challenge both the occidental individualistic systems of theorization and blur the borders between practice and knowledge production?
  • How can criticality –as a critical reading– be overtaken in order to establish generative situations that would enable (human and non-human) misbehaving?
  • Could the hybrid spaces that merge the real and the virtual facilitate future SF spaces for encountering and experiencing art?

 

Position, Contribution, and Literature_

This practice-based and interdisciplinary inquiry follows in the footsteps of a genealogy of works committed to institutional critique. It explores and expands on this tradition by investigating ways in which culture is both embodied and challenged.

Supporting Carrie Noland’s argument against the constructivist metaphor of bodily inscription –dominant in critical theory since Michel Foucault–, this artistic research also maintains that inscription encourages alteration of cultural practice. But while Noland affirms that variations in cultural practice mainly happen (and can only be explained) via a kinaesthetic experience, my artistic outputs and papers propose that modification and rejection of cultural conventions (and therefore regulated behaviour in artistic engagement) themselves occur within social conditioning and formation processes, as an account of agency.

To ensure differences in the engagement with art harden into collective representations, the research attempts to implement sets of mediation with(in) formal and informal (digital) gallery settings. The intention is to propose a pluralistic realm while activating situations where actual and virtual pre-fixed positions are blurred and radical gestures, subaltern stories and non-conventional approaches are highlighted or simply allowed to occur among makers, objects, audiences and museums.

Moreover, the inquiry aims to challenge institutional critique while testing what and how the gallery settings of/for a misconventional behaviour would be. The aim is to explore what kind of topological and generative situations could be addressed concerning space, time, display, and relations in order to instigate alteration and strangeness; in human and non-human terms along with virtual and non-virtual scopes.

The research doesn’t intend to produce a radical break with the artistic theory and practice, but it does seek to generate a deeper reading within institutional critique and a sort of transitional and transdisciplinary move. To consider art within a relational context, accurately recognising the plurality in the engagement with it, and identifying its entire range of responses, has meant the introduction of other-than-human temporal and material scales. Such scales include not only the techno/artificial environments but the own materialities and agencies of the artworks and their spaces of exhibition.

Merging disciplines as diverse as visual arts and visual studies, performance and movement theory, phenomenology, cognitive sciences, art history and theory of response, dialogical and participatory practices, institutional critique and critical theory, museology, and digital studies, I intend to focus on specific areas of the works of Carrie Noland, Michel Foucault, Karen Barad, Pierre Bourdieu, Judith Butler, Jacques Derrida, Carol Duncan, David Freedberg, Dario Gamboni, Marina Garcés, Donna Haraway, Andrew Hewitt, Miwon Kwon, Brian Massumi, Maurice Merleau-Ponty, Jacques Rancière, Georg Simmel, Irit Rogoff, and Stephen Wright. The intention is to create correspondences among them, mapping a very specific path through their thinking. In this research plan, a bibliography is sketching the itinerary.

 

Background and Actual State of the Research _

Before entering the Fine Arts Academy, I approached gallery settings (museums and architectures of display) through my works as a network and chain of agreements, conventions and rituals that shape and affect visitors and personnel in terms of their behaviour, routines and performances. Projects like Welcome. We are on the same time (2012) or Mind Your Manners! (2011) examine the ways bodies are inscribed with behavioural conventions and tacit rules are embodied, while Radically Emancipated (in progress since 2011), Her Museum (2011), and I’ll Find a Place for You (2014) concentrate on how, despite the impact of cultural conditioning, some people come up with surprising new ways of relating to art and/or its institutions. These ways of relating could be understood as marginal or subaltern attitudes within the normative context of the (conceptual) architecture of display.

Through the above-mentioned projects, along with the whole body of work, I fully entered the analysis of art institutions as spaces of social and economic production, with a particular focus on the cultural definition of the roles of the public, and on the surveillance systems used by art centres and museums for indoctrination. Those projects had the initial intention of focusing on documenting inscriptive practices, reiterative processes of the formation of cultural agents, the embodiment of tacit rules, the internalisation of authority, and the perpetuation of cultural regimes. However, as exploration began within these areas, I quickly identified simultaneous cases of alteration of internalised behaviours, attitudes of radical phenomenology embedded in social practices, and forms of resistance to cultural inscription.

I then understood that those unexpected cases were (and are) means for challenging the processes of cultural and behavioural imprinting that make culture evolve. But I have also realised that, despite their relevance, they do not harden into collective representations.

Therefore, the research plan reacts to the gap between non-conventionality and radicalism in the traditional terrains of art and the extreme control and etiquette in the behaviour of the audience. It proposes an artistic and theoretical re-reading of alteration and unconventionality as fertile and propositional “tools” concerning (virtual and real) responses to art and its exhibit conditions.

Behaving Unconventionally in Gallery Settings closely corresponds to the previous and current artistic practice, as the insights derived from the projects have refined a framework to be explored. Thus, Radically Emancipated (in progress since 2011), Iʼll Find a Place for You (2014), A Specific Representation #1 (2014), A Specific Representation #2 (2014) and A Specific Representation #3 (2018) are already part of my research plan. In addition, I have worked on the final output of The Examination of the Gaze (2015-2018), and will finalize during 2019-2020 the web (and second stage) of Virtual Tour (in progress since 2017) as much as proceed with the last data-gathering phase and the production of outputs for Martellata_14.09.91 (in progress since 2017). Such artistic outputs and experimentations will become a part of the doctoral thesis, along with its expositional supplements (or written component) that will inform, reflect critically and re-route the practical processes.

In relation to the rest of the degree requirements, most of the seminar credits have been already covered. The focus is now on the ethics’ course and the symposium, which will take place during the Kuva Research Days 2019. There is a detailed calendar at page 6.

 

Structural Elements and Research Methodology_

The research is carried out as an accumulative and multi-layered artistic practice, configuring a multidimensional strata. The incremental structure builds upon the different manifestations of the artistic projects that are simultaneously shaped in the epistemic framework: on one hand the production of concatenated layers of artistic work and on the other a (post)recontextualization and reflective revisitation of the same concatenated layers through research expositionality.

In parallel, presentations take place within the research department, in art centres and other venues as much as artistic research conferences and journals. The intention is to maintain the continuity of the artistic practice while problematizing and sharing (it) with/in the academic community.

Finally, three peer-reviewed research expositions (or articles) will merge the artistic and epistemic entanglement of the inquiry, digitally stabilised in the Research Catalogue, as different particles of a constellation that will be activated online. A supplementary printed “written part” will summarise and reactivate the documentation of each artistic component; also reflecting on the digital and non-digital dimensions and its different engagements with/of publishing.

The methods of the artistic practice are diverse and mixed. Inquiring is influenced by deconstructive strategies, documentary and archival practices, performance, movement theory, relational aesthetics, collaborative strategies, generative tactics, digital arrangements, repositioning, and speculative fabling.

The different artistic processes operate simultaneously as analytical devices and as artistic outcomes. Reading –as decoding in various registers– takes place at the same time as launching both studio and in situ implementations. They all test, re-define and disseminate along the four different “thematic” axes (and their entanglement):
1/ (De)formation of the spectator_ How to shift from a socially and culturally indoctrinated spectator to an individual subject with an (un)expected and altered behaviour that dialogues with artworks and art institutions, not as a counter-spectator against tacit rules but as a responsible cultural agent.

2/ Production of the (dis)interested gaze_ What happens after triggering the “passive and distant” vision in

spectatorship that has remained operative in the shadows cast by modernity’s expert culture?

3/ (Dis)embodiment of institution_ How are tacit rules subjectively embodied by spectators and art workers;  under which premises are they interpolated, varied, resisted, and disembodied?

4/Es-titution_ What would happen if artworks, art spaces, or even time would be unconventional or misbehave? How would the escaping-institution of unconventional behaviour/s be like if human actants would reposition?

5/(V)SF spaces_ What kind of (virtual or non-virtual) new phenomenologies emerge when encountering artworks using technological means? How to reformulate an (art) spaces while prototyping via science fiction, speculative feminism, and so far?

 

Calendar_

A timeline is attached in the annex while an overview of the whole research is here.

Fundamentally, the period 2019-2021 will comprise 3 big phases that will correspond each other, and occasionally overlap. Besides regular correspondence with my supervisors, I meet them personally or via videoconference on a bimonthly basis.

  1. Finalisation of the outputs of I’ll Find a Place for You, Virtual Tour, Martellata_14.09.91 along with a symposium
  2. Writing of expositions, three peer-reviewed articles, and doctoral summary
  3. Pre-examinations of components and doctoral defence

 

In detail, the completion of the doctoral degree will involve the following tasks, which are here arranged not by chronological order but by each of the different components. For a better understanding of the specificities of the projects, please consult the provided links in each case.

 

Project I’ll Find a place for You (5 months):

  • Reviewing the video recordings of Manferri Live Concert and Chroma recording at Hangar.org
  • Edition of two videos
  • Presentation of the work at Fundació Antoni Tàpies. On the occasion of Loop Video Festival in November 2019
  • Exposition at Research Catalogue in collaboration with researcher Lara Portolés-Argüelles, who already published a relational analysis about the project
  • Pre-Examination of the exhibition and provided documents of the project

 

Virtual Tour project (6 months):

  • Finalising the analysis of all compiled materials (videos, image and personal notes) at the Second Research Pavilion in Venice
  • Conceptual organisation of the documents
  • Upload of the contents in the web
  • Reading of theory for references and dialogue within the field
  • Peer-reviewed exposition in Ruukku: about virtual engagement with art and digital reproduction of exhibitions
  • Edition of one video summarising the project; for presentations and conferences
  • Development of an exhibition of Virtual Tour. With curator Marta Ramos-Yzquierdo for Loop Festival in Barcelona. November 2020
  • Pre-examination of the web and the exhibition
  • Presentations at paper calls and conferences

 

Martellata_14.09.91 project (14 months):

  • Intensive course of Italian for improving the spoken language.
  • Last phase of data gathering. Interviews to Piero Cannata (vandal), Tiziano Sanzi (testimony of the attack), guard at penitentiary psychiatric (where Piero Cannata was confined)
  • Study of all documents and materials gathered during 2018-2019
  • Collaboration with scientists Dr. Anu Kaakinen and researcher Katja Bohm. University of Helsinki, Department of Geosciences. Air Erosion Unit
  • Coordination for the production of all artistic outputs. Agreements with all collaborators, professionals and providers.
  • Work on some artistic parts: two sculptural experimentations, photographic series, and video
  • Writing of the book, as a contribution to the theories of response and art history. Supervision of the text by Míriam Cano (writer and poet) and Michael Lawton (Doctor in Fine Arts, University of Kent. Specialized in fiction writing for artworks)
  • Design, edition and printing with Mousse Publishing
  • Exhibition and book presentations: Villa Romana in Florence, gallery àngels barcelona in Barcelona, (currently conversations for an exhibition in Helsinki)
  • Pre-examination of all exhibition and outputs: two sculptural experimentations, photographic series, video and book
  • Peer-reviewed exposition in JAR
  • Presentations at paper calls and conferences

 

Symposium, December 2019:

It will take during a whole day, in relation to Martellata_14.09.91. The first keynote Dario Gamboni will approach theories of response and vandalism back to the “attack” to the David of Michelangelo. Fernando Dominguez Rubio, as second keynote, will address aspects of preservation of artworks while claiming attention to object-oriented methodology in field analysis. Local speakers in correspondence with the topics of the symposium will be also invited. If possible, I will submit a proposal for a KUVA Publication collecting and developing the discussions at the conference.

 

Written Part (ongoing):

  • Exposition of A Specific Representation in Research Catalogue (in progress)
  • Exposition of I’ll Find a Place for You in Research Catalogue. In collaboration with PhD candidate. Lara Portolés-Argüelles (UOC)
  • Peer-reviewed article of Radically Emancipated in ANIAV
  • Peer-reviewed article of Virtual Tour in Ruukku [mentioned above]
  • Peer-reviewed exposition of 09.91 in JAR [mentioned above]
  • Article of 09.91 in Tadeo Dearte (invited for Autumn 2019)
  • A printed summarising chapter of circa 50 pages

 

Submission and defence (in September 2021):

  • Pre-examination of all peer-reviewed articles after all artistic outputs will had been already examined
  • Pre-examination of the summarising chapter
  • Identification of the thesis and preparation of the summary.
  • Distribution of the publication
  • Press release and publicising of examination
  • Public examination and thesis evaluation

 

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