Creative inquiry driven by contents.
I am interested in ways to employ my creative practice as instruments of inquiry. Artistic ventures can actively contribute to knowledge and understanding.
Critical Reflections on At Your Service
CASAzine, Spring 2008
Public Space and Public Art in Japan
Things Asian, Oct. 2007
One River, Many Faces
Kansai Timeout, June 2005
Kyoto Journal, June 2005
Kyoto Journal, Jan 2004
Artistic learning and practice may deal with matter that changes meaning with time or context, especially where audiences are expected to complete the meaning of creative works for themselves. As incomplete or tacit my contributions to inquiry may be I conceive research a valuable and at times necessary part of the enterprise of making sense in the life of an artist-researcher.
My writing looks at the mechanics and ordering systems in everyday life. Inspired by personal observation and experiences the following articles look at aspects of social dynamics. When we scrutinize the structures that govern daily life, we are confronted by the roles we play in them and reversely by how those systems impact and shape us.
Practice of Invitation: Art and Meaningful Participation
The article is driven by an interest in finding alternatives of communality in a culture that is understood as being a market by consumerism and ideology. The role of the artist is in generating a public in which meaning is possible is therefore the extending invitations to participation in art in everyday settings. The paper deals with this question in an exemplary fashion: It uses six case studies from Japan, Vietnam and Korea, bringing together cultural theory and artistic practice that is not only innovative but also highly relevant.
Being in Service: Art Practice Towards Empathy
This article suggests a a clear and important distinction between 'art in service' as opposed to 'service art' and looks at how art is scrutinizing the service paradigm. This distinction in what separates the function of art from a more economic understanding of service (as commodity exchange). Illustrated by four case studies we can see that as a consequence and critical response socially oriented arts practices not only reject but experiment with commodity relations and processes.
Engaging The Public: Frameworks for collaborative Environments
The world we live in hovers between complete anxiety and a total incapacity to predict or imagine consequences of human cohabitation. In this pretext collaboration is not only an agent for the utopian but also a desire to understand or order human potential to not be destructive. Interdisciplinary collaborations gain increasingly in value because artists and the public who work closer together have the potential to transform our lives.
Art and Lived Life: Participation as active Ingredient.
Art forms that have audience participation at their center of their practice allow us to look at the principles of participation between artist and audience. Recent decades brought a turning to lived life in creative inquiry and a theoretical approach that is less concerned with what is art (and what is not) in favour of the effects and possibilities of interaction, communication, surprise. This all in an effort to overcome at least some of the limitations of life in the 21st century.
Momentarium creates situations where our very presence becomes the catalyst for shifting experiences we can integrate into our lives by fusing reality with co-created artifice.