Research Catalogue

Resonant Tails explores the challenges and potentials of creating extra-normal vocal art for, and with, children with profound and multiple learning disabilities as co-vocal-artists.

The SIG Facilitating took shape at the 2023 SAR Conference in Trondheim, after observing over an extended time how frequently artists, artistic researchers and even policy makers refer to facilitation when describing interactions with audiences, communities and research partners. Finding ways to examine such facilitating processes is crucial to the work under way. We know that facilitating practices exist widely in interactive and community based art, and in theater and the performing arts, for example using games, props and improvisation. There are intersections with pedagogy and professional facilitation and coaching, with at least the latter understood as prizing outcomes over processes. The SIG Facilitating asks: What does it mean to facilitate as part of artistic research? Why is this focus emerging now? How are we drawing on a greater web? Organized by Marija Griniuk, Postdoctoral researcher at Vilnius Academy of Arts, and director at Sami Center for Contemporary Art in Norway; Janne-Camilla Lyster, Associate Professor, Oslo National Academy of the Arts; and Adelheid Mers, Professor, School of the Art Institute of Chicago (coordinator). Contact: sigfacilitating@gmail.com

Islington studio flat 4, at 14 Barnsbury Road, London, 2022, privately rented. Interior design and styling, as art installation. Looted, 2024. Investigatory research with artworks, 2023-2024. https://en.wikipedia.org/wiki/Looting https://en.wikipedia.org/wiki/Loot_(magazine) My personal belongings were still at the property for two months, after I left on 27 March 2024 and was asked to collect them by 3 or 4 April from Woolwich. After I left, the landlords moved in two or three under aged, who I have never met, so that they pretend to be my daughters. Subsequently, they must have been 'removing' them one by one over the last few months and until October 2024. 14 Barnsbury Road was deemed illegal through the courts, on 22 April, shortly after I was forced to leave at the end of March. The maintenance employed many Polish citizens, all dressed in black with black caps, adopting the XRW supporters' fashion code. Twenty-one (20+1) digital photographs of the studio, for twenty (20) missing Albanian and of Albanian ethnicity, non-EU immigrants; as well as one (1) missing Italian citizen. Golden Dawn has taken responsibility. The twenty-one persons whose details got stolen were abducted by mainly Golden Dawn and, secondarily, the NRM; they are deceased. My personal details were stolen, too. Was I going to be the twenty-second victim? Twenty-two (22) photographs, including 2 (two) of myself: NOT a missing person, from the 2022-2023 period in the looted Islington studio. Golden Dawn were originally pagans, drawing from the ancient Greek mythology and ritualistic practices, including human sacrifice. The visual imagery and the art included in the photographs is influenced by the marketing and advertising industry; I brushed shoulders briefly with students in the creative industries teaching at the Winchester School of Art. I used this an ironic commentary on Golden Dawn trying unsuccessfully to create a brand through propaganda, not political marketing. The art world has been traditionally male dominated. This has not changed dramatically in contemporary art. Female artists have sometimes adopted male attitudes, or personas, to break into the art scene; see Sarah Lucas and Tracey Emin from the YBA movement. I hold the view that art is not gendered, that there is no art for women or so-called women's art. Good art transcends such categories, tapping into more universal experiences. Saying this, I would like to quote Nancy Spero, who doesn't crudely distinguish between male and female art, as follows:"What if the default gender for 'artist' were female? What if, when we looked at a work by a woman, we said to ourselves, "That is art," and when we looked at a work by a man, we automatically identified it in our minds as 'men's art'?" In 1999, I wrote a long essay about the architectural uncanny, which I submitted as my graduation thesis for my first MA in architectural theory. I called it "Space as a 'Bad' Object: A criminal investigation on the notion of space". I got inspiration from detective novels and real-life crime stories. The long essay was about the role of architectural space in crime. It was completely unsupervised: I received a distinction by a Bartlett staff member. I took the digital photographs in conceptual adherence with that essay. I was a postgraduate philosophy student 9/2017-11/2019 at the University of Amsterdam, Netherlands. In this exposition, I include new photographs from a series of digital photography called "Forensics", taken with my mobile phone, after I was forced to leave the Islington property I was renting, on 27 March 2024. I gave the photography series that name, because it has served the purpose of investigating, recording and tracking a crime, for which architectural space, such as private rentals, has been used. For Chris, who was suddenly transferred by his employer, from London, where his daughter lives, to somewhere outside of London; and for Lawrence, whose temporary post was prematurely terminated, though he was planning to return to his legal studies. And for 'Ali. And for Oliver. In memory of Howard, also a tenant at Bellview. To all those who don't just "play" the cultural and racial diversity clause; they don't just rely on identity politics, because the class problem has not been resolved for them, either. Saying this, the UK must still be scoring high on racism. A Nigerian was amongst the Golden Dawn victims of assassination in Greece. The exposition is inspired by jazz music. Luc Tuymans is a Belgian painter, working mainly on black and white oil paintings from photographs. Sophie Calle is a French writer and photographer, working on themes of identity, intimacy and everyday existence. See exposition in connection with the blogs "The Origins of The Game" and "XRW (Implicature)".

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iTouch Store is a video created for the eponymous exhibition, where physical jewellery is presented in a speculative advertising style. Rejecting words, it offers the viewer a tactile experience through visual perception, reminiscent of advertisements for beauty industry devices. Jewellery, animated video effects, and a multi-layered composition transform this film into an exploration of the boundaries of touch in the digital age. How does jewellery feel when it can only be touched with the eyes?
 iTouch Store, 2019, A-Gallery, Tallinn
 Editing and effects: Ando Naulainen
 Sound: Andres Nõlvak
 Concept and jewellery: Darja Popolitova