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Art, Research, Empowerment Art, Research, Empowerment the Artist As Researcher Art, Research, Empowerment Art, Research, Empowerment The artist as researcher Every person contributes, consciously or subconsciously, to the foundation of our culture. Our culture encompasses all that leaves an imprint on our intra-human relations, The artist as researcher here and now. An element in our culture is what we call art. Some choose to become artists and produce art. What does it mean to see the world, to see education and re- search with the eye of an artist? This book is written from an artist’s perspective. It dis- cusses cause and effect, steering and empowerment in relation to artistic research based on the Swedish system; it explores how the artistic researcher can enhance art, artistic education, markets and commercial values. Knowledge is power. Money is power. So are positions, deci- sion-making, major commissions, market demand and net- works also power. More knowledge means a better chance of using the findings from research and applying them in frontline artistic activity. Increased knowledge helps stretch and move limits, makes constructive use of resistance and restraints; it empowers networks for cooperation. A market in flux demands new strategies for taking a stand in social, cultural and political matters. Research is one way to do it. ART, RESEARCH, EMPOWERMENT On the Artist as Researcher Efva Lilja 1 Additional copies of this publication can be ordered at http://www.regeringen.se/ Avaliable also as PDF. Article number: U14.011 Printed by Elanders Sweden AB Stockholm 2015 2 ART, RESEARCH, EMPOWERMENT On the Artist as Researcher “From stages around the world, via art forums, experimental venues, the world of academia and research, I’ve entered the corridors of political power. Along the road I’ve gained insights and experience I wish to share with those of you who take an interest in art, in the role of the artist in cultural and societal progress. It is about art, research and the power you must conquer to make a difference in this world.” Efva Lilja 3 Content Prologue ............................................................................. 9 1 What is Artistic Research? ........................................... 13 The Swedish model – Trust in Art ................................................... 14 The Definition .......................................................................... 14 Rules and Regulations .............................................................. 17 The Swedish ”University Landscape” ..................................... 18 Three Cycles, Three Levels ..................................................... 19 Who Has Artistic Competence? ............................................. 20 More Statistics .......................................................................... 23 What About Quality? .............................................................. 25 Research Funding .................................................................... 28 The Critics ................................................................................ 32 The Situation in Some European Countries .................................... 34 Austria ...................................................................................... 36 Belgium ..................................................................................... 37 Croatia ...................................................................................... 38 England ..................................................................................... 40 Finland ...................................................................................... 41 France ....................................................................................... 43 Germany ................................................................................... 44 Norway ..................................................................................... 46 Romania .................................................................................... 47 Switzerland ............................................................................... 48 Political Strategies – How to Make the Impossible Possible ......... 49 Strategic Choices ..................................................................... 51 Politics ...................................................................................... 51 5 Content 2 What Does the Artist as Researcher Do? ........................ 55 Methodologies – Theories and Practices ......................................... 55 Methodologies ......................................................................... 56 Theories .................................................................................... 58 The practice .............................................................................. 61 Sharing and Being a Strong Peer – For Whom? .............................. 62 Documentation – Representation and Dissemination .......... 64 Discussion ................................................................................ 66 Conferencing ........................................................................... 68 3 Artistic Research Education ......................................... 71 The Specificity of Innovation .......................................................... 71 Conventions ...................................................................................... 73 Artistic or Scientific Research Education? ...................................... 74 Project Description .......................................................................... 75 Examination Criteria ............................................................... 76 The Research Process as Education ................................................. 77 Supervision ............................................................................... 78 Degree Ordinance ................................................................... 80 Disputation .............................................................................. 83 What about a career? ............................................................... 84 4 What is Good in Art? ................................................... 87 Quality Assurance – About Not Getting Stuck in Conventions .. 87 Waddya Mean – Art? ............................................................... 88 The Public Debate About Quality .................................................. 89 Quality Criteria ....................................................................... 90 Why Education is Good for Research Quality – and Vice Versa .. 94 The Importance of Education ................................................. 94 The Importance of Research ................................................... 95 The Importance of Being Educated........................................ 96 How Quality Evolves .............................................................. 97 Systems of Quality Assurance ......................................................... 98 6 Content 5 What Does Research Do For Art? ................................ 101 Social, Cultural and Political Positioning ...................................... 105 Epilogue ......................................................................... 109 Presentation of the Author ................................................ 113 Examples of Publishing Fora for Artistic Research ............... 115 Acknowledgments ............................................................ 117 7 Prologue Every human being contributes, consciously or subconsciously, to the foundation of our culture. Culture encompasses all that leaves an imprint on our intra-human relations, here and now. An element in our culture is what we call art. Every human being takes part in shaping culture, some choose to become artists and produce art. What does it mean to see the world, to see education and research with the eye of an artist? The assignments I have been charged with within the field of artistic research stem from my experience as an artist and researcher, maybe also from my period as vice-chancellor for an art university. I write this book from the point of view of an artist. It is written for all of us who choose to dedicate ourselves to art and research, for those who see the need to make cause and effect understandable, as well as steering and power in relation to artistic practice and production. I write for artists within academia and for those outside who wish to approach it with curiosity, for all those who work for the development of artistic research. If we artists as researchers know more about what it is that affects conditions that give us scope to create what we want, we can stretch and remove borders, use resistance and limitations constructively and strengthen opportunities for co-operation. We need to identify each other, as well as the system we are a part of and we need to redefine our role within the power hierarchies that run it. The outside world judges what is produced and presented as art from historical, cultural and political standards. In this book, the word art stands for activities within all artistic fields, from all kinds of cultural standpoints. Anyone can call herself artist or researcher. Those words are for free. But if you want education in the arts, you 9 Prologue can find a programme that offers a chance to gain the knowledge, experience and insights needed for a professional career. After a period in the profession, some artists seek the opportunity for research that is available in the academic world. Artists
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