Research Catalogue

Språktap er en vanlig konsekvens av okkupasjon, fordriving og flukt. I Halo of Shame utforsker Shwan Dler Qaradaki hvordan den politiske undertrykkelsen av kurdisk – hans morsmål - har formet hans kunstneriske praksis. Med inspirasjon fra både vestlig klassisk kunst og islamsk miniatyrkunst skaper han et visuelt uttrykk som balanserer mellom øst og vest, fortid og nåtid, objekt og subjekt. Gjennom dette arbeidet utvikler han et dekolonialt bildespråk som kan romme de komplekse lagene av identitet, erfaring og motstand. Veiledere: Tiril Schrøder: 2021-2025 Merete Røstad: 2021-2023 Ane Hjort Guttu: 2023-2025 Web disegner: Ellen Palmeira Bilder, video, tekst og tegninger: Shwan Dler Qaradaki

This "exposition" consists of a list with links to articles and texts written by Annette Arlander in online publications available on the web. For a full list of publications a pdf is attached.

In this exposition, I discuss the multimedia installation "Esparto, approached", to which I opened doors last May 10th, 2025, in Organo Hall, Helsinki Music Center. "Esparto, approached" is the first of a series of three installations representing the artistic component of my doctoral degree at the Sibelius Academy, Uniarts Helsinki. The research project in which this installation is contextualized is currently titled "Listening through remembrance: An autoethnography of presence in the age of disposability". In this artistic research, the notions of listening, remembering, and presence-making are interwoven in an attempt to understand how we confer meaning and value on things despite our embeddedness in a world of disposable nature, where things are susceptible to being quickly discarded, replaced, and, therefore, forgotten. This exposition opens up a space of reflection in the aftermath of "Esparto, approached". The installation represented a collective recall of the field practice that led me to search for signs of durability in abandoned contexts of my homeland in rural Southeastern Spain. This exposition poses the following questions about it: What happened? (Description); What does "what happened" mean? (Analysis); And, how does "what happened" keep happening now? (Further becomings). The objective of creating an online exposition right after the event is to open a window to the reflective process of this investigation before its completion, thus making visible its traces. The process itself is therefore turned into an accessible outcome that manifests the continual nature of the project as a whole.

Public Positions - looking into the works of MA PPS artists and their Public Spaces. With this new collective online publication, MA PPS curates past and current alumni artistic research processes and practices that encapsulate references and positions of public space discourse. The publication serves as documentation of artists who developed (part of) their research together with the programme, and that shares their valuable contribution to the field of Performing Public Space.

In the last days of June 2024 I learned something I would rather not know. Aware that the act of forgetting is something that often simply happens, I started a daily practice of checking if I could still remember what I would like to forget. The question I found myself asking as time passed and I failed is if the desire to remember is what makes us forget. or In the last days of June 2024, I learned something I would rather not know. Something I wanted to forget. Aware that the act of forgetting is something that often simply happens, I start a daily practice: at the end of each day I sit down, stamp a date on a notebook page and take note: Do I still remember? I write using charcoal, a material that has little permanence. To work with charcoal is to constantly fight its desire to go away. Every night I take the time to see if I can still remember what I would like to forget. I know how to remember, I don’t know how to forget. I do nothing to forget, I simply let time pass and register the presence of this thing I now know. I don’t know how to actively forget, and I choose not to learn ways to do it. I wait for it to happen. As time passed and I failed, I found myself asking if the desire to remember is what makes us forget. I fail over and over again. I still remember.

This practice-led research exposition by architect-researcher Elina Koivisto explores how conducting architectural practice through the framework of feminist spatial practice can provide possibilities for un-learning harmful habits and reaching towards uncertain speculative futures. The case study project Kudos – Library for Material Relations realized in Espoo, Finland as a co-creative process between human and non-human participants, provided a lens through which the current material and social relations in architecture-making were challenged, applying the conceptual thinking of posthuman feminist thoughts on care and interconnectivity. Reflecting on the project, architecture is seen as a tool for feminist becomings rather than as a producer of mere artefacts, and meaning and significance are found in the process of its making.