Private eyes that draw superimposed lines: Weak signals, atmospherics and choreographic diagramming in Room 22, AWB 2021: Hotel Belgrade

TY - JOUR

T1 - Private eyes that draw superimposed lines:

T2 - Art Weekend Belgrade 2021

AU - Tomic-Vajagic, Tamara

A2 - Mirčev, Andrej

PY - 2023/9/1

Y1 - 2023/9/1

N2 - This practice-as-research article reflects on the artistic use of styles of fictional televisual detective diagramming, or “serial pinboarding” (Ganzert, 2020), in the context of Art Weekend Belgrade’s (AWB) project “Come into our room: A soft oral history of the Hotel Beograd”(hereafter, Room 22). Reflecting on the artwork, below I discuss several ways in which the televisual 'detective diagramming' is an imaging style that has certain potentials to form an “investigative aesthetic” akin to other related entanglements of investigative and aestheticising impulses, after Fuller and Weizman (2021). In one way, in Room 22, diagrammatic collages simultaneously also acted similarly to William Forsythe’s “choreographic objects” (Forsythe, 2009), motivating the movement of visitors through the room and the Hotel building. Importantly, the 'detective-style' collages also were connected to the environment, thus giving a rise to a dramaturgical effect similar to Rachel Hann’s “atmospherics” —a mode that amalgamates sensorial inputs with the scenographic setting (Hann, 2021). In AWB Hotel Belgrade Room 22, similar atmospherics occurred as the fictional detective’s diagrammatic style fostered a bridging between the inside of the image, with the shards of the lost hotel rooms, and the forgotten history of the Hotel and its Belgrade neighbourhood with its fluid socio-cultural and sometimes violent histories.This reflective article extends the visual-dramaturgical art work from the Room 22 into the next practice-led conceptual layer.

AB - This practice-as-research article reflects on the artistic use of styles of fictional televisual detective diagramming, or “serial pinboarding” (Ganzert, 2020), in the context of Art Weekend Belgrade’s (AWB) project “Come into our room: A soft oral history of the Hotel Beograd”(hereafter, Room 22). Reflecting on the artwork, below I discuss several ways in which the televisual 'detective diagramming' is an imaging style that has certain potentials to form an “investigative aesthetic” akin to other related entanglements of investigative and aestheticising impulses, after Fuller and Weizman (2021). In one way, in Room 22, diagrammatic collages simultaneously also acted similarly to William Forsythe’s “choreographic objects” (Forsythe, 2009), motivating the movement of visitors through the room and the Hotel building. Importantly, the 'detective-style' collages also were connected to the environment, thus giving a rise to a dramaturgical effect similar to Rachel Hann’s “atmospherics” —a mode that amalgamates sensorial inputs with the scenographic setting (Hann, 2021). In AWB Hotel Belgrade Room 22, similar atmospherics occurred as the fictional detective’s diagrammatic style fostered a bridging between the inside of the image, with the shards of the lost hotel rooms, and the forgotten history of the Hotel and its Belgrade neighbourhood with its fluid socio-cultural and sometimes violent histories.This reflective article extends the visual-dramaturgical art work from the Room 22 into the next practice-led conceptual layer.

KW - Art Design

KW - Choreographic diagramming

KW - Choreographic Objects

KW - Art Weekend Belgrade

KW - Hotel Belgrade

KW - Art Exhibition

KW - Participatory art

KW - Visual culture

KW - Cultural history

KW - Dramaturgy

KW - performance making

M3 - Article

SN - 1352-8165

VL - Vol 27: 8, On Diagrams and the Diagrammatic

SP - 42

EP - 53

JO - Performance Research: A Journal of the Performing Arts

JF - Performance Research: A Journal of the Performing Arts

IS - Issue 8

Y2 - 20 October 2021 through 29 October 2021

ER -