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Eksamensoppgave 2024 PPU Dans
No full textEksamensoppgave som handler om den estetiske dimensjonen i skolen. Problemstilling er "Hvordan Den kulturelle skolesekken kan bidra til økt estetisk kompetanse hos elever i grunnskolen?".
Exam task concerning the aesthetic dimension in schools. The problem statement is "How The Cultural Rucksack can contribute to increased aesthetic competence among students in primary school?".
El micro-museo de las plantas migrantes (The micro museum of migrant plants | Mikromuseet for migrantplanter)
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On the 9th of January 2024, Ecuador was declared on Inner Armed Conflict and, suddenly, the Western media was flooded with images of violence, which are symptomatic of an organic crisis that my country has endured at least for the last five years.
“El Micromuseo de plantas migrantes” (The micro-museum of migrant plants) is an artistic project motivated by my experience as a migrant, a journey shared by countless others, coming from a country that has faced several migratory waves due to structural poverty and violence, and that at the same time is described, by European botanical expeditions, as an abundant natural paradise.
This micro-museum is a self-made institution that borrows the credibility of the museal institution, in the name of migrant species. By producing objects, actions, performative lectures, and low-fi films, the micro-museum stages the life of relocated species. It is not confined to a permanent location, since it also borrows the tactics of migrant plants, and adapts itself —like a parasite— to thrive within different environments, like fellow museums and other public spaces.
How to hold to impermanence as a poetic response to the uncertainty of a migratory status? Through the metaphor of migrant plants, uprooted from their native soil, I seek to voice collective experiences related to displacement, while subtly inviting reflections on extractivism. The first piece I produced for this project is a flag, that depicts an Andean plant living in Norway imagined by AI. It is part of a series of flags that are meant to be an emblem of possibility, ready to take root wherever the micro-museum establishes a new museum branch.
NORWEGIAN
Den 9. januar 2024 ble Ecuador erklært for indre væpnet konflikt, og plutselig ble de vestlige mediene oversvømmet med bilder av vold, som er symptomatisk for en organisk krise som landet mitt har gjennomgått i det minste de siste fem årene.
"Mikromuseet for migrantplanter" (Mikromuseet for migrantplanter) er et kunstnerisk prosjekt motivert av min erfaring som migrant, en reise delt av utallige andre, som kommer fra et land som har møtt flere migrasjonsbølger på grunn av strukturelle fattigdom og vold, og som samtidig beskrives, av europeiske botaniske ekspedisjoner, som et rikt naturparadis.
Dette mikromuseet er en selvlaget institusjon som låner troverdigheten til museumsinstitusjonen, i migrantartens navn. Ved å produsere gjenstander, handlinger, performative foredrag og low-fi-filmer iscenesetter mikromuseet livet til flyttede arter. Det er ikke begrenset til et permanent sted, siden det også låner taktikken til migrantplanter, og tilpasser seg – som en parasitt – til å trives i forskjellige miljøer, som andre museer og andre offentlige rom.
Hvordan holde fast ved forgjengelighet som et poetisk svar på usikkerheten om en migrasjonsstatus? Gjennom metaforen om migrantplanter, rykket opp fra sin opprinnelige jord, søker jeg å gi uttrykk for kollektive erfaringer knyttet til fortrengning, samtidig som jeg på subtilt vis inviterer til refleksjoner over ekstraktivisme. Det første stykket jeg produserte for dette prosjektet er et flagg, som viser en andinsk plante som lever i Norge, forestilt av AI. Det er en del av en serie flagg som er ment å være et mulighetsemblem, klare til å slå rot uansett hvor mikromuseet etablerer en ny museumsgren
A HUGE PILE OF CORPSES WEATHER PROCESSES IN THE FACE OF SHARED NARRATIVE
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This thesis delves into the complex relationship of identity, looking at how posters and colour
act as transference connecting and defining identity beyond the boundaries of race, religion,
ethnicity, gender, space, and time. While it tends towards individualism, it also informs our
collective identity and shared narratives. Likewise, it also illustrates the cyclical nature of
these narratives. Placing them in a constant state of repetition and transformation. As a result,
this thesis draws inspiration from Christina Sharps's work In the Wake: On Blackness and
Being as a ‘Weathered Condition.’
The thesis also looks at the potential of these posters and colours to evoke memories as they
display the tendency of photography and influence how we interact with past and future
occurrences. Focusing on the work of Susan Sontag’s “On Photography,” Guy Debord’s “The
Spectacle of the Society” and Roland Barthes' insightful discourse on the emotional impact of
details in a photograph, a profound emotional response of the viewer's interpretation.
Informing my artistic practice and the project, a huge pile of corpses. Which reflects on the
singularities of occurrences, the repetition and transformative aspects of occurrences that
define identity. Involving the appropriation and incorporation of the aesthetics from my
immediate environment, from aged posters, signs, and countless elements. Also, the
appropriation, of historically documented images associated with pivotal moments of the
slave trade, apartheid, and the civil rights movement, as a backdrop to tell stories about the
human condition across time, which envelops us like the weather.
Through the lens of colour, weathered posters, memory, and appropriation, this thesis
examines how these diverse aspects collectively shape one's sense of self and influence
interactions with the world. Focusing on colour, historically documented images and
elements present in weathered posters as an emotional trigger to evoke reflections and
conversations on the transformative, collective, individualistic and singularities of identity in
different geographical regions and the repetition of these narratives.
Inspired by the storytelling tendency of Kumawood posters, movies, and artists such as Andy
Warhol, Godfried Donkor, Yinka Shonibare and Zohra Opoku, from their use of materials,
interaction with the environment and history. And outlining my creative process, which
involves incorporating various artistic techniques, including handmade painting, textile
printing, and wood engraving.
Norsk:
Denne oppgaven går inn i det komplekse forholdet mellom identitet og ser på hvordan plakater og farger
fungere som overføring som forbinder og definerer identitet utover grensene for rase, religion,
etnisitet, kjønn, rom og tid. Selv om den tenderer mot individualisme, informerer den også vår
kollektiv identitet og delte narrativer. På samme måte illustrerer det også den sykliske naturen til
disse fortellingene. Plassere dem i en konstant tilstand av repetisjon og transformasjon. Som et resultat,
denne oppgaven henter inspirasjon fra Christina Sharps sitt arbeid In the Wake: On Blackness and
Å være som en "forvitret tilstand".
Oppgaven ser også på potensialet til disse plakatene og fargene for å fremkalle minner når de
vise tendensen til fotografering og påvirke hvordan vi samhandler med fortid og fremtid
hendelser. Med fokus på arbeidet til Susan Sontags "On Photography", Guy Debords "The
Spectacle of the Society» og Roland Barthes' innsiktsfulle diskurs om den emosjonelle innvirkningen av
detaljer i et fotografi, en dyp følelsesmessig respons av betrakterens tolkning.
Informere min kunstneriske praksis og prosjektet, en stor haug med lik. Som reflekterer over
singulariteter av hendelser, repetisjon og transformative aspekter av hendelser som
definere identitet. Involverer appropriering og innlemmelse av estetikken fra min
nærmiljø, fra gamle plakater, skilt og utallige elementer. Også
tilegnelse, av historisk dokumenterte bilder assosiert med sentrale øyeblikk av
slavehandel, apartheid og borgerrettighetsbevegelsen, som et bakteppe for å fortelle historier om
menneskelig tilstand over tid, som omslutter oss som været.
Gjennom linsen av farger, forvitrede plakater, hukommelse og appropriasjon, denne oppgaven
undersøker hvordan disse ulike aspektene til sammen former ens følelse av selvtillit og innflytelse
interaksjoner med verden. Med fokus på farger, historisk dokumenterte bilder og
elementer som er tilstede i forvitrede plakater som en følelsesmessig trigger for å fremkalle refleksjoner og
samtaler om de transformative, kollektive, individualistiske og singularitetene til identitet i
ulike geografiske regioner og gjentakelsen av disse fortellingene.
Inspirert av historiefortellingstendensen til Kumawood-plakater, filmer og artister som Andy
Warhol, Godfried Donkor, Yinka Shonibare og Zohra Opoku, fra deres bruk av materialer,
samspill med miljø og historie. Og skisserer min kreative prosess, som
innebærer å inkludere ulike kunstneriske teknikker, inkludert håndlaget maleri, tekstil
trykking og tregravering
Things Dry Fast: The topography of walking
No full textEnglish:
Everything here dries fast. Even the acrylic colour dries faster than it does in my home country. The northern climate has changed one perception of time and slowly formed new habits and distinct senses of understanding.
Two movements are performed in parallel to adapt to the environment; a light ball flowing through the body, and the body strolling across the city. They together formed a layout of an unknown place, somewhere between the humid land and the cold climates.
The project explores and unfolds the walk in Norwegian landscapes through drawings, cartography and other interpretations.
Norsk:
Alt her tørker raskt. Til og med akrylfargen tørker raskere enn den gjør i mitt hjemland. Det nordlige klimaet har endret oppfatningen av tid og langsomt dannet nye vaner og distinkte forståelser.
To bevegelser utføres parallelt for å tilpasse seg miljøet; en lett ball som flyter gjennom kroppen, og kroppen som rusler gjennom byen. De danner sammen et kart over et ukjent sted, et sted mellom den fuktige jorden og de kalde klimaene.
Prosjektet utforsker hvordan det å gå i norske landskap kan utfoldes i tegninger, kartografi og andre inntrykk
Interacting with Absence
Get PDFNorsk:
Motivene mine er forankret i min egen oppstykkede fortid. Jeg ble født i Sarajevo som var en del av den sosialistiske føderale republikken Jugoslavia. Etter landets oppløsning i 1992 emigrerte jeg til Norge. Ønsket om å formidle min tilnærming til både fravær og forfall, har vært en konstant faktor i min kunstneriske praksis. Det er stedets karakter jeg ønsker å uttrykke, og ambivalensen knyttet til det.
Jeg lager smykker og objekter hovedsakelig i betong og metall gjennom bevisst arbeid med ubevisste registreringer av det jeg husker.
English:
I am inspired by my own fragmented past. I was born in Sarajevo, which was a part of The Socialist Federal Republic of Yugoslavia at the time. Following the dissolution of the state in 1992, I immigrated to Norway. The desire to convey my approach to both absence and decay has been a constant factor in my artistic practice. It is the character of the place I want to express, and the ambivalence I feel toward it.
I create jewelry and objects primarily in concrete and metal through conscious work with unconscious registrations of what I remember
Permanent Collection – simultaneous ongoing action
No full textPermanent Collection – simultaneous ongoing action - is a practice- based artistic research project, constructed around the idea of a permanent collection. An attempt to construct a permanent collection collectively by means of a movement-based practice usually associated with impermanence or ephemerality.
Constructing a protocol for moving together simultaneously across time and space was an early formulation of what would become an essential tenet of Permanent Collection: the unification of collective experiences through the imaginative and corporeal medium of performance.
Another core element of the research project dealt with collective memory and history and explored how knowledge is passed on from bodies to bodies, the body’s role in constructing historical narratives, memory and remembering by doing
Alternative Histori[es]: A Place Where Something Happened
Get PDFThis artistic research project focuses on narrative accounts of Norwegians who self-identify with a 'multicultural and/or immigration background(s)' to explore how their (hi)stories can be woven into the tapestry of the contemporary Norwegian public memory and story. I set out to interview and collect their narrative accounts, which must also be understood as oral (topical) histories, focusing on (hi)stories of their lived experiences, with a special interest in an event that happened in a public space and has been experienced as a meaningful or life-changing moment. Through a collaborative process, the oral (hi)stories were transformed and used to produce interactive monuments installed on the sites where the narrated events occurred.
One of the critical artistic challenges in the project was grappling with the question of how collaborators and the public can be empowered to actively shape and engage with artistic works, becoming co-collaborators themselves.
This artistic inquiry led to the development of monu(mo)ments, an artistic concept, and initiative dedicated to turning stories of Norway's diversity into interactive, performative works of public art. The monu(mo)ments are not just symbols of collective memory but embody that very concept in how they themselves function. Through an interactive/participatory design, the public is invited to contribute their narratives, perspectives, and experiences, shaping the monu(mo)ment's meaning and relevance. They invite the public to become co-creators of the narratives embedded within their communal spaces, fostering a sense of ownership and agency and blurring the boundaries between the artist(s) and the public, the past and the present.
The project strives to illuminate these narrators' untold oral (hi)stories by allowing them to take over public spaces and infuse them with gripping personal narratives to shift how we read those places and (re)negotiate their past/meaning. This is to create an 'alternative history', dedicated to writing and inscribing these voices into public spaces and our broader collective imagination.
Other artistic results include a live-action role-playing game (LARP). Furthermore, the larp was modified to serve as a resource for educators, enabling them to address interconnected themes within their classrooms through immersive gameplay. It has been performed in schools, festivals, and conferences in Norway, Austria, and Denmark.
Overall, by creating artistic works that (re)imagine public memory as a dynamic and interactive process, this artistic research project foregrounds and contributes to the ongoing efforts to capture and reflect Norway's multicultural reality and identity.The artistic results are organised as follows:
A Norwegian Like Me (Publication is made up of 4 parts)
- Cover for booklets (provides context of the project)
- Crossing The Line
- The Young Gifted and Black
- My Moving Castle
Monu(mo)ments
- If you want to go on an unguided tour of the monu(mo)ments, we have provided a brochure with relevant information (Brochure for our unguided tour
Education is the practice of freedom. Free education for all.
Get PDFBread! Education! Freedom! was the slogan chanted during the Athens Polytechnic uprising in 1973, a massive demonstration against the military junta who held power in Greece from 1967 to 1974. The revolt, initiated by students, quickly developed into a popular uprising, and ended in bloodshed with tanks charging against and rolling over the gates of the university. The students had added to the traditional anarchist motto "bread and freedom" a third word, education, therefore defining education as a basic condition for democracy and citizenship.NO:
En artikkel skrevet for Norsk Kunstårbok 2024 om betydningen av utdanning generelt og kunstutdanning spesielt for å danne kritiske individer og forme effektive kollektive handlinger, satt inn i en historisk kontekst av utdanningens rolle i revolusjoner, og ment som en kommentar til den nylige innføringen av astronomiske studieavgifter i Norge for studenter fra land utenfor EU.
ENG:
An article written for Norwegian Art Year Book 2024 on the importance of education in general and art education in particular to form critical individuals and shape efficient collective actions, contextualised within a historical background of the role of education in revolutions, and meant as a comment on the recent introduction of astronomical education fees in Norway for non-EU students.submittedVersio
Samiske Perspektiver i Teaterundervisningen
Get PDFDenne eksamensoppgaven undersøker hvordan teaterpedagoger uten samisk bakgrunn kan utvikle undervisningsopplegg som autentisk og antidiskriminerende integrerer samiske perspektiver i teaterundervisningen. Ved å kombinere teori om antidiskriminerende pedagogikk med samiske undervisningsmetoder, tilbyr oppgaven en omfattende tilnærming for å fremme kulturell sensitivitet og forståelse blant elever. En empirisk studie kartlegger kunnskapsnivå og holdninger til samisk kultur blant videregående elever. Oppgaven konkluderer med praktiske anbefalinger for å inkludere samiske temaer i teaterundervisningen, og understreker viktigheten av kulturell respekt og autentisk representasjon
Searching for the oracle- an expedition
Get PDFPresentasjon og intervju kring de metodiske undersøkelsene tilknyttet undersøkelsene i Delphi´s geomytologiske arkiv, og det flerårige prosjektet The Mountain Body, tilknyttet Helle Siljeholm´s stipendiatprosjekt.
Presentation and interview about the methodological work associated with the investigations in Delphi's geomythological archive, and the multi-year project The Mountain Body, associated with Helle Siljeholm's Phd project