Research Catalogue

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design and styling, as art installation. Looted, 2024. Investigatory research with artworks, 2023-24. Interactive research blog. The exposition aims to highlight the role of women within an interwoven narrative about a complex and international criminal case. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April from Woolwich. After I left, the landlords moved in two or three under aged, who I have never met, so that they pretend to be my daughters. Subsequently, they must have been 'removing' them one by one over the last few months and until October 2024. The company behind 14 Barnsbury Road was deemed illegal through the courts, on 22 April, 2024, shortly after I was forced to leave at the end of March. The maintenance employed many Polish citizens, all dressed in black with black caps, adopting the XRW supporters' fashion code. The household of tenants was mixed and multicultural, but mainly British natives, with the exception of a couple from Hong-Kong, an American citizen, and myself, a naturalised British citizen, originally from Greece. Twenty-two (22) and twenty-three (23) photographs, including two (2) plus one (1) of myself: NOT a missing person, from the 2022-2023 period in the eventually looted, in spring 2024, Islington studio. Twenty-two (22) missing persons for twenty-two (22) non-EU and EU fake passports with my family's Greek surname; plus one (1) that might also be connected with a missing Greek teenager, therefore twenty-three (23). Two (2) more missing persons for two (2) more fake passports without my family's surname. Two (2), plus one (1) targeted cultural producers: the anti-fascist Greek musician, Pavlos Fyssas, aka Killah P. (domestic); the Belgian filmmaker of Jewish origins, Chantal Akerman (global), who lived and worked in France, as well as the US, and whose personal details, specifically her life insurance policy and her medical file, got stolen in connection with the case, can be added to the toll of two (2) deceased. My personal details, name known as and artistic name, as well as numbers connected to my personal details, were stolen, too, while I (post-global) was targeted as a cultural producer, an artist and former academic. Was I going to be the third victim? Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, including human sacrifice. The visual imagery and the art included in the photographs is influenced by the marketing and advertising industry; I brushed shoulders briefly with students in the creative industries teaching at the Winchester School of Art. I used this an ironic commentary on Golden Dawn trying unsuccessfully to create a brand through propaganda, not political marketing. The art world has been traditionally male-dominated. This has not changed dramatically in contemporary art. Female artists have sometimes adopted male attitudes, or personas, to break into the art scene; see Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, that there is no art for women or so-called women's art. Good art transcends such categories, tapping into more universal experiences. Saying this, I would like to quote Nancy Spero, who doesn't crudely distinguish between male and female art, as follows:"What if the default gender for 'artist' were female? What if, when we looked at a work by a woman, we said to ourselves, "That is art," and when we looked at a work by a man, we automatically identified it in our minds as 'men's art'?" In 1999, I wrote a long essay about the architectural uncanny, which I submitted as my graduation thesis for my first MA in architectural theory. I called it "Space as a 'Bad' Object: A criminal investigation on the notion of space". I got inspiration from detective novels and real-life crime stories. The long essay was about the role of architectural space in crime. It was unsupervised until submission: I received a distinction by a Bartlett staff member. I took the digital photographs in conceptual adherence with that essay. I was a postgraduate philosophy student 9/2017-11/2019 at the University of Amsterdam, Netherlands. In this exposition, I include new photographs from a series of digital photography called "Forensics", taken with my mobile phone, after I was forced to leave the Islington property I was renting, on 27 March 2024. I gave the photography series that name, because it has served the purpose of investigating, recording and tracking a crime, for which architectural space, such as private rentals, has been used. For Chris, my former neighbour, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, a second generation immigrant from Nigeria, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. And for Ali. And for Oliver, also my former neighbour. In memory of Howard, also a tenant at Bellview, and former neighbour. To all those who don't just "play" the cultural and racial diversity clause; they don't just rely on identitarian politics, because the class problem has not been resolved for them, either; but also because generalising on identity (for instance religion, race, gender) is an unsophisticated way of preventing strategic and/or tactical alliances, necessary for protecting the rights of minorities or other underprivileged groups and populations. Saying this, the UK must stand up against racism, especially against people of African descent. A Nigerian was among the Golden Dawn victims of assassination in Greece. I was listening frequently to Massive Attack, a British trip-hop band, when I was living in Islington. Sophie Calle is a French writer and photographer, working on themes of identity, intimacy and everyday existence. Her work is partly inspired by the detective fiction genre.

Dit is een onderzoek naar 'het kunstzinnige' in het (professioneel) leven van alumni die, tijdens hun opleiding tot pedagogisch coach, werden ondergedompeld in een bad vol kunst en cultuur, vanuit de overtuiging dat dit hen zou verrijken in hun werk, in hun leven en hopelijk, misschien, in beide.

Unstable Systems Instability can be a creative force in art, design, and architecture. Artists, designers, and scholars work both with and against systems that are ever-changing, fragile, or unpredictable. Whether dealing with technological systems, ecosystems, social structures, or sensory experiences, instability is often a prerequisite for creation. Instability opens pathways for new ideas and processes, reshaping how we approach and redesign the systems that shape our lives. It can also refer to the creative act itself—one that does not follow predetermined trajectories or established norms. Art, design, and architecture serve as tools to disrupt stable systems and/or shed new light on systems that appear stable but in reality, they are not. No system is truly stable, and when we resist that instability, it becomes a problem. Instability is perhaps the only certainty we can rely on. Hugarflug 2025, the annual conference on artistic research, will take place on September 11–12. It will serve as a platform for research that engages with instability across various systems—from technological advancements such as AI and interactive systems to issues related to politics, society, and the environment. We will explore how instability functions as a tool for generating new possibilities while also fueling unrest and transformation within society and academia. The Iceland University of the Arts invites proposals of all kinds, including presentations of ongoing or completed research by our faculty, students, and collaborators.

This artistic research project investigates the ceramics workshop as a dynamic site at the convergence of art, pedagogy, and ecopolitics. Utilizing practice-based, iterative feedback loops, it explores how cycles of making, reflecting, and teaching with clay evolve concepts, methods, and material outcomes in an ongoing dialogue between agencies.^1 Clay is reimagined beyond a primitive arts and crafts medium as an infrastructural archive that embodies ecological, political, and urban narratives. Grounded in a material-ecological framework and informed by critical theory from Bruno Latour, Karen Barad, and Donna Haraway, the project situates ceramics pedagogy within an experimental ecology of keythings; clay, tools, kilns, residues, and bodies, that co-constitute knowledge.^2 This research embraces contradictions and complexities of wicked ecological problems, fostering a pedagogy of “comfortable discomfort” that resists mastery and embraces provisionality.^3 The research unfolds over a time of wicked problems: war, speculated ecological collapse, institutional fragility, and the difficulty of knowing which crisis demands priority or whether these crises are in fact complicit in one another. Within this uncertainty, it is also considered how to navigate complexity with mindful presence, cultivating forms of practice that allow us to remain responsive without paralysis and eventually if this approach could be conducive to locate stable solutions and re-inject questions stemming from the practice back into practice and beyond.^4 Outcomes include pedagogical models and artistic works that demonstrate how material practices mediate relations between sustainability, ethical responsibility, and creative agency. Ultimately, the project envisions the ceramics studio as a vibrant, relational ecology that invites ongoing inquiry into the entangled systems constituting artistic research, practice and pedagogy.^5 ^1 Patricia Leavy, Method Meets Art: Arts-Based Research Practice, 3rd ed. (New York: Guilford, 2024). ^2 Bruno Latour, We Have Never Been Modern (Cambridge, MA: Harvard University Press, 1993); Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning (Durham, NC: Duke University Press, 2007); Donna Haraway, Staying with the Trouble: Making Kin in the Chthulucene (Durham, NC: Duke University Press, 2016). ^3 Donna Haraway, Staying with the Trouble, 2016; Timothy Morton, Dark Ecology: For a Logic of Future Coexistence (New York: Columbia University Press, 2016). ^4 Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (Princeton, NJ: Princeton University Press, 2015). ^5 Patricia Leavy, ed., Handbook of Arts-Based Research, 2nd ed. (New York: Guilford, 2025). Participants: Alevtina Lyapunova, Ana de Sousa Cardoso, Asya Marakulina, Bahareh Rahimi, Buket Özalevli, Carmen Kalata, Ebba Sofie Olsson, Esther Vörösmarty, Gloria Bergner, Heidi Noémi Ramskogler, Julia Stakhorska, Lili Marie Theilen, Luisali Theisen, Maria Milagros Ainchil, Olga Shapovalova, Oliwia Wioletta Kalwa, Prima Mathawabhan, Siha Kim, Tabea Briggs, Tim Morris Schiffer, Yeonkyeong Park together with Kristin Weissenberger and Zahra Mirza

This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, production, performance, and technology. This interview features Icelandic composer and pianist Eydís Evensen, whose work bridges classical tradition, improvisation, and post-classical minimalism. Her music draws on the landscapes of her homeland, translating memory, nature, and emotion into a cinematic and introspective sound world. In the conversation, Evensen reflects on the hybrid role of today’s composer, the fluid boundaries between writing, producing, and performing, and the ways in which technology and collaboration shape her creative process. Evensen’s insights reveal a practice rooted in both discipline and intuition, a music that moves between solitude and dialogue, the organic and the digital, embodying a poetic vision of creation where sound becomes a mirror of place, memory, and human resilience.

Esta pesquisa propõe uma instalação com foco em aprofundar uma experiência sensorial, para despertar a sensibilidade das pessoas, em São Bernardo/MA, no Balneário Rio Buriti. São abordados elementos da escuta sensível e consciente, como forma de valorização dos sons naturais e culturais do local. Para a execução da prática, realizamos algumas etapas, como: determinar local, dia e o horário da atividade; elaboração de um mapa mental contendo todas as ideias; retomada da leitura do mapa mental com novas impressões individuais, pessoais, subjetivas, objetivas; decidir sobre a ação em si. Nos desdobramentos desta ação, que envolve escutar, sentir e criar, observamos que a paisagem sonora, termo criado por Schafer (2009), possui todos os componentes para a criação e sensibilização das pessoas em relação aos seus próprios territórios. O autor demonstra sua preocupação com a qualidade da escuta, que está cada vez mais ameaçada pelo problema da poluição sonora, por isso a necessidade de que a população tenha consciência dos sons que nos rodeiam.