Research Catalogue

an international database for artistic research

• 2025. Uniarts Helsinki RC publications in 2025 2025
• 2024. Uniarts Helsinki RC publications in 2024 Uniarts Helsinki RC publications and works.
• 2023. Uniarts Helsinki RC publications in 2023 Doctoral thesis works and other works.

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  GIRL ARMY – Narrative painting in space TYTTÖARMEIJA – Kerronnallinen maalaus tilassa Katja Tukiainen (2024) author(s): Katja Tukiainen published in: University of the Arts Helsinki
  ABSTRACT Girl army – Narrative painting in space In my doctoral research in fine arts, I study narrative painting in space and examine the narratives of spatial painting series and other spatial assemblies of paintings. My paintings’ imagery deals with girlhood, womanhood, and the colour pink. A girl army – a wild and non-vi- olent group of girls – acts as a guide on my journey of exploration. My paintings’ girls take over various spaces. My artistic research includes a written section in which I report how my research proceeds, enabling me to find new ideas through verbal language. The written section deals with my artistic work process and non-ver- bal knowledge, and it describes how the search for words adds to my understanding of narrative, narrators, focal- isation, and immersivity. As artistic work and writing blend into a trajectory, I establish the words alongside non-verbal knowledge, and, in the end, I venture to ob- serve my works’ feminism. My research includes three public exhibitions of works that explore painting narratives, the colour pink, and placing in various spaces. The exhibitions took place dur- ing a period of ten years, as follows: My solo exhibition, Playground – My work is my pleasure, was on display at Galleria Korjaamo in autumn 2009, the painting instal- lation Paradis k (Kidnap) was part of the Eyeballing! ex- hibition at the Museum of Contemporary Art Kiasma in 2012, and my painting series Paradis r (Rascal) was on display in the Vallaton – Rascal group exhibition at the Vantaa Art Museum Artsi during 2017–2018. My research’s main stages are closely related to these three exhibitions included in my research. My research ques- tions follow, along with the works, a painting’s simultane- ous, linear, and temporally stretched narrative. I explore how paintings, in different spaces, turn into stories and immersive experiences, inviting viewers inside of them. I invite the reader into a story in which I wander, wearing a trainer on one foot and a high-heeled shoe on the other. I compare painting with a comfortable trainer and the painting’s analytical observation with a high-heeled shoe. As an artist-researcher, I feel like I am standing near my paintings in contrapposto. My research shows how the heel wears out and the words become familiar little by little. Theorists Mieke Bal and Kai Mikkonen, as well as various other researchers, art- ists, and their works, support my journey. Written lan- guage, too, can be wild and experimental, and it is the very element that turns my works into a form that can be verbally shared. Verbalising my research has revealed that a part of my works’ narrative becomes complete only when I leave my workspace and the works are exposed to views and inter- pretations. During my research, I realised the diversity of interpretations and the extent of factors that have influ- enced my work. The key results of my research include the understanding that an artist’s research process opens to be shared and followed through words. The definitions suggested by words do not invalidate a painting’s liberty to be completely indefinable, but they help to understand the various ways a painting’s narrative works. Katja Tukiainen 8 March 2022
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• Puuttuva ääni: Tutkielma puutteen luomisesta esittävissä taiteissa (2024) author(s): Eliel Eimo Runar Tammiharju published in: University of the Arts Helsinki
  Opinnäytteeni on taiteellinen tutkielma, joka tarkastelee puutteen luomista äänisuunnittelun menetelmänä. Puute avaa näkökulman, jolla lähestyn äänisuunnittelun kysymyksiä siitä, miten ääntä voi asettaa erilaisia esittävien taiteiden avaamia konteksteja vasten. Opinnäyte on julkaistu Research Catalogue -tietokannassa (RC) ekspositiona, joka sisältää johdannon, kolme päälukua, äänikoeaineiston, sisällysluettelon ja lähdeluettelon. Tutkielmasta ei ole pdf-tiedostoa, joten ekspositio on ainoa tapa lukea opinnäyte. Puutteen teoria on saanut innoituksensa sellaisen nauttimisesta, joka tuntuu aukolliselta ja vajaalta. Muodostan teoreettista pohjaa puuttuvalle äänelle vertailemalla puutteen ja puuttumisen käsitettä taideteoriassa jo vakiintuneempaa poissaolon käsitettä vasten. Teoreettinen viitekehykseni ei perustu yhdelle suuntaukselle tai teorialle. Sen sijaan puute on teorioita toisiinsa sitova ilmiö, jota tarkastelen rinnakkain esimerkiksi Simone de Beauvoirin eksistentialismin sisäisen puutteen, Luce Irigarayn ilman käsitteen ja Jacques Derridan dekonstruktion hengessä. Lisäksi teoriakirjallisuutta muodostaa Tanja Tiekson fenomenologisesta kehyksestä tutkima kokeellinen musiikki ja Seth Kim-Cohenin jälkistrukturalistisessa kehyksessä käsittelemä ei-kuultava äänitaide. Lisäksi käytän viitekehyksenä katsomiani puutteen ja taiteen välisiä klassikoita, kuten Lorenzo Sennin, Georges Perecin ja John Cagen tuotantoa ja tekstejä. Tutkimusmetodini on yhdistelmä kirjoittamista ja äänikokeiden tekemistä. Prosessin päävaiheessa pyrin luomaan puuttuvia tai puutteellisia ääniä. Asetan näitä vierekkäin tuodakseni esille puutteen raja-alueita. Kokeet ovat kuunneltavissa äänitiedostoina tekstin rinnalla konkretisoidakseen puutteen ja äänen välisiä suhteita kuunneltavina ilmiöinä. Johtopäätösluvussa käsittelen puuttuvan äänen täydentymistä esityksen yhteydessä. Tarkastelen esityksen ja puuttuvan äänen välisiä mahdollisuuksia omista äänisuunnittelun kokemuksistani käsin. Koska täydentyminen voi tapahtua myös teoksen tullessa esitetyksi, tarkastelen puutteen jättämistä myös esityksen ”lopulliseen” esitettävään muotoon. Keskeisin havaintoni on vahvistus äänen puutteen ja kontekstin välisestä suhteesta. Puutteen reunoja pitkin kiertäen palautuu kysymys miltei aina kontekstin asettamien odotusten ja tottumusten äärelle. Koska äänisuunnittelija voi itse luoda odotuksia ja konteksteja omalle äänisuunnittelulleen, voi hän täten luoda myös puutetta itse asettamiensa odotusten kautta. Näin puutteen näyttäytyminen voi vaatia käsitteellistämistä kommunikaation tueksi. Yksi tämän tutkielman lopputulemista on puutteen ja äänen välisten suhteiden koonti ja kirkastaminen tekemisen sisältä käsin. Tarkoitus ei ole esittää absoluuttista puutteen teoriaa, käytäntöä tai tekniikkaa vaan tuoda ilmi puutteen mahdollisuuksien kirjoa ja kykyä järjestää tulemisen tilaa. Kuinka sillä voi olla esityksen eri vaiheiden kannalta uutta luova ja mahdollistava vaikutus.
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• Karhun katseella laulan (2024) author(s): Tuomas Rounakari published in: University of the Arts Helsinki
  In this artistic doctoral research I think of art as a language that both portrays a mythical worldview and participates in the activities it contains. Contemplating myths through the performing arts is one of the oldest functions of art. Myths have not only been presented, but a dialogical relationship has been sought with the mythical entities. Achieving this requires the ability to alter ones state of consciousness from the performer. The altered states can range in intensity from a mild mood change to a profound trance state in which the perception of self, time and place alters thoroughly. Through the altered states of consciousness, the musician either allows or directly initiates a dialogue between the more-than-human. In the thesis, I call this as mythical dialogue. Mythical dialogue has a reciprocal effect on the interpretation, alteration and improvisation produced by the musician at the time of performance. The thesis is an autoetnographic treatment of mythical dialogue from a musician's perspective, and shares this perspective for a broader study of tradition. My research included four field trips to Siberia, to the land of Khanty, Mansi and Forest-Nenets. The trips were mainly artistic collaborations in which I carried out data collection and did the thematic interview with Maria Kuzminitsna Voldina included in the thesis. My main fieldwork method was to first play Khanty folk songs on the violin for the Khanty themselves, after which I asked them to tell me more about the songs and to comment on the way I played my versions of them. Playing the songs to each other in turn created a genuinely interactive and egalitarian way of learning. The field trips were complemented by archival research of songs containing mythical dialogue, as well as performing these songs as a musician. The main archival materials were songs from the bear feast ceremonies of the Khanty, Mansi, Karelians and Finns. My artistic doctorate degree consists of five unique performances and this written thesis with video recordings. The first doctoral concert Shamanviolin (2013) was based on songs recorded by Kai Donner on wax cylinders during his travels in Siberia between 1912 and 1914. The second doctoral concert Shamanviolin with Ailloš (2014) explored the possibility of playing in trance state with an ensemble. The third artistic component was the Bear Feast performance (2016) which combined ceremony, music, poetry, theatre, social games and dances, and dining. The fourth artistic component was the documentary theatre play Arctic Odyssey (2017) produced by the theatre group Ruska Ensemble in collaboration with the Finnish National Theatre and Nunatta Isiginnaartitsisarfia in Greenland. The fifth artistic component was my solo album Bear Awakener (2022) based on the phonograph collection of Artturi Kannisto. The Bear Feast performance is treated as a case study in the thesis. The performance succeeded in creating meaningful experiences of mythical dialogue for both the performing ensemble and the audience. Working with mythical themes through art creates an opportunity to address the slowly changing mental patterns of our culture in a communal way. By engaging in mythical dialogue we can still create similar experiences to those our ancestors had in a very different society. Because myths represent a slowly changing collective tradition, they can strengthen the identity of individuals and communities with far-reaching effects on wellbeing. Keywords: Mythical dialogue, altered states of consciousness, trance, transcendence, myth, more-than-human, animism, bear feast ceremony
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  Assembling a Praxis: Choreographic Thinking and Curatorial Agency - Clew: A Rich and Rewarding DIsorientation (2024) author(s): Lauren O'Neal published in: University of the Arts Helsinki
  This exposition examines the curatorial project "Clew: A Rich and Rewarding Disorientation," held at the Lamont Gallery at Phillips Exeter Academy in 2017. The project is part of my doctoral research on “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” “Clew” proposes a framework for curatorial dramaturgy and asks: What is the potential of a dramaturgical approach within an open-ended exhibition structure? Who, or what, is the curatorial dramaturg? How do materials and time contribute to unfolding exhibition narratives? [This exposition corresponds to Section Six: Extending Lines in All Directions: Curatorial Dramaturgy in the printed dissertation.]
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  More than Meets the Eye - Christoph Oeschger (2024) author(s): Christoph Oeschger published in: University of the Arts Helsinki
  More Than Meets the Eye: Capturing Invisible Flows and Processes: For my doctorate, I created four films and one photo-text installation that engage with invisibility in various ways. My research for the film "2°", which seeks the impact of human interaction with changing geographies, took me to an altitude of 3,500 meters above sea level. In my investigations, I traveled as far north as the 51st parallel to produce the film "In the Ice, Everything Leaves a Trace", and the photo series "The Other Side of Ice", examining the economic exploitation of the Arctic. My research also led me to a place where the wind is harnessed for filming, inspiring the creation of the film "Memories of a Past Future", and to a location where filming is no longer possible, yielding images used in the production of "Unlearning Flow". The decisive events of our time are often not visible. My research revolves around making this invisibility negotiable. These occurrences possess a fascinating duality, simultaneously feeling both familiar and foreign. While we are intimately connected to them, they represent global processes that escape complete comprehension. They are complex chains of causality that have become inscrutable to individual perception. Invisible events cannot be addressed through individual images or shots. Instead, it's the montage techniques of demontage, soft montage, and the productive gap that I employ. It is these working methods that allow me to approach the invisible, partially capture it, and make it negotiable. These forms of montage are also mirrored in the written part of my dissertation. The written section of the doctorate brings together various text elements that influence each other and create cross-references within the individual works. The the written part contains conversations with other artist researchers contextualize my work within my field but also to build a forum to negotioate my work.
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  The poetics of autopoiesis: visual arts, autonomy and artificial intelligence. (2024) author(s): bruno caldas published in: University of the Arts Helsinki
  This exposition contains the manuscript and artistic components of the doctoral research project "The poetics of autopoiesis: visual arts, autonomy and artificial intelligence." The project aimed to explore the limits of creative autonomy in face of recent developments in generative visual artificial intelligence.
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