Research Catalogue

Imagine words approaching a dance eyes closed or sleepwalking, words adrift beyond what can be envisioned beforehand, prompting writer and reader alike into a zone where time multiplies, where bodies grow footnotes and paper skin, savour the taste of language, attune their ears to the wavelength of blue. In a string of brief essays on her practice of writing choreographic poetry and scores, Janne-Camilla Lyster offers reflections on time, memory and the senses, on translation, punctuation and rhythm, on crevasses and mistakes, on the impossible and yet other things. What does it take to slip into another form of existence, say, a chair? Contextual note: These essays were first published as part of the book Choreographic Poetry (2019), a collection of literary scores for dance. They were written in the framework of my PhD in artistic research at the Oslo National Academy of the Arts, Choreographic Poetry: Creating literary scores for dance. Thanks to the dancers and musicians who contributed to the process of developing the PhD project. To Chrysa Parkinson, Anne Gry Haugland and Bojana Cvejić for their valuable contributions during the process of writing these essays. And to Jeroen Peeters and Mette Edvardsen for further editorial dialogue. Janne-Camilla Lyster is a writer, dancer and choreographer. She has published poetry, novels, essays and plays. www.jannecamillalyster.no Varamo Press embraces the unexpected and values the arbitrary circumstances in which writing comes into being. Snatching, wording, printing, it gives a paper form to various kinds of literature that have a fleeting life elsewhere. Gestures is a series of essays. www.varamopress.org

Performance philosophy is still something of a ‘wild frontier’ where fundamental questions can be re-posed concerning the nature of wisdom and love, life and truth. For if love and wisdom are not co-extensive with verbal communication, then philosophy may be legitimately pursued by performative means. In this session the participants aim is to enact and unfold a set of trajectories rather than describe or 'define' their work in words alone. Passion and grief are disruptive currencies. Passion and grief not only seem un-necessary for biological life, they frequently threaten it. Yet a life lived without them would seem impoverished. Whether one views these turbulent affects as parasites, invaders, or as the engines of higher culture, they inhabit philosophy as an ineradicable black-market haunts all states and empires. We aim to consider this under-zone on its own terms, weaving theory with demonstrations of transferable techniques for cross-disciplinary research.

This is the shape that my temporary virtual studio had during NPP –New Performative Practice MA SKH Uniarts, Stockholm–.

The Archeologist’s Gaze presents and reflects on a project on the restoration of ancient tapestries, following the award of a research grant to TAMAT (Museum of Tapestry and Textile Arts, Tournai, Belgium) in 2020-2021. After immersing herself in the museum's restoration workshop, looking for images, words, materials and gestures, Paternostre turned her attention to the reverse side of the tapestry. Studying the scraps of thread that had fallen to the floor, her vision of the tapestry was turned upside down, and the little bits of thread that gradually was picked up from the ground became the focus of the research. These details bore traces of many hands that had restored and repaired the tapestry over the centuries and told a story of care and attention, the inseparable opposite of monumental tapestries and mythical tales.

Skolbrandsarkeologi (“School Fire Archaeology”) is an artistic excavation (2022–2026) of Slättgårdsskolan in Skärholmen, Stockholm, led by artist Patrick Kretschek. The art project uses contemporary archaeology, participatory art, and documentary methods to explore the aftermath of the June 1, 2020, school fire. It combines text, photography, film, and artifacts to narrate the event through testimonies from students, teachers, parents, and the public. Exhibited locally at culture house FOLK in Skärholmen, it offers a space for reflection on loss, memory, and reconstruction.

What is a narrative, when it moves through time and history, when it moves through bodies? The narrative is always in danger of dying, until it is picked up and given new movement into new contexts. Where does the new begin? Where does the old one go? Vocalist Live Maria Roggen and pianist Ingfrid Breie Nyhus have over several years investigated duo music that was once romantic music. Through time, body, forgetfulness, fallibility – and improvisation as a method – the music has merged with the whims, derailments and backtracks of the inner sound and the duo's body. Where does the narrative live in the next moment?