Research Catalogue

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.

An overview of Elisabeth Belgrano's artistic / performance / research and teaching in higher arts education 2004-ongoing

The PD Arts + Creative Symposium takes place at LocHal in Tilburg (NL) on 20 June 2025. This year’s symposium will highlight the programme’s multidisciplinary character by zooming in on the diverse fields of practice that its researchers operate in, connect to, and impact. It asks where, how, and with whom does the PD-research resonate? And what is the contribution of artistic and creative research to societal challenges?

Touring occupies a unique and often underexplored role in the careers of electroacoustic musicians, where the intersection of artistic, technical, and logistical challenges becomes especially pronounced. This article examines the practical realities of touring within the context of multichannel electroacoustic music, using Electric Audio Unit’s (EAU) performance in Tallinn as a case study. The article highlights the challenges of preparing for and executing a multichannel concert in an unfamiliar venue, including issues of spatialization, equipment compatibility, and time constraints. Additionally, it reflects on the broader demands placed on electroacoustic musicians, who must often juggle multiple roles to ensure the success of their performances.

The exhibition is deeply rooted in local history—the artist group explores the story of the white pigment titanium dioxide's industrial origin in Sandbekk, and how this world sensation from 1910 has influenced our world today. Titanium dioxide white pigment is a global color phenomenon. Ilmenite is transported from Titania to its sister company Kronos Titan in Fredrikstad, where it is refined into titanium dioxide. From there, the pigment circulates seemingly invisibly in a global network of systems. It is used in paint, plastics, paper, ink, cosmetics, medicine, sunscreen, and millions of products we use daily. This history is the starting point for the development project TiO2: The Materiality of White. Over the past two years, the artist group has visited Titania's mines and deposits, gathering materials from the local history. Just as geologists examined the areas in Sokndal over 150 years ago in search of valuable minerals, the group has wandered through the landscape, picking stones and collecting sand, clay, and rust-colored earth. These findings have been brought back to the ceramic laboratory at KhiO, where they have been processed through ceramic methods.

This exposition comprises textual fragments (both written and voiced) produced through the act of returning to (in turn re-activating, re-configuring, even re-imagining) conversational transcripts generated within the artistic research project Dorsal Practices, a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker. Initiated in January 2021, Dorsal Practices is an artistic collaboration for exploring how the cultivation of a back-oriented awareness and attitude might shape and inform our embodied, affective and relational experience of being-in-the-world. Conceived at the threshold between choreographic-movement practices and language-based artistic research, Dorsal Practices explores how the experiences of listening, languaging, even thinking, might be shaped differently through this embodied tilt of awareness and attention towards the back, moreover, through a practice of coming back, the act of (re)turning. The original transcript material that forms the basis of this exposition was produced through a practice of conversation undertaken within six interrelated blocks of exploration, taking place over 18 months between October 2022 and February 2024. Within this period of enquiry, we — Brown and Cocker — focused our attention on the act of returning within our shared practice, re-imagined as a "dorsal turn". Through the intermingling of two registers of language-based practice, that is, through the performativity of both the written and spoken texts themselves, within this exposition we attempt to make tangible how the dorsal gesture of the turn and the circling principle of re- become operative as a spinal thread within our shared enquiry. Deviating from the straightforwardness of a strictly linear text, we invite a form of dorsal listening-reading that might engage through loops and returns. We conceive the research artefacts generated through the practice itself as the central focus within this exposition, alongside a supporting text where we introduce the wider enquiry of Dorsal Practices, reflecting on how we conceive the act of turning and of re-turning therein.