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WE, THE GARMENT PRACTITIONERS
Full text linkI am a garment practitioner, and so are you.
Wearing clothes, washing clothes, folding, touching, feeling, sensing, looking -
Continuously engaging with materials in relation to our own bodies.
We gather experiences, histories, memories and tacit knowledge that we carry in our bodies as we open up our wardrobe another day.
We are forming connections, both on a physical and emotional plane.
What is a fashion practice that centers itself around these connections?
Can our tacit experiences of material relationships be translated into the act of continuous stitching? This project is an ongoing investigation into what it means to be a practitioner within the field of fashion. Translating experiences of private everyday garment-practicing, into questions and expressions for public audiences and spaces
Vi i nåtid
Full text link«Vi i nåtid» er et eksperimentelt tegneserieprosjekt. Gjennom tekst og tegning utforsker arbeidet relasjonen mellom individet og det kollektive. En tidvis humoristisk og sår utforskning av et «vi» som aldri blir helt tydelig definert eller avgrenset. Hver tegning / side kan stå selvstendig for seg selv, men de er skrevet og tegnet for å leses i sammenheng med hverandre. Prosjektet utgjør grunnlaget for en større bokutgivelse som tentativt skal gis ut i 2025. Innenfor rammene av masterprosjektet kommer resultatet mitt til å bli presentert som originale tegninger og en zine
Rotation is Your Motivation: Phase 3
No full textThe project explores the relationship between anatomical structure and aesthetic values in dance. Inspired by William Forsythe's work, its title focuses on hip rotation as a catalyst for improvised movement material. This artistic and scientific endeavor delves into the anatomical functionality of the dancing body and its impact on artistic expression.
The "Rotation is Your Motivation" research project aims to collect knowledge about the anatomy of the dancing body to open a discussion about the relationship between anatomy and talent and between the scientific and artistic sides of dance. The research project's main topic is to see if there is any difference in anthropometry data between ballet, jazz, and contemporary dancers and find out what causes the differences.
A summary of the earlier phases:
- Phase 1: Our research evaluated dancers' unique hip joint structure and movement possibilities to determine whether function and aesthetics align with choreographed movement material. The results of our scientific study were intriguing: We found no direct correlation between the geometry of the hip and the ability in hip rotation. In the artistic research phase, we created a beautiful unison material that can never be perfect due to anatomical diversity, making it a unique and fascinating aspect of our research.
- Phase 2: We worked with Matthew William Onarhein-Smith, a dance teacher and osteopath, to research other dance-related institutes' monitoring systems and protocols. Our goal was to find systems that could be implemented at Khio. Monitoring an athlete's status is expected in the athletic world and is now being used in some dance training and performing institutions. This monitoring provides essential information such as the athlete's training readiness, risk of injury, and current training load.
In the third phase, we will research the anthropometric variations among dancers who practice different dance styles. To develop a holistic approach to dance pedagogy, we must know how training and lifestyle shape the dancer's body. Using measuring devices, we can gain valuable information, adjust training methods, and teach students the consequences of their lifestyle choices.
The main question of the research:
What are the anthropometrical differences between dancers studying different dance styles?
Our previous research found significant bone density, fat content, and muscle mass differences between ballet dancers and contemporary dancers. These are fundamental discoveries because we must find out why there is such a big difference between the styles. It could be the training, but it could also be different lifestyle choices. Besides training, nutrition, recovery techniques, and sleeping habits can also affect how bone, muscle, and fat tissues develop. Sufficient bone density and fat content for dancers are critical. There is a condition called the Female Athlete Triad, which combines disordered eating, amenorrhea, and osteoporosis. This disorder often needs to be recognized. The symptoms of the Female Athlete Triad start with tiredness, loss of sleep, and low appetite. In the long run, it can lead to loss of the monthly cycle, bone density, and mineral content.
There is an advanced but easy-to-apply method to determine whether KHIO students have anthropometric differences. The DEXA machine (Dual Energy X-ray Absorptiometry) can measure the tissue content of the body. It detects early signs of bone loss, fat loss, and differences in muscle content between the two sides
En folkefiende
No full textDel av forestilling: "Et dukkehjem. En folkefiende". 3 klasse Skuespillerfag.En folkefiende:
Doktor Thomas Stockmann: Randin Mikael Kummeneje
Fru Stockmann: Sofia Tjelta Sydness
Petra: Hibba Najeeb
Peter Stockmann: Eline Torsdatter Karijord
Martha Kiil: Nora Moseid
Hovstad: Jonas Skjelde
Billing: Conrad James McLean
Aslaksen: Sebastian Sergio Tao Fogh
Kunstnerisk og teknisk stab
Regi: Hans Henriksen
Scenografi og kostymedesign: Soumi Saha, student ved Akademi for scenekunst (NTA)
Integrert veileder nynorsk tekst: Ola Bøe
Lysdesign: Ronnie Tungland
Kostyme veileder: Signe Vasshus
Rekvisitter: Kikki Norén Løwgren
Scenemester: Marius Larsen
Inspisient: Linda Marie Magnussen og Malén Røsnes
Maler: Olivier Marcouiller
Snekker: Anders B. Hamr
The Dunke-dunk project at Sørøya (Finnmark)
No full textThe uploaded elements document a learning theatre in the KHIO library space, at the occasion of ARW24 (artistic research week 2024). The session took place 11:15-13:00 hours. It was organised as an event, with performance and installation aspects combined. It was followed by an artist talk.
The content was devoted to an artistic research projecect on the Kvithellehula cave by Hasvik, Lopphavet, Sørøya, Finnmark: a site-survey of the cave as a memorial public space, dedicated to the memory of the 35 people who lived in hiding there from October 1944 to May 1945, during the Nazi air-raids, and the scorched earth policy of the 3rd Reich. The work is dedicated to the time of waiting, in a site specific study of that way of being.
Then, after a break, the visitors were invited to take their place in an amphitheatre seating and were introduced to the exposition [re] mapping of being, from the Dunke-dunk project’s fieldwork at Sørøya, that was published in VIS (Nordic Journal of Artistic Research): an issue dedicated to public space and memory. Theodor Barth followed suit by a cartographic survey of the exposition, which is in part a field-record in part a stage-book.
The visitors were invited to partake of the work in several adjacent layers: these were disposed alongside in both space and time. The documentation is organised in the following way:
0—prompt (handout presenting the dunke-dunk project and its ramification in this collaboration)
1—ARW24-Dunke-Dunk features a recap by Nataliia Tsyu-Korotkova and Nina Tsy
2—[re] reading /panels features the views used for the cartographic reading
3—[re] reading (panels w/notes) the same but with the text-patches for the talk.
4—Video 2 (frontal view, prompt)
5—LEARNING OUTCOMEs (for assigned BA level)
6—LEARNING OUTCOMEs (for assigned MA-level)
7— LEARNING OUTCOMEs (for assigned PhD level)
8—MAP of the event.
http://www.dunkedunk.com
https://www.researchcatalogue.net/view/1659054/185506
Hazy Gardens
No full textNO:
**"Hazy Gardens"** hviler på en allegorisk tvetydighet av hagen som en arketypisk representasjon av sjelen og lykken. En hage symboliserer et åndelig sinnstilstand, men også et fysisk rom der man kan søke tilflukt og skjønnhet. Mens den er et forsøk på å skape natur i en begrenset form, kan den også sees som en forlengelse av det hjemlige rommet. Det er en dimensjon som bevisst kultiveres ut fra et behov for komfort, frihet og flukt. På et vis er det å pleie en hage det samme som å pleie seg selv – en legemliggjøring av menneskets ønske om å ta vare på og bli tatt vare på. Den forsømte, en gang frodige hagen blir et symbol på både forfall og på naturens standhaftighet, som til slutt gjenvinner sitt habitat.
Med en lignende omsorg og sensitivitet – som om man steller en hage – overføres milde bevegelser til trykkpapiret gjennom kunstnerens kreative prosess. Slik skapes en drømmende hage, samtidig som den flyktige naturen til selve drømmen gjenspeiles. Kunstnerens forsøk på å dyrke og bevare både virkelige og imaginære hager blir en allegori over (menneske)naturen – dens bestandighet og forgjengelighet.
ENG:
"Hazy Gardens" premises on an allegorical ambiguity of a garden as an archetypal image of the soul and happiness. A garden represents a spiritual headspace but also a physical space where to seek sanctuary and beauty. While it is an attempt to create nature in a constrained form, it can also be seen as an extension of a domestic space. It is a dimension that is purposefully cultivated in a need of comfort, freedom and escape. In a sense, nurturing a garden is nurturing oneself. It is an embodiment of human desire to care for and be cared for. The neglected, once lush garden becomes a symbol of both decay and of a tenacious nature that eventually takes over the habitat.
With similar attentiveness and sensitivity, as if tending to a garden, gentle gestures are transferred to printing paper though the creative process of the artist, envisioning a dreamy garden space, and simultaneously representing the ephemeral nature of the dream itself. Artist’s attempt to grow and maintain both real and imaginary gardens becomes an allegory of the (human) nature, its permanence and impermanence.
Maria Erikson (b.1985) lives and works in Tallinn and Oslo. Her body of work is an exploration of personal identity and cultural narrative through the methodology of craft and the process of artmaking, the representation of the body and the ephemeral nature of material itself. With the focus on materiality and materials as sets of relationships, she investigates visible and non-visible relations that are produced by the gestures between them. In new structural arrangements she investigates their jointness and indifferences, bodiliness and ability to inhabit shared space
På felles grunn
Full text linkNorsk:
Masteroppgaven På felles grunn drøfter spørsmål om kroppens forhold til underlaget og hvordan det settes i spill gjennom handlinger i rom. Jeg har reflektert rundt erfaringer med performancen KJ KN KA og mitt forhold til arkitektur jeg omgir meg med. Som en motreaksjon på det arbeidet tok jeg praksisen min i en sosial og kollektiv retning med prosjektet På felles grunn, der jeg i en verkstedserie involverte venner og kollegaer i fysiske øvelser med blåleira. Oppgaven avsluttes med åpne spørsmål om hvordan empati og samhørighet mellom mennesker kan oppstå gjennom arbeid med blåleire.
English:
The thesis On Common Ground deals with questions of our body’s connection to the ground, and what happens when blue-clay is put in motion through actions at specific places. Within the text I reflect on the experience of repeating a site-sensitive performance, KJ KN KA and my relationship to architecture. I discuss how I as a counter-reaction to that work evolved my practice in a social and collective direction with the project On Common Ground, where I through a series of workshops involved friends and colleagues in the physical work with blue-clay. The thesis ends on an open note with questions of how empathy and interconnections between people can come about through work with blue-clay
Collection of Curiosities
Full text linkEnglish:
Dariusz Wojdyga’s project Collection of Curiosities is an art jewellery series inspired by marine life depicted in Albertus Seba's "Thesaurus" (Volume 3, Tab I-CXVI), and crafted from materials salvaged from the depths of the Akerselva River in central Oslo. The display of raw materials retrieved from the river outside of Oslo National Academy of the Arts, and documentation of Wojdyga’s working process, is designed to emulate the awe-inspiring “wunderkammers” and cabinets of curiosities in the sixteenth century, which were used to convey deep scientific and philosophical engagement in bourgeoisie classes.
The project delves into the sustainability of material-based artistic practice, performative out-of-studio interventions in public space, soft activism, and communal collective engagement. Having operated in the public space in and around the river, the project also adopted a performative nature, as the artist’s activities sparked conversations with passersby, and collaborations with individuals and organisations invested in Akerselva's well-being. Wojdyga utilises jewellery as a medium for communication and crafts wearable objects. These serve as catalysts for bringing up topics related to sustainability of human activity, ecology, eco-activism, and the power of collective actions.
Norsk:
Dariusz Wojdygas prosjekt Collection of Curiosities er en kunstsmykkeserie inspirert av livet i havet avbildet i Albertus Sebas «Thesaurus» (Volum 3, Tab I-CXVI), og laget av materialer berget fra dypet av Akerselva i Oslo sentrum. Utstillingen av råvarer hentet fra elva utenfor Kunsthøgskolen i Oslo, og dokumentasjon av Wojdygas arbeidsprosess, er designet for å etterligne de fryktinngytende «wunderkammers» og kuriositeter i det sekstende århundre, som ble brukt til å formidle. dypt vitenskapelig og filosofisk engasjement i borgerskapsklasser.
Prosjektet fordyper seg i bærekraften til materialbasert kunstnerisk praksis, performative intervensjoner utenfor studio i det offentlige rom, myk aktivisme og kollektivt engasjement. Etter å ha operert i det offentlige rom i og rundt elven, fikk prosjektet også en performativ karakter, ettersom kunstnerens aktiviteter utløste samtaler med forbipasserende, og samarbeid med enkeltpersoner og organisasjoner investert i Akerselvas ve og vel. Wojdyga bruker smykker som et medium for kommunikasjon og håndverksgjenstander. Disse fungerer som katalysatorer for å ta opp temaer relatert til bærekraft av menneskelig aktivitet, økologi, øko-aktivisme og kraften til kollektive handlinger
Luftslottet
Full text linkNorsk:
"Luftslottet" er en installasjon av Sofia Nömm som utforsker ideen om et sakralt rom gjennom store keramiske skulpturer. Inspirert av arkitektoniske prinsipper og personlige erfaringer, inkluderer installasjonen skulpturer som Luftslottet, Karet, Halvsirkelen og Tårnet. Hver skulptur bidrar til å skape et landskap av monumentalitet og inviterer betrakteren til refleksjon. Gjennom nøye plassering og sammensetning av skulpturene, søker hun å skape et harmonisk rom.
English:
"Luftslottet" (The Air Castle) is an installation by Sofia Nömm that explores the idea of a sacred space through large ceramic sculptures. Inspired by architectural principles and personal experiences, the installation includes sculptures such as the Air Castle, the Vessel, the Half Circle, and the Tower. Each sculpture contributes to creating a landscape of monumentality and invites the viewer to reflect. Through careful placement and composition of the sculptures, she seeks to create a harmonious space
Of the body the trace remains
Full text linkENG
Territory, identity, and the intricate interaction between the body and the landscape are the most relevant concepts surrounding my artistic research. I’m curious about the body’s malleability and its capacity to transform through interactions with other bodies, spaces, and time. Questions of boundaries and the body’s ambiguous limits arise, influenced by personal experiences of migration.
Where does my body starts and where doses it ends?
I begin by grounding myself in the physicality of my own being, embodying a Latin American woman with Spanish roots. The exploration extends to collective bodies that transit geographical boundaries, reflecting on familial histories of migration. I wonder if their bodies are still present in the spaces where they passed through or if these spaces give us some knowledge of its fragments.
I’m inspired by nature and its materials and textures, and I’m particularly intrigued by the connection between the body and water, resonating with the ideas of posthuman feminist phenomenology. Nature, sound, silence, and material states serve as ongoing inspirations for my work.
NO
Territorium, identitet og det intrikate samspillet mellom kropp og landskap er de mest relevante begrepene i min kunstneriske forskning. Jeg er nysgjerrig på kroppens formbarhet og dens evne til å forandre seg i samspill med andre kropper, rom og tid. Spørsmål om grenser og kroppens tvetydige grenser dukker opp, påvirket av personlige erfaringer med migrasjon.
Hvor begynner kroppen min, og hvor slutter den?
Jeg begynner med å ta utgangspunkt i min egen kroppslighet, som en latinamerikansk kvinne med spanske røtter. Utforskningen strekker seg videre til kollektive kropper som krysser geografiske grenser, og jeg reflekterer over familiære migrasjonshistorier. Jeg lurer på om kroppene deres fortsatt er til stede i de områdene de passerte gjennom, eller om disse områdene gir oss kunnskap om fragmentene av dem.
Jeg er inspirert av naturen og dens materialer og teksturer, og jeg er spesielt fascinert av forbindelsen mellom kropp og vann, noe som gir gjenklang i ideene fra den posthumane feministiske fenomenologien. Naturen, lyd, stillhet og materielle tilstander er en kontinuerlig inspirasjonskilde for arbeidet mitt