artistic research does #5 – Max Fernandes

The editorial aim of ‘Artistic Research Does’ is to contribute to the comprehension of artistic and educational research in Portugal. Departing from the problematic framing of research towards, about, as much as, without, according, for, to, in face of, confronted, of, against, with, framed by, under, following, in art (quoting here a lengthy yet incomplete definition of artistic task as proposed by Juan Luis Moraza in Artistic Research Does #4), the first numbers of this volume sought to provide distinct views about the understanding of research in art.

The selection of the first contributions to Artistic Research Does had a clear didactical aim: to expose the complexity embedded in this geography of knowledge, the coexistence of divergent epistemologies, provide with notes on the historical relation between artistic research and knowledge production, and the impact of such intertwining in both the field of artistic and intellectual production.

With Artistic Research Does #5 we initiate a new editorial framing. Focusing the action in artistic research – does – we’ve invited practitioners from diverse peripheries of the geography of art to document how their artistic procedure is understood (and extends) as a form of research or research form. Some of the lines that the coming numbers will approach, will deal with distinct relations between the material and the intellectual, the artistic project/concept as generator of a singular epistemology, artistic research as organization and knowledge content, or art as territory without specific geography.

In Artistic Research Does #5, Max Fernandes experiments with the text format as possibility to ‘document’ his artistic research, being in this case somewhat contradictory – if not a conservative view of art – given that a great part of his practice explores the possibilities of video documentary methods, video performance and video essay as approach to the complex translation of life into image. For Artistic Research Does #5, Max Fernandes produces a text based on his essay film “Narciso de Todas as Espécies” (Narcissus of All Species), focusing the possibilities of the function of reading, and the underlying relation between document-action as artifact and artistic imagine-action as non-factual criterion.

The film Narcissus of All Species functions as mediator between relations that are context-specific and relations inherent to the construction of image. The text Max Fernandes wrote based on the video increases such sense of mediation. The order of reading between the two no longer seems relevant. Or at least, not as much as providing the sensation of the gap produced by his attempt to arrest – to give some rest to – the liveness of the studio-exhibition space O Sol Aceita A Pele Para Ficar (The Sun Accepts the Skin To Stay), of those who worked in it, and the episode of expropriation and ensuing demolishing of the space, confronting us with how much life remains outside the image and how much life is but image.


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 978-989-54111-3-9
Language English, Portuguese
PDF English version
PDF Versão portuguesa