View source for Artistic research

==artistic research↵==
Janneke Wesseling

'''history'''

‘artistic research↵’ is a major buzzword in the European art field, in education (art academies and universities) as well as in exhibition circuits (museums, galleries, and bienniales). The artist as researcher has become a commonly accepted figure, but was hardly known in the field of contemporary visual art some twenty years ago.

Recent as the phenomenon may be, its roots can be traced back to early twentieth-century art movements such as Surrealism (Bureau de recherches surréalistes founded in 1925 by André Breton) and Marcel Duchamp, and especially to the 1960s and 1970s. artistic research↵ in visual art is highly indebted to conceptual art as it manifested itself both in the US (Dan Graham, John Baldessari, Hans Haacke, Joseph Kosuth, to mention just a few) and in Europe (George Brecht, Marcel Broodthaers, Hanne Darboven). In conceptual art, theoretical reflection plays a pivotal role. According to the early conceptual artists, the art work cannot not be separated from the context of history and politics and in order to produce art it was regarded as essential for artists to politically and discursively engage with society. Not only did conceptual artists reflect on societal and political issues, but on art and the art practice itself. They regarded critical reflection on one’s artistic procedures or doings as essential to the artistic process or ''as'' the artistic process itself. Language and text therefore acquired an important role in art practice and writings could be part of the art work or even constitute the work itself (such as in the case of Robert Barry, Kosuth and the early work of Lawrence Weiner).

Another important factor in the emergence of theory and criticism as artistic practice were feminist art practices that aimed to reveal power structures and patterns of hierarchy in society and in the art world (Elaine Sturtevant, Louise Lawler, Jenny Holzer, Barbara Kruger).

For present-day artists, to position themselves as researcher rather than as a producer of marketable goods offers an alternative to the dominance of economic liberalism in the art field and to the capitalist exploitation that is tied to the production of goods. The artist-as-researcher problematizes, contextualizes, and re-enacts social, political, and environmental issues.

'''terminology'''

Artistic research↵ could simply be defined as research carried out by artists (designers, composers, choreographers etc.)<ref>I use ‘art’ here in an inclusive way, encompassing all artistic disciplines.</ref> It is practice-based research that is carried out in and through artistic practice.<ref>Generally, in the Anglo-Saxon countries the term ‘practice-based’ or ‘practice-led’ research is used. Because of the traditionally subordinate status of ‘practice’ in the humanities, in European countries the term ‘artistic research↵’ is preferred.</ref>

In artistic research↵, practical action (making) and theoretical reflection (thinking) go hand-in-hand, action and thought are inextricably linked. This type of research does not have a predetermined methodology. Like art practice, each artistic research↵ project is idiosyncratic by nature, determined by the desire of the researcher to reflect on their practice, in collaboration with others.<ref>http://www.phdarts.eu/ www.phdarts.eu.</ref> The artistic researcher works through theory-practice entanglements. This is to say, not by using practice as an illustration of theory or vice versa, but by exploring ways in which theory and practice are mutually implicated.<ref>Petra Klusmeyer, ''Sonic Periferies'', PhD dissertation, Leiden University, 2019, p. 31.</ref>

Of course, art by its very nature is intelligent and cognitive: art practice aims to gain a better understanding of the world and to deliver new perspectives on reality. In this broad sense, for many centuries, beginning with Leonardo da Vinci and the Renaissance, research has been recognized as part of the work artists were doing. In our time, that is since the twentieth century, a large part of contemporary art production can, at least to some degree, be identified with critical (self-)reflection (as argued above). So, if research is a natural part of art practice, ‘innate’ to it, then why would we want to use the term ‘research’ at all when we speak about art? What does it add? Art in itself is not in need of the qualification of ‘research’. Artists are in no way required to demonstrate that they are doing research, neither are they required to account for or explicate what they are doing and how they are doing it.

In an academic context, artistic research↵ has acquired a more specific, and perhaps more relevant, meaning. As a consequence of the so-called Bologna Agreements (1999),<ref>https://ec.europa.eu/education/policies/higher-education/bologna-process-and-european-higher-education-area], accessed 14 December 2021.</ref> entailing a Europe-wide reorganization of education which aimed at establishing a comparable BA and MA framework for all European countries, it became possible for artists and artistic ‘makers’ to obtain the PhD degree. Here, doing research means referring to making a particular research project that is made public ''as research project'', including the artistic process that underlies it. In this context, certain criteria will have to be fulfilled. Such as the requirement that the researcher seeks the discussion in the public domain. The artists-as-researchers distinguish themselves from other artists by taking it upon themselves to gain a deeper understanding of the production of the work and the thinking process through a continuous dialogue with others. The artist-researchers allows others (peers, colleagues) to participate in their creative process, entering into a discussion with them and opening themselves up to critique. In this context, the public dimension of research in the sense of making the artistic process public and explicating the so-called ‘tacit knowledge’ embodied in the work and the practice, is at its core.

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