FORGOT YOUR DETAILS?

ABOUT

The Journal for Artistic Research (JAR) is an international, online, Open Access and peer-reviewed journal that disseminates artistic research from all disciplines. JAR invites the ever-increasing number of artistic researchers to develop what for the sciences and humanities are standard academic publication procedures. It serves as a meeting point of diverse practices and methodologies in a field that has become a worldwide movement with many local activities.

JAR provides a digital platform where multiple methods, media and articulations may function together to generate insights in artistic research endeavours. It seeks to promote expositions of practice as research. In JAR artistic research is viewed as a developing field where research and art are positioned as mutually influential. Recognising that the field is ever developing and expanding, JAR remains open to continued re-articulations of its publishing criteria.

The JAR Network further facilitates exchange among the artistic research community. This part of the site is an extension of JAR rather than part of the peer reviewed journal. In the Network we publish writing that actively responds to issues in the field, allowing JAR to give focus to developments and make public some of the important discussions that artistic researchers have in their own local contexts.

 

The Society for Artistic Research

JAR is published by the Society for Artistic Research (SAR). It was established in March 2010 as an independent, non-profit organisation for the purpose of publishing the Journal and has grown become a dynamic group that encourages the discussion and activity of artistic research worldwide. SAR is comprised of both individual and institutional members from around the globe who support SAR through the payment of a membership fee, sponsorship, and the gifting of their time and expertise.

Click here for more information on SAR, to become a member and support JAR.

 

The Research Catalogue

The Research Catalogue (RC) is a searchable, documentary database of artistic research work and its exposition. The RC is an inclusive, open-ended, bottom-up research tool that supports the journal's academic contributions.

Enter and explore the RC here.

PEOPLE

Editor in Chief

Michael Schwab

Peer Review Editor

Julian Klein

Managing Editor

Phoebe Stubbs

Copyeditor

Ed Crooks

Editorial Assistant

Male Günther

Intern

Azadeh Fatehrad

EDITORIAL BOARD

Annette Arlander

Sher Doruff

Barnaby Drabble

Mika Elo

Leonella Grasso-Caprioli

Yara Guasque

Mareli Stolp

Peer Review Board

JAR invites reviewers to join its Peer Review Board. This is a new development. Please keep an eye on this space for details. For further information about the Peer Review Board, please read the Peer Review page.

 

JAR REVIEWERS
INCLUDE:

Kathleen Irwin, University of Regina; Michael Kahr, University of Music and Performing Arts in Graz; Maarit Mäkelä, Aalto University; Barbara Bolt, University of Melbourne; Jeroen Boomgaard, University of Amsterdam, Rietveld Academy; ARIASnl; Richard Blythe; Darla Crispin; Ylva Gislen; Scott deLahunta, Centre for Dance Research, Coventry University UK, Deakin Motion.lab, Deakin University AUS, Motion Bank at Hochschule Mainz University of Applied Sciences; Esa Kirkkopelto; John Sundholm; Marcel Cobussen, Leiden University, the Netherlands; Henrik Frisk; Ruth Benschop; Andrea Pagnes, VestAndPage (artist with Verena Stenke), Venice International Performance Art Week; Elisabeth Belgrano, independent artist; Anna Moreno, Royal Academy of Art in The Hague; Ruby Wallis, Burren College of Art, Newtown Castle, Ballyvaughan, Co. Clare, Ireland; Penny Leong Browne, Creative Assembly; Kit Hammonds, Museo Jumex, Mexico City and National Taipei University of Education; Marc Goodwin; Juan Carlos Castro, Concordia University; Renee Kool; Laura F. Gibellini, School of Visual Arts (SVA), NYC; Vincent Meelberg, Radboud University Nijmegen, Academy for Creative and Performing Arts in Leiden and The Hague; Joey Orr; Siobhan Murphy; Jens Badura,Zurich University of the Arts; Ikuko Inoguchi, City University of London; David Overend, Royal Holloway, University of London; Sissel Tolaas; Johan D. A. Verbeke; Gerhard Eckel; University of Music and Performing Arts Graz / Austria; Johan Öberg, University of Gothenburg; Tuija Kokkonen; Cathy van Eck; Paul Landon, UQÀM, Montréal; Henric Benesch; Dominic Redfern, RMIT University, Melbourne, Victoria, Australia; Branka Zgonjanin; Phil Sawdon, Loughborough University; Annie Abrahams, independent artist; Martin Nachbar; Jose Simons Lucy Lyons Nordic Summer University and City & Guilds of London Art School; Ainara Elgoibar; Sozita Goudouna; Charlie Gullström; Steve Dutton, Bath Spa University, UK; Paula Salas; Zenovia Toloudi, Studio Art, Dartmouth; Walter Van Rijn; Ralph Klewitz, Aalto University; Dominique Lämmli, Co-director FOA-FLUX, Zurich University of the Arts, Srishti Institute of Art, Design and Technology Bangalore/India, Lucerne University of Applied Sciences and Arts; Julie Harboe; Ami Skanberg Dahlstedt; Lucas Ihlein, independent artist; Nina Zschocke; Kitty Zijlmans; Jeremy Welsh; Jan Kaila, independent artist; Martin Supper; Laura Burns; Ina Wudtke; Cecilia Roos, Stockholm University of the Arts; Gaelyn Aguilar, University of Maine Farmington; Gustavo Aguilar University of Maine Farmington; Doris Kolesch; Andreas Liebmann, performance artist, writer, director, Danish National School for performing arts; David Roesner, LMU Munich; Laura Beloff, IT University Copenhagen; Bojana Kunst; Roxy Walsh, Goldsmiths; Claus Peder Pedersen, Aarhus School of Architecture; Warren Neidich; Lucy Cotter, indepedent writer and curator; Harri Laakso Aalto University; Lila Ellen Gray; Michiel Schuijer, Conservatorium van Amsterdam; Richard Elliott; Verina Gfader; Peter Sonderen, ArtEZ University of the Arts, The Netherlands; Ray Langenbach, University of the Arts Helsinki; Charles Danby ; Mick Wilson; Mireille de Koning; Juliet MacDonald; Patrick Schenkius; Walter van de Leur, University of Amsterdam; Sue Gollifer; Monica Herzig, Indiana University; Chris Stover, Arizona State University; Christophe van Gerrewey; Lucie Kolb; Dora Imhof; Madalina Diaconu, University of Vienna; Mikko Mälkki; Annemarie Bucher; Tarja Pitkänen-Walter; Ian Maxwell; Tero Nauha, Helsinki Collegium for Advanced Studies; Cara Berger; Rory Harron, independent artist; Germán Toro Pérez; Don Asker, University of Melbourne; Helena Ferreira; Jan Schacher, Zurich University of the Arts; Sheilah Wilson, Denison University; Nicole De Brabandere; Patrick van Deurzen ; Enno Voorhorst; Jan Nieuwenhuis; Sabine Kradolfer; Kaisu Koski, University of Tampere; Sylvie Boisseau, independent artist; Mäki Teemu, independent artist; Joan Mullin; Marko Karo; Catharina Dyrssen ; G. James Daichendt, Point Loma Nazarene University; Justy Phillips; Maiju Loukola, Aalto University; Jan Verwoert; Jan Svenungsson, Universität für angewandte Kunst Wien; Erik Andersson, University of Gothenburg; Federica Martini; Palle Dahlstedt; Stephanie James; Anna Birch; Simon O’Sullivan, Goldsmiths; Janell Watson; Lorna Collins, independent scholar; Anke Haarmann; Jonathan Miles, RCA; Sander Hölsgens; Margus Tamm; Richard Barrett, Royal Conservatoire, The Hague, and Leiden University; Stefan Östersjö; Theodossis Issaias; Catherine Laws, University of York (UK), Orpheus Research Centre in Music (Ghent); Gillian McIver; Christopher Lee Kennedy; Giaco Schiesser, Zurich University of the Arts; Sabine Flach; Graham Coulter-Smith; Matthew Bowman, University of Essex, Colchester; Paulo de Assis, Orpheus Institute, Ghent (BE); Emma Shercliff, Arts University Bournemouth; Maya Schweizer; Jouko Aaltonen, Aalto University; Alexander Damianisch, University of Applied Arts Vienna; Charles Gere; Alys Longley, University of Auckland; Richard Rosch; Steve Lyons; Ola Johansson; William Straw, McGill University, Montréal; Mieke Bernink, Amsterdam University of the Arts; Ania Molenda; Rosemary Donegan, OCAD University, Toronto; Saara Hacklin; Victoria Hunter, University of Chichester; Gavin Morrison; Florian Grond, BIAPT and CIRMMT, Montréal; Dirck Möllmann; Sharon Kivland, Sheffield Hallam University, UK; David Casacuberta; Joe Joe Orangias, independent artist; Emma Meehan; Dirk Baecker, Universität Witten/Herdecke; Edward Crooks, Orpheus Institute, Ghent; Caroline Picard, The Green Lantern Press and Sector 2337 in Chicago; Robert Waters; Ann Albritton, Ringling College of Art + Design, Sarasota, FL; Phillip Warnell; Nikolaus Gansterer, University of Applied Arts Vienna; Bryndis Snaebjörnsdottir; Masayuki Tanaka; Lydia Nakashima Degarrod; Kirsten Reese; Jan Cohen Cruz, Director of Field Research, A Blade of Grass; Charlotte Jarvis, Royal College of Art; Christian Kravagna, Academy of Fine Arts Vienna; Jaana Erkkila; Christina Lammer, Academy of Fine Arts Vienna; Christina Kobb; Eva Maria Gauss, University of Marburg, Germany; Heidi Tikka; Joao da Silva, ArtEZ University of the Arts; Andy Conio, University of Kent; Priska Gisler, Hochschule der Künste Bern; Vanda Playford; Mick Wilson; Leone Contini ; Tine Melzer; Belen Cerezo ; Christoph Brunner, Leuphana University Lüneburg; Ed Carroll; Otso Huopaniemi, University of Arts Helsinki; Perdita Phillips; Selma Dubach; Tom Holert; Mona Kriegler, Goethe Institut Ramallah, Palestine; Maria Fusco, University of Edinburgh; Bruce Isaacs; Monica Sand; Olivia Lucas; Alvise Vidolin; Paolo Zavagna, Conservatorio di Musica "B. Marcello" - Venezia; Alice Lagaay, University of Bremen; Andreas Keil; Patrick Duggan; Svea Braeunert, University of Cincinnati; Birger Petersen, Johannes Gutenberg-Universität Mainz; Jyrki Siukonen, University of the Arts, Helsinki; Kelly van der Watt; Samantha McCulloch ; Karen Savage, University of Lincoln, UK; Gascia Ouzounian; Georges Pfruender, Fachhochschule Nordwestschweiz; Monika Jaeckel, independent artist, University of Westminster London; David Gorton, Royal Academy of Music, University of London; Victor Arroyo, Concordia University Montreal, Canada; Iris Garrelfs Goldsmiths, University of London; Sharon Stewart, Journal of Sonic Studies; Pia Lindman; Elizabeth Giorgis, Addis Ababa University College of Performing; Nathanael J. Andreini; Heidi Schwegler, Oregon College of Art and Craft / Pacific Northwest College of Art; Risa Horowitz, University of Regina; Mitch Goodwin; Leslie Plumb; Anne Robinson; Randall Packer, Nanyang Technological University, Singapore; Katalin Halasz; Maria Rosario Montero, Goldsmiths, University of London; Matthieu Delourme; Annemarie A Murland, independent artist; Natalie Hegert, independent artist; Heide Fasnacht, Parsons: The New School for Design; Ursula Damm, Bauhaus Universität Weimar; Björn Speidel, independent artist; Karl Burkheimer, Oregon College of Art and Craft; Soraya Murray, University of California, Santa Cruz; Synes Elischka, Film Department of Aalto Arts in Helsinki; Project Manager of Virtual Cinema Lab (Research Group); President of NisiMasa, European Network of Young Cinema; George Barber; Alexandra Juhasz; Brooklyn CUNY; Marlon Titre; Denise Ziegler; Tuija Kokkonen, University of the Arts Helsinki; Duncan Higgins; Falk Hübner, University of the Arts Utrecht; Ola Johansson, Middlesex University; Julian Waite; Hartmut Wickert, Zurich University of the Arts; Kathleen Coessens; Anna Birch, RCS, UK; Oliver Case; Jonathan Impett; Nat Grant, independent artist; Heidi Norton; Jeremy Bolen; Stephen Lapthisophon; Robert Burnier; Xaviera Simmons; Kalina Yordanova; Amanda Ravetz; Christopher Wright, Goldsmiths, University of London; Oliver Walton, Bath Spa University, UK; Kiven Strohm, National University of Singapore; Thusinta Somalingam; Demelza Jones, Aston University Birmingham; Jessica Hemmings, University of Gothenburg, Sweden; Yasemin J. Erden; Annette Svaneklink Jakobsen, architect; Kristina Fridh, University of Gothenburg, Sweden; Stuart Medley, Edith Cowan University, Australia; Petra Gemeinboeck; Megan Walch; Martta Heikkilä; Eva Meyer-Keller; Luisa Menano, independent artist; Joanna Bucknall, University of Portsmouth, Birmingham University, UK; Monika Jaeckel; Johanna Householder, OCAD University, Toronto; David Maroto; Elena Cologni, University of Lincoln, University of Cambridge; Katie Hargrave, UTC, Department of Art, Bretske Hall; Daniel Fetzner; Sibylle Peters; Sara Hubrich, Fachhochschule Bielefeld; Birgit Wildt, independent researcher and writer; Francis Summers, UCA, Rochester, UK; Maymanah Farhat, independent scholar; Sri-Kartini Leet; Matthew Burbidge; Rebecca Partridge; Benjamin De Kosnik; Robin Rolfhamre, University of Agder; Allan Ballinger, Goodwin College, East Hartford, CT; James Bungert, Rocky Mountain College in Billings, Montana; Geoff Cox, Aarhus University/Plymouth University; Stephanie Schroedter, Freie Universität Berlin; Carlos Vidal; Denise Ziegler; Otto Muller; Ellie Irons; Jorge Lucero, University of Illinois, Urbana-Champaign; Volker Straebel; Hélène Frichot, Royal Institute of Technology Stockholm, Sweden; Laura Colombino, University of Genova, IT; Tom Lee; Sandeep Bhagwati, Concordia University Montreal; Kirstine Moffat; Ashley Walton; Paul Gladston, University of Nottingham; Jo Smith, Victoria University of Wellington, New Zealand; Lina Persson, University of the Arts, Stockholm; Geraldine Finn; Michael Iber; Andreas Schoon, Bern University of the Arts; Brahma Prakash ; William Keller; Alistair Payne, Glasgow School of Art; Yvonne Reiners, Staatliche Museen zu Berlin / Humboldt Forum; Patrick F. Durgin; Guadalupe López-Íñiguez, Sibelius Academy, University of the Arts Helsinki (Finland); Michelle Strizever; Johanna Drucker, UCLA; Martta Heikkilä; Sara Martinetti; Francis Halsall, National College of Art and Design, Dublin, University of the Free State, Bloemfontaine, South Africa; Paula van Beek, RMIT School of Art, Melbourne, Australia; Susannah R Gent, Sheffield Hallam University; Paul Struik, Wageningen University, NL; Rainer Stahlberg; Ylva Gustavsson, Stockholm Academy of Dramatic Arts/Stockholm University of the Arts; Julieanna Preston, Te Kunenga o Purehuroa Massey University, Wellington, Aotearoa; David Frankel; Felicia Chan, School of Arts, Languages and Cultures Manchester; Sean Lowry, University of Melbourne; Gwen Miller, University of South Africa; Steven D. Brown; Christa Robbins ; Ariel Gentalen; Judith Tucker, University of Leeds, Nicholas O’Brien, Dominic Symonds, University of Lincoln, UK; Carlotta Scioldo; Kerstin Abraham, Muthesius University Kiel, Germany; Leah Anderson, Ecole Cantonal d'Art du Valais (ECAV); Adriana Guiman, Aalto University, Helsinki; Jamie Allen; Sarah Albu, Koninklijk Conservatorium The Hague/Canadian New Music Network; Sarah Albu (r); Birgit M. Kaiser, Utrecht University; Tamarin Norwood, Ruskin School of Art, University of Oxford; Astrid Lorange, UNSW Sydney; David Maroto; Christo Doherty, University of the Witwatersrand, Johannesburg, South Africa; Seth Cluett; Shane Mc Kenna; Maja Popovic Vracar; Jane de Almeida, Mackenzie University - São Paulo, Brazil; Ryan Ross Smith, State University of New York at Oneonta; Cara Berger; Eric Lewis, McGill University, Montréal; Rat Western, Rhodes University, South Africa; Laura Luise Schultz, University of Copenhagen; Michael Dellwing, Universität Kassel; Alexandra James, Monash University; Dorothee Kreutzfeldt, WITS School of Arts; Viviana d’Auria, KU Leuven; Habibul Khondker, Zayed University Abu Dhabi, U.A.E.; Philip Smith; Annika Schlitte; Moritz Neumüller; Colin Davis, Royal Holloway, University of London; Louisa Minkin; Francesca Lanz; Emma Coffield; Peter Cariani; Jen Southern; Fee Altmann; Zachary Dunbar, University of Melbourne.

Peer Review Board

Isidro López-Aparicio

Jennifer Liese

Henk Borgdorff

Nicola Foster

Michael Schwab

London, UK

Affiliation: Helsinki University of the Arts, Zurich University of the Arts, Orpheus Institute, Ghent, University of the Applied Arts, Vienna.
Research interests: post-conceptual technology, photography, artistic research, printmaking, installation art

Michael Schwab is an artist and artistic researcher who interrogates post-conceptual uses of technology in a variety of media including photography, drawing, printmaking and installation art. He holds a PhD in photography from the Royal College of Art, London, that focuses on post-conceptual post-photography and artistic research methodology. He is visiting professor of artistic research at the Helsinki University of the Arts as well as research fellow at the Zurich University of the Arts, the Orpheus Institute, Ghent, where is a senior researcher in the research project MusicExperiment21, and the University of Applied Arts, Vienna, where he jointly leads Transpositions. Artistic Data Exploration. He is co-initiator and inaugural Editor-in-Chief of JAR, the Journal for Artistic Research.

Julian Klein

Berlin, Germany

Affiliation: http://www.artistic-research.de
Research interests: emotion, society, politics, music, theatre, aesthetics, performativity, neuroscience, Neuroaesthetics, History.

 

Julian Klein is director of the Institute for Artistic Research Berlin, Germany. He studied composition, music theory, mathematics and physics. He is founding member and artistic director of the interdisciplinary performance art group a rose is. From 2003 he was member of the Young Academy at the Berlin-Brandenburg Academy of Sciences and Humanities and the German National Academy of Natural Scientists Leopoldina. Currently he is collaborating scholar at Institute for Theatre Studies at Free University Berlin and research fellow at Concordia University, Montréal, Canada. Since 2007, he is teaching directing at the University of Arts Berlin.

Annette Arlander

Helsinki, Finland

Affiliation: Academy of Fine Arts University of the Arts Helsinki
Research interests: artistic research, performance as research, performance studies, environment

Annette Arlander is an artist, researcher and a pedagogue, one of the pioneers of Finnish performance art and a trailblazer of artistic research. She is educated as theatre director, Master of Arts (philosophy) and Doctor of Art (theatre and drama). She was the first to be awarded a doctorate from the Theatre Academy, Helsinki (in 1999). In 2001 she was invited as professor of performance art and theory to create the MA program in Live Art and performance studies, which she led until 2013. In 2015-2016 she was professor of artistic research at University of the Arts Helsinki. She is a member of the editorial board of JAR and Ruukku.

Arlander's research interests relate to artistic research, performance-as-research, performance studies, site-specificity and the environment. Her artwork is focused on performing landscape by means of video or recorded voice, moving between the traditions of performance art, video art and environmental art. annettearlander.com

Sher Doruff

Amsterdam, The Netherlands

Affiliation: Amsterdam University of the Arts, Gerrit Rietveld Academy

Sher Doruff has been working in the visual and performance-based collaborative arts in a variety of capacities since the 1970’s. She has a BA in Fine Art and was a practicing musician/ composer and scenographer in Chicago and New York. In the late 80’s-00’s her practice incorporated digital technologies in Live Art performance contexts. She received her PhD in 2006 from Central Saint Martins/UAL. Currently she coordinates the Making Things Public research group at the Gerrit Rietveld Academy and the THIRD cohort at the DAS Graduate School in Amsterdam for artists engaged in PhD research. She also tutors in the DAS Master of Choreography at the DAS Graduate School since 2002 and supervises artistic research projects in Europe and North America. She is on the editorial boards of the Journal of Artistic Research (JAR), Inflexions Journal of Research Creation, Fibreculture Journal and and has published numerous papers in academic and artistic contexts.

Barnaby Drabble

Spain

Research interests: Curating, exhibition, Conceptual art, visual art, Fine Arts, post-conceptual art, ecology, socially engaged art, Climate Change, environmental awareness, environmental art

Barnaby Drabble is a curator, writer and educator. His work focuses on social, political and environmental aspects of contemporary art in the broader context of visual culture. Projects have addressed issues of public space, urbanism, ecology, migration, intellectual property, social and environmental justice and civil disobedience.

He has curated numerous independent exhibitions, screenings, discussions and events in the public space. He contributes to art magazines, writes texts for catalogues, websites and thematic publications and has edited several collections of texts on curating.

He is co-founder of the discursive archiving project Curating Degree Zero, the office for cultural research and action Drabble+Sachs and the Postgraduate Program in Curating at the Zurich University of the Arts. He holds a PhD in visual culture and is involved in ongoing teaching and research at the ECAV, Sierre, Switzerland.

 

Mika Elo

Helsinki, Finland

Affiliation: University of the Arts Helsinki

Mika Elo is professor in artistic research at the University of the Arts Helsinki. His  research interests include theory of photographic media, philosophical media theory, and artistic research. He is participating in discussions in these areas in the capacity of curator, visual artist and researcher. In 2009-2011 he worked in the research project (figuresoftouch.com). In 2012-2013 he co-curated the Finnish exhibition Falling Trees at the Biennale Arte 2013 in Venice.

Leonella Grasso-Caprioli

Venice, Italy

Affiliation:
Conservatoire of Brescia and Padua University
Research interests:
"artistic research, music perfomance practices, music and theatre communication, interdisciplinarity, ecocriticism

Mareli Stolp

Cape Town, South Africa

Affiliation: University of South Africa

Phoebe Stubbs

London, UK

Research interests: optics, continental philosophy, light, language, artist's writing, glass, Fine Arts, photography

Phoebe is an artist, editor and writer based in London, and is currently the managing editor at the Journal for Artistic Research. She holds an MFA in Glass from the Rhode Island School of Design, USA, 2011, and an MA in Philosophy and Contemporary Critical Theory at the Centre for Research in Modern European Philosophy at Kingston University, UK, 2015.

Previously she was an editor at Black Dog Publishing, co-editing books on art and design and copy-editing texts on art research and artists' monographs. She now works in a freelance editorial capacity on small gallery publications, writes reviews, interviews and articles for ArtSlant on contemporary art as it intersects with social issues, and recently completed a collaborative research project for the Academic Commons Program at RISD titled 'Working with Words: Writing Pedagogy in Art and Design Education.'

Ed Crooks

Yorkshire, UK

Research interests: John Cage, postcolonialism, experimental music, Ananda K. Coomaraswamy

Edward Crooks is a copy-editor and proofreader, researcher, and smallholder. He holds a BA in contemporary fine art and an MA in sonic art, and received a PhD from the Department of Music at the University of York for his research on John Cage's borrowings from Ananda K. Coomaraswamy. He is the copy-editor of the Journal for Artistic Research (JAR) and of a series of books for the Orpheus Institute, Ghent. Books he has copy-edited have been published by Rodopi, Leuven University Press, and Ashgate; he has also provided editorial services for corporate and private clients including Naxos and PhD and MA students in the UK and Belgium. He lives in the wilds of the Yorkshire Wolds in the north of England where he co-runs a smallholding (a small farm), hosting a menagerie of animals including goats, sheep, pigs, turkeys, chickens, ducks, geese, five cats, and two Newfoundland dogs.

Male Günther

Berlin, Germany

Yara Gasque

Florianopolis, Brazil

Affiliation: PPGAV/UDESC; Member of the National Association for Researchers in the Arts, Anpap; Board Member of Brazilian Association for Cyberculture Researchers, ABCiber.
Research interests: Arts and Science, digital art, artistic process.

Independent artist and researcher and retired associate professor at the Postgraduate Program in Visual Arts of UDESC (State University of Santa Catarina), Brazil. Licenciate in Art Education (Alvarez Penteado Foundation FAAP); Master in Literature (Santa Catarina Federal University, UFSC); PhD (Communication and Semiotics Program of PUCSP); Post-Doctoral at the Aesthetics and Communication Department of Aarhus University 2012/2013.

Azadeh Fatehrad

UK, Iran

Affiliation: Royal College of Art

Research interests: feminist movement, Photography, visual art, art theory, artistic research, Cultural production

Dr. Azadeh Fatehrad is an artist and curator based in London. Her research engages with postcolonial feminism. Fatehrad’s research, artistic and curatorial practice are intertwined around a process of gathering information and generating new imagery in response to archival material she discovers. Fatehrad has made extensive use of archival material including those held at the Weltkulturen Museum, Frankfurt am Main; the International Institute of Social History (IISH), Amsterdam; and the Institute for Iranian Contemporary Historical Studies (IICHS), Tehran. This allowed her to develop new insights into feminist history, in particular Iran’s women’s movement, and devise a related series of public programmes including exhibitions, conferences and workshops including, ‘Hengameh Golestan: Witness 1979’ at The SHOWROOM London (2015), as well as ‘The Feminist Historiography’ at IASPIS, Stockholm (2016). She has presented academic papers at a variety of conferences and symposiums, such as ‘The Neo-traditionalist: Representation of women in post-revolutionary Iran’, Moderna Museet, Stockholm; and ‘Challenging Gender, Embracing Intersectionality’ at Kingston University, London. Fatehrad is currently curator of Beyond the Frame in partnership with Iniva, UAL, and the Liverpool Biennial. She has exhibited her work internationally in London, Vancouver, Amsterdam and Tehran.

Bryndis Snæbjörnsdóttir

Iceland

Affiliation: Director v.arc - Valand Artistic Research Centre  2011- 2013, Professor Akademin Valand 2010-2015, Research Fellow Centre for Art and Environment, Nevada Museum of Art, U.S. 2013-2015

Bryndis Snæbjörnsdóttir collaborates with the artist Mark Wilson  as Snæbjörnsdóttir/Wilson

Bryndís Snæbjörnsdóttir graduated with an MFA from Glasgow School of Art (1995) and completed a practice based PhD from Valand School of Art in Gothenburg in 2009. Mark Wilson studied at University of Sunderland in the UK and has a PhD from the University of Lancaster (2012).

Bryndís & Mark are a collaborative artist team, whose art practice is research based and socially-engaged, exploring issues of history, culture and environment in relation to both humans and non-human animals. Their artworks have been exhibited internationally and they have delivered papers at key conferences in animal studies worldwide. One of their art projects nanoq: flat out and bluesome an artist survey of stuffed polar bears in the UK has been touring Europe since 2006. Uncertainty in the City, an art project exploring the conception of ‘pest’ in the human psyche was exhibited in Lancaster, in England in 2010 and a publication with the same name was published by Green Box, Berlin in June 2011. Their work Vanishing Point: Where Species Meet is part of the Gothenburg Biennial 2011 and was also exhibited at the State Darwin Museum in Moscow as part of the 5th Moscow Biennial in 2013. The project between you and me was exhibited at  Kalmar Konstmuseum in 2010 and at Interactive Futures '11: Animal Influence, in Vancouver, B.C. Canada in November 2011. Their work is installation based, using text, sound, photographic and video-based media. For more information on their work see:

www.snaebjornsdottirwilson.com

Alys Longley

New Zealand

Affiliation: Creative Arts and Industries, University of Auckland

Research interests: Interdisciplinary practice, choreography and performance, performance writing, poetry, Site-specific;, somatics, Dance education

Alys’s research interests include practice-led research, interdisciplinary projects, ethnography, somatic practices, ecology and inclusive dance education. She has recently led the project fluid city, an art-science-education project on water-sustainability. Her book The Foreign Language of Motion was published in 2014 with Winchester University Press’s Preface Series and her book Radio Strainer was published in 2016.

Dominic Redfern

Australia
Affiliations: MFA Leader, School of Art, RMIT University

Dominic Redfern is a video artist who works at the intersection of site, screen and identity, giving critical expression to the complexity of screen-mediated experience. Over recent years his practice has become increasingly focused on the history of natural history and contemporary understandings of place. These interests are expressed with a self-conscious approach to the technology and culture of video, making it both both subject and medium for his work.  Dominic is an Associate Professor in the School of Art at RMIT University in Melbourne.

Over the last couple of years Dominic has had exhibitions at home as well as in Tokyo, Stockholm and Shanghai and he has undertaken research in Orkney and La Rochelle for future projects. Over the last decade his work has also been seen at venues including the Tate Modern, Norwich Gallery and Bristol’s FACT in the UK; Te Tuhi Centre for The Arts, New Zealand; the Gallery of Modern Art in Brisbane; Perth International Arts Festival; Perth Institute for Contemporary Art; in the US at the Art Institute of Chicago, the Museum of New Art, Detroit, and Art in General in New York; Sparwasser HQ, the Interface Festival and Hamburger Bahnhof in Berlin; Kunstnernes Hus, Oslo; at the Bangkok Experimental Film Festival; Ian Potter Museum, Melbourne; at Alternative Space LOOP, Seoul, as well as Gallery Minami, Tokyo Wonder Site, and Remo Gallery in Japan.

Laura F. Gibellini

Spain, United States

Affiliation: School of Visual Arts, NYC. TAI-Centro Universitario de Arte (Madrid)

Research interests: drawing, art practice, art theory, atmospheric conditions, place, space

Laura F. Gibellini is a visual artist and theorist based in Madrid and New York City.

She received her PhD from Complutense University of Madrid (2010) after conducting her main research both at MoMA and The Aldrich Contemporary Art Museum. She is Faculty in the MFA in Art Practice at the School of Visual Arts (NYC) and a Professor at TAI-Centro Universitario de Arte (Madrid).

Recent projects include a Residency at The Banff Centre for the Arts and Creativity (Canada) and a Fellowshio at the Spanish Academy in Rome (Italy). Her most up-to-date collection of works will take the form of a book (Atmospheric Meditations: Before Present (338U- 710 U))to be published in 2017 by NocaPaper and Slowtrack on the occasion of a solo-show of her work in Madrid (May 2017).

www.laurafgibellini.com

Brahma Prakash

India

Affiliation: Assistant Professor, Theatre and Performance Studies, School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi

Research interests: performance, creative practice, imagination

Brahma Prakash is a poet and playwright from India, and is currently working as Assistant Professor of Theatre and Performance at the School of Arts and Aesthetics, Jawaharlal Nehru Univeristy, New Delhi. He completed his PhD in theatre and performance studies from Royal Holloway, University of London.  He has published several articles on Indian performance practices.
http://www.jnu.ac.in/FacultyStaff/ShowProfile.asp?SendUserName=brahmaprakash

Dominique Lämmli

Switzerland

Research for foa-flux (foa-flux.net) and the Institute for Contemporary Art Research (IFCAR). The artistic and scientific focus is on drawing and painting strategies throughout various media, and the functions of art in glocal contexts.

Professor of drawing/painting at the Zurich University of the Arts since 2009; former teaching at the Swiss Federal Institute of Technology (ETH) Zurich, Kunsthochschule Berlin, and the Amsterdam School of Arts (DasArts)

Fellowship Akademie Schloss Solitude and various other art grants and studio residencies in the last twenty years. For further information on her art and exhibitions see artist webpage (dominiquelaemmli.ch).

 

Tero Nauha

Finland

Affiliation: Theatre Academy of the Art Institute Helsinki

Research interests: artistic research, schizoanalysis, speculative materialism

Tero Nauha is a performance and visual artist. He studied fine arts at the Rijksakademie van Beeldende Kunsten in Amsterdam. He defended his doctoral research at the Theatre Academy of the University of the Arts in Helsinki, in January 2016. His research takes a critical approach to schizoanalysis as applied to artistic practice in the context of post-industrial capitalism. The artistic practice of Tero Nauha is integrally connected with his theoretical research from schizoanalysis to speculative materialism. If we may speculate that ‘all thoughts are equal’ or that ‘everything thinks’, and to regard how this undermines the position of theory or philosophy as the ‘capital form of thought’, then, Nauha continues to ask, what it would mean for artistic practice?  He aims to tackle these intricate speculations on visual and performance art practice. He has presented his research at leading conferences in the field, including PSi, IFTR, Performance and Philosophy, and New Materialism, among others, and has published peer-reviewed articles and other texts internationally. In 2015 he published his first fiction book Heresy & Provocation for a Swedish publishing house Förlaget. Nauha has been working in an interdisciplinary field between artists, political scientists, and economists in Mollecular organization at Future Art Base, Aalto University. His artistic works have been presented, among other venues, at Manifesta10, Frankfurter Kunstverein, Theatrediscounter in Berlin, CSW Kronika in Bytom, Poland, Performance Matters in London, at New Performance festival in Turku, and Kiasma Theatre in Helsinki.

Paulo de Assis

Belgium, Portugal

Affiliation: Orpheus Institute

Paulo de Assis is the ERC Principal Investigator of MusicExperiment21—an artistic research project funded by the European Research Council, hosted at the Orpheus Institute (BE). He is a pianist, musicologist, composer and artist-researcher with transdisciplinary interests in Philosophy (Foucault, Deleuze, Guattari, Barthes, Sauvagnargues), Aesthetics (Rancière, Didi-Huberman) and Epistemology (Rheinberger). He studied piano in Germany and Switzerland with Vitaly Margulis and Alexis Weissenberg (a.o.) and Musicology with Jürg Stenzl and André Richard (a.o.), receiving a PhD and a post-doctoral appointment on the works of Luigi Nono. Commissioned by the Foundation Giorgio Cini (Venice), he completed, published and premiered Camillo Togni’s piano concerto in 2006. Between 2009 and 2013 he was Senior Researcher at the Centre for the Aesthetics and Sociology of Music (CESEM) at the University Nova Lisbon, where he coordinated the research strand ‘Composition, Performance, Experimentation’. A pianist of the classical repertoire and an expert in contemporary music (particularly in the musics of Luigi Nono and Emmanuel Nunes), his research interests currently focus on the development of experimental performance  practices, including innovative approaches to materials (from a New-Materialist position), methods (experimental systems), and processes (assemblage theory).

Recent artistic projects include Rasch X (with music of Schumann and texts by Barthes), Unfolding Waves (on music by Luigi Nono and De Assis), Diabelli Machines (on Beethoven’s Diabelli Variations), Nietzsche N (on music and texts by Nietzsche).

He published two books as author and eight as editor. In 2013 he was guest professor at the University of Toulouse (FRA); in 2015 and 2016 guest lecturer at the Music School Katarina Gurska, Madrid (ESP); 2016 CMPS Visting Fellow at the University of Cambridge (UK).

He is fluent in English, French, German, Italian, Portuguese and Spanish.

Ola Johansson

United Kingdom

Affiliations: Reader in Contemporary Performance Practice at Centre for Research into Creation in the Performing Arts (ResCen), Middlesex University

Ola Johansson is Reader in Contemporary Performance Practice at Centre for Research into Creation in the Performing Arts (ResCen), Middlesex University. He has taught and conducted theoretical and practice-led research in applied performance in the UK, India, Australia, Tanzania and South Africa. Along with works of performance art and video art, Johansson has published two books: Performance and Philosophy: Interdisciplinary Approaches to the Performing Arts (Saarbrücken: VDM Verlag, 2008), and Community Theatre and AIDS (Basingstoke: Palgrave Macmillan, 2011). Furthermore, he has worked as a theatre critic and documentary filmmaker. Johansson's next monograph will deal with the democratic legacy and future of applied and performance art.Alys’s research interests include practice-led research, interdisciplinary projects, ethnography, somatic practices, ecology and inclusive dance education. She has recently led the project fluid city, an art-science-education project on water-sustainability. Her book The Foreign Language of Motion was published in 2014 with Winchester University Press’s Preface Series and her book Radio Strainer was published in 2016.

Alice Lagaay

Germany

Affiliations: Professor for Media Studies and Cultural History (interim), Zeppelin University, Friedrichshafen.
Research interests: Performance philosophy, creative indifference, philosophy, media studies, cultural studies.

Victoria Hunter

UK

Affiliations: Senior Lecturer in Dance, University of Chichester.
Research interests: Dance, site-specific choreography

Alys’s research interests include practice-led research, interdisciplinary projects, ethnography, somatic practices, ecology and inclusive dance education. She has recently led the project fluid city, an art-science-education project on water-sustainability. Her book The Foreign Language of Motion was published in 2014 with Winchester University Press’s Preface Series and her book Radio Strainer was published in 2016.

Ami Skånberg Dahlstedt

Sweden, UK

Affiliations: Artistic Research Coordinator, Nordic Summer University
Research interests: artistic research, auto-ethnography, affect, Body based art, Body, Japanese dance, Noh theatre, Nihon Buyo, nomadism, walking, Walking Art; Social Art Practice; Perfromance & Artistic Intervention, feminism, aging body

Ami Skånberg Dahlstedt is a Swedish performer, choreographer, filmmaker and writer. Ami often creates stage work (solo, and collaborative) on the basis of her embodied life story in a particular theme.  Her 90 min solo performance "A particular act of survival" received a performing arts award at Scenkonstgalan in Sweden in 2015. In April 2017 her new solo piece The laugh of the Medusa will have its premiere. It is also the title of Hélène Cixous' manifesto for the liberation from the patriarchal stranglehold. The slow walk suriashi is essential in Ami's practice, which she has studied since 2000 with her teacher Nishikawa Senrei in Kyoto, Japan. Since 2014, she walks in suriashi in different spaces while asking: How can suriashi, shaped in a Japanese context, be a method to approach a place, a city, a room? How can suriashi - originally a basic training method of classical Japanese theater and dance - become an artistic expression in itself?

How can suriashi be an intervention in a public space? How can an exclusive Japanese training method become a democratic and feminist method in order to investigate a space, while examining how bodies and immaterial/material monuments are positioned, and thereby change the view of work and economy in the city?

Ami also explores the various accents her dancing contains, where nihon buyo has been an important source of knowledge the last fifteen years.

In March 2015, Ami was appointed coordinator, together with the visual artist Lucy Lyons, for the Nordic Summer Universiity Study Circle 7: Practicing Communities - Transformative societal strategies of artistic research.

Martin Nachbar

Berlin, Germany

Affiliations: Taught at New Dance Development (SNDO), the Inter-University Centre for Dance Berlin (HZT), the Salzburg Experimental Academy of Dance (SEAD), P.A.R.T.S. and the LABAN Dance Centre.

Martin Nachbar, Berlin, is a performer and choreographer. He trained at the AMCh and the SNDO, Amsterdam, in New York, and at PARTS, Brussels. Nachbar collaborated with artists of different fields: Thomas Plischke, Vera Mantero, Les Ballets C. de la B., Meg Stuart, Jochen Roller, Paul Hendrikse, Martine Pisani, Benjamin Schweitzer a.o. His pieces include “Urheben Aufheben“, with a reconstruction of Dore Hoyer’s “Affectos Humanos“, and “Repeater“, in which Nachbar invited his non-dancer father to dance with him. In Nachbar's "The Walk" he and his five collaborators look at walking as dancing. The piece has seen an indoors version and it took place outdoors, once around the block of the theater. "Animal Dances", an exploration of animal-human relationships through imitation, and "Thingamajig", an attempt to look at dance and watching dance as interwoven physical work, are Nachbar's latest productions. Nachbar teaches and tours internationally. He is currently member of the research and PhD group "Assembly & Participation" at the HCU Hamburg, where he conducts transdisciplinary research on walking in groups as a mode of communal and performative influencing city spaces.

Sozita Goudouna

USA, Greece, UK

Affiliations: New York University, The inaugural Andrew W. Mellon Curatorial Fellow at Performa New York

Dr. Sozita Goudouna’s book on art and respiration entitled “Mediated Breath: Interfaces between Beckett's intermedial Breath, Fried's Theatricality and the Visual Arts” is forthcoming in 2014. Sozita is collaborating with  Marina Abramovic' film Seven Deaths" conceived by the performance artist in collaboration with seven prominent directors. She is the founding director of Out Of The Box Intermedia  and has curated intermedia projects in London and Athens in venues such as the Shunt Vaults, Hunterian Museum, French Institute, ICA, Barbican Centre, Benaki Museum, Byzantine Museum, Historical Archives Museum, Place-London and in the public sphere and has collaborated with artists such as : Raqs Media Collective, Werner Nekes, Mat Collishaw, Dorothy Cross, Andrea Geyger, The International Institute of Important Items, Martin Sexton and others.

Sozita is the artistic director of the new programme PublicScapes: Art and Curatorial Practices in the Public Sphere that was launched in November 2013 at the centre of Athens. Publicscapes is organised by Art-Professionals-In-Athens Residency: a new Artist/Curator/Collector-in-Residence supported by NSRF under the auspices of the Ministry of Culture.

For more information please visit: http://www.outoftheboxintermedia.org/

Paul Landon

Canada

Affiliations: Professor École des arts visuels et médiatiques UQÀM
Research interests: fine art, video, installation, video art

Paul Landon’s parctice and research focus on notions of wandering, architecture and urban transformation. He works with video, sound, photography, drawing and the relationships these media have with architecture and spatio-temporal perception.

Paul Landon lives and works in Montréal, where he is a professor of Media Arts at the École des arts visuels et médiatiques of UQAM, and sporadically in Helsinki, where he recently completed a Doctorate in Fine Arts at the Finnish Academy of Fine Arts.

Saara Hacklin

Finland

Affiliations: Reader in Department of History, Culture, Philosophy and Art, University of Helsinki

Randall Packer

USA, Singapore

Affiliations: Associate Professor for Networked Art, Nanyang Technological University in Singapore

Since the 1980s, multimedia artist, composer, writer and educator Randall Packer has worked at the intersection of interactive media and live performance. He has received international acclaim for his socially and politically infused critique of media culture, and has performed and exhibited at museums, theaters, and festivals throughout the world. Packer is also a writer and scholar in new media, most notably the co-editor of Multimedia: From Wagner to Virtual Reality and the author of his long running blog: Reportage from the Aesthetic Edge. He holds an MFA and PhD in music composition and has taught multimedia at the University of California, Berkeley, Maryland Institute College of Art, American University, CalArts, and Johns Hopkins University. He is currently a Visiting Associate Professor at the School of Art, Design & Media at Nanyang Technological University in Singapore, where he teaches the art of the networked practice. Most recently, he developed Open Source Studio (OSS), an international project exploring collaborative online research and teaching in the media arts.  Packer is also an artist educator at the Museum of Modern Art: his online course received an award from Museums and the Web as the best educational site of 2014. Packer works and teaches remotely from his underground studio bunker in Washington, DC.

Vincent Meelberg

Netherlands

Affiliation: Radboud University Nijmegen, Leiden University
Research interests: music, performance, sound, sound art, creativity, Interaction

Vincent Meelberg (1970) is senior lecturer and researcher at Radboud University Nijmegen, the Netherlands, Department of Cultural Studies, and at the Academy for Creative and Performing Arts in Leiden and The Hague. He studied double bass at the Conservatoire of Rotterdam, and received his MA both in musicology and in philosophy at Utrecht University. He wrote his dissertation on the relation between narrativity and contemporary music at Leiden University, Department of Literary Studies. Vincent Meelberg has published in several journals and has contributed chapters to several edited books, both in English and Dutch. In addition, he has written several books: New Sounds, New Stories: Narrativity in Contemporary Music, which was published in 2006 by Leiden University Press, Meer dan ontspanning alleen: Over het belang van muziek [More than Mere Entertainment: On the Importance of Music] (co-authors Roger Scruton and Martin Hoondert), published by Damon, and Kernthema’s in het muziekonderzoek [Key Themes in Music Studies], published by Boom in 2010. Furthermore, he co-edited, together with Barry Truax and Marcel Cobussen, the Routledge Companion to Sounding Art (2017). He is founding editor of the online Journal of Sonic Studies. His current research focuses on the relation between sound, interaction, and creativity. Beside his academic activities he is active as a double bassist in several jazz groups, as well as a sound designer.

Martin Supper

Germany

Affiliation: Honorary professor, Udk Berlin, Electroacoustic Music Institute of Musicology

Iris Garrelfs

United Kingdom

Affiliation: Goldsmiths University of London
Research interests: sound, process, voice, documentation, workflow, Practice Research, improvisation

Iris Garrelfs works on the cusp of music, art and sociology across improvised performance, multi-channel installation and fixed media projects. She was one of the first UK artists to combine voice with digital processing and still often uses voice as raw material, which she transmutes into machine noises, choral works or pulverised “into granules of electroacoustic babble and glitch, generating animated dialogues between innate human expressiveness and the overt artifice of digital processing” as the Wire Magazine put it. Iris is interested in modes of listening as a way of connecting to the world. As a result she often works with site, not just as investigations of the geographical, historic or sociological aspects of each locality, but also as poetic evocations of presence on the one hand and presence within a space or situation on the other.

Her work has been included in major institutions worldwide, for example Tate Britain, National Gallery London, Royal Academy Of Arts London, Visiones Sonores Mexico, Palazzo delle Esposizioni Rome, MC Gallery New York. Residencies have included Grizedale Art (UK), Institute of Modern Art Celje (Slovenia), Onassis Cultural Centre Athens (Greece).

With a PhD from University of the Arts London, Iris’ research interest focuses on the process of creative practice. As a postdoctoral researcher at Chelsea College of Art, she applied her model of process in sound art practice - entitled Procedural Blending - to the development of a model for active metadata as part of the interdisciplinary, cross-university CREAM project. She is currently Senior Lecurer in Sonic Arts at Goldsmiths University of Arts, London.

David Roesner

Germany

Affiliation: LMU Munich, Theatre studies
Research interests: Music theatre, musical theatre, incidental music, intermediality

Prof Dr David Roesner is Professor for Theatre and Music-Theatre at the LMU Munich. He previously worked at the Universities of Hildesheim, Exeter and Kent. In 2003 he published his first monograph on ‘Theatre as Music’ and later won the Thurnau Award for Music-Theatre Studies for his article “The politics of the polyphony of performance” in 2007. Recent publications include Theatre Noise. The Sound of Performance (with Lynne Kendrick, CSP, 2011), Composed Theatre. Aesthetics, Practices, Processes (with Matthias Rebstock, Intellect, 2012) and his latest monograph Musicality in Theatre. Music as Model, Method and Metaphor in Theatre-Making (Ashgate 2014). For a full list of publications and projects see: http://mhn.academia.edu/DavidRoesner.

Jennifer Liese

Rhode Island, USA

Jennifer Liese is Director of the Writing Center at Rhode Island School of Design, where she also teaches graduate seminar-workshops on artists’ writings (as a genre) and writing for artists (as a practice) in the contexts of both the Master’s thesis and publications. She is the editor of the forthcoming Social Medium: Artists Writing, 2000–2015 (Paper Monument, 2016), an anthology that surveys the contemporary field and the many ways in which artists experiment with conventional rhetoric at a time when writing itself is under reconstruction. Liese was managing editor of Artforum, editor of Provincetown Arts, and an editor (now contributing editor) of Cabinet. Her writing has appeared in Artforum, Bookforum, Cabinet, BOMB, and Paper Monument (see “Toward a History [and Future] of the Artist Statement”).

TOP