Research Catalogue

In the Mirror of Care Work researches skills within Nordic interactive performance practices. Using the mirror as a metaphor for visualisation and connection, artist Inga Gerner Nielsen brings into conversation the work of nurses and interactive performers. By inviting in the perspectives of care workers and looking into the history of their profession, Inga engages in discussions about the politics, mythologies and poetics of her own field. What do we see when we look in the mirror, and when that mirror is a nurse? Do we, as performers – like the nurses were once said to – abide by the feeling of a calling? Does this involve a kind of spiritual care for our audience? And what of the nurses’ working conditions should we perhaps try to adopt as (care giving) performers? The project visited Stockholm (MDT) in September 2023 and Helsinki in January 2024 in a two-day symposium to meet and exchange with local artists about the aspect of care work in their artistic practice . The project is based in a long-term collaboration with the nursing school at UCN Hjørring & Thisted in the north of Denmark. Together with teacher of the History of Nursing, Helle Kronborg Krogsgaard, Inga gerner Nielsen is developing ways of integrating interative performance excersices and visual art into the teaching of 1.st, 4th and 7th semester nursing students.

Great Sweetness is a written companion of the artistic research project Night of Dark Angels, which investigates how erotic mysticism, queer vampire narratives, and somatic performance can function as modes of embodied knowledge. The text explores “great sweetness” as a recurring motif in hagiographic writings of mystics and in queer vampire literature, where ecstatic pleasure, abjection, and desire exceed normative frameworks of sexuality, subjectivity, and transcendence. Drawing on Lacanian jouissance and Julia Kristeva’s concept of abjection, the research approaches great sweetness as an excessive affective state—simultaneously pleasurable and disturbing—that destabilizes boundaries between self and other, sacred and profane, human and non-human. Methodologically, the text operates through a situated, phenomenological, and autoethnographic approach, treating writing not as representation but as a performative practice that accompanies and informs artistic experimentation. Great Sweetness functions as a conceptual and affective archive that feeds directly into the development of experimental somatic LARP (Live Action Role Play) scores within Night of Dark Angels. This LARP experiment translates textual research into collective, embodied situations, where figures of mystics and queer vampires are enacted as tools for exploring vulnerability, monstrosity, care, and resistance. Rather than aiming at theoretical closure, the text proposes great sweetness as a mode of embodied thinking—one that foregrounds process, relationality, and affect, and that opens artistic research toward antifascist, feminist, and queer forms of collective imagination and practice.

This research explores creation as a form of violence that operates through interruption, erasure, and bodily pressure rather than through visible conflict or aggression. Through a conference-performance, writing is treated as an unstable action: it begins, stops, fails, and is physically destroyed without revealing its content. The work focuses on moments where creation resists completion, and where decisions to stop, delete, or abandon become central gestures. By placing the performer behind the audience and withholding textual legibility, the research shifts attention from meaning to process, from narrative to tension. Creation is approached not as expression or inspiration, but as a concrete and irreversible experience that acts upon the body and its limits.

Amazing Patterns presents a practice-based investigation into pattern formation using ASCII and Unicode character systems as generative material. Developed within the broader research context of the ASCII Digital Design Museum (ADDM), founded in 2010, the project operates exclusively in live digital text environments under minimal computational constraints. Treating text not as language but as material, the exposition examines how repetition, variation, and rule-based operations generate complex visual structures from simple symbolic elements. Through sustained, character-by-character construction, the works demonstrate scalability and structural coherence across graphic, textile, and architectural references. Developed through human-authored, rule-based visual systems prior to contemporary AI image-generation tools, the project positions symbolic computing as a methodological precedent and sustainable exhibition model, emphasizing accessibility, durability, and long-term cultural preservation within web-native systems.

Topographies of the Obsolete is an artistic research project conceived in 2012 by
 University of Bergen Professors Neil Brownsword and Anne Helen Mydland,
in collaboration with six European HEI’s and the British Ceramics Biennial.
Emerging through two phases (2012-15; 2015-2020) it has to date engaged
ninety-seven interdisciplinary artists, scholars, cultural commentators and
students from thirteen countries. It has transformed participants’ practices, with
works originating out of the initial research being celebrated on an international
platform. Topographies of the Obsolete has received funding from a variety of
institutions, alongside its core support from the Norwegian Artistic Research
Programme (2013-15 & 2015-17), whose peer review system (2015) rated it
as ‘exemplary… strengthening artistic research and its scope beyond potential
communities of practitioners/researchers’. The project explores the landscape and associated histories of post-industry, with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes.

Olskroksmotet Blues är den avslutande delen i mitt autoetnografiska projekt som pågick i olika former mellan 2014-2021, och där jag bland annat publicerat två artiklar (Kroon 2015 och 2016). RC expositionen består av tre delarbeten - arkivblad, arkivmönster och göteborg grid – jämte bakgrund och teori & metod. Utifrån min historia som fosterbarn söker jag fånga såväl mina egna erfarenheter och uttryck, som att sätta dessa i ljuset av större samhälleliga skeenden. Olskroksmotet Blues var också del av Mikrohistoriers fysiska grupputställning på Konstfack, Stockholm i september 2021.