Research Catalogue

The purpose of this exposition is to collect data of what Performative Theology can be and become primarily within an academic research but also beyond. The expo will be a timespace nurtured by members the Network for Performative Theology, established 6 October 2022 in Oslo.

WAP/Walking As Practice Program takes place where the forest meets the sea in the Northern Stockholm Archipelago, Sweden. It is a program for self-identifying walking artists. Exploring and sharing strategies for proximity through artistic expressions in the field of walking practices, creating a transformative, dynamic space for art that engages with life and nature. This involves critical and poetic explorations influenced by the immediate surroundings. We participate in each other’s walkshops or interventions, and we also host Share Sessions to familiarize ourselves with each other’s practices. Additionally, we introduce the Research Catalogue for final dissemination, where each artist create their individual exposition.

Art activism is powerful. Also known as activist art, protest art, visual activism, artivism and creative activism, it changes lives, situations and is and has been a powerful weapon across a whole spectrum of struggles for justice. Teresa Sanz & Beatriz Rodriguez-Labajos(2021) relay that art activism has the unique ability to bring cohesion and diverse peoples together and it can, as Zeynep Tufekci notes, change the participants (2017). As Steve Duncombe & Steve Lambert (2021) posit, traditional protesting such as marches or squats are no longer as important as they once were. As a result of my own lived experience in activist activities, I very much agree with Andrew Boyd & Dave Oswald Mitchell (2012) that the reason people use art activism is that it works, by enriching and improving protest. In the past, when I lived in a metropolis and was not a parent, I used to be an activist. Now I no longer have immediate access to international headquarters at which to protest and I have to be concerned with being arrested, I am hindered from protesting. This project is an attempt to increase inclusion and widen access to art activism. By devising methods which include at least one of the following: that do not require on-site participation, that can take place outside the public gaze, that reduce the risk of arrest, that open up protest sites that are not “big targets”, that include remote locations, that involve irregular timing, my thesis aims to increase inclusion and widen access to art activism to those who are underserved by more mainstream methods of conducting art activism. Textiles have unique properties that enable them to engage in subterfuge and speak loudly through care and thought(Bryan-Wilson, 2017). They have strong connotations of domesticity, the body and comfort that can be subverted within art activism to reference lack of this domestic warmth and protection(O’Neill, 2022). Being a slow form of art-making, they show care and thought, attention in the making, so that the messaging is reinforced through this intentionality in slow making.

The zoo is not a neutral site of animal display but a meticulously curated mise en scène where scenography dictates perception. This exposition reframes the zoological garden as a dispositif of control, foregrounding fabricated rock formations, artificial lighting, and concealed barriers as theatrical devices. Through square format photographic series that exclude animals, the work exposes the zoo’s fragmented geographies as staged spectacles designed for human imagination rather than ecological integrity. The project interrogates authorship, agency, and representation, inviting viewers to reconsider the zoo as a cultural theatre of estrangement and illusion.

Touring occupies a unique and often underexplored role in the careers of electroacoustic musicians, where the intersection of artistic, technical, and logistical challenges becomes especially pronounced. This article examines the practical realities of touring within the context of multichannel electroacoustic music, using Electric Audio Unit’s (EAU) performance in Tallinn as a case study. The article highlights the challenges of preparing for and executing a multichannel concert in an unfamiliar venue, including issues of spatialization, equipment compatibility, and time constraints. Additionally, it reflects on the broader demands placed on electroacoustic musicians, who must often juggle multiple roles to ensure the success of their performances.

This exposition examines the intersection of drawing, installation, and handmade objects informed by popular culture, spectacle, and visual symbolism. Central to the practice is the duality between physical materiality and virtual environments, a framework through which fictional realities are constructed and analyzed—often reflecting states of exhaustion, overload, and alienation characteristic of hyperactive contemporary culture. The use of low-budget materials and do-it-yourself methods introduces a deliberate tension between meticulous craftsmanship and intentional “amateurism,” while simultaneously subverting the capitalist logics of mass culture through the reuse and recontextualization of its visual language. Connecting introspective and social dimensions, the exposition offers not only an aesthetic experience but also a critical lens on everyday consumer routines, media-shaped reality, and processes of personal self-reflection.