10-12 May 2017
Intensely debated in the fields of visual arts, art theory, and philosophy, the notion of the contemporary describes different practices, relating to disparate conceptual horizons. However, if distinguished from the contemporaneous, the contemporary becomes a selective concept: it promotes or excludes things and practices according to their ability of diagnosing previously unnoticed aspects of the present. In this sense, it gains a critical function, involving particular modes of relating to history and to one’s own time.
Following Roland Barthes’ claim, who—inspired by Nietzsche, and quoted by Agamben—said that “the contemporary is the untimely”, the contemporary might suggest artistic practices that run against their own time and epoch, implying specific forms of resistance.
Beyond historicising frameworks, the 14th International Orpheus Academy for Music and Theory—Futures of the Contemporary—will explore and discuss new modes of thinking the contemporary in the arts, particularly focussing on music and music performance.
Lectures by Babette Babich (US), Chaya Czernowin (US/IL), Heiner Goebbels (DE), Claus-Steffen Mahnkopf (DE), Peter Osborne (UK), Michael Schwab (UK), and Paulo de Assis (BE/PT).
(only in Dutch)
Communicatie & Digital Media Coördinator (m/v) voltijds
Je werkt binnen het office team van het Orpheus Instituut. Als Communicatie & Digital Media Coördinator zet je het Orpheus Instituut via verschillende communicatiekanalen op de kaart. Je gaat daarbij in interactie met onze studenten, onderzoekers, volgers, bezoekers. Je jongleert met onze digitale ‘touch points’ zoals website, e-mail, social media, video/audio, etc. Hiermee vertel je ons verhaal, geef je Orpheus Instituut een gezicht en informeer je gerichte doelgroepen over het onderzoek en de onderzoekers aan het Orpheus Instituut. Je weet wat leeft in de digitale wereld en je helpt ons te groeien in dit veld.
Je staat het office team bij in de organisatie van onze events (praktische uitwerking van de maandelijkse opleidingssessies, onderzoeksactiviteiten, etc.). Je communiceert met de betrokkenen (gastdocenten, studenten, (in house) onderzoekers, etc.), je vraagt de nodige informatie om de activiteit te promoten, je regelt contracten en je maakt technische afspraken.
Je beseft nu al dat jouw functietitel veel meer beslaat dan hierboven beschreven.
In February 2016 composer and oboist Heinz Holliger was invited to the Orpheus Instituut in Ghent, by pianist Jan Michiels. During his visit to Orpheus he explored his relation to his own music and to the music of others like Debussy or Schumann - by playing, explaining and coaching. The video recordings of this event are now published online.
Composition as Critical Technical Practice
Orpheus Research Seminar 2016
21-23 November 2016, Ghent, Belgium
The arts of the twentieth and twenty-first centuries have pushed us relentlessly to question inherited notions of the self, expression and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Increasing globalisation and the development of recording and photographic technologies, running alongside psychoanalytical understandings of selfhood and the impact of scientific principles of uncertainty, are often theorized as having prompted a crisis of identity, representation and authenticity. At the same time, the throwaway playfulness of pop culture and digital manipulation offer endless possibilities for self-reinvention. It is perhaps harder than ever to know who 'I' am, but 'I' am ever more self-aware. The fluid, dynamic, embodied and contingent qualities of subjectivity are experienced on an everyday basis.
During the first half of October Orpheus Institute welcomed its first South African visiting researcher: Mareli Stolp. Mareli is not only an excellent piano performer, specialized in contemporary classical music, she is also an inspired advocate of Artistic Research practices in her native country. Orpheus Research Fellow Luk Vaes engaged with her in a stimulating chat, and as a result of this encounter, Mareli accepted Luk's request to write a guestentry on his Artistic Research Reports-blog.
Following on meetings with members of Orpheus Research Centre - at the 2013 PERFORMA Conference on Performance Studies in Porto Alegre, Brazil, and the Limits of Control: Tradition, Experiment and the Imagination in Musical Performance seminar hosted by the Orpheus Institute in 2014 - South African pianist Mareli Stolp was thrilled to accept an invitation to take up a position as Visiting Researcher at the Orpheus Institute in October 2015. While a Visiting Researcher at the Orpheus Institute, she will focus on finding resonances between her own work on subjectivity and consciousness in artistic research contexts, performer-perspectives applied to music analysis; site-specific performance approaches; and experimentalism in music performance and three of the currently active Research Clusters at Orpheus: Performance, Subjectivity, Experimentation (Principal Investigator Catherine Laws); MusicExperiment21(Principal Investigator Paolo de Assis); and Experimental Legacy (Principal Investigator Luk Vaes).
DARE 2015 – The Dark Precursor - is the first international conference entirely dedicated to the relation between artistic research, French philosopher Gilles Deleuze and Félix Guattari. Choosing as its title the concept of ‘dark precursor,’ the conference reflects the duality and openness inherent to artistic research. Deleuze appropriated this expression from meteorology, where it designates a stage in a cloud-to-ground lightning sequence. In line with the theme of the ‘dark precursor’, the conference convenors are particularly interested in receiving proposals for scholarly and artistic presentations that investigate this relation.
The Orpheus Institute is looking for a researcher at the pre-doc or post-doc level who has strong research, organizational and writing skills, who has a technical interest in the making of pianos, and who is interested in taking on a key role in a collaborative project to reconstruct and manufacture an early nineteenth-century piano of historical and artistic significance.
The successful candidate will be integrated in the Research Cluster “Declassifying the Classics” under the supervision of senior researcher Prof. Tom Beghin and in collaboration with historical keyboard maker Chris Maene.
Application deadline: May 1, 2015.
The Orpheus Institute (Ghent, Belgium) and the Fund InBev-Baillet Latour are very pleased to announce a substantial research funding for the Orpheus Institute. The funding announced today will allow the Orpheus Institute and Tom Beghin to build a research group of high-potential researchers, industrial partners and well-established musicians and interpreters of 18th- and early 19th-century music. This grant reinforces the institute's position as a centre of excellence and as a frontrunner in Artistic Research in Music.