Research Catalogue

an international database for artistic research

• POWER SUIT (2024) author(s): Tamara Oden published in: Research Catalogue
  Appreciation of a form of expression
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  Tidal Zones – Filming Between Life and Images (2024) author(s): Kajsa Dahlberg published in: Research Catalogue
  Informed by queer life practices, theories, and affinities, this documented artistic research project (doctoral thesis) draws from new materialist and post-humanist discourse in order to reconsider what role visual media play in the historical need to separate the human and the environmental. It asks, how do we challenge prevailing perceptions of film and photography as inexorably linked to ideas of progress and modernisation, to linear temporality, spatial separation, and to land-based thought? Based on the acknowledgement that we need to rethink our position as humans within the multiple habitats that make up the world, I investigate the ways in which the apparatus of film, rather than being an extension of human perception, attests to the material interdependences and co-productions that hold a potential for converging human and nonhuman perspectives. "Tidal Zones – Filming Between Life and Images" considers the cinematic space of the ocean alongside Jean Epstein’s film "Le Tempestaire" (1947); it follows early photographic chemical methods involving seaweed to both develop film and to examine the technical intra-activity of human and nonhuman regimes as part of photography itself. Within the scope of this research, I argue and demonstrate how film engages in a sensory and reciprocal involvement with the material world, one that addresses the ability to sense, not just with one’s eyes, but with the entire body. "Tidal Zones" are real locations, the habitat of a multitude of organisms, and the home of seaweeds. It is a place that is neither land nor sea but constitutes a zone with its own specific relationships and living conditions. In its refusal to be either or, it forms a (non-binary) temporal figuration between presence and absence, solid and liquid, life and death, dictated by the motions of spiral and circular time. This space, "Between Life and Images", is the chemical rockpool (the darkroom) out of which photography and film grew. The PhD submission consists of four film-works, "The Etna Epigraph" (2022), "Seaweed Film" (2023), "Coenaesthesis – It Is Not Even True That There Is Air Between Us" (2023) and "The Spiral Dramaturgy" (2019) along with the exhibition "The Tidal Zone" shown at Index - The Swedish Con-temporary Art Foundation, Stockholm, from 25 November 2022 to 12 February 2023 and at Havremagasinet, Länskonsthall Boden from 14 October 2023 to 11 February 2024. The films and documentation from the exhibitions are included in the submission, which also includes an “Opening Letter” and two texts called “Filming with the Ocean” and “Methodology of the Spiral”. This dissertation has been carried out and supervised within the graduate programme in Visual Arts at the Royal Institute of Art. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malmö Faculty of Fine and Performing Arts, Lund University, and the Royal Institute of Art regarding doctoral education in the subject Visual Arts.
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  Embodied Landscapes: process and participation in filmmaking (2024) author(s): Rachael Jones published in: Research Catalogue
  This page is a diagrammatic visualisation of my doctoral thesis. Originally presented as a digital PDF and at just under 50,000 words, it was important that it comprised all the collages, photographs, diagrams and films (as hyperlinks) that made it practice-based artistic research. This space allows the work and ideas to be experienced less sequentially and more relationally, befitting a nonlinear research practice assemblage.
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  Creature in the making (2024) author(s): Elena Cirkovic published in: Research Catalogue
  Elena Cirkovic is conducting a transdisciplinary research project at Aarhus University, the University of Lapland, the University of Helsinki, and the BioArt Society Finland on the complex interactions between Earth and outer space systems, as well as the limitations in communicating with the unknown and unpredictable. The associated artwork is aiming for simplicity, placemaking, and "non-disruptive" BioArt (to the extent possible).
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  Artistic Connectivity Unfolding (2024) author(s): Falk Hubner, walmeri ribeiro, Elisavet Kalpaxi, Marike Hoekstra, Eleni Kolliopoulou, Jessica Renfro, Isil Egrikavuk, Reyhaneh Mirjahani, Katy Beinart, Lizzie Lloyd, Chrystalleni Loizidou, Xenia Tsompanidou, Juriaan Achthoven connected to: Fontys Academy of the Arts published in: Research Catalogue
  This publication presents the outcomes of the Connective Symposium, which took place at Fontys Academy of the Arts in Tilburg, in November 2022. The symposium was the first time that the professorship and research group Artistic Connective Practices, initiated in 2021, opened its work to the international field: We invited practitioners from all over the world to share their work and exchange about the concept of "artistic connectivity". "Artistic Connectivity Unfolding" is an attempt to share the experiences during the symposium with the broader artistic research audience, and to contribute to the body of artistic research work that is socially engaged. The exposition is potentially many things: In part, it is a piece of documentation of the symposium, in part reflections on and proceedings of it. It is also an explorative contribution to our emerging and unfolding discourse of artistic connectivity, — unfinished, fluid and moving — and thus a springboard for our future work on artistic connectivity.
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• In Good Company. Think We Must. (2024) author(s): Falk Hubner connected to: Fontys Academy of the Arts published in: Research Catalogue
  This publication/exposition is the extended version of Falk Hübner's inaugural lecture as professor of Artistic Connective Practices at Fontys Academy of the Arts. The text offers an introduction to the work of the professorship, to the ideas and concepts underpinning it and to its projects and research lines. Rather than presenting finished research, the text seeks to open ideas, insights and imagination and offer a sense of where the journey is heading. With an explicit emphasis on collectively working and thinking together, the core of the publication introduces and elaborates on the concept of artistic connective practices through the notion of three "conceptual clouds": practices, the artistic, and connectivity.
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