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 <>

PERFORMATIVE THEOLOGY (2024) Network for Performative Theology
The purpose of this exposition is to collect data of what Performative Theology can be and become primarily within an academic research but also beyond. The expo will be a timespace nurtured by members the Network for Performative Theology, established 6 October 2022 in Oslo.
open exposition
{kA} : Oblivious to Gravity (2024) Gerriet K. Sharma
Building-Sound Compositions in (half-)public places: Starting from Graz, six vacant buildings in different European cities were researched as aural architectures and understood and experienced as an integral part of building-sound compositions. Techniques and strategies ​​were developed how sound art can react systematically to site-specific architectual conditions or how these environmental acoustic characteristics can become part of a previously non-existent composition.
open exposition
The game (2024) Zoe Panagiota (aka Betty) Nigianni
Happening, 2016. Participant's research, including improvised full recorded interview with first generation Albanian immigrants to Greece, images, and thematic text. The research was conducted for the workshop, "Logics of Worlds", inspired by Alain Badiou's work and organised by architect Filippos Oraiopoulos, at Athens School of Fine Art (ASFA), Master of Visual Arts (Marios Spiliopoulos, Giorgios Xiropaides), December 2016. Adopting the political approach of Badiou's "L' Organisation Politique", applying direct intervention for societal problems, including immigration and labour, I used play as a method to facilitate improvised discussions. People share and respond more freely when participating in structured, but playful interactions, such as those a game involves. Albanians speak three languages, Albanian, Greek and Italian, so I wasn't able to translate parts of the conversation. Avlona is an English now obsolete name for Vlore, an Albanian seaport and former ancient Greek colony Aulon. Albanians came as refugees in Greece initially in the 1990s, after the fall of communism in their home country. Notably, the workshop was slightly interrupted by a performance art student, who brought a live hen to slaughter in the studio. This can be taken as a metaphor for scapegoating (and re-assigning the gender of male) refugees. For this exposition, I include an essay by Pantelis Boukalas, in Kyriakos Katzourakis, O "Dromos Pros Ti Dysi" (The Way to the West), 2001, as well as Kyriakos Katzourakis' introduction in English. The exposition also aims to juxtapose the experimental and the conceptual in the fine arts; and to make the 'invisible' visible. I don't have any personal or other connections with Albania; I have never visited. This was a project to research and document in an artistic manner the refugee and immigration crisis in my native Greece, but also to voice my opinions on this topic from the perspective of the native. Albania is a non-EU country; Greece, my native (and my parents' and grandparents' native), has been in the EU since 1981. I have also been a UK national, by naturalisation, since 2011. Paradoxically, the outcome of this project was that "I" (or a a fictitious son/daughter of mine) have been since 2018 on UK police databases as a disabled 19 to 21 year-old transgender Italian/Albanian - maybe married to a Swedish neo-Nazi. My serious concerns about international organised criminal activity, were reported and confirmed by the Greek and Swedish authorities. The Greek Golden Dawn was convicted as a criminal organisation in October 2020. They invented the 'concept' of the 'Real Greek'. Now they're losing their sixty seven (67) appeals.
open exposition

recent publications <>

Data Holds Your Truths. The Avatar Complex: I trust your gargoyle id more than I trust you. (2024) Megan Annette Irusta Cornet
The Royal Academy of Art, The Hague, 2023 BA Photography Within this piece of writing, different styles of writing have been approached as a performance strategy, a guise we humans willingly and unwillingly commit to every day, online and offline. The overarching themes this text seeks to tackle are alienation and escapism; what I think are the prominent can of worms which ooze from the Internet. Double-edged swords; beautiful and horrifyingly ugly. Alienation to oneself as well as alienating others through the digital sphere. With serious regard to the importance of avatar customisation as a form of expression, yet also acknowledging the destruction within it, it is also the very thing which is actively dislocating us from the IRL (in-real-life). The core to understanding who you are online, how you present yourself online, compared to who you are behind the screen. The text’s leading objective is to hypothesise a world where humans are given the option (highly recommended) to extract our online data to make more of a truthful analysis of who we really are. The prevalence of how capitalistic structures only feed alienation more. If the future consists of post-human and/or transhuman existence, by transmitting our data to gargoyle avatars, creatures which will take the form of one’s avatar, gargoyles are said to protect what they serve. A new gargoyle is designed by your data alone. Data anthropomorphism, the Avatar Complex.
open exposition
Cultivating Companionship A conversation about cornfields and communities. (2024) Lina Maria Hülsmann
Our connection to the land is crucial, yet the Anthropocene mindset alienated us from being part of nature. This research paper is a thorough report of fieldwork, map studies, interviews, experiments and theories related to the domain of philosophy, biology, anthropology, sociology and ecology. By consulting a variety of literature resources of renowned thinkers like Donna Haraway, Arturo Escobar and Bruno Latour you share with them to envision the Anthropocene as a fundamental crisis of modernity with an emphasis on the human detachment from nature. Working with the corn plant as a symbol of Anthropocene agriculture, this thesis deals with the topics of community and the importance to embrace biodiversity. Based on a case study in Bersenbrück, a small town in North-West Germany, I raise the alarm about one of the most disputable topics in today’s agriculture industry: monoculture. Since the 1960s the landscape has been dominated by maize being the main cause for the transition from small-scale, self-sufficient farming towards the industrialized production of cornfields. The origins of the cultivation of the maize was regarded to bind together families and communities, today it has a devastating effect on bio-diversity. On a larger scale maize appears to enforce a capitalist structure of food production and is considered one of the largest contributors to the emission of climate change. Further, the research leads to opportunities that evolve out of the current agricultural situation. Material experiments with a waste product of monoculture-maize plantations, testify how a deep interest and curiosity can evolve into spatial design and encompass a ‘new level of esteem’. These spatial and material proposals allow the formation of new relationships between humans and nature, between communities and ecosystems. To ‘cultivating companionship’ expresses optimism and call-to-action in order to contribute to a resilient future where participation as a form of civic engagement and social solidarity is its main core. The concept of companionship became also a tool that results from empathy, sensitivity, care and compassion, building op on a critical lens, aiming to work together within the situation, the site and the inhabitants.
open exposition
Blue sky and Wonder, a Landscape without horizon (2024) Yasmin Kök
Thesis of the Royal Academy of Art, The Hague, 2023 BA Fine Arts Summary: Death, ritual, religion, my cultural heritage, I guess I am trying to make sense of it. We share some same questions. We are not sure about the answers we provide. Via condensed nodes, I try to unravel my ‘truth'. As I can predict, this piece of research will make me less sure about myself, and my beliefs. But that is okay. I know these issues will stay uncertain throughout my life. But the topics keep coming back to me daily. Being confronted with many possibilities, and freedom of choice, as far as I believe choices are free, I take a dive. To see death, the dead, from up close, to see someone disappear, fascinates me and at the same time frightens me. It is a bundle of stories. My own and an analysis of stories of others. I research many aspects of death, around death, that goes hand in hand with us. Our existence. My spirituality. My body and mind. I and other, mother, father sister, brother. A goalless search without hierarchy or linear approach.
open exposition

sar announcements >

Subscribe to SARA