Universiteit Leiden

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Academy of Creative and Performing Arts (ACPA)

ARC (art_research_convergence)

ARC (art_research_convergence) is an outreach initiative of Leiden University Academy of Creative and Performing Arts, and the University of the Arts The Hague, for the active communication of artistic research.

What is ARC?

ARC hosts exhibitions, installations, lectures and performances every second Tuesday of the month at Korzo Theater in The Hague. The idea is to enable a space of communication and action where artist-researchers can show work in progress (or finished work in need of feedback) and discuss it with the audience.
ARC plays a connective role in the network of artistic and investigative practices. It strengthens the knowledge infrastructure in the dynamic field of practice-based research as well as brings it into the public eye. In doing so, it contributes to the knowledge economy in the region.
This project acts as a forum or laboratory, in which artist-researchers work together with other cultural players on new works, designs and performance practices.


  • What? Performances, exhibitions, installations, lectures and other formats suitable for the communication of artistic research
  • Who? Artist-researchers, including graduate students, doctoral candidates and lecturers at artistic research institutions as well as independent artists who regard and represent their work as research
  • For whom? General audience interested in the relationship between art and research, artists, researchers and students whose field has to do with artistic and/or research practices
  • When? 14 January, 11 February, 10 March, 14 April, 6 May and 9 June, starting at 19:30.

Where? Club Korzo, Prinsestraat 42, Den Haag, tel: 070-3637540, info@korzo.nl

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Programme 2020

14 January / Paul Craenen (Royal Conservatoire) / Models of Music Creation and Improvisation

The barriers between composition and performance in classical music arose in the 19th-century ‘culture of genius’ and gradually became part of a standardised production and education model. As a result, the practice of improvisation, which for many musicians was a natural link between performance and composition until the end of the 19th century, disappeared into the background. Over the last few decades, there is a renewed attention for improvisatory approaches in classical and historical performance practice. Where does this lead, and what does it mean for Conservatoire education? A concert-lecture on current ideas and models of music improvisation from the researchers of the ‘Lectoraat Music, Education and Society’ of the Royal Conservatoire The Hague.

11 February / Joost Grootens (PhDArts) – Maps, Mapping, and Mapmaking in the Digital Age
The digitization of tools to create, record, edit, produce and distribute visual information empowered new players to enter the field of mapmaking, who, with no prior knowledge, started mapping different subjects, in novel ways, occasionally resulting in new kinds of maps. The PhD-research ‘Blind Maps and Blue Dots’ studies contemporary mapmaking practices of technology companies and amateurs to investigate the blurring of the producer-user divide in the production of visual information.

10 March / Alice Twemlow (ACPA/ KABK)- What do landscapes say? Speculating on the diversity of landscapes and identity

Rachel Bacon (artist and teacher at KABK) and Yue Mao (independent researcher) will be talking about a group project they are embarking upon to investigate the relationships between landscapes and identities in RussiaBacon and Mao will both give a short presentation. Alice Twemlow will then moderate a discussion and questions for the audience. 

14 April / Gabriel Paiuk (Royal Conservatoire) –  Sonology Research Master's Presentations

The Institute of Sonology is a department at the Royal Conservatoire The Hague in which diverse artistic perspectives into the domain of sound and the interactions of sound and technology are explored. Its research master’s programme gathers international students from diverse backgrounds, including music composition and performance, computer science, theatre and performance art, architecture, gaming and radio art. Throughout a period of two years they develop their projects guided by specific research questions, tapping into contexts, technological implementations and conceptual frames that play a role in the exploration of sound as the core of an artistic experience. 

6 May / Jed Wentz and his research circle (ACPA) – Historical Acting, Theatre and Declamation
The quest to rediscover historical acting techniques places the modern actor/researcher in a dialogue with contemporary and past conceptions of the body. These are often closer in spirit (if not in exact understanding) than many would suppose: recent research into emotion, muscle engagement and nerve stimulation can throw light on historical acting treatises and vice versa. This presentation will show the artistic result of our research, and pose questions about our current dogmas concerning naturalism, acting and emotion.

9 June / Anna Scott (ACPA) - REFUSE/NIKS: Classical Music Performance Norms—Resist or Obey?

Why aren't classical music performances more varied and imaginative? As this session's special guest respondent has provocatively argued, classical music is a police state: one that demands absolute conformity to the wishes of long dead composers, imaginary traditions, and other utopian delusions (Daniel Leech-Wilkinson, 2016). Miniscule departures from its norms are applauded; radical divergences are harshly punished. In dialogue with Challenging Performance: Classical Music Performance Norms and How to Escape Them, artist-researchers are invited to present persuasive musical and/or discursive arguments either for or against confronting this system. What tools, methods and mindsets are needed; who can resist and who must obey; what is at stake, who are the stakeholders, and who really cares?

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