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Fagfornyelsen LK20 – Dybdelæring, vurdering og kreativitet
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Denne oppgaven undersøker hvordan dans som fag kan legge til rette for dybdelæring gjennom vurderingspraksiser som støtter refleksjon og skapende prosesser.
ENG:
This thesis explores how dance as a subject can facilitate deep learning through assessment practices that support reflection and creative processes
FOSSVEIEN 24 AUG´23 – JUN´25
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Masteroppgaven undersøker kunstnerpraksisen til Terje Johan Grimen, med særlig fokus på tekstilverk i møte med offentlig rom. Gjennom teknikker som maleri, broderi og fotografi utforskes tematikk knyttet til internasjonal solidaritet, norsk våpeneksport og oljefondets investeringer. Arbeidene søker dialog mellom materialene og de politiske spørsmålene de berører.
ENG:
This master’s thesis explores the artistic practice of Terje Johan Grimen, with a particular focus on textile works in relation to public space. Through techniques such as painting, embroidery, and photography, the work engages with themes of international solidarity, Norwegian arms exports, and the investments of the oil fund. The pieces seek a dialogue between material and political subject matter
Orchestration: between operation and embodiment. A research in performativity for the exhibition The Great Learning —MIT List, Cambridge
No full textThe exhibition “The Great Learning” will open on February 20, 2025 at the entire gallery spaces of the MIT-List (Museum of Contemporary Art of the MIT, Cambridge). The exhibition includes artworks which will be reworked to exist as a unified whole together with lighting, sound, and performers. This project seeks to research the performative and compositional relationship between these components from the notion of Orchestration
Kinks in The Value Chain: The Ongoing Materialization of Haiti's Counter-Narratives
Full text linkThis thesis outlines the conceptual and material trajectories of my developing artistic practice, which is deeply informed by my Haitian heritage and political position. Rather than merely documenting imperial violence, my work engages with its entanglements across labor, ecology, and incarceration—examining how histories of domination continue to manifest and mutate in the present. Drawing from archival materials, found objects, spatial research, and community memory, I pursue a methodology that foregrounds material poetics and the tactile transmission of knowledge. Through these investigations, I aim to contribute to Haiti’s ongoing production of counter-narratives—ones that reject the imperial scripts of dependency, criminality, and obsolescence
Reflection Paper MA Dance Avenue
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A written reflection on the creation of the performance 'Avenue'. The work was created in close collaboration with dramaturg Nora Frizzi Auerbach through a shared writing process and an online artistic diary.
NO:
En skriftlig refleksjon over skapelsen av forestillingen 'Avenue'. Verket ble til i tett samarbeid med dramaturg Nora Frizzi Auerbach gjennom en felles skriveprosess og en kunstnerisk dagbok på nett
Ceramics, Scent, and the Airspace: How is Liminality Carried?
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Ceramics, scent, and airspaces act as liminal carriers, mediating experiences of transition, discomfort, and transformation. How do I articulate this in my sculptural practice?
NO:
Keramikk, duft og luftrom fungerer som liminale bærere, og formidler opplevelser av ubehag og transport. Hvordan viser jeg dette i min skulpturelle praksis
Om fenomener og eksistenser
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Refleksjonsnotatet undersøker mitt kunstneriske virke gjennom masterstudiet i teater ved Kunsthøgskolen i Oslo. Prosessen har vært motivert av en politisk og eksistensiell nødvendighet: å utfordre menneskets passive forhold til kapitalistiske og kunstige omgivelser, og å fremme en kroppslig og tilstedeværende respons på klima- og naturkrisen. Jeg har forsøkt å integrere Arne Næss’ økosofiske tenkning og Antonin Artauds idé om det transformative teateret i en scenisk praksis, inspirert av blant annet Butoh, Grotowski og grønlandsk maskedans. Gjennom studiet, og særlig i avgangsforestillingen med tittel 'Om fenomener og eksistenser', har jeg arbeidet med improvisasjon, fysisk nærvær og tekst i samspill. Jeg utforsker dikotomier som balanse og ubalanse, intuisjon og struktur, kropp og intellekt. Arbeidet inviterer publikum til en eksistensiell og kroppslig opplevelse der tid, rom og tanke er vevd sammen.
ENG:
This reflection paper explores my artistic practice during the Master’s program in Theatre at the Oslo National Academy of the Arts. The process has been driven by a political and existential necessity: to challenge humanity’s passive relationship to capitalist and artificial surroundings, and to promote a bodily and present response to the climate and ecological crisis. I have sought to integrate Arne Næss’ ecosophical thinking and Antonin Artaud’s idea of transformative theatre into a scenic practice inspired by, among others, Butoh, Grotowski, and Greenlandic mask dance. Throughout the program, and especially in my graduation performance, 'About Phenomena and Existences', I have worked with improvisation, physical presence, and text in interplay. I investigate dichotomies such as balance and imbalance, intuition and structure, and body and intellect. The work invites the audience to an existential and embodied experience in which time, space, and thought are closely interwoven
Anything, Everything
Full text linkA text about the struggle of writing the text. A journey through personal views on humanity, perspective, art and contemporary life
SELVSKAP
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SELVSKAP (82 pages, pdf)
A project comprised of four carved wooden works and a written self-criticism. The four wooden works that make up the physical part of SELVSKAP (E. selfhood) are named: I’Moustache, Taweret-panel, Sentry, AUTO-PROBLEMATICA. They are all separate and integral to each other, both wood and words.
CONTENS
PREMISE (p. 5-10)
NOTES FROM A COMMENTATOR (p. 11)
PART 1 Anger (p. 12-21)
PART 2 Auto-Problematica (p. 22-48)
HERMENEUTIC MODEL (p. 34)
PHOTOS OF SELVSKAP (p. 35-48)
PART 3 Taweret (p. 49-82)
Utenforskap (p. 50-55)
TECH DRAWINGS (p. 56-61)
Wood and wormholes (p. 62-65
Mythic mahogany (p.66-68)
Close encounter (p. 68-70)
Failure (p. 71-73)
Danger (p. 73-76)
Suspicion (p. 76-78)
The suspect (p.79-82)
This pdf documents the act of writing reflections as a research process [1] accompanied with photographs of the wooden results they are reflective of. The writing is relative to these artistic works, but also relative to the previous projects in the development of this PhD. The aim of the work, documented here, is that it might lead to reflection that is explicit, on the reason of this being part of a larger PhD-project (Ornamentskap/Skapornamentikk), which by programmatic standards demands such a reflection. As the project SELVSKAP is element to this project, it is an experiment which attempts to discover something of importance regarding writing reflections as a critical exercise. Since we have moved from critical to explicit, I need a new frame.
I begin with critical in the sense of what it may hatch instead of critical as a balancing act on the cusp of crisis: Krises, from Hippocrates, describes a turning point in the progression of diseases to either recovery or decline, and root to the word critical. The critical frame, then, might extend this point forward in time. Could this framework also be carried over to a suspension of artistic choices, too? Could I leave behind critical as a way of nursing a problem, to a surgeon eager to cut? The explicit concept is frightening because it implies a disclosure of what is implicated in the woodworks. It isn’t easy to know this, so the self-criticism may well be part of this learning. I have therefore substituted the documentation of the physical processes with writing. A design aimed at searching for this frame, found or not.
Either way, this document underscores the difficulty of writing, reflecting, and disseminating from inside an artistic process, from a mode of curiosity, euphoric engagement, and naivety, carried over from the mode of the workshop. It is written from a frustrated perspective where artistic choices and skills are accepted as a kind of esoterica while the reasoning, understanding and intelligence of a text is part of the public tools. The question of the critical or explicit frame becomes a question of what the transferences between the act of writing and the acts in the workshop/atelier are doing to each other. They don’t seem to enable the same thinking, even when done by the same person. It is seen as an opportunity to work with/in the schizophrenic spilt in our collective consciousness described by Paul Tillich [Theology of Culture, 1959]
[1] Øyunn Syrstad Høydal. Når samfunnsforskere skriver som maskiner. Morgenbladet 3. Jan 2025)
Maren Bang Tøndevold: commentator and reader.
NO:
SELVSKAP (82 pages, pdf)
Dokumentasjon av (selv)kritisk refleksjon som del av den kunstneriske forskningsprosessen, med fotografier av hva det er reflekterende av.
Et prosjekt bestående av fire treskjærte arbeider og en skreven selvkritikk. De fire trearbeidene, som utgjør den fysiske delen av SELVSKAPet er gitt navnene: Barten, Taweretpanelet, Vakttårnet, AUTO-PROBLEMATICA. De er alle separate og integrete i hverandre, både treverk og ord
Cross-disciplinary Perspectives on Spatial Narration
Full text linkThe conference brings together practitioners from the fields of visual art, design, theatre and dance for an exploratory conversation about narrative space across disciplinary boundaries. The purpose of the conference is to compare and contrast key questions, concerns and current developments within the discourse of narrative spatial practice from different perspectives as a way to explore future possible cross-disciplinary research questions and projects