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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Archiving with Bare Feet (2024) Adesola Akinleye
This is an archiving project initiated by Siobhan Davies Studios, UK. The Archiving of the performance work "Truth and Transparency" Questions what it means to archive dance as well as what happens when a dance is archived acknowledging that some types of choreographers' work have historically been archived while other types of choreographers have not. What does it do to a dance and choreographer to be archived? This project is also interested in the changes in the creative process of performing the dance which was first choreographed in 2007 and is now being given new life through this archiving project. Truth & Transparency (2007): a performance work for three (two performers and one dancer manipulating projected image onto the performance space using a mirror). The work was inspired by Ralph Ellison’s ‘Invisible Man’ and Adesola’s reflections on bringing up their own children as two masculine presenting Black youth at the time. The piece researched Step and Crumping dance forms as well as foreshadowed new technology using projection in real-time to manipulate the audience’s perception of dancers and space.
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"Investigating the Big Blue": cyanotype workshop in two parts, Amorgos, Cyclades, Greece (2024) Hannah L. M. Eßler, Micol Favini, Lovis Heuss, Eirini Sourgiadaki, Livia Zumofen, Anna Rubi, Tomer Zirkilevech, Alisha Dutt Islam, Charles Kwong
A 2-part module by the MA Transdisciplinary Studies of ZHdK, Department Kulturanalysen und Vermittlung. Held by Anna Rubi & Eirini Sourgiadaki. Autumn 2023-Spring 2024 Colour perception varies, so do the semantics of colour terminology, for both sighted and blind individuals. The questions around colour perception from ophthalmology or neurobiology perspectives to cognitive and artistic ones, are infinite: Is there a universal human experience of the blue sky, the green grass and the brown soil? How is colour perceived in the brain, how is it translated into a communicable concept and how does it affect our perceived world, our mental and physical state? What is the role of colour in synesthesia? And most importantly, does colour have to do just with vision? In this module we work with the generation of blue colour on print, using the major light source available, the Sun. The Island of Amorgos is often referred to as “Le grand bleu” after the famous french film was shot at location. Its ancient name is “Melania”. “Melani”, the Greek word for ink, (“Melano” for dark blue, cyan) as it is said that in ancient times the place was covered with dark green flora. Our investigation begins exactly with this deep tint. We pay a visit to the famous monastery and the water oracle, walk the trails to observe the sensual -not only vision-based- shades of blue. In the spring term, we participate in local activities such as beach clean-up initiatives of the remote bays by local fishermen and their boats. We visit bee-hives and herb-distilleries, we work with the most basic bits and pieces of the island to capture its essence.
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Connective Conversations (2024) Falk Hubner
This is an exposition in progress. Starting in the 2021/22 season, the professorship Artistic Connective Practices organises and curates a series of encounters with practitioners, the research team of the professorship and audience, in order to explore the notion of Artistic Connective Practices.
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recent publications >

Understanding the Wagner Tuba: a practical guide for horn players (2024) Gaizka Ciarrusta Insagurbe
Horn players have the duty to play the Wagner tuba when the repertoire demands it, but do they really know how to do it and how to adapt to the change of instrument? Mastering the Wagner tuba and feeling confident on stage can be a difficult task. Not having one's own instrument, nor subjects or teachers dedicated to the teaching of this instrument complicates its knowledge and preparation. Therefore, this research aims to facilitate and educate in this process, providing the most relevant information both intellectually and practically and offering a complete overview of it. Following an inductive methodology based on written sources, an exhaustive technical analysis and the experience of professional horn players, it tries to answer questions such as why Richard Wagner created this instrument, what role it plays in the orchestra and what demands its performance requires. For all this, if you are a horn player and have to play the Wagner tuba or have already played it but have had no previous education, the results of this research will guide you in the process and will make you obtain a higher level of interpretation and knowledge.
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Tidal Zones – Filming Between Life and Images (2024) Kajsa Dahlberg
Informed by queer life practices, theories, and affinities, this documented artistic research project (doctoral thesis) draws from new materialist and post-humanist discourse in order to reconsider what role visual media play in the historical need to separate the human and the environmental. It asks, how do we challenge prevailing perceptions of film and photography as inexorably linked to ideas of progress and modernisation, to linear temporality, spatial separation, and to land-based thought? Based on the acknowledgement that we need to rethink our position as humans within the multiple habitats that make up the world, I investigate the ways in which the apparatus of film, rather than being an extension of human perception, attests to the material interdependences and co-productions that hold a potential for converging human and nonhuman perspectives. "Tidal Zones – Filming Between Life and Images" considers the cinematic space of the ocean alongside Jean Epstein’s film "Le Tempestaire" (1947); it follows early photographic chemical methods involving seaweed to both develop film and to examine the technical intra-activity of human and nonhuman regimes as part of photography itself. Within the scope of this research, I argue and demonstrate how film engages in a sensory and reciprocal involvement with the material world, one that addresses the ability to sense, not just with one’s eyes, but with the entire body. "Tidal Zones" are real locations, the habitat of a multitude of organisms, and the home of seaweeds. It is a place that is neither land nor sea but constitutes a zone with its own specific relationships and living conditions. In its refusal to be either or, it forms a (non-binary) temporal figuration between presence and absence, solid and liquid, life and death, dictated by the motions of spiral and circular time. This space, "Between Life and Images", is the chemical rockpool (the darkroom) out of which photography and film grew. The PhD submission consists of four film-works, "The Etna Epigraph" (2022), "Seaweed Film" (2023), "Coenaesthesis – It Is Not Even True That There Is Air Between Us" (2023) and "The Spiral Dramaturgy" (2019) along with the exhibition "The Tidal Zone" shown at Index - The Swedish Con-temporary Art Foundation, Stockholm, from 25 November 2022 to 12 February 2023 and at Havremagasinet, Länskonsthall Boden from 14 October 2023 to 11 February 2024. The films and documentation from the exhibitions are included in the submission, which also includes an “Opening Letter” and two texts called “Filming with the Ocean” and “Methodology of the Spiral”. This dissertation has been carried out and supervised within the graduate programme in Visual Arts at the Royal Institute of Art. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malmö Faculty of Fine and Performing Arts, Lund University, and the Royal Institute of Art regarding doctoral education in the subject Visual Arts.
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Editorial ART RESEARCH ENVELOPE #6 (2024) Ruth Anderwald, Leonhard Grond, Alexander Damianisch
The publication Envelope offers insights into ongoing PhD projects by candidates in the PhD programme PhD in Art at the University of Applied Arts Vienna in an innovative format. The major thrust of “Envelope” presents content supplied by doctoral researchers based on their individual artistic research and provides insights into ongoing work processes. These visual and textual traces reveal the state of the Art within its ongoing research processes. This open format seeks to reflect on experiences through exchange, as well as document relevant developments in the field of art and research. Participating projects: Sanja Andelkovic: Voice-Shifting as a Method: Eco-Gods in Future Orthodox Chants, Supervisor: Gerhild Steinbuch Margit Busch: A Garden for a Fish, Supervisor: Virgil Widrich Johanna Bruckner: Xenopoetic De/Compositions: The Affect-Body as Interface, Supervisor: Jakob Lena Knebl Andrew Champlin: Technique Concerns: Ballet Practice Against the Western Archive, Supervisors: Ruth Anderwald + Leonhard Grond George Demir: Ancestral Junctures: On the Expansion of Ancestral Mythologies, Supervisor: Hans Schabus Rah Eleh: Xenofuturism: A Proposal for a Liminal Futurism, Supervisor: Bouchra Khalili Wolfgang Konrad: Before the Truth in Documentary, Supervisor: Luzius Bernhard Joseph Leung: Post-digital Angst – An Arts-Based Research on the Manifestations of Angst in the Digital Milieu, Supervisor: Gabriele Rothemann Cristiana de Marchi: Casting a Shadow. On Disappearance, Emptiness, and the Haunting Power of Absence, Supervisor: Judith Eisler Jo O’Brien: Confusion: As Resistance, as Relationship, and Towards the Relational, Supervisors: Ruth Anderwald + Leonhard Grond Marthin Rozo Castaño: Art and Conservation in the Post-Conflict, Supervisor: Cristina Garcia Grinda + Efrén Diaz Moreno Konstanze Stoiber, Untitled, Supervisor: Brigitte Felderer Fabian Weiss: Ideal Self: How We Use Photography and Technology to Present and Optimise Ourselves, Supervisor: Margarete Jahrmann Ksenia Yurkova: Figures of Reticence as a(bio)political Strategy, a Forced Necessity, and the Impossibility of Artistic Expression, Supervisor: Jakob Lena Knebl Conny Zenk: RAD Performance – Driving Voices of Resistance, Supervisor: Ruth Schnell Feel free to zoom in on each poster for ensured readability.
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