Issue 33 of the Journal for Artistic Research is now Online

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

JAR akzeptiert Einreichungen auf Spanisch, Portugiesisch, Französisch, Deutsch und Englisch.
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.

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 33 contains 5 peer-reviewed contributions:

In ‘Greenwashed Concrete. Artistic Research With, On, and Against Concrete, Concerning Conflicting Concepts of Its Sustainability’, Nikolaus Eckhard and Christoph Weber introduce their research into the challenges raised by global use of concrete today and its troubling implications for future generations. Considering concrete as a symbol of the Capitalocene, they set out to widen understanding of this multi-layered material. Their research project applies a methodology of juxtaposing two sculptural practices to collaboratively design experimental settings and engage scholars from heterogeneous fields. Through their research they determine that a radical transformation of industrial building culture is needed to avoid catastrophic effects on biodiversity. [en] [https://doi.org/10.22501/jar.1928632]

‘At the Knot of Presence - Unfolding the Embodied Knowledge of my Artistic Palette’ unfolds the shared work between Australian composer Liza Lim and Swedish violinist Karin Hellqvist, from the viewpoint of Hellqvist as performer and co-creator. Using the Swedish folk music tradition as its point of departure, the exposition explores performance practice as embodied knowledge, specifically in relation to the collaborative work One and the Other (Speculative Polskas for Karin).Through written reflections, audio examples, pictures, and video material, the topics of distributed creativity, shared work as mycelial structure, instrument-building, ownership and temporal ecology are addressed. [en] [https://doi.org/10.22501/jar.1865089]

In the history of China, from early dynasties into contemporary times, aspects of poetry, painting and writing have been grounded in varied but deeply connected ‘rules of rhythm’. These ‘rules’ permeate in diverse yet identifiable and recognizable forms. In her exposition ‘ ‘Hearing Rhythm, Seeing Rhythm: A Research Approach to Reimagining Traditions of Chinese Poetic ‘rules of rhythm’’ artist Ling Liu stages both a ‘reclamation’ and an ‘extension’ of these rules, asking in a series of artistic experiments whether it is possible to represent sonic patterns themselves — that is, by both visualizing sound structures and ‘sonifying’ visual forms (irrespective of textual content). [en] [https://doi.org/10.22501/jar.1900487]

Mette Tranholm’s ‘Collaboration as collage: renegotiating the notion of artistic genius’, explores how the Betty Nansen Theatre in Copenhagen, with the artistic research project, BETTY DEVELOPS, extend a collaborative practice to the infrastructure of an entire institutional theatre and how this renegotiates the notion of artistic genius and the star. A meta-reflection on the author’s artistic research activities at the theatre, the exposition reflects on how artistic research can foster methods for collaborative co-creation and create resistance to a neoliberal individualised performance culture. [en] [https://doi.org/10.22501/jar.1695946]

In ‘synthetic bodies: protocols for intra-acting’, Lenka Vesela, examines how our bodies are porous entities that interconnect with and depend on the broader collectivity of human and nonhuman life, existing within a shared environment. The exposition invites readers to learn about the chemicals to which we are exposed and by which we are affected. Adopting a decolonial feminist, posthumanist and new materialist approach, and embracing queer ecological sensibilities, this exposition develops protocols for embodied and materially embedded research practices that trace the effects of exposure to chemicals in everyday life. [en] [https://doi.org/10.22501/jar.1609630]

All expositions of this issue can also be viewed in an accessible version. Go to https://jar-online.net/issues/33 or switch between versions from within each exposition.

Keywords include:  

acting techniques, built environment, Chinese aesthetics, distributed creativity, feminist technoscience, greenwashing, making-with, queer ecologies, social metabolism, sound space, embodied knowledge and toxicity.

Take a look at JAR33 and read the editorial by Michael Schwab here: https://jar-online.net/issues/33 [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 33 the growing collection of contributions is joined by a new review and a new reflection:

Review of “Teaching Music Performance in Higher Education - Exploring the Potential of Artistic Research” edited by Helen Julia Minors, Stefan Östersjö, Gilvano Dalagna and Jorge Salgado Correia. Review by Stefan Gies [en][https://doi.org/10.22501/jarnet.0073]

4 PREGUNTAS: Laura Olalde, ‘Creo que no existe investigación artística sin modulación de materia.’ Reflection by Laura Olalde [es] [https://doi.org/10.22501/jarnet.0072]

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 37 (3^rd issue of 2025) is the 31st of January 2025.

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, Iram Ghufran, Yara Guasque, Paul Landon, Barbara Lüneburg, Manuel Ángel Macía, Gabriel Menotti, Lauren O’Neal, Cara Stacey, Mareli Stolp, Tosin Tume, 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.