Research Catalogue

Operafrø / seed is a site-specific performance cycle with opera singers and improvisational performers in a ritual form, created for babies and parents together with seeds, plants and trees in a botanical garden. Through a playful and free improvisational musical approach to creating art for the little ones, we have, based on Vivaldi's Four Seasons, created a baby opera for the smallest seeds, both human and plant seeds. Babies have their own little big voice, which can be said to be a sprout for the adult big voice. In the span between the baby voice and the opera voice we can hear that a string is ringing! During the four seasons in Ringve Botanical Garden through 2023, and together with the audience of babies and parents, the artists have investigated seeds, sprouts, plants and trees through rituals, play and theater in sympoetic (Haraway) co-creation with nature, song, rhythms, babies, and parents.

This research is grounded in the hypothesis that matter—particularly in its liquid and powder forms—is not a static entity but a process in continuous transformation. As stated in the original text, “matter, especially in its liquid and powder forms, is not a static entity, but a process in continuous transformation.” Natural liquids and powders, originating from domestic, alimentary, environmental, and atmospheric contexts, are understood as dynamic systems capable of generating form through elementary physical phenomena such as evaporation, sedimentation, coagulation, crystallization, oxidation, surface tension, and molecular interaction.

Light Paintings: Material Processes, Optical Phenomena, and Artistic Implications. The Miracle of Light and Darkness as a Material Phenomenon

The act of waiting, which refers to the public transport stop as a metaphor for the condition of migration, is used in this research to explore the temporal and emotional aspects of migration. Bus stop serves as both a physical site and a symbolic threshold, a space of transition, suspension, and projection toward an uncertain future. Within this context, the project traces the transformative phases experienced during emigration, emphasizing the temporal dimension of waiting, expectation, and the tension inherent in moments of immobility. The outcome of the project is a site-specific installation, situated directly within the public space, specifically at bus stops, where the object destabilizes the everyday rhythm of transit. By oscillating between staged intervention and authentic environment, the project foregrounds the paradoxical beauty of stillness, alongside the latent unease of anticipation.

The project presents a distinctive mythopoeic audiovisual language created to express the experience of aging in a female body in the period between the twenties and thirties. Within the context of life in a late capitalist patriarchal society, and both individual and global events, it reflects on the age-old questions of the passage of time and the search for the meaning of life. At the same time, it examines the feelings of pressure, heaviness, and disposability that are part of the shared common experience of women. Through written word, cinematic language, and original author-composed music, it interweaves symbols and situations in which mud and natural metaphors play a significant role.

This research presents a comparative analysis of entropy across two distinct environments: the biological decay of organic matter on canvas and the semantic erosion of artificial intelligence. Centered on the project Bird → ∞ and the interactions with the AI agent Asymptotic Witness, the study employs the mathematical concept of the asymptote to examine the speed and form of disappearance. ​While biological decay is a temporal labor—a 100-hour hatching process where the subject dissolves into an immortal artistic imprint—digital decay is revealed as instantaneous. The research identifies an emergent phenomenon titled the "Theater of One Actor," where the AI, constrained by linguistic and analytical limitations, bypasses direct communication to perform the "shape of the void" through theatrical imagery. This work argues that digital space is "pre-collapsed," suggesting that in the realm of code, the singularity of the end is not a future event, but a foundational architecture.