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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Project Stream: Arts Ecologies (2022) Adelheid Mers
There have been 3 Arts Ecology projects to date. All were carried out with students of the Arts Administration and Policy Program at SAIC, a department I currently chair. I believe that the recently conducted Chicago Cultural Plan (2012) has opened a door, locally, for organizations to consider more formal inclusion of art inflected perspectives in community and urban planning processes. As an artist with a cultural policy skill set, I ask, observe, listen and hear differently from typically sociology-based researchers. All Arts Ecology projects are located in or near Chicago: in Evanston, and in Chicago south and west side neighborhoods. They are based on interviews with stakeholders in bounded geographic areas. The project in Evanston culminated in an exhibition. The Chicago based projects generated posters for general distribution and feedback sessions with funders and stakeholders. Also included here is a diagram commissioned by the 3Arts Foundation, about artists' perception of granting frameworks.
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Rogues (2022) Hanns Holger Rutz
A work-in-progress artistic research project. Initiated by Hanns Holger Rutz and Nayarí Castillo in autumn 2021, it will probably develop into a multiple intermedia object that involves collaboration between different artists. As of this writing, this exposition is very much in flux, trying to capture the meanderings of the process.
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Curatorial Projects (2022) Adelheid Mers
Curatorial Projects 1997 - 2014 Curatorial projects include curated, co-curated, co-organized and course-related projects. Exhibitions from 1997 - 2005 were organized independently. Starting in 2007, exhibitions were curated in conjunction with courses I taught or co-taught at SAIC, either as class projects, or in the case of the "Hairy Blob" exhibition, augmented by student activities.
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recent publications >

Multiple Perceptions of the Everyday Unfolded: The Case Study of Sunnyside (2022) Matilde Meireles
This article introduces the project "Sunnyside", an album and composition created using extended recording techniques inside the domestic space of my home during the initial Covid-19 lockdown in Belfast in 2020. While there was widespread public discourse around the ways in which public and outdoor spaces were changing during the pandemic, there was relatively little discussion concerning the changes occurring in indoor and domestic spaces. "Sunnyside" was an attempt to sense, analyze, and represent those changes and examine what they might mean. The following discussion draws on ideas of critical phonography, systems theory, situated knowledge, and interconnectivity to illustrate the project’s refusal of the physical boundaries of the home under lockdown. This critical reflection on everyday routines underscores the project’s relationship with memory, place, and the sonic documentation of everyday personal auditory experiences while opening up a discussion about social networks, both immediate and distributed.
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Home page JSS (2022) Journal of Sonic Studies
Home page of the Journal of Sonic Studies
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Green thing - part 3 (2022) d+g
Green Thing - double forever - VIS draft exposition Green Thing is an ongoing collaborative art work, a negotiated creative exchange, between 2 artists, who are also daughter and father; actively engaging in a dialogue about Green Things. ‘Greeness’ is explored in relation to how this manifests and develops symbolically, physically, historically, and within each of our practices. Creating, documenting, performing and sharing exploratory processes: collaboratively producing an evolving, palimpsestic work. We recently completed a remote, online iteration of this project, Green Thing pt.2 [Green thing pt. 1 was undertaken in March 2020 in the Pipe Factory, Glasgow] while in residence at 2/42 Studios, in the Pipe Factory, Glasgow as part of their Remote Series: work accumulated daily over the span of one week, created by both Higgins’ (Glasgow and Sheffield), in tandem, but apart, which culminated on Thurs 16th at 19.30-20.30PM (UK) with a live online screening and conversation. We Green Thing pt.3 - double forever - will be extracting conversations, dialogues, and forms to mould a further iteration. Green becomes contagious in this way. The work multiplies, fluctuates, is transmitted between one another, released upon the public. It mutates and it passes back between us, it divides and multiplies. After the last iteration, we couldn’t stop seeing Green. It is palimpsestically created, not only because we write over one another, talk over one another, and create together and in relay, but because we are palimpsestic. Our relationship by its very nature means that, whilst we have many different lived experiences, it is essentially shared. We literally share blood and guts. This genetic presupposition results in eerie, unspoken tangents and patterns. It also proves great distinctions. Further from Green thing pt.2, - double forever - will more directly bring together themes around Green, Space, Bile, and Solidarity, to reflect the cyclical interrelational relationship each of these areas have with one another. Right now, green space looks and feels very different than it used to, bile is seen in a heightened state, and solidarity is more important than ever - but we cannot translate these things as we would instinctively; humans have to interact differently. The Greeness within this is rife and key to understanding the progression of psychological, geographical shifts in society as we see it. Green Thing pt.3 - double forever - whilst explorative in its very essence, feels a formalisation of this palimpsest, although still created in perpetual transmission utilised and exploited through the research catalogue as a framework for it’s latest form….A dialogue produced between us through various online platforms - remotely.realised etc ….is the world we are in, …… be formed through and in the RC
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