Research Catalogue

“Working Title” is an art performance about labor conditions and class structures. The motivation behind the piece is to interrogate the many ways in which work affects us. The boundaries between labor and art are also examined, as the physical and mental demands placed on the performers reflect the burdens of modern working life. The format mirrors a regular workday: the performance lasts eight hours, including a break. It is presented in two versions—a day shift and a night shift. Today, many sectors are marked by rapid change, demands for efficiency and ever-increasing productivity. Which values are prioritised, and which are undermined to meet the needs of such a labor market? In the piece, structural challenges will be studied and observed through scenarios acted out on stage. Some examples of questions that will be used to form these scenarios: -At what cost do you actually sell your time? -What kind of value is, beyond the monetary, created for those who buy your time? -In what ways, physically and mentally, do you experience your labouring hours, after you have clocked out? The performance will explore themes such as: - Monotony and repetition as fundamental elements of labor - Power dynamics in the workplace and how privileges are maintained and reinforced - The body’s needs in relation to work: illness, disabilities, menstruation, and pregnancy - The physiological consequences of labor - The value of time as an economic and social divide - The close link between economic stability and mental health In a time when the job market is shaped by rapid technological development, climate change and an uncertain future, thinking through alternatives for how to organise ourselves has become crucial. With this performance, we aim to dig into the mechanisms at stake in order to hopefully be able to both raise questions and think deeply about how we may face the challenges ahead collectively. A dynamic, experimental and collectively driven form of artistic expression is combined with societal critique. We believe in art as a way of adding to the discourse in poetic manners, activating questions through embodied experiences. With this unique format, we hope to open new perspectives on what labor means for individuals and society—and what values we wish to build our common future upon.

Although it is virtually impossible to formalize what ‘best practice’ on the Research Catalogue might be, it harbours by now numerous examples of expositions that ‘work.’ In this session, I want to introduce a small set of diverse expositions from JAR as a way to highlight successful choices people have taken. With a short explanation of expositionality and virtual witnessing, I aim to support an understanding of the effect that those examples have as a way of describing how media-rich articulations can productively engage with both academic and artistic expectations.

short bio and cv

Among classical musicians, there is a tendency to define our profession more by craftsmanship than artistry. In our artworld, we often focus on reproducing: A musical performer becomes a transparent medium for the composer’s supposed intentions (Leech-Wilkinson, 2020, chapter 6). How can we reclaim agency and liberty in the process of shaping music? In this exposition, a storytelling approach is applied to the performance interpretation of Luciano Berio's classic flute solo Sequenza I from 1958, with the aim of becoming a more daring interpreter. The storytelling in focus was recorded in the 1950s, echoing even older times. However, in my explorations, the archival storytelling serves as a tool for reimagining a musical score and creating something new.

Our Days of Gold (ODOG) is an ongoing, durational artwork staged on Instagram at @ourdaysofgold_film since April 2017. Over its eight-year duration, the work has accumulated new layers of memory and interpretation shaped by followers’ responses, shifting platform aesthetics, and changes to Instagram’s visual logic, including the disappearance of the square grid in January 2025. Alongside creative contributions, the project draws on a survey conducted with long-term followers, tracing how experiences of viewing, remembering, and interpreting the work unfold over time. This co-authored exposition includes videos, screen-recorded navigations, and writing produced by followers whose contributions reveal a form of polyvocality: multiple interpretive threads and associations that remediate the archive while shaping its evolving narrative. Within this distributed process, ODOG engages autofiction not as a singular self-narration but as a collective mode of authorship, emerging through dispersed readings, layered memories, and networked resonances. At the same time, the project foregrounds the precarity of social media archives, where redesigns, algorithmic shifts, and potential platform loss constantly reshape how the work circulates and persists. Drawing on debates around remediation and digital preservation, ODOG tests how meaning, memory, and narrative can be sustained within unstable infrastructures while acknowledging their continual transformation.

In this half paper, half soliloquy, I aim to propose re-enactment as a research method. Through textual analysis and situated reflections, I will explore the potential of re-enactments in performative returning to destabilize and reconfigure canonical understandings of the past, and consider any implications this understanding of re-enactment can have within research approaches