Arts-Based Research (ABR) emerged in the early 1980s as part of the narrative turn (Connelly and Clandinin, 1995, 2000; Lawler, 2002) in qualitative research. This mode of inquiry drew trajectories that interconnected the Social Sciences and the Arts. We transferred ABR to an optional subject offered to students in the 3rd year of the Fine Arts Degree at the University of Barcelona. The course lasts four months and is presented as a theoretical-practical laboratory where the group of students undertakes a process of collective inquiry in which they put into practice artistic and narrative research methods. Our teaching practice attempts to: 1) bring students closer to the field of gender studies, new materialisms (Van der Tuin et al., 2016) and post-structuralism; 2) offer active learning of post-qualitative forms of research, IBA and Artistic Research from praxis; 3) develop a final project collectively and, 4) end with a proposal for self-evaluation. This disrupts the dominant academic direction, based on individualism and academic validation, and its immediacy with knowledge economies (Kaufmann, 2011). During the scholastic year of 2019-20, Georgina, one student, noted that "IBA allows us to think the unthinkable". In this sense, artistic methods of research open possibilities to "produce knowledge that does not strive to create objective truths, but rather versions of the subjectivities involved" (Pink, 2001, p.18). Beyond that, artistic methods unveil aesthetic, affective, social, political, spatial, and performative relations and processes that would otherwise remain invisible (Hernández-Hernández, 2008). Following this, our course puts into practice the four ways in which IBA produces knowledge, according to Calderón-García and Hernández-Hernández (2019): 1) marginal, developing forms of partial, situated and in-context knowledge (Haraway, 1988) from the margins, 2) from the folds, displacing boundaries to activate lines of flight (Deleuze and Guattari, 2003), 3) from disagreement (Rancière, 2012), itself maintaining the complexity of critical and disruptive forms of enunciation, and 4) in relation, collaborating and co-creating dialogically with our interlocutors.

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