Research Catalogue

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.

on being left behind free scattered together Artist book as a residency report. Residency "Play(the)ground. Informality as resistance" in Trafaria - Torrão, Lisbon, PT. September 2024 Residency organised by Maisunomaisum and experienced by Diana Ferro, artist.

DoPeopleLikeYourFeet? The first workshop held by the Institute for Piedilogical Research aims to question basic assumptions at the foundations of spatial practice such as how we orient in space, what is the ground we stand on, how we move through space with our feet and so on. As xenofoot research scientists, we propose an intensive training schedule alternating between walking practices in the territory of Calarasi and reflective/ making/transcendental moments on the grounds of EASA community. As walking is really close to doing nothing (Solnit,2000), it opens up a world of possibilities for the participants that allow encounters with local inhabitants, found materials, conversations, random observations and visions of other dimensions to affect what they will make or write or perform or preach throughout the time of the workshop.

This Exposition is a brief ironic comment on the ongoing degradation, commodification, and colonisation of food and its many dimensions — recipes, ingredients, context — and a reflection on the territorial definitions that shape identity, in this case of South Asians and the Global South, once bound together as a people and still united in the brieftopian world of the Author’s Greatest Biryani: an amalgamative dish of political and cultural reproductions, drenched in time, where old and new contest identity. Through a conversational, autoethnographic lens, the exposition blends historical, colonial, and territorial reflections, using Biryani as both departure point and metaphor for shared identity and dislocation. Visual collages — archival, familial, and sourced — act as probes connecting memory, culture, and belonging. Ultimately, the work offers the Author’s Greatest Biryani as a living document of generational knowledge and a utopian gesture, inviting both insiders and outsiders to gather around a dish transcending borders and time.

There are moments within a performance where destruction and deviation from reality allow an alternative scenario to reveal itself. I argue that these moments can be called ‘brieftopic’, fleeting glimpses into a possible future (Behzad Khosravi Noori, 2024). But what are the connections between reality, deviation and alternative scenario? How can this brieftopia, which materializes for brief moments within a performative event, reverberate outside of it, propagating at a social and political level? During the site-specific improvisation series [in situ], it became evident to me that this brieftopia is tied to an artist’s relinquishment of control, leading to a decentralization of the performance. By introducing the case study, specifically the [in situ] performance held in September 2023 at the Maremma National Park, we will see how unforeseen, unpredictable, and non-linear interactions between myself, the audience, and the non-human components of the ecosystem in which we were immersed, shaped the performance itself, steering it in an unexpected direction and removing it from the continuum of artistic intention, audience perception, and everyday life reflection. In this brieftopia, in a sense, it is existence itself that is reduced to rubble, not for the love of rubble, but for the way out that passes through it, paraphrasing Walter Benjamin.

The photographic image has always historizised; an artifact of the past, photographic moment. But just as it is conditioned by the temporal and material context of its making, its essence – if there is one – is conditioned by how we encounter the image. This encounter involves both the situation in which the image is seen and our individual selves in relation to it – our histories, beliefs, and expectations. To further reflect on this unstable, temporal quality of the photograph, we explore the meaning of looking at the future by looking at photographs. Artistically and philosophically a contradiction in terms, it is still a practice we experience: How to look ahead with something temporally bound to the past. To do this, we reflect on ‘Regarding the Pain of the Future’ by the first author and develop and discuss an artistic practice emphasising a second, photographic moment.