What is the material agency of digital decay and how is it revealed through curatorial practice?
The concept of decay has been commonly associated with still life in art practice. Since the 1980s, the presence of digital technology in art has grown and notions of matter, the medium and immateriality had to be reconsidered in order to address art practices that deal with new materials. Building on Jussi Parikka’s idea of ‘geology of media’ (2015), the PhD aims at reconsidering the concept of decay and its intrinsic nature of material process, following new parameters of matter and time brought into discussion by digital technology. Considering materiality as materials immersed in an instable flow means to think of both software and hardware obsolescence as crucial elements in defining decay as a form of agency.
Manifestos: Feminist genealogies, queer art histories
This thesis turns to manifestos produced since the late 1960s, through which important intersections between aesthetics and radical gay, lesbian and queer politics become legible.
The Geographical Island
The geographical island is a recurring setting for narrative fictions. Within a number of literary narratives the island presents a space at a remove from the behaviour, landscape and culture of the central character’s homeland where familiar structures are readily heightened, critiqued or subverted.
Temporary City. Critical Approach to Temporary Urbanism in Post-Socialist and Post-Industrial Contexts
The aim of the PhD in Urban Studies and Architecture is to critically approach the concept of temporary urbanism and look if there lies an opportunity for triggering urban change on indeterminate landscapes that have emerged as a result of economic decline, reconfiguration of industry or change of regime.]
The Flow of Life: Photographing architecture as populated spaces
My research concerns the representation of the built environment. In conventional architectural photography the form of buildings is shown without reference to the function of the spaces within and between them; which was the primary purpose for their construction.
How might artistic practice function as trace within the archive?
My study is one concerned with the elements which make up the archival records of a performative, temporal practice. Using the theory of trace, as defined by Paul Ricoeur, I explore the shifting and fleeting nature of the artefacts produced through my work.
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