Research Catalogue

Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023. "There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived." Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level. The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic and cultural production. Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso). With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.

In this exposition I invite you to reflect on a part of my artistic research: the screen capture. The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production. In this artistic research I also use experimental software and unconventional methods to carry out images from videogames. At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.

What is OASIS? Does it have a spiritual dimension,or is it something temporal that is shaped by social relationships and achieved collectively? It is about the collective, inclusion, a place of relaxation? Does it have to be about proximity between people or a total isolation in a safe domestic environment and introspection? What happens if, within our social fragility, we leave our personal oasis and enter the public realm, where we are exposed under the gaze of others? If we decide to carry with us , even if it means symbolically , our personal domestic objects that make us feel secure and present , as a shield against the uncertainty of the outside world? Is this the answer?

Below in English Ekspositio pyrkii vastaamaan tarpeeseen uudistavan kasvatuksen (regenerative education) tavoitteissa taiteilijapedagogisesta lähtökohdasta. Ekspositio pohjautuu paikkasidonnaiseen interventioon ja kuvailee taiteilijapedagogisen oppimisprosessin. Ekspositio tunnustelee taiteilijapedagogiikan suhdetta ekologisiin kysymyksiin kestävyysajatteluun sitoutuneen taiteilijapraktiikan ja taidepedagogian solmukohdassa. Kirjoittaja arvioi vahvan kestävyyden käsitteen avulla, millaisia ristiriitoja kestävyysajattelun ja oman praktiikan välille ilmaantuu interventioprosessin aikana, ja millaiset olosuhteet johtavat konflikteihin. Ekspositio tarkastelee aihetta ”myötäsyntyisen” metodin avulla yhdistäen taiteellista, agroekologista ja posthumanistista tutkimusta poikkitieteisesti. Päälöydöksenä on, että uudistavan kasvatuksen tavoitteet sotkeutuvat yhteiskunnan odotuksiin, päämääriin ja moraalikäsityksiin. Tämä johtaa neuvotteluun kestävyysajatteluun sitoutuneen taiteilijapraktiikan arvoissa suhteessa taiteilijapedagogiseen toimintaan. Kirjoittaja väittää, että taiteellisessa työssä ei ole erivapautta toimia ekologisesti kestämättömällä tavalla, koska taide on yhtä riippuvaista ekologisista suhteista kuin muukin elo. Hän väittää, että vahvan kestävyyden käsitteeseen sitoutumalla on mahdollista perustaa uusia arvostamisen paikkoja ja kehittää uudistavaa pedagogiikkaa. The exposition aims to meet the need for the aspiration of regenerative education from an artist pedagogical practice. The exposition is based on a place-specific intervention and outlines the artist pedagogical learning process. The exposition explores the relationship of artist pedagogy to ecological issues. Exploration happens at the intersection of artist practice committed to sustainability thinking and art pedagogy. Reflecting the concept of strong sustainability, the author assesses what kind of contradictions between sustainability thinking and one’s own practice emerge, and what kind of circumstances lead to conflicts. The exposition takes place with “innate” method, combining artistic, agroecological and posthumanist research in an interdisciplinary manner. The main finding is that the goals of regenerative education are entangled with the expectations, goals and moral concepts of society. This accompanies a negotiation of the values of artist practice committed to sustainability thinking. Negotiation takes place in relation to artist pedagogical activity. The author argues that there is no waiver to act in an ecologically unsustainable manner in art practice, because art is as dependent on ecological relationships as any other concept of life. She argues that by committing to a concept of strong sustainability, it is possible to establish new places of appreciation and develop innovative pedagogies.

Duodji refers to Sámi handicrafts and design. I reflect on the knowledge base of duodji thinking, how duodji is learned within the community, and how I have developed the teaching and research of duodji according to the principles of duodji and art. I also contemplate the essence and presentation of duodji in public spaces through the pedagogical-artistic practice, LaavuStudio."

This exposition takes as its departure the systemic inertia identified within Western Higher Music Education (HME), where education is driven by skill acquisition in a master–pupil format. Such approaches may hinder the growth of adaptable and reflective musicians. We propose an alternative: student-centred learning inspired by artistic research methods. To explicate this, we draw on findings through our own artistic research practices. Our hypothesis is that the model of the artistic, embodied research laboratory, as developed within the field of artistic research, may serve as a potent tool for renewal. By analysing our work as artist-researchers and educators, this exposition offers insights that support rethinking both institutional structures and pedagogical approaches in HME. Our aim is to strengthen student agency in learning situations and set them off on a path of lifelong learning. This research demonstrates that artistic research laboratories can provide practical frameworks for transforming HME pedagogy, offering educators concrete methods for fostering playful, inclusive, and sustainable learning environments whilst empowering students as active agents in their musical development.