Research Catalogue

Dit is een onderzoek naar 'het kunstzinnige' in het (professioneel) leven van alumni die, tijdens hun opleiding tot pedagogisch coach, werden ondergedompeld in een bad vol kunst en cultuur, vanuit de overtuiging dat dit hen zou verrijken in hun werk, in hun leven en hopelijk, misschien, in beide.

Unstable Systems Instability can be a creative force in art, design, and architecture. Artists, designers, and scholars work both with and against systems that are ever-changing, fragile, or unpredictable. Whether dealing with technological systems, ecosystems, social structures, or sensory experiences, instability is often a prerequisite for creation. Instability opens pathways for new ideas and processes, reshaping how we approach and redesign the systems that shape our lives. It can also refer to the creative act itself—one that does not follow predetermined trajectories or established norms. Art, design, and architecture serve as tools to disrupt stable systems and/or shed new light on systems that appear stable but in reality, they are not. No system is truly stable, and when we resist that instability, it becomes a problem. Instability is perhaps the only certainty we can rely on. Hugarflug 2025, the annual conference on artistic research, will take place on September 11–12. It will serve as a platform for research that engages with instability across various systems—from technological advancements such as AI and interactive systems to issues related to politics, society, and the environment. We will explore how instability functions as a tool for generating new possibilities while also fueling unrest and transformation within society and academia. The Iceland University of the Arts invites proposals of all kinds, including presentations of ongoing or completed research by our faculty, students, and collaborators.

In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.

Esta experiência criativa foi desenvolvida na disciplina de Epistemologia da Cultura, do Mestrado Interdisciplinar em Dinâmicas Sociais, Conexões Artísticas e Saberes Locais do Centro de Ciências de São Bernardo, da Universidade Federal do Maranhão. Vivenciamos a paisagem sonora da Igreja Matriz do município de São Bernardo, localizado no estado do Maranhão. Destacamos a sua importância religiosa, histórica, cultural e afetiva para a cidade, utilizando recursos poéticos e performáticos, a fim de evidenciar a paisagem sonora como expressão cultural. Buscamos compreender a relação entre os sons e a memória afetiva, investigando como a sonoridade influencia as percepções e lembranças do espaço, bem como refletir sobre a experiência performática, destacando o processo de escuta ativa e de imitação dos sons do ambiente. Como aporte teórico para alicerçar o processo criativo, utilizamos autores que discutem a escuta e paisagem sonora, em especial R. Murray Schafer, Pierre Schaeffer e Marisa Fonterrada.

This artistic research project investigates the ceramics workshop as a dynamic site at the convergence of art, pedagogy, and ecopolitics. Utilizing practice-based, iterative feedback loops, it explores how cycles of making, reflecting, and teaching with clay evolve concepts, methods, and material outcomes in an ongoing dialogue between agencies.^1 Clay is reimagined beyond a primitive arts and crafts medium as an infrastructural archive that embodies ecological, political, and urban narratives. Grounded in a material-ecological framework and informed by critical theory from Bruno Latour, Karen Barad, and Donna Haraway, the project situates ceramics pedagogy within an experimental ecology of keythings; clay, tools, kilns, residues, and bodies, that co-constitute knowledge.^2 This research embraces contradictions and complexities of wicked ecological problems, fostering a pedagogy of “comfortable discomfort” that resists mastery and embraces provisionality.^3 The research unfolds over a time of wicked problems: war, speculated ecological collapse, institutional fragility, and the difficulty of knowing which crisis demands priority or whether these crises are in fact complicit in one another. Within this uncertainty, it is also considered how to navigate complexity with mindful presence, cultivating forms of practice that allow us to remain responsive without paralysis and eventually if this approach could be conducive to locate stable solutions and re-inject questions stemming from the practice back into practice and beyond.^4 Outcomes include pedagogical models and artistic works that demonstrate how material practices mediate relations between sustainability, ethical responsibility, and creative agency. Ultimately, the project envisions the ceramics studio as a vibrant, relational ecology that invites ongoing inquiry into the entangled systems constituting artistic research, practice and pedagogy.^5 ^1 Patricia Leavy, Method Meets Art: Arts-Based Research Practice, 3rd ed. (New York: Guilford, 2024). ^2 Bruno Latour, We Have Never Been Modern (Cambridge, MA: Harvard University Press, 1993); Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning (Durham, NC: Duke University Press, 2007); Donna Haraway, Staying with the Trouble: Making Kin in the Chthulucene (Durham, NC: Duke University Press, 2016). ^3 Donna Haraway, Staying with the Trouble, 2016; Timothy Morton, Dark Ecology: For a Logic of Future Coexistence (New York: Columbia University Press, 2016). ^4 Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (Princeton, NJ: Princeton University Press, 2015). ^5 Patricia Leavy, ed., Handbook of Arts-Based Research, 2nd ed. (New York: Guilford, 2025). Participants: Alevtina Lyapunova, Ana de Sousa Cardoso, Asya Marakulina, Bahareh Rahimi, Buket Özalevli, Carmen Kalata, Ebba Sofie Olsson, Esther Vörösmarty, Gloria Bergner, Heidi Noémi Ramskogler, Julia Stakhorska, Lili Marie Theilen, Luisali Theisen, Maria Milagros Ainchil, Olga Shapovalova, Oliwia Wioletta Kalwa, Prima Mathawabhan, Siha Kim, Tabea Briggs, Tim Morris Schiffer, Yeonkyeong Park together with Kristin Weissenberger and Zahra Mirza

This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, production, performance, and technology. This interview features Icelandic composer and pianist Eydís Evensen, whose work bridges classical tradition, improvisation, and post-classical minimalism. Her music draws on the landscapes of her homeland, translating memory, nature, and emotion into a cinematic and introspective sound world. In the conversation, Evensen reflects on the hybrid role of today’s composer, the fluid boundaries between writing, producing, and performing, and the ways in which technology and collaboration shape her creative process. Evensen’s insights reveal a practice rooted in both discipline and intuition, a music that moves between solitude and dialogue, the organic and the digital, embodying a poetic vision of creation where sound becomes a mirror of place, memory, and human resilience.