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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Graphic Storytelling (2024) Pinzón Lizarazo Oscar Daniel
Esta página web recoge la memoria del proyecto narración gráfica a partir del proyecto Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con Cód. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Científico - CIDC de la Universidad Distrital Francisco José de Caldas. Hace parte del proceso metodológico de desarrollo de la tesis doctoral Narración Gráfica de Experiencias: Intercambios en Imágenes de migración. Como Laboratorio de investigación - creación ha indagado y trabajado en sus 17 años de existencia en procesos de creación, gestión, investigación, formación y producción de conocimiento desde tres líneas de trabajo: - Imagen, arte y cultura: como campo de prácticas pedagógicas y estudios de la cultura; donde se cruzan diversos discursos sobre la identidad, los procesos de memoria, lo simbólico, es de interés la sistematización de prácticas artísticas en donde surgen experiencias generadoras de conocimiento sensible. - El conocimiento libre: Trabaja en la elaboración conceptual de talleres y laboratorios de creación con procesos que se desarrollan desde el concepto de cultura hacedora, promueve el aprendizaje activo, la colaboración abierta, el D.I.Y. y su aplicación en diversos escenarios y contextos. - La narrativa y la lectura: Se han trabajado procesos de mediación y agenciamiento desde hace mas de 15 años, acompaña sus procesos desde el estudio y elaboración de propuestas creativas que refieren a la narración gráfica y los cruces generados entre las nociones de objeto, plataforma, libro, público y sus relaciones en los procesos de difusión, promoción, producción, edición y diseño de piezas interactivas. Este proceso fue concebido por Daniel Pinzón Lizarazo quien es Doctorando en Estudios Artísticos de la Universidad Distrital, Magíster en Escrituras Creativas de la Universidad Nacional de Colombia, Diplomado en Antropología del arte de Latir A.C. y el CIESAS en México, Diplomado en estudios editoriales por el Instituto Caro y Cuervo; Licenciado en educación artística de la Universidad Distrital, trabaja como docente, investigador y creador, ha sido gestor y asesor en el diseño de políticas referentes a las pedagogías del arte y la cultura.
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MY PUBLIC STAGE (2024) Ioannis Karounis
"My Public Stage" is not merely an artistic practice; it is a dynamic fusion of performance art and civic engagement that transcends conventional boundaries. At its core, this practice navigates the intricate relationship between the artist and the public sphere, offering an unconventional perspective on how art can reshape our understanding of the world. The essential aspect of this artistic journey lies in the intentional placement of artistic interventions and performances within public spaces, where the encounter with viewers is not a predetermined spectacle but a meeting. This deliberate approach seeks to dissolve the traditional separation between the artist and the individual, fostering a unique connection that is spontaneous and genuine. I view public space as not only a material but also a social environment that is produced, reshaped and restructured by the citizens through their experiences, their intentions for action and the relations they develop in it. My project draws on Lefebvre’s (2019) approach to urban public space not as a neutral container of social life, but as a fluid entity, both constructed and produced by social practices. Lefebvre’s approach confirms and expands my view that public space is not fixed, yet it requires a conscious effort to intervene in its production. The philosophy driving "My Public Stage" aligns with the concept of civic engagement. By presenting long durational performances in the heart of everyday life, the artist consciously assumes the role of a creator, using performance art as a medium to unveil the interconnected elements that bridge art with life. This philosophy echoes the sentiment of Joseph Beuys, who believed that everyone is an artist, actively sculpting the intricate sculpture we call life. In embracing the public sphere as its canvas, this practice transcends the conventional boundaries of art and daily reality. It becomes a catalyst for a different perspective on how individuals perceive and engage with their surroundings. The transformative power of performance art is harnessed to reveal the latent artistic potential within each person, emphasizing the symbiotic relationship between art and life.
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Touching Excess: Haptic Sound from the Multispecies Delta (2024) Sandro Simon
Mollusc gleaning in the Sine-Saloum Delta, Senegal, hinges on the situated navigation of a deltaic world in flux. It unfolds both above and below water as well as in the mud and is crucially guided by haptic engagement, which in turn generates sound. Audio/visual inquiry into gleaning explores the sensuality of this haptic engagement and its more-than-human dimensions. Haptic sound, as this article traces, has thereby been key. Indexing to touch and how it creates contact with the self and with the other, haptic sound affords proximity. At the same time, it points beyond the all-knowing and all-sensing self by probing intensities and making us aware of resistance and impenetrability. As such, haptic sound evolves at a limit and harbors excess. In the recordings from the delta, haptic sound is also conveyed by the “indeterminate” and the ways tones and sounds mix and interchange and are difficult to localize and categorize; by the “disproportionate” and the ways the sound of touch is amplified and appears as “too loud”; or by the “imperfect” and the ways sound is grainy, overdriven, distorted, dull, piercing, full of static hiss or windy, and so forth. Thereby, the materiality of recording devices and the constructiveness of mediation with all its affordances and limitations become palpable as well. Haptic sound, this article concludes, is thus touching and, in this touching, evokes both more-than-human sensitivity and alterity. In mobilizing both experience and reflection, it ruptures anthropocentrism and ultimately opens up pathways to reconsider both anthropology and cinema as well as audio/visual practice in general with an ear to an embodied multispecies conviviality.
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Devozione e Autodistruzione (2024) Aurora Tittarelli
I frattali, nella loro auto-similarità su diverse scale, suggeriscono un'interconnessione profonda tra microcosmo e macrocosmo, tra il piccolo e il grande, invitandoci a riflettere sulla natura ciclica dell’esistenza e sul nostro rapporto con noi stessi e l’universo. Tutti conoscono la storia di Amleto, protagonista della tragedia omonima scritta da William Shakespeare intorno al 1600, che anela e conquista la vendetta per l'omicidio del padre, il re, da parte del fratello Claudius. La pièce esplora temi complessi come la vendetta, la follia, il destino e la moralità, offrendo una profonda riflessione sull'essere umano e sulla condizione umana. Analizzando degli estratti dalla scena 4 e scena 5 dell’Amleto di Shakespeare, ho elaborato un percorso visivo all’intero dei temi da me estrapolati, rappresentando le dinamiche del dialogo tra padre e figlio intrise di devozione, delirio, oblio dimensionale e illusioni proprio in un frattale. Le varie pagine diventano quindi un viaggio all’interno dell’eterno evolversi del frattale, simile a se stesso ma allo stesso tempo completamente diverso. Come poi specificato nell’ultima pagina dell’exposition, l’ispirazione a questo lavoro è nata grazie alla navigazione nella piattaforma Kobi Explorer, tramite la ricerca delle parole chiavi estrapolate dal testo.
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The Place of Shade (2024) Anthony Morton, Ray Franz
At first, the plan was simple — to be home by Christmas. To begin to view the very concept of home as built upon nostalgia. Imagining home is a pastime of any immigrant. If, as Breton suggests, ‘The imaginary is that which tends to become real,’ what were our imaginings bringing to life? The Place of Shade is an artistic research inquiry into the contemporary wake of the Norwegian presence in South Africa. Norwegians began operating within the British colonial framework around 1840 — the same period as the migration to America. Lutheran missions, whaling, farming, business and family characterise this almost 200-year Afri-Norge diasporic heritage. It has been almost entirely overlooked in visual culture, until now. Their legacy remains an integral component of the city and the province's socio-cultural fabric to this day. This exposition is just one expression within the broader scope of this ongoing project. Here, we on the one hand reflect on our preliminary research, methodology and fieldwork from a fictional standpoint — a kind of meta-methodological reflection — and, on the other hand, we address our Afri-Norge subject matter head-on. To achieve this, we narrate Ray Franz and Anthony Morton’s part in the initial fieldwork through the fictionalised perspectives of two PhD students at The University of Bergen — Vincent Dibble (RSA) and Bjarne Karlsen (NOR) — who leave their shared office to undertake an expedition which parallels ours, travelling to KwaZulu Natal, South Africa. This journey is set in the penumbra of the seismic socio-political events of 1999: The Truth and Reconciliation Commission, The South African Arms Deal, Case no. 4138/98, and the looming global spectre of Y2K. Dibble, an occidental eschatologist and accidental apocalypse-hunter. Bjarne, a philosophical cosmologist and photography enthusiast. This exposition is imagined as the pair's pin board, suspended upon the expanse of their office wall upon returning to Norway. Behind them it hangs, a silent curation of fever dreams, as they weave theses into existence, their gaze drawn through the window onto the sprawling canvas of Bergen's cityscape.
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