Research Catalogue

This exposition introduces the Art + Tech Lab at Stockholm University of the Arts — an emerging artistic research environment dedicated to the intersections of storytelling, technology and creative entrepreneurship. The Lab explores how artistic narratives evolve when shaped through immersive, interactive or algorithmic systems, and how technological experimentation can open new pathways for audiovisual futures. The exposition outlines the motivations behind establishing the Lab, its artistic and pedagogical grounding, and its role within Uniarts’ wider research ambitions. It reflects on the challenges and opportunities of building interdisciplinary research spaces inside an arts university, and considers how the Lab may develop through collaborations, residencies and cross-sector exchange. Rather than presenting a complete archive, this exposition offers a conceptual frame and an initial articulation of the Lab’s research questions and future directions.

My project explores the topic of identity, belonging, and freedom through illustration, poetry, and urban space. This semester has been dedicated to finishing my project. I placed new works across several areas, continuing to spread my posters and presence of pigeons within the urban spaces.

This project began in 2018, with the simple desire to play songs that we love. These could be pieces with strong associations, ones we had enjoyed singing and playing before, or songs we had never sung and that were, perhaps, even new to us. When the songs were written or what genre they might come from was not important. Original instrumentation (piano, harpsichord etc) and received ideas about vocal style were also not a priority. Finding a way of creating renditions with the tools at hand (Alwynne's voice and Hans Knut's harmonium) is what originally defined the project.

The artistic research project TiO₂: The Materiality of White (MoW) is led by Associate Professor Marte Johnslien, Department of Art and Craft, Oslo National Academy of the Arts. The project builds on her PhD project White to Earth, completed at the same department in 2020. MoW is funded by the Norwegian Directorate for Higher Education and Skills (HK-dir) through the Programme for Artistic Research for the period 2022–2026.

The artistic intervention "Foot Baths for All" (2024) emerged from an ethnographic exploration of collective forms of life on wastelands in Switzerland. Ethnographic insights regarding self-organized care, occupation, informal infrastructure, gift economies, and the shared use of water and electricity were fictionalized and recontextualized in the inner city of Zurich, in order to explore new forms of appropriation and participation in urban life. This exposition aims to share the results and experiences of this research through multiple formats: a video documentation, a how-to guide, and a text that offers insights into the ethnographic research and its translation into an artistic intervention, conceptualizing "Foot Bath Urbanism" as an artistic method for city-making from below. This project is situated in the field of artistic urban research. It is based on an expanded notion of art that moves beyond institutional contexts to intervene directly in public urban spaces through installations and performative practices, following approaches such as “New Genre Public Art”. The how-to guide is connected to instruction-based art, challenging conventional notions of authorship while emphasizing accessibility, participation, and interactivity, rooted in the conceptual art of the 1960s and 1970s, including the Fluxus movement.

This essay examines the subjective perception of time during the performance of long musical forms from the perspective of the performer. The starting point is the composition "Haltezeit", which works specifically with the stretching of time. Two improvisational performances without an audience will be used to explore how the perception of time changes in the course of performances lasting several hours and how this influences improvisational behavior. Practical experience is combined with concepts from the fields of philosophy, performance studies and musical improvisation research. The artistic experiments show that physical states such as tiredness or tension as well as external disturbances significantly influence the subjective perception of duration. While inner restlessness led to an extended experience of time and more frequent improvisational interventions, calmness and concentration favored a condensed, meditative experience of time with less frequent changes. Artistic practice thus becomes an experiential space for a qualitative perception of time beyond measurable structures. The essay sees itself as an open research gesture that invites us to perceive time more consciously as a flowing continuum in a performative context.