Stockholm University of the Arts (SKH)
About this portal
Stockholm University of the Arts (SKH) was established in 2014 and have about 500 students and 250 employees. With our unique composition of education and artistic research, we want to create new opportunities for societal development and knowledge of tomorrow.
On 1 June 2016 SKH was authorised to award artistic third-cycle degrees in artistic practices. Exposition is an integrated part of artistic work at SKH. Each research project must present (stage, narrate, sing, choreograph and so on) its results in a way that is both rigorous and consistent. This requires research to be critically reviewed by peers in a combination of different exposition formats. By developing different formats in which peer review can be carried out, research within the area also addresses the challenges that arise when research is formulated and presented in forms that communicate through an artistically performed experience and thereby contribute to pushing the boundaries that existing forms of publication and dissemination of research set for the ambitions of artistic research.
Stockholm University of the Arts enables its researchers, PhD Candidates and staff to present their projects and findings on SKH’s RC portal in order to publish, archive, and internationally connect their artistic research.
SKH organizes private lessons and workshops aimed at our students, researchers, and employees. For bookings, please contact: heidi.paateremoller@uniarts.se.
contact person(s):
Heidi Möller url:
https://www.researchcatalogue.net/view/2225914/2551399
Recent Issues
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0. X-position
Stockholm University of the Arts publication series: X-Position, ISSN 2002-603X;3
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0. Published expositions
Published expositions by Stockholm University of the Arts.
Recent Activities
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Into the Known, a Pathway to Dramaturgy
(2024)
author(s): Picalogy
published in: Stockholm University of the Arts (SKH)
A breakdown of how and why dramaturgy became essential for my artistic work. I go through the development of my dramaturgical thinking starting from the year 2000 when digitalization of media was making its final breakthrough. In this study, I touch on the media field, performing arts, and an online storytelling tool designed to gather and share my practical knowledge of dramaturgy.
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Ind proj v1
(2024)
author(s): Max Landergård
published in: Stockholm University of the Arts (SKH)
In this text I’ll show my choice of research method, and how the method will be executed throughout my MA-education at Art of Impact.\ I have made interviews with different directors on their methods, and you will also see quotes from directors derived from other interviews. I will in the text below also talk a bit about the project as a whole and display my angles in documenting my work.*__
My individual project reflects on the relation and conflict between authenticity and compromise in the making of a fiction film.
In this text I will referr to
An interview I’ve conducted with Swedish director and sound technician Carolina Jinde.
An interview I’ve conducted with the Swedish director Ninja Thyberg in the fall of 2022
An interview made with the Swedish director Ruben Östlund in the podcast Värvet from early 2023
An interview with the Swedish director Kay Pollack
Quotes from “Into the woods” by John Yorke
Interviews with myself
Notes from lectures and visits abroad within the MA-class of Art of Impact
Notes from discussion on method in the class
The Feature Short Film
Documentation of the short film
Thoughts on the individual project: Exploration, Ideas and method
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Co-poiesis: redefining our relationship with the world through filmmaking
(2024)
author(s): Yasmin Henra van Dorp
published in: Stockholm University of the Arts (SKH)
The research question that motivates this study is: what insights can be drawn from collaborative filmmaking that can illuminate new pathways for interacting with the world around us?
Against the backdrop of contemporary societal and environmental divisions, this artistic research explores ways for redefining relationships, both human and nonhuman, through the lens of the philosophical framework of co-poiesis. Using a practice-led research methodology based on the collaborative process of the short documentary "The Spectacle" this study explores how collaborative practice and sensory engagement can serve as a reflective tool, illuminating our relational dynamics and perceptual interactions with each other and our environment.
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ARCHAEOLOGIES OF DESTRUCTION
(2024)
author(s): Santa
published in: Stockholm University of the Arts (SKH)
On the 13th of April 2024 an archaeological action in the 2º Torrão neighborhood was carried out, in collaboration with the Almada Archaeology Centre. The objective was not an excavation, it was not prospecting, but an activity that would make the residents, through the participation of the children who live there, aware of their recent past, their identity and the importance of what is happening in their neighborhood, for themselves and others. 2º Torrão is a self-built neighborhood located a few km from the center of Trafaria where approximately 2000 people live.
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(OM COTEUREN) Regifunktion i omvandling genom samskapandets processer
(2024)
author(s): Carina Reich
published in: Stockholm University of the Arts (SKH)
The aim of this documented artistic research project is to investigate functions of directing within an expanded understanding of co-created performing arts. My main question concerns the following. What practices and principles of directing in co-created performing arts are revealed in the sample narratives, expositions and final productions of the thesis, and what do these say about transformations within different spatial and social contexts? The project process consists of four documented stagings and a final performance. It is this way I develop the concept “The Coteur” which stands for a directorial function combining a unique, biographical director function (The Auteur) with the openness of a co-created process formed around place, collaborators and contexts, where the development of an original work start without a script. Here I am interested in what I call ”staged absence” which I consider to be an artistic principle based on the removal of “the expected”. What happens, for example when the lead vocalist and the music are taken out of a popular song to leave behind a group of beat counting back-up singers, looking for their cue and a rhythm. Or when boxers are taken out of the ring and only the choreography of the referee remains. In my artistic research project I want to challenge the premises of co-creative performing art, and the director function, by also using forms for seminars and association meetings, to stage collective readings aloud, from manuscripts. This is combined with autobiographical and reflective writing, influenced by the principles for knowledge in practice, to uncover and develop artistic principles for a co-creative director function.
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Circus as Practices of Hope: A Philosophy of Circus
(2024)
author(s): Marie-Andrée Robitaille
published in: Stockholm University of the Arts (SKH)
This exposition provides a spherical exposition of the research processes through a repository of images, texts, and diagrams, and contains the exegesis—a critical textual articulation of the doctoral artistic research project Circus as Practices of Hope: A philosophy of Circus.
Abstract
My doctoral artistic research project, Circus as Practices of Hope: A Philosophy of Circus, responds to the growing complexities emerging from the convergence of the fourth industrial revolution, the sixth mass extinction, and the eco-socio-political turmoil of our time. What does it mean to be human today? What does it mean to be a circus artist today? How is circus relevant in today’s context?
Core to this inquiry is the assertion that although circus arts hold the potential to foster significant knowledge, they simultaneously perpetuate outdated worldviews that restrict their transgressive potential. With this research, I investigate alternatives to regressive models of thoughts and modes of composition, aiming to identify and articulate circus´ inherent epistemic, ontological, and ethical specificities and their relevance for navigating and steering the current planetary paradigm shift.
I conducted my research through embodied practices as a circus artist, as a pedagogue, and from the perspective of a human on Earth. My inquiry occurred through Multiverse, an iterative series of compositional performative experiments and discursive activities. I engaged critical posthumanism and neo-materialist philosophies to challenge and evolve my relation to risk, mastery, and virtuosity.
The project conceptualizes circus arts as nomadic and fabulatory practices, culminating in a series of artistic, choreographic, and conceptual tools and methods that articulate circus arts within and beyond their disciplinary boundaries. The project advances a philosophy of circus that highlights circus-specific kinetic, aesthetic, and embodied relevancies in today’s context, situating circus arts as hopeful practices for the future.
To quote this work:
Robitaille, M-A. (2024), Circus as Practices of Hope: A Philosophy of Circus, Documented Artistic Research Project (doctoral thesis), Stockholm University of the
Arts.
Publication series X Position no. 33
ISSN 2002-603X ; 33
ISBN 978-91-88407-52-8 (print)
EISBN 978-91-88407-53-5 (e-publ)