My present is more than I remember
(2025)
author(s): Clara Sharell
published in: Research Catalogue
"My present is more than I remember" explores the entanglements of word and image and their role in constructing memory and identity. Drawing on my four-year practice at the KABK, it analyses the methods I’ve developed and examines the interrelation between memory, photography, and writing. Delving into personal memories and intergenerational connections within my family, I seek to understand how inherited experiences and stories shape my personal and artistic identity, guided by the act of weaving as a concept and a material.
Furthermore, the paper examines the existential role of collective and familial memory in shaping Jewish and German-Jewish identity. Using a range of texts and styles, including sociological and art-historical theories, experimental diary entries, poems, and personal anecdotes, I explore the parallels between the construction of memory and the construction of photographs. Just as photography can never represent the essence of a person, memory will never be able to represent the full truth of the past.
The Networked Audience : Algorithms, affordances, and why digital photographs are only a small part of digital photography
(2025)
author(s): Will Boase
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2022
Master Photography & Society
As photographers we make, sell and consume digital images, and the digital space and its audiences are growing exponentially. But every conversation on circulating photography centres on the object, about books or exhibitions. It seemed like there are images, and there is photography. Why are the two diverging? Radio evolved into podcasts. TV turned into TikTok. This thesis, then, sets out to ask what it is that photography says it does, or thinks it does, and what it actually does in the age of the smartphone. Critics love to tell their readers that photography is dead, but for some reason you can find all those same critics cheerfully posting their lunch on Instagram. This thesis is an invitation and a challenge to photography, to admit that things have changed and to embrace this as an opportunity rather than a threat.
The Bloom of Emotions
(2025)
author(s): Alejandra Conrado Carcasona
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2023
BA Photography
With the recent cultural emphasis on the pursuit of happiness, the expression of negative emotions seems to be neglected. The impact of not valuing and integrating emotions that can be viewed as negative can be detrimental to one’s well-being. There seems to be a widespread denial or suppression of such emotions that, eventually, can lead to problems such as self-esteem problems, depression, anxiety, etc. This has led to the urge to better understand what this observation is based on.
How do you dress? What parts of your life do you share?
What version of yourself do you show? Do you show the socially acceptable version or the raw and authentic version of yourself?
There seems to be an unspoken rule that dictates how people should behave and portray themselves in front of others, showing only the positive aspects of their life. Taking this concept to a photographic level, I have encountered this scenario many times. You walk up to somebody and ask if you can take a picture of them. Their body tenses up, they rise tall and proud, and their smile stretches from ear to ear. They suddenly seem to be the happiest they have been all day, just for the picture.
This is also the reality of social media. Once you open the app you are sucked into a wonderland. Posts and stories of people seemingly living their best lives, travelling, smiling, flexing, and comparing themselves to a #FAKEBODY. This makes me question what power photography holds in this day and age. In what ways could photography be used as a tool used to suppress our emotions instead of allowing us to express our true feelings?
Through the use of chaptersation and personal stories, this thesis is presented by different emotions. By doing this, my aim is to create awareness and highlight the emphasis of emotions, making the reader question their own feelings and emotions, taking what resonates and helping them to tap into into their own body.
Sprouting-through: guarding the ambiguous nature of more-than-human experience
(2025)
author(s): Ieva Maslinskaitė
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2023
BA Photography
The high ecological demands in the age of mass extinction present a precarious position: wanting to change the state of the environment but feeling hopeless in being able to do so. Ecological thinking and paralyzing feelings of environmental doom are carving a gap between themselves. Through this research, I want to plant a seed in that gap.
The research is focused on exploring how artistic practice can reshape the understanding of what it means to be ecological and the other way around. Whether it is human and non-human relations or the nature and culture dichotomy, in my artistic practice I am most intrigued by breaking binary thinking and blurring boundaries. I love frameworks and fixed things just because I can break them, bend them out of their form, from still to alive, from permanent to temporary, from fixed to fluid. I wonder how this mutability of art practice can reshape our understanding and approach toward the environment. If art is closely related to subjective experience, how can ecology be as well? How can the spreading of different perspectives help reshape our understanding of ecology? How can artistic practice contribute to the unlearning of monoculture, allowing space for ambiguity and fabulations for the current/future ecological practices?
The method for this research is encapsulated in a seed. This seed is no different than a thought. The process of a seed is a fascinating one: the growth from a seed always transcends its body, mutates through the course, transforms but never ends. By comparing this research to a seed, I want to watch a thought grow and transform: from a seed to a sprout, to a fruit, and back into the soil.
Shape-shifting as the growth from a seed does, the research text switches between styles of writing. When roots need to sink in and hold the body down standing against treacherous weather, text ranges between essayistic and semi-academic: to ground in theory, contextualize in a field and analyze with examples. Other times I cultivate a more experimental, descriptive, and personal way of writing, which flowers wild and acts as if it’s a contaminating weed: to bring subjective experience and ambiguity into the sunlight. These styles do cross-pollinate.
The soil of this research is also nourished by dialogues with its study subjects (whether it is an artwork, project, person, or place) acknowledging the importance of being present, engaging in conversation, and activating senses when trying to understand the environment.
Through my research, I will be addressing monocultural thinking and its consequences for the environment on a global scale as well as feelings and their expressions stemming from living on a damaged planet, such as eco-grief, doom-thinking, and guilt-tripping. Following through with the seed’s process of growth and transformation I wonder how mutable is the medium of photography in an ecological sense and whether ecological art can reject the Anthropocene at all. Through visual fragments of boundary-crossing unconventional art practices, I hope to enter dark wet spaces where a fallen fruit starts decaying, where ambiguity, subjectivity, and porosity are the root systems caving the path to a better understanding of the environment, acting through uncertainty and curiosity.
Spirit and the Machine, the Curious Case of Spider's Transformation into a Digital Ghost*
(2025)
author(s): Jeroen Zwaap
published in: Royal Academy of Art, The Hague
*Thesis is written in Dutch!
"Spirit and the Machine, the Curious Case of Spider's Transformation into a Digital Ghost" is a research paper that explores themes of technology, voyeurism, and identity through the experiences of the characters
Spider and Nachtdonker.
Using a fictional story as its medium, the paper follows the journey of the voyeur Spider, who becomes trapped in their own desires and seeks the help of retired psychoanalyst Nachtdonker. Through a dialogue of monologues between the two, the paper explores the
impact of technology on human consciousness and relations, the system of networked cameras as an extension of the Self, the power dynamics of voyeurism between observer / observed, and the desire to look without being seen in the 'face of ubiquitous surveillance and control.
The paper's experimental structure employs fragmented timelines and various text types to convey Spider's and Nachtdonker's experiences and perspectives. The nonlinear stream of consciousness and poetic language invites readers to engage with the text on multiple levels,
allowing a more nuanced exploration of the themes.
Through its approach, "Spirit and Machine" challenges blurs the boundaries between fiction and nonfiction. It offers a fresh perspective on the complex interconnectedness between desire, intimacy, technology, power dynamics between observer / observed,
surveillance, and voyeurism.
This adds a layer of depth and complexity to the exploration of the themes, highlighting the psychological and emotional aspects of technology use that are often overlooked in discussions of surveillance
and voyeurism.
Over de Kloof die bestaat tussen jou en mij. en de verantwoordelijkheid die ik als fotograaf draag in de beeldvorming van de persoon voor de camera
(2025)
author(s): Tobias Reinbrandt Haan
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2023
Photography
In this research paper I aim to verbalize methods of working when portraying other people in order to find out how I want to tell the stories of people living in different social contexts than my own, through the realm of documentary making, in an honest and ethically justifiable way. My research consists of analyzing relevant aspects of the history of documentary photography over the last century. Through the work of artists like Dorothea Lange, Robert Capa, Nan Goldin & Susan Meiselas, a timeline is mapped out in which I recognize the role of the Western perspective and the changing dynamics within the domain of visual representation. Secondly, I make comparisons with the use of two case studies from the Netherlands. I describe elements of and reflect on the work of photographers Jan Hoek and Jan Dirk van der Burg, with both of whom I share an arguably similar background. By doing so, I counter their practices while verbalizing a way of working for myself. Lastly, the research done for the paper contains the tracing of my past, and the path that I have walked to come to this point. With the recognition of the privileges in my background, I have been able to better position myself as a photographer.
In a Place like this
(2025)
author(s): Johan Sandborg, Duncan Higgins
connected to: Faculty of Fine Art, Music and Design, University of Bergen
published in: Research Catalogue
In A place Like This sets out to investigate and expand the issues and critical discourses within Sandborg and Higgins' current collaborative research practice. The central focus for the research is concerned with how art, in this instance photographic and painted image making and text, can be used as an agent or catalyst of understanding and critical reflection.
The research methodology is constructed through photography, painting, drawing and text. This utilises the form of an artist publication as a point of critically engaged dissemination: a place for the tension between conflicting ideas and investigation to be explored through discussion.
The research question is focused on how the production of the image and the act of making images can communicate or describe moments of erasure or remembering in terms of historical and personal narratives with direct reference to moments of violence and place.
This is seen not in terms of a nostalgic remembrance of the past; instead as one that is rife with complicated layers and dynamics where recognition is denied the ability to locate a physical representation. Embedded in this is an exploration of particular questions concerning the ethics of representation: the depiction of ourselves and other? In this sense it brings into question an examination of the act of remembering as a thing in itself, through the production of the image and text, contexts of knowledge and cultural discourses explored through the form of an artists publication.
On Angry Gamers - How Representation shapes Male Entitlement to First Person Shooters
(2024)
author(s): Ben Christ
published in: Royal Academy of Art, The Hague
This paper delves into how representation affects men’s entitlement to First-person shooters (FPS). Starting with a quick look at the history of computing and representation, I‘ll explore how FPS games have been marketed to men over time.
I‘ll also research how e-sports and streaming contribute to shaping the image of a „hardcore“ gamer. Using Gamergate in 2014 and 2015 as a case study, we‘ll see how the „hardcore“ white male gaming community reacts when it feels like it is being attacked.
The gaming industry has been targeting their games towards men for a long time, creating a space where they feel they can do whatever they want. Video games, for them, are a realm of endless possibilities. So, when it seems like someone is trying to impose on their (perceived) freedom (as seen in Gamergate), they‘re ready to fight back.
The past is rotting in the future: Exploring the Aesthetics of Absence in the daily life
(2024)
author(s): Alexandra Corcode
published in: Royal Academy of Art, The Hague
The Past is Rotting in the Future: Exploring the
Aesthetics of Absence in Daily Life, embarks on an
exploration of absence within the human daily life, examining
its manifestation through relations, processes,
and objects. It seeks to understand how absence is not
merely a void but a significant presence that shapes perception,
memory, and imagination. Through a multi-disciplinary
approach that integrates personal narrative with
academic writing, this research investigates the ways
in which absence is performed, textured, and materialized.
Central to the thesis is how photography, as both a
personal and artistic practice, serves as a critical medium
for discussing and visualizing absence, navigating
through personal experiences of loss, and broader philosophical
questions about how absence influences and
constitutes our understanding of the world.
A to Z: Visualising Every Word in the Dictionary in Alphabetical Order
(2022)
author(s): Dave Ball
published in: VIS - Nordic Journal for Artistic Research
This exposition focuses on my 35-year-long project to visualise every word in the Concise Oxford English Dictionary in alphabetical order, A to Z. Begun in 2011, the point of departure here is a particular moment in the unfolding of the project: the recent completion of the final D-word, “dystopia”. A to Z is premised upon the carrying out of a defined conceptual rule: a “tactically absurd” commitment to a lifetime of artistic effort, whose ostensible folly gives rise to an ever-expanding body of work that appears arbitrary, unwarranted, and nonsensical, but which, through its playful insistence, might also be understood as operating in a new and alternative realm of sense.
Place to Action! Art that Inteferes
(2022)
author(s): Thalia Hoffman, Yannick Schop, Lakisha Apostel, Maryam Touzani, Alicia Cotillas Vélez, Robin Whitehouse, Bødvar Hole, Miro Gutjahr, Žilvinas Baranauskas, Anne-Claire Flora Mackenzie, Gaetan Langlois-Meurinne
connected to: Royal Academy of Art, The Hague
published in: Research Catalogue, KC Research Portal
The course Place to Action - Art that Interferes is motivated and inspired by places. More specifically: the histories, contexts, narratives, situations, circumstances and people’s interactions and intra-actions and relationships with locations, which form places. Lingering in places with attention, listening to them and experimenting the possible ways of movement within them.
These attentive gazes of places will initiate interdisciplinary artistic actions and interventions that aim to explore and reflect the possibilities of art to interfere.
Here on this exposition the group will share their findings and actions.
Kotini joki – Betoniin piirtyvä hiljainen vastarinta ja vastarinnan performatiiviset ulottuvuudet
(2021)
author(s): Mari Mäkiranta
published in: RUUKKU - Studies in Artistic Research
Tutkimusekspositioni keskiössä ovat pohjoisen jokialueilla toimivan aktivistiryhmän voimalaitoksen betonisiin ja alumiinisiin seiniin vuosina 2019–2020 maalamat, joen valjastamista kritikoivat kirjoitukset ja kuvat sekä erityisesti niiden poistamiseen liittyvä prosessi. Maalausten – erityisesti niiden jättämien tahrojen ja poistojälkien – pohjalta rakentamissani valokuva- ja videoteoksissa vuorottelevat melu ja merkityksistä tiheä hiljaisuus. Voimalaitosmiljööseen tehdyt maalaukset kehottavat ja vaativat, kamppailevat alisteisten tai marginaaliin jäävien ryhmien, luonnonsuojelijoiden ja kala-aktivistien rinnalla pohjoisen jokien käyttötarkoituksista ja luontoarvoista. Maalausten signaali asettuu poikkiteloin hallitsevien sääntöjen, energiayhtiöiden intressien ja yhteiskunnallisten järjestysten kanssa. Myös valokuva- ja videoteokseni kantavat mukanaan kamppailuja – ironisia kannanottoja ja merkitseviä muotoja siitä materiaalisesta semiosiksesta, jossa kuvat ja kirjoitukset muokkaantuvat kerroksiksi, pinnoiksi, umpeen maalatuiksi ja poispestyiksi, hauraiksi ja huokoisiksi vastarinnan signaaleiksi.
Valokuvateokseni (Virtaavaa 2020; Sulava maali 1-8 2020; (Epäonnistunut)) Lohitapetti 2020) ovat merkitsevän muodon näkemistä siinä, missä toinen näkee töhryn, lian tai sotkun. Videoteokseni (Siivouspäivä 1–3, 2020) ovat saaneet inspiraationsa jokiaktivisteille annetusta kehotuksesta siivota jälkensä. Siivoaminen – kuten myös taideaktivismin harjoittelu – on videoteoksissani osa performatiivista prosessia, jossa sitoudun kulttuurisiin toistokäytänteisiin, kuten ”oikein” tekemiseen, mutta jossa jää tilaa myös toistokäytänteiden ironiselle haltuunotolle, leikille ja liioittelulle.
Luonnonympäristö, valjastettu joki, on täynnä ristiriitaisia merkityksiä: hiljaisuutta ja melua, ihmisen rakentamaa infrastruktuuria ja ”koskematonta” luontoa. Betoniin maalatut kirjoitukset ja kuvat ovat nekin konfliktisia – huokoisia ja hauraita, metelöiviä, hiljaisia. Hiljainen vastarinta ei kuitenkaan taivu kahtiajakoihin, aivan kuten ympäröivä pohjoinen luontokaan ei näyttäydy vastakohtaisuuksina. Kuten Veli-Pekka Lehtola ja Outi Autti (2019) kirjoittavat, hiljaisen vastarinnan tekojen motiivit vaihtelevat. Paikoin vastarinta jää pimentoon, ja aika ajoin sen signaalit on määrä tulla kuulluiksi ja nähdyiksi.
Everything That Shines Sees: Flash Light, Photography and the Acheiropoietic.
(2020)
author(s): Dominique Somers
published in: Journal for Artistic Research
This exposition takes a close look at the concepts of self-origination and mediation for a better understanding of the photographic image engendered by a flash of light and its natural radiation. Starting from my own artistic experiments with fulguric and cosmic rays, performed in cooperation with a lightning simulation lab in Oxfordshire (UK) and with the nuclear research centre CERN in Geneva (Switzerland), it puts forward a speculative approach that looks beyond static and traditional assumptions about what it entails to 'be photographic'. Through the exploration of the creative role fulfilled by a sudden burst of light across different time periods and different manifestations (fulgurites, imprints, photograms, sound), focus is laid on the part the acheiropoieton can play in this revitalized apprehension of the photograph as a technical image and of the agencies involved in its mediation. The research projects discussed thus aim to foreground the involvement of nonhuman contributors in the formation of contemporary images and their epistemology as a possible way to re-think perception in a time increasingly shaped by a reliance on (artificially induced) visibility.
50 Billion Micrograms. In the Search of the Aftermath of an Event
(2019)
author(s): Christine Hansen
published in: Journal for Artistic Research
This exposition provides an example of how art can offer an alternative way of understanding the past through my work “50 Billion Micrograms”. The project explored a forgotten media event from 1979, in which a gigantic meteorite supposedly landed in a remote lake on the west coast of Norway. The exposition attempts to demonstrate how ambiguity was a fuel the project. In the process what I call "fluctuating thinking" was an important method. This meant that I let seemingly irrelevant and speculative elements be part of the process. In this process, the different conceptual and aesthetic elements had to be studied carefully to consider whether random ideas and speculative elements were relevant for the work. However, such an open-ended approach is often fundamental to artistic research, I argue. I had no hope of finding the answer about the meteorite or explaining this natural phenomenon. My interest was to dwell on the uncertainty and keep the wondering alive. What became increasingly important was to explore the search itself through images and sound. The exposition also ask what is an event, what keeps an event alive? Were does fact and fiction interlace?
Additive Photography
(2019)
author(s): Ives Maes
published in: Journal for Artistic Research
Since the invention of photography, there have been numerous hybrid experiments between photography and sculpture that testify to a continuous influence of sculpture on photography and vice versa. In my own visual work, I am researching the physical, sculptural and architectural aspects of photography. I am analysing a number of historical experiments, from the 16th century camera obscura pavilion to 21st century digital processes, which I apply to my artistic practice. A particularly important example is the photosculpture process of François Willème. In the late 1850s, he aimed at reproducing sculpture with the help of photography, creating a distinctive union between the two media. His method to extrude sculptures from photographs laid the ground principles for the 3D scanner and printer. In this exposition I bring to the fore how the work of Willème propelled its significant influence towards today, and how it inspired me to create new visual work. At the same time, this experience constitutes an exemplary case study on how theoretical research can steer the creation of visual research.
Some works and their afterlife
(2018)
author(s): Mika Elo
published in: RUUKKU - Studies in Artistic Research
In this exposition I present a cluster of works with regard to their subtle interconnections, often not consciously constructed or intended in any particular ways at the time of their conception. The afterlife of these works, however, enact aesthetic intra-actions of their ensemble. Shedding light on some parts of this cavernous network of pressing matters I make an attempt of explicating the ways in which artistic thinking might get "diffracted" into many part-processes that are both divergent and entangled. In the course of my presentation, I try to be sensitive towards the fact that these strings of thinking are distributed in a complex manner across the divide of sensibility and intelligibility. In terms of the chosen approach this implies avoiding the use of discursive explanations as the main medium of explication. This "method", if it can be formalized as one, involves priorizing the material circumstances of particular articulations, both verbal and non-verbal, over content-oriented gestures of translation.
Dürers Kleden og Picasso Pussy
(last edited: 2025)
author(s): Nina Björkendal
connected to: University of Agder, Faculty of Fine Arts
This exposition is in progress and its share status is: visible to all.
her skal det komme en oppsummering
Gripping the Clouds, Fragmented Thoughts on Contemporary Life and Its Frameworks
(last edited: 2025)
author(s): Anna Rogneby
This exposition is in review and its share status is: visible to all.
The thesis «Gripping the Clouds, Fragmented Thoughts on Contemporary Life and Its Frameworks» is a nonlinear text that blends personal observations with broader questions about how we live, see, and interact today. It examines the everyday influence of technology, media, and systems of representation—how they shape our behaviour, our sense of self, and perhaps most notably, our attention. Just as the text reflects on how our focus is increasingly pulled from one thing to another, it is also written in this way. The form is open and associative, where thoughts unfold in real time, often interrupted, redirected, or left unfinished. The result is a stream-of-consciousness style in which the reading experience centers more on noticing and reflecting than on drawing clear conclusions.
コスプレ ko su pu re — Ti dedico corpo e animæ
(last edited: 2025)
author(s): Gloria Furlan
This exposition is in progress and its share status is: visible to all.
This research explores the phenomenon of Cosplay as experienced by Cosplayers themselves through a subjective lens.
A project that stems from specific personal attitudes and inclinations to the practice of Cosplay — コスプレ kosupure — in relation to japanese entertainment media. The focus of the analysis resides in individuals influenced to the point of bordering on obsession, surrounded by characters from works of Japanese animation, illustration and graphics — Anime, Manga and RPG — culminating in the practice of donating one’s body through the practice of interpretation, assimilation and appropriation.
Consistencies and idiosyncrasies between assumptions and experience are addressed starting from Japanese imagery, cultivated by years of tactile and vivid experience of this practice as carried out in Italy.
The impact and perceived impact of the journey facilitated a firsthand, lived experience through my month-long stay in Toshima, one of Tokyo’s twenty three special districts. The reiteration of this practice in the country accredited for the birth and export of Cosplay, put to test the skills and preconceptions developed over years of experience and virtual exploration. Analyzed the ideological presuppositions set forth by Luca Vanzella in Cosplay culture: fenomenologia dei costume players italiani, found within my personal experience in Italy, the same were used as a key to reading and interpreting the experience in Japan, analyzing points of contact and divergence. Through this paper I wish to document the vivid aspects of a research at a still embryonic state, without rushing to judgment.
A vision that is not intended to be faithful to reality as a focused image, but rather as the perception of light imprinted in the first impact with the retina. It represents, in its essence, an investigation that reports testimonies and subjective experiences, exploring with individuals the value placed on their choice of character, the reasons for choosing to lend one’s body to such practice. The unambiguous presence of the self, versus, the assumptions of loss of identity and desire for escape in the link between Cosplayer, performance act and self-perception. Analyzing the relational dynamics between Cosplayers and those shared personas, with a focus on the figure of the otaku and the way it relates to this practice.
This printed object consists of 2 main parts; the first visual and graphic and the second textual and theoretical. Bound together by the “japanese stab binding” technique, that has been appropriated in correlation to the practice of Cosplay. Becoming not only a physical link, but also a key conceptual and graphic element. Giving body and matter to the characters that make up the term Cosplay.
Ester Viktorina
(last edited: 2025)
author(s): Malin O Bondeson
This exposition is in progress and its share status is: visible to all.
In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.
Bridge
(last edited: 2025)
author(s): Johan Sandborg
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
Through a dialogue with an historical archive the project seeks to construct a fluid story of a confined landscape on the point of transformation. Through the negotiation of a multitude of images the project constructs a narrative that transcends the photographic vision as evidence, and questions whether vision can be more than comparable to the ground of an archaeological excavation. Through the use of the photographic essay as a method the intention is to try and interpret the changeability of the urban landscape.
Take a picture with me!
(last edited: 2025)
author(s): Plhák Vojtěch
This exposition is in progress and its share status is: visible to all.
I grew up in a family full of hunters. I used to go on hunting hunts and was generally pretty in touch with the death of animals. So I'm interested in everything surrounding this topic. At the same time, we are in an era where we share and photograph everything. I question why hunters take pictures with their kill. I also want to point out that these often distasteful photos, they share on Facebook, and or websites where they pat each other on the back. I'm exploring the connection between the camera and the gun.
it will be fine
(last edited: 2025)
author(s): Johan Sandborg, Duncan Higgins
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
It Will Be Fine, is engaging in the language of visual representation through the combined mediums of painting, photography and artificial intelligence (Ai) together with images held in the Special Collection picture archive in Bergen. To reflect on the ways in which meaning and memory is constructed and conveyed through visual forms and knowledge systems.
The first impression on your skin
(last edited: 2024)
author(s): Anna Andrejew
This exposition is in progress and its share status is: visible to all.
An eco-feminist perspective on photography
Our vision has untapped, forgotten or perhaps undervalued potentials. These potentials lie within what I would like to coin “the peripheral gaze”. It is at the outskirts and at those distant horizons that I believe great insights lie. It is the gaze of interconnected matter.
At the level of matter we are all equal: everyone and everything consists of matter. Looking with a “peripheral gaze” means seeing which materials are co-performing the image and seeing the ecological interconnections.
ABOUT CONTRAST: MULTIDISCIPLINARY ARTISTIC NETWORK OF ART, ARCHITECTURE, DESIGN AND PHOTOGRAPHY II
(last edited: 2024)
author(s): CONTRAST
connected to: INTERNAL PORTAL OF CONTRAST PROJECT
This exposition is in progress and its share status is: visible to all.
The Contrast project corresponds to the creation of a network of multidisciplinary artistic initiatives in Art, Architecture, Design and Photography that counts with the direct involvement of eleven institutions of higher education teachingphotography in various disciplinary and artistic areas: ARCO, DARQ, DCAM, EA.UCP, ESAP, ESMAD, FAUP, FBAUL, FBAUP, FEUP and IPT.
The project has been selected for funding in the DGARTES contest to support projects of creation and edition, through theCultural Association Cityscopio, with joint coordination between ESMAD-uniMAD and FBAUP – i2ADS, and led by FAUP.
Curricular Units: Photography and Architectural Project Communication (CAAD II)
(last edited: 2024)
author(s): FAUP - CONTRAST
This exposition is in review and its share status is: visible to all.
First cycle | Photography and Architectural Project Communication (CAAD II)
The objective of the second semester curricular unit is to deepen the theoretical and practical bases in the universe of Image Synthesis, Photography and Graphic Design software applied to the Communication and Representation of Architecture Project. A component of photomontage is introduced and students are led to explore the use of various media, images and representation tools during the process of territory analysis, conception and representation of the architectural project exercise for the design and production of a photobook.
Postdigital Epistemologies of the Photographic Image (PEPI)
(last edited: 2024)
author(s): PEPI
This exposition is in progress and its share status is: visible to all.
Postdigital Epistemologies of the Photographic Image (PEPI 2019-2022) is a multidisciplinary research consortium funded by the Academy of Findland. The consortium combines psychology (Helsinki University) , visual studies (Tampere Univesity) and artistic research (Uniarts Helsinki, Academy of Fine Arts). This exposition dcuments the research activities of the part-project at Uniarts Helsinki.
In the softness of the belly... There is a war on women
(last edited: 2024)
author(s): Andrea Bonderup
This exposition is in progress and its share status is: visible to all.
In the softness of the belly… There is a war on women is a testimony to the lived stories of abortion from a perspective which transcends time and national borders. This research paper is structured around two intertwined trajectories with varying text formats and writing styles. This structure merges the personal with the political and explores their relationship as it reveals how they can’t be separated in a society with deeply rooted structures of patriarchy and misogyny.
The first trajectory chronologically tells the story of the author's own experience with abortion integrated with the personal stories from friends and family members. The process of dealing with abortion is gradually laid out starting from childhood memories, proceeding into the practical turmoil and the contradicting emotions surrounding the experience itself, moving onto the mental and physical aftermaths, and lastly processing the experience and slowly healing.
In the second trajectory the topic is explored from a more external perspective rooted in history, politics, culture, and society. Through research on the history of reproductive rights and procreation, the permeating role of patriarchy from the past to the presence is addressed. The investigation of patriarchy dives into the misogynist history of witch-hunts, hysteria, capitalism, domestic labor, and into the present where reproductive rights are both improving but also continuously being tightened or removed. This trajectory further explores several socio-cultural aspects of abortion through research-based text and more sporadic and poetic writings. The topics that are addressed are shame, guilt, religion, gender roles, depiction both visually and written, the public discussion, and the perception of blood, violence, and war in relation to women and reproductive rights.
The aim of the research paper is to break down and reveal the patriarchal structures which compromise women's reproductive rights, and to state the importance of reclaiming the personal narratives as well as the autonomy over one's own body, narrative, and life.
You Don't See What I See
(last edited: 2024)
author(s): Karlijn Karthaus
This exposition is in progress and its share status is: visible to all.
Research Paper of the Royal Academy of Art, The Hague, 2024
BA Photography
Summary:
You don’t see what I see.
I don’t see what you see.
Eyes as hatches passing through reflections of the world around.
Electromagnetic radiation translated into visuals.
Interpreted by mental processes in the brain.
As a woman who used to work in the corporate world, is a mother and an aspiring photographer, I am interested in the topics of gender equality and feminism, seen as inequality based on power relations that are culturally constructed in society. Regarding these topics, I find mostly written or text-based outings. The nature of the topic results in either stereotype or cliché imagery we see in the media, that are detrimental in acquiring an equal basis for everyone. Using case studies, I analyze photographic work related to the gender inequality and power structures. The theoretical framework applied is from Nicholas Mirzoeff (British-American, 1962), Professor of Media, Culture and Communication at the New York University and is derived from his book ‘An introduction to Visual Culture’ (2023). This theory distinct ‘visualizing’ (what is commonly seen, the ruling power) and ‘visibilizing’ (introducing different perspectives as response to the ruling power). Mirzoeff elaborates on this by comparing the Spanish word for power, ‘poder’, meaning “static, constituted power” with power as ‘potencia’ which according to him has a “dynamic constituent dimension… our power to do, to be affected and to be affected by others.”. To me he connects visualization with exposing what the systemic power wants us to see, while ‘visibilizing’ is exposing the views that are not dictated by that overarching power but that have the freedom to show different perspectives and views.
For the case studies I chose ‘The Table of Power I & II’ of Dutch Photographer Jacqueline Hassink (1966-2018) analyzing economic power and role of women in the higher echelons of companies. A work consisting of board rooms photos of the forty largest industrial multinational companies at the time (1994 & 2009, Table of Power I & II respectively). In ‘Female Power Stations: Queen Bees’ (1996-1998) she reflects upon board rooms of female leadership countered against their dining tables at home, all set up to receive guests. A diptych of power (work) vs. traditional qualities (home). I continue with the work ‘Performance Review’ (2020) of American photographer Endia Beal (1985). ‘Performance Review’ is about fitting into traditional corporate culture layered with outward signifiers of difference, navigating the corporate environment based on unconscious biases.
We are part of the system, whether we like it or not. Me aiming to trigger a change with photographs is what drives me to be a maker. By not taking things as truth or fixed, by challenging the status quo, and by knowing that there are always different perspectives to look at things. I feel I am challenging the visualization of things, and therefore affect people around me. It’s me creating a ‘potencia’, a dynamic constituent dimension, that fights the ‘poder’; it’s within my power to do and my photographs will enable that.
CCFT
(last edited: 2024)
author(s): Johan Sandborg, Duncan Higgins, Bente Irminger, Linda H. Lien, andy lock, Ana Souto Galvan, Susan Brind, Shauna McMullan, Yiorgos Hadjichristou, Jim Harold, DÁNIEL PÉTER BIRÓ
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
As we move towards the first quarter of the third millennium, the impermanent and shifting influence of globalisation, economic division, migratory encounters, social media, historic narrative and tourism is having a major impact in our understanding of the making, belonging and occupying of place. It is widely documented that these conditions are contributing to a growing sense of displacement and alienation in what constitutes as place making, occupying, and belonging.
CCFT is asking how interdisciplinary artistic research practices contribute and share new critical understandings to aid this evolving understanding of place making, belonging and occupying?
The Place of Shade [The Place of Shade (Draft) - 2024-01-11 21:37]
(last edited: 2024)
author(s): Dibble and Bjarne
This exposition is in progress and its share status is: visible to all.
At first, the plan was simple – to be home by Christmas. To begin to view the very concept of home as built upon nostalgia. Imagining home is a pastime of any immigrant. If, as Breton suggests, ‘The imaginary is that which tends to become real,’ what were our imaginings bringing to life?
The Place of Shade is an artistic research inquiry into contemporary Norwegian culture in South Africa. Norwegians began operating within the British colonial framework around 1840—the same period as the migration to America. Lutheran missions, whaling, farming, business and family characterise this almost 200-year Afri-Norge diasporic heritage. It has been almost entirely overlooked in visual culture, until now.
Following the depletion of Whales in the Nordic seas, Norwegian immigrants almost single-handedly established the whaling operations in Durban from 1908 onwards. Their legacy remains an integral component of the city and the province's socio-cultural fabric to this day. With this in mind, we sought out the ghosts of Larsen, Hermansen, Egeland and more from New Pier to Kwambonambi; we found them.
The project is an act of psychogeography, insofar as it hinges upon ‘the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals.’ The images and text that make up the exposition are the culmination of this process. The attempt by a disparate group of individuals, at once insiders and outsiders, to understand how legacy takes shape and how it has reshaped our understanding of Home.
By living with and meeting Norwegian decedents on their farms and homesteads this project was possible. We thank all who were so kind and eager to connect again with their roots.
Curricular Units: Photography of Architecture, City and Territory (FACT)
(last edited: 2024)
author(s): FAUP - CONTRAST
This exposition is in review and its share status is: visible to all.
Second cycle | Photography od Architecture, City and Territory (FACT)
The goal of this 1st Semester UC is to deepen the study and practice acquired in CAAD I, II on the use of photography and its potential to question and problematize the universe of Architecture, City and Territory. The intention is to lead students to develop a more mature photographic visual narrative, able to communicate new perspectives on space and urban reality, having as reference several authors, artistic currents and projects in the universe of contemporary photography and that may constitute a basis for their final dissertation at MIARQ.
THE IDEA OF YOU
(last edited: 2023)
author(s): Francesco Collavino
This exposition is in progress and its share status is: visible to all.
How can a physical dramaturgy generate transdisciplinary choreography and at the same time how is it influenced by new media?
first studio
Hydrographism
(last edited: 2023)
author(s): Beatrice Zaidenberg
This exposition is in progress and its share status is: visible to all.
For their inaugural exhibition as a collective, LIMB will explore [hydro]ecology as a form of writing beyond words and writing beyond meaning. Thinking through wet ecologies as sensitive surfaces, as inscribing agencies and as archives, they look towards nonhuman expansions of the very idea of inscription itself.
@limbcollective
Re-Play/Re-Move Toolkit
(last edited: 2022)
author(s): Hermans Carolien
This exposition is in progress and its share status is: visible to all.
The third phase of my artistic research consists of the development of the ‘Re-Move/Re-Play Toolkit’, an educational toolkit for children in the age of 4 -10 years old.
ArtNews
(last edited: 2021)
author(s): My Häggbom
connected to: Stockholm University of the Arts (SKH)
This exposition is in progress and its share status is: visible to all.
Konst möter journalistik.
ArtNews re-gestaltar nyhetsberättelser i konstnärlig form i samarbete med olika konstnärer. Vi undersöker vad som uppstår i mellanrummet och mötet mellan konst och journalistiken.
Konstnärligt forskningsprojekt inom Stockholm University of the Arts
Art meets journalism. ArtNews re-designs news stories in artistic form in collaboration with various artists. We investigate the space between art and journalism. Artistic research project at Stockholm University of the Arts
RECONNAISSANCE
(last edited: 2021)
author(s): Hélène MUTTER
This exposition is in progress and its share status is: visible to all.
This project represents more than 10 years of research about military and personal archives from the first Gulf War (1991). "RECONNAISSANCE" was the exhibition for my PhD thesis defense in 2020, both an artistic and a theoretical reflexion about images produced in conflict situation.
Nomadic Conversations- Cyprus
(last edited: 2019)
author(s): Johan Sandborg
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
Nomadic Conversations research approach utilities participatory practices, where ideas and decisions develop through a responsive process in order to address both tangible and intangible knowledge. This is organised as interwoven, overlapping and interrelated meeting points, sites for single or multiple field trips. Nomadic Conversations constitutes characteristics of potential instability, conflict, memory of tragedy and repressed history.
DESERT DWELLING
(last edited: 2018)
author(s): Christine Hansen
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
Desert Dwelling is a research project conducted by Associate professor Christine Hansen and Independent Artist Line Anda Dalmar. The desert is used as a site and framework to reflect on landscape, environment and time. In addition, Desert Dwelling endeavor to explore the act of observation and documentation. The project uses common documentation/observation methods such as photography, video and sound. In addition, we employ more obsolete and time-consuming observation means such as drawing, casting and watercolor painting. This is to stress that different observation methods render the world differently, and provide noninterchangeable information about the world. Much of the visual material is from a field study in deserts in California in spring 2018. The study took place mainly in Death Valley and Joshua Tree and had a processual method. We selected a place in the desert and stayed there until we found something interesting to work with. Every day, we made experiences that we built on the next day. The working method focused on the fluid relationship between process, work and documentation.
Atelier III : le mobilier-sculpture
(last edited: 2018)
author(s): Boily Béatrice
This exposition is in progress and its share status is: visible to all.
Le présent projet est une exploration spatiale qui s'est développée à partir des paramètres suivants: le corps, l'espace architectural et l'objet. Au sein de ce système, il s'agissait d'explorer le potentiel performatif et figural de cette nouvelle mise en situation.
BYK.
(last edited: 2018)
author(s): My Häggbom
This exposition is in progress and its share status is: visible to all.
Byk är ett bidrag till utställningen "Arbetslinjen" som visades på Galleri 44, 2012. Dokumentation.
Mitt tema är arv.
Nets Between the Tides
(last edited: 2017)
author(s): Clair Le Couteur
This exposition is in progress and its share status is: visible to all.
Nets Between the Tides (NBtT) is a projection into the RC space of a larger diagrammatic structure, an ongoing research residency / collaboration between Warrington Museum and the John Affey Museum called Roots Between the Tides (RBtT). RBtT has previously manifested as a large-scale image installation in Warrington's Ethnology gallery, as a printed catalogue, as a blog, as a database, as a series of vocal performances and lectures, and as workshops for local schools. NBtT re-projects the structure into this new space as cognitive sculpture in order to examine aspects of its form not made visible in previous manifestations.
In an Image like this
(last edited: 2015)
author(s): Johan Sandborg, Duncan Higgins
This exposition is in progress and its share status is: visible to all.
I am no longer a stranger here,and the response to our misreading,only to see there is a flaw,not in the sense that it is less than perfect,rather that it is unconsidered,left unnoticed,left unopened,left untold,scratching that part of the mind,that can not let go of the conditions,for our seeing
Margins
(last edited: 2015)
author(s): Belen Cerezo
This exposition is in progress and its share status is: visible to all.
This series of videos examines photographs drawing attention to their materiality instead of the image content. In this way this work raises some new questions around images and highlights that photographs are objects and have three dimensions. Each of the videos in Margins registers an exploration of a different photograph with a microscopic video camera. Nevertheless, the camera, instead of focusing on the content of the photograph, crisscrosses the margins, the boundaries, of the photograph.
This exposition is part of the submission for the PhD study "What is it ‘to move’ a photograph? Artistic tactics for destabilizing and transforming images".
Meta-Landscapes: Expressions of Temporal Consciousness, New Abstractions in Photography
(last edited: 2015)
author(s): Jason Engelund
This exposition is in progress and its share status is: visible to all.
Artist Jason Engelund approaches photography by addressing psychological frameworks of different world-time views, and shifts in perceptions of time during individual events. The notion of a “visual time signature” is proposed, a phrase to describe types of temporal consciousness, incorporating cultural and individual time perception as they relate to cognition, experience, and image. Expressions of the “meta-landscape” encompassing both the psychological landscape and actual landscape are pictured and discussed.
This paper delves into how representation affects men’s entitlement to First-person shooters (FPS). Starting with a quick look at the history of computing and representation, I‘ll explore how FPS games have been marketed to men over time. I‘ll also research how e-sports and streaming contribute to shaping the image of a „hardcore“ gamer. Using Gamergate in 2014 and 2015 as a case study, we‘ll see how the „hardcore“ white male gaming community reacts when it feels like it is being attacked. The gaming industry has been targeting their games towards men for a long time, creating a space where they feel they can do whatever they want. Video games, for them, are a realm of endless possibilities. So, when it seems like someone is trying to impose on their (perceived) freedom (as seen in Gamergate), they‘re ready to fight back.open exposition comments (0)
This exposition focuses on my 35-year-long project to visualise every word in the Concise Oxford English Dictionary in alphabetical order, A to Z. Begun in 2011, the point of departure here is a particular moment in the unfolding of the project: the recent completion of the final D-word, “dystopia”. A to Z is premised upon the carrying out of a defined conceptual rule: a “tactically absurd” commitment to a lifetime of artistic effort, whose ostensible folly gives rise to an ever-expanding body of work that appears arbitrary, unwarranted, and nonsensical, but which, through its playful insistence, might also be understood as operating in a new and alternative realm of sense.open exposition comments (0)
The course Place to Action - Art that Interferes is motivated and inspired by places. More specifically: the histories, contexts, narratives, situations, circumstances and people’s interactions and intra-actions and relationships with locations, which form places. Lingering in places with attention, listening to them and experimenting the possible ways of movement within them. These attentive gazes of places will initiate interdisciplinary artistic actions and interventions that aim to explore and reflect the possibilities of art to interfere. Here on this exposition the group will share their findings and actions.open exposition comments (0)
her skal det komme en oppsummeringopen exposition comments (0)
In this work, I want to show some excerpts from my grandmother's patriarchal resistance. The narrative and the photographs will be at the center. They will clarify Esters Lindberg's attempt to negotiate and renegotiate her position within the usual norm. The narratives and photographs will hopefully give an expanded understanding of what it could be like to live as a woman with a desire for freedom in Sweden during the early 20th century.open exposition comments (0)
Through a dialogue with an historical archive the project seeks to construct a fluid story of a confined landscape on the point of transformation. Through the negotiation of a multitude of images the project constructs a narrative that transcends the photographic vision as evidence, and questions whether vision can be more than comparable to the ground of an archaeological excavation. Through the use of the photographic essay as a method the intention is to try and interpret the changeability of the urban landscape.open exposition comments (0)
I grew up in a family full of hunters. I used to go on hunting hunts and was generally pretty in touch with the death of animals. So I'm interested in everything surrounding this topic. At the same time, we are in an era where we share and photograph everything. I question why hunters take pictures with their kill. I also want to point out that these often distasteful photos, they share on Facebook, and or websites where they pat each other on the back. I'm exploring the connection between the camera and the gun.open exposition comments (0)
It Will Be Fine, is engaging in the language of visual representation through the combined mediums of painting, photography and artificial intelligence (Ai) together with images held in the Special Collection picture archive in Bergen. To reflect on the ways in which meaning and memory is constructed and conveyed through visual forms and knowledge systems.open exposition comments (0)
An eco-feminist perspective on photography Our vision has untapped, forgotten or perhaps undervalued potentials. These potentials lie within what I would like to coin “the peripheral gaze”. It is at the outskirts and at those distant horizons that I believe great insights lie. It is the gaze of interconnected matter. At the level of matter we are all equal: everyone and everything consists of matter. Looking with a “peripheral gaze” means seeing which materials are co-performing the image and seeing the ecological interconnections.open exposition comments (0)
The Contrast project corresponds to the creation of a network of multidisciplinary artistic initiatives in Art, Architecture, Design and Photography that counts with the direct involvement of eleven institutions of higher education teachingphotography in various disciplinary and artistic areas: ARCO, DARQ, DCAM, EA.UCP, ESAP, ESMAD, FAUP, FBAUL, FBAUP, FEUP and IPT. The project has been selected for funding in the DGARTES contest to support projects of creation and edition, through theCultural Association Cityscopio, with joint coordination between ESMAD-uniMAD and FBAUP – i2ADS, and led by FAUP.open exposition comments (0)
First cycle | Photography and Architectural Project Communication (CAAD II) The objective of the second semester curricular unit is to deepen the theoretical and practical bases in the universe of Image Synthesis, Photography and Graphic Design software applied to the Communication and Representation of Architecture Project. A component of photomontage is introduced and students are led to explore the use of various media, images and representation tools during the process of territory analysis, conception and representation of the architectural project exercise for the design and production of a photobook.open exposition comments (0)
Second cycle | Photography od Architecture, City and Territory (FACT) The goal of this 1st Semester UC is to deepen the study and practice acquired in CAAD I, II on the use of photography and its potential to question and problematize the universe of Architecture, City and Territory. The intention is to lead students to develop a more mature photographic visual narrative, able to communicate new perspectives on space and urban reality, having as reference several authors, artistic currents and projects in the universe of contemporary photography and that may constitute a basis for their final dissertation at MIARQ.open exposition comments (0)
How can a physical dramaturgy generate transdisciplinary choreography and at the same time how is it influenced by new media? first studioopen exposition comments (0)
For their inaugural exhibition as a collective, LIMB will explore [hydro]ecology as a form of writing beyond words and writing beyond meaning. Thinking through wet ecologies as sensitive surfaces, as inscribing agencies and as archives, they look towards nonhuman expansions of the very idea of inscription itself. @limbcollectiveopen exposition comments (0)
Konst möter journalistik. ArtNews re-gestaltar nyhetsberättelser i konstnärlig form i samarbete med olika konstnärer. Vi undersöker vad som uppstår i mellanrummet och mötet mellan konst och journalistiken. Konstnärligt forskningsprojekt inom Stockholm University of the Arts Art meets journalism. ArtNews re-designs news stories in artistic form in collaboration with various artists. We investigate the space between art and journalism. Artistic research project at Stockholm University of the Artsopen exposition comments (0)
Nomadic Conversations research approach utilities participatory practices, where ideas and decisions develop through a responsive process in order to address both tangible and intangible knowledge. This is organised as interwoven, overlapping and interrelated meeting points, sites for single or multiple field trips. Nomadic Conversations constitutes characteristics of potential instability, conflict, memory of tragedy and repressed history.open exposition comments (0)
Le présent projet est une exploration spatiale qui s'est développée à partir des paramètres suivants: le corps, l'espace architectural et l'objet. Au sein de ce système, il s'agissait d'explorer le potentiel performatif et figural de cette nouvelle mise en situation.open exposition comments (0)
Byk är ett bidrag till utställningen "Arbetslinjen" som visades på Galleri 44, 2012. Dokumentation. Mitt tema är arv.open exposition comments (0)
Nets Between the Tides (NBtT) is a projection into the RC space of a larger diagrammatic structure, an ongoing research residency / collaboration between Warrington Museum and the John Affey Museum called Roots Between the Tides (RBtT). RBtT has previously manifested as a large-scale image installation in Warrington's Ethnology gallery, as a printed catalogue, as a blog, as a database, as a series of vocal performances and lectures, and as workshops for local schools. NBtT re-projects the structure into this new space as cognitive sculpture in order to examine aspects of its form not made visible in previous manifestations.open exposition comments (0)
I am no longer a stranger here,and the response to our misreading,only to see there is a flaw,not in the sense that it is less than perfect,rather that it is unconsidered,left unnoticed,left unopened,left untold,scratching that part of the mind,that can not let go of the conditions,for our seeingopen exposition comments (0)
This series of videos examines photographs drawing attention to their materiality instead of the image content. In this way this work raises some new questions around images and highlights that photographs are objects and have three dimensions. Each of the videos in Margins registers an exploration of a different photograph with a microscopic video camera. Nevertheless, the camera, instead of focusing on the content of the photograph, crisscrosses the margins, the boundaries, of the photograph. This exposition is part of the submission for the PhD study "What is it ‘to move’ a photograph? Artistic tactics for destabilizing and transforming images".open exposition comments (0)
Artist Jason Engelund approaches photography by addressing psychological frameworks of different world-time views, and shifts in perceptions of time during individual events. The notion of a “visual time signature” is proposed, a phrase to describe types of temporal consciousness, incorporating cultural and individual time perception as they relate to cognition, experience, and image. Expressions of the “meta-landscape” encompassing both the psychological landscape and actual landscape are pictured and discussed.open exposition comments (0)