Research Catalogue

This exposition emerged from my participation in the second interval of the Simultaneous Arrivals (Simularr) Artistic Research Project—a research project inviting international artist-researchers to explore relational, situated, and process-based inquiries in dialogue with core researchers. Core researchers: Nayari Castillo, Hanns Holger Rutz, Franziska Hederer, and Daniele Pozzi. For the second interval, the visual artist and researcher Elena Radaelli and I were invited as visiting artist-researchers. (More information on Simultaneous Arrivals: https://simularr.net/about/) The exposition presents my process during the residency, i.e. my Traces and Paths Towards a Singularly-Plural Companionships. The eight-week residency (3 March-30 April 2024) took place across three sites: Graz (Austria); Lecce, San Cesario (Italy); and Klagenfurt (Austria). The exposition traces this journey through various mediums, including texts, graphics, video and audio material experiments, field encounters, and theoretical companions. My processes, are informed and shaped by my companion collaborators—human (research-creation companions), more-than-human, textual, and material—who co-inform and co-create the unfolding of the research.

Supplement to the presentation proposal 'Anatomy of a (Musical) Ethics Lab'

'Diffracting the Copenhagen Interpretation: Toward non-local collaborative art practices' investigates the resonances of concepts from quantum theory in the realm of transdisciplinary practice-based artistic research. Throughout a series of protocols using diffractive methodologies, we intend to translate and embody concepts such as spacetime, entanglement, non-locality, uncertainty, indeterminacy, and superpositionality, and embed them as tools for our artistic practices. These concepts were chosen for their singularity in physics, but also for the ways in which they confront ontoepistemic pillars of ‘Modernity’, such as sequentiality, determinacy and separability. The research is carried out by a transdisciplinary non-local core ensemble formed by Søren Kjærgaard, Amilcar Packer, and Carla Zaccagnini. The cities we inhabit – Copenhagen, Sao Paulo and Malmö – have been our laboratories. Departing from tools and methods learned from each-other's disciplines, we have been creating scores that guide our simultaneous actions while walking on the street –interacting with public spaces and their characteristics– or while lying asleep –in the most private of spheres. On the one hand, in a practice we call ‘non-local walking’, scores conduct our collective experiencing of our cities, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. On the other hand, the ‘entangling dream practice’ experiment is an attempt without aiming at success of meeting each other in our dreams. Both investigations are conceived as boundary-crossing transdisciplinary methodologies through which we create a relational, critical consciousness and sensing that stimulates unexpected outcomes, embracing failure. These scored performances have resulted in cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations, unexpected connections, constellations, and coincidences e/merge, unveiling yet unheard polyphonies that give resonance to the urban and mental spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.

'Southern Outfall Works' consists of the collected partworks developed through extensive period as field artist at Crossness, a historic sewage pumping station on the banks of the Thames, leading towards a large-scale, site-specific installation, Southern Outfall, in May 2025. The evolving works form part of submission for practice based Phd, alongside a co-evolved paper 'Southern Outfall: sensible ways in evolving installation'. The works and paper encompass a spectrum of thought from multiple knowledge bases, brought together through an underpinning in process philosophy. The part-works and text support the generation of immersive, multi-modal event-installation which will be sensitively situated across the site, engaging a range of sensory encounters while exploring the nature of the voluntary organisation that keeps the place in existence. Through a layered relationship to science, technologies and redundancy and with a touch of common sense, mingled encounters emerge...

This research investigates the visual narrative built within artworks that deal with colonial memory in Sapmi, and the heavy layers of history in the Baltics, particularly Lithuania during the Soviet era. The research question is: How can themes of Gulag, colonial history and traumatic transgenerational memory be addressed by the artists and by curators in large-scale exhibitions and art venues? The aim of this study is to examine how visual expression is aesthetically communicated by the artists, how their artworks are presented in exhibitions and media channels, and how they are received by audiences. The study examines four cases: artworks and projects by two Sami artists and two Lithuanian artists. The research is conducted as artistic research, where the author acts as the artist, curator, and spectator of the artworks being analyzed. The author has been actively involved in the creative curatorial processes, including designing the curatorial setup of the Sami artists' artworks for their audience. The comparative analysis of the visual expression is done through the reflexive tools of the author. The study's findings provide an outline of the tools that artists use within their artworks, as well as the curatorial strategies applied when presenting those artworks to audiences.

Exploring how artistic experience can be influenced by mimetic recognition of human motion patterns in non-representative kinetic figures. This project investigates imbuing non-representational kinetic figures with human-like movement patterns and examines how these characteristics can modulate the expe rience of such figure(s). The investigation explores whether these motion patterns may facilitate mimetic recognition of human movement patterns and whether such recognition can intensify onlooker engagement with the figure(s) by eliciting affective and emotional responses. Of particular interest is evoking experiences of kinship and relation between humans and non-humans and proposing that the figures’ actions be experienced as an expression of intent on the part of the figures. These topics are approached as artistic motivation and guiding principles for artistic creation and experimentation.