Research Catalogue

The Birdsong Trilogy is inspired by the playing and singing life of birds. Teater Fot has created three worlds of birdlife, Sparrow, Nightingale & Woodpecker, where the children are allowed, in different ways, to take part in the theatre, dance and music. Verbal language is not in focus, rather the language of listening, movement and music. Audience participation is adjusted to the needs of the different age groups and their specific play culture. This does not always mean bodily interaction, but rather that contact and communicative musicality is attended to. The questions of social relations and interactions in art and with children have been discussed throughout the whole project. The Birdsong Trilogy was coproduced with the regional theatre Trøndelag Teater in 2012, and Sparrow have toured internationally (America, China, South Africa, Italy, Finland). Teater Fot has been one of five companies to take part in the artistic research project SceSam - Interactive dramaturgies in performing arts for children (scesam.no), from 2012-16. Read more about The SceSam artistic research project, including The Birdsong Trilogy: Nagel, L., & Hovik, L. (2016). The SceSam Project – Interactive dramaturgies in performing arts for children. Youth Theatre Journal, 30 (2), 1-22. doi: https://www.tandfonline.com/doi/full/10.1080/08929092.2016.1225611 Hovik, Lise (2015). Din lytting skal være din sang. Om inntoning, lytting og interaktivitet i scenekunst for små barn. I Strømsøe & Hammer (red.) Drama og skapende prosesser i barnehagen. Fagbokforlaget. (193-209).

Professional Doctorate in Arts + Creative is an educational pilot program in The Netherlands for an advanced degree in universities of applied sciences. The PD program at an university of applied sciences is developed to train an investigative professional. This portal is a platform for publishing artistic research generated by the PD candidates. Within the Professional Doctorate program, this portal will also be used as an internal tool for documentation.

This exposition gathers a series of visual and linguistic investigations in which signs, form, and the space between them construct expressions that invite multiple interpretations. Here, propositions are understood as attempts, movements, and modes of thought. Between sign and form, a space emerges where meaning can be brought into play – where rhythm, structure, wonder and quietness may interact as an expanded practice of seeing, reading, and listening.

The presentation focuses on inclusive sensory drawing as a way to observe, notice and interact with non-human species in local nature, imagine their perspectives and reflect on the experience. It is known that many people today feel alienated from nature while on the other hand connection to nature is linked to pro-environmental behaviour. As an artist and art educator I have been wondering how participatory artistic and educational practices can reinforce the emotional and physical connection with nature, how to create conditions for perceiving the intertwinedness and mutual dependence, moreover, what could be the role of art and art education in the post-growth conditions. Drawing is not a new method for observing nature, but I find the inclusive drawing activities to be relevant to facilitate creative nature experience in contemporary context. As an artist, I have been using sensory drawing and realised how using the pencil and brush as facilitators help me to concentrate, slow down, notice interactions and sense myself as a part of the ecosystem. I have used the embodied and situated artistic thinking as a source for drawing walks and workshops in gardens, forests and parks and introduce some of the simple exercises in this presentation, asking how and which drawing and painting approaches facilitate active engagement with the environment and what is the intersection between artistic practice, environmental and artist pedagogy. I describe the specifics of four methods. These kind of curated nature experiences offer possibilities to recognise other beings, their relationships and ourselves as related to them through actions and reflections.

xeno-/exo-/astro -choreoreadings is a postdoctoral artistic research project that explores research questions that reopen site- and place-responsive choreographic practices by expanding the notions of ‘site’ and ‘place’ to outer space. The prefixes in the title refer to planetary conditions to which I do not have direct access. Another key choreographic exploration focuses on embodying hyper-reading and examining the impact of digital reading on embodied artistic practice. Hyper-reading refers to a computer-assisted, screen-based reading practice that has become common in contemporary daily life globally. It connects the reader to the limitless cyberspace. The research project blends these two spatial dimensions, in which the examination of the notions of choreography and choreoreading happen. The research process is multidisciplinary and hybrid in nature, producing artworks, traces, and reflections. The results are presented in this exposition as artworks and as reflections on the choreographic practice that this process has clarified. Download Accessible PDF

Playing the Mountain is an artistic research project investigating balance as the dynamic interplay of yinyang, through the practice of taijiquan (a Chinese internal martial art). Based on this embodied practice, I explore balance not as a state but as movement, by transposing this dynamic of opposing forces into a constellation of participatory, sculptural and expanded cinema forms. Drawing on principles of Chinese aesthetics from a diasporic perspective, Playing the Mountain deploys artistic strategies to consider agency, (non-)presence, tension, and resistance. This constellation traces unseen forces through kites, music, geological processes and Chinese calligraphy, gathering different ways to ask: what are the implications of understanding balance, not as a state, but as a process? This research project manifests through material investigations, martial arts practice, participatory exchanges and collaboration, as part of my broader PhD-in-Practice research project, undertaken at the Academy of Fine Arts Vienna. The exhibition and writing workshop were presented in Summer - Autumn 2022 at Centre[3] for Artistic + Social Practice, in Hamilton, Canada, curated by Lesley Loksi Chan; the kite-making workshop was conducted in Summer 2024 at Decentric Circles Assembly in Warsaw, Poland (various sites), curated by the Work Hard! Play Hard! working group. Download Accessible PDF