Research Catalogue

This exposition is a documentary project on the artistic research project Neither Fish nor Fowl. The research project consists of theater making, film making, workshops, performances and writing, and explores the wondrous worlds of becoming in theatre for early years. Together with my theater company Teater Fot, I have been investigating the significance of affect as philosophical, emotional, and material inspiration in the creative process, and in relation to young children in Theater for Early Years. Neither Fish nor Fowl was conducted as a performance project from April 2017 to March 2020. During this period, the research process was documented in RC, presenting methods, writings, and reflections along the way. The pre-production performance (for babies 0-2) was shown at the festival Olavsfestdagene in Trondheim, Norway, summer 2017 and at Trondheim Kunsthall autumn 2017. The full production, Begynnelser (for 3-5 years), was presented in april 2018 in co-production with the venue Teaterhuset Avant Garden in Trondheim. Baby Becomings (0-2 years), was presented at festivals and for kindergartens in Trondheim autumn 2018, and the final version Himmel & Hav / Sky & Sea was presented at Rosendal Teater in in March 2020, touring kindergartens for one week. Animalium (2019) was a a kind of spin-off with film making, workshops, visiting exhibition spaces and eventually article writing with an exposition in VIS - Nordic Journal for Artistic Research #2 on the theme Estrangement. In 2020-22 Animalium has become a new research project, looking at post humanist approaches to different sites such as kindergarten spaces, libraries and art exhibition spaces. We are developing new performance strategies with deepening our improvisational and listening skills into a more-than-human sympoietic intra-playfulness. Trying to perform these concepts, we might understand more of what they actually mean to our artistic practice.

Olskroksmotet Blues är den avslutande delen i mitt autoetnografiska projekt som i olika former pågick mellan 2014-2021, och där jag bland annat publicerat två artiklar (Kroon 2015 och 2016). RC expositionen består av tre delarbeten - arkivblad, arkivmönster och göteborg grid – jämte bakgrund och teori & metod. Utifrån min historia som fosterbarn söker jag fånga såväl mina egna erfarenheter och uttryck, som att sätta dessa i ljuset av större samhälleliga skeenden. Olskroksmotet Blues var också del av Mikrohistoriers fysiska grupputställning på Konstfack, Stockholm i september 2021.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

My PhD project explores the aesthetic and affective codes of a particular notion of indebtedness, a 'feeling of indebtedness,' as an outcome of German educational efforts institutionalized in Istanbul over the course of the 20th century. I interrogate this feeling through the lens of affect theory as a pedagogical 'genre,' by bringing my research closer to Black studies and critical migration studies. My high school, the İstanbul Erkek Lisesi [Istanbul High School for Boys, also known as Istanbul High School], which is housed in the former headquarters of a 20th-century European credit institution named the Düyûn-ı Umûmiye [Ottoman Public Debt Administration, OPDA] becomes the imaginative site for 'desire-based research,' as Eve Tuck suggests. If this German school abroad were a credit institution, a time machine, how could it inform me about the historical processes through which a 'feeling of indebtedness' educates collective desires conforming to German labor, emancipation, and citizenship models? Keeping Lauren Berlant’s concept of 'cruel optimism' dear to my research, I question whether the German pedagogical promises in Asia Minor pose an obstacle to the flourishing of migrant subjects desirous of German education. Thus, I critique the violent histories along the modern German-Turkish industrial complexes of labor, culture, and military. I lean on intergovernmental agreements and familial biographies of labor, migration, and conversion. In pursuit of affective remedies for such histories' violence, I depart from 'redemptive migrant images' of my solo exhibition 'Teneffüs' [Recess], which opened at Salt Galata (Istanbul, 2022) in the former headquarters of the Bank-ı Osmanî-i Şahane [Imperial Ottoman Bank]. Employing my methodology of 'flickering migrations,' I hope that it inspires a thriving culture of memory and accountability.

Med utgangspunkt i kunstneriske framstillinger av Arkadiamotivet, og med pastoralen som optikk, vil dette prosjektet utforske «utopiske» forestillinger om fortiden, gjennom arbeid i ulike kunstneriske uttrykksformer, i tekstil, skulptur og tekst.

This research project gathers a series of interviews with some of the closest collaborators of Icelandic composer Jóhann Jóhannsson (1969–2018). Conducted between 2022 and 2025, the conversations preserve first-hand testimonies of his creative process, collaborative methods, and unique sonic universe. Through the voices of Echo Collective (Neil Leiter & Margaret Hermant), Francesco Donadello, Viktor Orri Árnason, and Yair Elazar Glotman, the project explores themes such as orchestration, sound experimentation, electroacoustic practices, and the integration of music with film. The interviews have been edited and adapted from their original form in order to ensure clarity and contextual coherence, while remaining faithful to the collaborators’ perspectives. Taken together, these accounts shed light on Jóhannsson’s aesthetics and working philosophy, offering a multifaceted portrait of a composer whose legacy continues to influence contemporary music.