Research Catalogue

Exhibition catalogue of 'Decolonial Love' (with full archive of the artworks and commentaries) Artists: Afulodidim Nikefolosi & Brice Catherin Brulhart Gallery, Geneva, Switzerland, 22 May - 23 July 2025.

WAP/Walking As Practice Program takes place where the forest meets the sea in the Northern Stockholm Archipelago, Sweden. It is a program for self-identifying walking artists. Exploring and sharing strategies for proximity through artistic expressions in the field of walking practices, creating a transformative, dynamic space for art that engages with life and nature. This involves critical and poetic explorations influenced by the immediate surroundings. We participate in each other’s walkshops or interventions, and we also host Share Sessions to familiarize ourselves with each other’s practices. Additionally, we introduce the Research Catalogue for final dissemination, where each artist create their individual exposition.

Conceived and co-organised by Emma Cocker, Alexander Damianisch, Cordula Daus and Lena Séraphin, this Society of Artistic Research Special Interest Group (SAR SIG) provides contexts for coming together via the exchange of language-based research. The intent is to support developments in the field of expanded language-based practices by inviting attention, time and space for enabling understanding of/and via these practices anew.

The Arrangement of Objects examines the intersection of functionality, aesthetics, and artistic practice through experiments with glass and metal. Central to the project is the notion of burden, understood both physically, as pressure or weight, and metaphorically, as imprint, deformation, or trace. This theme is expressed in layers, grooves, and perforations that evoke landscapes or the life cycles of objects. The work situates itself between design and fine art, emphasizing material research as a driver of innovation and interdisciplinarity. It also highlights the role of conceptual thinking and autoethnographic reflection, integrating personal experience into the creative process. Through layering and transformation, the project questions the porous boundary between utilitarian and artistic objects while expanding the expressive vocabulary of glass and metal.

Through drawing, installation, and handmade objects, the exposition explores popular culture, spectacle, and visual symbolism. It uses the duality between physical materiality and virtual environments as a framework to construct and analyze fictional realities, often reflecting states of exhaustion, overload, and alienation as symbols of contemporary culture. The low-budget materials and do-it-yourself methods create tension between craftsmanship and intentional “amateurism,” subverting capitalist logics through the recontextualization of its visual language, and referring not only to an aesthetic experience but also to a critical lens on everyday consumer routines, media-shaped reality, and processes of personal self-reflection.

The act of waiting, which refers to the public transport stop as a metaphor for the condition of migration, is used in this research to explore the temporal and emotional aspects of migration. Bus stop serves as both a physical site and a symbolic threshold, a space of transition, suspension, and projection toward an uncertain future. Within this context, the project traces the transformative phases experienced during emigration, emphasizing the temporal dimension of waiting, expectation, and the tension inherent in moments of immobility. The outcome of the project is a site-specific installation, situated directly within the public space, specifically at bus stops, where the object destabilizes the everyday rhythm of transit. By oscillating between staged intervention and authentic environment, the project foregrounds the paradoxical beauty of stillness, alongside the latent unease of anticipation.