Issue 35 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 accepts submissions in Spanish, Portuguese, French, German and English.

JAR aceita submissões em Espanhol, Português, Francês, Alemão e Inglês. 

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 35 contains 5 peer-reviewed contributions:

In her exposition Becoming Monika: An Exploration of a World between the Self, Other, I and We, Anna Chrtková introduces us to an ongoing performative research projec that has arisen from her collaboration with Matyáš Grimmich and Karolína Schön. Their collective, which bears the name Monika, explores the possibilities of connection and collectivity in what the author refers to as ‘a hyper-individualised, market-driven neoliberal world’. Through participatory installations, video works, workshops and performances, the research proposes strategies for understanding and embodying interconnectedness; in terms of biological matter, ecosystemic relations, climate systems, shared societal infrastructure and even global finance. [en] [https://doi.org/10.22501/jar.2310857]

Olof Misgeld´s Motion, Music, Mediation: Bridging Tradition and Technology in Swedish Folk Dance-Music, presents an investigation into the folk music and dance practice ‘polska’. Working with a group of Swedish folk musicians and dancers, the research project employs optical motion capture (mocap) to explore interactive music and dance performances and create innovative artistic expressions by merging traditional practices with contemporary media technology. The focus is on the fundamental connection between sound and movement in this performance practice, particularly showcased in the project's centerpiece, Dancing Dots. [en] [https://doi.org/10.22501/jar.2274627]

Rebecca J. Squires and Bart Geerts’, ‘The Grand Tour Experiment: A Transformative Traverse of the Picturesquedocuments and reflects upon a human-pulled carriage journey that re-envisioned the eighteenth-century traverse of the picturesque landscape, the subject-objectification of the view, and the imperialistic impulse behind the voyage pittoresque. This artistic experiment visually, kinaesthetically, and performatively explored the transformation from landscape to image that formed the basis of modern perception, as part of the colonial legacy inherent within the picturesque view. The Grand Tour proceeded from Binche to Brussels to Antwerp, Belgium in 2022. [en] [https://doi.org/10.22501/jar.3440412]

In Improvising Time: An investigation into the link between time and intersubjectivity in the performance of solo dance improvisation, Nareeporn Vachananda presents her investigations into embodied temporality in the performance of solo dance improvisation. It explores two temporal concepts in Japanese Noh theatre — the sequencing concept of jo-ha-kyū 序破急 and the notion of ma 間 — investigating how both can be embodied for the temporal organization of solo dance performance when improvised before an audience. Noh performance theory is brought into a dynamic interaction with the fundamental theory of time in physics and a phenomenological approach to intersubjectivity. [en] [https://doi.org/10.22501/jar.2262837]

In Found in Translation: The Poet's Love(r). Chanda VanderHart, Rebecca Nelsen and Eric Stokloss present their artistic re-interpretation of Dichterliebe, Robert Schumann’s nineteenth-century song cycle based on texts by Heinrich Heine. This research-creation project investigates not what is lost, but what is gained through translation and approaches art song translation beyond its conventional linguistic scope, exploring it as a mode of modernization and gendered recontextualization. The Poet’s Love(r) features a new, singable English translation, alongside newly composed spoken poetry that gives voice to the song cycle’s historically silent female protagonist. [en] [https://doi.org/10.22501/jar.2082863]

All expositions of this issue can also be viewed in an accessible version. Go to https://jar-online.net/en/issues/35 or switch between versions from within each exposition.

Keywords include:  

Biodiversity, composition, contemporary circus, creativity constraints, embodiment, installation, multispecies ethnography, object oriented ontology, phenomenlogy, rewilding and songwriting.

Take a look at JAR 35 and read the editorial by Michael Schwab here: https://jar-online.net/en/issues/35 [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 35 the growing collection of contributions is joined by three reflections:

TT Journal: Treading and Tracing a Common Territory by Tereza Stehlíková [en] [https://doi.org/10.22501/jarnet.0079]

4 PREGUNTAS: “La investigación es una forma de estar en el mundo con atención radical” Reflection by Shima [es][https://doi.org/10.22501/jarnet.0081]

Saberes Vivos en Tiempos de Motosierra by Eduardo Molinari [es] [https://doi.org/10.22501/jarnet.0083]

And two reviews:

Review of Rick Rubin, “The Creative Act: A Way of Being” by Matthew Ryan Smith [en][https://doi.org/10.22501/jarnet.0082]

Review of Lyle Skains, “Designing and Conducting Practice-based Research Projects” by Katharina Uhde [en] [https://doi.org/10.22501/jarnet.0080]

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 39 (2^nd issue of 2026) is the 30th of September 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, Diego Castro Magas, Carolina Benavente, Danny Butt, Iram Ghufran, Yara Guasque,Joseph Kunnuji, Paul Landon, Barbara Lüneburg, Gabriel Menotti, Lauren O’Neal, Cara Stacey, Mareli Stolp, Tosin Tume, Reiko Yamada, Mariela Yeregui and Lim Kok Yoong

Interns: Veronica Laminarca and Costanza Tagliaferri.

Associate Editors: Joaquín Macedo and Elisa Noronha

Spanish Panel: Mariela Yeregui, Diego Castro Magas, Carolina Benavente and Yara Guasque

Portuguese Panel: Yara Guasque, 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.