Research Catalogue

Een artistiek onderzoek naar contact, verbinding en gemeenschappelijke grond.

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 62 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children: how they love, amongst other. I wanted to emphasise that element, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp, but intimate twist, as commentary, in the British tradition of political satire, to the otherwise dark subject matter. Finally, this artistic style refers to the populist character of actors. The text is written like trip-hop songs: two of the pseudonyms I gave are the artistic names of musicians of colour from the British band "Massive Attack", formed in Bristol. Otherwise, it is loosely structured in a manner inspired by television series. I used heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition displays loosely and in lay terms vocabulary as rhetorical devices from analytic metaphysics, as well as gender and romance studies; for instance, I use the word "unactualised" to refer to individuals, who are real and concrete, who exist independently of my mind, however they were not "actualised" in my so-called personal life and dating practices: for that, I would have to select them, in order for them to be "instantiated" in my dating. The exposition is underpinned by an underlying neo-Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, as painting, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For "M" ('Ramadan', 'Julien', "Mr X"), Filip ('Philip'), and Brandon ('Magna') - August, September, and October 2024. For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Rachel''s Beau", or "Her Man's alter-ego"), 'Moussa', 'Gaetan', 'Mohammed' ('Onzedouze'), 'Hermando', and 'Nesseem' - December 2024, January 2025, May, June, August and September 2025. Four men of colour and seven white men - or, more accurately, four and six, or six and four. Who were also targeted, directly and indirectly. Who are not politicians, except for a current one and a former one, but are doing something political, so they must take good care of what they do. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

People interested in artificial intelligence usually ask whether computers could become as intelligent and creative as humans. I decided to think about it the other way around: I'm interested in the extent to which the creative process of artists is algorithmic. It's not difficult to create something that will look like art; you just need to imitate an already existing genre or style. The challenge is to create something that will be able to trigger an art experience. In this visual essay, I'm studying where, in a spectrum of different kinds of experiences (jokes, magic tricks, pleasure from solving a mathematical or scientific problem), there are thrills triggered by art. All of these experiences depend on a sufficient amount of novelty. Therefore, the creators of experience triggers face the same problem: the impact of a joke, a magic trick, or an artwork tends to diminish when heard/seen repeatedly. The human brain has evolved in a way that it is able to distinguish repeating patterns, formulas, schemes, algorithms. Uncovering an algorithm causes pleasure. But once an algorithm is uncovered, it does not cause pleasure any more. To trigger an experience of the same intensity, we need a new trigger. In this work, I also address the question of why certain types of triggers wear off more slowly than others. The outcomes of this project are a book—a visual essay in which drawings and texts form one line of an argument—and a series of lecture-like events, in which I combine sincerity and directness of lectures, panel discussions, and guided tours with richer ways of expression typical for object theatre, performances, and magic shows.

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

RESPONSIVE SPACE – SOUNDING INTO MATERIALITY (2014–2020) is an in-depth research project into the interrelationship between us and our surroundings. The artworks can be described as large sculptural sound installations which blur the lines between visual art, performing arts and sound art. The works explore space, material, sound, body and time as equal parts in a composition. The main artworks of the research INTERFERENCE, RESONANCE, SEDIMENT, PLACE 1 and PLACE 2 are in a variety of ways inquiries towards an expanded experience of the dialogue between presence and materiality. The artworks are composed environments which respond and take shape and form from their surroundings, seeking to touch proximity zones where we as humans can sense aspects of being closely intertwined with our surroundings. The act of listening is of central importance in the artistic survey. Olaussen stages space utilising the mediums of sound, minimalistic sculpture and dramaturgical structures. This exposition is part of Gunhild Mathea Husvik-Olaussen’s artistic research project Responsive Space – Sounding into Materiality (2014–2020) at the Norwegian Theatre Academy, Østfold University College. The project complies with the guidelines for the Norwegian Artistic Research Programme from 2019. Artistic practice and reflection are at the heart of the research programme. Originally published in Norwegian in 2020, this work has now been translated into English by Peter Cripps, with the support of the Norwegian Directorate for Higher Education and Skills.

This essay explores Nomadic Aesthetics as a post-disciplinary ethical philosophy grounded in movement, displacement, and moral geography. Through the lens of travelling installations, Dorian Vale interrogates how contemporary art carries not only material form but migratory conscience. Installations by artists such as Francis Alÿs, Mona Hatoum, Chiharu Shiota, and Khalil Rabah are examined not as static works, but as mobile testimonies—witnesses to border regimes, global inequality, and spiritual unbelonging. The essay argues that when art moves, it inherits moral weight: the crate becomes a coffin, the gallery a customs post, and the viewer a pilgrim. Nomadic aesthetics reframes mobility not as logistics, but as liturgy. It positions the travelling installation as a modern secular relic—bearing not truth as monument, but truth as residue. This is a theology of movement: truth that survives only by circulation. Title: Nomadic Aesthetics — Travelling Installations as Moral Geography Keywords: Post-Interpretive Criticism, Nomadic Aesthetics, Installation Art, Moral Geography, Migrant Artworks, Travelling Exhibitions, Globalization, Francis Alÿs, Mona Hatoum, Ai Weiwei, Chiharu Shiota, Khalil Rabah, Ethics of Movement, Conscience in Contemporary Art, Aesthetic Displacement, Witnessing, Museum Critique, Portable Truth, Moral Cartography License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) Publication Year: 2025 Movement / Framework: Post-Interpretive Criticism (The Museum of One) DOI (Placeholder until generated): [To be automatically assigned by Zenodo] Journal / Series: The Journal of Post-Interpretive Criticism (ISSN 2819-7232) Volume: III Publisher: Museum of One (Registered with Library and Archives Canada) Persistent Identifiers: ORCID: 0009-0004-7737-5094 ISNI: 0000000537155247 Wikidata: Q136308879 (Museum of One)