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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The Aesthetics of Photographic Production (2024) Andrea Jaeger
This exposition forms part of the research project exploring the often-overlooked sensory and material facets of photographic production, challenging the traditional focus solely on the visual aspect of photographs. The research questions the prevailing view that understanding photography is limited to analysing the final image, suggesting instead that the process of making a photograph—its production in real-world environments such as laboratories, factories, and manufacturing spaces—holds equal aesthetic significance. The aim is twofold: to redirect attention to processes of photographic making, exploring the aesthetic dimension beyond the photograph itself, and to examine how this shift influences the overall understanding of photographic practice. Employing practice-based research across diverse photographic settings, this study uncovers the aesthetic nuances of C-type printing processes, including the tensioning, fogging, and tearing of photosensitive paper. It adopts an event-centric viewpoint, moving beyond the visual to explore multisensory handlings—listening, touching, and feeling—that are integral to photographic production, and acknowledges the contributions of more-than-human agency in photographic making. This approach allows for a multi-modal presentation of findings, combining traditional written analysis with experiential expositions to highlight the importance of non-visual outputs in photographic making. The contributions of this research are manifold. Firstly, it critically reviews the dominant focus on the visual analysis of photographs, advocating for a broader understanding that includes the tactile and auditory dimensions of photographic making. Secondly, by immersing in the physical environments of photographic production, it provides empirical insights into the everyday practices that remain hidden from view. Thirdly, the study pioneers an artistic research methodology that emphasises showing over telling, utilising a variety of exhibition formats to convey the embodied nature of photographic making. Lastly, through in-depth case examples, it uncovers the complex interplay of materials, technology, and both human and non-human agency, suggesting a more nuanced concept of photographic practice that surpasses the conventional visual-centric, human-centric and photograph-centric paradigm. By advocating for a comprehensive view that embraces the sensory and material complexities of photography, this thesis enriches the medium's aesthetic understanding beyond the photograph as centre.
open exposition
Walking As Practice WAP23 (2024) WAP
WALKING AS PRACTICE WAP23 was a process-based residency during September-November 2023, where artists using walking as a method delved into each others’ knowledges and things they encountered together at BKN, the Northern Stockholm Archipelago in Sweden. Fieldworks, share sessions and seminars were created jointly to locate and entangle structures, narratives and themes for walking. The residency formed a transformative, dynamic space for art that engaged with life and nature towards critical and poetic explorations, influenced by the immediate surroundings: the forest, lakes, sea and people living in the rural area. Processing how walking is interlocked in our artistic practices, this exposition represents a gathering of texts, visuals and audio from the walking art residency. The selected artists contributed with interdisciplinary practices, primarily drawing, photography, video, performance and dance. They worked both individually, in spontaneous constellations and in group sessions. The dissemination of the program took place in share sessions upon arrival of new artists - including dinners, open studios, walks, workshops etc. In addition, as the program unfolded, each artist developed their own exposition.
open exposition

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Performing Precarity (2024) Laurence Crane, Anders Førisdal, LEA Ye Gyoung, Io A. Sivertsen, Lisa Streich, Jennifer Torrence and Ellen Ugelvik
To be a contemporary music performer today is to have a deeply fragmented practice. The performer’s role is no longer simply a matter of mastering her instrument and executing a score. Music practices are increasingly incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performing is increasingly precarious.
open exposition
WALKING BETWEEN WOR[L]DS WITH LINES (2024) Benjamin Jenner
WALKING BETWEEN WOR[L]DS WITH LINES is a workshop. It was delivered at Convocation II, Vienna, 2023, a gathering arranged and facilitated by the Language-Based Artistic Research Group. OBJECTIVE: The objective of this research is to explore how, in the absence of vision, the body, language and landscape combine to form a particular type of cartographic, text-informed, mental image in the mind, that is both a record of movement and a score for future object intra-actions. Ordinarily, I fill the role of blindfolded navigator, with a colleague playing the role of the sighted interlocutor. This activity flipped these roles, enabling me to utilise the experience I have acquired through navigating many forests without sight, to assist participants in navigating blindfold through the landscape of Convocation II, Zentrum Fokus Forschung (ZFF). The blurring of physical site and temporal event is deliberate here, the activity of navigating blindfolded with the body generatively blending with psychic travel in the mind. This is an opportunity for participants to think about how vision enables a particular version of the wor[l]d, and to speculate on what other kinds of wor[l]d might be possible in vision’s absence.
open exposition
Come rendere visibile l'invisibile? (2024) Michele Rinaldi
In occasione del workshop tenuto dal prof Ripa di Meana e dal post-doc Andrea Guidi, sono stato invitato a leggere la scena quarta e quinta dell'Amleto di Shakespeare. Dopo una iniziale lettura personale, il prof ha tenuto una lettura collettiva in cui ciascuno studente esponeva le prime impressioni sul testo. In questa fase il prof ci ha aiutato a focalizzare meglio i temi principali delle scene lette, agevolando noi studenti l'osservazione di alcune delle dinamiche principali della tragedia. Dopo la lettura collettiva, è iniziato il mio personale processo sul testo di Shakespeare che si è composto di tre fasi principali: - reinterpretazione, - ricerca, - rielaborazione. 1 FASE DI REINTERPRETAZIONE Sono partito rileggendo il testo dell'Amleto e, contemporaneamente, su un foglio scrivevo quelli che ritenevo essere i "punti principali" delle scene analizzate. Successivamente ho iniziato una fase di "brainstorming personale" in cui andavo a scrivere tutte le parole-chiave che mi venivano in mente, cercando connessioni, approfondimenti e punti di vista diversi tra le varie parole che venivano fuori. 2 FASE DI RICERCA Una volta completata questa prima fase di reinterpretazione del testo, mi sono concentrato sulla ricerca delle principali tematiche che sono venute a galla nei punti chiave e nel brainstorming. Nel farlo ho utilizzato due strumenti: il primo è KOBI e il secondo è Perplexity. In questa analisi, non mi soffermerò sul secondo ma esporrò le ricerche effettuate sulla prima piattaforma menzionata. In generale, la fase di ricerca è consistita in un'alternarsi e un'influenzarsi di entrambi i motori di ricerca. Su KOBI ho cercato parole-chiave come: "delirio", "sogno", "complesso di edipo", "piattaforma", "memoria", "ricordo" ecc... Per alcune ricerche non usciva nulla, per altre invece venivano suggeriti media e materiali estremamente interessanti che hanno indirizzato il mio percorso di rielaborazione del testo. 3 FASE DI RIELABORAZIONE Una volta soddisfatto la mia necessità di ricerca di materiale, in maniera molto naturale, ho avuto l'idea di come rielaborare uno dei temi principali emersi nel testo shakespeariano. In sintesi, ritengo KOBI uno strumento efficace per aumentare la creatività, tuttavia in questa fase embrionale della piattaforma, risulta ancora difficile ottenere sempre risultati, per via del ristretto database di cui la piattaforma fa uso. Tuttavia, se sviluppata al meglio, ritengo che questo possa essere un medium fantastico per chiunque faccia ricerca, artistica e non, ampliando le proprie possibilità creative e il proprio bagaglio di conoscenza.
open exposition

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