The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the Society for Artistic Research. The RC is free to use for artists and researchers. It serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be an open space for experimentation and exchange.

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FLAPIBox (2025) E Stifjell
This exposition is associated with The paper with presentation: "Inventing a Versatile Platform for Instrument Augmenta- tion and Electroacoustic Composition" for International Computer Music Conference in Boston 2025.
open exposition
Off-season Activities (2025) Eirini Sourgiadaki, Alba Balmaseda Domínguez
Off-Season is a female collective active since 2023. Its members come from diverse disciplines, areas of research and geographic backgrounds. We all share the view that in today’s neoliberal economies of increased privatization of public spaces and natural resources it is urgent to rethink bathing culture as a medium -or perhaps antidote- to a culture of exhaustion and extraction. Baths have served as vital sources of healing, connection, collectivity, and cultural heritage for countless generations, embodying the enduring relationship between human and non-human worlds.
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Psychoformism: A New Artistic Style Unifying Form, Emotion, and Energy in Aesthetic Expression (2025) Babak Abdullayev
This research introduces Psychoformism, an innovative artistic style synthesizing form, emotion, and subconscious energy into a unified aesthetic expression. Positioned within the broader discourse of art history, Psychoformism proposes a fluid, dynamic visual language that transcends traditional bodily representation. The style aims to shift the viewer's role from passive observer to active participant by visually embodying internal emotional states as forms that emerge from subconscious energies. Psychoformism thus provides a conceptual and practical framework for exploring deeper psychological engagement and subjective perception within aesthetic experiences. As proposed by the author, “Form is emotion itself; emotion emerges from within the body and transforms directly into visual form.” (A. Babak, 2025)
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AS HOLA (2025) Aðalheiður Sigursveinsdóttir
AS this is an informal tale, restating my master’s studies. AS I was in the midst of a Uturn, entering formal art education, my hopes and expectations were unclear but deeply felt. AS ever, I feel compelled to question, review, examine some more. AS every question gives an indication to the inner world of the questioner. AS if I want to know if there is a pattern or a path? AS a collector I have documented, framed and reflected with words and stored. As curators act I showcase my creative learning journey.
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creative (mis)understandings - methodologies of inspiration (for RUUKKU call: Parallel indigeneities, art worlds and frictions) (2025) Johannes Kretz, Wei-Ya Lin
The artistic research project Creative (Mis)Understandings: Methodologies of Inspiration is a collaboration between sound makers / compoers / performers from an indigenous community in Taiwan (Tao on Lanyu/Orchid island) and from Europe. There is a high urgency to transform traditional songs into new artisttic forms, creating new ways of forwarding important traditional knowledge to the next generations. This collaboration also sheds a different light on the question, what it means to create something "new" in the eurpopean context.
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Weaving Wisdom: Community Learning Through Wool Crafts (2025) Fabiola Hernandez Cervantes
Wixárika crafts are a testament to resilience and adaptability, they have been preserved since pre-Hispanic times. The evolution of some of these over the past century, influenced by global movements in the 1960s, has created a niche for Wixárika art and craft. Influenced by tourism, new styles, colors, and symbols have been introduced, serving as a form of resistance against the erasure of traditional knowledge and practices 500 years after the colonial period. Tsik+ri has gained global popularity as a method to create decorative geometric yarn pieces, but this craft not only provides insights about Indigenous cultures, experiences, and embodied knowledge, but also raises discussion about land and cultural appropriation by non-Indigenous individuals. In this exposition, I present a series of workshops held in the region of the Arctic Circle, where a development project is taking place to improve and enhance the use of sustainable wool by revitalizing craft heritage in a multicultural way. The method of this study is Art-Based Action Research. The study makes visible an essential feature of this textile artifact: its ability to transcend geopolitical and cultural borders, embodying a unique fusion of heritage and contemporary design. Indigenous craft practices from the Mesoamerican Wixárika culture, such as the Tsik+ri, are rooted in the multicultural identity of Mexico. The workshops served as platforms to communicate the culture and challenges of Wixaritari to Arctic and international contexts. This research sustains that implementing craft practices in the context of contemporary art requires profound knowledge and respect for its origins.
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