Discussions on artistic research is mostly happening in the Global North with very few voices from the Global South and nearly no voices from the Global East.

Philosophy as artistic research is a concept of philosophy in which poiesis,1 the process of letting something materially come into being (be-coming), is considered the core performance of philosophy.

On request from the Norwegian Council for Artistic Research, an investigation on publishing and dissemination of Artistic Research was completed in April 2017. The report was conducted by a working group led by Jørn Mortensen, Rector at Oslo National Academy of the Arts.

Research and creative processes bring things into the world imperfectly. That is the syntax of making. What kinds of perspectives might we adopt toward the institutional integration of art and research? In conversation with U.S. poet and scholar Joan Retallack, artist and composer John Cage stated: “When I find myself in the position of someone who would change something—at that point I don’t change it. I change myself.

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 constitute a single project, it can be particularly difficult to determine how and when it is best represented.

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).

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 and presents (documentary) fragments of it. However, during my review I got the impression that passivity was defined – as the starting point – as something negative. Against my own research background, this seemed problematic.

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 associations of art historians and art researchers.

OAR: The Oxford Artistic and Practice Based Research Platform emerged in 2014 out of a set of conversations held within a theory and practice-led doctoral program at the Ruskin School of Art, University of Oxford. A group of us were trying to find a productive focus for the debates and discussions around the ways the terms ‘artistic research’ and ‘practice-based research’ were being mobilized in educational and art institutions to offer particular forms of research greater visibility and legitimation.

Contesto