This paper offers a philosophical perspective to the politics of arts-based and artistic research. My argument is that instead of participating in a multiplication of voices within the existing academic frameworks, the radical political potential of arts-based and artistic research can be grounded in a corrosive silence that disrupts the very premise of knowledge-production.
A short article titled Remote Encounters: a report about networking practitioners on the Remote Encounters conference and Liminalities journal special issue published on Digicult.it. The report specifically addresses my own objectives as both organiser of the conference and journal issue and artist/researcher.
I describe myself as a cultural historian to reflect my interest in a range of practices and reflections on performing, directing, designing and writing for, and about, theatre in the 20th and 21st centuries and on arts funding, museology, curating and archiving. I am interested in many things from Shakespeare inspired performances in prisoner-of-war camps to Keith Moon’s exploding drum kit and Vivien Leigh’s wigs; from close textual analysis to close analysis of regional theatre budgets and detailed analysis of theatre costumes (see publications for more details). I can summarise my approach to, and interest in, all these areas through five questions:
These questions guide my research and my collaborations with artists, researchers and students.
I am an artist, educator, and researcher based in London (UK) and Gothenburg (Swe) working in the intersections between contemporary art, feminist pedagogies, and institutional analysis by experimenting with intersectional knowledge practices. I currently conduct doctoral research in artistic practice at Valand Academy, University of Gothenburg investigating the micro-politics of publishing and dissemination. More concretely I research through artistic practice the coercive reciprocity between authorship, authorization and authority and this triangulation’s impact on intersectional feminist and postcolonial practice and theory. How to “bridge potentially incompatible cultures between “disciplined” and “undisciplined” (academic/non-academic) research” ? (Femke Snelting/Kate Rich, 2018) The writing of the thesis is taking place on a mediawiki. Current and recent projects include AND Publishing (with Rosalie Schweiker, London), The Piracy Project (with Andrea Francke, London), and Let’s Mobilize: What is Feminist Pedagogy (with Feminist Pedagogy Working Group, Valand Academy Gothenburg) and Help! David Cameron likes my art (with John Moseley and Titus Kroder). http://www.andpublishing.org http://www.akademinvaland.gu.se wiki.evaweinmayr.com
I’m a Librarian and artist who lives in Brighton, and works in London.
Frans Ari Prasetyo (email@example.com) is an independent researcher and photographer. His interests are the evolution of urban politics, culture and sub-cultures, artists and underground activists, using a methodology that is strongly community-research based and relies on urban culture/planning, visual anthropology/ethnography. He join in Etnography Lab – University of Toronto
Nikos Pegioudis is an art historian. He has received his PhD from the Department of History of Art at University College London (UCL) in 2015 with a dissertation titled ‘Artists and Radicalism in Germany, 1890-1933: Reform, Politics and the Paradoxes of the Avant-Garde’. In 2017-2018 he obtained a DAAD fellowship for a postodoctoral research project at the Freie Universität Berlin which was titled ‘Cultural Transfer in Architecture and Urban Planning: German Architecture and the Making of the Architect’s Profession in Greece, 1930-1950’. He has written various articles on the history of art, design and architecture in peer-reviewed academic journals and volumes. His main research interests are in German and Greek visual culture, architecture, the sociology of the avant-garde, politics of artistic professions, artistic labor and economic precarity.