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.

This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, performance, production, and technology. This interview features Caroline Shaw, American composer, violinist, singer, and producer, whose work moves fluidly between concert music, studio production, and film scoring. Winner of the Pulitzer Prize for Partita for 8 Voices, Shaw combines historical sensibility with experimental curiosity, creating sound worlds that merge the human voice, instrumental gesture, and digital texture into a single expressive continuum. In the conversation, Shaw reflects on the interconnectedness of composing, producing, and performing; on the role of technology as both a creative and tactile medium; and on the shifting perception of time, form, and space in contemporary music. She also discusses the relationship between notation and sound, the dialogue between acoustic and digital realms, and the value of presence, collaboration, and shared listening as vital counterpoints to digital mediation. Shaw’s reflections reveal a vision of music as a living organism, at once human, technological, and emotional, where composition, sound design, and performance converge into an embodied act of imagination and connection.

Desire Machine is an artistic research project that examines collaborative creation through the conceptual framework of Deleuze and Guattari’s theory of assemblage and desiring machines. Developed as part of the Atlas of Smooth Spaces research initiative, the project explores how movement, sound, and algorithmic systems can function as heterogeneous components within a non-hierarchical and non-representational assemblage. Real-time body data, generative soundscapes, and responsive lighting are integrated via a recursive feedback structure, allowing for emergent behaviours and dynamic modulation across media. Rather than focusing on disciplinary integration, Desire Machine proposes a co-functional space defined by distributed agency, where artistic production unfolds through competencies and material relations. The project offers a methodological proposition for rethinking compositional practice as a site of continuous negotiation, transformation, and becoming.

In this exposition, I explore my artistic practice based on collaborations between female folk singers in Finland and Bulgaria from 2018 to 2022. The artistic material of the exposition consists of a music video trilogy (2019, 2020 and 2022) based on my compositions and arrangements in the solo album Nani (2020), produced in cooperation with the younger generation of the Bulgarian women's choir, Le Mystère des Voix Bulgares. In addition to the collaborative artistic practice, I interviewed six of the Bulgarian singers. Insights from the data gathered in these ethnographic interviews are intertwined with the analysis of the artistic practice. Throughout the artistic and ethnographic research processes, I applied a feminist intersectional pedagogical approach by focusing particularly on the power relations and the question of female agency in the arts and wider society. In this exposition, I argue that the incorporation of intersectional feminist perspectives in transnational artistic work can contribute to both artistic practice and transnational interactions in ways that may strengthen women's agency in the folk music field of their respective cultural and social environments. Feminist folk music composition was applied at all stages of the artistic and research work. By highlighting the stories, voices, and bodies of women of different ages and cultural locations, the artistic practice represented the construction of counter-myths and transgenerationality. In addition, an intersectional feminist approach helped to identify the power relations involved in transnational collaboration, particularly regarding economic inequality and the roles and different opportunities of women musicians in Finland and Bulgaria. Download Accessible PDF