Research Catalogue

Solo exhibition during DesignMarch 2024, Iceland's design week, presenting research into the history of anti-capitalist graphic design from Freetown Christiania (Copenhagen, Denmark). The installation consisted of twenty poster designs & a participatory area where guests could create their own contributions.

Exhibition essay & reproductions of posters to accompany the exhibition "Orange Work" at Nullið Gallery during DesignMarch 2024, Iceland's design week.

This is the schedule for the master research symposium.

Este ensaio tem como objetivo apresentar uma reflexão, em forma de registro de memórias sobre as experiências relacionadas à obra "Terceira Mão", tanto em seu aspecto simbólico quanto em sua materialidade. Esta investigação artística insere-se no contexto do doutoramento em Artes Plásticas na Universidade do Porto. A primeira mão segura a matéria, o tocável A segunda mão segura o espírito, o sensível A terceira mão segura a todos nós, é o que todos temos em comum. Segura eu, você e o outro, em uma rede de tafetá, ligados à terceira mão e a todos. Os olhos ligam a percepção do material com o sensível espiritual. Percepção simbólica visual. Olhar para o interior. Ver além do visível. Toque etéreo. Gesto de benção. ---------------------------------------------------------------------------------- This essay aims to reflect, in the form of a memoir, on the experiences related to the work Third Hand, both in its symbolic aspect and materiality. This artistic research is part of the context of my doctorate in Plastic Arts at the University of Porto. The first hand holds matter, the tangible The second hand holds the spirit, the sensitive The third hand holds us all, it's what we have in common. It holds me, you, and the other in a taffeta net, connected to the third hand and everyone. The eyes connect the perception of the material with the sensitive spiritual. Visual symbolic perception. Looking inwards. Seeing beyond the visible. Ethereal touch. A gesture of blessing.

Russia’s war of aggression is a multidimensional process of conquest that expands its time and space through sound. As Russian forces continue their advance into Ukraine, seizing Ukrainian territories both “horizontally” and “vertically,” as warfare scholar Svitlana Matviyenko (2024) has argued, Ukrainians across the country find themselves living in the sonic expanse of Russian assault. This research paper refers to this experience as one of warbound, of a (sonically) lived relation to war. To explore this relation and situated relationality it may entail, I turn to the work of Ukrainian sound artists and practitioners who participated in collective audio streaming, seeking to recast the Ukrainian testimony of the Russian invasion as a contingent truth claim. The paper examines the 2022 iteration of the audio stream project Listen Live, constitutive to the Land To Return, Land To Care research-creation laboratory. The project is studied in the scope of its testimonial reach and activist pursuit, as well as its humanist and posthumanist performativity.

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