Art archaeological interactions (2024). (original) (raw)
Related papers
Introduction: Artistic Practices and Archaeological Research
Artistic practices and archaeological research, 2019
Printed ISBN 9781789691405. Epublication ISBN 9781789691412. Artistic Practices and Archaeological Research aims to expand the field of archaeological research with an anthropological understanding of practices which include artistic methods. The project has come about through a collaborative venture between Dragoş Gheorghiu (archaeologist and professional visual artist) and Theodor Barth (anthropologist). This anthology contains articles from professional archaeologists, artists and designers. The contributions cover a scale ranging from theoretical reflections on pre-existing archaeological finds/documentation, to reflective field-practices where acts of ‘making’ are used to interface with the site. These acts feature a manufacturing range from ceramics, painting, drawing, type-setting and augmented reality (AR). The scope of the anthology – as a book or edited whole – has accordingly been to determine a comparative approach resulting in an identifiable set of common concerns. Accordingly, the book proceeds from a comparative approach to research ontologies, extending the experimental ventures of the contributors, to the hatching of artistic propositions that demonstrably overlap with academic research traditions, of epistemic claims in the making. This comparative approach relies on the notion of transposition: that is an idea of the makeshift relocation of methodological issues – research ontologies at the brink of epistemic claims – and accumulates depth from one article to the next as the reader makes her way through the volume. However, instead of proposing a set method, the book offers a lighter touch in highlighting the role of operators between research and writing, rather entailing a duplication of practice, in moving from artistic ideas to epistemic claims. This, in the lingo of artistic research, is known as exposition. Emphasising the construct of the ‘learning theatre’ the volume provides a support structure for the contributions to book-project, in the tradition of viewing from natural history. The contributions are hands-on and concrete, while building an agenda for a broader contemporary archaeological discussion. http://archaeopress.com/ArchaeopressShop/Public/displayProductDetail.asp?id={BAAF7F21-9F73-4A38-AACC-AD0DD3A5B31C}
Journal of Skyscape Archaeology, 2023
All archaeologists use creative methods, whether consciously or unconsciously. In the context of archaeological theory and method, the edited volume Art in the Archaeological Imagination explores postprocessual approaches to the study of the past through art and imagination. The editor, Dragoş Gheorghiu, is a professor at the Bucharest National University of Arts in Romania and the author of many publications in the field of historical anthropology and archaeology. His research topics span from sensorial to experiential approaches, intangible heritage to augmented reality, rites of passage to prehistoric technologies. European prehistory is the historical context mostly explored in his publica-tions, and that is also the case with this volume. He has been the co-author of several EAA (European Association of Archaeologists) conference sessions in recent years, with themes centred on soundscapes and rhythm in prehistory, anthropomorphism, identity, interdisci-plinarity and educational practices between past and present. Archaeological imagination is also a key topic among Gheorghiu’s interests. This subject has been explored already by Michael Shanks, who observes that “there are many creative choices to be made in the way that we may take up the past” (Shanks 2012, 149). Adding art to the idea of archaeological imagination, for Gheorghiu the field can be referred as “art-chaeology”, to emphasise the “cognitive analogies between the archaeological research and the artistic practices” (p. 95). The volume contains much technical language, but the book is nevertheless acces-sible to non-specialists, with the style changing across the different contributions. In some chapters, such as Jacqui Wood’s contribution on “the prehistoric artisan’s mindset”, findings are presented qualitatively in the form of an artist’s diary or journal, and take a subjective literary form. Other chapters, however, tend towards quantitative analysis and essay-style arguments on topics such as cognition, aesthetics, psychology and demog-raphy. Several black-and-white images aid comprehension.
Art // archaeology // art: letting-go beyond (2013)
Published in I. Russell and A. Cochrane (eds). Art and Archaeology: Collaborations, Conversations, Criticisms, pp. 231-50. New York/Dordrecht: Spring., 2013
In this text chapter, Professor Bailey investigates the articulations of art and archaeology. He argues that while recent influences of contemporary art have expanded archaeological interpretations of the past, more provocative and substantial work remains to be done. The most exciting current output is pushing hard against the boundaries of art as well as of archaeology. Bailey’s proposal is for archaeologists to take greater risks in their work, and to cut loose the restraints of their traditional subject boundaries and institutional expectations. The potential result of such work will rest neatly within neither art nor archaeology, but will emerge as something else altogether. The new work will move the study of human nature into uncharted and exciting new territories.
Art/Archaeology: what value artistic-archaeological collaboration (2017)
Journal of Contemporary Archaeology 4(2): 246-256, 2017
This project sees archaeology and art as a political tool for disrupting conventional, politically loaded narratives of the past. Rather than producing institutionally safe narratives conventionally certified as truth, archaeologists should follow the lead of artists who use the past as a source of materials to be reconfigured in new ways to help people see in new ways. Using as an example the works of the Canadian artist Ken Monkman, who subverts nineteenth-century landscape painting to reinsert the missing critiques of Anglo-American colonialism, dominance of nature, and heteronormativity, this paper advocates disarticulat-ing materials from the past by severing them from their context, repurposing them to bring contemporary concerns to the fore and creating new, disruptive visions from them. The article proposes the practice of an art/archaeology.
Creative (un)makings: Disruptions in Art/Archaeology - Exhibition Catalogue (2020)
2020
Art/archaeology, a new transdisciplinary practice has fractured traditional perspectives on the relationships of art and archaeology, and the exhibition "Creative (un)makings" brings that disruption to the museum world for the first time. This book is the catalogue from the exhibition at the International Museum of Contemporary Sculpture in Portugal (March-September 2020) Seen from the standard perspective of traditional academic and cultural subjects, art and archaeology have comfortable relationships: collaboration, co-inspiration, shared aims to advance knowledge of human behavior and thought. Art/archaeology argues that writing and thinking about the past should move beyond existing boundaries of both disciplines, and that creative work should replace written texts and lectures. Art/archaeology opens a new space where creative work, thought, and debate expand in unexpected directions, and where we find innovative potentials for objects from the past.
Internet Archaeology, 2020
This article presents the emerging transdisciplinary practice of Experimental Heritage as performed within an ongoing Irish-Swedish research project involving artists and archaeologists. The project is undertaken simultaneously in western Ireland and south-eastern Sweden. It explores the chosen Irish and Swedish landscapes of Clare and Öland, their similarities and differences, with the aid of combined and integrated artistic and archaeological practices. The starting points for common explorations are: stone and water, movement and time/the multitemporal, and the tangible and intangible aspects of landscape experience. In a transdisciplinary process, we explore new ways of combining art, archaeology and heritage within and between these landscapes. One path towards fulfilling the aims is to explore art, archaeology and heritage through the senses. A phenomenological landscape perspective and an eco-cultural approach is combined with Performance Studies and movement-based practice. These perspectives and methodologies are paired with artistic and archaeological approaches to research, such as those conducted through poetry, music, performance, visual arts, physical surveys, mapping and excavations. Methods of working have developed from walking in the landscape to sketching, through visuals, sound and movement, group dialogue, team building and exploring the materiality of making. Group movement-based workshops are used to support receptivity and inner listening for decision making through somatic principles and the senses. The project encourages transdisciplinary as well as translocal practice to arrive at new approaches and perspectives on how the past matters to us in the present and how it might have an impact on the future. To achieve both transdisciplinary and translocal ways of working through art and archaeology/heritage, we need to expand beyond conventional art and archaeology/heritage research, communication and presentation within the well-known framework of universities, cultural history museums and art institutions. The constraints of these conventions are substituted by alternative settings in the landscape. This landscape-based practice includes method development across disciplines, times and geographic distances. It also includes collaborations with people from local communities that can contribute their perspectives, experiences and stories to the explorations. The advantage of Experimental Heritage as practice in the landscape is its ability to challenge our current worldview to better understand other times and cultures as well as our own. This in turn provides us with new tools to create alternative futures resting on care and respect for the need for diversity and breaking not only with boundaries set up between nature and culture but also hierarchies of centre and periphery. We intend to find out more about the multitemporal layers in the landscapes surrounding us and how they relate to our inner landscapes of multitemporal perception. The combination and equal roles of artists and archaeologists as well as the contributions of researchers and members of the local communities in this work is crucial. Equality and diversity encourage transdisciplinary knowledge development.
24th Annual Meeting - European Association of Archaeologists, 2018
The dissemination of music archaeological research calls, even more than in other branches of archaeology, for the negotiation between science, art and entertainment. The reconstruction of musical instruments or acoustic environments can often only be transmitted through experiencial learning, and the public engagement that can be achieved thanks to these musical experiences is remarkable. However, there are certain problematics that need to be discussed. On the one hand, as any other human science, music archaeology proposes particular narratives about music history and human cultures that often project onto the past modern musical identities and concepts, which legitimate contemporary social and political agendas. On the other hand, one of our main objectives as researchers is to question these narratives and preconceptions in the light of archaeological data. However, public engagement can only be achieved by a certain degree of negotiation between this scientific approach and the artistic and entertainment expectations of the audiences. Based on the experiences gathered in the European Music Archaeology Project and the exhibition Archaeomusica, this paper will discuss possible ways of transmitting music archaeological knowledge through art and entertainment and will propose ways of challenging certain harmful narratives and concepts about past music, while trying to offer results that are still significant for the general public and artistically relevant.
The Archaeological Imagination - Summary
To recreate the world behind the ruin in the land, to reanimate the people behind the sherd of antique pottery, to bring alive the past-in-the-present, as in an historical novel, to cherish and work upon fragments of the past, what remains of the past in the present. This is the work of the archaeological imagination – a creative impulse and faculty at the heart of the discipline of archaeology, but also embedded in many cultural dispositions, ways of thinking and talking, institutions like museums and archives, commonly associated with the modern world. This book details the components of the archaeological imagination by connecting its origins in the eighteenth century with popular culture, the heritage industry and academic interests today.