Practice-Based Research (PBR) in Art

As Borgdorff (2010) stated, the essence of artistic research is as a form of knowledge production, especially this research project revealing in the emergence and resurgence from the new art form “Liquidity of Data”. The characteristics of this artistic research is featured into art practice (the work of art, the artistic actions, the creative processes) and is not just motivating factor and the subject matter of research, but that this artistic practice (the practice of creating and performing in the atelier or studio) is central to the research process itself. Through making artefacts, the researcher could eventually generate the research questions or hypotheses, and also to explore the answers to those of questions through further art productions.

As Candy and Edmonds (2010) postulated, the starting point was to explore the literature of my field study (Digital Art and New Media Art) and, in parallel, to generate questions (New Art Forms) relating to practice. At the end art productions became the integral part of practice and the making process would provide appropriate chance for self-reflection and evaluation. At the beginning of my research, my literature review would emphasize on the knowledge of practice-based in art (from the writings of Candy and Edmonds/ Biggsand Büchler/ Scrivener), the emergence and resurgence from Pop Art (from the writings of Francis and Foster/ Taylor/ Jaspers and Anneke), and global perspective in contemporary art (from the writings of Belting, Buddensieg and Weibel/ Livingstone). This literature review is a critical appraisal or analysis that not only clarifies the claims for the originality for my research and location of my art production, but it also provides the basis for a judgment as to whether general scholarly requirements are met as required by traditional way researches.pretium.

Look forward to seeing you.

Andy Tam (MA, MEd, ARPS)

PhD Researcher
Contemporary Art Research Centre (CARC)
Kingston University London

Selected Exhibitions

-We Are Publication” Multi-media Exhibition (2019). Dekalb Gallery, Pratt Institute, New York.

-“the Hold” Multi-media Exhibition (2019). Stanley Picker Gallery, Kingston University, London.

-Painting and Multi-media Exhibition (2018). Affordable Art Fair, Hong Kong.

-Description of Absence (2018). 1Aa Artspace Jeju, Korea.

-Silk Road International Art Festival (2017). Xian Art Museum, China.

-Urbanism/ Architecture Bi-city Biennale of Urbanism/ Architecture (2016). Shenzhen Municipal Committee, China.

-The 3rd Kumming Art Biennale (2016). Yunnan Fine Art Museum, China.

-UFO Art Exhibition of Glocal Communication (2013). F1 Fang Li Jun Artspace, Hong Kong.

-The 7th Tashkent International Biennale of Contemporary Art (2013). Uzbekistan.

-Beyond: an extraordinary space of experimentation for modernization (2006). The 2nd Guangzhou Triennial, China.


-Tam, T. K. et al (2016). On the Stream: Southeast Asian Contemporary Art, Yunnan Fine Art Museum, China.

-Tam, T. K. et al (2016). The 1st Shenzhen Biennale of Contemporary Art, Art Planning Committee of Shenzhen Artists Associations, China.

-Tam, T K. (2015) “In Between Institution and Market- the role of media art and infrastructure in the era of post-regional integration”, An International Conference Exploring Creative Research and Practice in Museum Making, K11 Art Foundation, UKT1 and the University of Leicester

Short biography of andydada

Tat-keung, Andy TAM (Shenzhen, Zhuhai, Hong Kong Art critic and cultural Industry Researcher) Graduated at the University of the Arts London, Wimbledon College of Art. He also participates in the projects of Affordable Art Fair Hong Kong (2018), Silk Road International Art Festival (2017), The 3rd Kunming Art Biennale (2016), Shenzhen Biennale of Contemporary Art (2015), Bi-City Biennale of Urbanism/ Architecture (Shenzhen and Hong Kong (2012 & 2015)), Kwangju Art Biennial (2005), Guangzhou Art Triennial (2005), MAAP Media Art Festival (2004), Ho Chi Minh Fine Arts Museum (2000), Taiwan IT Park Gallery (2000), Taiwan Huashan Arts District (2000), Hong Kong Biennale of Art (1996 & 1998) etc. He also performed at Malaysia National Visual Arts Gallery (2000) etc, and his art writings were released in MIT-LEA Press, 2nd APAEC (Asia-Pacific Art Education Conference), 2nd Guangzhou triennial, Korean National Commission for UNESCO etc