The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the
Society for Artistic Research. The RC is free to use for artists and
researchers. It
serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be
an open space for experimentation and exchange.
recent activities <>
Expositionality in Action
(2025)
Michael Schwab
Although it is virtually impossible to formalize what ‘best practice’ on the Research Catalogue might be, it harbours by now numerous examples of expositions that ‘work.’ In this session, I want to introduce a small set of diverse expositions from JAR as a way to highlight successful choices people have taken. With a short explanation of expositionality and virtual witnessing, I aim to support an understanding of the effect that those examples have as a way of describing how media-rich articulations can productively engage with both academic and artistic expectations.
Evolution
(2025)
Betty Nigianni
"New ideas might be conceived and developed more rapidly in disciplines that are more abstract.
The inductive methods of experimental innovators in painting makes their enterprise resemble the more empirical disciplines considered by psychologists, while the deductive approach of the conceptual innovators makes theirs resemble the more abstract disciplines."
David W. Galenson, "The Life Cycles of Modern Artists", NBER Working Paper Series, 2003.
Artists and architects have been at times captivated by visionary ideological viewpoints, which they used as inspiration and to make suggestions for applications with their artworks and designs. My use of the diagram and the image aims to convey the simple message that art strives for evolution; meaning to strengthen the mind, to research capabilities, to communicate a disinterested, though not necessarily apolitical, view of social changes, to overcome banality and offer an alternative way of looking at the world. For many artists, this motivation has traditionally often gone hand in hand with political goals and motivations.
The decline of the commercial art market in the 1980s gave rise to artists working mainly, but not solely, with ephemeral installations, including the ubiquitous video art, performance, and the broader range of conceptual art. Painting remained as an established fine art practice, with a renewed interest to conceptualism.
The portrait is of the artist, myself, at a young age, dated 1993, when I was a student at the NTUA. Betty Nigianni is my name known as (aka), which I also used as my artistic pseudonym.
recent publications <>
Koppesamarbeid med Anne Line Sund
(2025)
Sigrid Espelien
24.11.2024 og 04.01.2024 Deler av samtale under samarbeid om å lage kopper på verkstedet til Anne Line Sund på Nesodden.
Den norske blåleira
(2025)
Sigrid Espelien
Denne plastposen fra Hana & Holmens potterier med bittelitt blåleire i, fikk jeg av keramikeren Marit Tingleff1 under et besøk hos henne på Hønefoss høsten 2022. Hana & Holmens Potterier var basert i Sandnes der de hadde pottemakeri, men også utvant, prosesserte og solgte blåleire til skoler og keramikere fra før andre verdenskrig til 2012.
Sosial keramikk
(2025)
Sigrid Espelien
Sosial keramikk er kopper, beholdere og tallerkener som er laget av blåleire og brunleire fra leirelandskaper jeg har jobbet i som en del av prosjektet Jording med (blå)leire.
