Research Catalogue

Dit is een onderzoek naar 'het kunstzinnige' in het (professioneel) leven van alumni die, tijdens hun opleiding tot pedagogisch coach, werden ondergedompeld in een bad vol kunst en cultuur, vanuit de overtuiging dat dit hen zou verrijken in hun werk, in hun leven en hopelijk, misschien, in beide.

WITHDRAWING THE PERFORMER WITHDRAWING THE PERFORMER is conceptualized and conducted collaboratively by Charlotta Ruth (SE/AT) and Jasmin Schaitl (AT). The starting point are two artistic practices based on methods of mindfulness and game/play; Performances for the Mind and Choreographic Clues. These two individual perspectives on participation emerge from the project leaders’ ongoing artistic research and merge in their common artistic curiosity in the facilitator role and facilitating the creation of immaterial material. Accompanied by neuroscientist and performer Imani Rameses (US/AT) the research asks: How does immaterial material perform within participatory situations? What role does participatory setting play and how does participation differ if situations are communicated as a workshop, a treatment, a practice or a performance? How can neuroscience support how immaterial and participatory art practices are developed and described? What relation exists beyond involvement and how can a participant become the situation rather than being part of a situation? What has to occur in the mind and body for this to happen? Through practice and dialogue conducted with experts in the fields of contemplative sciences, sound art, choreography, game art and somatics, the research explores how input from participants (e.g. memory, thought, emotion) can be placed at the centre of a flexible yet framed performance situation. WITHDRAWING THE PERFORMER was realised in collaboration with the Angewandte Performance Laboratory 2021-2022. In the course of the project, a lecture was given at the Center for Didactics of Art and Interdisciplinary Education, and a public series was realised at Kunsthalle, Wien & Angewandte Performance Lab. Collaborating expert practitioners and dialogue partners are: Philipp Ehmann (AT), Nikolaus Gansterer (AT), Mariella Greil (AT), Dennis Johnson (US/AT), Anne Juren (FR/AT), Krõõt Juurak (EE/AT), Imani Rameses (US/AT), Christian Schröder (AT), Lucie Strecker (DE/AT).

Keywords: access, censorship, document, knowledge, language, navigation... For a few weeks, a group of peoples gathered and had for agenda to approach "research" in education(s) and in the context of Art as part of Societies. Investigating/reading/questioning traces (signs, clues, memories, facts, datas) and shadows of knowledge systems, circulations, and accesses - including active translations and reflections on perceptions - they discussed the status of "document" and values of knowledge in relations to the modalities of their publications and presences within the context of a library. The group decided to focus on analogue research methodologies. Extracted? Outdated ? Archived ? Censored ?

Fractured Curation: On the Cost of Discontinuity Author: Dorian Vale In Fractured Curation, Dorian Vale exposes the silent violence of discontinuity in institutional exhibition-making. Drawing from the principles of Post-Interpretive Criticism, this essay critiques not the art on display, but the fragmented and careless curatorial strategies that sever meaning, rupture context, and erode ethical witness. Focusing on spatial logic, visual sequencing, and the absence of coherent narrative threading, Vale reveals how curation can either dignify or disfigure the viewing experience. When works that bear trauma, memory, or moral weight are mishandled—isolated from their context or stitched into spectacle—the institution itself becomes a site of erasure. This essay stands as a manifesto for curatorial reverence. It reclaims the role of the exhibition not as entertainment or aesthetic collage, but as a moral architecture—one that must be approached with continuity, restraint, and care. The cost of ignoring this? A public who walks through beauty without bearing its consequence. Vale, Dorian. Fractured Curation: On the Cost of Discontinuity. Museum of One, 2025. DOI: 10.5281/zenodo.16996506 This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843) Dorian Vale, Post-Interpretive Criticism, fractured curation, curatorial ethics, art exhibition critique, museum responsibility, trauma in curatorial practice, continuity in curation, moral proximity in exhibition design, witnessing through curation, ethical curation, spatial narrative in museums, careless curation, art and erasure, institutional critique, aesthetic sequencing, exhibition as architecture, custodial art criticism, reverent exhibition design, post-critical museum theory, viewer disorientation, discontinuity in art spaces

Thesis / Research Document of the Royal Academy of Art, The Hague, 2025 BA Interior Architecture and Furniture Design Summary (8968)

This concise study guide introduces the foundational framework of Post-Interpretive Criticism (PIC)—a new aesthetic philosophy that centers presence, moral proximity, and restraint in the practice of art criticism. Developed by Dorian Vale, the guide breaks down PIC into five core principles: Restraint over Interpretation Witness over Commentary Moral Proximity over Objectivity Viewer as Evidence Rejection of Performance Each principle is accompanied by a brief case study, reflection exercise, and ethical commentary, making this guide suitable for students, educators, curators, and critics seeking to apply PIC in the field. Instead of decoding the artwork, this framework encourages a posture of reverent presence, allowing the artwork to retain its autonomy and moral gravity. This resource is designed to be taught, discussed, and practiced. It supports classrooms, curatorial programs, writing workshops, and museum education—inviting a new generation of viewers to approach art with humility, silence, and philosophical depth. Vale, Dorian. Five Principles of Post-Interpretive Criticism: A Study Guide. Museum of One, 2025. DOI: 10.5281/zenodo.17077734 This entry is connected to a series of original theories and treatises forming the foundation of the Post-Interpretive Criticism movement (Q136308909), authored by Dorian Vale (Q136308916) and published by Museum of One (Q136308879). These include: Stillmark Theory (Q136328254), Hauntmark Theory (Q136328273), Absential Aesthetic Theory (Q136328330), Viewer-as-Evidence Theory (Q136328828), Message-Transfer Theory (Q136329002), Aesthetic Displacement Theory (Q136329014), Theory of Misplacement (Q136329054), and Art as Truth: A Treatise (Q136329071), Aesthetic Recursion Theory (Q136339843) Post-Interpretive Criticism, study guide, art education, critical theory, Dorian Vale, aesthetic philosophy, viewer as evidence, slow looking, ethical criticism, trauma in art, art pedagogy, witness-based art criticism, art classroom resource, art and ethics, moral proximity, presence over interpretation, contemporary criticism, museum education, poetic criticism, art curriculum