KHIODA
Not a member yet
1540 research outputs found
Sort by
Østlandsutstillingen 2018
No full textFoto av byanttegning "Power"Deltagelse på Østlandsutstillingen, Trafo Kunsthall, Asker, 09. juni - 01. juli 2018.
Verk: Power (blyanttegning 150 x 75 cm, 2017)
Herr Marmelade
Get PDFProsjektpresentasjon (tekstdokument). Teksten ble brukt til en muntlig presentasjon for kolleger ved Avdeling Teaterhøgskolen. Fotografier fra forestilling. Fotograf: Miriam Sogn.Regi på Herr Marmelade av Noah Haidle, sluttproduksjonen til 3. klasse BA Skuespillerfag ved NSKI Høyskole. Premiere: 07. juni 2018. Forestillinger 08., 09. og 10. juni. 201
The Other Wild [Exhibition]
No full textExhibition at Interkulturelt museum, Oslo, November 15 2018 - January 20 2019. Part of Liv Bugge's PhD project "The Other Wild: Touching Art as Confrontation". Photos by Istvan Virag and Rune Aakvik. Suported by KORO, Oslo National Academy of the Arts and Norwegian artisctic research programme.The Other Wild interrogates how systems of control and internalized normative structures harness and govern life as well as non-life. The artistic work is part of Liv Bugge’s PhD project at Oslo National Academy of te Arts. Bugge uses the term ”structural magic” as a tool to look at the paranormal (beyond normal) and inter-normal activity performed in structures like state institutions, as well as the individual and collective bod. The research is structured around two type of institutions: museums and prisons. Bugge sees both institutions as sites for disappearances. The prison is a place into which those who dwell in the majority’s margins are removed, and therefore temporarily disappear from society’s surfaces. While in The Natural History Museum, fossils disappear into an unfathomable past through dating processes and placements in linear time and narratives. In this way, people and objects become victims of a part of a structural magical disappearing act. Large parts of this projects artistic work are now integrated in Ullersmo and Eidsberg prisons, and are therefore unavailable for the non-incarcerated public. In her PhD, Bugge thus contrasts the museum’s formative and democratic mandates with the prison where the art only is available for the few who are placed outside of the majority society. In both institutions Bugge takes a starting point in touch, inscription, and a surface or membrane that equals skin. Material, body or skin meets another, and makes an imprint on each other. But rather than looking at the economies of healing, the project looks upon touch as confrontation, and as sensibility to such
Neste, Nästa, Næste. BA Billedkunst – Avgang 2018
No full textUtstillingskatalog og fotodokumentasjonI avgangsutstillingen, med tittel Neste Nästa Næste, viser 19 kunststudenter utvalgte verk fra sin selvstendige praksis som de har utviklet under sine tre år på bachelorstudiet ved Kunstakademiet.
Studenter: Sofie Amalie Andersen, Erla Audunsdottir, Sofie Brønner, Kristian Suvatne Augland, Marte Helene Solgaard Dahl, David Hammarberg, Aksel Octavius Norreen Hauklien, Isabelle Hjortfors, Amanda Hårsmar, Heidi Therese Klemetsen, Silje Iversen Kristiansen, Anna Sofie Mathiasen, Jaksha Ghana Nagarasa, Maria Nöremark, Elisabeth Samstad, Erle Saxegaard, Love Terins, Rickard Ravanger Aall, Hans Olav Aarvik.
Utstillingskoordinator: Petrine Vinje.
Sted: Avgangsutstillingen holdes i disse galleriene på Kunsthøgskolen i Oslo, Fossveien 24: Seilduken I, Seilduken II, Skylight, Blackbox, Gallerihagen (atelié i 2. etg.), Kjelsrudfyllingen (Alnabru) og på Galleri RAM i Thorvald Meyersgate 51.
Tidspunkt: 11.-20.mai 201
Session 5: Presentation of projects. Michiel Johannes Jansen - Time will tell
No full textVideo recording of Session 5, Artistic Research Week/ Kunstnerisk forskningsuke 2018. Time: January 24, 2018 Venue: Hovedscenen, Oslo National Academy of the ArtsMichiel Johannes Jansen, Hanzehogeschool Groningen MINERVA art Academie, will show his collaboration with the Greek PhD artist Eleni Kamma in which art and theatre practices tend to become one. As starting point for the trans disciplinary course called Time will tell Kamma brought in her expertise on parrhesia and the parade. Then the course was developed round the question s of how can we create opportunities to act, think, to move and experience and how to understand possibilities when they are manifested in an actual presentation
Opening by KHiO’s rector and research director
No full textVideo recording. Lenght: 00:40:27Opening of the Artistic Research Week 2018 by KHiO’s rector Jørn Mortensen and research director Trond Lossius.
Time: Tuesday 23 January 2018
Venue: Hovedscenen, Oslo National Academy of the Art
The Participatory Monument - Remembrance and Forgetting as Art Practice in Public Sphere
Get PDFReflection Submitted in Partial Fulfillment of the Requirements for the Degree of Philosophiae Doctor (PhD) in Artistic Research at the Faculty of Arts and Craft, Oslo National Academy of Arts. Supervisor: Mary Jane Jacob. Second supervisor: Olga Schmedling.This artistic research reflection deals with what I call the “participatory monument”, the intention of which is to bring members of the public into the artwork and to openly share related experiences with them, thus providing evidence of the existence and potential transformative power of collective memory. The Participatory Monument—Remembrance and Forgetting as Art Practice in Public Sphere is a practice-based research project and consists of two artworks: Folkets Hus (2015) and Kammer (2017).
This reflection investigates collective memory and remembrance through artistic research and practice in the public sphere, that is, in public space and the public imaginary, by means of the artworks Folkets Hus and Kammer. In addition, this research examines how remembrance and memory are transformed into works of art. The Participatory Monument seeks to expand the understanding of memory by exploring it as an embodiment of sensorial practice and as an extended social vocabulary. Memory resides in our everyday rituals and social relationships as well as in memorials and traditions of remembrance.
Accordingly, in my art practice I look at the politics of remembering and forgetting by focusing on our personal experiences as witnesses in the public sphere. Undertaking research through the examination of historical material and the conducting of interviews, I translate these lived experiences into an archive of methodology and a vocabulary of remembrance and forgetting.
I contend that the more we delve into the field of collective remembering, the more we can glean an understanding of ourselves and our place in the world. Therefore, research into how we choose to remember and what we choose to forget can play an integral part in art, though it requires that informed ethical practices be put in place. Moreover, to an artist working in the public sphere, this offers the opportunity to further probe the role of the artist in the social realm
Reflexive Dramaturgy: Études for the (performing) arts in a time of change
No full textDen som leser disse ordene, befinner seg nå allerede over terskelen til en samling av det forfatteren har kalt refleksive etyder. Ordet etyde utvides her fra musikkens mest ‘klassiske’ avdeling, hvor det betegner et øvelsesstykke innrettet mot å løse et isolert teknisk-musikalsk problem og transformeres til praktiske tankeøvelser for (scenekunst) feltet som helhet. Den refleksive etyden er derfor valgt som en praktisk teoretisk øvelse i å tenke seg løs fra de (ofte) ubevisste eller halv-bevisste forutsetningene og hindringene som en kunstaktør hele tiden arbeider i, og med. I dette ligger en forståelse av at det å tenke over også er en øvelse, og at kunsten å tenke uløselig henger sammen med kunst overhodet. Ambisjonen er å utvikle det forfatteren har kalt for en refleksiv dramaturgi. I dette ligger en dramaturgi som ikke begrenser seg til analyser av sceneteksten, eller av teaterrommets kalkulerte kunstneriske virkemidler, men som i tillegg evner å utvide sitt søk etter andre, og mindre iøynefallende, men ikke desto mindre virksomme, handlinger. Refleksiv dramaturgi blir slik en type teoretisk praksis som forsøker å lokalisere og artikulere de handlingene som (refleksivt) setter grenser for det estetiske, men som ofte selv ikke er tilstrekkelig del av kunstens og scenekunstnerens selvforståelse.The fact that you are reading these words means you have already stepped over the threshold of a collection of what the author calls reflexive études. Here, the author is expanding on the word étude as it is used in music’s most ‘classical’ department, where it denotes a practice piece designed to address an isolated problem of musical technique, and transforms it to serve as a practical thought exercise for the (theatre) field as a whole. The reflexive étude therefore serves as a practical-theoretical exercise in trying to think one’s way to freedom from the (often) unconscious or semi-conscious assumptions and obstacles that the art actor constantly has to contend with. Implicit here is the notion that thinking through also constitutes an exercise and that the art of thinking is inextricably associated with art in general. Like musical exercises, the reflexive études are characteristically specific: each focuses on practice relevant to something particular – perhaps one performance, an issue of acting technique, an acute theatre -sociological situation, or the question of what a theatre script can and should look like. The ambition is to develop what I have called a reflexive dramaturgy. This conception of dramaturgy does not limit itself to analyses of the theatrical text, or to the theatre’s arsenal of calculated stage effects, but is capable of expanding its reach to identify other kinds of action that exert a powerful influence, despite their being seemingly inconspicuous. In this sense, reflexive dramaturgy becomes a kind of theoretical practice that seeks to identify and articulate those actions which (reflexively) set the limits for aesthetic experience, but which are often insufficiently covered by the ways that art and theatrical art view themselves.publishedVersio
Mineraler og naturfenomener – Kunstneriske uttrykk gjennom regelbasert utforskning [Prosjektbeskrivelse]
No full textProsjektbeskrivelse datert 15.08.2018Etter fire år, og nær avslutningen av prosjektet, har jeg sett på prosjektets tematikk og
aktiviteter i tilbakeblikk, fremfor en omskrivning av den opprinnelige prosjektbeskrivelsen
som ble levert i forbindelse med opptak høsten 2014