Research Catalogue

With Apartment Portraits contemporary music ensemble Lemur and artist Ellen J Røed investigates the rooms we live in through a series of sound and video works for living environments, musicians, microphones, cameras and videographer. Through video art and contemporary music they explored three apartments in Oslo: The oldest of them is a 1970s apartment at Hovseter, the other two are more recent. One is located on Teaterplassen in Grønland, and was built in the early 2000s, while the last one is in Sørenga, built in 2016. In the resulting portraits of apartments, subtle and slow panoramic camera strokes through the apartments explores and portrays the relationship between performed sound and living environments. It tells the story both of the rooms, their owners, the performers’ actions as well as those the videographer. Leilighetsportretter is part study, part concert, part installation, part site specific intervention and part architectural field trip in Oslo apartments. The project is one of four elements in 'Samtaler om rom' – Spatial conversations, where Lemur works in and around the at The National Museum – Architecture´s exhibitions on Norwegian housing architecture. As such the work is part of an interdisciplinary effort to explore new strategies for the presentation of architecture. It is developed within the overlapping research framework Image as Site at Stockholm University of the Arts. Project is supported by The Swedish Research Council, Stockholm University of the Arts, and Norwegian Art Council. The project was presented at The National Museum – Architecture, Oslo in the framework of Ultima festival of contemporary music and Kulturnatt Oslo, at Bomuldsfabrikken Kunsthall and at SKH Research Week 2021.

KOMPASS is part of the artistic research project Image as Site at Stockholm University of the Arts in which Ellen Røed and Signe Lidén have developed a method for field recording that combines sound and image in a distinct form of attentional (aesth)ethics. They explore how instruments, time and movement are included in and affect the relationships between bodies, images and places, between experience and representation, in various forms of field recordings.

Research project at Stockholm University of the Arts.

This Exposition contains an archived version of the project website of the EU funded Erasmus+ Project 'Curating in Context’. Curating in Context addresses the challenges of curating contemporary art beyond curatorial approaches inherited from the visual arts. Tanzfabrik Berlin, Lokomotiva Skopje, Stockholm University of the Arts, and the University of Zagreb co-organised the two-year EU funded Erasmus+ project. It aims to enhance curatorial training focused on social impact by engaging local, regional, and international stakeholders, including cultural organisations. The project uses strategies from the performing arts to develop educational resources for universities and ongoing training for cultural workers and citizens. It fosters critical reflection on socio-political and economic contexts and promotes curatorial methods that connect performing arts with activism and social movements. The project's meetings, public events, and resources will emphasise collaborative learning between politics and art valorisation.

This artistic research project in Performing Arts SKH Stockholm University of Arts documents my transition from fine arts into a performative practice. I am focusing on developing a personal toolkit of methods that support this shift to a facilitator and a director/theatre-maker. The first part is my individual exploration that includes methods such as: creating character from image, writing with objects, and working with a real site in developing a semi-fictional space (exploring site-specificity through my observations and video documentation of Riga’s specific environment). The second part is a collaboration with two artists, Ģirts Dubults and Laine Luīze Freidenberga. We use a devised process concept,Sister Planets, to translate our embodied cultural experiences and identities into performative language. This method emphasises building shared poetics through methods of generating shared poems, visualisation, movement with objects, and integrating methods from the collaborators’ individual practices. Alongside methodological development, a strong interest in my identity as a maker emerged, deeply influencing my artistic inquiry. This stiltedness—as a young female artist from Latvia and Eastern Europe—shapes the themes of belonging and alienation in the Scandinavian cultural context and intersectionality in my work. I investigate how cultural, gendered, and geopolitical factors inform performance and dramaturgy. These personal reflections have evolved into shared thematic concerns within my collaborations, where individual histories and embodied memories merge into a collective exploration. Through this research, I seek new dramaturgical forms that channel socio-political narratives within primarily visual and poetic means of expression.

This artistic doctoral research approaches art, not as a variety of artworks or performances, but as a variety of collective bodies that are summoned. It addresses the subordinate and complicit way collective audience bodies form in relation to artistic performances. The commentary introduces the concept of an “audience body”, emerging when individual bodies gather to become an audience. Audience bodies are described through preconditions that are needed for one to appear, conditions that contribute to its subsistence and variables that determine the primary qualities and the degree of actuality of that audience body. More specifically, the commentary addresses the local genre of “esitystaide”, developed especially in the Helsinki-area during the last 30 years. Neologism “beforemance art” is introduced due to a lack of an English equivalent. Esitystaide/beforemance art is the artistic context of this study and is presented as a genre of art, in which the complicity of audience bodies is a fundamental material of artistic creation. The Finnish word “esitys”, being the medium of the genre of esitystaide, is defined as the sum of a performance and an audience body. The theoretical approach towards audience bodies is presented as impartial with regard to different genres of art, but the practice of research favours esitystaide/beforemance art. This leads to political conclusions that defend the exposed complicity of and the experimental relation to audience bodies which are characteristic for this specific genre. This theoretical argumentation has been developed through an iterative series of 30 drafts and two examined artistic parts, made by the author, as well as through a parapractice of audience membership. The drafts and examined parts are works of esitystaide/beforemance art, in which printed or digital texts are staged in different ways for audiences to read. The works and the thinking developed in them have been significantly affected by dialogues with audience members and their feedback. The commentary discloses how the process of thinking, resulting in the main arguments of the work, has evolved through this artistic research practice and how temporal, spatial, textual and material design of the events has been developed to address more adequately the phenomenon of an audience body. The parapractice of audience membership is introduced as a term describing the attendance of artworks made by others—a way of accumulating knowledge parallel to and yet different from practicing art. The arguments made in the commentary aim to provide conceptual tools for artists, scholars and pedagogues who attend the phenomenon of audience in their work. They can also serve as a basis for further research on the political significance of esitystaide/beforemance art and related art forms. Methodologically, the research offers an example of an iterative and dialogical artistic research practice and its presentation; the relationship between art and theory unfolds as both fruitful and troubled. Through the introduction of the parapractice of audience membership, it argues for using art, equally to the use of bibliographical materials, as reference material of artistic research. Through the use of a Finnish term and its local context as part of concept-creation in English, the work defends the importance of local thinking, which links artistic research to the land upon which it takes form.