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Swiss Artistic Research Network, Bern (2026)

26/05/2026

The Swiss Artistic Research Network (SARN) is looking for a Coordinator (20%, classification: artistic/scientific assistant)

>> full call: link in bio

Workload
20%, flexible, depending on the events and highlights of the SARN calendar

Location
Geneva (on site), with meetings either online or occasionally in Bern, Zurich or Basel.

Application deadline
June 26th, 2026

Start
September 2026

The Swiss Artistic Research Network SARN represents artists and researchers from the seven Swiss Universities of the Arts as well as independent artists and researchers engaged in artistic research. It promotes the significance of artistic research in the arts, other fields of academia and wider societal contexts in Switzerland and internationally. SARN seeks to enrich conditions and contexts for artistic researchers in Switzerland through open exchange, work group activities, publications, workshops and symposia. SARN facilitates debate and dialogue about issues concerning artistic research between artistic research communities, institutions of higher education, foundations and public and private competence centers. SARN was established 2011 by the Swiss Universities of Art and Design Conference (KHKD)

26/05/2026

The Swiss Artistic Research Network (SARN) is looking for a Coordinator (20%, classification: artistic/scientific assistant)

*Link to full call in bio*

Workload
20%, flexible, depending on the events and highlights of the SARN calendar

Location
Geneva (on site), with meetings either online or occasionally in Bern, Zurich or Basel.

Application deadline
June 26th, 2026

Start
September 2026

20/05/2026

In each episode of solar.lowtech.be Kris De Decker researches a basic human technique; long-term, detailed, hands-on, with enormous curiosity, technical precision and historical depth. Organised under Low-tech Solutions, High-tech Problems, and Obsolete Technology there are articles on “Waste-fed fish ponds”, “Fruit Walls” and “Pigeon Towers”. Meanwhile the site itself is an invention, experimentation, and demonstration of a “solar-powered and self-hosted” website “designed to radically reduce the energy use associated with accessing our content” with regular analysis and updates on tweaks and improvements. Design and journalism are involved, topics branch out over years. The latest post, a collaboration with design student Kozimo, is about (the process of building) a handcart, but also a “what if” about the means of transport we generally use and take for granted. The authors build and test the handcart in real life, ponder philosophically and offer the reader an extensive “how-to“. De Decker’s research lifts me up out of a narrow understanding of the here and now and back to the shared basics of dealing with our fragile mammal bodies: real poetry.

>> The way we do things. Persemina Kent reviews Kris De Decker and Kozimo: “Rediscovering the Hand Cart”, in Low-tech Magazine, 2026.

>> Persemina Kent is an independent artist-researcher, aspiring to self-build and for the moment based in Brussels.

>> Low-tech Magazine was founded in November 2007 by Kris De Dekker. Since 2018, the magazine runs on a in self-hosted, solar-powered server in Barcelona which sometimes goes offline. Written by Kris Den Dekker, solar web designed by Marie Verdeil, Roel Roscam Abbing, and Marie Otsuka, it publishes at most 12 well-researched stories per year. Since 2019, LTM also appears in print for offline reading.

From guest editor Nienke Terpsma

Full image captions and more at http://sarn.ch/publications

15/04/2026

Big, bigger, biggest ever. Rotterdam Art Week is the week when Rotterdam does Art. Everyone is sucked into its orbit: artists, venues, audiences. All eager to encounter Art with a capital A. Amidst the rush a few may ask themselves, is big really better? Particularly those at the PrintRoom on Friday night for the launch of Talker #16, an interview zine by Giles Bailey. For the launch, this edition’s interviewee Martín La Roche shared his Musée Légitime, a museum in a hat. With each tiny artwork contained within, came an anecdote for how it entered La Roche’s millinery collection. These tales bound intricately to the miniature objects themselves possessed their own profound pull, drawing the artist and the audience together. An interweaving of storytelling and public presentation that truly takes you, in La Roche’s own words, “beyond the performance and the art”.

>> In a hat. Jake Caleb reviews 10 years of Talker! and the launch of Talker #16, featuring live performances by Giles Bailey and Martín La Roche, at PrintRoom Rotterdam, Friday 27 March.

>>Talker is an interview zine about performance by artist Giles Bailey. Since 2012 each issue publishes a long-form interview with an artist who works in an innovative way with live practice.

>>Martín La Roche is a visual artist living in Amsterdam. His works often find their starting points from existing collections of objects and memories, archives as modes of storytelling which he reassembles into installations, performances or publications. He runs Musée Légitime.

>>Jake Caleb is an artist based in Rotterdam. He formalises his artistic research through exhibition making, hosting events and organising initiatives. He also works as a photographer for (a.o.) PrintRoom.

From guest editor Nienke Terpsma

Full image captions and more at http://sarn.ch/publications

17/02/2026

In 1723, Jane Barker published a novel titled A Patchwork Screen for the Ladies. It opens with a direct address, a welcome and a defense of her method of composition. Why (Barker imagines a doubtful reader asking) a book ‘composed of Patches?’ Because: it’s a novel about women, whose ‘Sentiments’ (like their politics and their experiences) are ‘as mix’d as the patches in their work’. Because nevertheless they sit together – in what Barker calls ‘harmonious … Disunion’. She adds: putting ‘me in mind of what I have heard some Philosophers assert, about the Clashing of Atoms, which at last united to compose this glorious Fabrick of the Universe!’ 303 years later, Line Arngaard has pieced together a similarly glorious and various collection, transferring her interests in methods of written composition to visual practices of ‘working in fragments’. The resulting book is historically, socially and materially differentiated. It is colourful and convivial and generative: a project built from friendship, contingency, the risks of asking (emails to Melissa Meyer, a letter posted to Lucy Lippard, could I republish…?) and the joys of receiving answers (Yes! Yes!). Composed in ‘small pockets of time’, its scales are interpersonal, international and cosmic.

>> Piecing Pages – On working in fragments. Kate Briggs reviews Line Arngaard: Piecing Pages – On working in fragments. Edited, designed and self-published by the author, 2025.

>> Kate Briggs is a writer and translator based in Rotterdam, where she co-runs the micropress Short Pieces That Move! She is the author of This Little Art (2017), Entertaining Ideas (2018) and The Long Form (2023) and recently translated two novellas by Hélène Bessette: Lily is Crying (2025) and Twenty Minutes of Silence (forthcoming June 2026).

From guest editor Nienke Terpsma

Full image captions and more at sarn.ch/publications

microreview

13/01/2026

>> Radical Radio. Sam Richards reviews Lucinda Guy: Skylark.fm, 105.8 or 107.6 FM Dartmoor, Devon, England, since 2020.

Take a place. Can be any place. Record sounds there, local people speaking local accents, children, bells and whatever voices can be gathered. Multitrack, fade in/fade out. Allow the sound sources lots of time to speak… Sounds like the way John Cage treated the sounds and music of Ireland in his celebrated “Roaratorio”.

Skylark—the work of Lucinda Guy, co-instigator of the internationally acclaimed Soundart Radio—is a continuous and ever-changing sound installation, rejecting conventional radio schedules of presenters, programmes, music tracks and adverts. As well as an artistic achievement it is a research project into automation, transmission, composition and community. The place is Dartmoor, a wild granite moorland in the Southwest of England full of legends, ghost stories, extraordinary rock formations, bogs and even a forest of stunted oaks. It has always attracted writers, musicians and artists. Guy’s original approach to it broadcasts locally and continually on skylark.fm. I often play it in the car dipping in and out enjoying the soundscapes. Especially when driving across the moor.

>> Sam Richards is a composer, piano improviser, writer and educator. He presents Sam’s Listening Room on Soundart Radio - two hours of an eclectic selection of contemporary music or, as he says, non-doctrinal doctrine.

>> Lucinda Guy is a composer and radio maker who lives between Devon and London.

Part 3 of the series by Nienke Terpsma

more at sarn.ch/publications

07/04/2025

See you tonight at the ZHdK for SARN’s General Assembly 2025, with guests Beate Böckem and Antonio Baldessare for a discussion about Where and How to Lobby for Artistic Research.

All the details and the Annual Report 2024:
https://sarn.ch/events/ga-2025

14/11/2024

“What does a cactus say to the rain? What does the rain say to the cactus?” In dialogue, words can heal, invoke contemplation, and spark compassion. ‘Crear un común habitar’ (‘Creating a common habitation’) by Andrés González Berríos is a poetic toolkit weaving together reflections, exercises, and discussions designed to nurture ecopoetic workshops and foster ecological awareness.

The publication is deeply rooted in the principles of ecopoetry, advocating for an ethical, situated, and communal approach to poetic expression. It cultivates concerns, sows explorations, and knits diverse knowledge, making it an enduring effort to engage readers in sustainable dialogue with our environment.

“How is the name of a river born?” Like a poem finding its words, a river’s name emerges from the landscapes it carves and the communities it sustains, echoing in the murmurs and roars of its journey.

By framing eco-poetry as a lifelong practice, González Berríos invites each reader to delve into and embrace this form of creative activism. The publication acts as a clarion call to reflect on and respond to our ecological challenges, making it essential reading for anyone committed to environmental advocacy through the power of words.

>> Crear un común habitar: Daniel Godínez Nivón reviews Andrés González Berríos: Creating a common habitation: reflections, exercises and texts for ecopoetic workshops. The Eternal Return Home: Mexico City, 2019.

>> Daniel Godínez Nivón (Ciudad de México, 1985) is a visual artist based in Mexico and the Netherlands, educator, and independent researcher. His artistic practice intertwines social participation, education, and collective knowledge.

*Text snippets in the post are from Andrés González Berríos: Creating a common habitation: reflections, exercises and texts for ecopoetic workshops, 2019. English translations by Daniel Godínez Nivón.

More at sarn.ch/publications

gon.z

20/09/2024

The shelves go up the mountain in Spring, and down in the valley below in Autumn. The shepherd also guides the books to their summer abode, a field house on the edge of the forest. The books come in varied shades, from unruly black to incandescent white, from fiery gold to revolutionary red; some bask in muddy terrain – know thy enemy – others stretch their voluminous bodies in technical meticulosity. Greens are the most hybrid: taxonomy, mycelium, botany-greens; poetic, walkabout, fictional-greens; eco-feminist, non-human, trans-greens, attuned to the surrounding landscape.

Interspecies communication is encouraged: a vibrant herd of vinyl records accompany the transhumance every year. To listen to the landscape, is as important as to read the signs of a conflicted world.

Every once in a while, the shepherd welcomes humans, who are encouraged to mingle with the multitude. In other respects, the humans are left to roam freely. But when the time comes for them to depart, he will remind them they can only do so if they offer as yet unknown specimens to the flock. That is the secret of the library’s prolific expansion.

>> A Colourful Flock in Expansion: Gabriel Gee reviews the library at La Dépendance artist residency in the Swiss Jura outside of St-Imier. Initiated and run by the artist Jan Van Oordt since 2018.

>> Interview with Jan Van Oordt for TETI Group: https://www.tetigroup.org/teti-visions-interviews-ladependance.html

>> La Dépendance: https://dependance.ch/wp/residenz/?lang=de

>> Gabriel N.Gee is an art historian and writer based in Switzerland, with particular interest in interconnected global histories and contemporary artistic research. He is the co-founder of the interdisciplinary TETI Group and co-organizer of the SARN work group Art & Industry

More at sarn.ch/publications

17/08/2024

Last summer, I visited the finissage of ‘ALIMENTO’, organized by la_cápsula. The curatorial concept was based on anthropophagy (the custom and practice of eating human flesh) as a metaphor for exploring current reciprocal and circular food systems. At the tropically hot Greenhouse Art Lab, I found myself holding a bottle branded as ‘Milch: Pasteurized Human Milk’. This work by Kadija de Paula caught me within seconds, not because the gently provocative banner showed a sketch drawing of a giant dripping ni**le but (maybe) because of having recently experienced the difficulties of breastfeeding in my own family. Kadija, ‘privileged,’ in her own words, ‘not to be pregnant’, had placed instructions into the bottle about how to stimulate the ni**les in order to produce and distribute human milk. The work imagines a food utopia in which human lactation is a sustainable common practice that supersedes the exploitation of other nonhumans with mammary glands. What’s more, she challenges the societal norms by suggesting caring for others is possible without getting pregnant.

>> Nourishing the Unborn: E. Onur Ceritoglu reviews Kadija de Paula: Milk it: pasteurized human milk made to nourish the future of those who have not yet digested the insult of being born. Silkscreen on glass bottles, instruction sheet, 2022.

>> E. Onur Ceritoglu is an architect, artist, and urban researcher based in Winterthur. In his artworks, he contextualizes urban life through a material-driven experience and socially engaged art practices; his research in urban studies focuses on informal labor, the materiality of waste, and reuse in architecture. https://onurceritoglu.com/

>> More at sarn.ch/publication. Images courtesy E. Onur Ceritoglu (2, 3) and Kadija de Paula (1, 4).

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Swiss Artistic Research Network

26/05/2026

26/05/2026

20/05/2026

15/04/2026

17/02/2026

13/01/2026

07/04/2025

14/11/2024

20/09/2024

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