Research Catalogue

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design and styling, as art installation. Looted, 2024. Investigatory research with artworks, 2023-2024. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April from Woolwich. After I left, the landlords moved in two or three under aged, who I have never met, so that they pretend to be my daughters. Subsequently, they must have been removing them one by one over the last few months and until October 2024. 14 Barnsbury Road was deemed illegal through the courts, on 22 April, shortly after I was forced to leave at the end of March. The maintenance employed many Polish citizens, all dressed in black with black caps, adopting the XRW supporters' fashion code. Twenty-one (20+1) digital photographs of the studio, for twenty (20) missing Albanian and of Albanian ethnicity, non-EU immigrants; as well as one (1) missing Italian citizen. Golden Dawn has taken responsibility. The twenty-one persons whose details got stolen were abducted by mainly Golden Dawn and, secondarily, the NRM; they are deceased. My personal details were stolen, too. Was I going to be the twenty-second victim? Twenty-two (22) and twenty-three (23) photographs, including 2 (two) of myself: NOT a missing person. Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, including human sacrifice. The art world has been traditionally male dominated. This has not changed dramatically in contemporary art. Female artists have sometimes adopted male attitudes, or personas, to break into the art scene; see Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, that there is no art for women or so-called women's art. Good art transcends such categories, tapping into more universal experiences. Saying this, I would like to quote Nancy Spero, who doesn't crudely distinguish between male and female art, as follows: "What if the default gender for 'artist' were female? What if, when we looked at a work by a woman, we said to ourselves, "That is art," and when we looked at a work by a man, we automatically identified it in our minds as 'men's art'?" In 1999, I wrote a long essay about the architectural uncanny, which I submitted as my graduation thesis for my first MA in architectural theory. I called it "Space as a 'Bad' Object: A criminal investigation on the notion of space". I got inspiration from detective novels and real-life crime stories. The long essay was about the role of architectural space in crime. It was completely unsupervised: I received a distinction by a Bartlett staff member. I took the digital photographs in conceptual adherence with that essay. I was a postgraduate philosophy student 9/2017-11/2019 at the University of Amsterdam, Netherlands. In this exposition, I include two new photographs from a series of digital photography called "Forensics", taken with my mobile phone, after I was forced to leave the property I was renting, on 27 March 2024. I gave the photography series that name, because it has served the purpose of investigating, recording and tracking a crime, for which architectural space, such as private rentals, has been used. For Chris, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. And for 'Ali'. To all those who don't just "play" the cultural and racial diversity clause; they don't just rely on identity politics, because the class problem has not been resolved for them, either. Saying this, the UK must still be scoring high on racism. A Nigerian was amongst the Golden Dawn victims of assassination in Greece. The exposition is inspired by jazz music. See exposition in connection with "The Origins of The Game", "Debris", and "XRW (Implicature)".

This thesis emerges as an exploration of the multifaceted nature of music, identity, and the enduring spirit of a people living through profound challenges. Based on autoethnographic reflection, it provides an introspective exploration of how sound becomes a vessel for presence, a mirror for resilience, and a space for transformation. Through music, this inquiry seeks not merely to articulate personal narratives but to connect them with the common pulse of a collective memory—a memory that is influenced by the persistent realities of displacement and the yearning for freedom that Palestinians, no matter where they are in the world, experience. At the heart of this research lie three case studies that illuminate the potential of music: Sonic Exile, where traditional Arabic modalities and experimental soundscapes dissolve into a single, resonating voice; Echoes from Bethlehem, an improvisational encounter with Palestinian Nay master Faris Ishaq that brings forth a meditative state of being wholly present in sound and spirit; and the work of the Amwaj Choir, where human voice rises above cultural and physical confines, embodying a living, enduring presence. The findings suggest that music is not a static act but a living practice—an unfolding dialogue between tradition and innovation, self and other, silence and sound. Improvisation, as a way of being, becomes a method of both reflection and resistance, enabling a deeper connection to the present moment while engaging with the complexity of the past. The research reveals music’s profound capacity to heal, to resist, and to imagine new pathways for freedom and belonging. Rather than offering definitive conclusions, this thesis extends invitations: to listen, to witness, and to remain open to the spaces where sound and silence meet, where identity and memory evolve, and where the human spirit, despite all, continues to create and endure.

This project combines artistic and anthropological research on spontaneous gardening in open public space, predominantly in Brno, CZ. The team, mostly comprising recent graduates and graduate students of the Faculty of Fine Arts of Brno University of Technology, chose gardens and plantings which were, in most cases, rather exceptional. Unlike most typical front gardens, the ones in this study are somehow peculiar, due to their location, their composition and planting schemes, their scale, or methods of those who garden there. The anthropologists on the team analyzed a Facebook group dedicated to street gardening and conducted several interviews, while the artistic team responded to particular places with which they interacted. Some results of this research have been presented to the public in the form of an application comprising an audioguide and an interactive map; this exposition in the Research catalogue documents some of these findings. The team Barbora Lungová is a visual artist and has taught at the Faculty of Fine Arts of the Brno University of Technology since 2007. Her field of practice is painting and art projects focusing on plants, gardening, and queerness. She is the coordinator of the Partisans with a Hoe project. Lucia Bergamaschi is a visual artist working across the media of photography, sound, and installation. She earned an MA in Fine Art at Università Iuav di Venezia and an MA in Law at Università di Bologna. She is currently finishing her MA studies at the FFA BUT. Nela Maruškevičová combines painting, installations, and glass in her artistic practice. She is a 2023 graduate of the FFA BUT. Kateřina Konvalinová is a visual artist interested in the overlapping spaces of art, communal life, farming, and ritual. She earned her MA in Fine Arts from the Academy of Fine Arts in Prague, and is currently a doctoral student at the FFA BUT. Iva Balcaříková is a graphic designer and a member of the team behind the curated audio walks created by Galerie Art in Brno. She is currently finishing her MA studies at the FFA BUT. Hana Drštičková is a visual artist and a social anthropologist interested in environmental and queer topics. She graduated with an MA in Fine Arts from the FFA BUT in 2022 and with a BA in social anthropology from the Faculty of Social Sciences at Masaryk University and is currently a doctoral student at the Gender Studies Department of Charles University in Prague. Anastasia Blokhina is a social anthropologist who graduated with an MA tfrom the Faculty of Social Sciences of Masaryk University in 2022. Polyna Davydenko is a photographer and a video artist who documents social and environmental issues in her work, most recently those connected with the war in Ukraine. Filip Dušek is a media artist who studied at the Department of Photography at the FFA BUT. The project was conducted under the Specific Research FaVU-S-23-8441 Program.

Across diverse mediums and form, the ‘human’ body, however transient, remains my main subject of events. What is seen, in the eyes of my mind, take place on surface, lens, material, and morph with one another, with the living moving body, disfiguring each other and reconfiguring themselves after consumption. Embodied and disembodied appearances, reflect on the visceral and urgent presence of the human, live, body. At the start, the notion of mirror: a constant ever-changing image that is formed and deformed as each breath brings life to the body. Different media such as drawing, photography, printmaking, painting, voice, word, sound and video, interrelate with as output a universe of heterogeneous appearances, each with a common denominator: movement of the body and movement of the soul, between the gestural expression of charcoal drawing, the analogue and digital/post-produced sounds, still and moving images, to the carefully crafted and re-elaborated copper plates delivering prints. At the moment these are called Side Effects, each one a bi-product of the previous step in the process of feedback loop. “anthropomorphs”; two dimensional images derived from the superimposition of drawing and moving body (drawing>photo>painting>print) “hesitations”; the more visceral exploration of embodied voice-movement integration, exploring frequencies and resonances of vocal output rooted within the organs of the body “ghosts”; are the anthropomorphs restituted a third dimension. Sculptures rendered independent to move again, suspended in space, relating to nothing but to their history and to one another. “multiplicity”; anonymous portraits overlapped and stop-motion animated, searching to grasp the ever-changing nature of (one)(multiple)self, faced with memory and its loss, ancient stranger twins, imagined encounters or the union of multiplicity as one.

Sound Body is a project created by Zornitsa Stoyanova(BUL/USA) and Peter Sciscioli (USA), with an international cast of artists. The project was created over 8 workshops and rehearsal days in Sofia, Bulgaria. This is a written description of the project done specifically for a Master's degree assignment.

Collaborative filmmaking and the quest for a collective narrative. Through exploring different kinds of collaborators strategies this project embarked on a quest. Is there a way to create a narrative fiktion film that has is a founded in a kind of collective, existential mythology of contemporary life.