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Art-Eco Project

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TIEDOTE: Taidefestivaali Break a Brain tuo tutkijat vuoropuheluun yleisön kanssa

TIEDOTE 29.12.2016

Julkaisuvapaa heti

Mitä saadaan kun yhdistetään feministit, aktivistit, taiteilijat ja tutkijat?

– taidefestivaali Break a Brain

Tampereella Otavalantunnelin liiketila Koskikeskuksessa kokee muodonmuutoksen Break a Brain -taidefestivaalin myötä. Joulukuun 2.-23. päivä järjestettävä poikkitaiteellinen tapahtuma tuo joulumyynnin kylkeen vaihtoehtoista ohjelmaa.

Break a Brain -taidegallerissa asetutaan ekologisen oikeudenmukaisuuden kysymysten äärelle. Tapahtuma ohjaa katsojia pohtimaan kestävän elämäntavan merkitystä niin sosiaalisesta kuin ekologisestakin näkökulmasta.

– Ympäristökatastrofit, eläinten kaltoinkohtelut, sodat ja rasistiset rikokset, luettelee tapahtuman järjestäjä, Art-Eco-hankkeen tutkimusjohtaja Raisa Foster.

Perinteinen ja sosiaalinen media täyttyy päivittäin yhä pahemmista esimerkeistä siitä, mihin ihmiskunta on ajanut itsensä ja planeettansa.

– Millaisille ajattelumalleille meidän toimintamme perustuu? Mihin tietoon uskomme ja mihin se meidät johtaa? kysyy Art-Econ toinen tutkija Jussi Mäkelä.

Taidefestivaalin galleriassa yleisöä puhuttelevat Sarjakuva-Finlandialla palkitun Tiitu Takalon taidokkaat kuluttamista käsittelevät Minä, Mikko ja Annikki – sarjakuvan originaalit sekä Congrats, you have an all male panel! -sivustosta tunnetun tutkija-taiteilija-aktivisti Saara Särmän räväkät yhteiskuntakriittiset kollaasit.

Gallerianäyttelyä täydentävät Art-Eco-hankkeen taiteilija-tutkijoiden videoteokset, tilaveistokset sekä moniaistinen installaatio. Ekososiaalisuuden teema kuuluu ja näkyy myös tapahtuman taiteilijapuheenvuoroissa, paneelikeskusteluissa ja esityksissä. Kaupunkitilassa Break a Brain -festivaali koetaan Tampereen yliopiston luokanopettajaopiskelijoiden taideinterventioina, jotka haastavat ja yllättävät kaupunkilaiset näkemään ja kokemaan Tamperetta toisin.

Taidefestivaalin moottorit Foster ja Mäkelä työskentelevät galleriassa ja odottavat mielenkiinnolla vuoropuhelua näyttelyyn saapuvien kanssa:

– Haluamme kannustaa pohtimaan ihmisen vastuuta ympäristöön ja toisiin ihmisiin. Taide on moniulotteinen tapa osallistaa ihmisiä ajattelemaan ja oivaltamaan.

Break a Brain -tapahtuman järjestävät yhteistyössä Koneen säätiön rahoittama Art-Eco-hanke ja Tampereen taidekasvatusyhdistys. Tapahtuman on rahoittanut Taiteen edistämiskeskus.

Haaste on heitetty – Break a Brain!

Tiedote (PDF)

Tapahtuman verkkosivut ja ohjelma: http://artecoproject.com/break-a-brain/

Gallerian aukioloajat: ma-pe 10-20, la 10-18, su 12-16.

Haastettelupyynnöt ja kuvat: raisa.foster@artecoproject.com, 050 345 1847

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ILMAINEN OPASTUS Break a Brain -festivaalin näyttelyyn!

Tilaa ryhmällesi ilmainen opastus!

Tuo ryhmäsi tutustumaan Break a Brain – ekososiaalisen taiteen festivaalin gallerianäyttelyyn Koskikeskukseen 2.-23.12. Sovi aika ilmaiseen opastukseen (ark. klo 10-16): raisa.foster@artecoproject.com

Näyttely auttaa katsojia pohtimaan opetussuunnitelmissakin korostetun kestävän elämäntavan merkitystä niin sosiaalisesta kuin ekologisestakin näkökulmasta. Mistä esimerkiksi rasismi tai ympäristöongelmat juontavat juurensa? Miten köyhyys ja ilmastonmuutos liittyvät toisiinsa?

Tiitu Takalon Sarjakuva-Finlandia-palkitun, Tampereelle sijoittuvan Minä, Mikko ja Annikki -sarjakuvan taidokkaat ja puhuttelevat originaalit sekä mediasta tutun tutkija-taiteilija-aktivisti Saara Särmän räväkät kollaasit herättävät varmasti jokaisen kriittiseen ajatteluun. Näyttelyn täydentää Art-Eco-ryhmän videoteokset ja installaatiot.

Pedagoginen opastus suunnitellaan kohderyhmälle sopivaksi. Oppaina toimivat Art-Eco-projektin tutkijat Raisa Foster ja Jussi Mäkelä. Heillä on molemmilla opettajan pätevyys, ja he ovat toimineet ennen tutkija–taiteilija-uraansa useita vuosia peruskoulun opettajina.

Lue lisää festivaalin ohjelmasta: http://artecoproject.com/break-a-brain/ )

Tervetuloa! Tapahtumamme on maksuton ja avoin kaikille!

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Arts-based and Artistic Research Conference in Helsinki

Last week the 4th Conference on Arts-based and Artistic Research was held in Aalto University, Helsinki. Here are the abstracts of our presentations.

 

Artist as a Public Scholar, by Raisa Foster

This paper discusses the role of an artist/researcher in exchanging and creating knowledge for and with public. It first describes the different types of artistic activisms used, such as culture jamming, poetic terrorism, graffiti, and other different kinds of public art interventions, but it then focuses especially to the artist/researcher’s own multidisciplinary and participatory art projects as public scholarship.

Public art intervention happens in the crossroad of art and activism. It challenges power structures through creative resistance. The criticism of society and its phenomena can happen either through the form or the content of an art work. Sometimes artists can purposely work from an activist point of view; sometimes a political aspect emerges unintentionally. The artistic protests can target various issues, such as sexism, racism, socio-economic injustice, ecological crisis, and many more. Many of the activist art projects also criticize the idea of consumerism by invading commercial places, by creating anti-ads, or by interrupting some other ways the unquestioned idea of human as primarily a consumer.

By producing unexpected encounters artistic interventions enable new ways of interpreting and critically evaluating social structures and current issues. Interventions do not always look like works of art: they do not locate in the secure context of art institution, but in contrast, public may run into an art work in a surprising everyday situation. Thus it could be also said that art in a public space often lacks the representative nature of art; instead it presents real gestures.

Artist as a public scholar believes that it is possible to create original and exciting works that speak both to other academics and artists but also to wider audience. Activist art requires an active attitude from an audience. An art work may not offer clear meaning posed by the artist, but instead it invites multiple meanings to occur and for every spectator to experience and interpret in his/her own way. Public scholarship in arts builds new understanding through openness and practice through dialogue and participation.

Instead of promoting a clear political agenda, an art intervention in public space may aim to create an “atmosphere”, a holistic affective experience for its witnesses. Atmosphere occurs as a primary experience and it shows the world as it is, and not through concepts and representations of it. This kind of art intervention can help us to see things differently, communicate experience across linguistic and cultural divides, and that way also produce more complex knowledge and holistic understanding.

In order to describe the role of an artist as a public scholar, this paper gives examples of two different art projects (Rikka performance and Break a Brain festival) that both share a common interest in (1) focusing to the questions of EcoJustice, (2) invading (public) space, and (3) investigating the role of a spectator as a witness. Rikka (2014) is a site-specific performance combining movement and sound art. Break a Brain (2015) is a multidisciplinary and place-based art festival.

 

Social sculpture as anarchist pedagogy or pedagogy of (r)evolution, by Jussi Mäkelä

The purpose of this paper is to present an arts-based research project aiming to construct a  philosophically consistent grounding for Joseph Beuys’ concept of Social Sculpture. The focus is on scrutinizing the importance of an arts-based method in theorizing Beuys’ thinking. In addition, the paper will introduce the key arguments of the research asserting that Social Sculpture is fundamentally a pedagogical project. After all, Beuys regarded pedagogy as the most important means to mold the society – the ultimate artwork: “To be a teacher is my greatest work of art.” This relates to what Beuys calls an extended (expanded, enhanced) understanding (concept) of art – what we could also call “a (r)evolution of thoughts”.

Composing a coherent philosophical grounding for Beuys’ thinking is a complicated task. In the
research project at hand this is done by scrutinizing various kinds of Beuys-literature and reflecting
the emerging elementary ideas against both Beuys’ artworks and researcher’s own artworks that
have been inspired by Beuys’ oeuvre. Reflections are subjected to a phenomenological rigor in
order to offer them a philosophically solid grounding.

The artistic process described in this paper consists mainly of preparation of an exhibition that will
take place in Nokia in April 2016. The exhibition is called “Freedom relations” and consists of
sculptures and installations. Through the exhibited works the aim is to scrutiny the concept of
freedom as a relation and its significance for Social Sculpture.

The research is ontologically grounded on phenomenology and especially its connections to artistic
practices. It relies mainly on Merleau-Ponty, but partly also on Heidegger because of his special
interest on sculpture. For Beuys, freedom is an essential concept that recurs throughout his writings
and public appearances. In this research, freedom is considered a relation: one can be only free in
relation to something. This standing point makes it relevant to contemplate the special meaning of a
sculpture in regard to Social Sculpture. Existing in space by its character, a sculpture always
demands a relation with the spectator – or even a passer-by.

From the mid 1960’s until his death in 1986, Joseph Beuys’ career turned more and more into the
politics, and so did his artworks, too. By his on words, Beuys gradually lost his interest in making
visually interesting art, instead he loaded his massive works with meanings that were more or less
hidden in materials and forms. He regarded the actual artworks as process waste with some value as
historical documentations, the true artwork being the change in the society that he might have
sparked. To put it simply, for Beuys, being an active and responsible member of a community was
to be an artist, but it is challenging to swiftly turn his thinking and Social Sculpture into a
pedagogical form – although the pedagogy is in there. This paper is about making that pedagogy
explicit through arts-based research, aiming to bring about a (r)evolution of thought within
communities.

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Nick Morris’ visit in Tampere – the meeting of art and science

Our collaborator Nick Morris from Ohio visited us last week and we managed to build some great new partnerships between Finland and the US! Thank you Nick for you visit and let’s continue this great collaboration from here!

Here is our last week’s program with some photos:

Monday 13th June

Walking around  in the Pyynikki park are, and visiting at the observation tower.

Visiting Pikku Kakkonen children’s park

Dinner and discussion about the aims for our collaboration.

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Tuesday 14th June

Meeting with the biology/geography teacher Ms. Merja Kuisma from the Normal School of the University of Tampere

Lunch at the Tammelantori market place

Visiting Kauppi city park

Discussion about our Sharing Commons, Varying Perspectives installation on the shores of Lake Näsijärvi.

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Wednesday 15th June

Lunch at the Café Tallipiha – Stable Yards with Dr Antti Saari, EDU, University of Tampere

A visit to Cultural Education Unit TAITE of Museum Services, City of Tampere, to hear about Taidekaari – ‘Art Arc’ Cultural Education Programme

Visiting Näsilinna, Tiitiäisen Satupuisto children’s park and Nääs-halli sport hall in Näsinpuisto park

Ron Mueck exhibition at Sara Hildén Art Museum and Näsinneula tower in Särkänniemi

Dinner with EDU researchers Jani Pulkki and Vesa Jaaksi

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Thursday 16th June

Visiting Hämeenlinna and meeting with the director and teacher of forest preschool

 

Evening in a summer cottage and smoke sauna in Kangasala.

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Friday 17th June

A short stop at Melo power plant between Nokia and Siuro

Visiting Jussi’s studio on the bank of Siuronkoski Rapids

Lunch at the Koskibaari

Visiting Ossi Somma’s outdoor exhibition

Walking in the nature preserves of Siuro

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Saturday 18th June

Meeting with Olli-Jukka Jokisaari from University of Turku and Jani Pulkki and Vesa Jaaksi from EDU, University of Tampere

 

Sunday 19th June

Visiting Seitseminen Nature Centre

Visiting an old farm and hiking in the Seitseminen old-growth forest, Torpparintaival 6.5 km (4 miles)

Dinner and closing discussion

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LECTURE: “What is a ‘farm?‘ Political Ecologies of Jamaican Smallholder Farmers” by Dr. Gary Schnakenberg

WHEN? Thu 12.5.2016 13.15 – 15.00

WHERE? University of Tampere, Edu’s Cafe (Virta-building, Åkerlundinkatu 5).

Co-hosted by Art-Eco Project and School of Education, University of Tampere

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ABSTRACT:  The southern portion of Jamaica’s St Elizabeth parish is considered Jamaica’s ‘breadbasket’ due to favorable climatic conditions and large number of smallholder farmers.  However, effects of contemporary globalization have created new challenges and exacerbated some existing ones for these farmers. Political ecology is an approach employed by researchers across multiple disciplines that aims to understand choices made by people regarding how they interact with their environment through analyzing power operations. Employing examples from fieldwork and drawing upon a political ecology framework, this talk examines the role of modernist discourses in shaping agricultural landscapes in a postcolonial setting through the decisions and motivations of actors at multiple scales.

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BIO: Gary Schnakenberg received his Ph.D. in Geography at Michigan State University in 2013, where he currently teaches courses in human geography and nature-society studies.  His research interests are in critical cultural geographies of agriculture, political ecology, the Caribbean, and processes involving identity in place-making. Prior to his doctoral work, Gary was a high school teacher in New Hampshire (USA) for 26 years, teaching a variety of social studies classes, focusing especially on geography. He served on the Geography subcommittee of the New Hampshire Department of Education Social Studies Frameworks Committee, and was a founding member of the New Hampshire Geographic Alliance. He lives in Ypsilanti, Michigan with his wife and partner Dr. Rebecca Martusewicz and their dogs and cats.

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Welcome, Satu – our new intern!

We are very happy to have a new intern in our project!

Satu Järvinen (b. 1992) is working as a research assistant in the Art-Eco Project. She is currently studying Master of Education degree in Expert Training in Education and Adult Education at the University of Eastern Finland. She has also graduated as tanssi-innostaja (engl. dance animateur) in December 2015.

“In my studies of Tanssi-innostaminen®, I found my own way to be, respect for myself, others and nature.”

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Satu will transcribe research interviews and the handwritten diaries of our informants/co-reseachers. This data is collected from two different Tanssi-innostaminen® projects, so it is great that Satu is also an expert in this field. Satu will also co-ordinate Nick Morris’ visit to Tampere in June. Satu is also thinking of doing her master’s thesis in EcoJustice framework.

Welcome to our team, Satu!

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New Year – New Collaborator

Happy New Year, everyone! We are certainly happy to announce our new collaborator – Nick Morris from Ohio.

Nick Morris is currently the community outreach coordinator for Stark Parks working to expand the reach of the park district as an essential community resource. In this capacity he serves as director of Live Well Stark County which is a collaborative project to support healthy eating and active living and Stark Parks’ ACE program which aims to position the park district as a site for higher education learning for sustainability. Recently he developed Introduction to Watershed Studies; a park based biology course through Kent State university which combines environmental science and humanities based inquiries to reconceptualize watersheds as communities. Prior to working with Stark Parks he earned his BS in Biology in 2001 from Muskingum University and taught high school biology for five years. He earned his Master’s degree in education from Walsh University in 2004 and served as an adjunct professor of multi-cultural education there until 2009. He is a Ph.D. Candidate in Cultural Foundations of Education and is a current adjunct professor of environmental education at Kent State University.

The goals for our collaboration are
– to share the models of collaborative education with representatives from the universities and community partners
– to explore the potential of adding art to environmental initiatives
– to develop a longer term project partnering between Art-Eco Project and Stark Park’s Academy of Collaborative Education (ACE)

The ACE program has brought together university and college students and faculty as well as high school students to address the health of the local environment through community-based learning. The project launched in 2014 after Stark Parks received a grant from the Herbert W. Hoover Foundation.

Read Nick’s interview about the ACE program from thesuburbanite.com.

We met Nick at the EJE conference last year and now he is coming to Tampere to work with us in June 13-20. Looking forward to this great collaboration! Welcome, Nick!

 

Art, EcoJustice, and Education: Call for Proposals

The Art-Eco Project is pleased to announce a call for proposals for a peer-reviewed, edited book project on art and EcoJustice. The collection of articles from various authors will enlighten different ways of studying, supporting, and sharing the themes of socio-ecological issues through artistic practice.

The principal aim of EcoJustice thinking is to understand the essential interdependence among humans and with the more than human world. It is crucial to acknowledge the fact that we are mutually responsible to and dependent on others. Any assumption that we are superior to or outside this interdependence will cause damage.

EcoJustice work (teaching, scholarship and art) thus works along three interrelated strands of analysis: 1) The first involves an understanding that the present problems of ecological and social violence are rooted in the deep cultural assumptions underlying modernity. Our taken-for-granted value-hierarchized worldview, including anthropocentrism, linear thinking, individualism, science based rationalism and instrumentalism, has to be challenged in order to change the course of action towards regarding all life as equally valuable. 2) The second strand is focused on identifying those patterns of belief and behavior that lead to mutual care and the protection of more sustainable ways of life both within modern societies and traditional indigenous communities. We name this process revitalizing the commons. 3) The third strand argues for imagination as an important means of engaging the forms of responsibility needed to generate healthy communities. As Wendell Berry has written, “for humans to have a responsible relationship to the world, they must imagine their places in it” (2012, p. 15). We must, that is, imagine that it is possible to live ethically on this earth and what that could look like.

This book will be organized to explore how artistic practice intersects with and informs this EcoJustice framework. We recognize that this is an interdisciplinary field with many diverse entry points. Scholars draw from a range of philosophical and social theoretical view points—post structuralism, phenomenology, post-humanism, feminist theory, queer theory, new materialism, for example—as well as artistic practices—culture jamming, environmental art, improvisation, participatory art, community dance, documentary theatre, just to name a few. And we ask questions about what the intersection of these theories and practices could mean for education.

We thus invite essays that explore intersections among art practice and the EcoJustice framework. Essays could focus on (but are not limited to) the following:
– empathy, compassion and art
– performing identities and differences (race, gender, sexuality, ability, etc.)
– imagination and transformation
– time and space-based art
– indigenous or place-based knowledge and understanding
– immaterial art and consumerism
– environmental art as activism
– street art and the property of place

Specific Guidelines: Proposals should be approximately 500 words and include a brief abstract of 100 words. Include a brief bibliography. Priority will be given to those works that make clear their connection to the EcoJustice framework. Deadline for proposals is Feb 29th 2016. Please send your proposal (in file format .doc or .pdf) to raisa.foster@artecoproject.com.

The book is edited by Raisa Foster, Ph.D. (research director, Art-Eco Project), Jussi Mäkelä (researcher, Art-Eco Project) and Rebecca Martusewicz, Ed.D. (Eastern Michigan University).

AEJE_call for proposals (pdf)

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Call for Proposals (FERA) – Art-Based Educational Research

The annual Finnish Educational Research Association (FERA) Conference on Educational Research will be held this year November 19-20 at Åbo Akademi University in Vaasa. Art-Eco project organizes a paper session titled Art-based Educational Research and welcomes all kinds of methodological (visual, narrative, poetic, performative, musical) openings in the field of art-based research in the context of education. The presentations can be given in Finnish, Swedish or English. More information: Raisa Foster, Research Director, Art-Eco Project, raisa.foster@artecoproject.com

The description of the theme group in Finnish (pdf).

Generally, 20 minutes plus discussion is reserved for each presentation, but depending on the number of papers the presentation time may be adjusted. The conference program with the exact times and presentations for each session will be published on the conference web site towards the end of October. Note that there will be no conference proceeding.

Abstract submission guidelines

  • Abstracts should be written in the language of presentation (Finnish, Swedish or English).
  • State the theme group that the presentation will be submitted to.
  • Title of presentation (Times New Roman 14 p bold font).
  • Author(s) with contact details and affiliation (Times New Roman 12 p).
  • The abstract text body is limited to 200 words (Times New Roman 12 p, line space 1) and should include the following: aims, theoretical and methodological framework; (expected) results and implications; scientific relevance.
  • Abstracts should be submitted in word format to kasvatus@abo.fi, deadline October 1. Announcement of accepted submissions on October 9.
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“Reflection on work in forest and lake” by Bagryana Popov

So many landscapes – rich, magical, strange, beautiful light.

So many conversations – connecting our experience to one another and to the landscape.

Memorable moment – sitting on the log speaking about death – We were reflecting on the living tree and the dead tree – that the dead tree is still a tree, upright, vertical, strong, it looks the same to my (unknowing) eye. So – death and life.  They suggest that life and death may not be so radically separated from one another. But – what if one of us is to die right now? A light, fun question. Life and death are radically different.

We talk about physics and the meaning of the word ‘energy’ to a physicist – energy as impact, energy as ‘work’. No energy is ever lost. All energy is transformed. We think of this in relation to the tree, the wood, and because we are there, sitting on the log, breathing the air of the trees, looking out over the delicate edge of the tips of the radiant green treetops, we think of it in relation to our own bodies, too. Somehow the distance between the wood, the leaves, the soft ground and our skin has begun to dissolve.

We talk about sound – the constant sound of wind through the leaves is a soothing sound. The nervous system (my nervous system) accepts it and surrenders to it. This is essentially different to constant sound of air-conditioning, or machine. Raisa says that the sound designer she collaborates with is more interested in man-made sound, machine sound. We talk about this, too – that it is our relation to the sound, our interest, our intention that shapes how we hear and enjoy sound. Always- intentionality, relation. I return to these again and again, even when I am quietly observing, and not searching to them.

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I discovered that all nature is beautiful.

That the sound of the wind through the trees is beautiful in Seitseminen is beautiful by the Danube.

My hand touched the astonishing undergrowth- springy, spongy and soft. I touched ancient trees. We sang the Kalevala tune as we walked. Song connected to land connected to history – but also disconnected, old, distant.

We worked in the studio- where Raisa and Anttii worked in synchronicity and in separateness.

They did a beautiful tree duet- leaning, listening gently, intertwining- almost.

When the words initiating the movement connected to their thought, to their interest, movement erupted, with a surge of impulse and a fluidity, carrying them, the movement speaking to me (who was watching, listening) of their sensitive response to trees and soil. Images carried across to me. Thought connects to movement connects to weight and lightness connects to viewer. Thomas Richards talks about ‘induction’ in Heart of Practice (Richards 2014) when there is a phenomenon of ‘induction’, when someone is witnessing or performing with a performed who is approached inner action- ‘this transformation of energy’. (Richards 2014: 13)

I discovered that they are different states of sensibility and sensitivity – the state of listening to the land and moving, and the state of humanness.

The look makes things human.

I saw that the human body can suggest tree body with the simplest gesture: ‘Burn marks.’

I learned (again) that the question, request/demand drives us, or makes us contact in a way that is different to a gentle, egoless cohabitation, a being with.

I am reminded that I am always interested in the human (story, need, want, listening, responding, the body) because we are human, so it’s honest. I am interested in honest.

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The image of Raisa and Antti on the rocks, at the edge of the lake- beautiful shapes, the people are people, are animals, are elements.

A continuum becomes possible in the way I perceive them.

Raisa leans back and at a certain point her hand enters the water. She is wet.

 

 

Touch is always close.

Touch is irreducibly different from sight.

Touch brings up my empathy of experience, of sensing.

But what kind of sensing?

Touching can be proprietorial,

Can be personal,

Can be kinaesthetic.

Touch which has gentle, honest intention, a request.

What is the question? (We need a question. We need a need. There needs to be a need.)

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Antti’s Nordell poems from day 1:

Rich images; specific, dark, delicate.

The burn marks, the beard, the cloud.

We saw them on the trees in Seitseminen.

The infinite richness of texture there- infinite, gushing, alive.

No tree is like any other.

I sensed the tree as a person.

(Antti said to the tree in his written dialogue with it ‘maybe your family is nearby.’)

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Today in the woods they played in the thick undergrowth. Raisa slid and tumbled off a rock with moss, lizard like, bearlike. They both hid and appeared from the blueberries, part of it, separate from it. 

The transition from animal to human is in one moment in movement.

It is shocking, thrilling.

Raisa (on the rocks near the lake) looked at Antti and it became human.

She was looking at him as her son, as her partner, as someone she needed to say something to.

Antti asked the tree about the meaning of existence: ‘It’s a question that has come up for me quite a bit.’ Heidegger says this- the human is the only animal concerned with Being- with the question of being. Antti asks the tree about existence.

Relation is when there is a need, a question.

It is not neutral or anonymous.

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Lättu Järvi: Antti’s father sang this to him, so it is known, it’s his song. We connect to things (like in The Little Prince) and they take time and then they are ours. This is specific. It is not general. A specific song for a specific boy. Connection between boy/father. Memory. Lake. Landscape now. Lake now.

Language is always contextual. Meaning arises from the pressures of the context. The poems in the studio mean one thing and by the lake – they become something else.

(When we were near the lake I said ‘we use language to bring something into being that is not there. Or perhaps I said something that can’t be seen. But the trees and lake are here so we don’t need language.)

Unless each audience member was asked to speak a poem about a lake, in which case it’s a sharing not a performance, and the landscape and language come together in a different way again.

I feel a continuum between me and the forest in a new way- even in a new land.

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Ympäristötietoisuuteen herättelevä taidefestivaali Tampereella

TIEDOTE 30.7.2015 (julkaisuvapaa heti)

 

Ympäristötietoisuuteen herättelevä taidefestivaali Tampereella

Break a Brain on Art-Eco-projektin järjestämä taidefestivaali 8.–9.8.2015 Tampereen keskustan alueella. Poikkitaiteellinen ja paikkaperustainen ilmaistapahtuma toimii kohtaamispaikkana niin taiteilijoille kuin yleisöllekin, jotka ovat kiinnostuneita erilaisista taidemuodoista julkisissa tiloissa.

Festivaalin teemana on sosiaalinen ja ekologinen oikeudenmukaisuus.

– Uskomme, että taide arkisessa ympäristössä voi herättää kokijan pohtimaan esimerkiksi ihmisten rooleja ja normeja yhteiskunnassamme, mutta myös ympäristömme merkitystä ja ekologisia kysymyksiä, kertoo tapahtuman ideoinut Art-Econ tutkimusjohtaja Raisa Foster.

Festivaalilla voi nähdä muun muassa palkitun australialaisohjaaja Bagryana Popovin fasilitoiman esityksellisen metsäkävelyn. Kaikki tapahtuman teokset ja työpajat toteutetaan julkisissa tiloissa ja ne ovat yleisölle maksuttomia.

Tapahtuman toteuttava Art-Eco-projekti on Koneen Säätiön rahoittama kolmivuotinen hanke, jossa tutkitaan empaattis-ekologista ihmisyyttä taiteen keinoin.

– Tarkoitus on tuoda akateemiselta haiskahtava tutkimus kaupungin kaduille ja siten haastaa itse kukin tekemään huomioita sekä osallistumaan keskusteluun ympäristöstä ja yhteiskunnasta, sanoo projektin tutkija Jussi Mäkelä.

 

Ohjelmisto ja aikataulu: http://artecoproject.com/break-a-brain/
Lisätiedot: Raisa Foster (FT, TaM): raisa.foster (at) artecoproject.com, 050 345 1847

Tiedote (pdf): Ympäristötietoisuuteen herättelevä taidefestivaali_TIEDOTE_30072015


 

Kuvat ovat vapaasti käytettävissä Break a Brain -festivaalista tiedotettaessa. Kuvaajan nimi on mainittava.

 

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Australialaisohjaaja Bagryana Popov ihastui suomalaiseen metsään ja loi yhdessä suomalaistaiteilijoiden kanssa teoksen Listening Ground.
Kuva: Raisa Foster

 

anniina2, välisyyskokeiluja

Taiteilija Anniina Ala-Ruonan Välisyyskokeiluja -työpajassa ja -esitysinstallaatiossa voi sukeltaa inhimillisten ja ei-inhimillisten toimijoiden välisiin suhteisiin ja kanssaoloon.
Kuva: Juho Nykänen

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“Feeling of life” by Antti Marjakangas

The art-based research practice on landscape 20.-23.7.2015 in Tampere, Finland was facilitated by Australian director Bagryana Popov in collaboration with Finnish movement practitioners Raisa Foster and Antti Marjakangas.

Antti Marjakangas reflects his experience (translated with minor edits from stream of consciousness writing done in Finnish on 23.7.2015.):

 

The last four days. A lot. Depth, variety in ways of being. Facing also my own limits. Exploration.

An open approach, which feels very good. Yet focused. Feeling of life. Especially in the combination of voice and movement, and the work with mental imagery.

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Photo: Raisa Foster

Top moments: While animating Raisa with voice, while moving from forest images and memories, while grounding on the moss.

Does chronology matter? The work was circular, with deepening parallel processes, that fed each other. Actually did not feel like working at all. Exact and sensitive way of directing, that I appreciate. Also the conversations during breaks brought up topics and concrete questions for research. I’m feeling respected, heard and seen. Liberating. But also something that reveals my own mental prisons.

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Photo: Bagryana Popov

Discoveries: The same text does not work in all locations. The power of images (re-discovered again!) and their fragility on the other hand. A deep question that comes up surprisingly. A question about unity, meaning and purpose.

 

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Photo: Raisa Foster

Memories: Lättyjärvi. Poems that guide us, but can be let go of once they have served their purpose. The layers of my life. I can begin from anywhere and go deeper into it, allow it to deepen. I can discover a personal relationship in this moment, a form of dialogue that impresses and surprises me. Feeling connection in song and synchronicity in movement. Listening and the depth of sensing creates this. Having the courage to reveal myself. Having the need to to protect myself and to hide something. “Not yet!” But when?

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Photo: Bagryana Popov

Performance as a ritual – can that lead me into something new and surprising? On the other hand, the work felt natural and everyday, organically effortless.

Words: The exactness of words, investigation. What are they pointing to? Does the exactness matter? When does it matter and when not?

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Photo: Bagryana Popov

Towards the demo: What do we want to share? I would like to invite people to have the possibility for similar experiences that we have had. Pausing, tuning in. Allowing emptiness. Waiting and patience. This is enough. Existence is and that is enough. Always.

But why do we experience separateness from nature? Is is a thought structure that facilitates progress? Would we really be happy with less, with more simple being? A discontinuity, jump, change of theme. Still feeling natural. Because of presence and sensitivity. No endeavour. Trust and peace. No need to know. Does any of us know? Or do we know together? What arises from interaction? Can it be sought, or only let happen? What is truthfulness? Are there too many demands? Can I let go? Ultimately, everything is true.

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EcoJustice and Activism Conference

The Art-Eco team is heading to the 4th Annual 
EcoJustice and Activism Conference

at the Eastern Michigan University!

The theme for this year conference is

Art, Activism, and EcoJustice Education.

 

The research director of Art-Eco Project, Dr. Raisa Foster will have three presentations at the conference:

1) FRIDAY MARCH 20th 2:40-3:40 in Panel “Space, Body, and Contemplative Pedagogy for EcoJustice Education”: How is Space and Consciousness Intertwined in a Bodily Experience?

2) FRIDAY MARCH 20th 3:50-4:50 Workshop: To Touch and be Touched: Sensory Explorations Out in Nature

3) SATURDAY MARCH 21st 2:40-3:40 Rikka: a film: Rikka is a contemporary site specific performance based on movement and sound art. What is the value of uncertainty? How is space and consciousness intertwined in bodily experience?

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Rikka (2014). Dancer Ale Ripatti. Photo: Erkki Salomaa

 

The Art-Eco Project reseacher Jussi Mäkelä will have two presentations at the conference:

1) FRIDAY MARCH 20th 2:40-3:40 in Panel “Space, Body, and Contemplative Pedagogy for EcoJustice Education”: An Oak: A Phenomenological On-Site Approach to the Concept of True Capital

2) SATURDAY MARCH 21st 10:10-11.10 Artist Talk: An Oak: A Phenomenological On-Site Approach to the Concept of True Capital

JM1

 

Another reseacher from Tampere Jani Pulkki will also present his paper in the Panel “Space, Body, and Contemplative Pedagogy for EcoJustice Education”: Contemplative Pedagogy for EcoJustice Education

 

The conference is organized by the mentor of the Art-Eco Project Dr. Rebecca Martusewicz. See the whole program here.

The Art-Eco team Foster and Mäkelä will also take part of the exciting pre-conference events.

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The Opening Seminar of the Art-Eco project: What is art-based research? (in Finnish)

Art-Eco-hankkeen aloitusseminaari: Mitä on taideperustainen tutkimus?

lauantaina  14.2.2015

Taideverstas Wärjäämö, Kanavaraitti 3, Tampere

 
Art-Eco-project on kolmivuotinen tamperelais-kansainvälinen hanke, jossa tutkitaan monitaiteellis-tieteellis-ammatillisesti empaattis-ekologista ihmisyyttä.

Aloitusseminaarin aamupäivän tilaisuus on avoin kaikille Tampereen taidekasvatus-yhdistyksen jäsenille. (Iltapäivätyöskentely on suljettu vain tutkimusryhmälle.)

klo 10 Tervetuloa + pullakahvit
klo 10.30-11.00 Art-Eco-hankkeen esittely
klo 11.00-11.30 hankkeen tutkija, KM, TaM Jussi Mäkelä:  Joseph Beuys ja laajennettu taidekäsitys
klo 11.30-12.00 tutkimusjohtaja FT Raisa Foster: Tanssi-innostaminen ja eragrafinen tutkimusmenetelmä
(Iltapäivä jatkuu tutkimusryhmän työpajalla klo 13–16.)

 

Hanketta tukee

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Aloitusseminaari järjestetään yhteistyössä Tampereen taidekasvatus ry:n ja Taideverstas Wärjäämön kanssa.

Hae TTK ry:n jäseneksi: http://www.tampereentaidekasvatus.fi/jasenyys/