Research Catalogue

Transforming with the Artistic Palette ‘Transforming with the Artistic Palette’ is my PhD project in artistic research, a practice-led exploration of performer creativity, agency and collaborative composition, carried out at the Norwegian Academy of Music in the years 2018–2024. The central idea of the project is the conceptualization of the artistic palette. The artistic palette comprises the skills and abilities I use in creative work (skillabilities). It develops with the creative work I engage in and is active in imaginative as well as evaluative processes. The artistic palette has been explored in collaborative work with five composers as well as in an own composition. I have explored it as a multidimensional concept, comprising embodied, contextual, relational and intuitive dimensions. By engaging with the artistic palette, new sonic materials and work methods have been created and I have shared compositional processes as a co-composer. It is a poetic and dynamic concept that keep developing with my experiences. By using my artistic palette in shared work, I have explored and expanded my creativity as a performer of contemporary classical music. The five composers involved in the project come from a diverse background of styles, aesthetics and compositional approaches, as minimalistic music, improvisation and music theatre. Some of the creative partnerships build on previous work together. The works created in the project are Gradients (2023) by Karin Hellqvist and Henrik Strindberg, Solastalgia (2022) by Carola Bauckholt and Karin Hellqvist, One and the Other (Speculative Polskas for Karin) (2021–22) by Liza Lim with Karin Hellqvist, Eiksmarka Omland (2024) by Christian Wallumrød and Karin Hellqvist, Pango (2021–24) by Karin Hellqvist and Chain of Triggers (2024) by Manos Tsangaris and Karin Hellqvist. Through the artistic processes undertaken in this project, I have experienced a transformation of my performer’s role into an increasingly creative one. From seeing myself as a faithful performer of works, I have come to view myself as a creating artist involved in the whole lifecycle of the works I perform and co-compose. By exploring the artistic palette in shared work, thoughts about connection, identity, responsibility, empowerment, complementarity, taste, ownership and transformation has come to the fore in my practice. Those topics are discussed across the works created in the project. The methodology of the project is rooted in the specific forms of collaborative composition it comprises; engaging in improvisation, developing technological skills, accessing embodied performance materials, engaging in interdisciplinary work with a printed publication and developing connection through cyclical patterns of work where materials are circulated between participants. A curatorial process of selecting material for research has along with text writing, peer-review and publication processes been important research methods of the project. The structure of this reflection is a compilation of six case studies wrapped with an introduction and a closing discussion. The reflection has been created over the course of the project and includes four already published articles. The project is situated in a broad artistic- and research field with connections to other collaborating performers and composers, artist researchers who develop their performance practices, historical composer-performer collaborations and the rich artistic contexts of the involved artists. I draw on theories of collaborative composition (Taylor, Lim, Östersjö, John-Steiner), Werktreue (Goehr), embodied knowledge (Merleau-Ponty, Lüneburg), eco-anxiety (Albrecht) and identity (Hargreaves, Markus & Nurius). After the public defense in January 2025, a PDF document of the article Solastalgia - Toward new collaborative models in an interdisciplinary context has been added.

New creation - Sign Language and Dance - Video Projection and dance

This exposition retraces the practice sharing session we, Delphine Chapuis Schmitz and Ines Marita Schaerer, conducted during Convocation II at Zentrum Fokus Foschung in Vienna. The practice addresses the following questions: how to practice languaging from sensory encounters? how to unfold sense(s) from sensing and aside from pre-given meanings? The shared exploration unfolded as an iterative process alternating a somatic practice with writing sequences in individual and collective constellations.

How to How to Exercise Self-Control is a performative video piece centred around the Irritation Channelling Rings, created for the Tactilite exhibition at Hobusepea Gallery in 2021. These jewellery pieces invite a pseudomagical interaction, crafting a ritual where the rings serve as tools to soothe irritation and foster emotional transformation. Their dynamic nature is portrayed through movement, bodily interactions, and adaptability, with the visual blur enhancing their fluidity and transformative essence. Employing Haptic Visuality, this multisensory approach weaves together emotional resonance and speculative ritual, reimagining connection within a pseudomagical framework. Idea and performance: Darja Popolitova Video effects: Jakob Tulve Sound: Andres Nõlvak © Darja Popolitova

How to Trigger Intimacy is a performative video piece centred around the Necklace with a Very Complicated Lock, created for the Tactilite exhibition at Hobusepea Gallery in 2021. In the video, Seraphita engages with a concern that may resonate with potential viewers through her pseudo-ritual tutorial. She suggests that the absence of intimacy and closeness in one’s life can be restored through the use of the jewellery piece. Employing Haptic Visuality, this multisensory approach weaves together emotional resonance and speculative ritual, reimagining connection within a pseudomagical framework. Idea and performance: Darja Popolitova Video effects: Jakob Tulve Sound: Andres Nõlvak © Darja Popolitova

How to Make Someone Important is a performative video piece centred around the Importance Booster Medal, created for the Tactilite exhibition at Hobusepea Gallery in 2021. The work delves into pseudomagic through symbolic rituals and sensory interactions. Seraphita intentionally trivialises the act of recognition: a person’s sense of importance is heightened when presented with a medal of merit. Employing Haptic Visuality, this multisensory approach weaves together emotional resonance and speculative ritual, reimagining connection within a pseudomagical framework. Idea and performance: Darja Popolitova Video effects: Jakob Tulve Sound: Andres Nõlvak © Darja Popolitova