Research Catalogue

Making performances that have movement as a base means in many ways to venture out into an unexplored landscape. What is to be played on stage usually has its origin in a movement-based idea and not in an already written text to be analyzed. How can this work go? Where are the challenges and what methods can be used? Lena Stefenson has written this book on the basis of her own experiences as a choreographing director with examples from various works as well as her own and others' teaching. The text is about how to create the elevated movements in a performance. How to work with theme? With story? What is the relation between text and movement? What does it mean to be a choreographer / director for a movement-based work? How are the last rehearsal weeks going? The book is aimed at anyone who is, or wants to become, a choreographing director or actor in the movement-based performing arts with forms such as dance, mime and circus. It is also aimed at those who generally want to make their scenic work more physical.

A COLLAB work about the current position of mankind where we are at in the NOW - a comment on that and an exploration of the automatization and the relationship between the human essence and the artificial. Skin is the membrane that divides inside from outside, what is important and not, what is alive and not. Skin represents the human and at the same time the contrahent to the artificial. We live in a time where everyone is trying to tell us which world will be the best for us to live in. We want you to tell you.

I en blandning av film och performance, fem engelsmän berättar om varför de kom till Sverige, om deras kärlekshistorier, om vad de egentligen tycker om Sverige och läget i hemlandet. Detta konstnärlig forsknings projekt blandar dokumentärfilms metoder med scenkonst och skådespeleriteknik för att undersöker idéer kring kön, manlighet, nationaltet och invandring.

SV Exkursion – utflykt i ett politiskt landskap är ett praktikbaserat konstnärligt undersökande arbete som handlar om att tänka närmare efter och att byta ståndpunkt. Det handlar om rättigheter och politik, och om ett pågående skifte i hur det som i dagligt tal kallas skog, brukas. Projektet är en del i ett större prövande arbete där konstnärliga verk och en platsspecifik dialog sätter frågor och förhållningssätt kring skog och överlevnad i fokus. Projektets plats, Hållnäshalvön i Norduppland, Sverige, är beläget vid Östersjön i Norduppland. Det rurala och boreala landskapet är inte unikt på något sätt. Små reservat ligger utströdda som öar i ett hav av brukad skog. En bruksskog som bär tydliga spår av ett långvarigt och extensivt råvaruttag, här som annorstädes, och som är ständigt föränderlig i skogsindustrins maskinella kretslopp. De ekologiska systemen framhärdar i att förnya sig, hela tiden i en slags dialog med den skogsvård och det –bruk den är föremål för. Skogen kan sägas existera genom att iscensätta skogsindustrins och samhällets processer och beslut. EN Excursion – an expedition into a political landscape is a practice based artistic research project about second thoughts and change of standpoints. The piece also discusses societal rights and politics, and mirrors an ongoing and possibly crucial shift in forest industry. Excursion is a part of a larger investigative and interactive artistic endeavour where visual art and dialogue focuses on the relations to and in the forest, all within a greater context of global crisis. The site of the project is the Hållnäs peninsula by the Baltic Sea in Norhern Uppland Sweden. The rural and boreal landscape is not unique in any sense. Tiny nature reserves are scattered throughout the peninsula, like islands in the production forests. The forest is heavily characterized by an intense and relentless harvest of wood by the forest industry, here as in the rest of Sweden. The forest performs it´s forestnesss, not by existing as an inter-changing eternal ecosystem, but instead by interpreting the constant chain of change brought about by the machines and processes of the forest industry. The forest exists by performing the processes and decisions of the forest industry and the society.

In ”Blodet gränserna arkivet” I have continued the exploration of what obligations I have towards the extensive collections of artefacts connected with my family history that my father left me after my his death, and, even more important, the imaginary kingdom that he had been working on since the age of ten and all the way through his life. He abandoned me, partly to instead engage in made up power struggles in a nation that does not exist. Since I inherited his kingdom and his collection I’ve tried different methods to process this heritage in my art, and in this final part of this process I’ve tried fulfil my role as the heir and take the next step, to abdicate. To do so I’ve built a throne, inspired by the throne of Queen Kristina of Sweden. I’ve also dealt with the collection in several video works and photography, and written texts dealing with the deeply personal aspects of growing up with a father king in his own realm. To summon the process I’ve written an essay in which I connect my personal experiences and thoughts and memories with theories of what a nation consists of, using the method of loci both to reconstruct the apartment of my father, stuffed with objects loaded with meaning, and finding the links back in the history of art and poetry.

från fjäll till hav över under yta färdas elektriska impulser kopplas omkopplas felkopplas dammen skogen myren vilken röst? den första.

Welcome to Dalida Shaheen's exposition Master's candidate in acting program and actress. Firstly, in 2019, I played a role of a woman who got married to a married man, after the series aired to the public the role fired back on me. I observed audience's reaction exceeded everyone’s expectations. The audience is divided into two parts the first part is about the women who expressed their anger in a very aggressive and strong way, and the second part who was exciting to the character. The first part of the audience used several offensive, strong, and insulting words. The audience’s reaction was very emotional, and they used all the tools to express their feelings for example, they used social media platforms and verbal violence when they see me in the street. Hayat is the character I have created to explore my questions in my short fil. The film is the method I used to explore my questions of what would happen when the audience can’t distinguish between the role and the actor’s real character, What is the impact of the audience on the actresses?

“We need to distinguish between the logical future, which is the development of the present – and the desired future, which is the world we want to create.” This statement represents the guiding vision for the exhibition ARARAT, shown at Moderna Museet in Stockholm April – July 1976. The exhibition was the product of a large group of people such as artists, architects, researchers, and engineers brought together in a project called Alternative Research in Architecture, Resources, Art and Technology – ARARAT! Students from SKH, Stockholm University of the Arts have been working, thinking, and sitting with this together. Creating, provoking, and forgiving. Lumbung, Collective wisdom and future making. MA program The Art of Impact is after one year in the middle of their education and present work from this spring in this exposition. The one-year freestanding course The Impact of Research presents their exam projects. ARARAT has been revisited before in education, a research project in the course Take a Walk on the Wild Side: Learning from the City and Beyond, Royal Institute of Art, Stockholm, 2014/2015

This exhibition shows my project from the Master in Acting 2021-2023 at SKH in Stockholm. The essay is called "When we meet" and the performative part "How do we let the audience in?" As an actor and clown, I have worked in many different rooms and with many different audience agreements. Everything from stage-salon situations where the audience knows exactly how to behave and what their participation looks like, to playing for only one person in a hospital bed or in a small rowing boat, where participation must be clearly negotiated and communicated. I've met adults who are world masters of theater etiquette, but can't answer a question if asked from the stage, and I've met children who are wild first-timers who engage in intense dialogue with us on stage. I am interested in the dialogue between actors and audience and in audience participation. What standards and agreements are they regulated by? How does the fear of making a mistake, breaking the norm, affect the experience of the performance? Does that fear of shame limit what is possible in the theater? I have also wondered what roles the audience can have, what in a work communicates this role, and whether the audience can change roles in the same work. In "How do we let the audience in?" you can read about the work with Eva and Margaretha, two half-masks who are both actors but in whose artistry the audience plays very different roles.

A 360 Telenovela based on a utopian world somewhere 100 years in the future.

En exposition med fyra videoverk i ETC Solpark, Katrineholm. "Hennes naglar är Svens, alltid något." "Drömmen" "Mary var här" "Tystnaden"

The Phantom Carriage is a practice-based research project in which an 8-channel sound recording from Essingeleden / E4an is played with 8 speakers deployed along national road 52 in Katrineholm. About displacement. The sound of movement, the movement of sound, the emotional movement the experience of art can imply. About noise and its impact on us and the surroundings. About future nostalgia, how will the future sound, what will the roaring diesel truck sound like in the future? The title The Phantom Carriage (Körkarlen in Swedish) is borrowed from the film by Victor Sjöström. The choice of title also opens up other aspects of the work / project.

Teorierna om varför vi skrattar är många och varierande. I denna masteressä riktas istället strålkastaren mot efterföljande reaktionen och effekten som reaktionen har på publikens uppfattning om humorupplevelsen. Är den roligaste reaktionen alltid den som går i linje med publiken tolkning eller råder övriga övergripande aspekter?

Description [en] Collaborative exposition with CC4r license in the frame of a workshop focus on monther tongues, performer skills, translations, translinguicism. As a first proposal, caterina's invitation to the workshop stated this: "This proposal invites you as co-researcher to develop a workshop about mother tongues and translations. Aiming to reflect on the performer skills, from our mother tongues to trans-linguicism, the sessions will develop obfuscated story-telling to deal with questions around the untranslatable." Documentation of the 'On Mother Tongues' workshop. On Mother Tongues happened as a result of an invitation from caterina daniela mora jara to spend some hours in the same dance studio with Mariana Costa, Stella Kruusamägi, Andrea Diaz, Yari Stilo, Robert Malmborg and Martin Sonderkamp. The workshop took place the first week of the fall semester 2022, from 29th August to 3rd September (14h till 17h), and 1st October (11-16h) in the Department of Dance, located at Brinellvägen 58, 114 28 Stockholm, Sweden.

I'm on the path to deneurotypicalize acting technique and understand what a social media actor might be and do and and if there is or should be a difference between a neurotypical and neurodiverse way of applying oneself and communicate with said audience on said platform(s)? During my work I coined the term 'deneurotypicalize' and a definition of art as ART. Welcome to my exposition: This part is more to be seen as an extended documentation over my 2 years and also as a compendium to my master thesis published on DIVA and my performance lecture 2nd of May at Stockholm University of the Arts. And/or a thing of its own. Both the exposition-documentation and the master's thesis is also in this exposition.

This exposition delves into the realm of sustainable material reuse, re-thinking and recycling material in still photography. The artist explores repurposing techniques through personal experiences, approaching Bokashi, a composting chemical to replenish C-41 development for colour-negative film. The exposition aims to reflect on alternative practices in photographic chemistry, recycling and repurposing materials. It is a sustainable artistic journey that aims to breathe new life into forgotten objects, expanding the discourse on environmental consciousness.

The Visual Silence explores a cinematic aesthetic that approaches silence and darkness and challenges the voyeuristic tradition of cinema. It is a cinematic form that is situated in the gap between what is projected and what is perceived, between the impression of the ear and that of the eye. The Visual Silence examines the possibility of new perspectives through the deconstruction of the image and also through a critical examination of patriarchal, excluding and exhausting methods in the traditions of filmmaking. The research project resulted in the feature film Lucky One that premiered 2019.

This movie is an attempt to capture how I develop scenograpies using devising

A research on materiality and human hair as material. Can a material on itself create narratives and if so, because of its immanent qualities? What constitutes that presumed immanence?