Research Catalogue

an international database for artistic research

• 1. PhD in Practice | Artistic Research Works The PhD in Practice is a doctoral program for artistic research. It provides participants with the opportunity to pursue their individual artistic research projects in a collective environment with a strongly transdisciplinary and international focus.

• Dreamachinery (2024) author(s): Ruthia Jenrbekova connected to: Academy of Fine Arts Vienna published in: Research Catalogue
  The exposition presents individual outcomes of the collective PEEK project “The Magic Closet and the Dream Machine: Post-Soviet Queerness, Archiving, and the Art of Resistance” (AR 567), which was implemented in 2020—2024 by four artists/researchers: Katharina Wiedlack, Masha Godovannaya, Iain Zabolotny and Ruthia Jenrbekova. The overall conceptual frame, based on the well-known artefact called “Dreamachine”, has been developed by this collective, however, the exposition at hand present a particular approach and outcomes by its author, a PhD-in-Practice candidate Ruthia Jenrbekova. Our experimental art-research project was a study of queer lives in a number of post-soviet cities. One of the project’s ambition was developing and testing an experimental artistic methodology, which in my version is called “Dreamachinery”. Trying to connect it to a particular artistic tradition that I labeled as “Queer Light & Magic”, I present here a few outcomes of my personal interactions with the participants of a series of workshops that I conducted in the cities of Almaty, Tbilisi, Yerevan, Berlin and Vienna.
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• Politics of collective movements in post-socialisms (2024) author(s): olia sosnovskaya connected to: Academy of Fine Arts Vienna published in: Research Catalogue
  The research addresses collective movements and their exhaustion (bodily and political) in post-socialisms, focusing on choreographies of protest actions, socialist mass celebrations and raves, and the relation between festive and the political. The project departs from archival materials on the socialist mass celebrations and the experience of the 2020-21 anti-governmental uprising in Belarus, re-addressing it in the context of the current Russia’s invasion in Ukraine, which involves Belarusian territories and infrastructures, and of the anti-war resistance. It analyses specific collective choreographies (state parades, protest marches and gatherings, raves, various acts of disruptions and sabotage) and traces the transformations of “the political” and political movement in post-socialisms, while approaching the notion of post-socialism critically (in its equating different historical experiences and being always bound to the past on one hand, or seen as non-linear and non-unified on the other). The project tackles those issues through the concept of a movement score (movement notation), used in dance studies to graphically record, analyze, preserve (archive) and transmit (further perform) dance and movement. In this research, a movement score is seen as any kind of graphic transcript of movement (including text) that intersects multiple temporalities of its enactment, and is used as a tool to critically approach the temporality of political action and to question the linear time of revolutionary event.
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• the gaze as a protest (2024) author(s): ujjwal utkarsh connected to: Academy of Fine Arts Vienna published in: Research Catalogue
  My PhD project lies in the intersection of observational filmmaking and the act of protests. For me, the observational form is not really geared towards the goal of objectivity but rather with a sensorial experiential approach an intent to make the invisible, visible. The position of the auteur becomes critically important here. In this position it is important for me that I do NOT claim or seem to be claiming ‘their position’ or voice. And while being an outsider, it is an attempt to not just look ‘at them’. But rather an attempt to ‘be with’. Through this presentation, I would like to explore this position further and also explore as to if through such an approach can then various realities be acknowledged as realities without being reduced to singular notions of truth? My PhD project lies in the intersection of observational filmmaking and the act of protests. For me, the observational form is not really geared towards the goal of objectivity but rather with a sensorial experiential approach an intent to make the invisible, visible. Through this presentation I would like to further eXplore the position of the observer or the auteur. The position of the observer becomes critical as it defines and is interconnected with what to look at, and how to look. While ‘observing’, for me it is important that I do NOT claim or seem to be claiming ‘their position’ or voice. And while being an outsider, it is an attempt to not just look ‘at them’. But rather an attempt to ‘be with’. Can such a position then help us acknowledge various realities as realities and not reduce them to singular notions of truth? My PhD project lies in the intersection of observational filmmaking and the act of protest. For me, the observational form is not geared towards objectivity but rather as a sensorial experiential approach with an intent to make the invisible, visible. In this case, the position of the auteur or the observer becomes critical. For instance, it is important for me that I do NOT claim ‘their position’ or voice. And, while being an outsider, to not just look ‘at them’ but rather attempt to ‘be with’. In this presentation, I will further explore this position and see if in trying to be with and be adjacent to an ‘other’ while observing, can we evoke the possibility of a multiplicity of narratives? Can then various realities be acknowledged without being reduced to singular notions of truth?
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• Hegel.Therapy (2024) author(s): Evi Jägle connected to: Academy of Fine Arts Vienna published in: Research Catalogue
  Die sinnliche Gewissheit, Hegel als Therapiesituation.
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  At Cross Purposes, reflections on constellations (2024) author(s): Janne Schipper connected to: Academy of Fine Arts Vienna published in: Research Catalogue
  When gazing at the night sky together with someone, it can be challenging to guide the other person’s attention to a specific star or cluster. To completely follow the alignment of the eyes and the tip of the index finger to the object in mind would require us to climb into the other, to see the world through their eyes. How do we know if we have the same star in mind as the person next to us? Are we talking at cross-purposes? At Cross Purposes, reflections on constellations, comprises three texts by different authors on language, narrative, sign and signification, as well as poetry and anxiety in art.
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  Reproducing Coercion - An exploration on the reproduction of ideology in cults and capitalism (2024) author(s): Yilmaz Vurucu connected to: Academy of Fine Arts Vienna published in: Research Catalogue
  Reproducing coercion consists of a book and a film: both pieces of work compliment each other and provide a detailed exploration of authoritarian group (commonly referred to as cults) coercive techniques. The films offer visual poetics that support the scientific work and portray the end results of the techniques explored - from the perspective(s) of cult members. The film: Journeying into the intangible and often legitimate yet immoral tools of control, manipulation and precaritization used by high-pressure groups, the scientific work offers insight into common characteristics that help identify and analyze coercive groups, regardless of their ideology or area of operation. The written part: The written work on the other hand, delves into an exploration of capitalism (in its various forms and historical structures within western context), and the common characteristics class - based societies exhibit with coercive groups. More notably, the focus is on the reproduction of ideology and the functions of Ideological State Apparatuses in replicating class exploitation and aiding in its internalization. The topics in this work, explored with an experimental approach, incorporating the author’s personal experiences and recollections, while referencing films he’s produced on the subject matter. The structure: The first part seeks to identify the characteristics of high-demand groups; it also delves into an overview of Althusser’s theories on the reproduction of ideology. The second part explores the parallels between various forms of capitalist ideology and high-demand groups, while focusing more on absolute thought, language and precaritization. The third part journeys into labour, hierarchy, and compartmentalization of the workplace, exploring how systems are reproduced and how they endure through repetition. By comparing cult coercion methods to the reproduction of capitalism, the thesis seeks to offer a unique perspective on how ideology is reproduced, irrespective of the doctrine.
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