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.
My current research analyses the emergence of the twentieth century French livre d’artiste, sometimes called the artists book, as a strategic instrument of cultural resistance in France during the Second World War. I am examining the wide spectrum of innovative codes and symbols that artists camouflaged in the images of their books to communicate their anti-occupation messages. My research, using quantitative analysis which involved creating a special purpose database, also led to the discovery of a hitherto unreported post-war resurgence of the artist’s book in France. Previously, I was in business in a 35-year professional career in both the government and private sector, in London and Sydney and pursued my art history career as a mature aged scholar.
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 am a scholar, artist and cultural activist. My work involves networked media, participatory events and experimental publishing.
I’m a Librarian and artist who lives in Brighton, and works in London.