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The artist as host

In this publication you will find:Hosting the hybrid cityThis is a text in which Hermen Maat and Karen Lancel provide insights into the meaning of the word ‘role’ and into the position of the role of the ‘host’ in their own artistic practice. Their artistic research into this role was the starting point for both research modulesThe artist as host: on theories and interactive networked mushrooms.In the second text Hermen Maat clarifies how he translated this concept into two teaching modules. He explains how in one module the focus of the search was interesting examples of artist’s roles, and how in the other module technical issues shed a different light on the relationship between artist and audience.Student researchAfter this, you will find the work of students, introduced by Hermen Maat. Contributions from the theme class:Anna Weyer, Germany; Chan Lai Kuen, Malaysia; Katrina Jongsma, Canada; Rosemarie Pringle, Germany; Angie Daniels, South Africa/Germany; Niya Konstantinova, Bulgaria; Gothards Prieditis, Latvia; Ruben Jager,Netherlands. Contributions from the interactive media class: Helena Van Zuylen, Netherlands; Suzanne Vellema, Netherlands; Vanina Tsvetkova, Bulgaria; Jorine Homan, Netherlands; Cindy Wegner, Germany; Lotte Middendorp, Netherlands; Sander Bos, Netherlands; Chan Lai Kuen, Malaysia; Iris Leenknegt, Netherlands.The urgency of the role of the host In the afterword Anke Coumans, professor of the research group Image in Context, talks about the importance of this research for the work of the Centre of Applied Research and Innovation Art & Society into the new roles of artists and designers in society.

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Reflections on artist organisations international

The Artist Organisations International conference, organised by Florian Malzacher, Jonas Staal and Joanna Warsza, took place in Berlin’s HAU theatre from 9 to 11 January 2015. The organisers emphasised how it seems that more and more activist artists are creating organisational structures that increase the effectiveness of their artistic actions and productions, which also makes it possible for them to exert an influence on the ethical standards of the contexts in which they work. In this review we (dr. B. Straatman, dr. A. Coumans) present five important issues rising up out of this conference

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Ebifananyi (bookcircles)

A presentation within the framework of the 'week of the artist book' [wkb] in Groningen in which I tried to respond with the books I made and their content that shows Ugandan past and present realities within the neo-rococo board room of kunstlievend genootschap Pictura.

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Below the Market: On the Artist Pension Trust and the Future of Self-Organized Redistribution

Artists and other cultural workers have tried to create stable, long-term collective income systems for themselves forever. In 2004, an American tech entrepreneur launched one of the most ambitious redistribution schemes up to date, the Artist Pension Trust (APT). The idea was to give artists not just long-term income, but even a pension—a luxury highly uncommon among the professional group. Practically, the trust pools artworks of participating artists and sells them over time to provide the artists with a stable, long-term source of income. But in recent years, the APT has come to be known especially for a seemingly never-ending series of scandals.It became apparent that the APT was going south in 2018 when ArtForum reported that over 20 British participating artists were suing the organization for being utterly dysfunctional. In July 2021, a very similar story by the New York Times broke the news, showing that the APT did not learn from its mistakes. The fund's public image of a promising artists’ solidarity model disintegrated, laying bare the APT's tech and finance-driven, extractive business model.The APT model requires our critical attention because it can easily be misconceived as yet another failure of artist solidarity and proof that self-organization cannot resist platform extractivism. Forget about the redistribution of wealth. However, the opposite is true. We’re not dealing with the bankruptcy of artist self-organization and decentral redistribution here. We’re witnessing the urgency to create the real deal. We can’t wait for platform corporations to create the infrastructures and business models we need to fight precarity. Seeing the APT going down, we ask: What are the alternatives? How can art workers reclaim agency in the struggle for solidarity, against precarity?

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Ebifananyi

There are significant differences between the words used for ‘pictures captured on light sensitive surfaces with the use of a camera’ in Luganda and in English. Ekifananyi is the Luganda word that is used to signify a photograph, but it does not mean a photograph. The noun “ekifananyi” is derived from the verb kufanana, meaning to be similar to. Based on this observation, Dutch artist Andrea Stultiens started to investigate the implications of this particular conceptualisation of photographs, which led to a series of eight books titled, “Ebifananyi,” the plural of the singular ekifananyi. In presentations of historical photographs from Africa, Uganda was—until recently—only mentioned in relation to photographs produced by non-Ugandans or members of the Ugandan diaspora. The first three books in the Ebifananyi series change this status quo by presenting photographs produced by Deo Kyakulagira (1940-2000), Musa Katuramu (1916-1983) and Elly Rwakoma (ca.1938).The photographic legacy of these men is activated in collaborations with family members and, in the case of Rwakoma, the photographer himself. Curator Andrea Stultiens and Ugandan artist Canon Griffin responded to the historical photographs in pictures and films.

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Ebifananyi

In Luganda, the widest spoken minority language in East African country Uganda, the word for photographs is Ebifananyi. However, ebifananyi does not, contrary to the etymology of the word photographs, relate to light writings. Ebifananyi instead means things that look like something else. Ebifananyi are likenesses.My research project explores the historical context of this particular conceptualisation of photographs as well as its consequences for present day visual culture in Uganda. It also discusses my artistic practice as research method, which led to the digitisation of numerous collections of photographs which were previously unavailable to the public. This resulted in eight books and in exhibitions that took place in Uganda and in Europe.The research was conducted in collaboration with both human and non-human actors. These actors included photographs, their owners, Ugandan picture makers as well as visitors to the exhibitions that were organised in Uganda and Western Europe. This methodology led to insights into differences in the production and uses of, and into meanings given to, photographs in both Ugandan and Dutch contexts.Understanding differences between ebifananyi and photographs shapes the communication about photographs between Luganda and English speakers. Reflection on the conceptualisations languages offer for objects and for sensible aspects of the surrounding world will help prevent misunderstandings in communication in general.

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A point of no return

One of the characteristics of arts-based environmental education is that it encourages participants to be receptive to nature in new and uncommon ways. The participant is encouraged to immerse him or herself in nature, to seek a “deep identification.” In my paper I explore if there could be cases where such immersion may reach – or even go beyond – a point of no return. A point, where the “intertwining” with nature causes the subject to sever the “life lines” to the world which would enable him or her to maintain the psychological, cultural and spiritual integrity of the ego. The dissolving of the ego’s boundaries through artistic practice can be seen as having certain shamanistic qualities, specifically in cases when this transgression involves efforts to connect with other animal species. Such undertakings may constitute – at least in the perception of the shaman-artist – a form of “going native,” becoming “one” with the non-human Others.As relevant cases I discuss the “trespassing” from the world of culture into the world of nature by Joseph Beuys in his famous studio encounter with a coyote and Timothy Treadwell entering the life-world of the grizzly bears in Alaska, for which he ultimately paid the price of death (the tragic story was documented in Werner Herzog’s film “Grizzly Man”).I analyze these phenomena along the distinction between Apollonian versus Dionysian sensibility in cultural activity as articulated by Nietzsche. Finally I discuss some pedagogical implications for teachers and facilitators who encourage an attitude of radical amazement and vulnerability in arts-based environmental education.

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Photography as artistic research

Photography’s modern day quest was the reason for the research group Image in Context to start up a centre of expertise in which the insights ofphotographers and artists concerning this problematic status of photography can be brought together and studied. This centre of expertise PRICCAPractice (PhotographicResearch in Cross-disciplinary and Cross-cultural Artistic Practices) conducts researchinto the way in which professional photography is reinventing itself. It is aimed at theartistic research practices of artists, designers and photographers into the status ofphotography in our society. The focus lies on newly developed methods concerningphotography as part of an interdisciplinary artistic (and critical) research practice;photography as a means of research to make reality visible again. For this reason it makes sense that photography should allow itself to be nourished and inspired by other reality seeking disciplines, such as sociology and anthropology. Based on her interest in processes which are socially meaningful, photography moreover connects itself with fields of study such as semiotics, cultural studies, art theory and philosophy. And in her forms of expression she learns from literature, theatre, and journalism as forms of representation. In other words, the centre of expertise researches how dimensions of reality in photography are made into problems in images which are not merely representations, but also a commentary on photography itself and which explore the narrative and communicative possibilities and limitations of the photographic image at the same time. We are looking for artistic research practices in which a new, authentic relationship between the photographic image and reality will be researched.In this paper I would like to present a few of these practices.

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It Happened on Tinder

This volume brings together articles from different parts of the globe that describe, question, test and criticize innovations and recent developments in online dating. Using quantitative as well as qualitative techniques the studies included in the book examine the impact of gender, personality traits, app interface and design, and culture on success and failure in online courtship. Among the issues dealt here are ghosting, sex emoticons, body presentation in the virtual universe, dime dating, religious courtship and more.Amir Hetsroni is a professor in the Department of Media and Visual Arts at Koç University in Turkey. He is the author/editor of four books and nearly 100 journal articles and book chapters. He is also a media celebrity in his home country, Israel, where he takes part in reality shows as a consultant and commentator, and takes an active role in anti-censorship campaigns. He failed to find love in online dating, but did not lose hope.Meriç Tuncez, a PhD candidate in Design, Technology, Society program at Koç University, received his BA in Business Administration from Koç University, and received his M.F.A. in Media and Design from Bilkent University. His research interests span interactions with artificial intelligence and virtual assistants including humanness, mental state, emotion, intention, sociality and morality attributions to artificial intelligence, and online dating. He is also a digital artist and his artworks were included in a recent interdisciplinary exhibition about coincidences called Yaratan Disiplinler: Tesadüfler by Tasarım Atölyesi Kadıköy (TAK) in Istanbul. His first real love was exclusively on the net but later he realized that he was being catfished by that person for the duration of a year.

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The artist as host

Reflections on artist organisations international

Ebifananyi (bookcircles)

Below the Market: On the Artist Pension Trust and the Future of Self-Organized Redistribution

Ebifananyi

Ebifananyi

A point of no return

Photography as artistic research

It Happened on Tinder

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The artist as host

Reflections on artist organisations international

Ebifananyi (bookcircles)

Below the Market: On the Artist Pension Trust and the Future of Self-Organized Redistribution

Ebifananyi

Ebifananyi

A point of no return

Photography as artistic research

It Happened on Tinder