Research Catalogue

Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023. "There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived." Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level. The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic production. Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso). With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.

In A place Like This sets out to investigate and expand the issues and critical discourses within Sandborg and Higgins' current collaborative research practice. The central focus for the research is concerned with how art, in this instance photographic and painted image making and text, can be used as an agent or catalyst of understanding and critical reflection. The research methodology is constructed through photography, painting, drawing and text. This utilises the form of an artist publication as a point of critically engaged dissemination: a place for the tension between conflicting ideas and investigation to be explored through discussion. The research question is focused on how the production of the image and the act of making images can communicate or describe moments of erasure or remembering in terms of historical and personal narratives with direct reference to moments of violence and place. This is seen not in terms of a nostalgic remembrance of the past; instead as one that is rife with complicated layers and dynamics where recognition is denied the ability to locate a physical representation. Embedded in this is an exploration of particular questions concerning the ethics of representation: the depiction of ourselves and other? In this sense it brings into question an examination of the act of remembering as a thing in itself, through the production of the image and text, contexts of knowledge and cultural discourses explored through the form of an artists publication.

Trabalho coletivo, realizado durante o YES Project

A documentation of decision making process in a reconstructing documentary film.

ART OF IMPACT 2022-2024 Expand your imagination to envision alternative futures! Arts universities have the potential to play a pivotal role in challenging times and the students are vital actors, often the voice of change. Nine students are here presenting their thesis, essays and parts of their degree projects! The Master program in Film and Media “The Art of Impact” is focused on how art has an impact on society and how art can change the society we live in. The program is research preparatory and consists of two years of full-time studies at advanced level. Working in different formats and new technology on digital platforms, the students have deepen their understanding of storytelling and its potential impact on their audiences. Community outreach, innovation, as well as global and urban contexts all interconnect, integrating sustainability skills and thinking to boost innovation and creativity in transition initiatives. Storytelling in challenging times. Hello future, here we come! Tinna Joné Head of subject Film & Media Assistant professor in documentary storytelling Stockholm University of the Arts

A master's thesis that aims to see how 2D animation can visualize hallucinations in VR, while examining the greyzone between technology and spirituality in the animation process. The animations are made for the VR documentary film: Urban Witches, by Nicia Fernandez.