Research Catalogue

In this exposition, I discuss the multimedia installation "Esparto, approached", to which I opened doors last May 10th, 2025, in Organo Hall, Helsinki Music Center. "Esparto, approached" is the first of a series of three installations representing the artistic component of my doctoral degree at the Sibelius Academy, Uniarts Helsinki. The research project in which this installation is contextualized is currently titled "Listening through remembrance: An autoethnography of presence in the age of disposability". In this artistic research, the notions of listening, remembering, and presence-making are interwoven in an attempt to understand how we confer meaning and value on things despite our embeddedness in a world of disposable nature, where things are susceptible to being quickly discarded, replaced, and, therefore, forgotten. This exposition opens up a space of reflection in the aftermath of "Esparto, approached". The installation represented a collective recall of the field practice that led me to search for signs of durability in abandoned contexts of my homeland in rural Southeastern Spain. This exposition poses the following questions about it: What happened? (Description); What does "what happened" mean? (Analysis); And, how does "what happened" keep happening now? (Further becomings). The objective of creating an online exposition right after the event is to open a window to the reflective process of this investigation before its completion, thus making visible its traces. The process itself is therefore turned into an accessible outcome that manifests the continual nature of the project as a whole.

a lesson in the shadows of death entangled moment of frozen fragments embodying sacred movements through air, body, mind, mattering, voicing as if NOTHING

The Agenda Group is a research group based at KMD, connecting artistic practices "with an agenda". The group enables crossover methods rather than media specificity, allowing space for different participants. "An agenda" is here understood as an aspect of socially engaged art practices. This relates to people, narratives and history alike and is about our shared values and contribution to society as artists. The engagement relates to issues outside of the artistic context and investigates how these issues might be mediated and moderated with artistic means. The Agenda Group is open for all kinds of artistic practices, but the focus of the discussions will be on artistic practice "as crucial to both individual and societal change and development" (KMD Strategic Plan). The relationality between art and society is never as simple as it seems and these reflections involves the thinking of intensity in addition to formats, translation and displacement. In this sense the agenda of an artistic project is crucial to the understanding of its implications. The Agenda Group is a pragmatic platform to connect various members of staff at KMD (artistic-researchers, post-docs, PhD’s and maybe even MA-students). The main purpose is to meet regularly, presenting and discussing the artistic research of each of the group members. An internal critical agenda. Research group initiator: Professor Frans Jacobi

How can embodied listening be performed, from my ears (body) to yours? How are we (dis)oriented? ‘Braced under the heating sun’ is centred around listening to and documenting my childhood home and its aural particularities through processes of embodied listening. The project is based on my recordings and experiences there between February and March 2020 (bookended by the waning Australian black summer bush fires and the burgeoning COVID-19 pandemic). The house is made from wood and so bends with the weather. The wooden structure amplifies the sounds of our habitation. The house is located on the edge of a small town and next to a sugarcane farm in North Queensland. Although in a tropical climate it has no flyscreens, and air-conditioning in only one room. The windows are open all of the time to let a breeze through. Most evenings you can find green tree frogs, geckos and insects amongst other animals in or around the house. In this way nature (a wild exterior) pushes against and blurs into the home (an organised interior). It is never silent there, the sounds are a mix of all forces; human/animal, natural/industrial. For me, it resonates as a site that is connected to the world despite its rural location. In this house the “rhythms and cycles of the living and the immediate needs of every living being are highlighted and played out. It is where intensities proliferate themselves, where forces are expressed for their own sake, where sensation lives and experiments, where the future is affectively and perceptually anticipated” (Elizabeth Grosz 2008). In this audio paper, I discuss this installation work and my continued research on embodied listening.

theory practice theorize practice practice theory ... By using any of these words I am establishing an order of importance among them. My body cannot vocalize two of them at the same time. How in the world can this terrible order of things be abolished? How can we relate to a possible merge of the dichotomy theory/practice through language?

The theory & practice affair: this is piece "16" from the series "x out of 5448643200", and it is an arrangement of 16 possible combinations among 5448643200 available of the letters {p, r, a, c, t, i, c, e, t, h, e, o, r, y}. These letters make the word 'practicetheory', and also the word 'theorypractic'e. In fact, none of these two words exist, and yet are identifiable 'theory' and 'practice' as constitutive halves within them. Discourse not only describes the world but actually produces the world. We, as researchers and as artists - and particularly as artist-researchers - are in permanent tension with the two blocks, theory and practice, and despite our struggles to merge both, we are, through language, every time referring to one after the other. One after the other, in a hierarchy. We cannot speak the two words at the same time and, unless we invent a new word to refer to the crossbreed of the two, we are condemned to this limiting dichotomy. "x out of 5448643200" presents the hypothesis of billions of possibilities to re-write the productive merging of theory and practice. "16" shows sixteen of them (Thanks to Steve Norton and Robert Stevenson for collaboration)