Research Catalogue

an international database for artistic research

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  Flows, gravity and chaos: an artistic investigation into atmospheric phenomena, matter and cosmology (2025) author(s): Martino Allegretti published in: Research Catalogue
  This research explores the dialogue between the individual and natural phenomena through an artistic process that focuses on flow as a dynamic and generative element. The interaction between water, pigment and support-usually 50% or 100% cotton fibre paper-is configured as a field of visual investigation in which chance and physical forces play a decisive role. The work begins with the use of watercolour, the movement of which is influenced by both natural and industrial elements, such as stones or artificial structures, which alter the liquid's path and colour distribution. A fundamental aspect of the research is the investigation of the relationship between the flow of water and atmospheric events. The direct intervention of rain, wind and humidity introduces unpredictable variables that transform the painting process into an open and constantly evolving experience. The idea of flow is thus configured as an essential artistic element, capable of reflecting the changing nature of matter and time. From these experiments, the research extends to the study of gravity and its implications in the movement of pigment, drawing parallels with cosmological dynamics such as black holes and white holes. The action of the gravitational field and the tension between attraction and expulsion become visual metaphors that find expression in the creative process. In order to structure and document this investigation, notebooks, notes and parallel experiments are used, which are fundamental tools for outlining a method capable of reconciling individual technique with the randomness of external factors. The aim is to find a balance between control and unpredictability, developing a visual language that restores the interaction between artistic gesture and natural forces. In parallel, the project involves experimenting with materials other than paper, such as textiles, membranes and other porous or water-repellent surfaces. The introduction of these elements broadens the possibilities of interaction between water, pigment and support, generating new visual and tactile effects that amplify the dialogue between matter and physical phenomena. Set in an international context of artistic and scientific exploration, this research proposes an interdisciplinary reflection on the relationship between art, nature and physics, redefining the role of the artist as interpreter of the forces that govern our universe.
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  Beyond the Border Colonialism, Diaspora and Displacement: Artistic Narratives between Memory and Identity (2025) author(s): Gabriela Alessandra Queija Du Bois published in: Research Catalogue
  This thesis explores the link between colonialism, diaspora and displacement, analysing how these themes are addressed in contemporary art through the works of artists such as Belkis Ayón, Tania Bruguera, Coco Fusco, Binta Diaw and Dominique White. My research is developed around the concept of non-place (Marc Augé) and the space in-between (Homi Bhabha), understood as fluid territories in which identity is broken down and recomposed, suspended between memory and oblivion, between roots and transit. The analysis examines artistic practices that reinterpret the collective memory of diasporic communities, with a focus on processes of cultural and identity re-appropriation. Belkis Ayón's work reinterprets the Afro-Cuban mythology of the Abakuá as a metaphor for diaspora and marginality, while Tania Bruguera and Coco Fusco deconstruct the colonial gaze through performance and denunciation of power. Binta Diaw and Dominique White use the body, the sea and shipwreck as symbols of identity fragmentation and the construction of new spaces of belonging. The thesis integrates references to Paul Gilroy, Aníbal Quijano, Frantz Fanon and Enrique Dussel, highlighting how art can function as an archive of memories and an instrument of political resistance. Parallel to the theoretical research, my artistic project proposes a series of installations that evoke the non-place of dislocation, a space of transition and rewriting, where matter - sound, sculpture, performance - become bearers of forgotten histories and new possibilities of belonging.
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• Mapping the Shift: From Anti-Immigration to Anti-Islam Discourse (2025) author(s): Isa Thulin published in: Research Catalogue
  Through layers of legislation, political movements, wars, key events, and shifting migration patterns, my map uncovers how ‘the immigrant’ became synonymous with ‘the Muslim’ in Danish politics starting from the 1960s—tracing the contours of exclusion as they were drawn, redrawn, and hardened over time. To the right, it is traced how the anti-Muslim discourse paved the way for the legitimisation of demolishing multiple racialised neighbourhoods across Denmark and thereby displacing large groups of racialised individuals. The cartoons work to show questions, discomforts, and realisations that emerged as I confronted urban racism in Denmark through a white lens.
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• Transcultural collaboration within the context of West African griot music: Exploring the role of the drummer and the case of the band Faso Kan (2025) author(s): Ossi Raippalinna published in: Research Catalogue
  The purpose of this text is to reflect on my experiences as an active member of a culturally diverse ensemble called Faso Kan. The primary source is the artistic work of Faso Kan during the years 2006-2020. The ensemble worked intensively during 2020-21, resulting in an album completed in September 2021. My main contribution to the album was adapting and arranging traditional West African rhythms for the drum kit and performing them in the studio. This study attends to cover different aspects of that process, particularly the drummer’s point of view. I will also cover the collaboration-based music-making approaches that I encountered while working with Faso Kan. Although Faso Kan´s repertoire consists mainly of traditional pieces from Burkina Faso, the working methods resulted in music representing several musical cultures. The study is primarily based on artistic work, but I will also reflect on the related experiences of other researchers and musicians.
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• Manifesto (2025) author(s): Tereza Strmisková, Silvia Diveky connected to: Janáček Academy of Performing Arts (JAMU) published in: Research Catalogue
  A project of three countries working with youngsters to bring an artivistic theatre to life.
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  Sigilos de amor e de Chagas/Sigils of Love and Sores (2025) author(s): Carolina Albuquerque published in: Research Catalogue
  O presente ensaio visa fomentar uma discussão acerca da intersecção entre a arte, a espiritualidade e a imigração, temas que se revelam notórios nas expressões culturais contemporâneas sociais e pessoais. Mais concretamente, analisa-se a forma como a artista navega na sua identidade e experiência, abordando questões sociais e reflexões pessoais sobre a experiência do imigrante. Os elementos contidos nesta obra incluem peças de alumínio gravadas com sigilos de amor e mãos de cerâmica com olhos nas palmas. Os olhos remetem para a Mão de Fátima, um símbolo de proteção, mas as mãos também evocam as chagas em pessoas de cor, sugerindo um vínculo com experiências históricas de dor e sofrimento. Ao evidenciar as cicatrizes de pessoas que realmente viveram essas feridas, esta obra incorpora uma dimensão de memória e resistência. Este ensaio é um registo de histórias e memórias pessoais na produção artística, inserido na investigação do doutoramento em Artes Plásticas da Universidade do Porto. ------------------------------------------------------------------------------------------ The present essay seeks to stimulate a discourse on the confluence of art, spirituality and immigration, themes that have become increasingly prevalent in contemporary cultural expressions, both social and personal. Specifically, it will analyse how the artist navigates her identity and experience, addressing social issues and personal reflections on the immigrant experience. The elements of the installation include aluminium pieces engraved with love sigils and ceramic hands with eyes in their palms. The eyes refer to the hand of Fatima, a symbol of protection, but the hands also evoke the wounds on the hands of people of colour, suggesting a link with historical experiences of pain and suffering. By highlighting the scars of people who have actually experienced these wounds, this work incorporates a dimension of memory and resistance. This essay is a register of personal stories and memories in artistic production, as part of the research for a PhD in Plastic Arts at the University of Porto.
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