Research Catalogue

Design, 1995-96, 2023. Design, 1996-97. Photography, 2010, 2011. Essay, 2015. Collage Text, 2022. The exposition serves as commentary and guide on the place of art, in a gradually environmentally and technologically challenged world. I designed this exposition as a 'teaser' on how architects, who work mainly conceptually, might conduct research from different art and media sources, as well as their own broader artistic work. In this art and design context, I further make a commentary on outgrown conceptions of the foreign, in terms of the so-called "exotic', and the non-foreign,within the political context of contemporary globalisation. Thus, I raise open questions on the impact of architecture and design on global politics. The re-design proposal, inspired by De Stijl, illustrates the modernist historical view that art appears to be regressive, rather than progressive: as soon as a movement or a school becomes established, reaching its culmination, it starts declining. Finally, I have included a graduate school architectural design project in the archaeological site of Eleusis accompanied by new commentary. With essay about experimental film making in the British avant-garde, published in "Architecture and Culture" journal, 2015, which is about the environmental challenges of the urban environment. The reference to the TV show "Alone", a competitive prize show of sole or two-person players, is a reminder that humans can live in the natural environment developing survival tactics already applied by their ancestors. I included those references to make hints at the relationships between film, television and contemporary architecture as an artistic medium, in the old-fashioned tradition of architecture belonging to the fine arts. About how to navigate this exposition: Scroll from top to bottom, then from bottom to top, then scroll to the top right, then scroll to the bottom right. For Luke, who I haven't met; with respect and care.

This exposition contains a database of materials resulting from the artistic research "Phytopoetic Creation: An artistic and ecological intervention", within my doctorate studies in Performance at the Department of Comunication and Art (DeCA) of University of Aveiro (UA), Portugal. As these results were mostly documented through video, audio and photographs, I decided to use this platform as a medium to share these moments that were central to this artistic research, also containing a published article. The form of relationship established between these materials, with mutual connection and sharing of information and resources, was similar to a network that was developed throughout this research, through practical experience and application. This network, here refered as "Plant Wide Web", contributed crucially to the creation of the final artistic product of this research, "Intertwined Paths: an embodied journey of connection with plants" (2024).

It Will Be Fine, is engaging in the language of visual representation through the combined mediums of painting, photography and artificial intelligence (Ai) together with images held in the Special Collection picture archive in Bergen. To reflect on the ways in which meaning and memory is constructed and conveyed through visual forms and knowledge systems.

Drawing from samizdat literature, contemporaneous interviews, and musical recordings, this paper investigates the reception and creation of “new jazz” in late socialist Leningrad. Figures of interest are critic Efim Barban and pianist Sergei Kurekhin. In my analysis, I read an understanding of “freedom” in this instance as more than simply a freedom from state socialism and position these works in a larger discourse regarding “the emancipation” of European jazz from African-American hegemony. This analysis reveals that new jazz was an amorphous concept in its circulating from Barban to Kurekhin and back again, its meaning shifting between the aesthetically universal and culturally particular. This enlivens understandings of avantgarde jazz in the late Soviet imagination – most often framed as a part of the “imagined West” (following Yurchak 2006) – by illustrating that new jazz carried a more complicated imagination variously projected as a universal, a European, and a Soviet/Russian musical form (rather than an American importation).

Whereas the sonic experimentations at the dawn of the October Revolution have been extensively documented, little research has been conducted on practices at the intersection of sound and art during the USSR dissolution. This article explores the political significance of sonic practices –alongside their cultural, artistic, and sensory dimensions– in late Soviet Russia's unofficial art scene, examining the case study of the New Artists group in Leningrad and their shift from mocking avant-garde legacies to a more organically interdisciplinary approach, presumably initiating rave culture in the region. This shift, along with the re-appropriation of cosmism, is framed as a sonic fiction made of music, dance, art, queer inclusivity that aimed at transcending the Iron Curtain and extending conceptually to the Universe. In particular, the paper aims to highlight the decisive influence, often overshadowed by the figure of Novikov, of musicians Valeriy Alakhov and Igor’ Verichev (New Composers) in such evolution by informing the group's poetic strategies and compositions in accordance with their sonic thinking and imagery. The understanding of “togetherness” as constitutive element of late Soviet underground culture and of the hypernormalized official ideology’s de-territorialization (Yurchak 2006) also demonstrates, through J.-L. Nancy’s theory of communal bodies, the role of participatory and corporeal sonic experiences in creating sonic fictions from “interplanetary sounds” able to penetrate socio-cultural dynamics. The artists’ “ubiquitous” (vsyochestvo) principle of absolute synthesis of the arts is thus extended to the realm of sonic materiality, multisensoriality and sonic agency, articulating afresh its appellation of “new avantgarde” of the empire’s dissolution. This article delves into the New Artists' initial evolution before their transition into the more reactionary "New Academy" formation, as some artistic strategies, successfully subversive under Gorbachev, faltered in the post-Soviet landscape and strengthened reactionary forces now intertwined with the ruling power. A forthcoming publication in the Journal of Sonic Studies (Dalla Bontà: 2024) will delve into this subsequent phase during the 1990s, offering insights into the intricate dynamics driving this seemingly contradictory development in the group and in certain figures in the Russian underground scene.

L’idée du passage par les étapes de foi-incrédulité est que la croyance en Dieu est une culture de doute athée.