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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The Loot (2024) Zoe Panagiota (aka Betty) Nigianni
Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design as an art installation. Looted, 2024. 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 2024 from Woolwich. They moved in two or three under aged, who I have never met and were pretending to be my daughters. They must have been removing them one by one over the last few months. 14 Barnsbury Road was deemed illegal through the courts, shortly afterwards. The maintenance employed many Polish citizens, all dressed in black with black caps, like all XRW supporters dress. Twenty-one (20+1) digital photographs for twenty (20) missing Albanian and of Albanian ethnicity non-EU immigrants and one (1) missing Italian citizen. The twenty-one persons whose details got stolen were abducted by Golden Dawn, the NRM and possibly Forza Nuova; they are deceased. My personal details were also stolen. Was I going yo be the twenty-second? https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) Investigatory research with artworks. The artworld has been traditionally male dominated. This has changed a little bit in contemporary art, but not dramatically. Female artists have sometimes adopted male attitudes or personas to break into the art scene; notably, Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, for instance that there is no art for women or so-called feminine art. Good art transcends such categories, tapping into more universal experiences. For Chris and for Lawrence, who don't just play the cultural diversity clause.
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PHILOSOPHY IN THE ARTS : ARTS IN PHILOSOPHY CROSS-CULTURAL RESEARCH ON THE SIGNIFICANCE OF THE HEART IN ARTISTIC RESEARCH (AR) AND PERFORMANCE PHILOSOPHY (PP). PEEK-Project(FWF: AR822). (2024) Arno Boehler
Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).
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Replicas (2024) Eleni Palogou
What triggered me to start this research is the multiplicity of reality. How something is represented, how it actually is and then how we all perceive it in our very own way. In that sense reality doesn’t exist, only versions of it. The lack of awareness of this multiplicity affects a lot our lives; what we believe, what we take as granted and how he behave.Through this practice based research I am experimenting on how to create moments of surprise and realization for the spectator. I work with copies and representations, replicas as I like to call them. The Replicas can be made of different materials, can be virtual or very physical. Until now I used scale models, mirrors and projections but the list is endless; so are the different ways to use the replicas or the impact that they will have. The way that the replicas are introduced to the spectator and their interaction is also very crucial in my work and another field to research. The movement and the body play a significant role to this. The special relationship that we have with our body, the way that we perceive it and how the movement can reset these relations and affect how we experience things.
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STUDIES IN KUNSTVAKIDIOTIE (2024) Mirjam van Tilburg
Welcome to "Studies in Kunstvakidiotie". Here, you can browse through the photographs, essays, drawings, audio and video clips. ‘Studies in kunstvakidiotie’ is the doctoral research of Mirjam van Tilburg at Antwerp Research Institute for the Arts (ARIA). This is a study in arts education from within the arts. She tries to shift the dominant image of life-long-learning (LLL) and provide insight into the possibilities that this LLL space also provides to art teachers. By searching in this way, more and more became clear about life-long-learning of art teachers. Therefore, a linear cause-and-effect narrative did not seem to do justice to the subject matter. The term ‘studies’ in the title is sketchy — it also involves repetition and seeking connections and, above all, it is a derivative of studio and study. Five essays form the markers within ‘Studies in Kunstvakidiotie’. Together, they construct a narrative. The essay ‘(onder)zoek in kunsteducatie’ describes practices and values that stem from Mirjam van Tilburg’s artistic practice: education. The motivation behind this research is that art teachers find LLL events to be limited. The essay ‘LLO als commoning practice’ discusses the possibilities of commoning practices. The examples: The New School Collective and studios are outlined herein. The studios are the experiment within this doctoral research. During the winter of 2020-2021, Mirjam van Tilburg worked with ten art teachers. The experiment of this doctoral project coincided with the Covid-19 crisis. Together they occupied artist studios in Tilburg and Rotterdam to de-automate and look at teaching practices. The essays ‘Blik’ and ‘Tijd’ therefore propose two topics of conversation within LLL: the ‘aesthetic glance’ and the temporal experience of ‘interruption’. These essays question the efficient and productive order prevailing in the work environment and LLL of art teachers. The essay ‘Herontdekking van Kunstvakidiotie’ is the story of a change in the craft of art teachers in the first Covid-19 crisis year. The term ‘kunstvakidiotie’ in the title cannot be directly translated into English because it is a compound word and may have specific connotations in the Dutch context. The essay describes how in these studios, art subject teachers had one foothold: artistic fervour.
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synthetic bodies: protocols for intra-acting (2024) Lenka Vesela
Our bodies are porous entities that interconnect with and depend on the broader collectivity of human and nonhuman life that exists within a shared environment. Using the figuration of synthetic bodies, this exposition aims to examine the relationships in which we are enmeshed as our bodies absorb and excrete chemicals. With a focus on involuntary exposure to industrially manufactured chemicals (as opposed to exposure to naturally occurring chemicals or voluntary experimentation with chemicals of all types), this exposition invites readers to learn about the chemicals to which we are exposed and by which we are affected. With the ubiquity of chemicals in the environment, who are we becoming? How do chemicals affect us and how do we interact with them? How can we live well with chemicals in spite of their potential to harm? Adopting a decolonial feminist, posthumanist, and new materialist approach and embracing queer ecological sensibilities, this exposition develops protocols for embodied and materially embedded research practices that trace the effects of exposure to chemicals in everyday life. In so doing, it aims to demonstrate how we might build resilience through encounters with toxicity, contamination, and impurity. Download Accessible PDF
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Home page JSS (2024) Journal of Sonic Studies
Home page of the Journal of Sonic Studies
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