Issue 32 of the Journal for Artistic Research is now Online

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

JAR accepte les propositions en espagnol, portugais, français, allemand et anglais.
JAR acepta envíos en español, portugués, francés, alemán e inglés. 
JAR aceita submissões em Espanhol, Português, Francês, Alemão e Inglês. 
JAR accepts submissions in Spanish, Portuguese, French, German and English.
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 32 contains 5 peer-reviewed contributions:

In Ludgero Almeida’s exposition ‘Da imagem ausente,’ he presents an artistic enquiry into institutional and private archives, images and trace objects found in Vale do Ave (Portugal). Through walking, gleaning of images, documents and objects, and a critical process of fabulation, he activates artistic languages and explores the history, imagery and memory of the itinerary of cotton and the textile industry in this territory. The absences and negatives produced by a monumental history are problematised as aporetic spaces that are simultaneously productive and agents of other potential narratives of the past, present and future. [pt] [https://doi.org/10.22501/jar.1618871]

In ‘Controlled Rummage Approaches for Bummock: Tennyson Research Centre,’ artistic researchers Sarah Bennett, Andrew Bracey and Danica Maier present the work emerging from five years of research at the Tennyson Research Centre (TRC), Lincoln, UK. Using the metaphor of the ‘bummock’ — the unseen part of an iceberg, not visible above the surface of the water — they propose an exploration of the parts of the archives which are commonly neither viewed or made accessible. Engaging with materials directly and establishing a 'controlled rummage' method they establish an alternative approach to standard archival practice. [en] [https://doi.org/10.22501/jar.1576308]

 ‘Your Digital Graveyard: Sound, Toilets and Participatory Post-Internet Practice in Scrape Elegy’ introduces a participatory multimedia art installation by researchers Gabby Bush and Monica Lim. Designed as a critical exploration of our presence on and engagement with social media, the work uses sound, a physical installation in the form of a pink public toilet, and participatory practice through visitors’ Instagram accounts. The exposition, like the practice at its center, calls attention to the ethical issues surrounding data scraping technology. By using the very same technology to read visitors’ Instagram captions from their accounts back to themselves, sound becomes the medium for self-representation, subverting the text- and photo-based platform of Instagram. [en][https://doi.org/10.22501/jar.1742136]

In the exposition, ‘n-fach-Belichtungen – Non-Photographie, Materialismus der Begegnung, Bilder ohne Objekte’, Stefan Paulus addresses the hidden potential of double and multiple exposures in analogue photography. Traditionally considered as an accident, a mistake, or unaesthetic, he proposes how the accidental blending of different places and times in a photo can be used to detect the unknown and the unconscious, speculate about co-incidence and experience immanence. Calling on Francois Laruelle’s non-philosophical visual aid as well as the philosophy of Althusser, Deleuze and Guattari, Paulus traces an ontology, specifically a non-onto-photo-logical description of n-exposures.  At the center of this consideration is the assumption not to regard a photo as a clone of reality, as a fetishistic realism, but as an inversion of this order: not to understand the photo as simulating reality, but the image as establishing reality. [de] [https://doi.org/10.22501/jar.1703471]

Luiz Zanotello’s ‘From the abyss to the afterglow: On the practice of vibrant contemplation as a mode of artistic research’, adopts critical autoethnography, to approach the intimate process of mourning. The exposition delineates a particular mode of knowledge production within artistic research that queers the relationship between the inside and outside of epistemic and ontological perspectives. The first section considers the abyss as a figure between grief, the unknown, and modes of knowledge production within artistic research. The second bridges the work of theorising as a form of reconfiguring the world through the study of diffracted light. Vibrant contemplation is proposed here as a method of entangling art practice with theorisation processes, beyond a dichotomous opposition between art and science. [en] [https://doi.org/10.22501/jar.1744157]

All expositions of this issue can also be viewed in an accessible version. Go to https://jar-online.net/en/issues/32 or switch between versions from within each exposition.

Keywords include:  

Absences, Archives, Auto-ethnography, Bummock, Cotton, Digital Ethics, Double-exposure, Mourning, Non-photography, Participatory Installation, Post-internet & Social Media,  

Take a look at JAR32 and read the editorial by Michael Schwab here: https://jar-online.net/en/issues/32 [en/pt/es/it/fr]

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. It features reflections and book reviews.

For issue 32 the growing collection of contributions is joined by two new reviews:

'Reseña del libro: Graciela Taquini (editora) "Legado.ar."' by Maia Navas [es] [https://doi.org/10.22501/jarnet.0070]

'Review of Hans-Jörg Rheinberger "Split and Splice. A Phenomenology of Experimentation"' by Michael Schwab [en] [https://doi.org/10.22501/jarnet.0071]

and three reflections:

'4 PREGUNTAS: Juan Miceli. ‘Mi hacer anida en la simultaneidad e ida y vuelta entre investigación y práctica’,' an interview with Juan Miceli [es] [https://doi.org/10.22501/jarnet.0067]

'Directions for SAR' by Esa Kirkkopelto [en] [https://doi.org/10.22501/jarnet.0068]

'Unravelling Space: A reflection on a Walking Residency,' Clementine Butler-Gallie in conversation with Rik Fisher [en] [https://doi.org/10.22501/jarnet.0069]

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 36 (2^nd issue of 2025) is the 30th of September 2024.

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, Paul Landon, Barbara Lüneburg, Manuel Ángel Macía, Gabriel Menotti, Lauren O’Neal, Cara Stacey, Mareli Stolp, Reiko Yamada and Mariela Yeregui.

Interns: Veronica Laminarca, Joaquín Macedo, Clare Murray, Molly Pardoe and Costanza Tagliaferri.

Associate Editors: Elisa Noronha

Spanish Panel: Mariela Yeregui, Manuel Ángel Macía, Carolina Benavente and Yara Guasque.

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 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.