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  Framing Time (last edited: 2019) author(s): C.Berghäll This exposition is in progress.
  In my research I am collecting and drawing attention to natural fleeting occurrences. Those moments in time that can never be repeated and can only be experienced from a specific positioning. The reflection of the sun, a gust of wind on water, light in a mirror, the internal feeling of suspension, or a startle response that can never have the same effect more than once. Natural fleeting occurences happen because of an alignment of exact spatial relations - including the time of day, the weather the day before, the height of the observer - me - and a seemingly endless set of measurable spacial relations. I as the researcher label these individual spatial relations Positionings and am also interested in the ratio of when the positionings are choice or chance. My task as a Sceneographer is to observe and intervene in these Natural Fleeting Occurrences and investigate the positionings thoroughly so as to capture that moment in time and understand how specific spatial relations aligned to create the occurence. The next step in my research is discovering ways to document my data in order to present a retrospective scenography; a survey of past events or experiences. I have labeled the two methods of documentation I wish to explore: In Situ, and Legend, happening concurrently and/or asyncronisously.
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  Performing Place (last edited: 2019) author(s): Betina Abi Habib This exposition is in progress.
  Making performance is making Place. As placemaking becomes the new suggested approach for shaping our urban environment, more attention is given to people's practices as generative of urban form. Drawing a parallel between the habitually practiced rituals of our everyday and the artistically directed performances, I suggest that the latter generates 'place' from 'space', giving symbolic significance and specificity to the abstract notion of an environment. What does it mean to consider performance making as placemaking? Performance makes place for discourses, for the placing and layering of multiple narratives on a same platform which becomes contested. This contestation happens both physically and virtually as our spaces are also daily rendered by communication devices.
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  Performing with Plants - Att uppträda/ samarbeta med växter (last edited: 2019) author(s): Annette Arlander This exposition is in progress.
  EN This exposition documents and archives the artistic research project performing with plants. SVE Denna exposition dokumenterar och arkiverar det konstnärliga forskningsprojektet att uppträda/samarbeta med växter.
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  Home page JSS (2019) author(s): Journal of Sonic Studies published in: Journal of Sonic Studies
  Home page of the Journal of Sonic Studies
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  The Emergence of Choreographic Material in 'Silent Pact' (2018) (2019) author(s): Paula Guzzanti published in: Research Catalogue
  About This exposition presents the documentation of the choreographic material of my performance piece 'Silent Pact' (2018). This work is a collaboration with voice artist Una Lee. This Exposition Includes: 1) Visual Essay (10 mins) 2) Photographic Documentation (2 images) 3) My mother's original letter (English version) 4) My mother's poem entitled 'Silent Pact' (English version) 5) Soundtrack version of the screen dance. 6) Essay 'On the Emergence of Choreographic Material in Silent Pact' (forthcoming publication in the Journal Corpografias) 7) GIFs of Choreographic Material Becoming (5 gifs) 8) Screendance 'Silent Pact' (2018) Background to the work The performance evolves from re-visiting an intimate affective trace –a letter from my mother– through dance improvisation and performance-making practice. In June 2015, I received a letter from my mother together with a poem entitled Silent Pact (28/06/1981-28/09/1981). The letter tells the story of my mother having to keep me in secret, as she got pregnant three months before her church wedding. I discover that my real birthday is three months earlier than what I had been celebrating all my life. In 2018, I am commissioned to create a piece as part of the International Women’s Day celebrations in Belfast; the theme was women’s silent voices. After considering various stories of women’s that were close to me, I remember my mother’s letter. This is what choreographer-dancer Silvy Panet-Raymond pointed to me as a ‘radical practice’ . Although I don’t consider myself exploring radical ways of creating performance, it was interesting for me to note that in this work the movement vocabulary contrasts dramatically with the movement in a series of pieces that share the same research focus – the affects of dance improvisation. In Silent Pact, there is a clear moving away from stylish vocabulary, I achieve a strong presence in a performance charged with emotional nuances and textures. I chose this work for discussing the emergence of choreographic material as I found that the resulting choreographic material emerged from a particular set of conditions that was a move towards defining my artistic signature.
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  Topographies of the Obsolete (2019) author(s): KMD, Arild Berge published in: Faculty of Fine Art, Music and Design, University of Bergen
  Topographies of the Obsolete is an artistic research project initiated by Professors Neil Brownsword and Anne Helen Mydland at Bergen Academy of Art and Design (KHiB) in collaboration with partner universities/institutions in Denmark, Germany, Switzerland, France and the UK. In 2012 the British Ceramics Biennial invited Bergen Academy of Art and Design (KHiB) to develop a site-specific artistic response to the former Spode Factory in Stoke-on-Trent as a key element of their 2013 exhibition programme. The project explores the landscape and associated histories of post-industry, with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes.
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Hanna Järvinen
Finland

Lise Hovik
Norway

Emily Huurdeman
Netherlands (residence)

Susanne Rosenberg
Sweden

Scott Andrew Elliott
Canada

Michelle Teran
Germany, Netherlands (residence), Canada (citizenship)

Susan Brind

Shauna McMullan

Russell Marshall
United Kingdom