Research Catalogue

A visual, emotional & conceptual archive of Performative Reharsals and Performative installations that anticipated the LGP Method's integrative logic by Transdisciplinary artist. This archive links 2019-2025 anti autobiographic artistic process trough creative collaborations. This article presents a series of digital collages created through the daily reworking of personal archives—photos, performance records, and installations. These images are not final works but a catalogue of affective documents in motion. They explore the blurred boundaries between memory, artwork, and archive. This visual practice is part of the ongoing evolution of the LGP Method, showing how transformation and process are central to its structure. After the method's formalization, a new identity—New Art—emerged, emphasizing mobility, reinvention, and the spiritual-emotional dimension of creative work. This archive also acknowledges the valuable collaborations with artists, performers, and institutions who engaged with different stages of the process, activating the method from multiple perspectives.

In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.

Nine research groups from HKU, Hanze University of Applied Sciences, Fontys, and Utrecht University of Applied Sciences are joining forces with UvH and UMCU to bring a new perspective on healthcare through the arts, supported by the SIA-SPRONG grant. Using a transdisciplinary approach, this research group and its partners are developing new methods, practices, and scenarios within healthcare and well-being contexts—not for, but with each other.

Post-Interpretive Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing Author: Dorian Vale This doctrinal essay codifies the foundational ethics and philosophy of Post-Interpretive Criticism—a radical departure from traditional art writing that prioritizes interpretation, explanation, and performative analysis. In its place, Dorian Vale introduces a critical framework rooted in restraint, witness, and moral proximity. Rather than dissecting or decoding art, this doctrine teaches the critic to hold space, remain present, and write with reverence. Art, especially that which emerges from grief, trauma, displacement, or sacred silence, is not a puzzle to be solved—but a presence to be honored. This doctrine offers a structured alternative to the dominant critical paradigms. It affirms that the most ethical art writing does not always speak—it listens. It does not clarify—it shelters. It does not interpret—it witnesses. Blending philosophy, aesthetic ethics, and literary rigor, this foundational text establishes Post-Interpretive Criticism as both a movement and a method. It calls for nothing less than a revolution in the way we engage with meaning, silence, and the unseen. Vale, Dorian. Post-Interprative Criticism: Doctrine of Restraint, Witness, and Moral Proximity in Contemporary Art Writing. Museum of One, 2025. DOI: 10.5281/zenodo.17012559 Dorian Vale is a chosen pseudonym, not to obscure identity, but to preserve clarity of voice and integrity of message. It creates distance between the writer and the work, allowing the philosophy to stand unclouded by biography. The name exists not to hide, but to honor the seriousness of the task: to speak without spectacle, and to build without needing to be seen. This name is used for all official publications, essays, and theoretical works indexed through DOI-linked repositories including Zenodo, OSF, PhilPapers, and SSRN. 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, art criticism ethics, Dorian Vale, doctrine of restraint, moral proximity in art, witness-based art writing, contemporary art theory, post-critical aesthetics, slow art, minimal criticism, sacred witnessing, aesthetic responsibility, trauma in art, ethical language in criticism, writing without harm, non-interpretive criticism, viewer as evidence, presence in art, philosophical criticism, art and reverence

Dimensions of an Encounter: A Sculpture & Its Shadow explores how sculpture negotiates the opposing forces of gravity and levity, presence and absence, object and support. Tracing a lineage from Leibniz’s theory of individuation to Melanie Klein’s theory of object recognition to various sculptural practices, the essay considers how spatial arrangement mediates psychic projection and self-recognition.

Afterwork explores the shifting relation between human labour and automation through the lens of political imagination and speculative fiction. Building upon new iterations of the live action role-play (LARP) Afterwork, firstly run at Kunsthalle Wien in 2023, it investigates how art-based world-building methods can serve as critical tools for thinking beyond prevailing labour ideologies in the context of rising automation.