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.

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A meaningful furniture industry (2024) Luc Gosselink
On our way to a meaningful furniture industry. We find out what we know about it. What we do now. What we assume we know and do. We connect to others and find a way to change. Every step along the way is worth taking.
open exposition
In a Place like this (2024) Johan Sandborg, Duncan Higgins
In A place Like This sets out to investigate and expand the issues and critical discourses within Sandborg and Higgins' current collaborative research practice. The central focus for the research is concerned with how art, in this instance photographic and painted image making and text, can be used as an agent or catalyst of understanding and critical reflection. The research methodology is constructed through photography, painting, drawing and text. This utilises the form of an artist publication as a point of critically engaged dissemination: a place for the tension between conflicting ideas and investigation to be explored through discussion. The research question is focused on how the production of the image and the act of making images can communicate or describe moments of erasure or remembering in terms of historical and personal narratives with direct reference to moments of violence and place. This is seen not in terms of a nostalgic remembrance of the past; instead as one that is rife with complicated layers and dynamics where recognition is denied the ability to locate a physical representation. Embedded in this is an exploration of particular questions concerning the ethics of representation: the depiction of ourselves and other? In this sense it brings into question an examination of the act of remembering as a thing in itself, through the production of the image and text, contexts of knowledge and cultural discourses explored through the form of an artists publication.
open exposition
it will be fine (2024) Johan Sandborg, Duncan Higgins
It Will Be Fine, is engaging in the language of visual representation through the combined mediums of painting, photography and artificial intelligence (Ai) together with images held in the Special Collection picture archive in Bergen. To reflect on the ways in which meaning and memory is constructed and conveyed through visual forms and knowledge systems.
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Taming Amorphalia (2024) Eszter Mag
Taming Amorphalia is an experimental documentation of the intuitive processes behind/during the development of ProjectMorpheo – a Master’s Project at SKH. The research aims to further discover the fragile connections between dreams and the materials that surround us. Since ProjectMorpheo is a participatory event, Taming Amorphalia attempts to communicate the background of the research in a dialog-like, interactive way by using the form of a text based role play game.
open exposition
SOUND TO WEAR (2024) Vidmina Stasiulyte
Can you listen to fashion? Can you play fashion as music? Fashion is primarily a visual ontology consisting of definitions, theories, and methods that are based on visual language. This exposition revises fashion by approaching it from a different—sonic—perspective wherein sound is considered not as a negative aspect but as a potential source of a new theory and facilitator of the evolution of new methods. Sound is thus presented not as a secondary quality of designed objects, but as the main idea-generator. The research opens new avenues for design thinking with ears rather than eyes. It explores fashion from the perspective of listening rather than seeing, sounding rather than showing. It is a form of rethinking and redefining fashion by starting with the statement that dress is sound.
open exposition
Performance as Device for Disorientation (2024) Jennifer Torrence
By its very nature, performance is precarious—there is always the chance that everything might fall apart. In an attempt to mitigate the discomfort of this unpredictability, many musicians develop strategies in the hope of holding the reins on the proverbial cart. But what if one chose not to maintain control and instead embraced the wild nature inherent to performance? What kinds of knowledge and aesthetic experiences might emerge in the inevitable moments of collapse? Drawing on her recent research in the project Performing Precarity, an extended collaboration with composer Simon Løffler, as well as concepts by Jack Halberstam and Sara Ahmed, percussionist/performer Jennifer Torrence meditates on the notion of performance as a device for disorientation—that is, performance as an embodied practice of rupture, of getting lost, and of undoing the order of things.
open exposition

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