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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Meetings with Remarkable and Unremarkable Trees (2021) Annette Arlander
This exposition serves as an archive for the project "Meetings with Remarkable and Unremarkable Trees", where Annette Arlander spends time with specific trees and poses for camera together with them. The exposition is under construction
open exposition
Silence surrounds us, silence around us - X (2021) Erika Matsunami
This artistic research "Silence surrounds us, silence around us" was started in 2020 after the corona pandemic. "X" is a new beginning of artistic research in the research series "Silence surrounds us, silence around us". I continuously explore the research method of "work in progress" in artistic research from the perspective of biology. (For a new geometry and a new topology in the arts, in the 21st century) Transdisciplinary artistic research in the visual arts with architecture and music, with regard to transversal aesthetics. Keyword "Ageing" in this artistic research is philosophical consideration. For instance, "capital" in Marx's theory, "immateriality" and "materiality" in capitalism, how is "Ageing" viewed? What gaps between cultural mentality and social condition? What role can art play in answering these questions? Therefore, my attempt in artistic research is through string theory as well as Einstein's special relativity theory in the 21st century, to explore the new value (as well as, quantum) of ageing towards capitalism of all democratic social systems and their ideologies for something new.
open exposition
N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (2021) Erika Matsunami
„N.N-Zwischenliegend“: Ich forsche zum Thema "Paradoxität" in einer Kunst (Praxis und Theorie) von einer Dokumentation (Realität) – Zeit, Raum und Körper. Eine künstlerische empirische Forschung. Diese Kunst-Forschung ist die Fortsetzung von der Kunst-Forschung „still/silent“ (This artistic research is the continuation of the artistic research "still/silent" on the leitmotif of peace. (In art, there was and is the subject, but the most important is the leitmotif, whether it will appear in the work of art. Art critic, it will be written on those subjects, materials and their phenomenal events representationally, how it will be reflected generally. It is the same in the film.)). Erster Teil ist N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (in der Bildwissenschaft und Ästhetik), diese Forschung geht es nicht um digitale photographische Technik, sondern um digitale photographische Technik und experimental Photography heute, und um (Neo-) Repräsentationstheorie (Multimodalität und experimental Dokumentation) : In the part of my artistic research in the N.N-Zwischenliegend project – namely digital photography – I am investigating the potentiality of inspiring errors and imperfection, employing three research methods. First, according to the definition, “errors” in this artistic research are not intentional, but rather are created in the concept by chance due to natural phenomena in the digital camera. In the concept of experimental documentary photography of N.N-Zwischenliegend, I did not try to photograph things (Dinge) and objects (Gegenstände) only, but rather I try to grasp temporal and spatial depth as well as the potentiality of the natural phenomenon. I have implemented this idea in an image with photographic techniques and double exposure, whereby these photographs were combined in the same documentary photo series. Second, I examine the photos for errors from the perspective of different disciplines such as photochemistry, physics, phenomenology, cognitive science, science of images, philosophy, and psychology to reflect whether there are flaws or gaps in the entire N.N-Zwischenliegend series. Third, in the N.N-Zwischenliegend project, I deal with the image as an error or gap with the philosophical reflection on the theme of “estrangement” from the photographic perspective as a narration. If the potential of the fault opened up to us, and if the error thus contributed to an “elasticity” of consciousness or the illusion of depth, I thus question the paradox of seeing in arts, which refers to the question: "Could the fault inspire us in this sense?" To answer this question, in this article, I connect to the evolution of consciousness from the perspective of psychology and neuroscience. “The AST (Attention Scheme Theory) covers a lot of ground, from simple nervous systems to simulations of self and others. It provides a general framework for understanding consciousness, its many adaptive uses, and its gradual and continuing evolution.”1 At the same time, it deals with the question of experimental or digital photography today, its perfection and errors in both the world of artistic photography and digital culture. 1: Graziano, Michael, A New Theory Explains How Consciousness Evolved - A neuroscientist on how we came to be aware of ourselves, The Atlantic, June 2016.
open exposition

recent publications >

Smitte som skapelsesmaskin (2021) Liv Kristin Holmberg
The exposition ”Smitte som skapelsemaskin” (Contagion as a creation machine) is based on the artistic project ”Kroppsliturgiske eksperimenter” that explores the boundaries emerging when performing arts and human bodies enter the sacred space of a church. To what extent does the church as a social and architectural environment, shape human conceptions of bodies? What might the history of theology and of the Christian church tell humans about our relationship to our own bodies? The pandemic has put the above questions in a new light: It made the skin a potential carrier of life-threatening infections. At the same time, we suffered the lack of mutual human touch and of physical presence. Caught between the fear of being infected by touch and a hunger for being touched, the project ”Kroppsliturgiske eksperimenter” appears both challenging and attractive. Crisis has produced a desire for new forms of touch, in art and in human life. This contribution to VIS was created in collaboration and dialogue with performer Hanna Barfod, priest, professional singer and research fellow Mathias Gillebo, film photographer and editor Mats Christian Rude Halvorsen and priest Arne Jor.
open exposition
Corona Influentia och den mörkare materian (2021) Timo Menke
In my practice as an artist, I constantly return to the dark agency of cosmic and (micro)biological matter. I explore how it may transform, “infect” or enter into symbiotic relationships, that are linguistic, visual, and trans-material in the spirit of Karen Barad. The aim of my work is to offer an outline of what I refer to as a dark enlightenment, by using the ontological and epistemological discourses that humans are entangled in. This text is a manuscript for a performance lecture about bats, viruses, and dark matter, illuminated by a Corona inside Plato’s cave. Similar to and in contrast with the microscopic size of the virus, the pandemic is not here understood as the ultimate disaster, but rather as a footnote in a much vaster narrative that involves a manifold of associated phenomena, related to Timothy Morton’s hyperobject. From the view point of speculative realism, object-oriented ontology, and hauntology, the virus may be capable of hiding future consequences that dwell in our darkened contemporary world. In short, the manuscript may be understood as a contribution to the dark microhistory of an infection. The current version of my work was adapted for online publication, with visual elements of composition.
open exposition
Viral Drawings: Transmission BC / QT / AV (2021) Karen Schiff
This exposition reflects on the drawings I was making at different stages during the COVID-19 pandemic. Initially they are compared to my long-term practice of making abstract drawings patterned on language, and then they are used to theorize a "poetics of transmission." This framework is discussed in relation both to how the virus is transmitted and to how ideas are created and circulated. Various analytical interpretations of the drawings are considered. At some moments, I treat dots in the drawings like ideas or virus particles; at other moments, the strategies I use for connecting the dots represent the process of generating ideas. The drawings become tools for the "research" of thinking through physical and intellectual contagion.
open exposition

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