Konstnärliga forskarskolan



future jam: horizons

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Where: Tensta Konsthall
When: Sunday 30.3, 14:00

Haunted by Shadows of the Future – HORIZONSthe-time-tunnel-tensta1

A jam session on probable, speculative, or perhaps rather unseemly futures for Tensta in the year 2030. Starring: Adam Tensta, Dougald Hine, Gunilla Lundahl and Tor Lindstrand. Featuring: STEALTH.unlimited (Ana Džokić + Marc Neelen) and Peter Lang.

An attempt to
 re-set Tensta into probable, speculative, or perhaps rather unseemly futures in the year 2030. Will this, yet unknown Tensta be an autonomous zone, where the residents of this disregarded part of Stockholm have successfully taken their destiny into their own hands? Or 
will its multi-facetted society prove so vital that this “new Sweden” comes to dominate the entire country by 2030? Or will Tensta’s original but unfulfilled mission – of creating an environment that acknowledges and gives space to a fully liberated and democratic model citizen – ultimately be re-created? And what would such a citizens’ liberation and equality mean if we could live it today?


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  • Published: Mar 27th, 2014
  • Category: Conference
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share: call for presentations of phd research

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SHARE Conference Aarhus
Artistic research, critical practices and contemporary cities
20 – 21 June 2014

The conference Artistic research, critical practices and contemporary cities seeks to bring together artistic researchers, spatial practitioners, architects, urbanists, planners, designers, artists of all disciplines, musicians, composers, performers, activists, community organisers and city-dwellers to consider the question of the contemporary city as a site of enquiry, debate and political and professional contestation.

To shape the content of SHARE Conference Aarhus we invite colleagues from ELIA member institutions from all art disciplines to consider contributing to the programme through presentations of PhD research relating to the themes of the conference.

Submissions for presentations should include:
• topic
• summary of 400 words of the specific knowledge/practice transferred
• structure of the presentation: paper  presentation or workshop
• contact details of the presenter/s.

Please submit all submissions in  Word .doc format to ELIA Deputy Director Schelte van Ruiten at Schelte.van.ruiten@elia-artschools.org no later than Monday 28 April.

book release

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Where: Restaurang Teaterköket, StDH (T-huset), Valhallavägen 193.methodos
When: Wednesday 26 March, 17.30

FSL welcomes you to a release of both the book METHODOSKonsten kunskap, kunskapens konst on of the latest issue of KRITIKER, nr 30.

Love Derwinger x 3 performs the texts Interpretation and Reparation – En improvisation from the most recent release of the periodical Kritiker
Mats Persson plays music by Carl Jonas Love Almqvist.
A conversation on art and method with: Jan Håfström, Christina Ouzounidis, Jonna Hjertström Lappalainen, Mats Persson and Magnus William-Olsson.

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  • Published: Mar 21st, 2014
  • Category: Seminar
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lectures on music and brain


Where: At Lecture Hall Hillarp, Retzius väg 8, Karolinska Institutet Campus Solna (May 26) and At lecture hall Wallenbergssalen, Nobel Forum, Nobels väg 1, Karolinska Institutet Campus Solna (April 3).
When: Wednsday March 26th, 15.00 and Thursday, April 3rd, 15.00

As part of the lecture series Culture and Health Karolinska institutet is presenting two lectures.

March 26th – Fredrik Ullén: How musicianship transforms the brain

Fredrik Ullén is Professor of Cognitive Neuroscience at Karolinska Institutet. He studies neuropsychology of expert performance, specificially mechanisms of skill learning, brain plasticity, motivation and creativity among musicians.

April 3rd – Robert Zatorre: From Perception to Pleasure – Music and its neural substrates

Robert Zatorre is a cognitive neuroscientist at the Montreal Neurological Institute of McGill University. His research explores the functional and structural organization of the human brain, with special emphasis on speech and music. In 2006 he became the founding co-director of the international laboratory for Brain, Music, and Sound research (BRAMS).

malin arnell: 67,3% seminar


Where: Weld, Stockholm
When: May 10-12, 2014

Malin Arnell’s 67,3 % research seminar will take place at Weld in Stockholm. Opponent will be Katie Brewer Ball. Invited guests are Stefanie Seibold, Teresa María Díaz Nerio, Ulrika Gomm and Clara t. López Menéndez and others.

loitering with intent: a feast of research

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When: Stockholm, 5-7 March 2014
Where: Stockholm University of the Arts

See the program here.

Loitering with Intent brings together Stockholm University of the Arts and the Society for Artistic Research to explore formats for sharing knowledge that emerges from artistic research practices. It is presented in parallel to the EPARM network meeting and will have a joint panel discussion on Friday, Islands and Bridges.

Stockholm University of the Arts (Uniarts) was inaugurated on 1 January 2014 as part of the Swedish government’s on-going initiative to promote artistic research. The new university constitutes a merger of DOCH, the University of Dance and Circus, the University College of Opera, and the Stockholm Academy of Dramatic Arts, creating a dynamic driving force in the advancement of artistic knowledge as well as a leading international artistic research milieu.

The event runs from 17.30 on 5 March to late 7 March. To date, invited artists include: Nils Claesson, Kirsi Nevanti, Rasmus Ölme, Malin Arnell, Magnus Bärtås, Florian Dombois, Kristina Hagström-Ståhl, Paul Landon, Brita Lemmens, Tero Nauha, Poste Restante, Michael Schwab, Magnus William Olsson, and more. Furthermore, workshops will be performed to show the features of the research catalogue (please register for these workshops).


composer-performer interaction 4-5 june 2014 (1 hp)


This course takes place during 4-5 June 2014 in Malmö, and aims at discussing ongoing research on composer-performer interaction in contemporary music, spanning the period between 2009 and 2014, to trace an exploratory stage and to a present the ‘ethnographic turn’ in music performance. The seminar also presents an overview of the development of music performance studies in Brazil in tandem with the creation of post-graduate music programs, national associations for music research, and music periodicals. The course will be taught in English and is concluded by an individual written portfolio assignment.
Brazilian pianist Catarina Domenici will be leading the course. Catarina will present her ongoing research on composer-performer interaction in contemporary music and will open for an extended discussion on the quantitative and qualitative growth of music performance research in the past decades.Besides leading a active performing career Catarina holds professorship at the Federal University of Rio Grande do Sul at Porto Alegre, Brazil and is currently on the faculty at the University at Buffalo in the US.

The course curriculum can be found here.

the oblique intention of obscenity 2-3 april 2014 (1 hp)

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The workshop presentation explores the dialectics of obscenity and the way in which the obscenity card has been one utilized by the “establishment” throughout the history of modernity as a way to monitor that which might be understood as politically significant and consequently deemed “dangerous.” The thoughts of Herbert Marcuse will be introduced as they relate specifically to the juncture of the political and the erotic (departing from Eros and Civilization) to provide insight into how and why cultural forms addressing political and social realities at any given time are deemed obscene. At the same time, the seminar will explore how particular historical (and countercultural) artist movements (specifically from the 1950s and 1960s) adopted performative aesthetics as a way to convey an artist’s political subjectivity and a way to undermine the culture of consensus.
The course begins with an introductory lecture by Marta Kuzma on the 2nd April in which topics will be addressed related to the course description. The lecture will cite the obscenity debate that waged in the United States in the late 1960s as centered around the banning of the distribution of Vilgot Sjöman’s film I am Curious Yellow. Examples of art and film production dating primarily from the 1950s and 1960s will reviewed in relation to their theoretical underpinnings and within the frame of performative aesthetics. The course will continue with an open dialogue on the following day, 3rd April, together with Marta Kuzma and visiting examiner Pablo Lafuente, to extend a group discussion as to how these historical polemics and debates around censorship/obscenity relate to current limitations placed on artist practice and cultural production in general and artists’ relation to the social context, that is how do they organize themselves, how they make things possible for themselves and their production. Please contact Emma Kihl (emma@konstnarligaforskarskolan.se) for signing up.

The course curriculum can be downloaded here.

frida hållender: 50% seminar

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When: Monday March 3, at 13.00-16.00
Where: Mångkulturellt centrum, Fittja

Frida Hållender is a PhD candidate at Konstfack, Univeristy College for art and design.

The seminar will be held in Swedish.


Katja Grillner is an architect and critic based in Stockholm, Sweden. She is a professor of Critical Studies in Architecture and Director of Architecture in Effect

Otto von Busch (PhD) is professor in textile design at Konstfack university college of arts, crafts and design (Stockholm), and assistant professor at Parsons the New School for Design (New York).

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  • Published: Mar 1st, 2014
  • Category: Performance
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evaporated landscapes


Where: Black Box Theater, Oslo, Norway
When: 13-14/3, 2014

With evaporated landscapes Mette Ingvartsen creates an artificial world that behaves according to rules of evaporation, dissolution and transformation. Departing from ephemeral materials and matters like light, sound, bubbles and foam the performance constructs landscapes of various kinds.

Some of the artificial landscapes resemble nature, as we know it from the past, others look more like futuristic inventions. In either case they produce sensations of calmness and rest but also fascination and surprise, impressions we normally attribute to the world of natural wonders.

In Evaporated Landscapes choreography no longer belongs to the organization of bodies and their movements in space. Rather choreography is understood to be the relationship that operates between the ephemeral elements, as they magically float and dissolve into space. The movements that appear do not only show up in space but also within the bodies of the spectators due to the sensations and perceptions they encounter throughout the performance.

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