Research Catalogue

I dette prosjektet ønsket jeg å lage et interaktivt flux-kit med diktatur som hovedtema. Jeg ønsket å få frem hjelpeløsheten ved å leve under et tyranni og hvordan en må sjonglere mellom sine moralske prinsipper, samtidig som en holder seg "innenfor" systemet. Hvor mye koster det å være empatisk i et samfunn som ikke er rettferdig? Hvor langt er en villig til å gå for å beskytte seg selv og sin familie? Jeg har tatt inspirasjon fra "Beholder spill serien" både kunstnerisk og tematisk. Jeg har alltid vært svært interessert i "choose your own adventure" sjangeren innenfor spilleoppsett. Her får du min versjon av et slikt spill i mitt digitale flux-kit.

"My Public Stage" is not merely an artistic practice; it is a dynamic fusion of performance art and civic engagement that transcends conventional boundaries. At its core, this practice navigates the intricate relationship between the artist and the public sphere, offering an unconventional perspective on how art can reshape our understanding of the world. The essential aspect of this artistic journey lies in the intentional placement of artistic interventions and performances within public spaces, where the encounter with viewers is not a predetermined spectacle but a meeting. This deliberate approach seeks to dissolve the traditional separation between the artist and the individual, fostering a unique connection that is spontaneous and genuine. I view public space as not only a material but also a social environment that is produced, reshaped and restructured by the citizens through their experiences, their intentions for action and the relations they develop in it. My project draws on Lefebvre’s (2019) approach to urban public space not as a neutral container of social life, but as a fluid entity, both constructed and produced by social practices. Lefebvre’s approach confirms and expands my view that public space is not fixed, yet it requires a conscious effort to intervene in its production. The philosophy driving "My Public Stage" aligns with the concept of civic engagement. By presenting long durational performances in the heart of everyday life, the artist consciously assumes the role of a creator, using performance art as a medium to unveil the interconnected elements that bridge art with life. This philosophy echoes the sentiment of Joseph Beuys, who believed that everyone is an artist, actively sculpting the intricate sculpture we call life. In embracing the public sphere as its canvas, this practice transcends the conventional boundaries of art and daily reality. It becomes a catalyst for a different perspective on how individuals perceive and engage with their surroundings. The transformative power of performance art is harnessed to reveal the latent artistic potential within each person, emphasizing the symbiotic relationship between art and life.

The research subgroup SPACES OF ARTIST EDUCATION focuses on exploring the relationships between artists’ pedagogies, educational spaces, and learning environments in artist education. The key interest of the subgroup is to investigate how different spaces influence, facilitate and regulate interaction, communication and ways of teaching and learning both at art universities and in non-institutional settings. The subgroup aims to gather colleagues from diverse artistic disciplines and research backgrounds to discuss the spatial, material, bodily, performative and institutional aspects of teaching art practice, as well as their connections with educational policies, relations of power, traditions of artist education, and the very ideas about pedagogy and didactics, mastery, knowing, art, creativity, resources, accessibility, space and place.

Home page of the Journal of Sonic Studies

Militarized Nature Artistic Research Materials

Peripher_ies Re-wound is the exhibit connected to the submission paper Betwixt and Between. The shown artistic work is a recall of the peripher_ies workshop-series, subject of the re-imagining process. Our group work tries to “secure the traces” of memory in a particular time worldwide. During the Covid-19 lockdown, we made various recordings that paired images and sound throughout the continents, creating an audio-visual inventory through participatory observation. This produced a record of astonishing collective moments that are accompanied by a certain urgency; in this tale, the human image is almost entirely absent. The collectively designed aesthetics that arose from this project are focused on building, nature/environment and technical equipment, they reveal what is heard or catches the eye when everyday life takes a "pause". We now have over sixty examples. While this artistic approach opens up a space of memory, it also stands by itself, vividly and easily conveying associations to the viewer.