Resonance as an artistic concept and methodology
Kristiansand Norway - Alijó Portugal
André Tribbensee
How do you plan to develop your project for, and with, a local community that may not be familiar with artistic practices? What artistic approaches/methodology do you plan to use to connect with the community and involve them in the process?
Its a good question. I would rather call it a strategy for starting a process, with help of personal experience and a set of proven tools and ideas, than a methodology, because we are talking about a diverse local society which I don't know jet and about varying goals I do have in mind. This is not a problem but a potential. One interaction may service primary the benefit of an organised group of participants, another one will be mend to become part of an art work, eventually they can be both.
In the same time I think that developing a living work of art will always carry a degree of uncertainty and unpredictability with it. I actually aim not to limit the outcome on my imagination and I can not foresee the motivation and flexibility of those I will meet.
I will have to be open and react empathic on what I will find and who I will meet.
In my work I may include people without classifying them by age. The way of introducing and connecting can be quite subtile and the success will be dependent on being able to listen, to create trust, on mutual curiosity and the ability to adapt to the interest and capacity of those I will be in contact with.
This will be a challenge, as both language- and cultural differences, and differences in levels of knowledge have to be overcome. But we have to remember examples of what magic can happen between people when we come together without prejudges, but generosity in the right way and at the right time. I have experienced that a lot during my work in different countries.
To introduce those I will meet, I hope I will be able to invite them for tea into my studio, one by one or in small groups. Eventually showing my guests examples of artwork made at home in Norway, and other places. I could decide showing poetic visual work and reflective work taking up urgent questions of our time, like questions around ecology and sustainability and a humanitarian crisis I have been confronted with since working with the refugee situation in Greece, and we would be reflecting and discussing aspects of resonance, with references to a book I am going to study during my stay. I will enquire people about own experiences and suggestions of sites and situations of personal resonance, and if they are willing, we will explore those sites, spaces and ideas together, eventually starting experiments on site. Visual and acoustic documentation and aesthetic processing will be the tool to gather and to create a body of work which can be shown in following exhibitions later on. I will do work on my own as well, but the quality of the project will increase with the energy and synergy these encounters will release. Its a great potential which I believe is possible to realise.
The above mentioned is based on my imagination at this moment. The actual plan will be worked out in Alijó according to the actual possibilities.
Examples / two different scenarios:
When communicating with musicians from São Mamede de Ribatua philharmonic band
my introduction would probably include examples from my work with philharmonic musicians in Norway. We would be able to talk about frequencies about spaces, acoustics and experiences of resonance in music, about metaphysical communication between the musicians of an ensemble or about emotional resonance. It guess it wont be a problem starting talking about it right in the middle. From there it is a small step into a philosophical discussion or into my project, and from there into art and collaboration. Musicians love to play, and they want to be heard.
The starting point and approach will be another when communicating lets say with a school class.
With a group of students for instance, an excursion to a site or a space with a special quality, spirit, or history may offer opportunities to start practical experiments based on the emotional, physical or acoustic experience of such a site. And the work can start already in advance by talking about the imagination of that site and what might be done there that you cant do anywhere else. Taking students with me deep into a mine or on an deserted island for example, has been triggering their reaction and the urge to do, to express or to create something specific. I have been doing such experiments in Norway plenty of times. The excursion might start with preparing questions and introductions. Those encounters have to be prepared carefully
Some general elements I use to apply, which can help to appeal to people that might not be familiar with contemporary arts and related discussions:
- using a simple non academic language to explain what I want people to understand. Exemplifying.
- avoiding trying to impress people by avoiding talking about importance, achievements and status. Meet them as equals. Prioritise open discussions where everybody can participate.
- avoid lecturing from a stage, down to an audience. Be among them instead.
- inviting individual guests for tea, is an act of sharing, and another beautiful way of getting a conversation and collaboration started.
- just showing one piece of work at the time, opening up for for a conversation around that. Taking care that the work is not only representing something else, but that it speaks for itself.
- explaining basic elements of J. Beuys «social sculpture» and «expanded concept of art» where every human being is seen as an artist, is another great way of empowering and engaging people into participation and collaboration.
- A conversation around a piece of art don't even has to be about art, but may be about life, or about experiencing that piece. When time is right we will talk about art, or we will be negotiating with the participants about what art might be today in Alijó.
3. Who is your primary target to participate in the development of your project? Which demographic of the community you will approach and collaborate with?
I have personal preferences, but I first have to see who will be there and being potentially interested. As mentioned above, I am open to communicate with people in almost every age and with different background. I generally don't think that segregation is always necessary, I believe in a creative potential inherit in every human. A group work for example can benefit from diversity among its participants. I have experienced that when initiating and running Temporary Academy in Norway where participants between 16 and 85 years of age worked together around art, creating in the same time a supportive community and core group facilitating workshops and public events. Since that is said, I can mention that collaborating with local or regional artists, of all disciplines, as well as thinkers, philosophers, activists and free spirits would be a pleasure and beneficial for the work I want to do.
4. Your project will be presented at the end of the residency. How will your exhibition/installation connect and engage with the community you will be working and living with? Who do you consider will be your main audience?
As more I will succeed with collaborating and interacting with local people as more attractive the exhibition will be for local community, as they will expect to recognise their participation.
The work presented at the end of the residency will show situations of resonance. Resonance between Alijó, those that have been involved, and me. This makes the work relevant for the people in Alijó, as they will be emotionally connected.
An additional task that could be considered could be involving (young) participants in a self- directed mediation of my exhibition contribution after I am gone.
I really don't know who will be the main audience of that exhibition. In my opinion, everyone should be welcome.
5. What do you wish to experience, and what do you expect to contribute to the ViViFiCAR project?
Exploring sites, situations and people in Alijó, resonating for mutual inspiration and pleasure, establishing new friendships, promoting ideas and values I do have with me. These are many and some may circle around art practice, peace research, ecology and life.