Research Catalogue

This research project examines antiracist ideas and approaches presented by the likes of Ibram X. Kendi and Ijeoma Oluo with the goal of finding out if they can be effectively applied into modern music production pedagogy. The study is conducted by using the approach of qualitative research, and reflects on the themes of representation, infrastructure, and power dynamics. Keywords: Antiracism, equity, justice, empowerment, representation, white fragility, white privilege, white supremacy, caste, race, CRT (critical race theory), music production, pedagogy

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In the Mirror of Care Work researches skills within Nordic interactive performance practices. Using the mirror as a metaphor for visualisation and connection, artist Inga Gerner Nielsen brings into conversation the work of nurses and interactive performers. By inviting in the perspectives of care workers and looking into the history of their profession, Inga engages in discussions about the politics, mythologies and poetics of her own field. What do we see when we look in the mirror, and when that mirror is a nurse? Do we, as performers – like the nurses were once said to – abide by the feeling of a calling? Does this involve a kind of spiritual care for our audience? And what of the nurses’ working conditions should we perhaps try to adopt as (care giving) performers? The project visited Stockholm (MDT) in September 2023 and Helsinki in January 2024 in a two-day symposium to meet and exchange with local artists about the aspect of care work in their artistic practice . The project is based in a long-term collaboration with the nursing school at UCN Hjørring & Thisted in the north of Denmark. Together with teacher of the History of Nursing, Helle Kronborg Krogsgaard, Inga gerner Nielsen is developing ways of integrating interative performance excersices and visual art into the teaching of 1.st, 4th and 7th semester nursing students.

This exposition charts a creative collaboration between two humans, two lakes and a stormwater drain. By thinking with water as archive and unknowability, making art with the water-bodies of significance to them, and drawing upon the thoughts of key scholars and Indigenous artists, the authors explore questions of ancestry, memory, belonging, and ecological recuperation. Throughout this process, they reflect upon and dialogue about the pedagogical implications of their creative collaboration, undertaken at the intersection of new-materialist arts and common worlds environmental education.

Below in English Ekspositio pyrkii vastaamaan tarpeeseen uudistavan kasvatuksen (regenerative education) tavoitteissa taiteilijapedagogisesta lähtökohdasta. Ekspositio pohjautuu paikkasidonnaiseen interventioon ja kuvailee taiteilijapedagogisen oppimisprosessin. Ekspositio tunnustelee taiteilijapedagogiikan suhdetta ekologisiin kysymyksiin kestävyysajatteluun sitoutuneen taiteilijapraktiikan ja taidepedagogian solmukohdassa. Kirjoittaja arvioi vahvan kestävyyden käsitteen avulla, millaisia ristiriitoja kestävyysajattelun ja oman praktiikan välille ilmaantuu interventioprosessin aikana, ja millaiset olosuhteet johtavat konflikteihin. Ekspositio tarkastelee aihetta ”myötäsyntyisen” metodin avulla yhdistäen taiteellista, agroekologista ja posthumanistista tutkimusta poikkitieteisesti. Päälöydöksenä on, että uudistavan kasvatuksen tavoitteet sotkeutuvat yhteiskunnan odotuksiin, päämääriin ja moraalikäsityksiin. Tämä johtaa neuvotteluun kestävyysajatteluun sitoutuneen taiteilijapraktiikan arvoissa suhteessa taiteilijapedagogiseen toimintaan. Kirjoittaja väittää, että taiteellisessa työssä ei ole erivapautta toimia ekologisesti kestämättömällä tavalla, koska taide on yhtä riippuvaista ekologisista suhteista kuin muukin elo. Hän väittää, että vahvan kestävyyden käsitteeseen sitoutumalla on mahdollista perustaa uusia arvostamisen paikkoja ja kehittää uudistavaa pedagogiikkaa. The exposition aims to meet the need for the aspiration of regenerative education from an artist pedagogical practice. The exposition is based on a place-specific intervention and outlines the artist pedagogical learning process. The exposition explores the relationship of artist pedagogy to ecological issues. Exploration happens at the intersection of artist practice committed to sustainability thinking and art pedagogy. Reflecting the concept of strong sustainability, the author assesses what kind of contradictions between sustainability thinking and one’s own practice emerge, and what kind of circumstances lead to conflicts. The exposition takes place with “innate” method, combining artistic, agroecological and posthumanist research in an interdisciplinary manner. The main finding is that the goals of regenerative education are entangled with the expectations, goals and moral concepts of society. This accompanies a negotiation of the values of artist practice committed to sustainability thinking. Negotiation takes place in relation to artist pedagogical activity. The author argues that there is no waiver to act in an ecologically unsustainable manner in art practice, because art is as dependent on ecological relationships as any other concept of life. She argues that by committing to a concept of strong sustainability, it is possible to establish new places of appreciation and develop innovative pedagogies.

Duodji refers to Sámi handicrafts and design. I reflect on the knowledge base of duodji thinking, how duodji is learned within the community, and how I have developed the teaching and research of duodji according to the principles of duodji and art. I also contemplate the essence and presentation of duodji in public spaces through the pedagogical-artistic practice, LaavuStudio."