The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the
Society for Artistic Research. The RC is free to use for artists and
researchers. It
serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be
an open space for experimentation and exchange.
recent activities <>
Matter and Nothingness: How corporeality is related to the failure of the otherwordly
(2025)
Massimo Barbero
This research is rooted in nihilism, exploring how the contrast between materiality and spirituality leads to an uncomfortable way of percieving existence.
What does it mean to be unable to believe in "what's beyond"? What role does the body play in such an issue?
The starting point is a deeply philosophical debate. Through art and numerous attempts it tries to unravel itself.
Exploring the Musical Evolution of Sheila Jordan
(2025)
Hyejung Jung
Sheila Jordan, an important female singer in the history of jazz vocals, and an exploration of her life and musical characteristics.
Among signs – propositions from a typographic practice
(2025)
Åse Huus
This exposition gathers a series of visual and linguistic investigations in which signs, form, and the space between them construct expressions that invite multiple interpretations. Here, propositions are understood as attempts, movements, and modes of thought. Between sign and form, a space emerges where meaning can be brought into play – where rhythm, structure, wonder and quietness may interact as an expanded practice of seeing, reading, and listening.
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Drawing in the In-Between – ma, Intelligens and the Sketch&Draw Method
(2025)
Tanja K. Hess
On drawing as a practice of the in-between in the sense of the Japanese concept ma. Using the Sketch&Draw method, it is shown that drawing is neither mere representation nor pure invention, but a dialogical process between perception, memory, hand, and world. Neuroscientific models such as Predictive Coding demonstrate that each line is a proposal by the brain of how the world might be, which is then fed back and refined in the process of drawing. The hand appears not as a mere tool, but as a thinking organ, tightly coupled with perception and memory.
Referring to Mihály Csíkszentmihályi’s theory of Flow, it is shown that the immediacy of hand drawing – in contrast to digital procedures – is decisive for entering a state in which perception and action seamlessly merge. Philosophical perspectives from Maurice Merleau-Ponty and Tim Ingold highlight that the line is not merely a boundary, but a resonance space in which the invisible can become manifest.
Drawing thus proves to be a process of knowledge, one that unfolds slowly, comparable to a species-rich meadow: unplannable, yet not random. In the in-between of world and subject, line and gaze, a form of knowledge emerges that can be understood as Intelligens – a creative third way beyond control and helplessness.
