The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the Society for Artistic Research. The RC is free to use for artists and researchers. It serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be an open space for experimentation and exchange.

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Empowering Collective Performing Arts: A Facilitator's Toolkit for Overcoming Language Barriers (2025) Alice Presencer
'Empowering Collective Performing Arts: A Facilitatorโ€™s Toolkit for Overcoming Language Barriers' is a practice-led research project that explores the ways to encourage group connection through non-textual, embodied communication within diverse communities. Drawing on work experience with immigrant children, refugees, and deaf/hearing collaboratorsโ€”as well as recent research residencies with ASSITEJ Norway, The Flying Seagulls and Red Nose Emergency Smilesโ€”the project contains a growing body of facilitation strategies as an open-source toolkit. Rooted in my personal experience of linguistic displacement and background in voice and dance, this project proposes a shift away from text-centric facilitation models toward approaches that prioritise emotional intuition and situational awareness. The project is underpinned by critical frameworks around embodied knowledge, power, and positionality, aiming to challenge colonial and exclusionary norms around communication. Ultimately, it seeks to empower facilitators and communities alike to trust in the expressive potential of the body and encourage inclusive, trust-based spaces for collective performing arts experiences.
open exposition
SWEAT - YoNoSudoBrillo (2025) Diana Ferro
SWEAT - YoNoSudoBrillo Two weeks workshop held in Benidorm, Spain, in August 2024. In the context of EASA, European Architecture Students Assembly 2024 event. Tutored by Diana Ferro and Angelo Ciccaglione. ๐ผ๐“‰โ€™๐“ˆ ๐’ถ๐“๐“ ๐’ถ๐’ท๐‘œ๐“Š๐“‰ ๐‘’๐“‚๐’ท๐“‡๐’ถ๐’ธ๐’พ๐“ƒ๐‘” ๐“‡๐‘’๐“๐’ถ๐“๐’ถ๐“‰๐’พ๐‘œ๐“ƒ. ๐ฟ๐‘’๐“‰'๐“ˆ ๐‘’๐“‚๐’ท๐’ถ๐“‡๐“€ ๐‘œ๐“ƒ ๐“‰๐’ฝ๐’พ๐“ˆ ๐’ฟ๐‘œ๐“Š๐“‡๐“ƒ๐‘’๐“Ž ๐‘œ๐’ป ๐“Œ๐‘’๐“๐“๐“ƒ๐‘’๐“ˆ๐“ˆ ๐“‰๐‘œ๐‘”๐‘’๐“‰๐’ฝ๐‘’๐“‡. In a sauna, people meet strangers and exchange stories while absorbing heat being naked and sweaty. In this workshop we brought the sauna to a step further: we absorbed heat, stories, gestures, words, objects, skills, dreams and sweat them out to other people, re-enacting what we have learned. Also naked, why not. We learnt how to live, how to breathe, how to make a kebab, how to embody old wisdom, how to tie shoes the proper way. All you need is a fan, a towel and a body. A kebab stick, a drink, some snackies. Participants developed a deeper perspective on what it means to operate within a complex identity such as the city and gained skills to open their own kebab shop.
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Traces and Paths Towards Singularly-Plural Companionships (2025) Fulya Uรงanok
This exposition emerged from my participation in the second interval of the Simultaneous Arrivals (Simularr) Artistic Research Projectโ€”a research project inviting international artist-researchers to explore relational, situated, and process-based inquiries in dialogue with core researchers. Core researchers: Nayari Castillo, Hanns Holger Rutz, Franziska Hederer, and Daniele Pozzi. For the second interval, the visual artist and researcher Elena Radaelli and I were invited as visiting artist-researchers. (More information on Simultaneous Arrivals: https://simularr.net/about/) The exposition presents my process during the residency, i.e. my Traces and Paths Towards a Singularly-Plural Companionships. The eight-week residency (3 March-30 April 2024) took place across three sites: Graz (Austria); Lecce, San Cesario (Italy); and Klagenfurt (Austria). The exposition traces this journey through various mediums, including texts, graphics, video and audio material experiments, field encounters, and theoretical companions. My processes, are informed and shaped by my companion collaboratorsโ€”human (research-creation companions), more-than-human, textual, and materialโ€”who co-inform and co-create the unfolding of the research.
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Touching, Not Mastering. Materiality and Hapticity in Sound Art and Experimental Film (2025) Gabriele Jutz
The artistic works discussed in this article โ€“ two audio pieces and three experimental films โ€“ showcase a tangible connection with the tools, machines, and processes used in their making. The sonic works include Mes bronches by Henri Chopin and โ€œOpus Putescoโ€ by Jacob Kirkegaard. The films feature Noisy Licking, Dribbling & Spitting by Vicky Smith, Transit(ive) by Sarah Bliss, and a Darkness Swallowed by Betzy Bromberg, including a soundtrack by Pam Aronoff. The five case studies depict the technologically mediated human body as the source and basis of sound. This article aims to examine the complex relationship between materiality and hapticity. The theoretical approach will explore how performativity is embedded in the production of embodied sounds (and images) and why a dynamic view of materiality is essential. It will then discuss haptic vision and haptic listening, shifting the focus to the act of reception. As I will argue, engaging with the material through embodied forms of art production and reception has significant ethical and political implications.
open exposition
Sound as Material in Semra Ertan (Cana Bilir-Meier 2013): A Methods Discussion (2025) Kristina Pia Hofer
Reworking the archival estate of the Turkish-born poet Semra Ertan, who has lived in West Germany as a so-called โ€œguest laborerโ€ from 1971 until her death by self-immolation in 1982, Cana Bilir-Meierโ€™s film Semra Ertan (2013) pursues representational concerns via material means: in particular, via the materialities of sound cuts and tape hiss. This article brings Bilir-Meierโ€™s sound work in dialogue with Tina M. Camptโ€™s โ€œlistening to imagesโ€ (2017) and Salomรฉ Voegelinโ€™s โ€œsonic methodologies of soundโ€ (2021) in order to develop a sonic method that accounts for the situatedness of historically and socially differently positioned listening subjects.
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Powered by Affect: Affective Territories and Sound Materiality (2025) Ana Ramos
This article discusses sonic materiality through Alfred North Whiteheadโ€™s organicist materialism. The sonic materiality that is here outlined is not related to sound vibration. Materiality should here be understood in the sense of actuality and concreteness. Anything that produces an effect bears a qualitative difference. The actualization of qualitative difference is concreteness. It is in this sense that sonic materiality is developed in parallel with spatiality. The liveliness of this space emergence is that of affect; its concreteness is that of affect. It is based on Affect theory that we may understand its experience as an immersion in a concrete but abstract qualitative difference, an abstract materiality. Thus, the sonic materiality departs from a conventional conception of objects to foster a sonic object that constitutes itself through relationality and extensive connections. The empirical concept of affective territory speculatively attempts to grasp the spreading out of affect expressiveness through these connections to track its effects in experience.
open exposition

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