Especificidades de los Museos Eclesiásticos

Through the chapters of this thesis it has become clear that artistic research is essential for the academic world since its contribution to the art sphere and academia is tremendous. Artistic research achieves to bring together society and academia through a joint investigation and at the same time succeeds on being understandable in both realms. Especially in the case of research in political art practices, this interface becomes even stronger. Both society and academia influence the basis of artistic research and both are being influenced by the progress of the research, indicating that a connection between them has been made. Besides the debate regarding artistic research, its presence in academia is necessary because it brings knowledge through the investigation that otherwise might never reach the field of higher education in the form of a research that actively participates in the evolution of society. That is also the reason why more artists should concentrate on political art practices. While being politically engage with art, artists can thoroughly investigate events that occur to society through the lens of artistic research with the final results of that investigation being appreciated by the academic world. Academia and society in order to participate in the best possible performance both need that interface and also, especially in these times, it is essential to shed the light on matters that occur to society, such the Rojava Revolution, which makes the importance of that interconnection is even greater. Academia should pave the way for political artists to share their knowledge and experience on social matters within the walls of academia, while through their research artists can have an impact on society respectively.

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Bibliography

 Bishop, Claire. ‘Antagonism and Relational Aesthetics.’ October, Fall 2004, pp. 51– 79.

 Borgdorff, Henk. The Conflict of the Faculties: Perspectives on Artistic Research and Academia. Amsterdam: Leiden University Press, 2012.

 Elkins, James. Artists with PhDs: On the New Doctoral Degree in Studio Art. Washington, D.C.: New Academia, 2009.

 _{Hannula, Mika, Juha Suoranta, and Tere Vadén.} Artistic Research: Theories, Methods and Practices. Helsinki: Academy of Fine Arts, 2005.

 In der Maur, Renée and Jonas Staal, “Introduction” in: New World Academy Reader #5, Utrecht: BAK, basis voor actuele kunst, 2015, pp. 15-26

 Jones, Amelia. A Companion to Contemporary Art since 1945. Malden, MA: Blackwell Pub., 2006.

 Kaya, Gönul, “Why Jineology? Re-Constructing the Sciences towards a Communal and Free Life”, in New World Academy Reader #5, Utrecht: BAK, basis voor actuele kunst, 2015, pp. 83-96

 Lippard, Lucy. ‘Trojan Horses: Activist Art and Power’ in Art After Modernism :

Rethinking Representation. New York: New Museum of Contemporary Art, 1984.

 Marcus, Aliza, Blood and Belief: The PKK and the Kurdish Fight for Independence. New York: New York UP, 2007.

 Miller, Jason. "Activism vs. Antagonism: Socially Engaged Art from Bourriaud to Bishop and Beyond." FIELD, 2016.

 Mouffe, Chantal. ‘Artistic Activism and Agonistic Spaces.’ Art & Research 1.2,

Summer 2007.

 Mouffe, Chantal. Agonistics: Thinking the World Politically. London: Verso, 2013.

 Öcalan, Abdullah, Democratic Confederalism. London: Transmedia, 2011.

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 Öcalan, Abdullah, Liberating Life Woman's Revolution. Köln: Mesopotamian Publ.,

41  Özcan, Ali Kemal, Turkey's Kurds: A Theoretical Analysis of the PKK and Abdullah

Öcalan. London: RoutledgeCurzon, 2006.

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 Staal, Jonas, ‘IDEOLOGY = FORM’, E-flux Journal #69. Jan. 2016, pp. 1-13

 Wesseling, Janneke. See It Again, Say It Again: The Artist as Researcher. Amsterdam: Valiz, 2011.

 Zhdanov, Andrei, ‘Speech to the Congress of Soviet Writers’, in Art in Theory 1900- 1990, eds. Charles Harrison and Paul Wood. Hoboken, NJ: Wiley-Blackwell, 1999, pp. 426-429

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Online articles and videos

 BAK. http://www.bak-utrecht.nl/en/Basis/About (accessed on June 2016)

 Cansiz, Sakine, ‘The PKK Foundation in Sakine Cansiz's Words’, N.p., Nov. 1978.

http://rojhelat.info/en/?p=6832 (accessed on June 2016)

 ‘Charter of the Social Contract’. Peace in Kurdistan. N.p., 07 Mar. 2014.

https://peaceinkurdistancampaign.com/charter-of-the-social-contract/ (accessed on June 2016)

 Dirik, Dilar, ‘The Representation of Kurdish Women Fighters in the Media’, Kurdish Question, online at: http://kurdishquestion.com/index.php/woman/the-representation- of-kurdish-womenfighters-in-the-media/115-the-representation-of-kurdish-women- fighters-in-themedia.html (accessed on June 2016)

 New World Summit http://newworldsummit.eu/news/new-world-academy/ (accessed on June 2016)

 Research Assessment Excursive http://www.rae.ac.uk/pubs/2005/03/rae0305.pdf

(accessed on June 2016)

 Rojava: Building the People’s Parliament. https://vimeo.com/158834793 (accessed on June 2016)

 Staal, Jonas. PhDArts profile. http://www.phdarts.eu/DoctoralStudents/JonasStaal (accessed on June 2016)

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List of illustrations

Fig. 1. New World Summit, Berlin 2012. (Source:

http://www.visibleproject.org/blog/award/award-2015/jonas-staal/)

Fig. 2. New World Summit Kochi, 2013. (Source:

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Fig. 3. Map of the claimed borders of Western Kurdistan (Rojava), 2014. (Source:

https://upload.wikimedia.org/wikipedia/commons/c/c9/Rojava_cities.png)

Fig.4. Map of Western Kurdistan (Rojava) in February 2014. (Source:

https://upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Rojava_february2014.png/640 px-Rojava_february2014.png)

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Fig. 5. Classroom for People’s Defence Units (YPG) in Rojava, 2014. (Source: http://www.e- flux.com/journal/to-make-a-world-part-iii-stateless-democracy/)

Fig. 6. Teacher Raperin Derik leads an ideological training for local women organizers of Yekitiya Star in Derîk, Cezîre Canton, in the autonomous region of Rojava, 2014. (Source:

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Fig. 7. New World Summit – parliament of Rojava (Model),2015-16. (Source:

http://www.art-agenda.com/wp-content/uploads/2016/05/14-IMG_1125.jpg)

Fig. 8. Construction of the new public parliament and surrounding park in the city of Derîk, Cezîre Canton, in the autonomous region of Rojava in early December, 2015. (Source:

47 https://roarmag.org/wp-

content/uploads/2015/12/12301668_903642243059077_7012621019973846139_n.jpg)

Fig. 9. Digital studies of the public parliament in the city of Derîk, Cezîre Canton, Rojava (West-Kurdistan), 2015. (Source:

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Fig. 10. Public celebration of the start of construction of the public parliament, city of Derîk, Cezîre Canton, Rojava (West-Kurdistan), 2015. (Source:

http://www.jonasstaal.nl/works/newworldsummit_rojava.html)

Fig. 11. Filmmaker and teacher Khwshman Qado leads a teaching session at the Rojava film Commune in Derbisiye, Cezîre Canton, in the autonomous region of Rojava, 2015. (Source:

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Fig. 12. Members of the Rojava Film Commune mobilize workers in the city of Amude, Cezîre Canton, in the autonomous region of Rojava, to attend the screening of the 1921 film

The Kid by and with Charlie Chaplin, 2015. (Source: http://www.e-flux.com/journal/to- make-a-world-part-iii-stateless-democracy/)