Research Catalogue

Surge como objeto tridimensional, como espaço reflexivo e relacionalinter-espécies. Um biombo, que pode nos servir como elemento de separação entre espaços, de privação; quer como um objeto que se articula no espaço, resultando em abrigo, em proteção de quem se encontra dentro, um espaço para meditar, para se co-conectar consigo mesmo, com o outro e com os cinco elementos. (Espaço em construção e exposição metodológica e processual)

Design, 1995-96, 2023. Design, 1996-97. Photography, 2010, 2011. Essay, 2015. Collage Text, 2022. The exposition serves as commentary and guide on the place of art, in a gradually environmentally and technologically challenged world. I further make a commentary on outgrown conceptions of the foreign, in terms of the so-called "exotic', and the non-foreign,within the context of contemporary globalisation. This, to raise open questions on the impact of the aforementioned on global politics. The re-design proposal, inspired by De Stijl, illustrates the modernist historical view that art appears to be regressive, rather than progressive: as soon as a movement or a school becomes established, reaching its culmination, it starts declining. Finally, I have included a graduate school architectural design project in the archaeological site of Eleusis accompanied by new commentary. With essay about experimental film making in the British avant-garde, published in "Architecture and Culture" journal, 2015, which is about the environmental challenges of the urban environment. The reference to the TV show "Alone", a competitive prize show of sole or two-person players, is a reminder that humans can live in the natural environment developing survival tactics already applied by their ancestors. About how to navigate this exposition: Scroll from top to bottom, then from bottom to top, then scroll to the top right, then scroll to the bottom right. For Luke, with respect and care.

The quest of reconciling scholarship and interpretative freedom has always been present in the early music movement discourse, since its 19th century foundations. Confronted with a plurality of performance practices, the performer of Early Music is forced to make interpretative choices, based on musicological research of the sources and their personal taste. The critical analysis of the sources related to a musical work is often a time-consuming and cumbersome task, usually provided by critical editions made by musicologists. Such editions primarily focus on the composer's agency, neglecting the contribution of a complex network of professions, ranging from editors, conductors, amateur and professional performers and collectors. The FAAM, Flemish Archive for Annotated Music, is an interdisciplinary project at the Royal Conservatoire Antwerp that wishes to explore the possibilities of annotation analysis on music scores for historically informed musicians. Annotations are a valuable source of information to recollect the decision-making process of musicians of the past. Especially when original musical recordings are not available, the marks provided by these performers of the past are the most intimate and informative connections between modern and ancient musicians. Contrary to a purely scholarly historically informed practice approach, based on the controversial concept of authenticity, we wish to allow the modern performers to reconcile their practice with the one of their predecessors in a process of dialectic emulation, where artistic process is improved through the past but does not stagnate in it.

This Book of Scores presents the standard music notation for the compositions featured in the album 'Portfolio'. Each piece is crafted for solo bass guitar, pushing the instrument's expressive boundaries and revealing its rich polyphonic potential. Through inventive arrangements, these compositions invite bassists to explore new dimensions of solo performance.

Welcome to "Studies in Kunstvakidiotie". Here, you can browse through the photographs, essays, drawings, audio and video clips. ‘Studies in kunstvakidiotie’ is the doctoral research of Mirjam van Tilburg at Antwerp Research Institute for the Arts (ARIA). This is a study in arts education from within the arts. She tries to shift the dominant image of life-long-learning (LLL) and provide insight into the possibilities that this LLL space also provides to art teachers. By searching in this way, more and more became clear about life-long-learning of art teachers. Therefore, a linear cause-and-effect narrative did not seem to do justice to the subject matter. The term ‘studies’ in the title is sketchy — it also involves repetition and seeking connections and, above all, it is a derivative of studio and study. Five essays form the markers within ‘Studies in Kunstvakidiotie’. Together, they construct a narrative. The essay ‘(onder)zoek in kunsteducatie’ describes practices and values that stem from Mirjam van Tilburg’s artistic practice: education. The motivation behind this research is that art teachers find LLL events to be limited. The essay ‘LLO als commoning practice’ discusses the possibilities of commoning practices. The examples: The New School Collective and studios are outlined herein. The studios are the experiment within this doctoral research. During the winter of 2020-2021, Mirjam van Tilburg worked with ten art teachers. The experiment of this doctoral project coincided with the Covid-19 crisis. Together they occupied artist studios in Tilburg and Rotterdam to de-automate and look at teaching practices. The essays ‘Blik’ and ‘Tijd’ therefore propose two topics of conversation within LLL: the ‘aesthetic glance’ and the temporal experience of ‘interruption’. These essays question the efficient and productive order prevailing in the work environment and LLL of art teachers. The essay ‘Herontdekking van Kunstvakidiotie’ is the story of a change in the craft of art teachers in the first Covid-19 crisis year. The term ‘kunstvakidiotie’ in the title cannot be directly translated into English because it is a compound word and may have specific connotations in the Dutch context. The essay describes how in these studios, art subject teachers had one foothold: artistic fervour.

Our bodies are porous entities that interconnect with and depend on the broader collectivity of human and nonhuman life that exists within a shared environment. Using the figuration of synthetic bodies, this exposition aims to examine the relationships in which we are enmeshed as our bodies absorb and excrete chemicals. With a focus on involuntary exposure to industrially manufactured chemicals (as opposed to exposure to naturally occurring chemicals or voluntary experimentation with chemicals of all types), this exposition invites readers to learn about the chemicals to which we are exposed and by which we are affected. With the ubiquity of chemicals in the environment, who are we becoming? How do chemicals affect us and how do we interact with them? How can we live well with chemicals in spite of their potential to harm? Adopting a decolonial feminist, posthumanist, and new materialist approach and embracing queer ecological sensibilities, this exposition develops protocols for embodied and materially embedded research practices that trace the effects of exposure to chemicals in everyday life. In so doing, it aims to demonstrate how we might build resilience through encounters with toxicity, contamination, and impurity. Download Accessible PDF