Research Catalogue

BLOD, BLOD(y), BLOD – an exposition of recurring processes, trails and building blocks of the film and research project BLOD through the lens of its methods. The BLOD methods are articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The methods are non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation-building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks: how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD research shares its outcomes via the mediums of its artistic practice: videos, texts, digital expositions. This exposition is designed to reflect the connections and interactions of the research's building blocks: ideas, places, materials, people, time, experiences, technologies. To enjoy BLOD, BLOD(y), BLOD: move around it with your mouse, follow dotted paths out from the center towards texts, images, and videos. Hover over numbers and words in BOLD to reveal expanding texts. Linger on images and videos for captions, translations, and instructions for further interaction. Along the outer rim of the main page are spiral buttons to take you back to the center with a click. Subpages have links on the main page but are also listed in the Content index in the upper left menu. The exposition is mainly in English. Videos in Swedish have English translation.

Unrealised garden house in North London, 2002. This unrealised commission prompted my preoccupation with the question of creative value, which for architecture largely relates to the local economy. Similar but not quite the same to authorial or intellectual property rights, the question of creative value for writers is not connected to local economies, although it is determined to a certain degree by cultural values.

Painted board with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures. Improvised installation on floating timber raft, 2020. Proposal for theatre performance and visual art donation event, 2022. Improvised sculptures made of cheap and found materials were exposed to weather conditions over a few months. Working with the changes the weather was causing to the ad hoc installation, I also made changes until the painting was finished, photographed, then dumped. The painting was collected. The pieces would comprise of an installation for theatre performance. The event would also include a donation of visual art objects. Based on the philosophical concept of impossible objects,

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JSS Book reviews

Pamela Bartar’s (Center for Didactics of Art and Interdisciplinary Education) contribution "Citizen Science – a new field for the arts?" links Citizen Science with art-based research. Providing an overview of current approaches, Bartar illustrates how contemporary art can significantly contribute to the democratisation of science and the societal proximity of research, particularly focusing on socially engaged practices and collaborative knowledge production.