Research Catalogue

In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.

Devices that produce images, such as cameras and microphones, invite their users to engage with the world by enabling a network of relationships. By appropriating the concept of field from certain discourses of sound art and applying it to the moving image, visual artist Ellen Røed explores, in a series of collaborations, how camera based field recordings might operate across experience, mediation and representation. By considering the moving image as a form of site in itself, the activities of the project consider how moving images can manifest as a form of place on its own terms rather than as a mode of representing reality. The project builds on the capacity of video based art for enabling movement, transience, and body, in other words elements of performance characteristic to site. Image as Site is an artistic research project at Stockholm University of the Arts (SKH), funded by The Swedish Research Council and SKH.

Este trabalho, ainda em processo de construção, resulta de uma atividade da disciplina Epistemologia da Cultura, no âmbito do Mestrado Interdisciplinar do Programa de Pós-Graduação em Dinâmicas Sociais, Conexões Artísticas e Saberes Locais da Universidade Federal do Maranhão – UFMA. Emerge da experiência de vivenciar o Farol da Educação de São Bernardo - MA como patrimônio cultural e, simultaneamente, como espaço de criação, memória e reflexão. A investigação se inscreve no campo da pesquisa artística, entendendo que a arte não apenas representa o mundo, mas o interroga e o ressignifica. A proposta metodológica parte da experiência in loco, cujo primeiro momento consistiu na visita ao Farol, ocasião em que se delineou o patrimônio a ser submetido ao processo de ressignificação. Em seguida, elaborou-se um mapa mental que estruturou práticas a serem desenvolvidas no espaço, compreendendo as cartografias afetivas, a escuta performática, a equidade do olhar e a concepção do patrimônio como organismo vivo. Sob a perspectiva da pesquisa artística, entende-se que a produção de conhecimento emerge da experiência situada e da vivência estética, em que corpo, espaço e memória se entrelaçam em processos de criação e reflexão. Nesse horizonte, o estudo dialoga com Pierre Nora, ao tratar o patrimônio como “lugar de memória”; com Clifford Geertz, ao propor a descrição densa das práticas culturais; com Stuart Hall, ao compreender a identidade como processo em permanente reconstrução; e com Julieta Haidar, ao conceber a cultura como campo de significações em disputa. No âmbito da pesquisa artística, a reflexão ancora-se ainda em Henk Borgdorff, e Kathleen Coessens, ao reconhecer a criação como prática situada, ecológica e reflexiva. Dessa forma, a exposição apresenta os percursos de criação metodológica vividos no Farol da Educação, evidenciando como a prática artística possibilita a ressignificação do patrimônio, transformando-o em lugar de memória viva, criação coletiva e produção de conhecimento.

Wearing a garment can serve as a metaphor for inhabiting the city. In both cases, a space built on a human scale is occupied, excluding everything else. Spontaneous vegetation moves slowly, so as not to be noticed. Meanwhile, the city grows and alters it, leaving an indelible mark on its form. The silhouettes of pruned plants, twisted and unnatural, resemble anthropomorphic figures, and the scene becomes suspicious. The “Costumes” series consists of disguises created from models of plants spotted in urban environments. Their shape prevents other life forms from wearing them.

This text is a sustained philosophical exploration of silence as an aesthetic, ethical, and epistemic medium. It examines silence not as the absence of sound, but as a generative presence that structures perception, meaning, and artistic encounter. Within the framework of Post-Interpretive Criticism, silence is positioned as the original ground from which expression emerges and the final condition to which all expression returns. The treatise analyzes distinctions between silence as containment and silence as erasure, arguing that the ethical force of silence lies in its use: it can dignify the unsayable or be weaponized to suppress and marginalize. The work draws on cross-disciplinary examples from sculpture, poetry, music, film, and museology, illustrating how restraint shapes the architecture of experience. It argues that silence is foundational to perception, authorship, and criticism, and that the erosion of silence in digital culture has produced a contemporary “poverty of depth” characterized by immediacy without intimacy. Within the museum context, the text advocates for silence as a curatorial principle—an element of spatial ethics that allows artworks to be encountered with attention rather than overwhelmed by spectacle or interpretive noise. It further articulates the responsibilities of the artist and the critic: the artist must discern which silence they invoke; the critic must understand which silence they break. This essay contributes to ongoing discussions in contemporary aesthetics, museum studies, and critical theory by reframing silence as an essential but endangered cultural resource. It presents silence as an uncommodifiable medium that resists institutional, linguistic, and commercial capture. The work aligns with and expands the theoretical commitments of the Post-Interpretive Movement, emphasizing moral proximity, restraint, and the ethics of presence. 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), The Journal of Post-Interpretive Criticism (Q136530009), Canon of Witnesses (Q136565881)

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