Academy of Creative and Performing Arts (ACPA)
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.
Both the sessions of May 6 and June 9 have been postponed to the Autumn of 2020.
For the ARC session of April 14 we are looking into the options of an online session. We will keep you updated!
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, firstname.lastname@example.org
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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)- Design and the Deep Future
An evening program of short presentations and conversation with Alice Twemlow (Design Lector) and members of her Research Groups—Rachel Bacon (tutor in Fine Art,) Katrin Korfmann (tutor in Graphic Design,) and Niels Schrader (co-head, Graphic Design BA and Non-Linear Narrative MA)
In acknowledgement of the connection between the slow-motion processes of the earth’s systems and the ephemeral products of our disposable design culture, the KABK Design Lectorate is centered around a research project titled “Design and the Deep Future.” The project, led by Dr. Alice Twemlow, examines an array of historical, contemporary and speculative responses to design’s complicity with climate crisis, through topics such as: design and expanded timescales; radical matter; compositionism; future fossils; design and disposal; repair and adaptive re-use; digital detritus; nuclear waste; and space junk. In this evening program, Alice Twemlow will present an overview of the project and introduce and engage in conversation a selection of KABK tutors, who have participated in Research Groups, and will present their own practice-based research relating to this theme that encompasses: the relationship between mining and drawing; the relationship between waste sorting and the photographic production process; and the encroachment of digital pollution into the physical environment.
14 April / Gabriel Paiuk (Royal Conservatoire) – Sound, Technology and Listening - Artistic Research at the Institute of Sonology
This ARC session will display the research of four students of the master's programme of the Institute of Sonology at the Royal Conservatoire in The Hague, while two students will act as respondents. Within the context of the research master’s at the Institute of Sonology a wide range of perspectives is unfolded in the form of individual projects. Students look into, among other domains, the role of sound in music and our everyday environment, the development of novel tools for sound production, the study of the sensorial aspects of sound and their possible compositional implementations.
Eunji Kim (South Korea), whose work focuses on the integration of algorithmic composition and computer gaming strategies.
Tony Guarino (USA), whose project “Percussive Imagination” deals with the realm of percussion in everyday life, accounting for how our sense of place is informed by “the ‘not-yet-musical’ collisions that saturate us daily”.
Jad Saliba (Lebanon), who re-appropriates analogue radio technologies to create malleable sonic artefacts from a topography of broadcasted local radio stations.
Guzmán Calzada (Uruguay), who deals with ways of expanding the aural conception of what a room is and how it operates, understanding acoustic spaces as energetic places and locations with inherent autobiographies.
Giulia Francavilla (Italy) and Aleksandar Koruga (Croatia) will act as respondents. In their projects, they are respectively investigating the nature of immersive listening and developing a reinterpretation of Iannis Xenakis’s Symbolic Music theory.
The session will alternate presentations with moments of discussion and exchange, also involving the attending audience, and will be moderated by Gabriel Paiuk (Faculty Staff at the Institute of Sonology - PhD Candidate at ACPA).
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?