Research Catalogue

I like to approach my body of work as being one big opera. Every object, wearable object or costume serves the opera. Every spatial costume a backdrop, every sculpture a prop, every wearable object a costume, every costume a character. One day I will make an opera consisting of all my works. Welcome to my world, welcome to my opera

LearningLAB is a new module for the YoungKC department to help enhance meta-learning; helping young musicians learn about learning. This research proposes and describes the design, development and content of the program. It also explores the efficacy of students, teacher teams and management, and the dynamics between each group.

What triggered me to start this research is the multiplicity of reality. How something is represented, how it actually is and then how we all perceive it in our very own way. In that sense reality doesn’t exist, only versions of it. The lack of awareness of this multiplicity affects a lot our lives; what we believe, what we take as granted and how he behave.Through this practice based research I am experimenting on how to create moments of surprise and realization for the spectator. I work with copies and representations, replicas as I like to call them. The Replicas can be made of different materials, can be virtual or very physical. Until now I used scale models, mirrors and projections but the list is endless; so are the different ways to use the replicas or the impact that they will have. The way that the replicas are introduced to the spectator and their interaction is also very crucial in my work and another field to research. The movement and the body play a significant role to this. The special relationship that we have with our body, the way that we perceive it and how the movement can reset these relations and affect how we experience things.

Welcome to Galaxy Revolution, the space station of Historical Spiritual Vibrations space agency. At the station you can access training sessions and game instructions we use to imagine training and healing practices for the new space race. You can experience glimpses of our space journeys and learn more of the history of the tools and knowledge we bring with us on our missions. Dock at our space station and (mis)use our methods to reshape and imagine the past, present, and future in your own way. The exposition gathers documentation of Whyte&Zettergren's live actions and ritual practices at locations in Iceland where the Apollo 11 astronauts trained for their journey to the Moon. It also includes infrared imagery, a technology used in space visualization to capture light waves invisible to the human eye, recorded during the duo’s space journeys. The duo explores space both as a site where future colonial projects are planned and as a fictional realm for imagining alternative worlds. In their work, Zettergren's speculative technofeminism and Whyte's ritual dubfuturism intersect. Practices that reshape futures in various ways; through an intersectional feminist and technocritical lens, and through the experimental remixing of history, ritual, and rhythm in dub culture. When the present feels dystopian, dreams of life in space become a way to envision change, a transformation of the world through imagination, whose echoes vibrate into the future.

”Fata Morgana. An Essay Journey” explores the optical phenomenon of the Fata Morgana and its mythical namesake, Morgain Le Fay, as a figure of thought to explore transcultural and transgeographical relationships between landscape and identity. Conceived as an essay journey with artistic interventions, Fata Morgana argues for rethinking imagined geographies against the territorial bigotry prevalent in Europe and the world, against essentialist ideas of singular or linear origins. Instead, Körschkes uses Fata Morgana as a motif, myth and method for artistic research, employing its ephemerality and “diffuse occurrences” to relocate places into other places, narratives onto other narratives, and thus brings together different spatialities, temporalities and identities into brieftopian co-existence.

The long-neglected industrial wastelands of Romania present themselves as heterotopias in need of help. Post-Communist industrial ruins form a link to a multi-layered and difficult past, and their systemic erasure has contributed to a collective amnesia that perpetuates historical trauma and denies the local population access to the landscapes, natural and artificial, that tie them to a shared past and a collective cultural identity. This contribution aims to illustrate one methodology of bridging the gap between preservation through museumification and invasive architectural intervention. In this context, artistic and design-driven research practices can enable the emergence of ephemeral creative spaces that foster engagement with industrial heritage and reach beyond commodification and capitalist exploitation.