Ricarda Denzer
Ricarda Denzer (born in 1967 in Bregenz, Austria) is an artist, researcher, and has been a lecturer in the field of transdisciplinary, process-oriented art at the University of Applied Arts Vienna since 2013. She studied architecture at the University of Innsbruck, Faculty of Architecture and visual arts at the University of Applied Arts Vienna. In her artistic practice, she combines audio-visual, performative, editorial, and curatorial work. Central to her work is research through oral storytelling and listening as a situated research method that engages with phenomena such as the human voice, spoken word, and the act of speaking as a collaborative, societal, and political manifestation and action.
She is a board member of the Vienna Secession (since 2019) and a member of the Angewandte Performance Labs.
Selected exhibitions and projects: Sounding Research (2022– ), WHAT IS IMPORTANT TO US! Artistic Perspectives on Cultural Heritage, Volkskundemuseum Vienna (2023); A Line Associated to Other Lines, Bergen Kjott, NL (with Karen Werner, 2022); Dirty Ear Forum #9 on Sound, Multiplicity, and Radical Listening, Arena Bar, Vienna (with Brandon LaBelle, 2019); To Tell a Story, Kunstraum Lakeside (2019); and Erste Fassung, (Interpretation), Neue Galerie Innsbruck (2018).
Publications: Perplexities (Revolver, 2013); Silence Turned into Objects (Edition NÖ, 2014); eJournal #13 of ZHDK Zurich (Un_Univerity with Jo Schmeiser, 2017).
The Sounding Research Session is a collective happening considering space as a catalyst, a framework for our thoughts and speculations, to express a form of situatedness simultaneously inside and outside of where and how we listen and of experiencing artistic thinking as sonic act.
Sounding Research aims at exploring in how far an acoustic listening approach to the world can lead to a multitude of social experiences.In practice, a distinct artistic format arises from movement or interaction, from the exchange with, the linking of, the delineation from and the permeability between various artistic disciplines.
Eventually, the possibilities of said format will be investigated to allow for a critical and caring agency as well as for alternative ways of narration. With this performative approach, I intend to analyse and deepen the practice of listening through form-finding, both textually and spatially in connection with the concept of collectivity. On that account, the performative format of the ‘Audio Paper’ is central to this publication.
Following an action-oriented approach to the method of artistic research in relation to situated listening, I engage with art education as sonic act by way of experiment and design, using audio papers for a broader research framework.
The material manifestation of the acoustic search movement as performative research is part of a working process which consists of several elements. One of the latter is to convey art in class through artistic means and to make it accessible for students