Writing | CHRISTOPHER BRADDOCK

Moana Nui Social Art Practices in Aotearoa

07-12-2018

Vea, John; Braddock, Chris. Moana Nui Social Art Practices in Aotearoa. DATJournal Design Art and Technology, [S.l.], v. 3, n. 2, p. 291-324, Nov. 2018. ISSN 2526-1789. Available at: https://ppgdesign.anhembi.br/datjournal/index.php/dat/article/view/95

This article discusses emerging methodologies in Moana Nui a Kiwa (MNak) (Pasific Peoples) performance art practices in Aotearoa New Zealand (NZ). It explores the ways in which artistic research guides research questions and final research outputs within the context of a practice led PhD degree. John Vea’s (Tonga/NZ) underlying research methods reference Timote Vaioleti’s work on ‘talanoa’ as a MNak notion about respectfulness in personal encounters with people. Vea’s performance practice engages with MNak minority groups — exploring tropes of migration and subsequent interaction with hegemony — where ‘co-operations’ with collectives and small groups challenge some traditional research models of leadership and authorship. These indigenous approaches encourage a different reading of theorists such as Chantel Mouffe and her ideas of navigating artistic activism and agonistic spaces of shared cooperation.

Rehearsing Practice as Research

07-12-2018

Texts, Writing

Webb, Olivia; Braddock, Chris. Rehearsing Practice as Research. DATJournal Design Art and Technology, [S.l.], v. 3, n. 2, p. 325-352, Nov. 2018. ISSN 2526-1789. Available at: https://ppgdesign.anhembi.br/datjournal/index.php/dat/article/view/92

This article explores ways that artists work with people in forms of social performance art practices. Approaching, directing and organising people involves an ethics of attentiveness, including modes of listening, that allows for diverse research outcomes. In this context, Lisbeth Lipari’s 2014 book Listening, Thinking, Being: Toward an Ethics of Attunement discusses philosopher Emmanuel Levinas’ notion of the face-to-face encounter with another as a meeting that must embrace difference. Practices of listening and attunement play a critical role in Olivia Webb’s PhD project at AUT University where her art practice engages participants and diverse communities in music and song. For these projects Webb draws from her experience as a trained choral singer and performance artist and asks how listening is translatable across different cultural groups. These practice-led methodologies, based on ideas of participation, actively amend and redirect her projects.

Animism in Art and Performance

07-12-2018

Writing

Braddock, Christopher (Ed.). 2017. Animism in Art and Performance. London: Palgrave Macmillan.

Animism in Art and Performance explores Māori indigenous and non-indigenous scholarship corresponding with the term ‘animism’. In addressing visual, media and performance art, it explores the dualisms of people and things, as well as ‘who’ or ‘what’ is credited with ‘animacy’. It comprises a diverse array of essays divided into four sections: Indigenous Animacies, Atmospheric Animations, Animacy Hierarchies and Sensational Animisms. Cassandra Barnett discusses artists Terri Te Tau and Bridget Reweti and how personhood and hau (life breath) traverse art-taonga. Artist Natalie Robertson addresses kōrero (talk) with ancestors through photography. Janine Randerson and sound artist Rachel Shearer consider the sun as animate with mauri (life force), while Anna Gibb explores life in the algorithm. Rebecca Schneider and Amelia Jones discuss animacy in queered and raced formations. Stephen Zepke explores Deleuze and Guattari’s animist hylozoism and Amelia Barikin examines a mineral ontology of art. This book will appeal to readers interested in indigenous and non-indigenous entanglements and those who seek different approaches to new materialism, the post-human and the anthropocene.

To order the book please visit www.palgrave.com

ISBN: 86907031