Thirty Artwork Iterations (Daily through February and into March, 2025)
(2025)
author(s): Mike Croft
published in: Research Catalogue
The project began as a commitment to 30/30, an initiative offered by Artquest, where subscribing artists were required to upload a new artwork to a 30/30 dedicated platform on a daily basis though the month of February and into March, 2025. The response formatted as this exposition is variations of text, image, and video animation, archived as still-image iterations mostly sized at 21 x 29.5cm and hyperlinked videos of up to two-minutes’ running time.
The works’ content wavers between anecdotal and academic/theoretical. (Artquest issued non-obligatory collective prompts at the start of each day, which is in this case sometimes either used.) Any texts from each iteration have been copied to a companion page and corrected, rephrased or explained. The iterations play with oscillation between text and image, where the look of text under these circumstances becomes more noticeable while retaining much of its readability.
Theoretical reading during the project had been Isabelle Stengers's book on the philosopher A. N. Whitehead, which is variously referenced in the iterations. At the same time, the author’s recent interest in a question of adaptability of the psychoanalyst Jacques Lacan's Logical Square to the question of the artistic research process is referenced. Given that the theories of these two authors do not in any obvious sense relate, their conflation in a sense holds their function in the iterations open to question, analogous to how one reflects on interests in and through one's visual practice.
While the 30/30 structure required daily decision-making and action, any one iteration tended to be of consequence to the next, which afforded continuity of duration to the project.
at the end of the sentence, it rotted
(2024)
author(s): Cecilie Fang Jensen
published in: Royal Academy of Art, The Hague
at the end of the sentence, it rotted gathers written words and photos exploring how language is not purely about communication, but a medium of revealing hierarchy of bodies, as we assign and circulate signs to bodies - none of which are neutral.
Moving between auto-theoretical poetry and essays on 104 pages, I write with an I using language to explore language itself from within; appropriating how words are never innocent, when the languages we speak are the ones with political value.
Making a simple International Phonetic Alphabet (IPA)—For singers, conductors and composers
(2023)
author(s): Bas Ammerlaan
published in: KC Research Portal
This research develops a simplification of a graphical resource: the International Phonetic Alphabet. The choices made to simplify it are based on an analysis of existing diction methods. The thesis format seemed most suitable for my research, as the IPA is a graphical notation method which is meant to be used by writing it down. (While it is of course used to notate sounds, these sounds themselves are not actually the focus of the research. There are also already an abundance of audio examples for the IPA symbols.)
The IPA can be a very useful aid for classical singers, from ensemble singers to soloists, but appears intimidating from the amount of symbols it has. This research looks at which IPA symbols are used and which are not used in five different diction methods for classical singers. These are systematically analysed and presented graphically to the reader to help visualise which of all the symbols presented on the IPA chart are regularly used by singers. The end result is practical in nature: a Simple IPA chart which uses only those symbols a classical singer really needs to sing the five main languages for classical singing: English, French, German, Italian and Latin.
Realtional Ground
(last edited: 2025)
author(s): Liza Zazimko
This exposition is in review and its share status is: visible to all.
Thesis / Research Document of the Royal Academy of Art, The Hague, 2025.
Bachelor Interior Architecture & Furniture Design.
The thesis explores how jewelry, as a medium of object design, can serve as a speculative tool for addressing questions of identity, belonging, and social cohesion in Estonia’s linguistically diverse society. The project emerges from a personal dissonance: being a Russian-speaking Estonian and navigating a sense of belonging shaped by language, history, and cultural perception. While Estonia promotes democratic values and civic unity, subtle divisions remain. Language often acts as an artificial barrier - a marker of loyalty or a source of prejudice, rooted in collective memory and historical traumatic experience
To understand these dynamics, the research examines Estonia’s history to trace the roots of its current social fabric. It then looks at state-led integration programs, evaluating the efforts already made toward a more inclusive society. Finally, the study considers how art can operate as a mechanism for change, reaching spaces where policy may not.
The outcome is not only a physical collection but a conceptual framework: design as a relational act that builds common ground. Rather than offering definitive solutions, the work holds complexity and invites dialogue. It asks what it means to coexist across differences, and how objects can serve as quiet, daily gestures of trust and mutual recognition in a divided yet hopeful landscape.
The result is a collection of wearable pieces that reflect Estonia’s divides.
Rather than offering definitive solutions, the work holds complexity and invites dialogue. It asks what it means to coexist across differences, and how objects can serve as quiet, daily gestures of trust and mutual recognition in a divided yet hopeful landscape.
Empowering Collective Performing Arts: A Facilitator's Toolkit for Overcoming Language Barriers
(last edited: 2025)
author(s): Alice Presencer
This exposition is in progress and its share status is: visible to all.
'Empowering Collective Performing Arts: A Facilitator’s Toolkit for Overcoming Language Barriers' is a practice-led research project that explores the ways to encourage group connection through non-textual, embodied communication within diverse communities.
Drawing on work experience with immigrant children, refugees, and deaf/hearing collaborators—as well as recent research residencies with ASSITEJ Norway, The Flying Seagulls and Red Nose Emergency Smiles—the project contains a growing body of facilitation strategies as an open-source toolkit.
Rooted in my personal experience of linguistic displacement and background in voice and dance, this project proposes a shift away from text-centric facilitation models toward approaches that prioritise emotional intuition and situational awareness. The project is underpinned by critical frameworks around embodied knowledge, power, and positionality, aiming to challenge colonial and exclusionary norms around communication.
Ultimately, it seeks to empower facilitators and communities alike to trust in the expressive potential of the body and encourage inclusive, trust-based spaces for collective performing arts experiences.
Tongue-Tied: Words Against Worlds
(last edited: 2025)
author(s): Narges Porsandekhial
This exposition is in progress and its share status is: visible to all.
This exposition explores the experiences, struggles, challenges, and discoveries of an allophone within Canadian society. Through research-creation, I aim to illuminate the bittersweet nuances of bilingual existence in the contemporary art world. The text addresses not only language and translation in academia and art writing, but also examines how language can act as both a driving force and a barrier in the creative process—particularly in text-based artworks, book art, and socially engaged or community-based practices. Grounded in the principles of autotheory, this work draws on socio-political, environmental, and personal factors that have shaped and informed my artistic practice. Spanning from 2022 to the present, this research is an ongoing effort to reconcile the fragmented thoughts, ideas, and processes of research-creation as a bilingual researcher/creator.
We Live on the Razor's Edge. On Law and its Performativity
(last edited: 2025)
author(s): Raquel Coll i Juncosa
This exposition is in review and its share status is: visible to all.
Thesis / Research Document of the Royal Academy of Art, The Hague, 2023.
Master Artistic Research
This publication explores the performativity of law through fiction, language, and theatricality. It reflects on authorship, obedience, and the instability of meaning in legal discourse.
words meet material
(last edited: 2021)
author(s): Jelena Škulis
This exposition is in progress and its share status is: visible to all.
several authors met
in one millennium
and made words
nasty
our contribution to the common minority is meager but necessary / Elias Canetti, from Die Blendung, 1935
aspiration is to
reduce text
in its production
the conclusions are yet to come
questions will come at the end
-
Here I present little passages written by using autoethnographical approach and researching most important issues I cope during creative process. Selected short texts are the part of the artistic research connecting to themes about material and art through words. These little messages I call literature tattoos – usually performed on the skin, but the same action can emerge in the brain structure after reading. The video and artwork ’I have tried everything, nothing works’ were made in 2019, during the residency which was a part of Doctoral studies in University of Bergen, Faculty of Fine Art, Music and Design (Norway). There I was first time not using physical contact with community or handwork but was learning new technology - jacquard.
The texts in artwork =Co woven quotes from the books about artistic research. The set of rules or the menu of instructions are shown as possible (un)helper if you wish to perform (un)successful research being an artist. Phrases were picked out from books intuitively while practicing AR. The question is if, why or when they are helpful.
The whole AR is about analyzing links and boundaries between community, text and material.
Speculative Sound
(last edited: 2017)
author(s): Richy Carey
This exposition is in progress and its share status is: visible to all.
Through this paper, I propose a way of considering audiovisuality as an object in and of itself, thinking through its materiality and the role language plays in its construction. I discuss Karen Barad’s Agential Realist methodology as a way of accessing this object with a view to exploring how this might affect the way we sound an image. I propose that the essay film, or an essay film/text hybrid, is the form that can best articulates this way of thinking. I conclude by asking how a diffracted reading of the {sound-image-language} object can be used as a methodology for sounding images.
A Language of Things
(last edited: 2016)
author(s): Florian Dombois
This exposition is in progress and its share status is: visible to all.
What happens to language when we stop writing with letters, words, and other signs on paper and instead use three-dimensional objects? And if we go one step further and, rather than speaking with sounds, show one another objects in order to express ourselves? The "Language of Things" explores the possibilities of notation, communication, and poetry with a set of 100 shapes. Moving between translation and imagination, it extends its vocabulary as it proceeds.
The project began in August 2015 and makes use of Michael Schwab's 100 proto-objects:
https://www.researchcatalogue.net/view/186304/186305
Documentation of Michael Schwab's exhibition (where the LOT were held back by Belgian customs inspection):
https://www.researchcatalogue.net/view/186304/219199
at the end of the sentence, it rotted gathers written words and photos exploring how language is not purely about communication, but a medium of revealing hierarchy of bodies, as we assign and circulate signs to bodies - none of which are neutral. Moving between auto-theoretical poetry and essays on 104 pages, I write with an I using language to explore language itself from within; appropriating how words are never innocent, when the languages we speak are the ones with political value.open exposition comments (0)
Through this paper, I propose a way of considering audiovisuality as an object in and of itself, thinking through its materiality and the role language plays in its construction. I discuss Karen Barad’s Agential Realist methodology as a way of accessing this object with a view to exploring how this might affect the way we sound an image. I propose that the essay film, or an essay film/text hybrid, is the form that can best articulates this way of thinking. I conclude by asking how a diffracted reading of the {sound-image-language} object can be used as a methodology for sounding images.open exposition comments (0)
What happens to language when we stop writing with letters, words, and other signs on paper and instead use three-dimensional objects? And if we go one step further and, rather than speaking with sounds, show one another objects in order to express ourselves? The "Language of Things" explores the possibilities of notation, communication, and poetry with a set of 100 shapes. Moving between translation and imagination, it extends its vocabulary as it proceeds. The project began in August 2015 and makes use of Michael Schwab's 100 proto-objects: https://www.researchcatalogue.net/view/186304/186305 Documentation of Michael Schwab's exhibition (where the LOT were held back by Belgian customs inspection): https://www.researchcatalogue.net/view/186304/219199open exposition comments (0)