Artistic Research: Sharing Methods and Practices

During the first meeting, Anouk Hoogendoorn, who is interested in associations and fabulates with what they propose, will start, and she will be followed by Marcelo de Melo, who concerns himself with the mosaical framework in sculptural and installation art. Below are their biographies.

Anouk Hoogendoorn’s practice is both theoretical/textual and visual, rather a lure to think-feel than a fixed presentation. She plays with her associations and fabulates with what they propose. Her texts, photos, sketches, video- and audioworks are moments of these processes, which are not always understandable, but hearable; not personal, but intimate; and – being active in the emergent collectivity of Senselab – not lonely but together even when alone.

During a sweaty hot summer the ‘o’ key on Anouk Hoogendoorn’s keyboard stopped working and simultaneously started adding o’s to all the other keys on the same row left of it. Suddenly in everything written there were jumping o’s; disappearing when typed, appearing when not.

The practice of writing and reading attuned to the o’s, relaying the o’s that were already jumping. Sometimes careful and subtle, skipping the wrapping of a word. Sometimes unexpected and sudden, spiralling back into the summer’s wetness. When the melting stopped and the freezing started, when all the summer writing had dried up, the wet reading traces were found again. The summer-o’s created an appetite to start sewing with the future-past traces of summer’s jumping o’s. In their producing of shifts, each o tastes, drops, stutters, colours, surges, emerges like never before or never again. The o in its tending-towards makes felt the world alive with potential in its not-yet but already-almost-almost-almost-not-yet, fabulating words and worlds to come.

The fabulatory is necessary for survival in a world where relationality and non-linear temporality are constantly backgrounded. It means to always carry the more-than in what is done, to not close it, to be part of another kind of conversation. To carry the more does not mean there do not still need to be ways of crafting conditions so things can land, have the chance to emerge, can be thought-felt in all possible ways. To start with being certain that writing and making art do not stand or fall with individual senses. Instead, with being certain that words, smells, sounds, colours, tastes already produce variations in the world. By trusting the world to produce variations, it allows a way to feel the shifts of variation. Then language does not become a mediator of those shifts, but instead a practice, a way of doing, an active participator in the encounter of word with world.

Marcelo de Melo (1972) is a Brazilian artist and researcher based in Amsterdam. He has recently completed a PhD in Art Practice developed at the University for the Creative Arts and awarded by the University of Brighton, England. His interest in material and visual culture is eclectic, ranging from classical archaeology to contemporary art and digital aesthetics. He has published and exhibited in several countries. Awards in France (2016), Turkey (2013) and USA (2003). Collections: Museu Nogueira da Silva, Braga, Portugal; Maison de la Mosaïque Contemporaine, Paray-le-Monial, France; Museu Guido Viaro, Curitiba and Galeria de Arte UFF, Niterói, Brazil; Museo de la Cerámica Contemporánea, Dominican Republic; and ESP-Ravennarte, Italy.

Artistic Research Group

The Artistic Research Research Group focuses on Artistic Research as a new approach to tackling research questions and it aims at promoting the exchange of ideas between artists and scholars from a wide range of fields and disciplines. As a discipline itself, Artistic Research develops a discursive form of communicating research results in parallel with a non-discursive, artistic practice. This enables researchers/makers coming from fine arts, design, dance, film, performance art, theatre and music to share and compare processes of production, methodologies and results with the scientific community, while working as practicing autonomous artists. It allows autonomous artists to delve deeper into scientific disciplines their work is already concerned with. Furthermore, Artistic Research contributes to existing scientific disciplines by its double character of discursive/non-discursive processes and outputs, while at the same time presenting work within the context of existing art institutions. The outcomes of artistic research actively contribute to bridging the gap between science and art, and strive to make its body of knowledge visible in a societal context. By bringing academia and the art world together, artistic forms of research change the social status of both and introduce a potential array of practice-oriented methodologies that challenge institutionalized forms of knowledge production.

A series of five seminars will be organized to promote the exchange of ideas and experiences among artistic researchers and others interested in the field, and during which members of the group will present their research and receive feedback from their peers. One or two artistic researchers who have recently completed their PhD’s will be invited to share their process with the participants of the seminars. The participants include PhD Candidates but also those who have already completed their PhD’s but would like to keep discussing their artistic research within a community of like-minded artists/scholars. Those interested in maybe pursuing such an academic study are also welcome to join as well as Research Master students who wish to attain first-hand knowledge about the discipline.

ARRG works in collaboration with ARIAS (Amsterdam Research Institute for Arts and Sciences in order to bring together all education institutes involved in further developing and supporting artistic researchers projects and degrees.

The meetings will take place on Friday afternoons from 14:00 to 16:30 at VOX-POP Creative Space of the Humanities in the city centre of Amsterdam.  The presentations can take the form the researchers find most suitable and productive: a film screening, a performance or a standard keynote or any other.

Complete information will be timely sent to those interested in participating in the seminars (presenting is not mandatory). If you would like to attend our sessions, please contact the student assistant Emilija Angelovska –; and the coordinator of the Research Group Dr Paula Albuquerque: If you’re a Research Master student, please contact NICA directly at At the end of the year, Research Master students can receive 2 credits for their successful participation.

The preliminary program of artistic research presentations is as follows:


  • October 11th – Anouk Hoogendoorn (MA) Amsterdam University; Marcelo de Melo (PhD) University of Brighton
  • December 6th – Session organized in collaboration with the Platform BK Reading Group ON PAINTING (to be confirmed)


  • February 14th, 13:00 – 15:30 – Theorietrap, Gerrit Rietveld Academie/Sandberg Institute, Fred. Roeskestraat 96, Amsterdam – Session organized in collaboration with ARIAS with guest-speakers presenting on Artificial Intelligence in the Arts, coordinated by Jeroen Boomgaard, Nienke Scholts and Katie Clarke
  • April 3rd – Sara-Lot van Uum (MA) Amsterdam University (to be confirmed); David Maroto (PhD) Edinburgh College of Art
  • June 12th – Nieuw Dakota Art Gallery, Ms. van Riemsdijkweg 41B, Amsterdam. Abram Stern (PhD) University of California Santa Cruz (to be confirmed);  Raquel Schefer (PhD) University of Sorbonne Nouvelle Paris III