„CONNECTION-SHIP“ Wie Begegnungen Im Kunststudio
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„CONNECTION-SHIP“ Wie Begegnungen im Kunststudio Menschen verbinden und soziale Veränderungen hervorrufen How encounters in the art studio connect people and induce social change Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie Eingereicht an der Universität für angewandte Kunst Wien bei: Betreuer: Univ. – Prof. Virgil Widrich Fach: Art & Science Externer Beurteiler: Univ. – Doz. Dr. Arno Böhler Universität Wien, Institut für Philosophie Externe Beurteilerin: Univ. - Prof. Dr. Ruth Sonderegger Akademie der Bildenden Künste Wien, Institut für Kunst- und Kulturwissenschaften Vorgelegt von Sergio Patricio Valenzuela Valdés, MA Wien, im August 2020 Ich erkläre hiermit, dass ich die Dissertation entsprechend den Grundsätzen guter wissenschaftlicher Praxis selbständig verfasst und keine anderen als die angegeben Quellen und Hilfsmittel benutzt habe, sowie dass diese Dissertation bisher weder im In- noch im Ausland in irgendeiner Form zur Beurteilung vorgelegt wurde. August 2020, Wien ___ ___ 3 Ausgangspunkt der Studie/ Diese Studie basiert auf der Beobachtung isolierter Wissenschaftler*innen in Laboren, die in Teams zusammenarbeiten. Die Forschung macht einen Sprung in/fokussiert dabei auf das Thema, was es ausmacht / das Besondere daran ist, dass diese Wissenschaftler*innen – „aneinander klebend“ – zusammenarbeiten können. Existiert etwas Ähnliches in der Kunst? Um in dieses Feld einzutreten, wurde der „Körper“ als Linse der Beobachtung von Wahrnehmung und Bewusstsein im Lernprozess während der Beziehungserfahrung in künstlerischer Praxis benutzt. Dieser Lernprozess bezieht sich auf Video, Performance und Aktions-Kunst als zeitbasierte Kunstpraktiken, wobei der Begriff „Connection-Ship“ eine Brücke zwischen diesen isolierten Praktiken darstellt. Die Forschungsfrage lautet: Welche Kunstpraxis könnte als Lernprozess betrachtet werden, der das Wissen anderer Praktizierender zum Fließen bringt und beeinflusst, um neue Inhalte in den sozialen Bereich zu bringen?/ Was ist die Kunstpraxis, die man als einen Lernprozess beobachten könnte, der das Wissen der anderen Praktiker fließen lässt und beeinflusst, um neue Inhalte in den sozialen Bereich zu bringen? Die Studie verwendet zwei Methoden in Kombination: Literaturdiskussion und angewandte Wissenschaft. Die Beobachtung zeigt teilweise, dass die Ausgangsbedingungen eines experimentellen Forschungs- und Kreativprozesses/Forschung und eines Kreativitätsprozesses durch viele Aspekte und Bedingungen, die in dieser Studie als „seltsame/fremde Attraktorfaktoren" bezeichnet werden, vom geplanten kreativen Prozess weggezogen werden können. Die Beschreibung der Erfahrung als ‚Verbinden‘ meint freundschaftliche oder vertrauenswürdige Beteiligung und ist allgemeiner Konsens. Die Studie wird abgeschlossen sein, wenn ‚Connection-Ship‘ Menschen auf so viele Arten wie möglich selbstbewusster und bewusster/reflektierter macht. Bewusstsein und selbstbewusste Körper können dringende Änderungen an Strukturen vornehmen, die über Vielfalt, Gleichheit und Inklusion hinausgehen. 4 Abstract The research project has a starting point: the observation of isolated quantum physicists still working together in teams during their experiments and the question of what is special about the experience the cooperating scientists are making under these conditions. Does something similar exist in art? To answer these questions, this work looks at equally isolated ways of working in art - especially the artistic practice of video, performance and action art. How do connections arise between the practitioners? And: How does an artistic practice work that influences and attracts other artists and can bring new content into the social sphere? Here the 'body' is used as concept, medium and tool, because it can probe perception and consciousness in such work- and learning processes. Via the body - working in isolation - a bridge can be built between the different isolated ways of working. This bridge is summarized by the term "connection-ship". Methodologically, the study is located in the literature debate and applied research. It shows that the initial conditions of research and the creative process can be distracted from the planned creative process by many aspects and conditions - by "strange attractor factors". However, the experience of 'connection' as an incorporated process of being together always remains. And those self-reflective conscious bodies can make urgent changes to structures that go beyond diversity, equality and inclusion. Keywords: Connection-ship, art practices, learning process, time-based media art. 5 Acknowledgments I thank my supervisor Prof. Virgil Widrich, Art & Science community and Die Angewandte - University of Applied Arts Vienna. I extend my sincere gratitude and dearest thanks to Univ. - Prof. Dr. Arno Böhler and Univ. - Prof. Dr. Ruth Sonderegger, for their support and feedback. I am also very much indebted to my spiritual guide, John David, for his powerful words and friendship. Many thanks go to Sonja Orman, Frank Müller, Gerda Fischbach, Sandra Reiss and Martina Jäger. Further support was provided by Universität Wien - FWF - Communication Hub - Prof. Tobias Reckling, Proff. Markus Aspelmeyer, Proff. Markus F. Peschl, OEAD - Österreich Mag. Astrid Behrens and Doris Grössing -Schima, Accademia di Belle Arti Venezia - Pf. Anna Sostero, Prof. Rafaela Miotello, Prof. Arthur Duff and Prof. Antonio Fiego, Dr. Erin Manning - Concordia University - Sense Lab, Le Parc - Milieux. ERG - Brussels Sammy del Gallo, Prof. Peggy Pierrot and Prof. Alexander Schellow. I am indebted to my old and new friends, especially to Katrin K., Robert B., Erik H., Francis G., A. Pisca, Leonie and Thomas. Finally, my deep appreciation goes to my beloved mother, Margarita Valdés, who has always been very helpful, patient, supportive and encouraging. The CONICYT Pfcha/Doctorado Becas Chile/2015 - 72160483, funded this work. 6 Contents 1. Introduction 2. Hypothetical questions Part I The body as a medium 3. The body 4. From representation to metaphor. A philosophical development 5. Definitions of the body and its mutations. 6. The body and the self. 7. Embodied art and embodied knowledge 8. Body and event-based practices Part II Art and so on variations 9. The art of research 10. Art and research 11. The science / The art 12. Art & science 13. Art education challenges and the fields Part III Relationship variations 14. Adaptation/context to/of the real 15. ‘Collabouration’ and ‘co-operation’ 16. Socialization and the collective aspect 17. Participation 18. Relationship 19. Friendship 7 Part IV Applied research 20. Overview 20.1 State of research 20.2 Research context 20.3 Time - space experience: first steps 20.4 Identification of the problem 20.5 Method 20.6 Type of research 20.7 Field 21 Introduction - collaborators 22.1 Which collaboration to look at 23 Applied research 1: Blind date experiment 23.1 From disciplines to art practices 23.2 Mediumship or slow bodily practice 23.3 A mediumship deconstructed 24 Applied research 2: Let-Me-Be-Your-Medium 24.1 Participatory art levels 24.2 Relationships and attractors 25 Applied Research 3: Strange Attraction 26 Final Report and conclusions 27. References 28 Annexed Interviews 28.1 Dr. Univ. - Prof. Erin Manning. Montreal. Canada 28.2 MA. Solmaz Farhang. London. UK 28.3 Dr. Laurent Amann. Vienna. Austria. 8 1. Introduction This dissertation thesis and the whole study are framed by art research and the field of cultural studies. The framed reflections developed are relevant in order to initiate a debate to mirror societal and cultural development into the political assignments and new frontiers about how to feel collective, together and not alone in the context of art practices today. Evolving from those general ideas, the study proposes a dialogue with other practices, despite the questionable position of useless work found within the art market and publishing theory. Moreover, the study re-observes art practices in studios as experiences of the production of knowledge that is requested by art institutions and the cultural network. This is exactly where this study attempts to bridge isolated perspectives by the observation of how art practices can work together without any disciplinary background required. For this study it is crucial to approach the new paradigms that result from new observational lenses and methods applied to art and extended beyond culture-based developments. This study is about a new notion called Connection-ship that could facilitate achieving new goals, in order to deal with the concerns resulting from the culturally structured and rigid western societies that are defining action art and performance. Connection-ship also envisions a way for future professionals to deal with relationships with any new concerns about art practice /research and ingenious new solutions. Today society is often described as having “facilitators and complicators” as the roles that are involved in the complexity of the creative processes which assume that there are concepts that can bridge practices or disciplinary backgrounds. For this study, however, it is about how practices provide for a change in the cultural realm and how to reach a new stage of consciousness that could be streamed into organizations and institutions by building self-made structures of connectivity, self- organized hierarchy, chains of working and access to open sources as well. With regards to the background and cultivation of questions about the ecology of practices, the