Research Catalogue

The publication Paths of artistic research is a collection of interviews with artistic researchers - Andrea Buršová, assistant professor at the Nika Brettschneiderová Dramatic Acting Department, Faculty of Drama, JAMU, Jiří Honzírek, director, manager of the Feste Theatre and PhD student at the Theatre Faculty, JAMU, Barbora Klímová, head of the Studio of Environmental Design at the FFA BUT, Lenka Klodová, head of the Studio of Body Design at the FFA BUT, Lucia Repašská, researcher at the Cabinet for Theatre and Drama Research, Theatre Faculty, JAMU, Hana Slavíková, head of the Studio of Radio and Television Dramaturgy and Scriptwriting, Theatre Faculty, JAMU, Pavel Sterec, artist and former head of the Intermedia Studio at the FFA, BUT, and Lenka Veselá, researcher at the Department of Theory and History of Art at the FFA, BUT and PhD student at the FFA, BUT. These are artists who have been associated with art colleges in Brno, specifically with the Faculty of Fine Arts of the BUT and the Theatre Faculty of the JAMU. Through interviews with the artists, the reader will learn under what circumstances they began to engage in artistic research, how they perceive it, what meanings they attribute to it and the purpose it serves for them. The selected group of artists is very diverse and their creative and research strategies are different, as are the purposes for which they use artistic research. The publication does not aim to provide an exhaustive overview of the methods used in artistic research, but it does aim to show that there are many approaches to artistic research and to present the paths that have brought particular artists to artistic research.

The concept of performativity applied to liminal transformations because creative business mentoring needs more depth. Creatives, researchers and innovatives entrepreneurs do not fit into certain cathegories so they need a well grounded paradigm that can be differentiated both from rationalistics approaches and spiritual ones.

Art-therapy & business guidance for creative entrepreneurs ready to break shame, detach from limiting contexts and become their XXL selves. Contextual art.

The right to have or not to have a religion is a basic human right. Ensuring disbelievers have the same and equal rights with all the citizens of the world – with or without a particular religious inclination – would require globalized legal and cultural structures.

This Exposition is a brief ironic comment on the ongoing degradation, commodification, and colonisation of food and its many dimensions — recipes, ingredients, context — and a reflection on the territorial definitions that shape identity, in this case of South Asians and the Global South, once bound together as a people and still united in the brieftopian world of the Author’s Greatest Biryani: an amalgamative dish of political and cultural reproductions, drenched in time, where old and new contest identity. Through a conversational, autoethnographic lens, the exposition blends historical, colonial, and territorial reflections, using Biryani as both departure point and metaphor for shared identity and dislocation. Visual collages — archival, familial, and sourced — act as probes connecting memory, culture, and belonging. Ultimately, the work offers the Author’s Greatest Biryani as a living document of generational knowledge and a utopian gesture, inviting both insiders and outsiders to gather around a dish transcending borders and time.

There are moments within a performance where destruction and deviation from reality allow an alternative scenario to reveal itself. I argue that these moments can be called ‘brieftopic’, fleeting glimpses into a possible future (Behzad Khosravi Noori, 2024). But what are the connections between reality, deviation and alternative scenario? How can this brieftopia, which materializes for brief moments within a performative event, reverberate outside of it, propagating at a social and political level? During the site-specific improvisation series [in situ], it became evident to me that this brieftopia is tied to an artist’s relinquishment of control, leading to a decentralization of the performance. By introducing the case study, specifically the [in situ] performance held in September 2023 at the Maremma National Park, we will see how unforeseen, unpredictable, and non-linear interactions between myself, the audience, and the non-human components of the ecosystem in which we were immersed, shaped the performance itself, steering it in an unexpected direction and removing it from the continuum of artistic intention, audience perception, and everyday life reflection. In this brieftopia, in a sense, it is existence itself that is reduced to rubble, not for the love of rubble, but for the way out that passes through it, paraphrasing Walter Benjamin.