Issue 27 of the Journal for Artistic Research is now Online

https://jar-online.net

JAR is open-access, free to read, and to contribute.

JAR aceita submissões em Espanhol, Português, Francês, Alemão e Inglês. 
JAR accepts submissions in Spanish, Portuguese, French, German and English.
JAR acepta envíos en español, portugués, francés, alemán e inglés. 
JAR akzeptiert Einreichungen auf Spanisch, Portugiesisch, Französisch, Deutsch und Englisch.
JAR accepte les propositions en espagnol, portugais, français, allemand et anglais.

The Journal for Artistic Research (JAR) is an international, online, open-access and peer-reviewed journal that disseminates artistic research from all disciplines. JAR invites the ever-increasing number of artistic researchers to develop what, for the sciences and humanities, are standard academic publication procedures. It serves as a meeting point of diverse practices and methodologies in a field that has become a worldwide movement with many local activities.

Issue 27 contains 7 peer-reviewed contributions:

Ana Laura Cantera’s exposition, ‘Biopoéticas: convergencias artísticas interespecie,’ reflects on the implications of conceiving artistic works in conjunction with non-human living beings, as well as the problems and particularities that this entails. It proposes biopoetics as a nominal alternative to the anthropocentric concept of bioart, considering art and exhibition practices from a more locative and contextual conception. [https://doi.org/10.22501/jar.949972]

In ‘Pandemic performance: A Haunting of Haunts,’ Garrett Lynch IRL presents a networked performance created during the period of social distancing, lockdown, and confinement. The exposition explores the idea of transposing performance from ‘real’ spaces to ‘virtual’ spaces, and critiques video as the dominant visual form employed in networked performance. [https://doi.org/10.22501/jar.1160707]

In their exposition ‘The application of creative practice as a means of disrupting or re-defining the dynamics of power in, with or for different communities,’ Sabrin Hasbun, Gareth Osborne, Rachel Carney, Julika Gittner, Catherine Cartwright, Agnes Villette & Harry Matthews investigate the effects of creative practice in a range of different collaborative contexts. Specifically, they document how power dynamics can be transformed by transferring creativity from the practitioner-researcher to their participants, increasing participant agency or re-defining existing hierarchies. [https://doi.org/10.22501/jar.1264307]

In ‘Experiments in Aural Attention: Listening Away & Lingering Longer,’ Rebecca Collins introduces two aural experiments: a sound installation developed in Brussels and a site-specific investigation into ancient well sites in Midwest Wales. She introduces the activities of ‘lingering longer’ and ‘listening away’ as means to remain with non-semantic possibilities, resisting the tendency to know immediately or to classify, in favour of more messy moments of being. [https://doi.org/10.22501/jar.1248288]

In the visual and poetic essay, ‘Little Do They Know,’ Olivia Rowland posits the methodology of ‘line’ as one alternate artistic means to artistically communicate feminine selfhood. Resisting the internalised assignment of feminine voice to a corporeal body, ‘line’ communicates selfhood through poetic means and a sense of fragmented corporeality. The title ‘Little Do They Know’ suggests the presence of secret and intricate worlds to which the gaze of the spectator has limited access. [https://doi.org/10.22501/jar.1120903]

Jean Penny’s ‘Performing the ecstasis: An interpretation of Katharine Norman’s Making Place for instrument/s and electronics’, traces the re-conceptualization, adaptation and performance of Norman’s Making Place for alto flute. A multi-layered experimental methodology evolves that encompassed practice, discussion, description and reflection, with the performance itself forming the pivotal event, the epoché. [https://doi.org/10.22501/jar.1260967]

Priska Falin & Helen Felcey’s exposition, ‘Subtle Ground: Feeling our ways towards a supportive method in ceramic practice,’ introduces a method that directs attention to subtle sense perception within the body during and through making with clay. Entitled Subtle Ground, the method takes a non-conventional approach to ceramics; focusing on being with the material instead of pursuing a conclusion in the creative process, building on the clay’s supportive qualities and bringing together sense perception and physicality. [https://doi.org/10.22501/jar.812090]

Keywords include:  

Archaeology, Biopoéticas, Clay, Collaboration, Drawing, Dwelling, Dystopia, Listening, Networked Performance, Social Distancing, Play & Territorio.

Take a look at JAR27 and read the editorial by Michael Schwab here.

The Network is a non-peer-reviewed space on the JAR website for discussion, reviews and opinion pieces relevant to artistic research and JAR’s community. For issue 27 the growing collection of contributions is joined by a new ‘Reflection’:

Von Pilzen in Beuteln und Gummibändern. Einige fragmentierte Bemerkungen zum künstlerischen Forschen an der Hochschule für Musik und Tanz Köln by Evelyn Buyken [https://doi.org/10.22501/jarnet.0058]

and one book review:

Deep Nice - Mathilde Roman’s Swimming with Laure Prouvost (Nager avec Laure Prouvost) by Kate Mondloch [https://doi.org/10.22501/jarnet.0057]

This section of JAR carries no restrictions in terms of language, length, topic or theme. You can read all contributions here.

JAR provides a digital platform where multiple methods, media and articulations can function together to generate insights into artistic research endeavours. In its peer-reviewed section, it seeks to promote ‘expositions,’ which aim to engage practice and demonstrate research. JAR views artistic research as an evolving field where research and art are positioned as mutually influential. If you are considering submitting something to the journal, be sure to look at our guidelines. The next deadline for JAR 31 (Third issue of 2023) is the 31st of January 2022.

JAR works with an international editorial board and a large panel of peer-reviewers.

Editor in Chief: Michael Schwab
Managing Editor: Barnaby Drabble
Peer Review Editor: Julian Klein
Editorial Board: Annette Arlander, Carolina Benavente, Danny Butt, Yara Guasque, Siham Issami, Paul Landon, Manuel Ángel Macía, Gabriel Menotti, Helly Minarti, Barbara Lüneburg, Jesús Fernando Monreal Ramírez, Mareli Stolp, Reiko Yamada and Mariela Yeregui.

Interns: Libby Myers and Costanza Tagliaferri

Associate Editors: Elisa Noronha

Spanish Panel: Mariela Yeregui, Manuel Ángel Macía, Carolina Benavente, Yara Guasque and Jesús Fernando Monreal Ramírez

Portuguese Panel: Yara Guasque, Manuel Ángel Macía, Mariela Yeregui, Carolina Benavente and Gabriel Menotti

German Panel: Michael Schwab, Barbara Lüneburg, Barnaby Drabble and Julian Klein

French Panel: Carolina Benavente, Siham Issami and Paul Landon

JAR is published by the Society for Artistic Research (SAR), an independent, non-profit association. You can support JAR by becoming an individual or institutional member of SAR. For updates on our activities, join our mailing list.