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.

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 62 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children: how they love, amongst other. I wanted to emphasise that element, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp, but intimate twist, as commentary, in the British tradition of political satire, to the otherwise dark subject matter. Finally, this artistic style refers to the populist character of actors. The text is written like trip-hop songs: two of the pseudonyms I gave are the artistic names of musicians of colour from the British band "Massive Attack", formed in Bristol. Otherwise, it is loosely structured in a manner inspired by television series. I used heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition displays loosely and in lay terms vocabulary as rhetorical devices from analytic metaphysics, as well as gender and romance studies; for instance, I use the word "unactualised" to refer to individuals, who are real and concrete, who exist independently of my mind, however they were not "actualised" in my so-called personal life and dating practices: for that, I would have to select them, in order for them to be "instantiated" in my dating. The exposition is underpinned by an underlying neo-Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, as painting, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For "Panos" ('Ramadan', 'Julien', "Mr X"), Filip ('Philip'), and Brandon ('Magna') (and Nick) - August, September, and October 2024 (March 1996). For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Sharon''s Beau", or "Her Man's alter-ego"), 'Moussa', 'Gaetan'; Black 'Humbert Humbert' meme (and friend), 'Miloud'; Mohammed' ('Onzedouze'), 'Hermando', 'Nesseem' and 'Didi' - December 2024, January 2025, May, June, July, August, September, as well as November to December 2025; again January 2026, with 'Prudence' in Paris. Seven men of colour and seven white men, who were also targeted, directly and indirectly. Who are not politicians, except for a current one and a former one, but are doing something political, so they must take good care of what they do. All my drawings were stolen in Paris and Brussels, in 2025. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

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.

Mot bakgrund av utomhuspedagogikens positiva effekt på kreativitet så har jag i den här studien undersökt bildundervisning i skogen. I studien använder jag arbetsmetoden A/R/tography och den post-kvalitativa metodologin för att främja ett rhizomatiskt förhållningssätt till undersökandet och lärandet. Studiens fokus är att förändra mål, kravfyllda tankar och ramar för att ge plats åt mer undersökande, experimenterande och fantasifullt förhållningssätt till bildlektionen. Syftet är också att skapa händelser som kan stärka idéprocesser och öka närvaron med omvärlden under bildlektionen genom ett inkluderande och holistiskt tillvägagångssätt. Jag har arbetat med detta genom ett teoretiskt perspektiv som belyser mänskliga och icke-mänskliga aktörers roll i lärandet. Centralt i undersökandet av konstnärliga metoder och material har Jane Bennets begrepp “Thing-power” varit plattformen för att öppna upp en stark närvaro med material och omvärlden. Frågeställningarna som bearbetats är: Hur skapar skogen ett “lärandets rum” som främjar sättet att undersöka material i en bildpedagogisk process? Och: Hur stimulerar perspektivet "Thing-power" en utveckling av bildpedagogiska arbetsmetoder? Frågorna har jag utforskat genom en konstnärlig process med olika händelser som jag i arbetet satt ihop till ett lektionsupplägg i skogen. Två utforskande händelser bearbetas och analyseras utifrån begreppen thing-power, konst-som-görande, ännu-icke-sedda, släta rum och lerbaserad språklighet. Studien har visat hur en större närvaro och uppmärksamhet till de icke mänskliga krafterna hjälper till i konstnärliga processer och att skogen är en plats som gör det enklare att undersöka och experimentera med material på nya sätt.

'Latency Records: The Delay, an Inhabitable Field' analyses a fictional mediated environment by studying the lapses of time involved in its diffusion. Approaching media as a source for new habits of perception over a landscape, it is concerned with the electronic tools used for the representation of nature; in particular those applied for near-real-time broadcast from sensory meteorological tools, webcams or satellites. Introduced with seven images from audiovisual references, punctuated by fourteen quotes from various sources and interwoven to three poems written exclusively for the essay, 'Latency Records: The Delay, an Inhabitable Field' is inspired by humans’ incomprehension of the artificial structures in which they blindly place their hopes for representing the unrepresentable: a living image of the exterior world. In doing so, it delves into humans’ attempts to portray themselves in order to comprehend who they are. Therefore, 'Latency Records: The Delay, an Inhabitable Field' interrogates the instantaneity of these naturalistic archives, ultimately shaping our cognitive engagement with our environment—which acts both as a mirror and a departure from it.

Water covers more than 70% of the earth’s surface, and thus constitutes a major section of the ecosystem on Earth. It is a vital element on earth, all life (as we know it) depends on water to be able to thrive. The climate has always changed a bit, but in recent years, due to greenhouse gases, the climate has experienced extreme changes which have also strongly impacted the global water cycle. From melting glaciers to ocean acidifications, flash floods, and prolonged droughts, disruptions in ecosystems now happens faster than most species can adapt to. Because of global warming, the atmosphere can hold and transport more moisture. Water doesn’t have the opportunity to fully infiltrate the soil. This accelerates the hydrological cycle. While it is still important to decelerate this process as much as we can, it is also important to look into strategies of adaptation and think ahead to a future with water that will be compromised. In this book, we explore water futures through the speculative design approach. This design practice aims to challenge preconceptions, raise questions, and provoke debates. It opened the doors for designers to imagine and explore possible water futures globally. We start with the water spring in India where the Ganga river starts, then travel further down the river stream. We end up in the Netherlands where different rivers connect to the sea. We continue where the river meets the sea and travel to the salterns in France and Croatia. Here water changes form, turning into gas and flowing through the air as evaporating steam in the geothermal region of Iceland. Eventually this book will end up with the condensation of the fog net in the Namib Desert.