Research Catalogue

The aim of this PD project is to bring artists and citizens together with each other and their environment, and collectively explore how the wordless voice can be a means of communication. Artists leading this project bring understanding from the multiple fields in which they are working – music, theatre, visual arts, and circus. In addition to the collective exploration of connection, the objective is to propose a methodology (which combines and develops from a range of existing methods and is provisionally termed “Resonant Cycles”) and investigate if it can have a transformative impact on the subjectivities of the individual participants. The project involves interventions in the field of performing arts with the goal of modeling less language-dependent and more inclusive, sensory-rich experiences of cross-disciplinary creation and performance. It invites a holistic and immersive experience of performing arts that brings the physical voice to the forefront and prompts reflection on the essence and meaning of vocal sound regardless of language, and the way that sound itself functions as a means of communication.

The research subgroup SPACES OF ARTIST EDUCATION focuses on exploring the relationships between artists’ pedagogies, educational spaces, and learning environments in artist education. The key interest of the subgroup is to investigate how different spaces influence, facilitate and regulate interaction, communication and ways of teaching and learning both at art universities and in non-institutional settings. The subgroup aims to gather colleagues from diverse artistic disciplines and research backgrounds to discuss the spatial, material, bodily, performative and institutional aspects of teaching art practice, as well as their connections with educational policies, relations of power, traditions of artist education, and the very ideas about pedagogy and didactics, mastery, knowing, art, creativity, resources, accessibility, space and place.

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

The photographic image has always historizised; an artifact of the past, photographic moment. But just as it is conditioned by the temporal and material context of its making, its essence – if there is one – is conditioned by how we encounter the image. This encounter involves both the situation in which the image is seen and our individual selves in relation to it – our histories, beliefs, and expectations. To further reflect on this unstable, temporal quality of the photograph, we explore the meaning of looking at the future by looking at photographs. Artistically and philosophically a contradiction in terms, it is still a practice we experience: How to look ahead with something temporally bound to the past. To do this, we reflect on ‘Regarding the Pain of the Future’ by the first author and develop and discuss an artistic practice emphasising a second, photographic moment.

Welcome to Galaxy Revolution, the space station of Historical Spiritual Vibrations space agency. At the station you can access training sessions and game instructions we use to imagine training and healing practices for the new space race. You can experience glimpses of our space journeys and learn more of the history of the tools and knowledge we bring with us on our missions. Dock at our space station and (mis)use our methods to reshape and imagine the past, present, and future in your own way. The exposition gathers documentation of Whyte&Zettergren's live actions and ritual practices at locations in Iceland where the Apollo 11 astronauts trained for their journey to the Moon. It also includes infrared imagery, a technology used in space visualization to capture light waves invisible to the human eye, recorded during the duo’s space journeys. The duo explores space both as a site where future colonial projects are planned and as a fictional realm for imagining alternative worlds. In their work, Zettergren's speculative technofeminism and Whyte's ritual dubfuturism intersect. Practices that reshape futures in various ways; through an intersectional feminist and technocritical lens, and through the experimental remixing of history, ritual, and rhythm in dub culture. When the present feels dystopian, dreams of life in space become a way to envision change, a transformation of the world through imagination, whose echoes vibrate into the future.

”Fata Morgana. An Essay Journey” explores the optical phenomenon of the Fata Morgana and its mythical namesake, Morgain Le Fay, as a figure of thought to explore transcultural and transgeographical relationships between landscape and identity. Conceived as an essay journey with artistic interventions, Fata Morgana argues for rethinking imagined geographies against the territorial bigotry prevalent in Europe and the world, against essentialist ideas of singular or linear origins. Instead, Körschkes uses Fata Morgana as a motif, myth and method for artistic research, employing its ephemerality and “diffuse occurrences” to relocate places into other places, narratives onto other narratives, and thus brings together different spatialities, temporalities and identities into brieftopian co-existence.