Research Catalogue

Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material. The exposition exposes the question of what is artistic research. Usurping the essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system. Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I suggest that some artworks operate as philosophical provocations of the archive. "The artwork just exists", as Frank Stella argued.

On February 19th 2024 took place the 2nd seminar, "Illustrating the absence" of the project "[in]visible - [in]visibility of identities in Portuguese 1st-grade elementary textbooks of Social & Environmental Studies after 1974", at the Faculty of Fine Arts of the University of Porto (Portugal). For the reflection, illustration and critical analysis of the illustration works, there was the participation of the Master's in Illustration, Edition and Print students with the illustrator Júlio Dolbeth and the [in]visible team. Cristina Ferreira and Margarida Dias took the photos, and the session was recorded with audio.

This report on research was supported by the Lectorate of Music, Education, and Society at the Royal Conservatoire, The Hague. The following work explores the endeavor to integrate creative concepts and artistic exploration into the Bachelor's curriculum at conservatoires, with the Royal Conservatoire of The Hague serving as a case study. It presents the researcher's ideas for innovative content and structures related to creative practices and interdisciplinary collaboration, compiled in a playful structure known as the ‘Category Game’. This article provides a comprehensive list of tools designed to facilitate these creative collaborative processes, which were either developed during my work with students or gathered from relevant literature, colleagues' contributions, or other academic programs. During the course of this research project, I engaged in discussions about interdepartmental and creative activities in higher music education with both teachers and students, conducted projects and case studies with various student groups, and ultimately designed a toolbox in the form of a game. Background: In recent years, my educational interests have centered on fostering creative interdepartmental collaboration among music students. The initial phase, exemplified by the research project ‘Learning Pods,’ involved practical case studies where specific forms of creative interdepartmental work were experimented with and analyzed. These 'learning pods' paired students from different departments for semi-structured creative sessions, demonstrating significant positive impacts on learning, autonomy, motivation, confidence, self-efficacy, and performance experience. Subsequently, during the 'Crossing Borders' initiative, a series of case studies with diverse formats was conducted, involving musicians from various institutions and collaborations with fellow educators. The complexity of creative cross-genre projects became apparent, influenced by students' personalities, musical backgrounds, genres, and departmental affiliations. While students displayed varying levels of confidence in exploring new artistic territories and collaborating across departments, a collective desire for increased interdepartmental exchange emerged. As my focus expanded to encompass 'the creative act in higher music education' more broadly, a central question arose: What tools and structures could be easily applied to facilitate a creative process for an interdepartmental group of music students in an easy and playful manner, regardless of their prior experience in creating or improvising? This inquiry necessitated an examination of the existing study offerings and their structure within the institution. Do these activities significantly contribute to interdepartmental collaborations? What modifications or additions might be beneficial? Further inquiries addressed the role of improvisation, the management of definitions, and the potential contribution of jazz—a genre and attitude toward improvisation and creation that appears underexplored in the institution's discussions.

O projeto apresenta-se como uma investigação centrada nas reverberações da prática artística diante dos arquivos institucionais e privados e de imagens e objetos-vestígios encontrados no Vale do Ave (Portugal), relacionados à história, ao imaginário e à memória do itinerário do algodão e da indústria têxtil algodoeira neste território. Através de caminhadas, do respigo de imagens, documentos e objetos e de um processo crítico de fabulação ativam-se linguagens artísticas que questionam as narrativas e discursos monolíticos prevalecentes nos modos como a história se constrói e instituí nos espaços de enunciação pública, formando as identidades regionais e nacionais e os imaginários sociais e coletivos. Problematiza-se assim as ausências e os negativos produzidos por uma história monumental, como espaços aporéticos mas ao mesmo tempo produtivos e agenciadores de outras narrativas potenciais acerca do passado, do presente e do futuro. English: From the absent image The project presents a research centred on the reverberations of artistic practice in the face of institutional and private archives, images and trace objects found in Vale do Ave (Portugal), related to the history, imagery and memory of the itinerary of cotton and the textile industry in this territory. Through walking, gleaning of images, documents and objects, and a critical process of fabulation, artistic languages are activated, questioning the prevailing monolithic narratives and discourses on how history is constructed and instituted in public spaces, forming regional and national identities and social and collective imaginaries. In this way, the absences and negatives produced by a monumental history are problematised as aporetic spaces that are simultaneously productive and agents of other potential narratives of the past, present and future. Download Accessible PDF

In Doppel- oder Mehrfachbelichtung bergen die zufälligen Vermischungen von unterschiedlichen Orten und Zeiten auf einem Photo die Möglichkeit, Unbekanntes, Unbewusstes aufzuspüren, Spekulationen über Zufall, Leere und Unendlichkeit anzustellen oder Immanenz zu erfahren. Dieser Artikel begibt sich mit dem Konzept der Non-Photographie von F. Laruelle, des aleatorischen Materialismus von L. Althusser sowie den immanenzphilosophischen Überlegungen von G. Deleuze und F. Guattari auf die Spuren einer Ontologie resp. einer non-onto-photo-logischen Beschreibung von Doppel- oder Mehrfachbelichtungen. Im Zentrum dieser Betrachtung steht die Annahme, dass eine Photographie nicht als ein Klon der Realität, als ein fetischistischer Realismus zu betrachten ist, sondern als Umkehrung dieser Ordnung: In der Imagination begründet sich die Realität der Photographie, weil in Doppel- oder Mehrfachbelichtung durch das Ineinandergehen der Objekte den Objektformen die Kausalität entzogen wird. Es entsteht ein erkenntnistheoretisches, ein sinnliches Dazwischen. Diese zentrale Annahme, dass in einer solchen Nicht-Standard-Ästhetik der Doppel- oder Mehrfachbelichtung keine Doubles der Welt produziert werden, sondern Indeterminanten, hat zur Folge, dass diese Zufälligkeiten, Variablen und Szenarien auch als solche erkannt werden müssen, weshalb in diesem Artikel theoretische Legenden im Anschluss an Laruelle, Althusser und Deleuze/Guattari entwickelt werden, die es erlauben, die Immanenz der Bilder zu erfassen. English N-fold Exposures - Non-Photography, Aleatory Materialism, Images without Objects In classical photography, analog double or multiple exposures are considered as an accident, a mistake, or unaesthetic. But the accidental blending of different places and times in a photo holds the possibility to detect the unknown, the unconscious, to speculate about co-incidence or to experience immanence. This article goes on the traces of an ontology resp. a non-onto-photo-logical description of n-exposures with Francois Laruelle’s non-philosophical visual aid as well as the philosophy of Althusser, Deleuze and Guattari. At the center of this consideration is the assumption not to regard a photo as a clone of reality, as a fetishistic realism, but as an inversion of this order: not the photo simulates reality, but the image establishes reality. Therefore a photo can develop a life of its own, a reality of its own. Through the interlocking of objects in multiple exposures, the object forms in the photography are deprived of causality, thus creating an epistemological, a sensual in-between, i.e., possibility spheres of imagination and experience. The reflection that in the non-standard aesthetic of n-fold exposure no doubles of the world are produced, but indeterminants, has the consequence that these variables and scenarios has to be recognized as such. That is why in this article theoretical legends are developed, which allow to capture the immanence of the images by means of a non-standardized aesthetics. Download Accessible PDF

Through a form of critical autoethnography, this study diffracts aspects of the author’s artistic practice through the intimate process of mourning to delineate a particular mode of knowledge production within artistic research that queers the relationship between the inside and outside of epistemic and ontological perspectives. The first section considers the abyss as a figure between grief, the unknown, and modes of knowledge production within artistic research. The second section bridges the work of theorising as a form of reconfiguring the world through the study of diffracted light, and further delineates the practice of vibrant contemplation as a method of entangling art practice with theorisation processes beyond a dichotomous opposition between art and science. The final section contemplates the figure of the afterglow as a material-discursive phenomenon that emerges from the temporality of mourning vis-à-vis artistic research. Download Accessible PDF