This brief account traces a panorama of the initial growth and formation of visual arts postgraduate programs in Brazil. The origin of Brazilian postgraduate programs in the arts was from inheriting the discipline of art history that originally belonged to the history department. In addition, the development of art programs has received substantial input from the various
I reviewed an exposition by Lucie Tuma and Jens Badura in JAR 7 called “It’s doing it – towards a phenomenology of passivity.” It has at its heart an attempt to study passivity. My initial reaction was that the submission was approaching themes central for artistic practice – it presents a question (passivity). Further, it dismantles the (practice based) research
DARE is a series of international conferences on Deleuze and Artistic Research organised by the Orpheus Institute (Ghent, Belgium). Held every two years at the Orpheus Institute and in other venues in Ghent, the conference is currently preparing its third edition DARE 2019: Machinic Assemblages of Desire (9-11 December 2019). The conference was initiated in July
Artistic research, like the world of a work of art, is presented in multiple ways in its often-uneven passage from conception through production to dissemination. And like a work of art, it can manifest across a complex distribution of materialisations. This complexity invariably presents challenges. Given the indeterminate nature and material manifestations that might
La ricerca artistica quale strategia di sviluppo e di internazionalizzazione dei Conservatori e delle Accademie europee Leonella Grasso Caprioli
Come noto, in seguito alla riforma avviata dal Bologna Process (1999), in Europa i Conservatori e le Accademie di Belle Arti, Danza e Arte drammatica hanno assunto lo status di Istituzioni di Alta Formazione di livello universitario. In questo quadro, le istituzioni italiane AFAM sono chiamate ad esprimere non solo una capacità didattica di eccellenza ma, in prospettiva, anche una attività
Sorry, the question is wrongly put, Good Man (1978). We should ask, when is research artistic? But let us start from the end.
According to the UNESCO definition, research is “any creative systematic activity undertaken in order to increase the stock of knowledge, including knowledge about humanity, culture and society, and the
In 2015 I started a project with two non-digital devices — a vinyl-record turntable and Theremin — in a performance lecture. One of the first presentations took place at the Deleuze and Artistic Research (DARE) conference held at the Orpheus Institute in Ghent, November 2015. Since then I have experimented with these devices in both academic conferences, such as TAPRA in Bristol and
1. Drawing can be considered a form of mark making.
2. Drawing can also be thought as a practice that implies a material or immaterial gesture, an idea that is thrown onto the world—exceeding the paper, the wall, or any other surface or space that it might occupy.
3. In that sense, drawing could be considered performative, as the process of performing an idea, which becomes a gesture
At a seminar organised in Helsinki a few years ago Janneke Wesseling referred to artistic research as a mode of speculative thought, which immediately inspired me to insist on artistic research as a form of speculative practice. That said, it is of course hard to imagine an artistic practice without thought. A few weeks later I had the opportunity to participate in a conversation