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Ivan Magrin-Chagnolleau : Ludivine, I am delighted to start the adventure of the journal p-e-r-f-o-r-m-a-n-c-e with an issue co-edited with you on one hand, and on the theme of the artist researcher on the other hand. Can you tell me why this theme of the artist researcher is so important to you?

Ludivine Allegue: I had the opportunity to work on the Practice as Research in Performance project in UK. This was a fascinating phase in my research: finally the essential role of artistic practice was taken into consideration in the Art research context, with the avowed aim of unlocking the necessary funding for its implementation within research organizations. And all this work has paid off across the Channel.

But the concept unfortunately confined the creative process to methodology and it is still extremely difficult to integrate the artist’s discourse in the research because the notion of methodology tends to exclude the speculative and purely poetic nature of artistic creation. The artist thus remains relatively excluded.

I think that if we manage to define and establish the status of the artist-researcher, Art research may no longer consist of a theoretical approach that would “inject” artistic practices in the methodology: this status would allow the space that art ought to occupy within universities and research organizations.


This article was originally published in p-e-r-f-o-r-m-a-n-c-e, volume 1, in 2014.

This article is in French.

Peer Reviewed