Kunst der Verschränkung is a new residency programme in collaboration between Science Gallery Berlin and BIFOLD. Claudia was invited to work with the team of both organizations and to curate the first artist-in-residence, to consult the Science Gallery Berlin and BIFOLD team in the process with the artists, and to design the open call, main structures, and give a name the residency programme.
The winning artist will be invited to the residency throughout fall and winter 2022. The team aims at showing the outcome of the residency in Berlin at the beginning of 2023. The residency programme invites artists based in Berlin to apply for the residency. Currently the call is open until 25th April 2022, all the details can be found in Science Gallery’s submission system.
Science Gallery Berlin is one of the youngest partners in the Global Science Gallery Network and based at the Technische Universität Berlin. BIFOLD is a newly founded competence center for artificial intelligence with a focus of entangling machine learning and big data management, also based in Berlin. The goal of the residency is to find an artist to engage with the central themes discussed at BIFOLD, to critically engage, bring in new perspectives, trigger discussions, or to engage with one of the projects such as the work on algorithms and databases.
In collaboration with the communications engineering group at Johannes Kepler University Claudia conceived this artscience project to advance approaches to build cyber-physical-systems in communications engineering/business informatics and contribute to the sensemaking theory (Weick) in social sciences, especially organization studies, to better understand aesthetics and embodiment within sensemaking. Sensemaking theory has previously been employed to explain the impact and potential contribution of artscience projects in scientific settings and artistic interventions in organisational settings. Nevertheless, aesthetics and embodiment are underexplored parts of the theory. Thus, DIGI-sense employs artscience collaboration to contribute to sensemaking theory.
DIGI-Sense is a research project realized at the Linz Institute of Technology at the Johannes Kepler University Linz, led by Claudia and in collaboration with Prof. Christian Stary, head of the Institute of Business Informatics & Communications Engineering. DIGI-Sense is a 2-year project and aims at realizing at least three artistic interventions. PhD student on the team is Daniela Brill Estrada.
The project focuses on sensemaking in digitalization processes, especially in the interaction with digital twins and robotics. Artistic engagement – with a specific focus on dance and performance – is central to the research method to gain insights into the embodiment and relevance of aesthetic/sensory knowledge in sensemaking processes. Thereby the team aims at advancing understanding of the mechanisms underlying artful articulation and sensemaking in digital transformation projects by examining the socio-technical design and development process through the lens of digital twins (DT). Moreover, a special focus will be on researching aesthetics, aesthetic experiences and embodied knowledge in relation to sensemaking processes. Find more information on the project webpage.
Within an ongoing consulting process with a team at ESA/ESTEC Claudia co-developed this pilot artistic research residency. Mission: Art-Space Exchange is an opportunity for an artist in The Netherlands to be hosted for an art-science research residency at ESA/ESTEC. Due to possible COVID-19 travel restrictions in autumn/winter 2021, the call had to be focused on artists living in The Netherlands. To widen the scope, the open call proposes two themes the artists can link their artistic proposal to: „Worlds beyond our Solar System“ including question about conditions of life, and „Many colours, different views – revealing the invisible Universe“ including working with the understanding and technology to detect multipe wavethengths.
Partner of this residency opportunity is Science Gallery Rotterdam: first, through workshops with young local audiences, the ideas generated in the art-science process and themes the artist is working on will reach a broader and local public. Second, the artist will have the opportunity to also connect to researchers at MC Erasmus University in order to embed their thinking in a broader context.
The call was open until 24 October 2021. Artist Anna Hoetjes has been selected for the residency and will start her residency period in the week of 22nd November 2021. As curator Claudia works with the artist as curator and support the team at ESA/ESTEC to develop the artscience programme further.
In 2021 Claudia was invited to become the Art & Science Collaboration Expert Advisor for the Roots & Seeds XXI (BioXXI) project, a Creative Europe collaborative project led by Quo Artis. As the project unfolded, Claudia was invited to also support the research on art and science projects tackling the biodiversity crisis, sustainability, and global challenges. Moreover, she was invited to do the analysis of the data gathered on these projects. Her contribution to the research of the Roots & Seeds XXI extends to working on guidelines for projects to work across disciplines.
The talented SciArt team at the Joint Research Center of the European Commission in Ispra invited Claudia to become part of the curatorial team and to consult for their Resonances IV project, which is themed NaturArchy,. Starting with consultancy and co-development of the open call in 2021, preceded by the artist selection and the process of outlining and curating the Summer School, Resonances IV will further unfold in the selection of the artists for residencies at the JRC, support of the artists and the artscience proccess, and artwork production for the festival/exhibition in 2023.
For information about Resonances IV please visit the website of the JRC SciArt Project.
Claudia was invited by Sarah Kenderdine as guest curator at EPFL Pavilions for the show „Cosmos Archaelogy“. The exhibition opened on 16th September 2022 in Lausanne, EPFL Pavilion B, open until 5th February 2023. The exhibition guide can be downloaded here.
As guest curator, Claudia was invited to contribute a selection of artworks that fit into the story and exhibition design of Cosmos Archaeology, curated by Prof. Sarah Kenderdine and Prof. Jean-Paul Kneib.
JECT-SENSE is a collaboration between JECT.AI, a start-up working in the news media sector, media artist Antoni Rayzhekov and Claudia Schnugg, to be realized in 2021. It will develop novel and unconventional ways for journalists and a general audience to engage with news coverage, including scientific coverage, which in turn be realized as a visualization component for JECT.AI’s digital product, an artwork and a video demonstration. JECT.AI manipulates a news information set that is very large. It is difficult to understand this news coverage using text outputs. News landscape concepts, such as information clusters and patterns of biased information, are difficult to detect and represent. Therefore, the new artwork, called Fragile Perspectives, will stimulate new insights about news coverage through multi-sensory experiences including landscapes, tangible objects, soundscapes, and spatial arrangements. The artwork will inform new news visualizations to build into JECT.AI. The project pitch is to be found here.
In June 2022 the resulting artwork Fragile Perspective will be shown at the exhibition of the ACM C&C Conference in Venice. From September 2022, Fragile Perspectives is also part of a group exhibition at Structura Gallery in Sofia, Bulgaria, and will be shown in Singapore from end November 2022 for three months as one of the ten shortlisted artworks of the NTU Global Digital Art Prize.
JECT-SENSE is part of the MediaFutures project. This project has received funding from the European Union’s framework Horizon 2020 for research and innovation programme under grant agreement No 951962.
For this project, Claudia teamed up with an interdisciplinary consortium led by Rania Wazir in order to work on (sources of and analysis of the manifestation of) bias in systems for algorithmic decision making, especially using machine learning and in the context of human rights througout 2021. The consortium is composed of data scientists, mathematicians, computer scientists, human rights experts, jurists and a team working on reflection, contextualization, ethical, cultural and social implications of the outcomes, and on adding visual storytelling about the project’s core issues and outcomes.
Find the FRA report based upon the research of the consortium here: Bias in algorithms – Artificial intelligence and discrimination
Beginning of 2020 Claudia teamed up with the Institute of Epigenetics and Stem Cells to launch the first Artist in Residence Program at the Helmholtz Zentrum München. With Prof. Maria-Elena Torres-Padilla, the Director of the institute, and Amelie J. Kraus, the Scientific Coordinator of the Epigenetics@HMGU community, the team designed a program pushing the boundaries of collaborations in the field, inspiring conversations between an artist and the scientific team at the institute, and to enable the development of a wonderful new artwork. Find more info about the programme here.
After an exciting selection process with an incredible shortlist of artists, bioartist and experienced art-science collaborator Anna Dumitriu won the residency with her proposal on „The Mutability of Memories and Fates“.
The Covid-19 lockdown prevented immediate joint collaboration on site, but Zoom meetings helped to ignite ideas and inspire all partners, and everybody is very much looking forward to working together on site in the lab in Munich. The residency format was transformed into a hybrid format, after the virtual interactions, Anna Dumitriu can finaly visit the lab in September 2021.
Stay tuned! In the meantime, you can watch a panel in which the team and distinguished guest Prof. Michael John Gorman discuss the first interactions.
The Veridical Travel Around the World of a Truly Imaginary Plant
The Veridical Travel Around The World of A True Imaginary Plant traces the voyage of a plant —real, artificial or fictitious— around the world, telling her own story, the stories of other plants and living creatures (other than human and humans) she encounters, of whom and what she meets.
Launched in September 2020, the Traveling Plant is a long-term project that will grow over several years. It is the umbrella title for a series of new artworks and events taking place in different times and locations around the world under the direction of the diverse participating organisations and curators.
The Traveling Plant project intends to avoid anthropomorphism and anthropocentrism but to present the point of being and point of view of the plant about herself and her surroundings. It will unfold over several years, in a slow process, in line with plant rhythms. Find all the details here on the Traveling Plant website.
The Traveling Plant has been seeded by Annick Bureaud, Leonardo/Olats; and germinated with Tatiana Kourochkina, Quo Artis; Marta de Menezes, Cultivamos Cultura, Claudia Schnugg, Independent Curator & Researcher; Robertina Šebjanič, Sektor Institute, Artist. The project is collectively run by this Seed Team.
ArtScience, the Arts, Humanities and Social Sciences in Management and Industry
Claudia was commissioned a research project and subject matter expert consultancy on linking art, artscience, humanities and social sciences to actions for management and industry. This research was commissioned by the Human Insights Lab at Accenture’s The Dock. Research and analysis on academic developments, trends and practitioner work in the field was conducted in order to develop a basis for actions and relevant future strategies for actions.
Creating ArtScience Collaboration – Bringing Value to Organizations
In order to enable art and science collaboration and create interesting programs at scientific and corporate organizations, Claudia is working on topics that help practitioners to set up residency programs, art and science collaborations, as well as artistic research programs.
In her research and writing project, Claudia authored the book Creating ArtScience Collaboration – Bringing Value to Organizations that elaborates on the practice of artscience collaboration and theoretical perspectives of the effects of such collaborations from an social psychological and organizational point of view.
For research and lectures on the topic, she recently was Visiting Scholar at the Art|Sci Center + Lab at UCLA where shegave an open lecture on theoretical aspects of artscience collaboration, introduced students of the Art|Sci master class to collaboration practices and presented the outlines of the book at LASER.
Additionally, she spent time as Visiting Scientist at the European Southern Observatory (ESO) in Chile and was part of a research project with Fernando Comerón from ESO at the ORM in Tenerife. There, she was also able to extend her research to ongoing projects and practices at the University of La Laguna and the Museum of Science and Cosmos in San Cristobal de La Laguna in Tenerife.
The book has been published in February 2019 by Palgrave Macmillan/Springer.
You can find and order the book here or at any online book store you prefer!
As first Creative Director of Science Gallery Venice, Claudia worked with the team on site to develop strategies for the first Science Gallery Venice program. To start more intense communication about Science Gallery Venice and to reach a big part of the potential audience Claudia developed the pre-season CONNECTED. This pre-season resembles in a smaller format a full season by Science Gallery to provide a taste of what is about to come: it reaches out to a high number of people, creates connections, is participatory, surprising and disruptive, and connects on many different levels to important research from different disciplines.
Heart of the pre-season is Rachel Hanlon’s artwork Hello Machine that pops up throughout 12 weeks (the duration of a full Science Gallery season exhibition) at different places in Venice and Mestre. Two versions of the artwork (a black and an orange phone) are traveling through the city, connecting the mainland and the island, students from different disciplines, Venice to the world where other versions of the Hello Machine are placed, and Science Gallery Venice to the international Science Gallery network as the Hello Machine is also hosted by other Science Gallery spaces.
Additionally to the inauguration of the artwork in Venice with an artist talk and the travel of the phone throughout Venice (including M9, Scientific Campus Mestre, Ca‘ Foscari Zattere, Fondazione Querini Stampalia, Biennale di Venezia Biennale Carnevale dei Ragazzi), the artistic research and the ideas of the artwork enabled a row of connections for researchers and students to elaborate in a workshop series. The three workshops Claudia curated for this series were: Communication Games in the Connected Age by Francesca Franco and Stefano Coletto, Talking to a Stranger by Fabio Pittarello, and Robots Playing Language Games by Luc Steels. Additionally, she suggested workshops representing other fields represented by Ca‘ Foscari research, like human-robot interaction, inter-cultural exchange, accessibility, and historical topics. Some of them have been realized.
Development Phase at Science Gallery Venice
As first Creative Director of Science Gallery Venice, Claudia worked with the team on site and in external positions to develop strategies for the first Science Gallery Venice program. She drafted the Science Gallery program and strategies for the development of Science Gallery at Ca‘ Foscari.
In the role as Creative Director of SGV, Claudia curated and developed additionally two exhibition designs, worked with Ariane Koek on the open call for the Earth Water Sky Residency program, led the initial conversations for the exhibition at the San Giobbe Campus on ethical recycling in summer 2019 how to adapt it to SGV requirements, and worked on research and multi-sites workshop ideas with partners from the Science Gallery Network.
Claudia worked with Ca‘ Foscari researchers and partner institutions to start collaboration processes. She also developed guidelines for researchers and scientists how to include SGV activities and collaborations in their research projects. This list of opportunities has been integrated in the conversation with researchers and scientists who are planning to develop research projects and project consortia.
Here you can find the video about the Global Science Gallery Network, including an interview with Claudia (starting at 3:26) in her role as Creative Director of Science Gallery Venice during the opening of Science Gallery London!
Here you can find the 2018 Annual Report by Science Gallery International with a recap of 2018 and the program start 2019 at Science Gallery Venice on page 16.
Bodies Inc. 2.0 & Blockchain
With Victoria Vesna and her team Claudia is working on the new version of her project Bodies Inc. She supported the team in the development of the new market place and created opportunities for the project to integrate the idea of blockchain and create a new system for the market place of Bodies Inc. to include media art, craft, local and global sourcing, and a system that acknowledges individual contributions.
The latest version of the artistic project has been developed in 2017, a chapter on the development of the artwork Bodies Inc and Bodies Inc 2.0 has been published in the edited book Screening Economies.
Claudia was commissioned to realize the evaluations of the projects STEAM Imaging I-IV by looking at the impact of the art-science experience of the high school students in the workshop from different perspectives, grasping the implications of interdisciplinary exposure between art, medical research, digital medicine, physics and mathematics on them.
The evaluations „STEAM Imaging: Art Meets Medical Research“ can be found in the „Research & Evaluation Reports“ section of the publications.
STEAM Imaging: Art Meets Medical Research 2017 Workshop Evaluation to be found here
STEAM Imaging II: Art Meets Medical Research 2020 Workshop Evaluation to be found here
STEAM Imaging III: Art Meets Medical Research 2020 Course Evaluation to be found here
KunstRaum Goethestrasse xtd – Book on Special Projects
For KunstRaum Goethestrasse xtd Claudia is working on a book that elaborates on their commissioned art projects that take place additionally to their daily operations. The book will present a selection of 29 projects that represent a series of formats and methods they apply in their work with groups and organizations. Moreover, the book will present the effects and valuable outcomes to which their artistic approach leads.
A major topic will be the social, psychological, and health benefits of participation in art projects.
The book will be published bilingual in German and English. Expected publication date is winter 2019.
In the course of the development of the presentation of these projects, Claudia evaluated and wrote about the effects of their previous projects. Based on the outcomes, additionally Claudia worked with the team of KunstRaum Goethestrasse xtd on methods to evaluate their future work.
Art, Resilience, (Mental) Health & Wellbeing
Research on the interplay of art and health, resilience and mental health with international partners on following aspects:
- Exploration of new technologies through art to develop new interdisciplinary opportunities to benefit health and wellbeing.
- Research on scientific evidence/studies on the effects of art engagement on physical health, mental health, and wellbeing.
- Research on public engagement and changes on communication through artscience on public health.
- Exploration of effects of artistic workshops and artistic interventions on mental health and wellbeing.
- Development of methodologies for the evaluation of the effects of artistic workshops and artistic interventions on mental health and wellbeing.
Dark Wind Trilogy
Claudia produced a trilogy of performances with noise artists raum.null and a wide range of guest artists like White Sample, Didi Bruckmayr of Fuckhead, Flockaroo, VeroVisual, and voidsignal, who focus on performance, new technologies, and visuals. Throughout the years of 2014 – 2016, a new part of the trilogy was premiered at the Ars Electronica Festival. The performances aimed at interruption, disruption, and radical intervention. The objective was an artistic and intellectual investigation in the political and social dimension of art.
The first performance, Quadrature, announced a dark age to come by using a technical and geometric visual language. An interview with Claudia with all artists involved can be read here. Part two, The Sixth Wave of Mass Extinction, reflects on human emotions in an era lacking any form of wilderness. Find an interview with Claudia and the artists here. The final act, Chants of the Proto-Alchemists, seeks to trace back to the very human side of nature, reflecting on Dionysian versus Apollonian aspects of life, the sensual growth and spiritual development. Announcement and the performance’s introductory text can be found here and a short video clip is available here.
Corporate Bodies FilmFest
Through the lens of film, Corporate Bodies presents and analyzes bright and dark sides of organisations, their people and systems, possible future and heritage. The film festival invites filmmakers, students, scholars, managers, CEOs, politicians, and film-afficionados to three days of films, discussions, lectures, reflections, celebrating, and relaxing. The first edition was held February 11th-13th, 2016, at Filmhuis Den Haag, NL. The Corporate Bodies FilmFest idea was born in late 2014, together with Jacco van Uden of the University of Applied Sciences The Hague, philosopher and writer Luc Peters, and Anke Strauß of the University Frankfurt an der Oder. For more information please visit the official website. Since then, presentations and smaller projects connected to the film festival developed.
At the Ars Electronica, Claudia was affiliated with the Sparks project as responsible project manager, curator of the artscience collaborations and the artist-in-residence programme. The Sparks EU project was an H2020 project focusing on making Responsible Research and Innovation (RRI) accessible and comprehensible for general public. One of the major initiatives of Sparks is a traveling exhibition which is shown in each EU country and Switzerland, for displaying recent examples of RRI, and combining cutting edge technology with medicine and health care by applying artistic approaches. Claudia curated the artscience section of the exhibition with her colleague at the Ars Electronica Futurelab. Find an interview with Claudia here, regarding the open call and explaining Sparks in more detail. Claudia worked as curator, mentor and producer with the artists Anouk Wipprecht, Lucy McRae and Jakob and Lea Illera, helped them finding stimulating scientific associates, and provided support throughout the whole development process. Read more about the selection procedure here and about the final overview on the outcomes here.
With artist and body architect Lucy McRae Claudia worked intensely on The Institute of Isolation: as producer, but also as location scout, filming assistant in Austria, and many other tasks.
With fashion tech designer Anouk Wipprecht Claudia worked on the curation and production of Agent Unicorn.
European Digital Art and Science Network
At Ars Electronica, Claudia was also part of the team working eith the European Digital Art and Science Network as curator, mentor and producer of the residencies at ESO, CERN and the introduction of the residency to ESA.
Here you can find the first open call for the residency at the ESO observatories in Chile, an interview with Claudia and the head of the Ars Electronica festival team. The first residency at ESO was won by Chilean contemporary artist Maria Ignacia Edwards. The interview with Claudia for the second open call for the residency clarifies the possibilities the artists have during their visit in Chile and in Austria. Claudia also guided Quadrature during their visit to the ESO observatories and their visit to the ESO labs at the headquarters in Garching.
Semiconductor won the Collide@CERN Award that was granted within the European Digital Art and Science Network.
Connecting Cities Network Research Residencies
Claudia curated, mentored and produced the projects of Anita Brunnauer aka nita, Ursula Feuersinger, Dietmar Offenhuber as well as Florian Born & Christoph Fraundorfer created projects that explored the invisible city. These residencies at Ars Electronica Futurelab took place in early 2015 as part of the Connecting Cities Network, an EU Culture Programme project. The projects have also been presented at the sound:frame festival in Vienna 2015.
Together with her colleague at the Ars Electronica Futurelab, Claudia also produced and moderated the Connecting Cities Conference at the Ars Electronica Festival 2015.
Ars Electronica Residency Network
As head of the Ars Electronica Residency Network Claudia worked as curator, researcher, project manager, producer, mentor, communicator, and many more roles in these diverse projects. The Ars Electronica Residency Network combined all residency activities at Ars Electronica in one framework. Residency programs like e.g., Collide@CERN, TRANSMIT³ and CAT@Ars Electronica created a formal possibility to spend time at the Ars Electronica Futurelab. Some exceptions were allowed that enabled to support artists or scientists to visit for a limited period and get some mentoring. But also other projects that included residencies have been produced within the framework of the Ars Electronica Residency Network. These projects are Sparks, European Digital Art and Science Network and the Connecting Cities Network Research Residencies. As head and curator of the Ars Electronica Residency Network, Claudia also produced all the projects at the respective Ars Electronica Festival.
TRANSMIT³ was the residency program in collaboration with QUT. Three residency projects have been realized for the Cube at QUT: with Lauren McCarthy in 2016, with Friedrich Kirschner in 2015 and with Zachary Lieberman in 2014.
CAT@Ars Electronica was a program in collaboration with the South Korean organization CTIA. I intensely mentored the two projects that have been developed in up to 4-month long residencies. The first project planted by Korean sound artist YoungSun Kim has been realized in 2014, the second project Jangdna by Korean media artist Hyungjoong Kim has been realized in 2015.
The last two winners of [the next idea] voestalpine art and technology grant have also been part of the Ars Electronica Residency Network. In 2014 Markus Schmeiduch, Ruben van der Vleuten and Andrew Spitz won the grant for their project BlindMaps. In 2015 XXLab won with their project Soya C(o)u(l)ture.
The first artist in residence Claudia worked with was Daniel Crooks. He was the last of six Australian artists who had the possibility to work with the Ars Electronica Futurelab based on a collaboration with the Australian Council for the Arts and Novamedia.
Organizational Aesthetics, Organizational Behavior & Change
Bringing art into organizations implies also impact on sensory perception: the visual artwork, music, distrubing noise or uneasy silence. Art and aesthetics enable creation of references to stories and experiences, creating awareness of routines, encorporated processes and embodied knowledge. In order to better understand how art affects individuals in organizations, Claudia explored aspects of certain organizational behavior and their entanglement with aesthetics and art in her research projects as Assistant Professor at Johannes Kepler University, Linz, and Visiting Researcher at Copenhagen Business School.
- Study on the entanglement of art, communication, and status behavior in organizations.
- Study on the embodiment of knowledge workers.
- Exploration of the interplay of rhythms, architecture, and noise in organizational behavior through artistic investigation.
- Research into the embodiment of art, craft, and production processes.
Artistic Initiatives and Residencies in Organizations
Artistic initiatives – or arts-based interventions – in organizations seem to be a curious thing. Why are organizations like corporations, industrial production companies, consultancies, creative agencies or scientific and governmental organizations interested to invite art and artists into their processes? Claudia’s research went into several directions to explore this question through a meta-study on cases of artistic initiatives in organizations that claimed effects of these interventions. She analyzed these claims from organizational theoretical and art theoretical points of view. Why should managers, scientists, consultants, craftspeople and artists be interested in realizing these joint initiatives? Claudia explored this question that led me to categorized types of arts-based initiatives, mainly based on the three possibilities: working with the artist, applying artistic processes, and experiencing artwork. Also claimed effects – on organizations, teams, individuals and processes in the organization – where categorized. Problems of instrumentatization of art, effects on the artist, and artistic freedom were additional central aspects of the discussion of the outcome of this study.
In the course of further research, case studies and in-depth qualitative interviews in diverse organizations (residency projects in a production company, residencies and artistic collaboration in a creative agency, arts-based initatives in a corporation in a building company, small and medium-sized craftmanship organizations, office work, service organization) led Claudia to explore specific questions like embodied knowledge, organizational aesthetics and gestures in work processes, artistic initiatives and change in organizations, creation of liminal spaces, and enhancement of creative processes.
Results can be found in various of her publications, including her doctoral dissertation, a book chapter on creativity, journal articles on artistic initiatives and liminality, rites of passage, gestures and resistance, and an overview of formats and effects of artistic initiatives in a more descriptive journal contribution.