Laboratory on Feedback in Artistic Processes 3
In its third edition the "Laboratory on Feedback in Artistic Processes" reflects on "Responses" within performing arts. The results of the previous Labs highlighted the need to take a closer look at the complexity and often subtle implications of feedback within the the artistic process itself. How do artist organise feedback and how do they process it? Who they want feedback from and what are its different roles? How can describe these relationships, and how does it shpae the artistic work? This booklet presents the different views on and experiences of feedback practices that were elaborated during the lab along the beforementioned questions and the insightfull contributions of its participants. Underpinning the following pages, three thematic fields have emerged: the impacts of feedback, feedback as a tool, and practicalities and contexts of feedback.
In its third edition the "Laboratory on Feedback in Artistic Processes" reflects on "Responses" within performing arts. The results of the previous Labs highlighted the need to take a closer look at the complexity and often subtle implications of feedback within the the artistic process itself. How do artist organise feedback and how do they process it? Who they want feedback from and what are its different roles? How can describe these relationships, and how does it shpae the artistic work?
This booklet presents the different views on and experiences of feedback practices that were elaborated during the lab along the beforementioned questions and the insightfull contributions of its participants. Underpinning the following pages, three thematic fields have emerged: the impacts of feedback, feedback as a tool, and practicalities and contexts of feedback.
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Diego Agulló is an <strong>in</strong>dependent researcher and dilettante artist <strong>in</strong>terven<strong>in</strong>g<br />
ma<strong>in</strong>ly <strong>in</strong> the field of c<strong>on</strong>temporary dance and performance<br />
and <strong>in</strong>vestigat<strong>in</strong>g the aff<strong>in</strong>ity between Body and Event. He<br />
studied philosophy between 1998 and 2004, focus<strong>in</strong>g his research<br />
<strong>on</strong> the c<strong>on</strong>cepts of play, boredom and refra<strong>in</strong>. Dur<strong>in</strong>g that time he<br />
practised pa<strong>in</strong>t<strong>in</strong>g, video and musical improvisati<strong>on</strong>. In 2005 he<br />
decided to quit his academic trajectory, mov<strong>in</strong>g to Berl<strong>in</strong> where<br />
he started work<strong>in</strong>g as a freelance video artist and musician. Two<br />
years later he fortuitously and <strong>in</strong>evitably encountered dance and<br />
performance, and these <strong>in</strong>terests persist today, hav<strong>in</strong>g meanwhile<br />
developed a collaborative body of <strong>in</strong>terdiscipl<strong>in</strong>ary work that encompasses<br />
performance, video art, participatory events, lectures,<br />
books, <strong>in</strong>stallati<strong>on</strong>s and workshops. www.diegoagullo.com<br />
53<br />
Jenny Beyer studied at the Hamburg Ballet School and the Rotterdamse<br />
Dansacademie. In 2007 she was choreographer <strong>in</strong> residence<br />
at K3 Tanzplan Hamburg. She is the co-founder of Sweet & Tender<br />
Collaborati<strong>on</strong>s. At K3 Tanzplan Hamburg <strong>in</strong> 2010 she <strong>in</strong>itiated<br />
the first editi<strong>on</strong> of the collaborative format TREFFEN TOTAL. Her<br />
works and collaborati<strong>on</strong>s tour <strong>in</strong>ternati<strong>on</strong>ally (Spr<strong>in</strong>g Dance Festival<br />
Utrecht, Impulstanz Vienna am<strong>on</strong>g others). S<strong>in</strong>ce 2008 she<br />
has collaborated <strong>on</strong> numerous works with the Swiss choreographer<br />
Chris Leuenberger. As part of her Trilogy of Spectatorship <strong>in</strong><br />
2014 she started to <strong>in</strong>vite audience <strong>in</strong> a series of OPEN STUDIOS<br />
to participate <strong>in</strong> the rehearsal process, a series that will be c<strong>on</strong>t<strong>in</strong>ued<br />
as part of the process for her new trilogy <strong>on</strong> the subject of<br />
encounter. In her tra<strong>in</strong><strong>in</strong>g and workshops and as a choreographic<br />
coach of the Hamburg band Deichk<strong>in</strong>d, she devotes herself to mediat<strong>in</strong>g<br />
and apply<strong>in</strong>g pr<strong>in</strong>ciples of choreography and dance. www.<br />
jennybeyer.de<br />
Nik Haffner has been the artistic director of HZT Berl<strong>in</strong> - Inter-University<br />
Centre for Dance s<strong>in</strong>ce 2012. He has been a professor
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