Research Catalogue

Este projeto nasceu de um desconforto antigo, mas só encontrou forma quando o corpo — finalmente — começou a falar. Um corpo que, por anos, foi moldado pela obediência, pela culpa, pela contenção. Um corpo que serviu mais para agradar do que para existir. O Corpo que Nunca Foi não é apenas uma instalação visual. É uma travessia. Cada moldura carrega fragmentos de uma história interrompida, silenciada, violentada — mas que, ao ser contada, transforma-se em matéria de resistência. As peças não são ilustrações da dor. São gestos de enfrentamento. São corpos simbólicos criados a partir de camadas de memória, de experiências vividas, de feridas abertas e cicatrizes malformadas. Há nelas vestígios de abandono, de fuga, de abuso, de ausência de proteção. Mas há também outra coisa: o impulso de continuar. O espaço onde as obras habitam — um ambiente branco, forrado como uma câmara asséptica — não é um lugar de pureza. É o contrário: é o lugar onde tudo o que foi considerado “sujo”, “impróprio”, “mentira” ganha finalmente forma e voz. Neste quarto simbólico, o que antes era invisível torna-se presença. O projeto parte de histórias profundamente pessoais, mas oferece um espelho onde outras mulheres possam reconhecer as suas próprias trajetórias — sem medo, sem vergonha, sem a culpa herdada de séculos de silêncio. Aqui, a arte não quer consolar. Quer escancarar o que foi escondido, nomear o que foi abafado, e abrir espaço para outras existências possíveis. Mais do que um processo de cura, este projeto é um rito de insurgência contra os mecanismos que perpetuam a dor como destino. Aqui, a matéria ferida se ergue como discurso.

Art activism is powerful. Also known as activist art, protest art, visual activism, artivism and creative activism, it changes lives, situations and is and has been a powerful weapon across a whole spectrum of struggles for justice. Teresa Sanz & Beatriz Rodriguez-Labajos(2021) relay that art activism has the unique ability to bring cohesion and diverse peoples together and it can, as Zeynep Tufekci notes, change the participants (2017). As Steve Duncombe & Steve Lambert (2021) posit, traditional protesting such as marches or squats are no longer as important as they once were. As a result of my own lived experience in activist activities, I very much agree with Andrew Boyd & Dave Oswald Mitchell (2012) that the reason people use art activism is that it works, by enriching and improving protest. In the past, when I lived in a metropolis and was not a parent, I used to be an activist. Now I no longer have immediate access to international headquarters at which to protest and I have to be concerned with being arrested, I am hindered from protesting. This project is an attempt to increase inclusion and widen access to art activism. By devising methods which include at least one of the following: that do not require on-site participation, that can take place outside the public gaze, that reduce the risk of arrest, that open up protest sites that are not “big targets”, that include remote locations, that involve irregular timing, my thesis aims to increase inclusion and widen access to art activism to those who are underserved by more mainstream methods of conducting art activism. Textiles have unique properties that enable them to engage in subterfuge and speak loudly through care and thought(Bryan-Wilson, 2017). They have strong connotations of domesticity, the body and comfort that can be subverted within art activism to reference lack of this domestic warmth and protection(O’Neill, 2022). Being a slow form of art-making, they show care and thought, attention in the making, so that the messaging is reinforced through this intentionality in slow making.

This is the landing page for Rhythmic Music Conservatory's portal on Research Catalogue.

Les forces religieuses, politiques, culturelles et économiques influencent le monde moderne. Il s’agit de conflits et d’antagonies bien réels, idéologiquement chargés, qui déchirent le monde dans un contexte de formes virulentes de polarisation idéologique, de nationalisme de droite et de fondamentalisme religieux.

As part of the 'Borderline Physical' PHD Project and the "Spirits in Complexity" PEEK Project, this iteration investigates the auditory landscape of a specific fridge in a specific café in Vienna, Austria. The fridge is captured into a physically informed model, recreating its surprisingly complex sound emissions. This model is presented as an installation on-site, next to the fridge whose current working status is unknown (it was broken recently). At the SAR the model is treated as a musical instrument and freely used in complete disregard of physical constraints, leading up to a musical performance that explores a different form of artistic exploration of our sonic environment.

The theoretical wisdom of the Epic theater derives from the conceptual perspective of Bertolt Brecht toward communication and performing arts in "Der Rundfunk als Kommunikationsapparat" (1932). Brecht's version of the radio reminds the participatory politics in the internet, which he later theorizes for theatre-qua-critique of the aristotelian drama of binding the spectator to the fiction ideologically, in the vicious cycles of pre- learned codes, the traditional and phony wisdoms of clans and classes, where the mere potential for change is to turn into a "petit bourgeois".