Research Catalogue

An overview of Elisabeth Belgrano's artistic / performance / research and teaching in higher arts education 2004-ongoing

Thesis / Research Document of the Royal Academy of Art, The Hague, 2023. MA Interior Architecture -INSIDE “Lingering in Spaces” explores how architecture and space can shape people’s perception of time and how to create spaces that encourage lingering, slowness, and presence. In a world driven by speed and productivity, contemporary spaces often fail to support deep, meaningful experiences of time. In my research paper, I realized how space and nowadays acceleration affect not only people's time perception but also their health. Through a combination of theoretical research, spatial analysis, and personal observations, I investigated how rhythm, movement, materiality, and sensory engagement can influence our subjective temporal awareness. I found not only the effects space has on people's time perception but also the elements that could reconnect us with the present moment. The project began as a personal fascination with how different spaces affect my experience of time. Observing how time stretches while gazing out of a train window, or compresses in confined urban settings, and how time disappears during flows of rhythmical activities like yoga, I became interested in how architecture could be designed to create a more conscious engagement with time and encourage people to slow down. While sharing my experiences of slowing down, I ask you- when was the last time you lingered?

Silence surrounds us, silence around us – on creativity in communication, which interacts with and addresses the theoretical and practical exploring of the artistic research for Green x (2022 –). Simultaneously, it might be possible to create an artistic method of intervention artistically, which aims at the theoretical level evolutionally. Is language the tool? If it is yes, what kind of tool is the language? Through the language, what can we produce and provide? Thereby, I address the topic of creativity in communication in reading silently, speech, and listening. On creativity in communication is a play to draw models. Thereby the leitmotif is "reading". Critical seeing in a model on reading subjectivity and objectivity at the online artistic representational level, Question for on creativity The research objective(s) is a future idea for physical space and its mobility within virtual space (potentiality) for a new type of idea for notation between tradition and modernity. In this aspect, towards international communication gaps between tradition and modernity, DADA solved the issue of communication and explored a new way of communication, that was not a philosophical metaphor, but rather that consisted of semiotics and semantics in the context of design, was creative. – New visual and auditory codes. Thereby I deal with “Tractatus logico-philosophicus”, that is a logic of nonsense by Wittgenstein in the theme of space, body and time. "Silence surrounds us, silence around us" is an artistic research series, after "N.N-Zwischenliegend", I have been started to explore in 2020, after the corona-pandemic.

The artistic research project TiO₂: The Materiality of White (MoW) is led by Associate Professor Marte Johnslien, Department of Art and Craft, Oslo National Academy of the Arts. The project builds on her PhD project White to Earth, completed at the same department in 2020. MoW is funded by the Norwegian Directorate for Higher Education and Skills (HK-dir) through the Programme for Artistic Research for the period 2022–2026.

The artistic intervention "Foot Baths for All" (2024) emerged from an ethnographic exploration of collective forms of life on wastelands in Switzerland. Ethnographic insights regarding self-organized care, occupation, informal infrastructure, gift economies, and the shared use of water and electricity were fictionalized and recontextualized in the inner city of Zurich, in order to explore new forms of appropriation and participation in urban life. This exposition aims to share the results and experiences of this research through multiple formats: a video documentation, a how-to guide, and a text that offers insights into the ethnographic research and its translation into an artistic intervention, conceptualizing "Foot Bath Urbanism" as an artistic method for city-making from below. This project is situated in the field of artistic urban research. It is based on an expanded notion of art that moves beyond institutional contexts to intervene directly in public urban spaces through installations and performative practices, following approaches such as “New Genre Public Art”. The how-to guide is connected to instruction-based art, challenging conventional notions of authorship while emphasizing accessibility, participation, and interactivity, rooted in the conceptual art of the 1960s and 1970s, including the Fluxus movement.

This essay examines the subjective perception of time during the performance of long musical forms from the perspective of the performer. The starting point is the composition "Haltezeit", which works specifically with the stretching of time. Two improvisational performances without an audience will be used to explore how the perception of time changes in the course of performances lasting several hours and how this influences improvisational behavior. Practical experience is combined with concepts from the fields of philosophy, performance studies and musical improvisation research. The artistic experiments show that physical states such as tiredness or tension as well as external disturbances significantly influence the subjective perception of duration. While inner restlessness led to an extended experience of time and more frequent improvisational interventions, calmness and concentration favored a condensed, meditative experience of time with less frequent changes. Artistic practice thus becomes an experiential space for a qualitative perception of time beyond measurable structures. The essay sees itself as an open research gesture that invites us to perceive time more consciously as a flowing continuum in a performative context.