Topographies of the Obsolete is an artistic research project conceived in 2012 by University of Bergen Professors Neil Brownsword and Anne Helen Mydland, in collaboration with six European HEI’s and the British
Ceramics Biennial. Emerging through two phases (2012-15; 2015-2020) it has to date engaged ninety-seven interdisciplinary artists, scholars, cultural commentators and students from thirteen countries. It has transformed participants’ practices, with works originating out of the initial research being celebrated on an international platform. Topographies of the Obsolete has received funding from a variety
of institutions, alongside its core support from the Norwegian Artistic Research Programme (2013-15 & 2015-17), whose peer review system (2015)
rated it as ‘exemplary… strengthening artistic research and its scope beyond potential communities of practitioners/researchers’. The project explores the landscape and associated histories of post-industry,
with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes.
Olskroksmotet Blues är den avslutande delen i mitt autoetnografiska projekt som pågick i olika former mellan 2014-2021, och där jag bland annat publicerat två artiklar (Kroon 2015 och 2016). RC expositionen består av tre delarbeten - arkivblad, arkivmönster och göteborg grid – jämte bakgrund och teori & metod. Utifrån min historia som fosterbarn söker jag fånga såväl mina egna erfarenheter och uttryck, som att sätta dessa i ljuset av större samhälleliga skeenden. Olskroksmotet Blues var också del av Mikrohistoriers fysiska grupputställning på Konstfack, Stockholm i september 2021.
This exposition presents a practice-based research investigation into pattern formation using ASCII and Unicode character systems as primary visual material. Working exclusively within live text environments, the project explores how complex visual and architectural structures emerge from rule-based constraints, repetition, and minimal computational resources. Treating text not as language but as material, the work examines generative logic, duration, and modularity as foundations for sustainable, post-material visual research.
This article explores monotheistic religions as powerful linguistic and social structures that function through a mechanism of collective delusion. Drawing on Jacques Lacan’s structuralist insights, the text argues that these faiths are not based on objective history but are fictions codified long after the events they describe.
MINA is a collaborative project that investigates sharing as a material condition of artistic practice. It seeks to create situations where practices can remain active and in relation, fostering exchanges between different forms of knowledge through situated encounters and provisional configurations.
Rather than treating sharing as a discrete act, MINA understands it as an ongoing practice that shapes how attention circulates, how relations are formed, and how practices are sustained over time. Dialogues, exchanges, critiques, and other forms of mutual influence operate here not as supplementary moments, but as constitutive forces within artistic processes, even when their effects are subtle, delayed, or difficult to trace.
Working without predefined methods, MINA approaches artistic practice as a field of orientations that emerges through games, conversations, and shared situations. Each encounter becomes a way of testing how sharing can redistribute attention, unsettle habitual positions, and open space for collective thinking.
The Research Through Art & Design (RAD) course for doctoral researchers at Aalto Arts introduces a variety of approaches, methodologies, issues, and concerns in research through practice. In this course, research through practice refers to a broad continuum of artistic research approaches, arts-based, practice-led, and practice-based research approaches, including constructive design research approaches relevant across practices in Aalto University; School of Arts, Design and Architecture.
This exposition was created within a Research Catalogue Workshop offered as an additional part of the main course. During this part of the course, the participants are familiarised with the Research Catalogue as a platform and learn how to use it for creating expositions. During the workshop, participants work on their page within this group exposition, based on their current doctoral research or a topic that inspired them during the lectures. The main content is the workshop participants' individual pages within this exposition.
