Annemarie Twigge in conversation with
The Ongoing Conversation #4, was part four of The Ongoing Conversation, a long term collaboration between students of the MAR (Master Artistic Research) and 1646.
The Ongoing Conversation #4 offered an event conceived as a platform to show and share the interest of ongoing artistic research.
The eight graduating students of MAR freezed the momentum of their artistic research process to create a decisive entry into the end phase of their explorations. Stringed together, these milestones created a combined itinerary with works by Bergur Anderson, Eros Chien, Sabin Garea, Quinsy Gario, Mirka Hodasova, Sepideh Jahanpanah, Vera Mennens and Ingrid Verweijen.
The event took place on the weekend of 21&22 January, opening on Saturday evening with performances by Quinsy Gario, Bergur Anderson and Ingrid Verweijen. Also the installations by Eros Chien, Sabin Garea, Mirka Hodasova, Sepideh Jahanpanah and Vera Mennens were on view. On Sunday all the non-performative work was on view on regular opening times.
Bergur Anderson writes about his work: “Someone has forgotten about their body during the act of looking. Conversations By The Fire is a performance that explores notions of having to re-construct it piece by piece using memory and vision.”
Eros Chien made an installation to raise the question about liveness of performance and the interaction between its images of documentation.
Sabin Garea is grinding to dust a sculpture previously made, investing a big amount of effort in doing this. Through its disappearance this work, that was born out of a technical exercise, legitimates its existence. It also generates a series of accessories created for the grinding process that become works themselves once the sculpture disappears.
Quinsy Gario’s work ‘Preparing for a hurricane’, is rooted in Gario’s own experiences of nature’s violence and presents the steps one needs to take to prepare for a hurricane through four vignettes. But as the performance progresses the violence that is centered changes. Through objects from St. Maarten and the Netherlands a story is told on how to prepare for the current environmental and political changes that we shall have to endure.
Mirka Hodasova’s practice revolves around family collections connected with childhood memories.
In her work she tries to understand their role while these objects haven’t been used for a long time.
Sepideh Jahanpanah writes about her work: A pure desire to reproduce unto death deserves a perpetually reliving death through the myth of layers.
For Vera Mennens the events between events (2016-) are a personal journey-format research through various layers of history. It’s a search for the meaning of the landscape and site through the historical, artistic and personal narrative.
Ingrid Verweijen has been dealing with the concept of a script around the first phase in the production of music. The work is an ironic comment on the role of vulnerability in music practice and gives the usual abstract script directions a leading role.
The Master Artistic Research at The Royal Academy of Art, The Hague is an intensive two year program of international students studying research practice with fine arts.