Research Catalogue

15 documented artistic works performed by Ellen Ugelvik et al. (solo/chamber/sinfonietta/orchestra)

Conceived and co-organised by Emma Cocker, Alexander Damianisch, Cordula Daus and Lena Séraphin, this Society of Artistic Research Special Interest Group (SAR SIG) provides contexts for coming together via the exchange of language-based research. The intent is to support developments in the field of expanded language-based practices by inviting attention, time and space for enabling understanding of/and via these practices anew.

This is an exposition presenting the project Year of the Rabbit, which took place on Harakka island off Helsinki in 2011 and was presented for the first time in Gallery Jangva in 2013.

RESPONSIVE SPACE – SOUNDING INTO MATERIALITY (2014–2020) is an in-depth research project into the interrelationship between us and our surroundings. The artworks can be described as large sculptural sound installations which blur the lines between visual art, performing arts and sound art. The works explore space, material, sound, body and time as equal parts in a composition. The main artworks of the research INTERFERENCE, RESONANCE, SEDIMENT, PLACE 1 and PLACE 2 are in a variety of ways inquiries towards an expanded experience of the dialogue between presence and materiality. The artworks are composed environments which respond and take shape and form from their surroundings, seeking to touch proximity zones where we as humans can sense aspects of being closely intertwined with our surroundings. The act of listening is of central importance in the artistic survey. Olaussen stages space utilising the mediums of sound, minimalistic sculpture and dramaturgical structures. This exposition is part of Gunhild Mathea Husvik-Olaussen’s artistic research project Responsive Space – Sounding into Materiality (2014–2020) at the Norwegian Theatre Academy, Østfold University College. The project complies with the guidelines for the Norwegian Artistic Research Programme from 2019. Artistic practice and reflection are at the heart of the research programme. Originally published in Norwegian in 2020, this work has now been translated into English by Peter Cripps, with the support of the Norwegian Directorate for Higher Education and Skills.

This essay explores Nomadic Aesthetics as a post-disciplinary ethical philosophy grounded in movement, displacement, and moral geography. Through the lens of travelling installations, Dorian Vale interrogates how contemporary art carries not only material form but migratory conscience. Installations by artists such as Francis Alÿs, Mona Hatoum, Chiharu Shiota, and Khalil Rabah are examined not as static works, but as mobile testimonies—witnesses to border regimes, global inequality, and spiritual unbelonging. The essay argues that when art moves, it inherits moral weight: the crate becomes a coffin, the gallery a customs post, and the viewer a pilgrim. Nomadic aesthetics reframes mobility not as logistics, but as liturgy. It positions the travelling installation as a modern secular relic—bearing not truth as monument, but truth as residue. This is a theology of movement: truth that survives only by circulation. Title: Nomadic Aesthetics — Travelling Installations as Moral Geography Keywords: Post-Interpretive Criticism, Nomadic Aesthetics, Installation Art, Moral Geography, Migrant Artworks, Travelling Exhibitions, Globalization, Francis Alÿs, Mona Hatoum, Ai Weiwei, Chiharu Shiota, Khalil Rabah, Ethics of Movement, Conscience in Contemporary Art, Aesthetic Displacement, Witnessing, Museum Critique, Portable Truth, Moral Cartography License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) Publication Year: 2025 Movement / Framework: Post-Interpretive Criticism (The Museum of One) DOI (Placeholder until generated): [To be automatically assigned by Zenodo] Journal / Series: The Journal of Post-Interpretive Criticism (ISSN 2819-7232) Volume: III Publisher: Museum of One (Registered with Library and Archives Canada) Persistent Identifiers: ORCID: 0009-0004-7737-5094 ISNI: 0000000537155247 Wikidata: Q136308879 (Museum of One)

This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, performance, production, and technology. This interview features Caroline Shaw, American composer, violinist, singer, and producer, whose work moves fluidly between concert music, studio production, and film scoring. Winner of the Pulitzer Prize for Partita for 8 Voices, Shaw combines historical sensibility with experimental curiosity, creating sound worlds that merge the human voice, instrumental gesture, and digital texture into a single expressive continuum. In the conversation, Shaw reflects on the interconnectedness of composing, producing, and performing; on the role of technology as both a creative and tactile medium; and on the shifting perception of time, form, and space in contemporary music. She also discusses the relationship between notation and sound, the dialogue between acoustic and digital realms, and the value of presence, collaboration, and shared listening as vital counterpoints to digital mediation. Shaw’s reflections reveal a vision of music as a living organism, at once human, technological, and emotional, where composition, sound design, and performance converge into an embodied act of imagination and connection.