Research Catalogue

Development of Curatorial Guidelines for the Transart Residency Exhibition at London's Borough Road Gallery in July 2025. The Anthologies Assembly, London 2025, extends a call for proposals for a vibrant, student-guided convergence of research inquiry and creative exploration. Building upon the inaugural assembly, participants are encouraged to embrace "research-based creative practice" as a means of knowledge generation where diverse disciplines intersect and boundaries blur. We welcome proposals that illuminate PhD research, including nascent "works-in-progress," emphasizing the value of ongoing inquiry. Guided by student feedback expressing both a desire for grounding in practice and community as well as exceptional moments that inspire, we aim to create spaces for genuine encounters and shared learning, where participants leave with lasting impressions on research and creative endeavors that continue to spark curiosity throughout the year. Our curatorial framework centers on the concept of investigation, as both a rigorous pursuit and an introspective exploration. Drawing from its etymological roots, we conceive of investigation as a tracing towards something no longer present—a turning-towards truths hidden or lost in time; and a nuanced examination of practices, be they social, political, or personal.

New creation - Sign Language and Dance - Video Projection and dance

I include questions I was given at the Janine Antoni workshop, Toynbee Studios, in 2010, as feedback to my work, which I presented with my artistic pseudonym, Betty Nigianni. Much of Janine Antoni's art is about the female body and cultural identity. I address the participants by the first names they used to introduce themselves at the workshop. The questions were given in writing to each participant by the rest of the group, to offer material for thinking further their artistic practice in their own time. I include the answers I would give now, if I was asked the same questions. Artists, architects and designers give interviews about their work. Amongst them, architects tend to write more and publish more written work in relation to their practice.

This exposition, entitled The Possibilities of Applying Elements of Czech Folk Theatre to Contemporary Street Performing Art, presents the process and conclusions of artistic research that explored the phenomenon of Baroque folk theatre performed in neighbourhood communities in the Czech countryside in the 18th and 19th centuries and the search for the application of its principles in today's theatre activity. For this research, in cooperation with the Diocesan Museum of Brno, two street productions were created in the vicinity of the Cathedral of Saints Peter and Paul in Brno to test the functionality of the means of folk theatre in today's context. The exposition presents the initial considerations and methodology of the research, followed by a chapter-by-chapter description of the various theatrical principles in their historical context, how they were worked with in the investigated productions, and a summary of the benefits and problems uncovered. Finally, the major contributions of folk theatre to today's work are outlined, which were evident in two of the production forms. An essential part of this exposition is the audiovisual documentation of these two projects, which became the core of the practical artistic research. (CZ) Tato expozice s názvem Možnosti aplikace prvků lidového divadla na současnou inscenační tvorbu pouličního performativního umění prezentuje proces a závěry uměleckého výzkumu, který se zabýval fenoménem barokního lidového divadla hraného v sousedských komunitách na českém venkově 18. a 19. století a hledáním využití jeho principů v dnešní divadelní činnosti. Pro tento výzkum vznikly ve spolupráci s Diecézním muzeem Brno dvě pouliční inscenace v okolí katedrály svatých Petra a Pavla v Brně, na kterých byla ověřována funkčnost prostředků lidového divadla v dnešním kontextu. V expozici naleznete výchozí úvahy a metodologii výzkumu, následně jsou v kapitolách popisovány jednotlivé divadelní principy v historickém kontextu, jak s nimi bylo pracováno ve zkoumaných inscenacích a shrnutí odhalených přínosů i problémů. V závěru jsou naznačeny největší klady lidového divadla pro dnešní tvorbu, které byly na dvou inscenačních tvarech patrné. Zásadní součástí této expozice je také audiovizuální dokumentace těchto dvou projektů, které se staly jádrem praktického uměleckého výzkumu.

HACKING SOUND SENSORIALITY_how to build embodied sound objects for electroacoustic music with lofi techniques Disembodiment is not new and does not only exist because of the current technological reality. It is an experience that various practitioners, in the field of music, experience constantly. The composer/producer/musician/sound designer moves the material. The listener only perceives its virtual representation. How to bridge the gap between the bodily experience of sound creation and its fruition and further (re)creation in the virtual world? By using synesthesia in the creation of an object-based sound method and vocabulary with the use of lofi techniques. A synesthesia of sensory roots to place the body-cosmos at the centre of sound, to make this simulacrum of identity a bridge between the articulate and the inarticulate, between the real and the virtual. Lofi thought, with its techniques for creating and modifying sound, has a new vision of technology, linked to knowledge and memories of the body. The aim is to design a new vocabulary of tools and methods for the creation of sound objects with different degrees of embodiment. These sound objects will be designed to live in two worlds: in the disembodied world of the virtual and in the material world of corporeal sonority. The article explores the use of a practical and philosophical hacking that does not colonise the new virtual sound territories, emptying them of resources and meanings, but amplifies them through the semiotics of the ancient territories of the body, in order to make them habitable and fertile.

In this exposition, I invite you to the process of research carried out in the tapestry manufactory in Valašské Meziříčí. It aims to find out how to convey tapestries' craftsmanship, mediality and materiality through filming and post-production. The theme of transformation is essential: the transformation of the tapestry into a film image, but also the transformation of painting or graphics, which were the precursors of the tapestries woven in the manufactory. I am also looking for ways to use a primarily representational medium to achieve an effect of presence through materiality and corporeality. In my research, I interlace observational passages with stylized ones that emerge from a creative dialogue between the materiality of different media, artistic techniques, or post-production interventions. These methods can deepen not only the viewer's experience but also the documentary testimony and convey an almost tactile encounter with the filmed reality. Finally, based on practical experience, I distinguish working with materiality in film into three analytical cuts. V této expozici zvu do procesu výzkumu, jak skrze natáčení a postprodukci filmu o gobelínové manufaktuře ve Valašském Meziříčí zprostředkovat řemeslnost, medialitu a materialitu tapisérií a recipročně i filmové technologie. Podstatným je tedy téma proměny. Proměny tapisérie ve filmový obraz, ale i proměny malby či grafiky, které byly předobrazem v manufaktuře utkaných tapisérií. Paralelně hledám možnosti, jak pomocí média, které je primárně reprezentativní, docílit skrz materialitu a tělesnost účinku prezence. Ve výzkumu střídám observační pasáže se stylizovanými, které vzešly z tvůrčího dialogu materialit odlišných médií, výtvarných technik či postprodukčních zásahů. Tyto metody mohou prohloubit nejen divácký prožitek, ale i dokumentární výpověď a zprostředkovat až taktilní setkání s natáčenou skutečností. Nakonec na základě praktické zkušenosti rozlišuji práci s materialitou ve filmu do tří analytických řezů.