Research Catalogue

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.

Desenho e Perfomatividade (Conjunto de Workshops realizados)

[Hyper]drawing is a research project. Hyperdrawing is an opportunity for [fine art] drawing practice. This Research Catalogue exposition documents ongoing research into Hyperdrawing: Hyperdrawing is an ambiguous practice. Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity. Hyperdrawing has the capacity to enable and sustain drawing practices.

My PhD project, ‘Things That Might Be True’, is based on Carl DiSalvo’s concept of adversarial design (DiSalvo 2012), which differentiates between ‘design for politics’ and ‘political design’. DiSalvo defines the former as design that simplifies and streamlines people’s electoral actions and interactions with municipalities, healthcare, and the government. ‘Political design’, on the other hand, sparks debate, problematises, and suggests new ways of exploring specific themes and concepts. DiSalvo’s concept is built on Chantal Mouffe’s distinction between ‘politics’ and ‘the political’. I set out to question DiSalvo’s dichotomy. Through practical experiments, I expanded and processed adversarial design. My goal was to challenge the prevailing ideas in society on how citizens (should) connect with their inner political lives. My project examined how visual communication design might help devise new methods and tools for the public to approach politics, and, by extension, expand the conversation about democracy on a personal as well as societal level. Through public engagement, dialogue, discussion, and introspection, I explored ways for citizens to listen to and connect with their inner political voice. I conducted four participatory sub-projects: the lecture series ‘Things That Might Be True’; the Voices publication; the Inner Political Landscapes collage-making workshop; and the Political Confession workshop. The findings of these four experiments led to the development and materialisation of a fictional new department: the Stemme Department. The department's activities display the artistic outcome of my PhD project and illustrate how people can come together to reflect and engage in dialogue with their political selves. In early March 2024, the Stemme Department’s activities were presented at Bergen Storsenter and Bergen Public Library during a four-day event, which included an exhibition, a workshop, and lectures. My project expanded the dichotomy of adversarial design by suggesting the concept adopt an additional category: ‘political, political design’. Through an ambiguous and empathetic design practice, this additional category would mirror and borrow characteristics from both design for politics and ­political design.

Imagining Liberation is an artistic research project with the aim of investigating methods in speculative nonfiction. This project begins with a question: What kind of cinematic images can arise from imagining a liberated Palestine? Dalia AlKury’s interest in staging simulated pasts in her earlier documentaries and then staging speculations of futures during her PhD research stems from a deep frustration with the lack of art imagining a world that she hopes is possible. Both practices—staging in documentary and speculative fiction—are rooted in posing the question “What if?,” to offer another possible world or narrative. Her work combines these approaches in the realization of her own method in speculative multitemporal nonfiction. Dalia AlKury approaches documentary filmmaking not as a way of documenting reality, but as a way of constructing an alternative one. Her final artistic results are informed by a long legacy of politically poetic Palestinian aesthetics and by grievances over the historical and present day witnessing of the violent ethnic cleansing of her people. By committing to framing her vignettes in a fictional liberated Palestine, an emancipatory art making process starts to take shape. The process excavates an often-oppressed critical rage and pushes it up to the surface through different narrative tools. Imagining Liberation traces the filmmaker's confrontational journey while experimenting with staging, subverting, futuring, abstracting, and decolonizing to reach a type of catharsis in the face of a continuously fragmented diasporic existence. By staging her own return to a liberated Palestine in different modes from writing to filming, Dalia AlKury runs into ethical dilemmas questioning her self-censorship, representation of “others” and the elusive role of cinematic catharsis. This book encompasses her critical reflection on the short films , narrative experiments and video diaries created throughout her research. The three main audio-visual works that will be shared and analyzed are Congratulations on Your Return, Levitations, and What if a Tree, What if a Crow?

The artistic development project Radical Interpretations investigates two iconic works for solo percussion and re-composes these. The goal of the project was to develop new creative and transdisciplinary research in interpretation of musical works. Participants: percussionist Kjell Tore Innervik, Norwegian Academy of Music (NMH), composer Ivar Frounberg, NMH, designer Maziar Raein, Oslo National Academy of the Arts, experience designer Ståle Stenslie, The Oslo School of Architecture and Design, and music recording producer Morten Lindberg. During the 3 years project, the team engaged with the music of Morton Feldman and Iannis Xenakis. The solo percussion pieces The King of Denmark and Psappha were the point of departure. The cd [UTOPIAS ](http://www.2l.no/pages/album/141.html)(2L) contains the pure audio version of the pieces in high definition and immersive sound.-><- On this site you will find other interpretations and iterations of the music made by the team.