Stockholm University of the Arts (SKH)
About this portal
Stockholm University of the Arts (SKH) was established in 2014 and have about 500 students and 250 employees. With our unique composition of education and artistic research, we want to create new opportunities for societal development and knowledge of tomorrow.
On 1 June 2016 SKH was authorised to award artistic third-cycle degrees in artistic practices. Exposition is an integrated part of artistic work at SKH. Each research project must present (stage, narrate, sing, choreograph and so on) its results in a way that is both rigorous and consistent. This requires research to be critically reviewed by peers in a combination of different exposition formats. By developing different formats in which peer review can be carried out, research within the area also addresses the challenges that arise when research is formulated and presented in forms that communicate through an artistically performed experience and thereby contribute to pushing the boundaries that existing forms of publication and dissemination of research set for the ambitions of artistic research.
Stockholm University of the Arts enables its researchers, PhD Candidates and staff to present their projects and findings on SKH’s RC portal in order to publish, archive, and internationally connect their artistic research.
SKH organizes private lessons and workshops aimed at our students, researchers, and employees. For bookings, please contact: heidi.paateremoller@uniarts.se.
contact person(s):
Heidi Möller url:
https://www.researchcatalogue.net/view/2225914/2551399
Recent Issues
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0. X-position
Stockholm University of the Arts publication series: X-Position, ISSN 2002-603X;3
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0. Published expositions
Published expositions by Stockholm University of the Arts.
Recent Activities
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P E R I C A R D I U M
(2023)
author(s): Sara Key, Max Landergård, Susana Santa-Marta
published in: Stockholm University of the Arts (SKH)
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.
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Passions of Utopia
(2023)
author(s): Nicia Ivonne Fernandez Grijalva, Yasmin Henra van Dorp, Johannes Rydinger
published in: Stockholm University of the Arts (SKH)
A 360 Telenovela based on a utopian world somewhere 100 years in the future.
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The Phantom Carriage
(2023)
author(s): Dan Lageryd
published in: Stockholm University of the Arts (SKH)
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.
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ILUF/Never forget that we met@internet
(2023)
author(s): Normann Hanna
published in: Stockholm University of the Arts (SKH)
Together with an artistic team I’ve been working with stalking as a concept, examining ”who is stalking who?
Using multible media.
This is my Individual project degree on the master's programme in acting, 120 credits. Stockholm University of the arts. 2022-23. Supervisor Ulrika Malmgren.
I’m showing the process on a timeline, with two different parts.
Part 2, is from a serie of examining stalking as a phenomeno, film and performance.
Part 1, as an inspiration for part 2, showing my character work and process with ”ICON”
(Nico (Christa Päffgen) a Factory model and singer in The Velvet underground.)
The probs in the picture are inspired by the probs we where using in the movie, a cherrytree. In a seminarie about stop motion I made a musicvideo in clay. A cherryflower.
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What is the ART of ADHD Social Media Acting - and how is it artistically relevant for everyone to know?
(2023)
author(s): Alexander Lindman
published in: Stockholm University of the Arts (SKH)
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.
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När vi ses och Hur gör vi med publikinsläppet?
(2023)
author(s): Karin Bergstrand
published in: Stockholm University of the Arts (SKH)
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.