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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espaço inútil (2024) Clara Sefair
espaço inútil é um convite à ativação de experiências que rompam automatismos com relação ao espaço, à sensibilidade e, no limite, à própria vida. A aposta é instalar dispositivos alienígenas aos contextos onde são introduzidos, sejam eles espaços públicos ou institucionais. espaço inútil provoca fissuras nas sensibilidades automatizadas. Ao interagir e ativar as instalações, os próprios corpos que se propõe ao jogo, à experimentação e à pausa, improvisam novas coreografias do cotidiano, criando uma poética do inesperado. Temos vivido um contexto de adoecimento e de pobreza de experiências sensoriais, sensíveis e lúdicas. Se as forças que regem a contemporaneidade consomem a energia de cultivar a própria vitalidade, há ainda menos margem para o cultivo dos encontros. Três dispositivos criam espaço e tempo de inutilidade
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MA: digital demons (2024) Johannes Rydinger
Multimedia exploration of how faith based practices and worldviews can be used and problematized in order to generate documentary film material, video installation and VR-experience that adresses questions of social justice, colonization and the future
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Androgyny and Authority: The Influence of 80s Icons on the Power Suit Revolution (2024) He Zhang
Androgyny, a term used to describe a type of gender presentation that mixes masculinity and femininity, has appeared quite a lot in recent years, especially in the pronoun social movement. However, androgyny isn’t a word that has become trendy in just the past few decades, people have been experimenting with androgyny in the way they dress for a long time throughout history.
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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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