Research Catalogue

Satire is conceptualised as culturally charge, holding potentially powerful effects and impact. satire as painting provokes critical reflection on authorities, tackles values, dogmas, and taboos, disturbs power relations, and plays with cultural forms and identities. Bad news is seemingly everywhere, the is the place were satire exists. my practice utilises the codes of satire: analogy, parody, subversion, and irony, and realised through graphic elements; signs symbols, and icons, to apportion strength of meaning in my work through the lens of critique and entertainment.

Språktap er en vanlig konsekvens av okkupasjon, fordriving og flukt. I Halo of Shame utforsker Shwan Dler Qaradaki hvordan den politiske undertrykkelsen av kurdisk – hans morsmål - har formet hans kunstneriske praksis. Med inspirasjon fra både vestlig klassisk kunst og islamsk miniatyrkunst skaper han et visuelt uttrykk som balanserer mellom øst og vest, fortid og nåtid, objekt og subjekt. Gjennom dette arbeidet utvikler han et dekolonialt bildespråk som kan romme de komplekse lagene av identitet, erfaring og motstand. Veiledere: Tiril Schrøder: 2021-2025 Merete Røstad: 2021-2023 Ane Hjort Guttu: 2023-2025 Web disegner: Ellen Palmeira Bilder, video, tekst og tegninger: Shwan Dler Qaradaki

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

The Opener - sharing the performer’s process was a one-year artistic research pilot project (March 2024 - March 2025) funded by strategic funds at the Faculty of Fine Arts, Music and Design, University of Bergen. It was part of the Grieg Academy Research Group for Performance and Interpretation (GAFFI) together with external members from The Academy of Performing Arts in Bratislava. The project consisted of 8 sub-projects and educational activities, involving different instruments: piano solo, violin, duos with voice and piano, clarinet, accordion and guitar. The term opener can in this project proposal symbolize a three-fold meaning connected to the music performance field. This project seeks to - see the performer as an opener of musical meaning in a performance (interpretation of musical intentions in scores and improvisation) - challenge ourselves as performers as openers that share his/her artistic work (getting insight into the creative process and methods) - finding openers as tools to reveal and show the creative process of performers (ways of showing the artistic process)

"Rotting Sounds – Embracing the temporal deterioration of digital audio" (https://doi.org/10.55776/AR445) was a multi-year research project that dealt with various aspects pertaining to the deterioration of digital audio. Grill, Schilling and Bovermann understand this decay and the resulting products as a new and welcome aesthetic. This occupation with decay ultimately led to all residual materials being collected during the research period: From yogurt cups and spray cans to hard disks, USB sticks, cables, and clothing. This heap of waste was finally shredded and transformed into paper. Formally and in terms of content, the book explores decay and dissolution, thereby challenging the traditional aesthetic of collecting and preserving. The quantity of paper produced also determined the edition size, which is only 20 copies. Each copy bears the traces of its origin by embedding the cycle of transformation in its fibers. Parallel to the physical book edition, a digitally eroding open access version is available for download via this Research Catalogue exposition. The text by Thomas Grill refers to some of the key points of the Rotting Sounds research project and celebrates the open-ended nature of the experimental research.

“Ocultismo Desapropriado”, é um ensaio que dá continuidade na investigação no ambto do doutorado em Artes Plásticas na Universidade do Porto. O presente ensaio volta seu interesse sobre os fenômenos perceptivos que decorrem desde a ação realizada com a obra "Congá Fora do Tempo, relacionando a experiência do fruidor presente nas duas obras. As instalações atraem o espectador para participar da obra e interagir com ela através da ação. Ambas as obras se relacionam ou são inspiradas em algum ritual de matriz religiosa, mas não repetem ou imitam esses rituais, tão pouco tendem à simulação dos mesmos. São ações de arte com o intuito de provocar o toque em seu íntimo através da brincadeira de fazer pedidos e desejos. Esta publicação compartilha das mesmas referências bibliográficas do ensaio "Congá Fora do Tempo". ---------------------------------------------------------------------- ‘Disappropriated Occultism’ is an essay that continues the research carried out as part of the Doctorate in Fine Arts at the University of Porto. This essay focuses on the perceptual phenomena resulting from the action carried out with the work 'Congá Fora do Tempo', relating the experience of the viewer present in both works. The installations invite the viewer to participate and interact with the work through action. Both works relate to or are inspired by a religious ritual, but they don't repeat or imitate these rituals, nor do they tend to simulate them. They are artistic actions intended to provoke an intimate touch through the play of making requests and wishes. This publication shares the same bibliographical references as the essay ‘Congá Out of Time’.