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 article provides an overview and analysis of transformations of the Belarusian political soundscape. Based on the author’s archive of audio recordings made in Minsk and other Belarusian cities in 2016-2023, the article analyzes how protesters and the authorities used voices, noises, and music during the major political protests of recent years. The field recordings became the starting points for a further discussion on the multifaceted role of sound, music, and silence in contesting for urban and political space in Belarus. The “loudest” period in the country’s recent history is then put in a wider context of studying the clashing ideologies of the authoritarian regime and the democratic, pro-independence movement. The study of audio materials is accompanied by participant observations, interviews, and an extensive analysis of Belarusian and international media that reveal various sonic practices used by the country’s and its critics. The primary goal of this article is to address the gaps in studies of the contemporary Belarusian political soundscape and independent music scenes.

Sashko Protyah is a film director and activist from Mariupol, Ukraine. He's a co-founder of Freefilmers, a collective of artists and filmmakers. In his films, he works with topics of memory, otherness, and alienation. Now Sashko is based in Zaporizhzhia and volunteers for IDPs and the Ukrainian army. This interview was taken in February 2024 over email.

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).