Research Catalogue

Only Here to Adore is an artistic research of the interaction between garden owners and plants. It unfolds in three parts. The first part takes place at Landlyst Plantecenter just outside Hjørring in the North of Denmark where Gerner Nielsen interviews garden owners about what they have purchased at the garden center and their hopes and dreams for their summer garden. These interviews form the foundation for developing scores and a choreography for a performance that Gerner Nielsen and another performer will show at Vendsyssel Kunstmuseum in Denmark. The performance is also filmed by Louise Ørsted Jensen and turned into a video work. Curated by Skal Contemporary

A cross disciplinary artistic research project that departs from, and investigates several encounters and alignments between Contemporary Art and Archaeology. Its primary goal is to create a broad selection of autonomous and collaborative artistic, poetic and scientific expressions and responses to Prehistoric Art and its contemporary images. It will seek to stimulate a deeper understanding of contemporary and prehistoric artistic expression and the contemporary and prehistoric human condition. The participating artists and archaeologists will create autonomous projects, but also interact with each other in workshops, seminars and collaborative artistic projects. The secondary goal of Matter, Gesture and Soul is to establish an international cross disciplinary research network at the University of Bergen and strengthen the expertise in cross disciplinary artistic and scientific work with artistic research as the driving force. The project is financed by DIKU and UiB and supported by Global Challenges (UiB)

Atelier Nômade is a research seminar around the practical use of lithography outside of the printmaking workshop.

Home page of the Journal of Sonic Studies

Ko = water in Mapundungun (Mapuche language). The reflection revolves around how we divide the waters in time-based media practices in the current context of environmental emergency + war. The analysis begins inspired by the Mapuche people about interconnectedness with rivers and lakes, raising a question about art practices today. Ko's idea is based on how water flows from the sides (positions, political strategies, visions) and divides territories. How to make performance art sustainable? To answer this question, a capsule is presented around the ecology of time-based media as a fluid art practice. To understand in three steps this observation selected exponents from around the world and Austria helps to make a final selection of three performance artists living and working in Vienna, observed as different currents of one sea with leitmotiv and policy paths. The aim is to use this classification to speculate on how they could improve sustainability in the next decade. Ko speculates on how practices use these territories divided as a sea with currents. Where bodies could achieve the awareness needed especially in terms of water crisis scarcity and safe access. The final thought claims attention to fluid thinking to find solutions and build a sustainable community.

The weft is an article that requests to hold time and attention about time-based art practices, especially the ones that rely on time as a medium with the usage of technology and multimedia formats to be presented live in the case of performance art, for example. The article is more than a dialogue of a theory, it is a speculation about the future of these practices in terms of cultural impact and sustainability. The questions and speculations posed a question about the status of these practices within the facilitation in educators and practitioners related to Time.