Research Catalogue

The SIG Facilitating took shape at the 2023 SAR Conference in Trondheim, after observing over an extended time how frequently artists, artistic researchers and even policy makers refer to facilitation when describing interactions with audiences, communities and research partners. Finding ways to examine such facilitating processes is crucial to the work under way. We know that facilitating practices exist widely in interactive and community based art, and in theater and the performing arts, for example using games, props and improvisation. There are intersections with pedagogy and professional facilitation and coaching, with at least the latter understood as prizing outcomes over processes. The SIG Facilitating asks: What does it mean to facilitate as part of artistic research? Why is this focus emerging now? How are we drawing on a greater web? Organized by Marija Griniuk, Postdoctoral researcher at Vilnius Academy of Arts, and director at Sami Center for Contemporary Art in Norway; Janne-Camilla Lyster, Associate Professor, Oslo National Academy of the Arts; and Adelheid Mers, Professor, School of the Art Institute of Chicago (coordinator). Contact: sigfacilitating@gmail.com

From the intersection between Sign Language and dance, choreographer Laisvie Ochoa, is exploring the feeling of loss. In a duet with Dennis Massar, and using material developed with Anneloes van Schuppen, the work presents a visual expression of movent that seeks to honor what her mother left her.

This research is an advanced research of Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective in 2024. I explore post feminist theory from a new perspective in the 21st century. Thereby I deal with spatiality between virtual reality and physical space theoretically and practically. Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272) Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.

This thesis explores the link between colonialism, diaspora and displacement, analysing how these themes are addressed in contemporary art through the works of artists such as Belkis Ayón, Tania Bruguera, Coco Fusco, Binta Diaw and Dominique White. My research is developed around the concept of non-place (Marc Augé) and the space in-between (Homi Bhabha), understood as fluid territories in which identity is broken down and recomposed, suspended between memory and oblivion, between roots and transit. The analysis examines artistic practices that reinterpret the collective memory of diasporic communities, with a focus on processes of cultural and identity re-appropriation. Belkis Ayón's work reinterprets the Afro-Cuban mythology of the Abakuá as a metaphor for diaspora and marginality, while Tania Bruguera and Coco Fusco deconstruct the colonial gaze through performance and denunciation of power. Binta Diaw and Dominique White use the body, the sea and shipwreck as symbols of identity fragmentation and the construction of new spaces of belonging. The thesis integrates references to Paul Gilroy, Aníbal Quijano, Frantz Fanon and Enrique Dussel, highlighting how art can function as an archive of memories and an instrument of political resistance. Parallel to the theoretical research, my artistic project proposes a series of installations that evoke the non-place of dislocation, a space of transition and rewriting, where matter - sound, sculpture, performance - become bearers of forgotten histories and new possibilities of belonging.

Editorial: Sounding the Contradictions in and of the (Post-)Soviet Realm

Alexander Holm have been developing the artistic research project 'Sworld' on the APD program at RMC in Copenhagen 2021-2024. The project seeks to explore how simultaneous experience of sounds with- and without a visible cause can evoke human experiences of ghosts, absence and lost memories. The project researches and expands on composer and theorist Michel Chion's audio visual concept of Synch Points, examined through a versatile compositional praxis including choreography, text, voice, walks and live performance.