artistic research does #4 – Juan Luis Moraza

According to Juan Luis Moraza, art is the form of knowledge that avoided less the articulation of the capacities of knowing, of tasting and appreciating. By making use of the conceptual device saboer instead of knowledge, Moraza actualises knowledge as a process intrinsically defined by material and conceptual sensuality. This relation with subjective recursiveness (and its defence) is likely to be the most meaningful particularity of artistic research in face of models of (natural) sciences. The distinction between both territories is not defined by the fact that art does not operate based on a regime of verification and refutability, but by a plastic, malleable condition, driven by the performance of saboer. For that reason, the definition of scientific epistemology, based on the distinction and division of variable through which such field is defined (after, on, under, without, according to, by, for, until, toward, since, from, against, with, next to, below, before, in…) can only be read in artistic research as appendixes, as notes of a process of close encounter. More than situating artistic research in relation to scientific models Moraza’s text is a defence of artistic openness. As saboer, art can be taken for a haptic ([gr.] haptikós – ἅπτω) process, as expression of a capacity to enter in contact (with tact). It is such subjective recursiveness of being touched, that engenders art as exercise of permanent recuperation, a process through which (to follow Moraza’s words) each new representation is transformed by the perception acquired in its process of elaboration.


The editors

Catarina Almeida

Faculty Of Fine Arts University Of Porto



André Alves

Valand Academy University Of Gothenburg


(Ed / Org)
Publisher i2ADS - Research Institute in Art, Design and Society
Local Porto
Year 2018
ISBN / ISSN 978-989-99839-4-6
Language English, Spanish
PDF English version
PDF Version en español