‘Reflections’ are diverse ‘op-eds’ in which artists, researchers, peer-reviewers, editors and readers express their view on what is going on in the field of artistic research. Reflections are not peer reviewed; restrictions in terms of language, length, topic or theme do not apply.

For more information about submitting your own ‘reflection’ please continue reading here.

 

Philosophy AS artistic research:* Philosophy On Stage

Arno Böhler

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. When Marx criticized pre-marxist philosophies that they have just interpreted the world, but not changed it, this claim is very much in line with arts-based-philosophy.

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Building a Culture for Dissemination of Artistic Research

Cecilie Broch Knudsen

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.

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Curating for Research

Joey Orr

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.

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Project Anywhere: Problems of Representation and Evaluation

Sean Lowry

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.

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DARE for a People Yet to Come

Paolo Giudici

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 2014 by Paulo de Assis as part of Music Experiment 21, Experimentation versus Interpretation.

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Passivity as Activity

Saara Hacklin

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.

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Breve História – Artistic Research in Brazil

Gilbertto Prado, Milton Sogabe, Yara Guasque

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.

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New Validities

Jessyca Hutchens, Anita Paz, Naomi Vogt, and Nina Wakeford

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.

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Short Reflections on Time, Drawing and Practice

Laura F. Gibellini

Foreword. 1-9

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 and takes on a particular aesthetic form.

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Fictioning a performance

Tero Nauha

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 the Performance Philosophy conference at Surrey, but also in performance venues such as theatre.now in Kiasma, Helsinki and New Performance in Tehdasteatteri, Turku.

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What is artistic research?

Julian Klein

Sorry, the question is wrongly put, Good Man (1978). We should ask, when is research artistic? But let us start from the end.

Research

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 use of this knowledge to devise new applications.” (OECD Glossary of Statistical Terms, 2008).

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