Grain: Mediator Between East and West
(2025)
author(s): Kateryna Tykhonenko
published in: Research Catalogue
"Grain: Mediator Between East and West" is an image-led, cross-temporal exploration of bread wheat as both a commodity and a metaphor. Drawing on its historical and practical ubiquity as a staple grain in agrarian (Eastern) Europe, wheat emerges as the focal medium through which cultural and geopolitical narratives are revealed. What narratives does bread wheat carry, and what is entangled within localised perspectives? To what extent does the cultural history of grain intersect with modern grain infrastructures, whereby wheat transforms from an elemental medium into a mediator between East and West? Through thinking with and about grain, this work interrogates the gaps, overlaps and resonances between East and West, the post-war Soviet 1940s and the present day, repositioning wheat as a cultural mediator.
This Master's project was conducted within the European Media Studies program at the University of Potsdam and University of Applied Sciences Potsdam, August 2025.
The dramaturgy of Conversation
(2025)
author(s): ingrid cogne
connected to: Academy of Fine Arts Vienna
published in: Research Catalogue
The dramaturgy of Conversation aims to tackle different approaches, analyses, and practices of conversations. Several forms of conversations and various related knowledges are questioned from different positions and perspectives. The data studied come from personal, external, or created (for and within the project) archives. In this project, researcher Ingrid Cogne analyses, develops or transforms, re-articulates and re-structures the ways in which one creates, inhabits, and facilitates conversations.
The central question of The dramaturgy of Conversation as a methodology is HOW: How can the context, structure, location, and duration of existing or created situations of conversation support the (re-)articulation of the persons involved? How can one use or work with conversations? How can one read, inhabit, and embody the parameters of a conversation? How can one facilitate a conversation? How does a situation itself facilitate the meeting with knowledge? How can one create a situation of conversation that will be the facilitator itself?
The dramaturgy of Conversation proposes situations, settings, and protocols of conversations that involve, combine, or isolate various languages (spoken, bodily, and written), “in-between” and relational knowledge, and dialogical methods and processes as well as formats of communication.
The dramaturgy of Conversation is a methodology that focuses on “how” practical knowledge can be read, unfolded, and circulated within the “doing”. It is a research project that facilitates the access to the unknown and the inarticulable – navigating between quantity and quality, fiction and reality, material and immaterial, visible and invisible.
This research is aproached by the author as the context wherein a self-reflective process can be (re-)articulated and CO- and reciprocal activations of hardly articulable knowledges can be performed. With this re/search, Cogne insists on the need of “conversation” to be practiced and considered as knowledge.
Duration: 15.1.2019 – 14.1.2025
Project leader: Ingrid Cogne (IKW)
Funded by: FWF - Austrian Science Fund | Elise-Richter PEEK (V709)
Institution: IKW, Academy of Fine Arts Vienna, Austria
It’s Natural (and Other Frictions)
(2025)
author(s): Cecilia Carvalhal Braga de Andrade
published in: Research Catalogue
This exposition explores how performance-based artistic research can expose the constructedness of gender identity by placing the body in tension with resistant materials and wearable prosthetics. Working with spray foam insulation as both sculptural surface and choreographic partner, I investigated how its artificiality, rigidity, and eventual fracture could function as metaphors for the instability of normative embodiment. What began as a struggle to inhabit a rigid foam body evolved into experiments with prosthetic extensions, where the material was reimagined as a collaborator that displaced gestures, layered images, and generated hybrid presences. Drawing on Judith Butler’s theory of performativity, drag performance practices, Hélio Oiticica’s parangolés, and Rebecca Horn’s prosthetic sculptures, the research stages a dialogue between body, material, and viewer. Documentation through video and photography further expanded the work, creating layered choreographies where prosthetics multiplied into digital traces. In this process, the foam bodies became what Lauren Elkin calls “art monsters”: excessive, disruptive forms that refuse coherence, insisting instead on incompleteness, transformation, and the possibility of imagining bodies otherwise.
Splickshh
(2025)
author(s): Luca Carlevarino
published in: Research Catalogue
Splickshh è un innaffiatoio per tastiere. Una provocazione tangibile, un prodotto speculativo che mette in discussione il ruolo stesso della tecnologia.
Ci invita a ripensare la tastiera non più come interfaccia di scrittura ma come spazio botanico, in ottica di un'economia più circolare.
Home page JSS
(2025)
author(s): Journal of Sonic Studies
published in: Journal of Sonic Studies
Home page of the Journal of Sonic Studies
Welke digitale middelen kunnen ingezet worden om aan te zetten tot actieve muziekbeleving?
(2025)
author(s): Raf Brouns
published in: Research Catalogue
Met de komst van teamteach op verschillende scholen en de vernieuwde eindtermen, is kunsteducatie in de 1ste graad van het secundair onderwijs geweldig achteruit gegaan. Dit is een aanname die
meerdere van mijn vakcollega's delen. Dit weet ik vanuit informele gesprekken. De vakspecialist kan
zijn vak niet meer geven met de passie en beleving zoals men dat gewend is. Deze verdwijnt zelfs op
een aantal scholen en wordt dan vervangen door leerkrachten zonder kunstachtergrond. Dit is
bijvoorbeeld bij ons op school gebeurt.
Om dit gebrek aan kennis op te vangen, vraag ik me af of we dit gat niet kunnen verkleinen door gebruik te maken van digitale middelen en zo de muziekleerkrachten toch hun stem kunnen laten behouden in de klas. Ook al zou deze virtueel zijn.
Let op: ik wil zeker niet de vakleerkracht vervangen door digitale middelen. Ik blijf van mening dat we
vakspecialisten voor de klas nodig hebben!
