The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the Society for Artistic Research. The RC is free to use for artists and researchers. It serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be an open space for experimentation and exchange.

recent activities >

XRW (Implicature) (2025) Zoe Panagiota (aka Betty) Nigianni
50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A3 drawings on paper with coloured markers + 1 A3 with black ballpoint pen and markers. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 wo-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. Some of the above is preparatory work for 4 large prints and 13 paintings. 22 A4 drawings with ballpoint pen. I did/made the art between 2023-2024, from the perspective of the observer. I started writing the blog afterwards, from the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012. I mixed this with stylistic elements of the architectural sketch, using heavily the black marker and stick figures. Much of this work is, amongst other, about children. I wanted to emphasise that, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition. Using this visual approach, I wanted to evoke a comically sharp twist to the otherwise dark subject matter. "Pop and Politics" (Pop Og Politikk) Where does the boundary run between art and popular culture? Pop art embraces the iconography of mass culture. Themes are taken from advertising comics, cinema and TV. The slick, impersonal style is a deliberate provocation. In Norway, pop art is part of a broader left-wing protest movement. Everything from capitalism and imperialism to environmental and gender politics is subjected to critical scrutiny. The exclusive, unique artwork is replaced by mass-produced prints and posters, well suited to spreading a political message." From the National Museum, Oslo, Norway, 2024. For Nikos, Filip (Philip), and "Brandon" - August, September, and October 2024. For 'Tricky' - January 2025. The text is written like a hip-hop song. The art is influenced by Jean-Michel Basquiat, See exposition in connection with "The Origins of The Game", "Debris", and "The Loot".
open exposition
RELAY (2025) RELAY ARTicle
RELAY is a three-year EU-funded research project supported by the ERASMUS+ programme „Cooperation Partnerships" that focuses on developing the artistic and educational fields of choreography, dance and music. The concept that gave our project its name – RELAY – is based on deep trust in the transiting and transmissive foundation of both artistic production and knowledge development. RELAY underscores a fluid and processual element in the intersection of art and education. Not only does the actual production and development of knowledge and artworks depend on collective – and therefore transmissive – efforts, but the future life of those productions depends on how they are shared. For example, a dance technique only lives through those who practice it. A piece of music is passed on (through ear, instrument technology, or score) between practitioners, producers, and listeners. Every hand-over gives the possibility for development, re-iterations, and productive misunderstandings. The exposition here gathers the findings, reflections and insights into the principles and methods of RELAY as well as obstacles, hiccups and (creative) failures as a work-in-progress. Authors and Contributors: Ana Papdima, Andreea Duta, Catalin Cretu, Evita Tsakalaki, Jan Burkhardt, Konstantinos Tsakirelis, Laura Lang De Negri, Maia Means, Max Wallmeier, Mihai Mihalcea, Nadine Kribbe, Rasmus Ölme, Sergej Maingardt, Stella Malliaraki, Vera Sander
open exposition
references from others (2025) morten almaas
eferences other people give me
open exposition

recent publications >

Crafting Material Bodies – exploring co-creative costume processes (2025) Charlotte Østergaard
This exposition is the submitted PhD thesis for the doctoral degree in artistic research in Perfroming Art at Malmö Theatre Academy, Lund University December 2024. This artistic research was carried out between 2020 and 2024 and financially supported by Malmö Theatre Academy, Lund University, Sweden. Main supervisor: Sofia Pantouvaki Second supervisor: Camilla Eeg-Tverbakk The exposition is in three parts: FRAMEWORKS – contextualization the artistic research including description of the artistic method in the research. PROJECTS – containing descriptions and analysis of the three artistic projects "AweAre – a movement quintet", "Community Walk" and "Conversation Costume". CONCLUSION Abstract: At the heart of this research are relational encounters between people and textile materials. As the title, Crafting Material Bodies, indicates, the research explores how human bodies are crafted by material bodies (costume) and vice versa. In the research textile materials and people are my co-creators and as co-creators they are invited to relate to, affect and become affected by other human bodies and more-than-human materials. As the subtitle, exploring co-creative costume processes, indicate the main quest is to explore how we (humans) co-create with textile and costume materials and to explore how textile and costume materials become equal co-creating partners. In the artistic projects I invite fellow artists like performers and designers to explore specific connecting costumes (that connect two or more people) with me. As co-creators I invite them to engage, respond, inform, influence and/or interrupt our costume explorations in ways that matter to them and to critically reflect on our explorations. In the projects I study how listening become instances of relational acts between humans and more-than humans that evoke curious embodied and conversational dialogues Such dialogues are invitations to listen with the textile and costume materials, with (human) bodies, to share embodied experiences, to co-create and to elaborate on the various creative perspectives. During the artistic projects I act as more than an observing designer/researcher. I am the host that have crafted the connecting costumes in collaboration with the textile materials and as host I also actively take part in exploring what the costumes evoke and provoke. The goal is to explore how being a participating host affects the explorative costume situations. The research has four focal themes – crafting, listening, hosting and co-creating – which are explored though three artistic projects. The artistic project AweAre, a movement quintet, explores the act of listening, Community Walk explores the act of hosting and Conversation Costume explores the act of co-creating, while all three projects explore different aspects of crafting. As the themes are entangled, all three projects contain aspects of the four themes. With this research I suggest that it is critical that in co-creative situations we cultivate our listening abilities with human and more-than-human others, and I argue that textile and costume materials is a medium that enable us to do so. With this research my ambition is to formulate ideas on co-creative methods that value material-discursive listening and where the hosting attitude is orientated towards communal doings. The aim is that listenings and communal hostings become tools for designers to gain a deeper understanding of how costume affects performers, and the boarder scope is that the research contributes to discussions on how teams can collaborate with humans and more-than-humans in more generous and inclusive manners. One example is that we acknowledge that our different disciplinary perspectives are creative possibilities in our common doing and that we recognise that how we share and exchange our differences has an impact on how we flourish co-creatively with our human and more-than-human co-creators. ISBN: 978-91-88409-39-3
open exposition
Transforming with the Artistic Palette (2025) Karin Emilia Hellqvist
Transforming with the Artistic Palette ‘Transforming with the Artistic Palette’ is my PhD project in artistic research, a practice-led exploration of performer creativity, agency and collaborative composition, carried out at the Norwegian Academy of Music in the years 2018–2024. The central idea of the project is the conceptualization of the artistic palette. The artistic palette comprises the skills and abilities I use in creative work (skillabilities). It develops with the creative work I engage in and is active in imaginative as well as evaluative processes. The artistic palette has been explored in collaborative work with five composers as well as in an own composition. I have explored it as a multidimensional concept, comprising embodied, contextual, relational and intuitive dimensions. By engaging with the artistic palette, new sonic materials and work methods have been created and I have shared compositional processes as a co-composer. It is a poetic and dynamic concept that keep developing with my experiences. By using my artistic palette in shared work, I have explored and expanded my creativity as a performer of contemporary classical music. The five composers involved in the project come from a diverse background of styles, aesthetics and compositional approaches, as minimalistic music, improvisation and music theatre. Some of the creative partnerships build on previous work together. The works created in the project are Gradients (2023) by Karin Hellqvist and Henrik Strindberg, Solastalgia (2022) by Carola Bauckholt and Karin Hellqvist, One and the Other (Speculative Polskas for Karin) (2021–22) by Liza Lim with Karin Hellqvist, Eiksmarka Omland (2024) by Christian Wallumrød and Karin Hellqvist, Pango (2021–24) by Karin Hellqvist and Chain of Triggers (2024) by Manos Tsangaris and Karin Hellqvist. Through the artistic processes undertaken in this project, I have experienced a transformation of my performer’s role into an increasingly creative one. From seeing myself as a faithful performer of works, I have come to view myself as a creating artist involved in the whole lifecycle of the works I perform and co-compose. By exploring the artistic palette in shared work, thoughts about connection, identity, responsibility, empowerment, complementarity, taste, ownership and transformation has come to the fore in my practice. Those topics are discussed across the works created in the project. The methodology of the project is rooted in the specific forms of collaborative composition it comprises; engaging in improvisation, developing technological skills, accessing embodied performance materials, engaging in interdisciplinary work with a printed publication and developing connection through cyclical patterns of work where materials are circulated between participants. A curatorial process of selecting material for research has along with text writing, peer-review and publication processes been important research methods of the project. The structure of this reflection is a compilation of six case studies wrapped with an introduction and a closing discussion. The reflection has been created over the course of the project and includes four already published articles. The project is situated in a broad artistic- and research field with connections to other collaborating performers and composers, artist researchers who develop their performance practices, historical composer-performer collaborations and the rich artistic contexts of the involved artists. I draw on theories of collaborative composition (Taylor, Lim, Östersjö, John-Steiner), Werktreue (Goehr), embodied knowledge (Merleau-Ponty, Lüneburg), eco-anxiety (Albrecht) and identity (Hargreaves, Markus & Nurius).
open exposition
Solastalgia – Toward new collaborative models in an interdisciplinary context (2025) Karin Emilia Hellqvist
This artistic research exposition unfolds the collaborative work on the violin, electronics and video work Solastalgia, from the viewpoint of violinist Karin Hellqvist. Solastalgia is created together with composer Carola Bauckholt and video artist Eric Lanz. During the process, Hellqvist develops the concept of the artistic palette, helping her understand her agency and creativity as a performer. Through sharing materials and reflections from within the artistic process, Hellqvist describes the new work methods that emerge and how they affect the roles of composer and performer. Focus is directed toward ownership, safe space, resources and eco-anxiety. The work’s title is an homage to environmental philosopher Glenn Albrecht’s neologism solastalgia, describing existential distress connected to environmental change. Theory on collaborative composition situate the reflections in the research field that includes Alan Taylor’s typology of working relationships and Lydia Goehr’s concept of Werktreue.
open exposition

sar announcements >

Subscribe to SARA