Research Catalogue

We left Eden Performed by Marius Igland Group Musicians: Sebastian Grüchot Violin Trygve Rypestøl Sax Bjørn Rønnekleiv Clarinets Marius Igland Guitar Espen Grundetjern Bass Trygve Tambs-Lyche Drums Production Camera Andi Gyberg Lights design Andi Gyberg Sound Engineer Espen Grundetjern Consultant Espen Grundetjern Producer Marius Igland Editor Marius Igland Mix/master Marius Igland Music All compositions and arrangements by Marius Igland Timestamps: 0:14 - Prologue 3:18 - I - A different Animal 11:55 - II - Exploring 19:15 - III - Ambience 27:55 - IV - Water 32:59 - V - Anthropocen 41:07 - VI - Chronophobia 48:31 - VII - Forward we go 53:12 - VII - Returning This production was shot live in Kristiansand, Norway 12th of May, 2024

Prodigal Misfortunes fuses digital drawing with eerie storytelling to create a captivating realm where the boundaries between the visual and narrative blur, inviting audiences into a unique experience. This synthesis leverages the strengths of both mediums, with the algorithmic medium providing a limitless canvas for visual exploration and the eerie narratives weaving complex, thought-provoking tales that engage the imagination and evoke deep emotional responses. Algorithmic drawing, with its capacity for intricate detail and surreal environments, sets the stage for stories that push beyond the ordinary, crafting scenes that are as haunting as they are beautiful. The eerie storytelling, in turn, infuses the artwork with a narrative depth that transforms each piece into a window into otherworldly tales, filled with mystery and the uncanny. But algorithms are not neutral entities and its socio-political effects result from the will of real individuals behind them who use them as an apparatus for social control. Thus, we endeavor to maintain an explicit distance between artist and computer, in the context of the emerging AI/LLM technologies that threaten to reverse the mind-over-matter stance of classic dualism. The use of mathematical chance through algorithmic processes to create drawings, aims to break free from technological functionalism. Mathematical randomness serves as a tool to explore the artist's inner self. Despite their digital nature, these drawings are firmly rooted in the tradition of drawing: they serve as a medium for expressing the artist's thoughts, embody the process of transferring these ideas onto a canvas over time, and highlight the artist's presence. Through a created software tool the software that produces the drawing stands as an artwork on par with the produced images, although remaining invisible. Thousands of lines of code have been written, although they remain in obscurity as an inherent aspect of its personal nature.

A work-in-progress artistic research project. Initiated by Hanns Holger Rutz and Nayarí Castillo in autumn 2021, it develops into multiple intermedia objects that involve collaboration between different artists, objects that engage in sensorial exchange among themselves and with humans. This exposition is very much in flux, trying to capture the meanderings of the process.

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?