Research Catalogue

an international database for artistic research find out more

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  Climate Just Worldings (last edited: 2019) author(s): Lina Persson This exposition is in progress.
  What would it mean to my artistic practice if there was a built-in limitation for me to use more resources than my share? What would a world look like, where future generations could access and confront the present with its overdraw of resources? Through different forms of “worldbuilding” like the film industry’s “storyworlds” and the “worldings” of material feminist theory these questions will be investigated.
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  NEITHER FISH NOR FOWL / VERKEN FUGL ELLER FISK (last edited: 2019) author(s): Lise Hovik This exposition is in progress.
  This artistic research project explores the wondrous worlds of becoming in theatre for early years. The research project consists of theatre making, film making, and writing. It investigates the significance of affect as philosophical, emotional, and material inspiration. Neither Fish nor Fowl was conducted as a performance project from April 2017 to November 2018. During this period, the research process has been documented in the Research Catalogue, presenting research methods, writings, and artistic reflections along the way. The pre-production performances (for babies 0-2) was shown at the festival Olavsfestdagene in Trondheim summer 2017 and at Trondheim Kunsthall autumn 2017. The full production, Begynnelser (for 3-5 years), was presented in april 2018 in co-production with the venue Teaterhuset Avant Garden in Trondheim, Norway. The final baby version, Baby Becomings (0-2 years), was presented at festivals and for kindergartens in Trondheim autumn 2018. The project continues with writing and film making through 2019.
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• Sight and Lights – In-between the Colours. (last edited: 2019) author(s): Charles Michalsen This exposition is in progress.
  Based on fragment from my paper published Cumulus conference Mumbai Noveember 2015. Abstract: The theme for this paper is how we use and experience atmosphere, light and colour in design and art, and how we can understand nature, local and global relationships and how it influences our own art design processes. With local atmospheric differences, as one starting point and immersive experience and participatory design as an another, I will argue for that the experiments with refraction of light and colour and local culture reflections can help us to better understand nature’s, and our own, power and complexity. I will present a project where I experiment with how site, atmosphere can bring new awareness to our own identity and artistic practice. Key words: Water, moisture, rain, atmosphere, temporal expression, curiosity and immersion To better understand culture of colour – How to learn the art of design from nature.
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  FanFutures (2019) author(s): Kate McCallum, Kate Monson, Majed Al-Jefri published in: Journal for Artistic Research
  "FanFutures" is a project working with artificial (AI) automatic text generation in an exploration of fan fiction and speculation about possible futures. It is a collaboration between an artist, a computer scientist, and a social scientist — and, in an extended sense, also with the fan fiction community and an AI algorithm. Using a data-set of short sci-fi-esque stories written by anonymous members of the fan fiction community, we taught a natural language processing program to produce its own, entirely new short sci-fi-esque stories. The program takes imagined futures written by amateur writers, rather than institutionally-sanctioned voices, and dreams algorithmically through those voices to produce its own re-imaginings of possible futures. We then turned these stories into films, films that depict a computer’s dreams of the future drawn from a mass of unknown voices, using imagery selected by another algorithm. The outputs are feverish and confused, but, as with human dreams, we have embraced their incoherence, and allowed imagery and atmosphere to come to the fore. The project is inspired by our collective interest in understanding how humans make meaning with and through others — and how others make meaning with and through us. In a moment when our rapidly changing world, with its mass communication, new technologies and changing environment, seems almost intractable, we take a creative and playful approach to representing this complex intra-acting assemblage of human and more-than-human elements, and the possibilities in our world through sensory experience.
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  Additive Photography (2019) author(s): Ives Maes published in: Journal for Artistic Research
  Since the invention of photography, there have been numerous hybrid experiments between photography and sculpture that testify to a continuous influence of sculpture on photography and vice versa. In my own visual work, I am researching the physical, sculptural and architectural aspects of photography. I am analysing a number of historical experiments, from the 16th century camera obscura pavilion to 21st century digital processes, which I apply to my artistic practice. A particularly important example is the photosculpture process of François Willème. In the late 1850s, he aimed at reproducing sculpture with the help of photography, creating a distinctive union between the two media. His method to extrude sculptures from photographs laid the ground principles for the 3D scanner and printer. In this exposition I bring to the fore how the work of Willème propelled its significant influence towards today, and how it inspired me to create new visual work. At the same time, this experience constitutes an exemplary case study on how theoretical research can steer the creation of visual research.
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  The Body + The Lens: Shrink, Wax, Purge, Bleach. (2019) author(s): Tyler Payne published in: Journal for Artistic Research
  "The Body + the Lens: Shrink, Wax, Purge, Bleach" was a creative practice research project that investigated the relationship of (white) women’s embodiment to the lens of gendered advertising. To focus the research, a recently mainstreamed group of female cosmetic rituals were chosen — body-contour wear (SPANX), Brazilian waxing, salt-water cleansing, and fake tanning. The intent of the research was to interrogate the relationship between these body-correcting practices and the idealized image of the "Glossy Magazine Girl" — i.e. preternaturally thin, hairless, and unblemished by shades darker than pink — which now appear with more frequency in women’s everyday life, and have reconfigured the social construction of female gender. The (artistic-research) response to the subject matter was a series of video and photographic works in the genre of self-portraiture. These works attempted to critique the new norms of embodiment emerging through these practices through the researcher’s parodic undergoing of the cosmetic rituals themselves. This "carnal" methodology, following from the methodology of Louis Wacquant, is one that embodies the researcher in the social practices being researched, i.e. body-correcting practices. This method produced research results — embodied and affective — not available to purely observational research, which should interest the artistic research community and feminism generally. The images and videos de-fetishize and denaturalize the embodied product of the cosmetic rituals. My studio-led research reveals the intractable, comic "failures" in the face of the demands placed on the everyday performance of women’s gender. By doing so, it turns these failures to affirmation, as well as critique of the gender norm these practices construct.
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Barnaby Drabble
Spain, Switzerland (residence), United Kingdom (citizenship)

Vincent Meelberg
Netherlands

Per Anders Nilsson
Sweden (residence)

Jamie Allen
Canada (residence)

Michael Duch
Norway

Klaske de Haan

Christine Hansen
Norway

Richy Carey

Jenny Brown
Australia