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\begin{document}

Research practices of self-organized collectives versus managerial
visions of artistic research

\hypertarget{artist-run-research}{%
\subsection{artist-run research}\label{artist-run-research}}

Since at least the early 20th century, artists groups have called their
work ``research''. Canonized examples include the ``Bureau des
recherches surréalistes'' (``Bureau of Surrealist Research'') founded in
Paris by André Breton and fellow Surrealists in 1925 and the
Situationist International which, from 1957 to 1972, operated under the
moniker of a research group and whose periodical had the form of a
research journal. Since then, artist-run research groups and projects
have only grown in number and increasingly involved non-art
practitioners next to professional artists. The \emph{Free International
University} founded by Joseph Beuys is another such textbook example, as
is the research-based ``Institutional Critique'' from the Art Workers
Coalition in the 1970s to contemporary feminist, queer and PoC
artist-activist collectives.

Today, transdisciplinary art/research collectives seem to be more common
as a contemporary art practice in non-Western regions than in Western
countries where art systems are more institutionalized.\footnote{For an
  overview of the former, see (vanhoe).} At the time of this writing,
self-organized artist-research collectives are still mostly known to
people working in, or in close neighborhood to, art practice; not to
wider audiences.\footnote{Exceptions include electronic music and
  architecture with their long, well-documented history of artistic
  research in collectives. For contemporary art in the more narrow
  sense, there is practically no overview literature, with perhaps the
  exception of (Vis).} This may change with the forthcoming documenta 15
in 2022 that will, for the first time, be curated by an art/research
group, the Indonesian ruangrupa collective. Documenta 15's preliminary
participant list, published in summer 2020, almost exclusively lists
transdisciplinary collectives that work at the boundaries of art,
research and community organizing: ``Fondation Festival Sur Le Niger
(Ségou, Mali), Gudskul (Jakarta, Indonesia), INLAND (various locations,
Spain), Jatiwangi art Factory (Jatiwangi, Indonesia), Question of
Funding (Jerusalem, Palestine), Más Arte Más Acción (MAMA) (Nuqui,
Choco, Columbia), OFF-Biennale (Budapest, Hungary), Trampoline House
(Copenhagen, Denmark), and ZK/U -- Zentrum für Kunst und Urbanistik
(Berlin, Germany)''. Is the practice of these artist-run collectives and
projects identical to artistic research as it has been discussed since
the 1990s, typically in the context of (European) higher art
education?\footnote{With (Frayling) being one of its earliest documents.}

While this question might have been purely academic ten years ago, it
has become political and epistemological in a time where, on the one
hand, artistic research is being more firmly institutionalized -- among
others, through PhD programs -, and where on the other hand the
definition of Western contemporary art has narrowed down, even in art
theory, to curatorial white cube art.\footnote{A prominent example of
  the latter is (Osborne).}

For the sake of simplicity, I would like to focus on the work of two
contemporary artist-research collectives -- the aforementioned Jatiwangi
art Factory (Indonesia) and 展銷場 Display Distribute (Hong Kong) -- by
contrasting their research practices with artistic research as it has
been institutionally defined in the ``Vienna Declaration on Artistic
Research'' from 2020. To clarify my own position, I need to mention that
I worked with those two collectives in the research project `Bridging
Art, Design and Technology through Material Practices' and its public
conference `Making Matters II' that took place in November 2020 at Het
Nieuwe Instituut in Rotterdam, The Netherlands. The \emph{Vienna
Declaration on Artistic Research} has been authored by, among others,
the European art school umbrella organization ELIA of which my art
school is an active member and in whose research conferences I have
participated. Therefore, any incompatibility between artists' and
institutional concepts of artistic research creates a dilemma for my own
work, as a researcher working at an art school.

Jatiwangi art Factory and 展銷場 Display Distribute are part of a larger
global phenomenon of self-organized, commons- and community-oriented
collectives whose respective practices are highly specific to their own
local environment while, at the same time, being internationally
networked. These collectives consist of people with mixed or overlapping
backgrounds as artists, researchers, theorists, activists, journalists
and community organizers. They often focus on one specific material
practice -- ``tanah''/clay in the case of Jatiwangi art Factory,
publishing and logistics in the case of 展銷場 Display Distribute --
that they turn into a social experiment and artistic-philosophical
inquiry.

\includegraphics{images/mpv-shot0007.jpg}
\includegraphics{images/mpv-shot0008.jpg}

Jatiwangi art Factory (JaF) calls itself a ``community-based
organization focused on examin{[}ing{]} how contemporary art and
cultural practices can be contextualized with the local life in {[}a{]}
rural area, both {[}in{]} form {[}and{]} ideas''.\footnote{(Jatiwangi
  art Factory).} JaF combines local community activities, including
festivals, with an international artist residency program. Ismal
Muntaha, a founding member of the collective, explains how the JaF's
activities tie into the history of Jatiwangi, a village 200 kilometers
East of Jakarta, as Indonesia's post-colonial industrial production site
for roof tiles. The area's major natural resource is clay or ``tanah'',
the Indonesian word for soil, ground and clay. JaF's work investigates
the history and culture of tanah and reactivates it in new forms:
``digging again the memories, spiritual value, ritual, proudness,
cultivating attitude from our Tanah as local material as a tool of
subjectivity''.\footnote{(Muntaha), conference abstract.}

Collective activities organized in the village community include a
``Zero Point Ritual'' whose participants ``choose the zero point of
Terracotta City as the beginning of a new clay culture, a city based on
the people's desire and their collective agreement''.\footnote{(Muntaha),
  conference video recording, 28:55.} It involves the creation of a
terracotta structure on a piece of land in order to prevent its
privatization and keep it as a public community space. JaF also
organizes a music festival with community-built clay instruments. All
together, JaF's projects amount to a postcolonial poetics and discourse
analysis of tanah and the Jatiwangi region. This research is not
published in scholarly papers or textbooks, but through JaF's public
performances and presentations. The research outcomes are not only
practical, but also theoretical, as shown in JaF's diagram of 'Material
Subjectivity:

\includegraphics{images/mpv-shot0010.jpg}\footnote{(Muntaha), conference
  video, 22:05.}

The subjectivity and politics of materials and their communal exchange
also characterize the work of the 展銷場 Display Distribute collective
in Hong Kong. Its English name is a literal translation of the Chinese
``展銷場'' (Zhǎnxiāo chǎng), a type of small pop-up store common in Hong
Kong whose spaces can be rented from retail estate owners on very short
notice, without much paperwork, and for a short period of time.
Accordingly, 展銷場 Display Distribute calls itself a ``now and again
exhibition space, distribution service, thematic inquiry, and sometimes
shop in Kowloon, Hong Kong''.\footnote{https://displaydistribute.com,
  Accessed 3/1/2021.} Its web homepage lays out the typical stock of
such a store (``手袋及襪子 Bags and Socks / 條紋襯衫 Striped Shirts /
中國人壽保險 {[}海外{]}China Life Insurance (Overseas) / 出版物
Publications / 日本設計師手錶 Japanese Designer Watches'') and links it
to actual pop-up shop manifestations, projects and appearances of the
collective.\footnote{Ibid.}

\begin{figure}
\centering
\includegraphics{images/display_distribute_-_homepage.png}
\caption{展銷場 Display Distribute, homepage}
\end{figure}

Never mind the diversity of trades, activities of the collective are
focused on artists' and activist DIY publishing and its communal
distribution. 展銷場 Display Distribute's members conduct many
practical, often performative experiments with publishing, retail,
distribution and cross-border transport that reflect the political
situation of Hong Kong as a simultaneous capitalist experiment and part
of the communist People's Republic of China. The collective
experimentally participated in the semi-legal commercial cross-border
transportation of retail goods into the PRC, and runs as its most
elaborate project a self-organized worldwide courier system ``LIGHT
LOGISTICS'' for DIY publications and other merchandise. It operates on
the basis of private travels of volunteer collaborators and is
coordinated through 展銷場 Display Distribute's own tracking-and-tracing
bureaucracy. Each shipment is assigned an alphanumeric ID, and its
travel is being documented on 展銷場 Display Distribute's website.

\begin{figure}
\centering
\includegraphics{images/mpv-shot0002.jpg}
\caption{展銷場 Display Distribute, screenshot from `Making Matters'
presentation}
\end{figure}

The above screenshot was taken from the live video performance
``Packaging as Propaganda: On circulation, new psychogeographies, and
the discursiveness of boxes'' that took place in November
2020.\footnote{(Display Distribute).} By referencing psychogeography,
展銷場 Display Distribute continue an artistic research discipline that
was invented in the Lettrist and Situationist International (with
forerunners in surrealism and symbolism). When interviewed for a Chinese
multi-disciplinary arts magazine and asked about her working definitions
of ``open platform'', ``architectures of commerce'' and ``documentary
gesture'', 展銷場 Display Distribute member Elaine W. Ho replied:

\begin{quote}
``Together, these questions refer to a socio-politics of syntax
informing various paths of artistic research. For example, the LIGHT
LOGISTICS project with 展銷場 Display Distribute instigates a series of
encounters based around the act of reading. We want to support
independent publishers whose work contributes to the discourse on
grassroots, radical, and critical practices in East and Southeast Asia.
Considering the power of reading as a 1:1 form of exchange, there is
still something to be said for kindling these small moments of encounter
between individuals with similar interests or that can support by way of
coincidental mobility. Setting up this albeit crude infrastructure of a
logistical operation makes use of slow couriers' movement to physically
and immaterially transport art, ideas, and practices in ways that may be
difficult for independent practitioners otherwise. By playfully
highlighting the banal details of this circulation, we want to lay bare
the systems of production as they are embedded within the everyday and
trace new possibilities for a distributed but self-organized
community.''\footnote{(Huang 80).}
\end{quote}

This fully meets the proposition text for this publication and its
characterization of ``artistic thinking'' as ``open-ended, speculative,
associative, non-linear, haunting, thinking differently''.\footnote{https://www.hku.nl/en/study-at-hku/hku-college/pre-phd-programme/the-postresearch-condition,
  Accessed March 1st 2021.} In other words, there seems to be no
discrepancy between artistic research as defined by artists and as
defined by art schools such as the one which initiated this publication.
Elaine W. Ho's statement clarifies and underlines that artistic research
does not merely exist as an institutional or higher education discourse,
but is claimed by artists as their own, non-institutional practice.

\hypertarget{what-was-research-again}{%
\subsection{what was research again?}\label{what-was-research-again}}

So far, I have dodged the question of how to define research, in the
literal sense of drawing boundaries between research and non-research,
and between artistic research and art practice. ``Research'', like
``art'', strikes me as a word whose semantics relies on a superficial
social consensus that evaporates upon closer inspection. Even in Western
languages and cultures, ``research'' is not the same thing. To take only
the three (geographically and linguistically) neighboring languages and
cultures of my daily use, English, Dutch and German, not even the words
are related: ``research'' in English, ``Forschung'' in German and
``onderzoek'' in Dutch. Their meanings differ as well.

In German, ``Forschung'' includes the humanities and effectively
everything that a scholar publishes. Not only the interpretation of
Shakespeare poems by a literary scholar counts as ``Forschung'', but
also the publishing of those poems in a critical-philological edition.
On top of that, teaching and research are defined as an inseparable
``unity''. This humanistic concept of research, which dates back to
Wilhelm von Humboldt, has the least incompatibilities with artistic
research. One might even argue that some forms of German humanities
``Forschung'' such as Aby Warburg's \emph{Mnemosyne Atlas} and Walter
Benjamin's \emph{Arcades Project}, were already hybrids of humanities
and artistic research.

Unlike German academia and even the German language, Anglophone academia
differentiates ``research'' and ``scholarship''. Warburg's and
Benjamin's projects would likely fall under the latter rather than the
former category. This begs the question whether higher-education
``artistic research'' isn't a mistranslation, or continental European
pidgin English, for a discipline that should rather be called artistic -
or creative - scholarship. (The term ``artistic research'' is still less
common in anglophone countries than in continental Europe. I have been
told by colleagues from the UK that the word ``artistic'', as an
equivalent of ``artistiek''/``artistique'' in Dutch and French or
``künstlerisch''/``kunstnerisk'' in German and Danish, is much less
commonly used in English and even avoided by professional artists.)

In the Netherlands, the word ``onderzoek'' has a strong semantic bias
towards empirical research. Linguistically, it is not differentiated
from ``investigation'' and can also refer to investigative journalism
and police work. The empirical bias of ``onderzoek'' often manifests
itself in academic practice, among others in acceptance problems of
non-quantitative research as research in Dutch academia and in the
requirement of specifying data management in every Dutch research
funding application.

In other words: Even before questioning `research' as a Western concept
and epistemology, one needs to be aware of the fact that ``research'' is
not even a consistent or unified concept in Western countries.
Discussions of whether or not artistic research should have a place in
academia, are part of that larger disagreement.

In linguistic terminology, ``research'' could thus be called a floating
signifier; or, using film terminology, a McGuffin: a package that is
passed along different parties who may not even have the same idea of
what it contains. A McGuffin is an ultimately empty device whose only
function it is to tie together a plot. While `research' in its diverse
meanings may have McGuffin tendencies (as a device that ties together
academia with its very diverse disciplines and epistemologies), artistic
research in particular is a word on which two or more parties can reach
superficial consensus while having something quite different in mind. It
is therefore prone to becoming transactional rather than
epistemological, or -- to once more use linguistic terminology --
defined by its pragmatics rather than by its semantics.

Fernando di Leo's 1972 semi-famous gangster b-movie \emph{Milano Calibro
9} opens with a long McGuffin sequence in which a suitcase is handed
from person to person. The suitcase initially contains money but, at the
end of the chain, turns out to be a bomb that kills its final receivers.
Similarly, artistic research is being understood, among others, as a
project-oriented contemporary art practice, as lab science done in
collaboration with artists and designers, as art school PhD
trajectories, or as academic scholarship whose outcomes are `creative' -
audiovisual, performative and/or experimentally written - rather than
research papers. But the question is whether the institutionalization of
artistic research will marginalize or, in the worst case, kill off some
or even most of these understandings.

\begin{figure}
\centering
\includegraphics{images/mcguffin.gif}
\caption{timelapse of the opening sequence of \emph{Milano Calibro 9}}
\end{figure}

Perhaps the first literal mention of ``artistic research'' is in Asger
Jorn's 1957 \emph{Notes on the Formation of an Imaginist Bauhaus}, the
founding manifesto of a project that eventually became part of the
Situationist International. This text was written in Switzerland, first
published in French and later translated into English so that it remains
unclear whether Jorn departed from the word ``forskning'' in his native
Danish (which is derived from the German word ``Forschung'') or from
French ``recherches'', and to which extent his text reflected the prior
use of the word ``recherche'' in, among others, French Surrealism and
post-war experimental music groups such as Pierre Schaeffer's
\emph{Groupe de Recherches de Musique Concrète} (founded in 1951).

\begin{itemize}
\tightlist
\item[$\boxtimes$]
  - {[} {]} Even in this early, geographically and culturally limited
  stage, `artistic research' was a speculative and semi-dubious affair,
  rooted simultaneously in poetic-absurdist science and laboratory
  experimentation, and manifesting itself in such artistic research
  disciplines as 'pataphysics and psychogeography. (Jorn was actively
  involved in both; in the psychogeographic ``atlases'' he jointly made
  with Guy Debord, in his collaboration with the pataphysician Noël
  Arnaud, and in a critical essay on 'pataphysics as ``a religion in the
  making'' for the journal of the Situationist
  International.\footnote{See (Jorn and Debord), (Jorn, 1961)}.)
\end{itemize}

\hypertarget{a.r.}{%
\subsection{``A.R.''}\label{a.r.}}

\begin{figure}
\centering
\includegraphics{images/vienna_declaration.png}
\caption{Head of the \emph{Vienna Declaration on Artistic Research}}
\end{figure}

Today, however, this type of thinking is no longer what is being
expected from artistic research as defined for European higher
education. In June 2020, the ``Vienna Declaration on Artistic Research''
was published by seven European umbrella organizations for higher art
education (representing art schools, conservatoires, architecture and
film schools), two art school accreditation bodies, the public arts
sector organization \emph{Culture Action Europe} and the \emph{Society
for Artistic Research} (SAR). According to its authors, the Vienna
Declaration addresses ``political decision makers, funding bodies,
higher education and research institutions as well as other
organisations and individuals catering for and undertaking AR
{[}artistic research{]}''.\footnote{(AEC et al.).} In a critique of the
\emph{Vienna Declaration} I wrote with Nienke Terpsma from the artistic
research collective Fucking Good Art,\footnote{(Cramer and Terpsma).} we
quoted parts of its text as absurd capitalist-realist poetry:

\begin{quote}
``Artistic Research (AR) {[}\ldots{]} has developed rapidly in the last
twenty years globally and is a key knowledge base for art education in
Higher Arts Education Institutions (HAEIs).'' ``AR is well suited to
inspire creative and innovative developments in sectors such as health
and wellbeing, the environment and technology, thus contributing to
fulfilling the HEIs' `third mission'. AR must be seen as having a unique
potential in the development of the `knowledge triangle.'\,'' ``Within
this frame, AR is aligned in all aspects with the five main criteria
that constitute Research \& Development in the Frascati Manual.''
``HAEIs operate predominately within a research context and have a
responsibility to conduct AR. It is also common for HAEIs to interact
with related enterprise Research \& Development, and to contribute
directly to the creation of intellectual property in arts, entertainment
and media through research practice.'' ``This environment requires
funding for: educating the next generation of researchers through
doctoral programmes; {[}\ldots{]} building links with business and
enterprise in order to stimulate the impact of research.'' ``AR is
validated through peer review covering the range of disciplinary
competences addressed by the work. Quality assurance is undertaken by
recognised independent, international QA bodies and assures the
standards described in the European Standards and Guidelines (ESG 2015)
for Quality Assurance in the European Higher Education Area.''
``{[}T{]}he establishment of AR as an independent category within the
Frascati Manual, establishing the opportunity for harvesting research
data and statistics from the AR field''.
\end{quote}

These quotes may be self-explanatory for my initial diagnosis of
artistic research being dead on its institutional arrival. To summarize
the core points of our critique: by becoming ``AR'', artistic research
turns from a speculative and poetic endeavor into a ``peer-reviewed''
and ``validated'' affair: ``data and statistics'' can be ``harvested''
from it that feed into ``enterprise Research \& Development''. The
Vienna Declaration thus mainstreams artistic research, respectively
``AR'', into in almost comically exaggerated neoliberal technocratic
agenda, in a way that reminded us of Soviet-era conceptualist poetry --
by Vladimir Sorokin, Dmitri Prigov and others -- that mimicked and
hyperbolized Soviet bureaucratic language.

Most remarkably, the Vienna Declaration does not contain a single
mention of ``artist'' or ``artists''. Nienke Terpsma and I therefore
read the document as a ``land-grabbing'' attempt of art schools ``to own
and define artistic research''.\footnote{Ibid.} The idea of artistic
research as an artist-run, self-organized, non-institutional practice
seems to be completely alien to the ``A.R.'' described in the Vienna
Declaration. Instead, the European art school system constructs its own,
parallel art world through ``A.R.'' where artistic research projects are
no longer created by artists, but by institutions.

Therefore, ``A.R.'' perfectly fits the New European Bauhaus project that
was announced by the European Commission in 2020/21 and whose logo is
the following:

\begin{figure}
\centering
\includegraphics{images/new_european_bauhaus.png}
\caption{``New European Bauhaus'' logo}
\end{figure}

The verbal and visual languages of ``A.R.'' and the New European Bauhaus
create a stark if not grotesque contrast to practices like those of JaF
and 展銷場 Display Distribute. Peer-reviewed and validated ``A.R.''
seems to have nothing in common any more with artistic research as
defined by Elaine W. Ho and its ``crude infrastructure {[}\ldots{]}
playfully highlighting {[}\ldots{]} banal details of {[}\ldots{]}
circulation'' in order to ``trace new possibilities for a distributed
but self-organized community''.\footnote{(Huang, 80).} If one compares
these two understandings and epistemologies of artistic research, the
issue is even greater than that of the semantic shifts between
``research'', ``Forschung'' and ``onderzoek'': it is no longer an issue
of different research cultures, but whether people actually mean the
same thing at all when they use the word ``artistic research''.

``Artistic research'' then almost becomes a riff on John Locke's
inverted spectrum argument, with two people perceiving colors on
opposite spectra (one seeing red as green and the other seeing green as
red), but still referring to them with the same words, because they have
no insight into each other's sensory perception. I am mentally picturing
a sitcom where representatives of an Indonesian DIY collective meet art
school managers and, throughout the show, perfectly misunderstand each
other talking about artistic research and believing that they mean the
same thing.\footnote{This would be also a riff on the plot of Johann
  Peter Hebel's 1808 short story \emph{Kannitverstan}.} If ``artistic
research'' becomes even more of a McGuffin than ``research'' already is,
it may end up becoming an object, instead of a characterization, of such
poetic transactions as 展銷場 Display Distribute's ``LIGHT LOGISTICS''.

Perhaps it's time for a more fundamental critique. ``Research'' -- which
from Jarry's 'pataphysics to JaF's tanah research was an emancipatory
project for artists and non-artists -- may need to be revisited in the
same way as other enlightenment and modernist tropes: as concepts that
are broken, and in the worst case even ``toxic and beyond
reappropriation'', to quote Sven Lütticken's critical revision of the
term ``autonomy''.\footnote{(Lütticken, 59): ``Autonomy has also gotten
  a bad name in the field of art. In the United States in particular,
  the association of the concept of autonomy with Clement Greenberg's
  restrictive understanding of modernism has made term seem toxic and
  beyond reappropriation''.} Then, the ``post-research condition'' would
become a very literal and practical matter.

From 'pataphysics to LIGHT LOGISTICS, artistic research has, on the
other hand, always amounted to a ``post-research condition''. When
institutions retrofit it into a mainstream academic research
epistemology, they may think that they are emancipating the arts. In
reality, however, they rather seem to emancipate themselves from them.

\hypertarget{bibliography}{%
\subsection{Bibliography}\label{bibliography}}

AEC, et al.~\emph{The Vienna Declaration on Artistic Research}. 2020,
https://cultureactioneurope.org/files/2020/06/Vienna-Declaration-on-AR\_corrected-version\_24-June-20-1.pdf.
Accessed March 1st, 2021.

Cramer, Florian, and Nienke Terpsma. ``\,`Quality Assurance {[}\ldots{]}
Assures the Standards Described in the European Standards and Guidelines
(ESG 2015)' -- and What Else Is Wrong with the Vienna Declaration on
Artistic Research.'' \emph{OPEN!}, 2020,
https://www.onlineopen.org/what-is-wrong-with-the-vienna-declaration-on-artistic-research.
Accessed March 1st, 2021.

Display Distribute. \emph{Packaging as Propaganda: On Circulation, New
Psychogeographies, and the Discursiveness of Boxes}. Het Nieuwe
Instituut, 2020,
https://research-development.hetnieuweinstituut.nl/en/activities/collective-material-practices-critical-times.
Accessed March 1st, 2021.

Frayling, Christopher. \emph{Research in Art and Design}. Royal College
of Art, 1993.

Huang, Jingyuan. ``An Invitation to Describe: Elaine W. Ho.''
\emph{Bajia}, no. 2, July 2018, pp.~79--86.

Jatiwangi art Factory. ``+ WE ARE.'' \emph{Tumblr}, 2021,
https://jatiwangiartfactory.tumblr.com/are. Accessed March 1st, 2021.

Jorn, Asger. ``Notes on the Formation of an Imaginist Bauhaus.''
\emph{Bureau of Public Secrets}, 1957,
http://www.bopsecrets.org/SI/bauhaus.htm. Accessed March 1st, 2021.

Jorn, Asger, and Guy Debord. \emph{Fin de Copenhague}. Bauhaus
Imaginiste,
https://monoskop.org/images/7/75/Jorn\_Asger\_Fin\_de\_Copenhague.pdf.
Accessed 3 Jan.~2021.

Jorn, Asger. ``Pataphysics: A Religion in the Making.''
\emph{Internationale Situationniste}, vol.~6, 1961,
https://www.cddc.vt.edu/sionline/si/pataphysics.html.

Leo, Fernando di. \emph{Milano calibro 9}. Cineproduzioni Daunia 70,
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