To conclude 2018, I just want to provide some catching up, as it was a little silent on this blog for a few weeks. This was not because there was nothing to write about, on the contrary.

Bio Orchestra Installation in Arnhem and Wageningen

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Bio Orchestra Installation.

Back in October first results of the Bio Orchestra (see my August 2018 post for more information) were presented to a broader audience: KunstLAB presented a number of its projects, among them the Bio Orchestra installation, at the INNOVATE festival in Arnhem.

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Manipulating the sound.

The installation translates the four different growth phases of the plants (seedling, rosette, flowering, senescence) into musical material. Participants can manipulate the sound in different ways, as a parallel to different kinds of genetic manipulation that happens in the laboratory. Adults and children alike enjoyed stepping into the role of plant scientist Sander van der Krol and experience the manipulation of plants in a musical way.

 

 

 

Articulating Artistic Research seminar in Calgary

In my previous post in October, I already wrote about the Articulating Artistic Research seminar that took place in Calgary, Canada in November. The group of participants, lead and facilitated by Bruce Barton and Natalia Esling, worked for intense two days on forms of artistic research and its articulation. Participants came from all around the world: the UK, US, Canada, Europe, up to the Philippines.

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Seminar leader and facilitator Bruce Barton.

On both days, a keynote in the morning was followed by a series of Pecha Kucha presentation of the participants, and two practical workshops in the afternoon. The workshops were prepared by four groups of participants prior to the seminar (see here for the complete schedule). I was personally most inspired by Lynette Hunter’s keynote, in which she talked about the difference between documenting and articulation of performance and about how documenting can move towards articulation. In her own work Hunter has developed a practice of “performative critical writing”, such as overlay texts or texts that combine academic/critical language with more poetic forms.

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Participants at work during one of the workshops.

There’s more…

There is more to come next year: I will start a larger project on artistic research methodology and ethics in early 2019, next to working on a publication on the musician in society, as a reflection on earlier seminars and recent developments in the institutions I work. The Bio Orchestra project will have a more performative follow-up in late 2019, and there will be more transdisciplinary work coming between artistic practice and health care. A lot to look forward to!

For now, I wish everybody a peaceful Christmas time. With best regards, Falk.

 

During the final months of the past season it has been relatively silent on this site. The main reason for this was a quite intensive time of supervision and reading student research work, which was followed by the final weeks of the season in June and July, in which I devoted more time to my own writing and thinking, combined with preparations for upcoming projects.

But this will change again very soon! Some exciting projects have been in the works, so there will be enough material to write about in the coming months. To start with, the focus of some of my work at HKU and ArtEZ will slightly change:

At ArtEZ IMAE (International Master Artist Educator) I have been assigned the role of “Director of Theory and Writing”. I will continue to develop the strand of text-based work within the program, very closely related to research. Of course I won’t be doing this alone, but collaborate with the beautiful team of lecturers and the core team around John Johnston, who remains one of the most inspiring programme leaders I have met to date.

Parallel to this area of research and writing, I will start with a two-year research at HKU, initiated by lector Nirav Christophe, director of the Centre of Research and Innovation Marjanne Paardekoper and myself. The project will focus on the development of the design of (artistic) research methodology, and the practice of carrying out this design. This work will be carried out on various schools and faculties of HKU and thereby have a strong interdisciplinary focus. It is intended to support the research work of the different professorships (“lectoraten”), as well as the separate schools, teachers and supervisors in their work with students, and the research strands within their programmes.

What actually thrills me most is that these two roles complement each other beautifully: Both are focused on research, with one being related to methodology and the other to writing. Producing text in a variety of ways is an essential part of nearly every research project and methodology, and a research design can implement different forms of writing. This goes for the actual research process, including the more explorative and divergent part, as well as in the convergent and final phases, and during writing up the report. I am very curious how the both projects will add up and will be able to support each other. In both institutions and roles, I will continue to work on the area and practice of ethics, in (artistic) research, practice and education.

 

New artistic collaboration: Bio Orchestra

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Arabidopsis plant (source).

Since early Spring I am working as a composer on a project called “Bio Orchestra” in collaboration with KunstLab Arnhem and Wageningen University. Initiated by plant scientist Sander van der Krol and KunstLab artistic director Tom Kortbeek, this project aims to creatively translate plant data into image, sound and performance. This will result in an installation presented in Arnhem this autumn, and a performance in spring 2019. This projects offers yet another perspective on how art and science can collaborate, and I am very enthusiast and curious about what we will come up with. Next to the artistic outcome I aim to reflect on this work through writing as well. More specific news and information on all this, including dates and locations, will come soon!

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Sander van der Krol, Tom Kortbeek and myself discussing ideas at KunstLab Arnhem.

2018 is just a month old, and there are already several news and new activities happening.

The most recent publication of the Professorship Performative Processes is out! In december we published If you are not there, where are you? Mapping the Experience of Absence Seizures through Art, edited by Henny Dörr and myself. The book presents the written outcome of the two-year transdisciplinary artistic research project IYANTWAY, in which a team of nine artists from various disciplines worked with eight youngsters on artistic utterances that match their experiences before, during or after a seizure. On Tuesday, 27th of February, we will officially present and launch the book, beautifully designed by Anton Feddema, at the HKU in Utrecht.

In only one and a half week, Christina Guillaumier and I, both creative directors of the Innovative Conservatoire (ICON), will give a joint presentation at the Reflective Conservatoire Conference 2018: “The musician in society – from craftsman to creative citizen”. For the ones who read the posts on this website regularly it will come with no surprise that I am very enthusiastic about presenting and participating at the Reflective Conservatoire: It is the third large-scale event about the musician in society for me, after the ICON seminar on the Musician in Society in October 2018 and the Protean Musician conference in Oslo last November, thus finishing a series that has provided me with enormous input on this topic.

On the 3rd of March, the new music theatre performance with trumpet player Sef Hermans, silencio, will be performed in its first version for the very first time, in Pamplona, Spain. I am very excited to show this first complete version of the piece, which is inspired by David Lynch’s “club silencio” in Mulholland Drive and the notion of the “ghost light” in theatre. This is also the first time in which the fabulous poem by Lynley Edmeades, Remainder, will be performed in one of my works. I know Lynley since we met at a performance studies conference in Prague, and this is the first actual result of this encounter, with which I am truly happy.

 

 

Epilogue

In the mean time, I have also re-joined the team of researchers of the HKU Professorship “Muzische Professionalisering” in the one-year long “Werkplaats Muzische Professionalisering”. I will publish a first post on my work here soon, but it is incredibly exciting to connect my various research projects with what lector Bart van Rosmalen calls “musal research”, in an inspiring team lead by Bart himself, Daan Andriessen and Peter Rombouts.

”I will carry you over hard times”, the impressive and very physical performance with percussion player Maarten Zaagman, continues to be performed and has been very well received by enthusiastic audiences in Utrecht, Leiden and Den Bosch, all in The Netherlands. Maarten Zaagman performed at the Betweter festival in Utrecht, and most recently at the renowned November Music, festival for contemporary music in Den Bosch.

A very special occasion was the performance at the World Cultural Council on November 8th at Leiden University. ”Hard Times” had been chosen to honour the winner of the Leonardo da Vinci Award of Arts, percussionist and ethnomusicologist professor Russell Hartenberger. And it was an honour for us indeed!

The entire award ceremony can be watched here.

Maarten Zaagman performs at Sweet St Andrews in Brighton (photo: Chloe Hashemi)
Maarten Zaagman performs at Sweet St Andrews in Brighton (photo: Chloe Hashemi)

Maarten Zaagman and I had just been back from Brighton, with five performances of I will carry you over hard times, when we received the news about the next performances: in November 2017 we will perform at the prestigious Dutch November Music festival, as part of the KunstMuziekRoute. We are very happy and excited about taking part in the wonderful festival in Den Bosch! Keep an eye on the site for dates and times, as these will be announced soon.

Back in Brighton, it was not only great to perform the work for several times in the beautiful little church of Sweet St Amdrews. Maarten and I also gave a workshop on our creative process; and it was particularly rewarding (and fun!) to perform on the sunny streets of Brighton.

During the workshop
During the workshop “Experiencing Hard Times”.
Performance on the streets in the centre of the city!
Performance on the streets in the centre of the city!

In the last months a small team at HKU University of the Arts has been working on the development of a new research environment: Studio 118. The studio is a place for conducting, sharing and disseminating practice-based research at the HKU Utrechts Conservatoire.

Next to individual research projects, the space hosts events and workshops for students or teachers of the conservatoire, such as the series on Liz Lerman’s Critical Response Process

In January, I worked with Sef Hermans on parts of our music theatre work silencio, which will be premiered next season and also includes sections of live video.

This focus on live video has been continued during the last weeks, when the second series of the dedicated Live Video Research has started. These sessions focus on the development of the first artistic work within the project: a performance installation for prepared double bass, objects, live electronics and live video.

I am conducting these session together with Juriaan Achthoven, a young and talented theatre and media scholar, interested in artistic research. The collaboration involves both practical as well as conceptual-theoretical work, leading to a lecture performance on the 2nd of June, 2017, in Studio 118 at the HKU Utrechts Conservatoire.

live video collage Kopie

After many acclaimed performances last year, the recent performance I will carry you over hard times with percussion player Maarten Zaagman has been invited to the Brighton Fringe Festival, as part of the “Dutch Season”. This will be the first series of performances in the UK, and we are much looking forward to this.

Maarten Zaagman performing
Maarten Zaagman performing “Hard Times” in Leiden in the public space, December 2016.

The performance will happen in the lovely location of St Andrews Church.

Next to the performances Maarten and I are also going to give a practical workshop, going into the experience of creating a musical choreography, in interaction and with the material of the participants.