| dc.description.abstract | I Hear Voices in Everything – Step by Step, is a practise-based dissertation in fine arts. It includes three art exhibitions, several independent art works and an essay. It discusses the role of the artist and the making of art mainly through the ideas of the Russian philosopher Mikhail Bakhtin (1875-1975) but also by reflecting on similarities between the artist and the curator.
Being a dissertation in fine arts, the aim is not primarily to develop
any certain philosophy but to use theory to discuss art, and vice versa. In the first section, the methodological presuppositions are articulated and contextualised. The relevance of artistic research as a means to develop artistic practice and as a means to increase the understanding of artistic practice is also addressed, as is the reasonability of using the philosophy of Bakhtin in this specific context. Bakhtin is usually referred to as a literary theorist; however, his dialogical philosophy concerns man’s being as a whole, that is, it is through dialogical relations man is constituted. Here, man, and also art in general, is understood by Bakhtin as being temporary meeting places for art works, readers, artists, protagonists, history etc. The reflective text in itself also endeavours to be dialogical and polyphonic by including different voices such as fictional characters, real comments, emails, letters and quotes. In the second section the practice of making art is discussed in relation to Bakhtin and other writers. One main topic is if one, by using Bakhtin, can also regard an art work as a meeting place for language (in its broad sense) so as to include physical material, skill, and experience; and hence, if one could, or should, regard the artist as a kind of curator, and vice versa. Bearing this in mind, is there then any relevant difference between organising language into an artwork or into an exhibition? The third section focuses on the artworks that are a part of the PhD
project; these include an exhibition and two planned exhibitions. The central theme of, or the catalyst for, the works of art is repetition.
Published as one exclusive copy, and also smuggled into the Lenin library, Sleeper is a collection of essays on the ingredients of a tuna fish casserole. Thessaloniki revisited is a video of a reading of a short story. Spin-Off is a video where a curse is read by an actor. Sharing a Square is a documentary-based video of a ritual drumming session in Calanda, Spain, and Erich P. is an artwork based on an embassy to Russia in 1673 and on contra-factual archaeology. As a final part of the dissertation project these artworks will be shown in a solo exhibition, and there will also be a curated exhibition, which will include only other artists. The last part of the dissertation’s title “Step by Step” refers to a larger art project called Taking Over, which this dissertation is a part of. Taking Over deals with different aspects of power relations in five separate projects. Being an integral part of this larger and thematic art project, the dissertation also refers to different aspects of power, and even to the lack of power in relation to the artist’s position in research contexts, both inside and outside academia. It also underlines that artistic research is part of a wider artistic practice. | sv |
