RC II publication

  • introduction Lilia: 500 words
  • overview individual presentations: 100 words * 5 = 500 words
  • introduction by Kristien: 500 words
  • description of the collective score + introduction of Olga: 500 words
  • overview of contributions: 100*7 = 700 words
  • the 10.000 words of Q&A
  • Biographies Lili, Pia, Esteban, Davide, Breg, Lilia, Vladimir, Nicolas, Kristien, Elke: 200*10 = 2000 words
  • colophon


CYCLE 2: Research Centre 2020/2021
Publishing Artistic Research, The Annex
(introduction by Lilia)

CYCLE 2: List of publications

Looking for Anchovies paste
Introduction by Kristien about the working process

The Annex: Score for what your research did to me + description of Olga

  • The magnets, by Esteban
    *Conversation triptych, by Pia, Lili, Breg, Vladimir and Elke
    • spatial scripts
    • drifts of desire
    • fans of paranoia
  • Authotheory, by Pia and Esteban
  • Anchovies game, by Kristien
  • Writing score on fieldwork(?), Davide


CYCLE 2: List of publications

I’m Not Sad, The World Is Sad

An artistic research novel by Pia Louwerens

I’m Not Sad, The World Is Sad is an autotheoretical, semi-fictional account of a performance artist who lands a part-time job as an Embedded Artistic Researcher in an art institution. Invested in queer theory and institutional critique, she sets out to perform the artist ‘differently’ through a process of negation and passivity, inadvertently causing her relationship with the institution’s curator to grow increasingly speculative and paranoid. Louwerens' labour as tour guide, security guard, artist, hostess and researcher at different institutions begins to overlap and blend under the name of ‘performance.’ I’m Not Sad, The World Is Sad is a fragmented story of paranoid and reparative reading, script and utterance, exposure and vulnerability.

Where Do You Draw the Line Between Art and Politics

A series of interviews by Davide Tidoni

Where Do You Draw the Line Between Art and Politics consists of a series of interviews with individuals who have been active in various capacities at the intersection of art and politics. Between historical documentation, political memory, dialogic reflection, and motivational support, the publication examines the experiences, commitments and feelings that operate and inform aesthetic priorities in social spaces outside of art institutions; it’s a repository designed to inspire and encourage the politicization of aesthetics, as opposed to the aestheticization of politics.

Conversation: Spatial Scripts

It was during the first lockdown when an online session on archives, hosted by Breg, led Vladimir to show a documentation photo from a commoning practice. The photo depicted sloppy layers of written upon papers, hanging on the wall. They functioned as a script, a score, a schedule and documentation. Pia and Vladimir started talking about how objects in space are like scripts: both cause for and effect of our lives and practices. Being in lockdown, they wondered how the domestic can be a place of experimentation in that regard. They recorded this conversation on the following question: how to rewrite the spatial script?