Research Catalogue

The research subgroup SPACES OF ARTIST EDUCATION focuses on exploring the relationships between artists’ pedagogies, educational spaces, and learning environments in artist education. The key interest of the subgroup is to investigate how different spaces influence, facilitate and regulate interaction, communication and ways of teaching and learning both at art universities and in non-institutional settings. The subgroup aims to gather colleagues from diverse artistic disciplines and research backgrounds to discuss the spatial, material, bodily, performative and institutional aspects of teaching art practice, as well as their connections with educational policies, relations of power, traditions of artist education, and the very ideas about pedagogy and didactics, mastery, knowing, art, creativity, resources, accessibility, space and place.

This project is practice-based research that investigates a practice model for sympoietic musicking in the field of contemporary free improvisation and comprovisation. It is driven by my interest in socio-musical sound engagements, particularly the relational connections between humans and instruments (physical material objects and electroacoustics). I explore this relationality with sound-energy-movement continuums with tools based on embodied, and movement-based practices for listening, interpreting and responding.

A cross disciplinary artistic research project that departs from, and investigates several encounters and alignments between Contemporary Art and Archaeology. Its primary goal is to create a broad selection of autonomous and collaborative artistic, poetic and scientific expressions and responses to Prehistoric Art and its contemporary images. It will seek to stimulate a deeper understanding of contemporary and prehistoric artistic expression and the contemporary and prehistoric human condition. The participating artists and archaeologists will create autonomous projects, but also interact with each other in workshops, seminars and collaborative artistic projects. The secondary goal of Matter, Gesture and Soul is to establish an international cross disciplinary research network at the University of Bergen and strengthen the expertise in cross disciplinary artistic and scientific work with artistic research as the driving force. The project is financed by DIKU and UiB and supported by Global Challenges (UiB)

Thesis of the Royal Academy of Art, The Hague, 2022 Master Photography & Society The "Trauma of Looking: Readings and Counter-readings of the representation of femicides in theGreek mainstream media" is a work that aims to decode the narrative strategies used by the Greekmainstream media to report sensitive topics related to gender inequalities and gender-basedviolence. In this work I explore the tropes and the effects of media cannibalism, a term which I havecoined and it will be explained further in the text, through the lens of intimate femicides - aphenomenon which has recently entered the wider public discourse in Greece. There is a need frommainstream media to commercialize such crimes and exploit personal dramas. They are treatingreal-life stories as a spectacle, as another true-crime series ready to be consumed by the audience.This globalized "life-as-spectacle" approach, which goes beyond Greece, transmutes our collectivemoral principles into a new culture where violence is always legitimized and thus is made acceptablein society.

Research Paper of the Royal Academy of Art, The Hague, 2023 MA Interior Architecture (Inside) Public space is defined as “ an area or place that is open and accessible to all people, regardless of gender, race, ethnicity, age, or socio-economic level. These are public gathering spaces such as plazas, squares and parks”. Public spaces that bring together a great diversity of people are therefore designed as “zero friction” spaces, but when in use, people will experience friction. This research paper focuses on how one constructs territories within the public realm and how this can both foster participation for those who can identify themselves with the activities within the territory and others who do not -to depart from a space. This creates fear tendencies against the unknown and in order to maintain a certain behavioral control, objects are being modified, removed and designed to prevent certain behaviors and user groups from territorializing certain spaces from happening. One territorial action is found in the action of skateboarding. Skateboarders do not only foresee opportunities for action through the use of affordances within the public realm, but also territorialize the space through extractions, additions, and public interactions for their action to be possible. Skateboarding might be considered an action that excludes certain user groups from using the public space if territorialized by the skating community. Yet, on the contrary, skateboarders see opportunities for action within the public realm through affordances that might not be obvious to the naked eye and therefore creates another level of interaction and encounters which may alter the behavioral corollary within the space. If skateboarders see the user value of public space through affordances and claim elements within the space through action, does their territorialization of the space actually negatively impact the space? Or do they introduce a new user value of the space that furthers behavioral actions and introduces new encounters? Therefore, this research paper reflects on how a skateboarder's perspective of the public realm criticizes how we use space and reveal new design potentials for a multifunctional public space.

Thesis of the Royal Academy of Art, The Hague, 2022 Master Photography & Society As photographers we make, sell and consume digital images, and the digital space and its audiences are growing exponentially. But every conversation on circulating photography centres on the object, about books or exhibitions. It seemed like there are images, and there is photography. Why are the two diverging? Radio evolved into podcasts. TV turned into TikTok. This thesis, then, sets out to ask what it is that photography says it does, or thinks it does, and what it actually does in the age of the smartphone. Critics love to tell their readers that photography is dead, but for some reason you can find all those same critics cheerfully posting their lunch on Instagram. This thesis is an invitation and a challenge to photography, to admit that things have changed and to embrace this as an opportunity rather than a threat.