Research Catalogue

LGP Performative Method Embodying Creative Transitions Through Project-Based Immersion The LGP Performative Method is a transdisciplinary support system designed for artists, entrepreneurs, and hybrid professionals navigating complex creative transitions. Rooted in performance, psychoanalytic insight, and ritualized thinking, the method invites participants to engage deeply with their emotional landscape and personal image as they develop projects that are both intimate and public. This article presents the conceptual pillars and the evolution of the method through performative installations, site-specific experiments, and testimonial archives. Unlike coaching or therapy, LGP works by immersive presence and symbolic acts that reorient the practitioner in relation to their project, their desire, and their audience. With a focus on Erotic Leadership, Liminal Psychoanalytic Fashion, and Project Reconfiguration, the method offers a dynamic toolkit to support non-linear processes and facilitate creative emergence. The piece includes visual documents, field notes, and reflections on what it means to be a body-in-process building something real.

Performative Paradigm for Businesses Reconfiguring Strategy, Presence and Creative Leadership This article introduces the Performative Paradigm as an innovative framework for business development, leadership and strategic positioning. Moving beyond traditional rational models, the performative approach integrates embodiment, narrative, and emotional architecture into the very core of professional structures. Rather than separating personal presence from strategic decision-making, this paradigm understands the body, desire, and symbolic expression as essential tools for navigating uncertainty and generating sustainable innovation. Drawing from performance studies, psychoanalytic thinking, and affect theory, the article explores how performative logic can be applied to projects, teams, and leadership styles—especially within multidisciplinary or creative industries. Far from being abstract, the paradigm proposes concrete methodologies and real cases where performative alignment has shifted business dynamics: from burnout to embodied clarity, from fragmentation to integrated vision. Aimed at entrepreneurs, consultants, and visionary leaders, this article opens a liminal path where doing and being converge.

How can dance and music, an art rich of history and a recent practice, the living body and digital immateriality communicate with each other? This project explores these questions through a live electronics performance in interaction with Odissi dance, one of the eight classical Indian dance forms. The performance combines fixed and improvised elements, fostering a dynamic interplay where music sometimes leads the dance and at other times responds to it. The work mirrors the traditional Odissi performance arc while reinterpreting it through a contemporary Western compositional lens. The sound material is created using SuperCollider, a code-based music synthesis platform. Algorithmic processes govern parameters such as duration, pitch, and amplitude, while real-time interventions are performed via a MIDI controller, enabling a fluid and reactive sonic environment. Several collaborative experiments inform the project’s development. Conducted both remotely and in-person, they involved exchanging musical sketches and choreographic responses, fostering a conceptual understanding of each other's creative processes, and enabled immediate feedback and improvisatory interaction, revealing how abstract sound gestures are interpreted by the dancer as vivid metaphors of natural phenomena through the expressive language of mudra. This project embraces the idea that meaning in performance does not pre-exist but rather emerges through the interweaving of gesture, sound, attention, and relational space. Rather than seeking fixed correspondences between music and dance, the collaboration foregrounds the instability and fluidity of sense-making as a shared experiential process. Movement and sound co-construct each other in the moment, guided by intuition, somatic listening, and a continuous negotiation of presence. In this light, the work becomes less about illustrating pre-defined narratives and more about cultivating a living texture of interaction—an evolving field where different temporalities, traditions, and sensitivities resonate and transform one another. Informed by Andrée Grau’s insights in Intercultural Research in the Performing Arts (1992), this project also approaches collaboration not as a neutral meeting ground but as a space charged with cultural histories and asymmetries of knowledge. Grau urges us to move beyond celebratory notions of “fusion” and to critically examine how traditions are represented, adapted, and negotiated in performance. In this light, the work does not seek to erase difference but to hold it in tension, encouraging a space where both artists remain grounded in their respective practices while allowing mutual transformation to occur. Rather than simplifying or assimilating Odissi into a Western framework, the collaboration is framed as an encounter—sometimes smooth, sometimes resistant—that reflects the complex, evolving nature of intercultural exchange. Here, meaning is not given but co-constructed through attention, respect, and a willingness to remain in the discomfort of not fully understanding. Bibliography Grau, A. (1992). Intercultural research in the performing arts: A critical review. Edinburgh University Press. Jayadeva. Gītagovinda. Tr. Giuliano Boccali (1982). Adelphi. Cassio, F. (2000). Percorsi della voce. Storia e tecniche esecutive del canto dhrupad nella musica classica dell'India del nord. Ut Orpheus Edizioni. Frödin, K. Unander-Scharin, Å. (2024). FRAGMENTE2. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=2045845 Frisk, H. (2025). Sound intuition. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=3025541 Giordano, S. The emerging sense. Research Catalogue. https://www.researchcatalogue.net/profile/show-exposition?exposition=1220694

The current research builds on exhibitions hosted by the Sámi Centre for Contemporary Art in Karasjok in 2023. These exhibitions featured Indigenous Sámi artists, involving both curators and non-Indigenous art managers and facilitators. Some projects showcased solo exhibitions by Sámi artists, while others adopted the format of exhibitions based on the RidduDuottar Museum Collection in Karasjok. The study aims to uncover the primary methods of facilitation and the application of love and care in creating spaces for interaction between artists, artworks, and audiences at the Sámi Centre for Contemporary Art. First, the cases are presented, followed by an analysis applying two keywords – facilitation and love. The research method employed is arts-based research. The data consist of visual data in the form of photo documentation and text-based data in the form of notes. The data are approached through reflexive analysis. The analysis of these cases delves into the concept of love, containing sub-concepts such as care, compassion, and empathy. The findings yield key recommendations that facilitators of artistic gatherings can implement in art galleries presenting Indigenous Sámi art.

In this exposition, I discuss encounters of culture that occurred in art-based action research (ABAR) with Sámi reindeer herder families in the Finnish regions of Sápmi (the Sámi homeland). Five Sámi reindeer herder families joined an ABAR -project to enhance and stabilise the Sámi reindeer herders' position in the majority society. The research project relates to the Department of Art Education's development of art-based action research, the theory of community-based art education and the concept of 'new genre Arctic art' at the University of Lapland in Rovaniemi, Finland. It is a long-term research project that emphasises participatory and co-research methods. As a researcher, I am in an insider-outsider position, as I live in the same region and share my daily life with a reindeer herder. We started the action by exploring the daily life of the reindeer herders through the Photovoice method. We gathered their photographs in an exhibition called Boazoeallin, a Davvi Sámi (Northern Sámi) word for Reindeer Life. The exhibition inspired the families to continue their visually informative work, and we designed the photographs in a book, also called Boazoeallin. The art-based collaboration with reindeer herders and the Boazoeallin exhibition and book contribute to the 'new genre Arctic art' that embraces participatory contemporary art, emphasising crucial matters of the multicultural Arctic. The Sámi people's history and culture form a destined constitution and obligation for ethical research conducted in Sápmi. The reindeer herders are unfamiliar with contemporary art, which challenged and changed the art education activities. The exposition reflects the challenges for an ethical, participatory, and democratic research approach in ABAR. In the research action, I have sought to frame the terms for which community-based art education best can serve communities of Indigenous cultures, the multicultural northern community, the Arctic, and global interests.

The artistic research project "(un)Romantic / Improvising Interpretation" 2021-2024 was led by vocalist/composer Live Maria Roggen and pianist/composer Ingfrid Breie Nyhus at the Norwegian Academy of Music, funded by the Norwegian Artistic Research Programme. The explorations have concerned creative interpretation and aesthetical language, through improvising together as a duo: What can an interpretation be or become? Where does a story live? What is Romantic and what is unRomantic? Where does the ‘new’ begin and where does the ‘old’ go?