Research Catalogue

This research is rooted in nihilism, exploring how the contrast between materiality and spirituality leads to a radical way of perceiving existence. What does it mean to be unable to believe in "what's beyond"? What role does the body play in such an issue? Starting from philosophy, this debate finds expression through art and different iterations, attempts to face the consequences of nihilism.

Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023. "There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived." Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level. The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic and cultural production. Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso). With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.

In this exposition I invite you to reflect on a part of my artistic research: the screen capture. The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production. In this artistic research I also use experimental software and unconventional methods to carry out images from videogames. At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.

This essay proposes the “Erased Museum” as both a critical framework and an institutional ethics: a museum that recognizes loss as its primary collection and disappearance as a mode of curation. Drawing from Absential Aesthetics, it argues that destruction—by fire, flood, war, neglect, theft, or obsolescence—does not terminate cultural meaning but reorganizes it into a second, invisible archive composed of voids, residues, and public conscience. Through case studies and touchstones including the Library of Alexandria, Brazil’s National Museum (2018), the Mosul Museum (2015), and architectural and curatorial practices that preserve wounds rather than conceal them (e.g., post-damage restorations and void-centered memorial architectures), the essay reframes conservation as a dialogue with entropy rather than a fantasy of permanence. It also traces contemporary artistic strategies that curate absence directly—fabricated archives, missing inventories, empty frames, restitution bureaucracies—showing how loss can become documentation rather than mere lament. The work concludes by extending the ethics of disappearance to the digital domain, where decay occurs without smoke, and by proposing “transparent loss protocols” as a future-facing curatorial responsibility.

This thesis investigates the crisis of Regie (i.e. of the agency of directing) in a post-#MeToo landscape. It argues that the outset of this crisis lies in an expansionist gesture – rooted in the avant-gardist ambition to merge art and life – by which directors have conflated artistic mandate with managerial control; a gesture culminating in the toxic institutional cultures painfully exposed during the last decade. Starting from this point of no return, the thesis examines the question of how to acknowledge the fact of directorial power abuse without cutting our practices off from the potential – or even the necessity – of directorial agency as such. Its title “Reinventing Regietheater” thus carries the tension between a historical form of theater (generally known as “directors’ theater”) and a yet-to-be-found future expression. Conceived as artistic research, the discrete focus of the thesis is the rehearsal space and its confines. Within the micro-scale of the latter, the crisis of Regie reverberates first and foremost in the non-foreseeable instances of the actor-director interaction; namely in the increasing scrutiny applied to the tool of improvisation. In contrast to the prevailing strategy of eroding the rehearsal space’s symbolic boundaries (in the interest of directorial accountability), the thesis conceptualizes – practically as well as theoretically – a “Space of Rehearsals” as a heteronomous zone of safe but ecstatic play. This “Space of Rehearsals” is constructed through a rehearsal method informed by the psychoanalytic concept of transference as well as the interaction framework “Wheel of Consent”. To answer its main questions, the thesis presents a “written part” as well as a set of “online resources” containing the documentation and “re-stagings” of the practical experiments. Four “books of Regie” present methodological reflections, a critical genealogy of a theater of directing (based on the author’s symptomatic practice) as well as the central concepts. Three so-called “Pre-studies”, devised through practical work with professional actors/collaborators form the empirical basis of the thesis, sketching out different possibilities for the actor-director relation in a re-invented Regietheater. In the proposition resulting from the above, directorial agency does not necessarily sit with the director. Nevertheless, the disciplinary divide between actor and director is upheld; as well as the radical asymmetry in the distribution of authorial power, albeit in temporally limited and co-curated iterations. The main argument of the thesis is thus that the artistic potential of the historical form of Regietheater can be salvaged without taking a revanchist or revisionist stance: the idiosyncratic directorial agency known as Regie has its place in consent-based rehearsal settings.

Home page of the Journal of Sonic Studies