{"id":23,"date":"2016-03-28T01:27:27","date_gmt":"2016-03-28T01:27:27","guid":{"rendered":"http:\/\/temporaryart.org\/workawork\/?page_id=23"},"modified":"2018-12-17T08:35:12","modified_gmt":"2018-12-17T08:35:12","slug":"project-description","status":"publish","type":"page","link":"http:\/\/temporaryart.org\/workawork\/?page_id=23","title":{"rendered":"Project description"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">The rationale for <\/span><i><span style=\"font-weight: 400;\">Work a work<\/span><\/i><span style=\"font-weight: 400;\"> is this need for further research focusing on collaborative artistic work processes, but also to problematize the concept of work in an era of crowdsourcing, \u00a0microfunding, and an expanded precariat.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">To investigate this without the constraints of our own pre-understanding of the concept of work, and as a way of questioning the expertise of the researchers, a group of visual artists, curators, and a musician will explore the theme together with an interdisciplinary network of researchers and practitioners. The idea is to use the development of the art project as a way to engage a wide group of people in the research. Some other underlying themes that are going to be discussed in additional workshops and more public seminars are:<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">The locus of power and control in a more dynamic peer-worked collective where participants\u2019 roles and status are continuously negotiated.<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">Conflicting discourses and theories about work, e.g. solidarity versus the \u201ceconomic man\u201d: How are the changed work relations explained and justified?<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">Where is solidarity when your social network is the means for production?<\/span><\/li>\n<li style=\"font-weight: 400;\"><span style=\"font-weight: 400;\">How is the creative process affected by changing norms regarding work?<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">However, the starting point in the artistic research project is not the overall theme, but how the theme relates to our personal conflicts and interests. This appropriation of the situation for one\u2019s own purpose and self-understanding is also a way of describing a structural problem through the individual narrative and a way to connect a common history with a personal. The artists and invited practitioners and researchers will discuss their own experiences of work in order to develop the common theme and to root abstract ideas in situations that we have experienced ourselves.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">It is a common practice in contemporary art to position an artistic investigation at a specific place and\/or within the framework of a particular theme. What distinguishes this project from other art projects more closely run by curators is the emphasis on knowledge being created within the group of participating artists, a methodology that I developed together with \u00c5sa Andersson Broms and Nils Claesson in earlier projects (such as Best before \u00a01991, Pengar 2001, \u00a0Re.produktion 2005, and Performing the Common in 2012). This project will be devoted to this process of knowledge creation. We will focus on the collective creation of knowledge that takes place in a group exhibition and will encourage this in various ways. In a thematic exhibition, the artists relate to a common theme and, at times, to shared experiences, while contributing their own personal narratives. The individual artworks are also developed collectively since the artists meet regularly and reflect on the project as well as share information.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This process will start with the theme of \u201cwork\u201d and will develop through the work and reflection of the artists in dialogue with different points: the artists\u2019 ongoing project, the overall discussion of the theme in the group of artists and the reference group, and the various structures that are made visible through the shared work.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This collective approach to work touches on what is known as \u201cmemory work,\u201d a qualitative feminist model in which the participants collectively or individually analyze their own memories pertaining to a particular subject (Evans Hyle, 2008). In its feminist understanding of knowledge, memory work is reminiscent of the artistic methodology in that it is concerned with founding an understanding for overriding social structures in one\u2019s own personal experience. Precisely for this reason we will make use of memory work in this project as a method of penetrating and developing the subject through our collective experiences.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Memory work means that the researcher herself, or several researchers\/informants in a group, research their own memories within a selected theme. A memory work starts, for example, with a group that decides to write down memories around a certain theme that is then collectively analyzed in the group (Willig, 2013). The memory-work method was developed by a team of researchers around the sociologist Haug (1999). The method is primarily derived from two theoretical traditions within the interpretive paradigm: hermeneutics, by assuming a constructive interactive process of knowledge, and phenomenology, by emphasizing the importance of lived experience for understanding (Markula &amp; Friend, 2005). The ambition is to reach a general understanding of a phenomenon by starting the investigation from an understanding of the individual\u2019s experiences. To achieve this, you begin by describing conscious individual memories. The collective analysis of each memory is then intended to detect the underlying conflicts and to identify the cultural norms and behaviors involved \u2013 the reason for the memory becoming a memory. The method focuses on Husserl&#8217;s idea that memories are often just memories because of strong experiences of encountering different structuring norms. The memories are not interesting in themselves, but as examples of situations that contain various kinds of structurally determined conflicts. Although the memory starts with the individual memory, it is important to emphasize that it is not this subjective memory that counts, but the intersubjective process of knowledge that the work with the memories creates in the group (Onyx &amp; Small, 2001). In the art and research project, the memory work will be used as a way to develop the theme of the art projects. The artists and researchers will meet regularly in workshops and on an online forum over a period of two years.<\/span><\/p>\n<p><strong>References\u00a0<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Haug, F. (1999). <\/span><i><span style=\"font-weight: 400;\">Female sexualization: a collective work of memory<\/span><\/i><span style=\"font-weight: 400;\">. London: Verso. \u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Markula, P., &amp; Friend, L. A. (2005). Memory-work as an interpretive methodology for sport management. <\/span><i><span style=\"font-weight: 400;\">Journal of Sport Management<\/span><\/i><span style=\"font-weight: 400;\">, 442\u2013463.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">Onyx, J., &amp; Small, J. (2001). Memory-work: The method. <\/span><i><span style=\"font-weight: 400;\">Qualitative Inquiry<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">7<\/span><\/i><span style=\"font-weight: 400;\">(6), 773\u2013786. doi:10.1177\/107780040100700608<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Willig, C. (2013). <\/span><i><span style=\"font-weight: 400;\">Introducing Qualitative Research In Psychology<\/span><\/i><span style=\"font-weight: 400;\">. McGraw-Hill International. \u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The rationale for Work a work is this need for further research focusing on collaborative artistic work processes, but also to problematize the concept of work in an era of crowdsourcing, \u00a0microfunding, and an expanded precariat. To investigate this without<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/pages\/23"}],"collection":[{"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=23"}],"version-history":[{"count":5,"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/pages\/23\/revisions"}],"predecessor-version":[{"id":57,"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=\/wp\/v2\/pages\/23\/revisions\/57"}],"wp:attachment":[{"href":"http:\/\/temporaryart.org\/workawork\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=23"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}