Research Catalogue

Sketchbook of 53 A3 drawings with coloured markers, including 4 A3 collages with newspaper cutouts and printed photos. Sketchbook cover with red nail polish. 22 A4 drawings with ballpoint pen. Preparatory work, 2023-2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012. I mixed this with stylistic elements of the architectural sketch, using heavily the black marker and stick figures. This visual approach gives a slightly comical note to the otherwise dark subject matter. "Pop and Politics" (Pop Og Politikk) Where does the boundary run between art and popular culture? Pop art embraces the iconography of mass culture. Themes are taken from advertising comics, cinema and TV. The slick, impersonal style is a deliberate provocation. In Norway, pop art is part of a broader left-wing protest movement. Everything from capitalism and imperialism to environmental and gender politics is subjected to critical scrutiny. The exclusive, unique artwork is replaced by mass-produced prints and posters, well suited to spreading a political message." From the National Museum, Oslo, Norway.

This project combines artistic and anthropological research on spontaneous gardening in open public space, predominantly in Brno, CZ. The team, mostly comprising recent graduates and graduate students of the Faculty of Fine Arts of Brno University of Technology, chose gardens and plantings which were, in most cases, rather exceptional. Unlike most typical front gardens, the ones in this study are somehow peculiar, due to their location, their composition and planting schemes, their scale, or methods of those who garden there. The anthropologists on the team analyzed a Facebook group dedicated to street gardening and conducted several interviews, while the artistic team responded to particular places with which they interacted. Some results of this research have been presented to the public in the form of an application comprising an audioguide and an interactive map; this exposition in the Journal of Artistic Research documents some of these findings. The team Barbora Lungová is a visual artist and has taught at the Faculty of Fine Arts of the Brno University of Technology since 2007. Her field of practice is painting and art projects focusing on plants, gardening, and queerness. She is the coordinator of the Partisans with a Hoe project. Lucia Bergamaschi is a visual artist working across the media of photography, sound, and installation. She earned an MA in Fine Art at Università Iuav di Venezia and an MA in Law at Università di Bologna. She is currently finishing her MA studies at the FFA BUT. Nela Maruškevičová combines painting, installations, and glass in her artistic practice. She is a 2023 graduate of the FFA BUT. Kateřina Konvalinová is a visual artist interested in the overlapping spaces of art, communal life, farming, and ritual. She earned her MA in Fine Arts from the Academy of Fine Arts in Prague, and is currently a doctoral student at the FFA BUT. Iva Balcaříková is a graphic designer and a member of the team behind the curated audio walks created by Galerie Art in Brno. She is currently finishing her MA studies at the FFA BUT. Hana Drštičková is a visual artist and a social anthropologist interested in environmental and queer topics. She graduated with an MA in Fine Arts from the FFA BUT in 2022 and with a BA in social anthropology from the Faculty of Social Sciences at Masaryk University and is currently a doctoral student at the Gender Studies Department of Charles University in Prague. Anastasia Blokhina is a social anthropologist who graduated with an MA tfrom the Faculty of Social Sciences of Masaryk University in 2022. Polyna Davydenko is a photographer and a video artist who documents social and environmental issues in her work, most recently those connected with the war in Ukraine. Filip Dušek is a media artist who studied at the Department of Photography at the FFA BUT. The project was conducted under the Specific Research FaVU-S-23-8441 Program.

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design as an art installation. Looted, 2024. 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 2024 from Woolwich. They moved in two or three under aged, who I have never met and were pretending to be my daughters. They must have been removing them one by one over the last few months and until October 2024. 14 Barnsbury Road was deemed illegal through the courts, on 22 April, shortly after I was forced to leave in March. The maintenance employed many Polish citizens, all dressed in black with black caps, like all XRW supporters dress. Twenty-one (20+1) digital photographs for twenty (20) missing Albanian and of Albanian ethnicity non-EU immigrants and one (1) missing Italian citizen. The twenty-one persons whose details got stolen were abducted by Golden Dawn, the NRM and possibly Forza Nuova; they are deceased. My personal details were also stolen. Was I going yo be the twenty-second? https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) Investigatory research with artworks. The artworld has been traditionally male dominated. This has changed a little bit in contemporary art, but not dramatically. Female artists have sometimes adopted male attitudes or personas to break into the art scene; notably, Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, for instance that there is no art for women or so-called feminine art. Good art transcends such categories, tapping into more universal experiences. For Chris, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. To all those who don't just "play" the cultural and racial diversity clause.

This Book of Scores presents the standard music notation for the compositions featured in the album 'Portfolio'. Each piece is crafted for solo bass guitar, pushing the instrument's expressive boundaries and revealing its rich polyphonic potential. Through inventive arrangements, these compositions invite bassists to explore new dimensions of solo performance.

Welcome to "Studies in Kunstvakidiotie". Here, you can browse through the photographs, essays, drawings, audio and video clips. ‘Studies in kunstvakidiotie’ is the doctoral research of Mirjam van Tilburg at Antwerp Research Institute for the Arts (ARIA). This is a study in arts education from within the arts. She tries to shift the dominant image of life-long-learning (LLL) and provide insight into the possibilities that this LLL space also provides to art teachers. By searching in this way, more and more became clear about life-long-learning of art teachers. Therefore, a linear cause-and-effect narrative did not seem to do justice to the subject matter. The term ‘studies’ in the title is sketchy — it also involves repetition and seeking connections and, above all, it is a derivative of studio and study. Five essays form the markers within ‘Studies in Kunstvakidiotie’. Together, they construct a narrative. The essay ‘(onder)zoek in kunsteducatie’ describes practices and values that stem from Mirjam van Tilburg’s artistic practice: education. The motivation behind this research is that art teachers find LLL events to be limited. The essay ‘LLO als commoning practice’ discusses the possibilities of commoning practices. The examples: The New School Collective and studios are outlined herein. The studios are the experiment within this doctoral research. During the winter of 2020-2021, Mirjam van Tilburg worked with ten art teachers. The experiment of this doctoral project coincided with the Covid-19 crisis. Together they occupied artist studios in Tilburg and Rotterdam to de-automate and look at teaching practices. The essays ‘Blik’ and ‘Tijd’ therefore propose two topics of conversation within LLL: the ‘aesthetic glance’ and the temporal experience of ‘interruption’. These essays question the efficient and productive order prevailing in the work environment and LLL of art teachers. The essay ‘Herontdekking van Kunstvakidiotie’ is the story of a change in the craft of art teachers in the first Covid-19 crisis year. The term ‘kunstvakidiotie’ in the title cannot be directly translated into English because it is a compound word and may have specific connotations in the Dutch context. The essay describes how in these studios, art subject teachers had one foothold: artistic fervour.

Our bodies are porous entities that interconnect with and depend on the broader collectivity of human and nonhuman life that exists within a shared environment. Using the figuration of synthetic bodies, this exposition aims to examine the relationships in which we are enmeshed as our bodies absorb and excrete chemicals. With a focus on involuntary exposure to industrially manufactured chemicals (as opposed to exposure to naturally occurring chemicals or voluntary experimentation with chemicals of all types), this exposition invites readers to learn about the chemicals to which we are exposed and by which we are affected. With the ubiquity of chemicals in the environment, who are we becoming? How do chemicals affect us and how do we interact with them? How can we live well with chemicals in spite of their potential to harm? Adopting a decolonial feminist, posthumanist, and new materialist approach and embracing queer ecological sensibilities, this exposition develops protocols for embodied and materially embedded research practices that trace the effects of exposure to chemicals in everyday life. In so doing, it aims to demonstrate how we might build resilience through encounters with toxicity, contamination, and impurity. Download Accessible PDF