Research Catalogue

This thesis explores the layered and often ambiguous relationship between place, memory, and history in the southwest region of Poland, with particular attention to the city of Wrocław. Combining site-specific observation with theoretical reflection, it examines how everyday encounters with neglected, transitional, or repurposed spaces contribute to a sense of familiarity and belonging in a region shaped by post-war displacement, political upheaval, and economic transformation. Through examples such as a stadium which kept on changing its role, remnants of wartime infrastructure, and viral online videos captured in forgotten environments, the research investigates how traces of the past persist outside institutional archives and dominant historical narratives. Drawing on thinkers including Yi-Fu Tuan, Paul Connerton, and Henri Lefebvre, the thesis emphasizes the importance of lived experience, spatial practice, and the subtle cues embedded in the landscape. Rather than presenting a fixed interpretation of history, the work advocates for a more nuanced, open-ended approach—one that recognizes the complexity of the past as it is revealed through the overlooked, the accidental, and the intimately familiar.

neither fish nor fowl is an act of refusal, witnessing the growth of a NO toward Western industrial design from the point of view of a graduating student. By claiming, “I don’t want to design and produce anymore”, the discipline - known for being a problem-solving and sense-making practice - is called into question. This decision stems from the urgency to pause the relentless capitalist cycle of production and consumption of which design is a part. Consequently, a paradox arises to provoke thought: can we stand still in the midst of constant hyperactivity? The research highlights the process of this growth as the main focus of the project - the negative space normally overlooked in favor of an alluring outcome. It branches out through theoretical studies and an exercise-based practice of unlearning. Concepts such as nothingness, stillness, unproductiveness, un-functionality and no-senseness are explored in a space of co-creation and ongoingness.

'Diffracting the Copenhagen Interpretation: Toward non-local collaborative art practices' investigates the resonances of concepts from quantum theory in the realm of transdisciplinary practice-based artistic research. Throughout a series of protocols using diffractive methodologies, we intend to translate and embody concepts such as spacetime, entanglement, non-locality, uncertainty, indeterminacy, and superpositionality, and embed them as tools for our artistic practices. These concepts were chosen for their singularity in physics, but also for the ways in which they confront ontoepistemic pillars of ‘Modernity’, such as sequentiality, determinacy and separability. The research is carried out by a transdisciplinary non-local core ensemble formed by Søren Kjærgaard, Amilcar Packer, and Carla Zaccagnini. The cities we inhabit – Copenhagen, Sao Paulo and Malmö – have been our laboratories. Departing from tools and methods learned from each-other's disciplines, we have been creating scores that guide our simultaneous actions while walking on the street –interacting with public spaces and their characteristics– or while lying asleep –in the most private of spheres. On the one hand, in a practice we call ‘non-local walking’, scores conduct our collective experiencing of our cities, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. On the other hand, the ‘entangling dream practice’ experiment is an attempt without aiming at success of meeting each other in our dreams. Both investigations are conceived as boundary-crossing transdisciplinary methodologies through which we create a relational, critical consciousness and sensing that stimulates unexpected outcomes, embracing failure. These scored performances have resulted in cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations, unexpected connections, constellations, and coincidences e/merge, unveiling yet unheard polyphonies that give resonance to the urban and mental spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.

This virtual exposition partially concentrates the experimental works developed during the doctorate in musical performance. Based mainly on the theory of transcreation of Haroldo de Campos (1962-2003), the topic of virtuosity is approached from artistic gestures trying to raise the discussion on what it means to be a virtuoso in the contemporary musical world. Paradoxically, iconic piano technique studies were chosen as the main material,this transcreationist interpretation allows traditional material to be permeated not only by contemporary means and aesthetics, but also questions that reflect on the tradition that made the emergence of these studies possible.

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Taking as a departure point my experience working with war survivors in Peru, this project investigates how art can enable the collectivization of mourning. I connected my interest in the act of mourning human losses with my experiences living in Athens, Greece, where I encountered depression as a common diagnosis on both the individual and collective levels. If being depressed relates to unresolved mourning processes, what are the objects of loss caused by economic crisis and political disillusion? How can art help us to mourn an abstract loss, such as a political project, a certain sense of dignity, a particular relation with time and nature, or a fixed role in the familial structure? How could mourning be shared to allow communities to reframe and re-signify those objects of loss, towards transforming our relation to the economic and political? Lost and Shared creates dialogue between theory and affective labour, through collective experiences that connect emotions, critical thinking, body and space. The intuitions and questions brought by conversations with Greek activists and artists are the core of the project. Later on, facing the impossibility of working as planned due to the pandemic, Lost and Shared was adapted to the new socializing conditions and to acknowledge how crisis and mourning had become a global concern. Thus, the project ends up proposing the idea of “fertilizing mourning” as a concept in the making - an open invitation to collectively create practices that help us reconsidering the entanglements between life, death, and regeneration. Urgent practices we need today in order to contest the increasing, global processes of loss caused by capitalism.