Research Catalogue

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.

What is OASIS? Does it have a spiritual dimension,or is it something temporal that is shaped by social relationships and achieved collectively? It is about the collective, inclusion, a place of relaxation? Does it have to be about proximity between people or a total isolation in a safe domestic environment and introspection? What happens if, within our social fragility, we leave our personal oasis and enter the public realm, where we are exposed under the gaze of others? If we decide to carry with us , even if it means symbolically , our personal domestic objects that make us feel secure and present , as a shield against the uncertainty of the outside world? Is this the answer?

Among classical musicians, there is a tendency to define our profession more by craftsmanship than artistry. In our artworld, we often focus on reproducing: A musical performer becomes a transparent medium for the composer’s supposed intentions (Leech-Wilkinson, 2020, chapter 6). How can we reclaim agency and liberty in the process of shaping music? In this exposition, a storytelling approach is applied to the performance interpretation of Luciano Berio's classic flute solo Sequenza I from 1958, with the aim of becoming a more daring interpreter. The storytelling in focus was recorded in the 1950s, echoing even older times. However, in my explorations, the archival storytelling serves as a tool for reimagining a musical score and creating something new.

Our Days of Gold (ODOG) is an ongoing, durational artwork staged on Instagram at @ourdaysofgold_film since April 2017. Over its eight-year duration, the work has accumulated new layers of memory and interpretation shaped by followers’ responses, shifting platform aesthetics, and changes to Instagram’s visual logic, including the disappearance of the square grid in January 2025. Alongside creative contributions, the project draws on a survey conducted with long-term followers, tracing how experiences of viewing, remembering, and interpreting the work unfold over time. This co-authored exposition includes videos, screen-recorded navigations, and writing produced by followers whose contributions reveal a form of polyvocality: multiple interpretive threads and associations that remediate the archive while shaping its evolving narrative. Within this distributed process, ODOG engages autofiction not as a singular self-narration but as a collective mode of authorship, emerging through dispersed readings, layered memories, and networked resonances. At the same time, the project foregrounds the precarity of social media archives, where redesigns, algorithmic shifts, and potential platform loss constantly reshape how the work circulates and persists. Drawing on debates around remediation and digital preservation, ODOG tests how meaning, memory, and narrative can be sustained within unstable infrastructures while acknowledging their continual transformation.

In this half paper, half soliloquy, I aim to propose re-enactment as a research method. Through textual analysis and situated reflections, I will explore the potential of re-enactments in performative returning to destabilize and reconfigure canonical understandings of the past, and consider any implications this understanding of re-enactment can have within research approaches