Issue 28 of the Journal for Artistic Research is now Online

https://jar-online.net

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

JAR accepte les propositions en espagnol, portugais, français, allemand et anglais.
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.

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 28 contains 6 peer-reviewed contributions:

Sara De Bondt’s exposition ‘Curating as graphic design research’ explores her approach to curating Off the Grid, an exhibition on post-war Belgian graphic design at the Design Museum Gent (2019). Focusing on graphic design from a specific country and period, De Bondt’s exhibition raised broader questions around naming, authorship, and canon-formation. She reflects on these questions here, posing the curatorial as a methodology for engaging with both historical research and graphic design practice. [https://doi.org/10.22501/jar.974865]

In ‘A Performative Response to Sites of Surveillance: The Gorilla Park Project,’ researchers Shauna Janssen, Katrina Jurjans, Eduardo Perez, and christian scott describe their collaborative approach to Gorilla Park in Montreal, an area undergoing rapid gentrification. Introducing a series of performative and sonic experiments, the exposition foregrounds an unfolding and iterative approach to artistic research taking place in contested city sites. [https://doi.org/10.22501/jar.1112127]

Taking as its starting point an exhibition of her drawings, Paola Villanueva’s exposition, ‘Cajón desastre: notas sobre una investigación artística desordenada’, questions the linear and positivist understandings frequently associated with the idea of project in artistic research. She makes visible subjectivities, using text to add value to the knowledge created in the drawing process, activating, qualifying and dignifying artistic research “in transition”. [https://doi.org/10.22501/jar.1505384]

In Kevin Walker’s ‘A topian artistic methodology,’ he outlines a methodology for artistic research based on the book Utopia as Method by sociologist Ruth Levitas. It involves specific methods at three levels of analysis: archaeological, architectural, and ontological. The term ‘topian’ was chosen in order to incorporate both utopian and dystopian perspectives. [https://doi.org/10.22501/jar.940881]

In the exposition ‘Structures for Freedom: In-performance communication in Traditional musicians in Scotland’, Lori Watson explores tacit knowledge, in-performance communication and collaboration in processes associated with contemporary folk music in Scotland. Using a case study experiment and a series of workshop performances, she examines the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians [https://doi.org/10.22501/jar.810342]

Photographer Sheung Yiu’s ‘Spotting A Tree From A Pixel (With Remote Sensing Researchers)’ contemplates his work together with remote sensing researchers from the Department of Geoinformatics at Aalto University, in the ongoing artistic research project entitled Ground Truth. The interdisciplinary collaboration functions on an operational layer of photography beneath the immediately visible, one that illustrates an expanded notion of photography across contemporary discourse. [https://doi.org/10.22501/jar.1265334]

Keywords include:
3D scanning, architecture, curating, folk music, gentrification, graphic design, historiography, ontology, remote sensing, surveillance capitalism and tacit knowledge.

Take a look at JAR28 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 28 the growing collection of contributions is joined by two new ‘Reflections’:

Artistic Research and the Need for a Paradigmatic Shift in Art Research by Erlend Hovland [https://doi.org/10.22501/jarnet.0060]

How should I write about my work? Notes on publishing artistic research by Annette Arlander [https://doi.org/10.22501/jarnet.0059]

and one book review:

Carolina Rito & Bill Balaskas, (Eds.) ‘Institution as Praxis: New Curatorial Directions for Collaborative Research’ by Pablo Luis Álvarez [https://doi.org/10.22501/jarnet.0061]

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.