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Video impression of performance by Philippine Hoegen @ DIS_SEMINAR

Philippine Hoegen of Caradt’s autonomy research group showed her solo performance Ventriloquists III at DIS_Seminararrow in Amsterdam. DIS_Seminar is an exhibition organized by the platform Art ≈ Researcharrow about and with alternative forms of dissemination of artistic research.

Video impression Ventriloquist III

Ventriloquists III is a performance, that is both a research method, a product and a presentation of a research project entitled The Self as a Relational Infrastructure in Process. As such, it is based on a practice-based enquiry into the production of different versions of the self, including the technologies and processes used to produce these versions. How are we to understand the self in the context of the existence of (its) multiple versions.

Research context

In the research Hoegen approaches and activates performance explicitly as a research strategy: a way of thinking that involves the physical. The question we would like to discuss is what happens to the sharability and digestibility of a complex discourse on subjectivity and personhood when researched/presented through performance? And what is the (feedback) effect of this form on the content of the research?

The Self as a Relational Infrastructure in Process

This research project is a practice-based enquiry into personhood and autonomy. 

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‘Performance is about engaging with versions of the self, stretching the gaze to see what others see when they look at you.’

Philippine Hoegen was a researcher within the Cultural and Creative Industries research group from 2016 until 2020. She is also a tutor at St. Joost School of Art & Design and the Master Institute of Visual Cultures. 

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Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?

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