Research Catalogue

This research explores creation as a form of violence that operates through interruption, erasure, and bodily pressure rather than through visible conflict or aggression. Through a conference-performance, writing is treated as an unstable action: it begins, stops, fails, and is physically destroyed without revealing its content. The work focuses on moments where creation resists completion, and where decisions to stop, delete, or abandon become central gestures. By placing the performer behind the audience and withholding textual legibility, the research shifts attention from meaning to process, from narrative to tension. Creation is approached not as expression or inspiration, but as a concrete and irreversible experience that acts upon the body and its limits.

This artistic research explores drumming as a practice in which cyclical motion, subtle variation, and gradual transformation converge into an ongoing rhythmic flow, inviting musical experience to shift from progression toward immersion within what is ongoing. The study asks how a drummer can create and cultivate such long-aesthetic rhythmic continuity within open-ended improvisational contexts, both practically and conceptually. The research draws on Finnish folk music’s pitkä estetiikka (long aesthetic), minimalist music, flow theory, and improvisation literature, and adopts an artistic research methodology in which drumming practice constitutes the primary site of inquiry. Insights are synthesised from personal practice, group rehearsals, performances, and audiovisual documentation produced between 2024 and 2025 in duo and trio improvisational settings, analysed through reflective practice and retrospective video analysis. The findings identify strategies for sustaining rhythmic continuity grounded in bodily and technical ease, held in balance with the uncertainties of improvisation. Central elements include deeply embodied ostinati, dynamic and timbral sensitivity, mindful approaches to change, and a principle of sustainability in musical ideas. In group improvisation, a slower pace of interaction, a non-reactive performance stance, and an open, undemanding listening orientation supported ongoing engagement and a spatial quality of the music. The research suggests that sustained, uneventful musicking may foster flow-like states and contribute to a broader slowing down of attention and pace, highlighting the potential of slow, continuous improvisation as a meaningful artistic and pedagogical practice.

In 2017, Christina started to work under the name "Institute for Relocation of Biodiversity" that serves as platform for artistic interventions and hosts her explorations around human nature divide. Under this umbrella, she creates a series of videos that simulate, suggest and create utopian and dystopian realities connected with the contemporary discourse around the anthropocene, climate change and the current biodiversity crisis.

The subjective experience of time pressure in today’s efficiency- and performance-oriented society is fuelled by a paradox: acceleration is omnipresent due to economic and technological demands, while at the same time complexity and self-responsibility require more time for decisions. This exposition examines individual and institutional ways of dealing with discrepant time demands. Where and how do different age groups experience divergent time regimes that occur simultaneously? Which techniques do individuals and institutions use or invent to synchronize different time perceptions, rhythms, and activities? How can artistic research create asynchronicity and make it experienceable through filmic means? And, finally, to what extent can filmic thinking produce ways of knowing that convey (as yet) unverbalized perceptions of time? Methodologically, this research combines analytical and artistic approaches in an essayistic procedure comprising cinematic practice and writing. On the one hand, it explores different aspects of divergent perceptions of time in a series of case studies under the leitmotif of “asynchronous determinations of time.” Situated in both immaterial and care work, in which bodily and affective temporalities are highly important, these empirical investigations consider the role of lifetime (age, biography, memory) and temporal modes (tempos; imperatives, indicatives, subjunctives). On the other hand, this study develops specific artistic procedures for focusing perception by means of narration, fragmentation, montage, visual and linguistic interventions, extractions and interweavings. Since simultaneous non-simultaneities (tend to) overwhelm subjective experience, the procedures adopted in this research contribute to new forms of filmic thinking and images of thought. They should be understood as an incentive to empathize with different understandings of time.

In recent years, it has become a real possibility for artists to engage with spatial sound technologies that allow for movement beyond the stereocentric paradigm. Thus, spatialization has mostly lent itself to avant-garde traditions, electronic music, and sound art. However, the rapid advancements of technologies have called for artists, songwriters, and musicians of all genres to contribute to this development not only by following and fitting into these new formats but also by shaping them through artistic engagements with them. When considering sound in space as a new component in the music creation toolbox, a new dimension is added that provides creative and performative potentials of situating songwriting and music creation within a spatial sound practice. Beyond the literal, what kinds of metaphorical or emotional resonance can emerge from the vibration between various bodies, such as composers, performers, and audiences, as well as bodies of sound, technologies, interfaces, instruments, scene, setting, speakers, aesthetics, and orientations? Voicing Spatial Songs was conducted by avant-pop duo SØSTR, which consists of sisters Louise Lind Foo and Sharin Foo.

This essay proposes the “Erased Museum” as both a critical framework and an institutional ethics: a museum that recognizes loss as its primary collection and disappearance as a mode of curation. Drawing from Absential Aesthetics, it argues that destruction—by fire, flood, war, neglect, theft, or obsolescence—does not terminate cultural meaning but reorganizes it into a second, invisible archive composed of voids, residues, and public conscience. Through case studies and touchstones including the Library of Alexandria, Brazil’s National Museum (2018), the Mosul Museum (2015), and architectural and curatorial practices that preserve wounds rather than conceal them (e.g., post-damage restorations and void-centered memorial architectures), the essay reframes conservation as a dialogue with entropy rather than a fantasy of permanence. It also traces contemporary artistic strategies that curate absence directly—fabricated archives, missing inventories, empty frames, restitution bureaucracies—showing how loss can become documentation rather than mere lament. The work concludes by extending the ethics of disappearance to the digital domain, where decay occurs without smoke, and by proposing “transparent loss protocols” as a future-facing curatorial responsibility.