Research Catalogue

Keywords: access, censorship, document, knowledge, language, navigation... For a few weeks, a group of peoples gathered and had for agenda to approach "research" in education(s) and in the context of Art as part of Societies. Investigating/reading/questioning traces (signs, clues, memories, facts, datas) and shadows of knowledge systems, circulations, and accesses - including active translations and reflections on perceptions - they discussed the status of "document" and values of knowledge in relations to the modalities of their publications and presences within the context of a library. The group decided to focus on analogue research methodologies. Extracted? Outdated ? Archived ? Censored ?

Een artistiek onderzoek naar contact, verbinding en gemeenschappelijke grond.

People interested in artificial intelligence usually ask whether computers could become as intelligent and creative as humans. I decided to think about it the other way around: I'm interested in the extent to which the creative process of artists is algorithmic. It's not difficult to create something that will look like art; you just need to imitate an already existing genre or style. The challenge is to create something that will be able to trigger an art experience. In this visual essay, I'm studying where, in a spectrum of different kinds of experiences (jokes, magic tricks, pleasure from solving a mathematical or scientific problem), there are thrills triggered by art. All of these experiences depend on a sufficient amount of novelty. Therefore, the creators of experience triggers face the same problem: the impact of a joke, a magic trick, or an artwork tends to diminish when heard/seen repeatedly. The human brain has evolved in a way that it is able to distinguish repeating patterns, formulas, schemes, algorithms. Uncovering an algorithm causes pleasure. But once an algorithm is uncovered, it does not cause pleasure any more. To trigger an experience of the same intensity, we need a new trigger. In this work, I also address the question of why certain types of triggers wear off more slowly than others. The outcomes of this project are a book—a visual essay in which drawings and texts form one line of an argument—and a series of lecture-like events, in which I combine sincerity and directness of lectures, panel discussions, and guided tours with richer ways of expression typical for object theatre, performances, and magic shows.

The project Mediation as Discipline is an attempt to build bridges between disciplines and make the experience-based knowledge that the contemporary art field can offer relevant to a broader academic community. At the same time, it is an investigation of needs within the field itself, which should be served by a university that prides itself on having an artistic faculty. This report, carrying the same name as the project, is based on a comprehensive survey among contemporary art mediators conducted in 2024 by the project group, and it examines the foundation for specialised education for mediators of contemporary art in Norway.

The collaborative process that has fostered the texts in this anthology started with two questions: What does it mean to be a curator who writes, and, more specifically, how can curators write about textiles? Curatorial practices vary just as much as do curators’ interest in and capacity for writing. At the same time, there are prevailing opinions about, and institutional demands on, what kinds of texts curators should provide for audiences, for instance as contributions to art discourses in the form of catalogue essays and the like. The Community of Writers was set up to create time and space to retreat from these outside opinions and demands and to let curiosity and the joy of writing be the driving forces of the writing process. I have had the pleasure of leading this process and am indebted to the individuals who formed the Community of Writers for newfound insights into textile art and the role of textiles in society. The writing process challenged the contributors’ own writing practices, sparked their enthusiasm, playfulness and criticality pushed the project further. Our conversations have deepened and become more entangled over time, and the reader can find traces of this in the texts in this volume.

This exposition traces the development of a reflective arts and health practice during 2025. It brings together short written episodes, visual documentation, audio notes, and process materials to examine how artists make sense of the emotional, relational, and practical demands of working in care-based and community settings. The work sits alongside a written PDF and expands on it by presenting the reflections in a non-linear, multimodal format suited to artistic research.