Participants

November 2022
DAAD-Fellow
 

October - December 2018
In coorporation with Prof. Dr. Ursula Kirschner
https://majumartins.wordpress.com

Artist Talk
23.10.2018 | 18:15 | C5.225

In this conversation, Maju Martins will present different practical experiences with and by groups and contexts that use artistic practices to produce new understandings about different topics. All are invited to reflect on and discuss these strategies as ways to develop new methodologies of knowledge production, teaching and learning.

Workshop | Frontier Zones in Urban Spaces: Images, Sounds, Movements in History
12.12.2018 | 13:00-17:00 | C5.225
By Maju Mar­tins and Ur­su­la Kir­sch­ner

This work­shop is an in­vi­ta­ti­on to re­flect and dis­cuss about the con­cept of Fron­tier Zo­nes in dif­fe­rent con­texts. It will pre­sent and ne­go­tia­te the pro­ces­ses and re­sults of three dif­fe­rent re­se­arch and did­ac­tic ex­pe­ri­en­ces. Two In­ter­na­tio­nal Sum­mer Schools en­t­it­led “Fron­tier Zo­nes” that took place in Bra­zil (2015 and 2017) and a se­mi­nar en­t­it­led Fron­tier Zo­nes in Ur­ban Spaces at Leu­pha­na Uni­ver­si­ty Cam­pus in 2018. The main ob­jec­tive of the­se ex­pe­ri­en­ces was to high­light the va­lue of ex­pe­ri­ence-ba­sed learning ap­proa­ches and the me­thod of do­cu­men­ta­ry filmma­king with the fo­cus on the au­dio-vi­su­al wi­thout ex­pla­na­to­ry words. The aim re­si­ded in crea­ting me­tho­do­lo­gies and know­led­ges from ur­ban au­dio-vi­su­al ex­plo­ra­ti­on ap­p­ly­ing the tech­ni­ques of do­cu­men­ta­ry filmma­king as a me­di­um to re­veal new in­sights and rea­dings of con­tem­pora­ry spaces.

The work­shop will be di­vi­ded into two parts. Star­ting at the Kunst­raum, the au­di­ence is in­vi­ted to take part in an au­dio-vi­su­al ex­hi­bi­ti­on that will oc­cur in three dif­fe­rent pla­ces around the Cam­pus. The pro­jec­ted short films are a re­sult of the se­mi­nar. The se­cond part, back at Kunst­raum, will in­clu­de the scree­ning of two films pro­du­ced du­ring the Fron­tier Zo­nes In­ter­na­tio­nal Sum­mer School pre­sen­ting the ide­as and prac­tices in­vol­ved in tho­se ex­pe­ri­en­ces, co­or­di­na­ted by Pro­fes­sor Ur­su­la Kir­sch­ner in col­la­bo­ra­ti­on with Ma­ria Ju­lia Mar­tins.
 

04. Januar 2017 - 27. Januar 2017
Sissel Marie Tonn is a Danish artist living in The Hague. She works with multi-media installation, drawing and writing, and her processual approach is driven by a great deal of curiosity and the possibilities of building relationships across fields.

Her work builds upon an interest in "presence" within ecologies undergoing subtle or profund changes. Within this discourse the work explores these environmental (often humanly induced) changes, extending the public debates towards epistemological issues connecting these events to the body and its sensing of presence. She has lived and worked in Copenhagen, Toronto, Berlin and is now based in The Hague, where she is continuing to engage in community projects, host workshops, events and group exhibitions. She is the co-founder of the artist initiative Platform for Thought in Motion together with artist Jonathan Reus. Together they arrange events in The Hague, in collaboration with the artist initiative iii. She completed a master in Artistic Research at the Royal Academy of Art in The Hague 2015.

Website of Sissel Marie Tonn

The Intimate Earthquake-Exhibition
 

Exercises for the Possible

I have always been fascinated by the concept of relation - and the quest of making the ever-fluctuating, reciprocal and entangled relations between body and environment tangible. The objects, exercises and gestures that I create in my work are ways of making relations felt. My work deals with instances where environmental changes affects the body, and how this afford a kind of increased sensory awareness of the surrounding environment. Currently I am developing a new conceptual framework in which I situate these works, that of "Procedural Tools" (a concept taken from Arakawa & Gins) which will be the focus for my residency at Archipelago as well. Procedural tools expose the expansiveness of the sensorium - ever-evolving and plastic in themselves, morphing into new configurations along with the body/environment ecology. Thus they afford an opportunity for the body to attune to subtle changes within an environment, or challenge its own inherent plasticity.

The residency will be an opportunity to develop further a series of worn objects that reposition the perceptual posture of the body. By developing a fictional/poetic framework around procedural tools (through writing, procedures and performative presentations) I wish to develop a strategy of "multi-sensory storytelling" around the concept of relation. How can a hybrid practice combining worn objects and speculative poetics offer a way to explore our own plasticity?

I am interested in creating work that challenge the cognitive block of insurmountable doom often mentioned in the same breath as climate change. I want to create work that in a way re-calibrate the senses to even the subtlest of changes occurring in the body-environment ecology - and thus may perhaps even play a role in speeding up the adaptive process towards perceiving the looming threat of environmental degradation and adapt to it accordingly.