Research Catalogue

In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.

With Operative Fiction, we introduce a practice of spatial storytelling driven by the dynamics of prepositions rather than verb-centric narratives. Here, the textual body becomes embedded in the medial spatiality of a printed book, digital interface, or performance space. The physical or virtual site of the text thus becomes integral to the storytelling process. Spatial production methods merge into the texture of the text itself; simultaneously, the text reshapes the unfolding of space, place, and site. The material and procedural qualities of the text actively engage and activate the digital interface as a site of narrative unfolding, intertwining textual and spatial experiences. We begin our first exercise in Operative Fiction with Thomas Ballhausen’s What the Probes Report, transposing the text from the printed page (FLORA, 2020) into the digital interface of a Research Catalogue exposition. The non-human protagonist – emerging through and evolving within the text – disrupts subject-centred narration. It becomes entangled in the linguistic and scenic fabric of its own development, thus, through its procedural logic and function, becoming an active agent in its own staging. A line, speculatively re-enacting the machine's operations, simultaneously traces the topographic texture of the digital landscape. Using a drawing technique typically applied in performance design drafts, we explore the friction between staging and spacing by deploying minimally visible images and textual cues of direction. The operational plasticity of these technical images enables dramaturgical intensities to gather (staging), while also allowing the story to disperse through the digital architecture of the exposition into hyperlinked virtual spaces (spacing). Alongside a linear reading mode, which follows the story’s original chronology, we propose a contingent reading mode activated via time codes. These time codes function both as compositional elements within the drawing and as hypertextual links. They suggest the duration and shape of a staged terrain, occasionally layering multiple time zones within a single topographic entity. In this way, the timelines act as more-than-texts, generating a multiplicity of positions and proximities, and intertwining temporal aspects of space with the speculative grammar of the story.

Excerpt from my forthcoming research project How to be a medium? including the script of How (not) to be a puppet and its first act as audio play.

"My present is more than I remember" explores the entanglements of word and image and their role in constructing memory and identity. Drawing on my four-year practice at the KABK, it analyses the methods I’ve developed and examines the interrelation between memory, photography, and writing. Delving into personal memories and intergenerational connections within my family, I seek to understand how inherited experiences and stories shape my personal and artistic identity, guided by the act of weaving as a concept and a material. Furthermore, the paper examines the existential role of collective and familial memory in shaping Jewish and German-Jewish identity. Using a range of texts and styles, including sociological and art-historical theories, experimental diary entries, poems, and personal anecdotes, I explore the parallels between the construction of memory and the construction of photographs. Just as photography can never represent the essence of a person, memory will never be able to represent the full truth of the past.

This study dives into the realms of games and music, examining their history and the recent interest in the intersection of their features. The proliferation of research surrounding these two distinct yet interconnected fields has led to the emergence of new theories, reflections, and applications. While historical perception has commonly conceived "play" as a less serious activity, particularly in academic and artistic environments, this study explores how recent artistic movements have reclaimed its significance. Both games and music contribute to a particular cultural proliferation. Moreover, the technological landscape has further amplified the impact of these artistic endeavors, with entertainment platforms experiencing widespread dissemination and an exponential increase in user engagement. Drawing inspiration from prior research, the study aligns with other analytical frameworks while consciously narrowing its scope to the performer-composer relationship. This intentional focus aims to delve deeper into the intricacies of this dynamic without dismissing the importance of the audience, framing it as a subject of debatable relevance within the study's specific analytical scope. In conclusion, this study offers a comprehensive exploration of the relationship between games and music, shedding light on their shared history, contemporary developments, and the dynamics between performers and composers in the evolving landscape of artistic expression.

Throughout our musical history, many female composers’ figures and legacies have always remained overshadowed in the male-dominated realm of 19th- and 20th-century music. Eugenia S. Osterberger (1852–1932) is one of them: a remarkable and overlooked Galician composer who blended Galician and Spanish traditional music with European academic styles. This research aims to shed light on Osterberger's life and work by performing her compositions with my instrument addressing the central question: “How can I share it engagingly with the audience?”. To carry out this project, the methodology involves a literature review of Eugenia’s context, story, and compositions; archive fieldwork to find the scores; the process of arranging and adapting her music for oboe or English horn; identification of Galician and Spanish folklore footprints and other styles in her pieces; and revision of tools for engaging audience. The culmination of this research will be to have all the essential tools to be able to create a performance that combines narration and music to bring Osterberger's legacy to life, making the audience enjoy and connect with my emotional engagement and with the composer. In addition, it is intended to make a new contribution to the repertoire for oboe and English horn and raise awareness of under-represented voices in music history, which may inspire others to rediscover forgotten composers.