Research Catalogue

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design and styling, as art installation. Looted, 2024. Investigatory research with artworks, 2023-24. Interactive research blog. The exposition aims to highlight the role of women within an interwoven narrative about a complex and international criminal case. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April from Woolwich. After I left, the landlords moved in two or three under aged, who I have never met, so that they pretend to be my daughters. Subsequently, they must have been 'removing' them one by one over the last few months and until October 2024. The company behind 14 Barnsbury Road was deemed illegal through the courts, on 22 April, 2024, shortly after I was forced to leave at the end of March. The maintenance employed many Polish citizens, all dressed in black with black caps, adopting the XRW supporters' fashion code. The household of tenants was mixed and multicultural, but mainly British natives, with the exception of a couple from Hong-Kong, an American citizen, and myself, a naturalised British citizen, originally from Greece. Twenty-two (22) and twenty-three (23) photographs, including two (2) plus one (1) of myself: NOT a missing person, from the 2022-2023 period in the eventually looted, in spring 2024, Islington studio. Twenty-four (24) missing persons for twenty-four (24) non-EU and EU fake passports with my family's Greek surname; plus one (1) that might also be connected with a missing Greek teenager, therefore twenty-five (25). Two (2) more missing persons for two (2) more fake passports without my family's surname: an Italian and a Romanian name. Two (2), plus one (1) targeted cultural producers: the anti-fascist Greek musician, Pavlos Fyssas, aka Killah P. (domestic); the Belgian filmmaker of Jewish origins, Chantal Akerman (global), who lived and worked in France, as well as the US, and whose personal details, specifically her life insurance policy and her medical file, got stolen in connection with the case, can be added to the toll of two (2) deceased. My personal details, name known as and artistic name, as well as numbers connected to my personal details, were stolen, too, while I (post-global) was targeted as a cultural producer, an artist and former academic. Was I going to be the third victim? Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, including human sacrifice. The visual imagery and the art included in the photographs is influenced by the marketing and advertising industry; I brushed shoulders briefly with students in the creative industries teaching at the Winchester School of Art. I used this an ironic commentary on Golden Dawn trying unsuccessfully to create a brand through propaganda, not political marketing. The art world has been traditionally male-dominated. This has not changed dramatically in contemporary art. Female artists have sometimes adopted male attitudes, or personas, to break into the art scene; see Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, that there is no art for women or so-called women's art. Good art transcends such categories, tapping into more universal experiences. Saying this, I would like to quote Nancy Spero, who doesn't crudely distinguish between male and female art, as follows:"What if the default gender for 'artist' were female? What if, when we looked at a work by a woman, we said to ourselves, "That is art," and when we looked at a work by a man, we automatically identified it in our minds as 'men's art'?" In 1999, I wrote a long essay about the architectural uncanny, which I submitted as my graduation thesis for my first MA in architectural theory. I called it "Space as a 'Bad' Object: A criminal investigation on the notion of space". I got inspiration from detective novels and real-life crime stories. The long essay was about the role of architectural space in crime. It was unsupervised until submission: I received a distinction by a Bartlett staff member. I took the digital photographs in conceptual adherence with that essay. I was a postgraduate philosophy student 9/2017-11/2019 at the University of Amsterdam, Netherlands. In this exposition, I include new photographs from a series of digital photography called "Forensics", taken with my mobile phone, after I was forced to leave the Islington property I was renting, on 27 March 2024. I gave the photography series that name, because it has served the purpose of investigating, recording and tracking a crime, for which architectural space, such as private rentals, has been used. For Chris, my former neighbour, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, a second generation immigrant from Nigeria, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. And for Ali. And for Oliver, also my former neighbour. In memory of Howard, also a tenant at Bellview, and former neighbour. To all those who don't just "play" the cultural and racial diversity clause; they don't just rely on identitarian politics, because the class problem has not been resolved for them, either; but also because generalising on identity (for instance religion, race, gender) is an unsophisticated way of preventing strategic and/or tactical alliances, necessary for protecting the rights of minorities or other underprivileged groups and populations. Saying this, the UK must stand up against racism, especially against people of African descent. Special thanks to two white British men, who worked in France ("Fiennes") and Spain ("Clooney"). A Nigerian was among the Golden Dawn victims of assassination in Greece. I was listening frequently to Massive Attack, a British trip-hop band, when I was living in Islington. Sophie Calle is a French writer and photographer, working on themes of identity, intimacy and everyday existence. Her work is partly inspired by the detective fiction genre. She wrote an art book, to accompany some of her photography, called "Double Game", inspired by her written correspondence with the fiction writer Paul Auster.

Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023. "There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived." Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level. The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic and cultural production. Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso). With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.

In this exposition I invite you to reflect on a part of my artistic research: the screen capture. The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production. In this artistic research I also use experimental software and unconventional methods to carry out images from videogames. At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.

The dramaturgy of Conversation aims to tackle different approaches, analyses, and practices of conversations. Several forms of conversations and various related knowledges are questioned from different positions and perspectives. The data studied come from personal, external, or created (for and within the project) archives. In this project, researcher Ingrid Cogne analyses, develops or transforms, re-articulates and re-structures the ways in which one creates, inhabits, and facilitates conversations. The central question of The dramaturgy of Conversation as a methodology is HOW: How can the context, structure, location, and duration of existing or created situations of conversation support the (re-)articulation of the persons involved? How can one use or work with conversations? How can one read, inhabit, and embody the parameters of a conversation? How can one facilitate a conversation? How does a situation itself facilitate the meeting with knowledge? How can one create a situation of conversation that will be the facilitator itself? The dramaturgy of Conversation proposes situations, settings, and protocols of conversations that involve, combine, or isolate various languages (spoken, bodily, and written), “in-between” and relational knowledge, and dialogical methods and processes as well as formats of communication. The dramaturgy of Conversation is a methodology that focuses on “how” practical knowledge can be read, unfolded, and circulated within the “doing”. It is a research project that facilitates the access to the unknown and the inarticulable – navigating between quantity and quality, fiction and reality, material and immaterial, visible and invisible. This research is aproached by the author as the context wherein a self-reflective process can be (re-)articulated and CO- and reciprocal activations of hardly articulable knowledges can be performed. With this re/search, Cogne insists on the need of “conversation” to be practiced and considered as knowledge. Duration: 15.1.2019 – 14.1.2025 Project leader: Ingrid Cogne (IKW) Funded by: FWF - Austrian Science Fund | Elise-Richter PEEK (V709) Institution: IKW, Academy of Fine Arts Vienna, Austria

RESPONSIVE SPACE – SOUNDING INTO MATERIALITY (2014–2020) is an in-depth research project into the interrelationship between us and our surroundings. The artworks can be described as large sculptural sound installations which blur the lines between visual art, performing arts and sound art. The works explore space, material, sound, body and time as equal parts in a composition. The main artworks of the research INTERFERENCE, RESONANCE, SEDIMENT, PLACE 1 and PLACE 2 are in a variety of ways inquiries towards an expanded experience of the dialogue between presence and materiality. The artworks are composed environments which respond and take shape and form from their surroundings, seeking to touch proximity zones where we as humans can sense aspects of being closely intertwined with our surroundings. The act of listening is of central importance in the artistic survey. Olaussen stages space utilising the mediums of sound, minimalistic sculpture and dramaturgical structures. This exposition is part of Gunhild Mathea Husvik-Olaussen’s artistic research project Responsive Space – Sounding into Materiality (2014–2020) at the Norwegian Theatre Academy, Østfold University College. The project complies with the guidelines for the Norwegian Artistic Research Programme from 2019. Artistic practice and reflection are at the heart of the research programme. Originally published in Norwegian in 2020, this work has now been translated into English by Peter Cripps, with the support of the Norwegian Directorate for Higher Education and Skills.

This essay explores Nomadic Aesthetics as a post-disciplinary ethical philosophy grounded in movement, displacement, and moral geography. Through the lens of travelling installations, Dorian Vale interrogates how contemporary art carries not only material form but migratory conscience. Installations by artists such as Francis Alÿs, Mona Hatoum, Chiharu Shiota, and Khalil Rabah are examined not as static works, but as mobile testimonies—witnesses to border regimes, global inequality, and spiritual unbelonging. The essay argues that when art moves, it inherits moral weight: the crate becomes a coffin, the gallery a customs post, and the viewer a pilgrim. Nomadic aesthetics reframes mobility not as logistics, but as liturgy. It positions the travelling installation as a modern secular relic—bearing not truth as monument, but truth as residue. This is a theology of movement: truth that survives only by circulation. Title: Nomadic Aesthetics — Travelling Installations as Moral Geography Keywords: Post-Interpretive Criticism, Nomadic Aesthetics, Installation Art, Moral Geography, Migrant Artworks, Travelling Exhibitions, Globalization, Francis Alÿs, Mona Hatoum, Ai Weiwei, Chiharu Shiota, Khalil Rabah, Ethics of Movement, Conscience in Contemporary Art, Aesthetic Displacement, Witnessing, Museum Critique, Portable Truth, Moral Cartography License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) Publication Year: 2025 Movement / Framework: Post-Interpretive Criticism (The Museum of One) DOI (Placeholder until generated): [To be automatically assigned by Zenodo] Journal / Series: The Journal of Post-Interpretive Criticism (ISSN 2819-7232) Volume: III Publisher: Museum of One (Registered with Library and Archives Canada) Persistent Identifiers: ORCID: 0009-0004-7737-5094 ISNI: 0000000537155247 Wikidata: Q136308879 (Museum of One)