A. Supervisor Supports
Nina Malterud 

B. Typologies of Research – “Design Research” / “Artistic Research”
Márton Szentpéteri and Andris Teikmanis

C. Art and Architecture: Constructing Transdisciplinary Knowledge Spaces 
Leandro Madrazo

D. The Research Catalogue: Publishing Art in Academia
Henk Borgdorff

E. Making EU Framework Bids/ Erasmus Models
Truus Ophuysen 

F. What are the Possible Futures for PhDs in Curatorial Practice?
Paul O’Neill

Supervisors’ Support in Artistic Research Doctoral Programmes – Some Specific Challenges

Nina Malterud

(Bergen National Academy of the Arts)

My introduction will be based on the experiences from The Norwegian Artistic Research Fellowship Programme. Established in 2003 it was one of the first programmes in Europe to offer a 3 year research education based on artistic goals and methods. The programme  is recognized to be on Ph.d level, and leads to competence as Associate Professor
Altogether through the years, about a hundred main and co- supervisors, most of them with an academic competence based on artistic qualifications, have been related to the programme.

At first, the general motivation to participate in support and development activities seemed to be rather low, but in later years the demand for this has been increasing. We have now managed to establish a collegial environment with the supervisors, and I will share our experiences from seminars where we have been addressing specific supervisors’ challenges and worked together on these. For more information please visit


Typologies of Research – “Design Research” / “Artistic Research”

Márton Szentpéteri and Andris Teikmanis

(Moholy-Nagy University of Art and Design Budapest) 
(Art Academy of Latvia)

A wide range of art research practises conducted at higher education institutions wil be mapped by use of several approaches.

The outlining of relations between artistic practise and research, on one hand, and the applying of the Triangulation of methods borrowed from Cognitive Sciences, on the other hand, allow extended mapping of different approaches and methods.

However, this mapping also sheds light on very significant questions about relations between art and design researches: are the same models that are used to outline relations between artistic practice and research valid when mapping relations between practice and research inside design research?

Participants of the workshop will be asked to contribute to the mapping by modelling, schematising, or visualising their own models of different typologies of art and design researches.

Art and Architecture: Constructing Transdisciplinary Knowledge Spaces

Dr. Leandro Madrazo 
(La Salle School of Architecture,
Universitat Ramon Llull

Get the dialogue going! Click here to go to the workshop blog.

The aim of this workshop is to present the doctoral program "Knowledge Representation in Architecture", which was carried out during the period 2002-2009 in the School of Architecture La Salle from the Universitat Ramon Llull in Barcelona. The purpose of this doctoral program was to build an interdisciplinary knowledge space resulting from the interactions between architecture and other disciplines.

The interactions were structured around four themes: form, image, space and method. These universal categories, which are present in each discipline, facilitate the exchange of knowledge among them. What comes out from this exchange is a transdisciplinary knowledge which surpasses the previously established disciplinary boundaries.   Transferring forms of thinking from one discipline to another, identifying recurring methodological approaches, and devising systems of inquiry which encompass multiple research strategies are some of the outcomes of the knowledge exchange across disciplines.

The workshop will be structured in two blocks (45 minutes each):

1. Exposition of the doctoral program “Knowledge Representation in Architecture”:

  • Explanations of the objectives and contents, pedagogic methodology and discussion of student works.
  • Presentation of the learning environment ARKINET, Architectural Knowledge in the Net (, a concept mapping environment used in the courses to support the collaborative construction of knowledge.

2. Discussion with the participants on the following topics:

  • Creating transdisciplinary learning spaces at the postgraduate level which bring together different knowledge forms – Which is the need for them? Which strategies are needed to assure the knowledge transfer among disciplines?  How can the support the research? Which kind of research do they support?
  • Implementing transdisciplinary learning spaces – Which kind of programs are, needed to support collaboration among disciplines at the European level? How ICT can contribute to create these learning spaces?
  • Devising strategies to link such transdisciplinary spaces with the study programs at the Bachelor and Master levels – How they can mutually influence each other? 

The discussions initiated in the workshop will be summarized in a blog available from the SHARE web portal to be continued afterwards.

References (in Spanish):

Web portal of the PhD Program “Knowledge Representation in Architecture” 

Madrazo, L., editor (2006). Forma : Pensamiento. Interacciones entre pensamiento filosófico y arquitectónico.Editorial Enginyeria i Arquitectura La Salle, Barcelona

The Research Catalogue: Publishing Art in Academia

Henk Borgdorff
(University of the Arts The Hague

University of Gothenburg)

During the session the creation and the working of the Research Catalogue will be hands-on presented and discussed, with a special focus on the use of the platform in higher arts education.

Within the art world, the notion of 'research' has gained much credibility over the recent years. Artistic research is a new and emerging field of practice-based investigation in which the practice of the artist is central to both the research process and to the outcome of the research. In this emerging field of art research in Europe and beyond there is a need for an adequate form of documenting, disclosing and disseminating artists’ research projects. Artist-researchers want to have their work displayed and documented in a context where modes of presentation are significant, and on the other side of the spectrum there is the demand of higher arts education institutes, funding bodies and art institutions such as museums, galleries and collections to have artistic research made accessible. The Research Catalogue answers to these needs by offering a platform to document and to discuss research, to debate methodological issues pertaining to the founding of this emerging new phenomenon, to disseminate the concrete results of artistic research projects and to communicate the underlying theoretical and artistic principles and premises.

In the expanding world of digital repositories and enhanced publications there was untill recently not an instrument fitted to the needs of professional artists and art students. The Research Catalogue positions itself between art practice and academia, between the world of art and higher arts education. Artistic research occupies a discursive field linking extensive documentations of both research and art work with expositions and comments that engage with the signification of the work as research. Adding work to this catalogue makes a claim that the work can be seen as research; through expositions, comments and articles the initial claim is transformed into an argument. To have a suitable structure in which to develop the relationship between documentation and exposition plays a difficult but important part in artistic research.

The Research Catalogue is used as the digital backbone of the Journal for Artistic Research and will be used as digital repository of higer arts education institutes, national research programmes, funding agencies and other journals throughout Europe.

Making EU Framework Bids/ Erasmus Models

Truus Ophuysen

(ELIA, Senior Advisor)

The workshop will address challenges and opportunities for higher arts education institutes in acquiring European grants, in particular in the field of research.  It will provide information on the new  Horizon 2020 Framework Programme for Research and Innovation 2014 -2020 and discuss strategies for art schools to better profit from the programme. 

The workshop will also briefly touch upon new opportunities in  the new Creative Europe programme, the ERASMUS for ALL programme and the Structural Funds.


What are the Possible Futures for PhDs in Curatorial Practice?

Paul O'Neill

(Graduate School of Art, Design and Media, GradCAM, Dublin)

Since the first postgraduate curatorial course opened in 1987 at Le Magasin in Grenoble, curatorial postgraduate programmes have continued to proliferate to this day. The practice of curating became a possible area of academic study as much as a professional career choice.

More than thirty years later, we have begun to see the emergence of new PhD programmes in curating. Already we have four recent models to draw upon: PhD in Curatorial Knowledge (2009-), and the PhD in Curating (2011-) both at Goldsmiths College, London; PhD Programme in Curating at The University of Reading's Department of Fine Art and at the University of the Arts in Zurich (2012-), and the PhD in Curatorial Practice at MONASH University, Melbourne, (2012-).

Given this recent phenomenon, it beggars the questions: what should be taught (if at all) within the context of such programmes? what are necessary skills, knowledges, networks and epistemologies required for both supervision and study at this level? what are the variable forms that these new programmes can/ should take on? what are the kinds of curatorial research methods and methodologies available to draw upon? what are the kinds of outputs needed? what kinds of new knowledge can be produced within an already saturated curatorial field of discourse?

This discussion-based workshop will look at some of these questions as a starting point to consider what a Curatorial PhD of the future could be.

SHARE's activities are funded with support from the European Commission. The website reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.