working together with time, art and heritage in the local community · 2017-09-22 · working...
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Experimental heritage: working together with time, art and heritage in the local community
Session # 419EAA 2017
Session # 419
Experimental heritage: working together with time, art and heritage in the local community
8.30am – 12.45pm
Friday September 1st, 2017
Room 0.2, Floor 0, MECC
EAA 2017 - BUILDING BRIDGES
23rd Annual Meeting of
The European Association of Archaeologists
August 30th – September 3rd
MECC Maastricht
Forum 100, 6229 GV Maastricht
Limburg, The Netherlands
www.eaa2017maastricht.nl
Session organisers:
Bodil Petersson (Linnaeus University, Kalmar, Sweden)
www.experimentalheritage.com
Brian Mac Domhnaill (Cork Artists Collective, Cork, Ireland)
Helle Kvamme, Yellowbox, Sättra, Sweden, www.yellobox.one
Cultural Think Tank Öland,
https://sv-se.facebook.com/kulturelltankesmedja/
Introduction
In 2015 Bodil Petersson (Associate Professor at the Department
of Cultural Sciences, Linnaeus University, Kalmar, Sweden) and
Cultural Think Tank Öland/Sweden initiated a collaborative
project, Experimental Heritage, involving researchers, artists
and the local community. The geographical focus was to be
the Island of Öland and its environs. The aim of the project is
to find new interpretations and roles for the past in the present
and make archaeology and heritage more relevant for local
communities.
The aim of this session is to explore more general dimensions
and meanings of heritage and artistic interpretation between
the past and present. It will feature theoretical and methodical
aspects as well as case studies relating to interdisciplinary col-
laboration between artists, archaeologists/heritage researchers
and practitioners.
Abstract #1118
Introduction to Experimental Heritage - a new col-laborative method for artists, archaeologists and heritage workers
Bodil Petersson, Associate Professor, Department of Cultural Sciences, Linnaeus University
Experimental Heritage is a developing working method used at the intersection of artistic interpretation and heritage work concerning both research and communication. The ambition is to create egalitarian meetings between artists, archaeolo-gists and heritage workers within and outside academia and museums in the local community. The goal is to reload archa-eology and heritage with new meanings in the present. Since January 2015 we have been working together, developing new approaches to art and archaeology/heritage in the local com-munity. The project takes its departure in four themes relating to local archaeology and heritage. The perspectives are based in the landscape. The artistic interpretations mainly appear in landscape settings. Central to the overall approach, in the crea-tion of artistic interpretation of archaeology and heritage, is the use of the sketch as a method to approach the past and make it relevant today.
LIV no 8 (LIFE no 8) installation with wheat and soil Algutsrum 2017
(photo: Helle Kvamme). Copyright © Anne Hamrin Simonsson
E-mail: [email protected]
www.experimentalheritage.com
Abstract # 1095/1394
Fusing methodologies: theories, differences and
crossovers in interdisciplinary practice between
art and archaeology
Brian Mac Domhnaill, Cork Artists CollectiveDr John Sunderland, Independent art researcher
Fusion is a process of melting two (or more) materials “to form a single entity”. Brian Mac Domhnaill and John Sunderland ana-lyse and compare the methodological backgrounds of art and archaeology with a view to achieving a theoretical synergy bet-ween these disciplines that is truly interdisciplinary, rather than multi-disciplinary. This will involve a comparison between the empirical processes of archaeology and the ontological proces-ses of art, searching for similarities that might offer new ways of practice that dissolve disciplinary differences whilst maintaining the core intentions of both practices.
This paper is intended to offer an overview of the possible intersections of art and archaeology. Key concepts will include space and time, materiality and process, contextualization, presentation, intuition and abstract reasoning. These themes will be informed by the practices of both authors and others over the last twenty or so years.
E-mail: [email protected] / [email protected]
Web: theworkingrecord.com / johnsunderland.com
Video still from Skin and Bone I, Brian Mac Domhnaill (2014), Video without sound, 2 min 42 sec. Image: Brian Mac Domhnaill.
Abstract #: 1646
TRANSITION ZONE: between heritage,
art and the local community
Dr. Krien Clevis, curatorMFA Eline Kersten, participantJoep Vossebeld, co-writer/participant
TRANSITION ZONE is a project about connections, participa-tion and visibility, and involving heritage, art and research in the ENCI area (Eerste/First Netherlands Cement Industry). The entire area – one of (geo)archaeological, landscape and industrial heritage – will be transformed into one of cultural heritage, natural landscape and wellness. This specific loca-tion, in which various experienced notions of place are making changes possible, is staffed by different parties. All these dif-ferent stakeholders – ranging from the field of archaeological and paleontological research to local occupancy and tourism – provide their own perspective on the rearrangement of the ENCI-quarry. We invited 13 young artists, who work one-and-a-half years together with the stakeholders, in order to analyze and grasp the complexity of the ENCI area in the past, present and towards the future. One could say that our way of conduc-ting research is by co-creation.
Abstract #: 1404
At the interstices
Cecilia Jansson, Researcher, Linnaeus University
My project is about the time and process when human beings became settled. Through my artistic method, I want to gather and recompose knowledge about these people’s life worlds (in places like .atalh.yük, Göbekli Tepe and Ain Mallaha), their ex-periences and attitudes towards the shifting aspects of life and different cultural ideas and expressions. Questions like ”what characterizes the transition during this period in time?” and ”what belonged, culturally, to the ’new’ life and what traces remained of the old?” and ”what impact does it have on me as an artist to establish a relation to the past?” have emerged in this process. In this sense, the project is about cultural history, but cultural history also provides a perspective from which dif-ferent forms of cultural expression become interconnected, and this is mirrored in how my own work as an artist develops: in bridging different forms of artistic expression to create a new, comprehensive whole.
Abstract #: 2022
Between two forts – Art Performance
Mrs Helle Kvamme, Yellowbox arts
Helle Kvamme presents her journey between two forts in an art performance. The place chosen is a non-site, a place with a pause, next to and between two forts. A forgotten forest holds its own untold story. It holds the importance of the forts. It holds the journey, the before and the after. There are straight lines, there are remains, there are fallen trees and empty barns. We seek together, we walk the walk. In a performance presenta-tion a structure and a rhythm will be presented based on the search of a story untold. Fragments in a circular movement in the place in-between. The question raised in this presentation is how do we perform with a hidden or forgotten heritage, the places in-between?
Abstract #: 1670
Sandby borg unplugged
Frances Gill, Stuck in the Wood AB
I consider Cornelius Holtorf’s recommending of the telling of stories and meta-stories in archaeology, in respect of a trans-disciplinary methodology that combines archaeology with experimental music composition. The stage is Sandby borg, I am the composer and a Ph.D. archaeology student, and the players are various individuals and groups. The title of the com-position is ‘SOUNDmound for Sandby borg’ and the method I call SOUNDmounding.
I take a step back from Holtorf’s perspective of the archaeolo-gist as storyteller and consider the significance of non-archa-eologists as the active ingredients in the telling of respective meta-stories. This process is driven by experimental heritage which can be defined as what happens when archaeologists and artists collaborate. A brief survey of the role of subjectivity and reception aims to provide insights into the extent to which power is distributed and how this affects the music.
Keywords: experimental heritage, experimental music,
meta-stories, ethics, humanity, public archaeology
E-mail: [email protected]
Web: www.motherflute.org & www.soundmound.org
Mother Flute, Annika Grünwaldt Svensson (2017),Digital collage.
Abstract #: 1969
Greetings from one refugee camp to
another or to paint with wide brushes
Johanna Päivärinta, Artist, Experimental Heritage / Sisters of Sättra
Art recipe: Choose an archaeological place like Ismans-torpsborg, Öland, Sweden. Collect two thousand blankets in different colours. Place them in a pattern in the chosen place. Gather people to enjoy and collaborate with each other. Docu-ment with photographs and film. Send the blankets to a refuge camp in Syria.
E-mail: [email protected]
Image: Sisters of Sättra, Filtprojektet
Abstract #: 1668
Crossing borders through experimental archaeo-
artistic sketching inbetween fragment and entirety
PhD Magali Ljungar-Chapelon, Lund University & Linnaeus University
What happens when researchers in the fields of archaeology and artistic research together with artists strive to interpret cultural heritage in an experimental way with representatives of several disciplines such as design, interactive design, religion, and enterprise by shaping sketches, installations, works of art and developing concepts, devices, writing texts and poetry? Promising cross-disciplinary fora concerning the interpretative processes and articulated through the question of crossing boarders and setting limits seem to emerge by apprehending one another through artistic and scientific lenses that at times coincide and at times collide with each other creating some kind of revealed distortion in the production of meaning. The related underlying question explored being that of the relation-ship between fragment and entirety and its meaning for the interpretation of cultural heritage as expressed through artistic and scientific sketching and shaping processes within these archaeo-artistic fora.
E-mail: [email protected]
From Fragment to Entirety, Sketch: Kristina Jeppsson (2017), Photo: Magali Ljungar-Chapelon
Abstract #: 78
Turning to others: archaeology beyond
traditional modes of representation
Ms Dora EvangelouEphorate of Antiquities of West Attika, Piraeus and Islands- Greek Ministry of Culture and Sports
How could archaeologists act as agents of interpretation, wor-king with the material remains in order to construct alternative narratives of the past that meet present interests and values? This paper is concerned with the opportunities that archaeo-logical sites and fragments provide us, as a mean to recon-ceptualise the past and foster the public to procure a meaning of the past that holds itself in the present. Archaeological sites should be embraced as spaces of multidimensional experience, creativity and cultural expression. Such an effort undoubtedly requires interdisciplinary borrowing and cooperation. This paper poses the question of how archaeology can “meet” the performing arts as an alternative way to read through the archaeological traces and perceive a deeper understanding of the past. Three projects that took place in the city of Piraeus are presented and suggest that artists can bring in new images and contribute to the engagement of local community.
Abstract #: 822
The representation of the archaeological in art: the case of Latvia
Mag.hist. Zenta Broka-LaceInstitute of Latvian History, University of LatviaĢederts Eliass Jelgava History and Art Museum, LatviaFaculty of History and Philosophy, University of Latvia
Art is an important part of archaeology. At first, despite all the opportunities provided by the digital age, we still use a person’s drawing talents to record information directly in the field. Furthermore an artist or illustrator helps to reconstruct buil-dings, clothing and faces from the small fragments that archa-eologists have found. It is hard to imagine archaeologists’ work without close collaboration with artists. Nevertheless artists themselves have their own views on the past. What happens when artists’ imagination has gone too far? Which image has more influence on the general public? What’s right and what’s wrong? Where between art and science lies the truth? The aim of this paper is to examine how art and archaeology histori-cally have developed, coexisted and influenced one another in Latvia. Above all it is an attempt to understand how our past actually looks and how we would prefer to see it.
The first known attempt to depict the inhabitants of territory of Lat-via, based on archaeological material (Kruse. 1839)
E-mail: [email protected] all it is an attempt to understand how our past actually looks and how we would prefer to see it.
E-mail: [email protected]
Abstract #: 1751
In dialogue with a spring, artistically express its
uniqueness from prehistoric times and the past to
the present and future
Anita Andersson, Art and craft teacher/artist, Linnaeus University
The purpose of this work is to highlight and make visible a spring, its spring water and environment. The study and its re-sults will be helpful for people to create a relationship with and interest in springs. The idea is that the spring must become a place of knowledge and research in various fields, creating and recreating various aesthetic expressions. This study examines a spring, the spring water and the environment from an artistic perspective through artistic processes based on the sketch as a method. As the author / artist has an ethos rooted in sustaina-bility, the dialogue with the source have been of the greatest importance. Theoretical background information has been collected from specialists who have knowledge of the spring, its nature and environment. From a recreational perspective, meditation and yoga have been practiced in the spring’s envi-ronment. Dance and stories are artistically expressed. E-mail: [email protected]
Image: Anita Andersson
Abstract #: 2001
Creating room for play and learning while reach-
ing out to a younger audience at cultural heritage
sites
Johan Salo, Interaction Designer, Sweden
In 2016, 81% of all Swedes had access to smart phones (source: iis.se). Pokemon Go exploded in the summer of 2016. In Sweden, municipalities and schools encouraged kids to explore the sites suggested by the game. But Pokemon GO offered only gaming but not so much learning linked to the site. Since 2006 I have been involved in projects concerning learning and location-based services encouraging outdoor exploring. The problems in the earlier project were often that no one had the technology. Now the problem seems to be the lack of content and narrative. How can practitioners involve and invite the local community to be engaged in game, play and learning about the cultural heritage both outdoors and indoors? How can practitioners combine archeology, arts and culture to design a meaningful experience in the digital sphere? As an interaction designer I propose a new approach on how to engage and reach out to a broader and younger audience.
E-mail: [email protected]
Abstract #: 1921
Community Management in the UNESCO World
Heritage Prehistoric Pile Dwellings around the Alps
in Austria
Magistra Carmen Loew & Magister Artium Cyril Dworsky, Kuratorium PfahlbautenThe Kuratorium Pfahlbauten has been entrusted with the management of the UNESCO World Heritage Prehistoric Pile Dwellings around the Alps in Austria. Neither a purely scientific approach nor the consideration of tourism perspectives is enough to administrate and maintain these underwater sites. In order to establish a social control for the pile dwelling sites, the Kuratorium strategically develops its relations with the popula-tion. This community management approach is also suitable to fulfill the demand for public participation, which can be derived from the World Heritage Convention. This lecture discusses the challenges and opportunities of an appreciative involvement using the example of the pile dwelling world heritage.
E-mail: [email protected]
The underwater excavation in Weyregg in Lake Attersee could be followed and commented upon via Livestream. Image: Kuratorium Pfahlbauten
View from an Ölandic landscape, Sweden. Photo: Bodil Petersson”
Experimental heritage: working together with time,
art and heritage in thelocal community
www.experimentalheritage.com