Artistic Research Week 2026: Spaces to Remember – Times to Reconcile

09:45-15:15

Biblioteket

Epigraf: Trivia derives from the Latin trivium — “a place where three roads meet”; in transferred use, “an open place, a public place.” Its adjectival form, trivialis, meant “public,” hence “common, commonplace.” Traditionally, the trivium is used to express the relation between grammar, logic and rhetoric. At present: the relation between documents, large language models and usership.

Occasion: Staying with the trivial is the title of a ‘vocational seminar’. It is the third seminar in a 3-step programme hatched and prepared collaboratively by the National Library of Norway (NLN) and Oslo National Academy of the Arts (KHiO). The two previous seminars were hosted at the NLN, the final and closing one at KHiO. The whole project was initiated by a walkabout in KHiO’s ‘production village’ with colleagues from NLN. With a concluding roundup in the Sewing workshop, hosted by Rector Marianne Skjulhaug. The three topics for vocational seminars, selected during the roundup, was: materiality, machines and media. We have now arrived at media. Vocational means that it is a practical seminar.

Responding to the call from KHiO’s ARW-26 Times to reconcile, we have prepared a seminar with 8 interventions paired from the NLN and KHiO: Harald Østgaard Lund (NLN) & Jan Pettersson (emeritus from KHiO); Siv Frøydis Berg (NLN) & Geir Harald Samuelsen (invited from KMD by KHiO); Jana Sverdljuk (NLN) & Kirsti Bræin; Lars Johnsen (NLN) og Theodor Barth (KHiO). We have asked them to stay with the trivial. The objective is to move from pairing to peering.

The seminar calls for interventions that do not rush to conclusions. The paradox that my claiming less, we can achieve more. The research we have on our list are from projects in which making ‘some progress’ is the yard-stick of achievement. And the measure of success is to accomplish something of this kind: individually and as a group. We want to stay with the trivial: one step at the time, making sure that each has a sticky end. Dedicating muscle-memory to re/membering.

Artistic Research Week 2026 (ARW-26)—«To research also means to remember: As researchers deepen their experience, collect insights, and gather intelligence, they work towards expanding a shared knowledge base. This base should be accessible to everyone. It is a collective memory that will cease to exist if we don’t keep contributing to it and protect it, by taking care of archives, libraries, and other homes of shared knowledge.» All the contributors have taken this to heart…

Keywords: trivia, mediation, conciliation, remediation, interaction, digital technology, architecture, large language models (AI), science technology studies, art-work, archives, linear logic, learning theatres and Goethe.

• Programme
• Dialogues
• Abstracts

10:00-11:00

Scene 4

Rector Marianne Skjulhaug, Pro-Rector for research Manuel Pelmuş, AK Dolven and Robel Temesgen

11:30-13:00

Teorirommet

Nina Malterud, Ane Hjort Guttu and Marianne Skjulhaug

14:00-16:00

Teorirommet

What is the value of artistic research and practice in times of human and cultural genocide? KHiO art academy invites Sarah A. Rifky, PhD, researcher and author based in Cairo and the Gaza-based collective Dahaleez to exchange about their research practices and the impact of the Beirut project (initiated in the aftermath of the Egyptian uprising), co-founded by Sara Rifky, on the contemporary art landscape of the region.

Sarah A. Rifky, PhD, is a curator, writer, and art historian whose work explores the afterlives of modernism, cultural infrastructures, and critical historiography across the global majority. She has held curatorial, founding, and leadership roles in Egypt, the United States, and internationally including with Townhouse, documenta 13, and Beirut (the art space she co-founded). She engages art as a site of political inquiry, pedagogical exchange, and critical play.

Dahaleez is a research art collective founded in 2021 by Gaza-based artists and researchers Khaled Jarada, Rahaf Batniji, Salman Nawati, Majdal Nateel, Carmel Al-Abbasi, Mahmoud Abu Wardeh, and Mahmoud Al-Shaer. It began with the collaborative project “Geography of Divine Magic” at the Beit Al-Ghussein Cultural and Heritage House in Gaza, which explored Palestinians' temporal and spatial realities under siege. Dahaleez develops analytical and exploratory tools to examine the social and political forces shaping visions of liberation and reconstruction of Palestine. The collective promotes collaboration through workshops, reflective meetings, and co-production exercises with other artists and cultural workers in Gaza.

14:00-16:00

Formsalen

In this session the staff of the Design Department shall be sharing their research and describing the progress of their projects.

The session will consist of a short presentation of the current strategy for the Design department followed by presentations by the staff.

Introduction by Markus Degerman. Moderated by Maziar Raein

16.30-18.00

Prøvesal 1

Prosjektet undersøker hvordan musikken i opera ikke bare fungerer som klanglig ramme, men som en aktiv dramaturgisk motor. Vi utforske hvordan musikalske impulser oversettes til sceniske handlinger, karakterutvikling og kroppslig uttrykk. Målet er å utvikle en systematisert forståelse av musikkens teatrale funksjon som kan berike både forskning, fremtidige operaoppsetninger og utdanningen av nye utøvere.

16:30-18:30

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André Lepecki, with moderators Per Roar, Bojana Cvejić, and Torunn Robstad, joined by research fellows and master students at Dance.

The conversation with André Lepecki is based on questions that emerge from engaging with his writing and exploring the politics of dance and movement today. André Lepecki is a professor of performance studies at New York University and author of influential works such as Exhausting Dance: Performance and the Politics of Movement (2006) and Singularities: Dance in the Age of Performance (2016), as well as a keynote speaker for Artistic Research Week 2026. The conversation is prepared and moderated by staff members, with support from research fellows and master’s students from the Academy of Dance, KHIO.

BIOS:

André Lepecki, Professor of Performance Studies, New York University, NYU – LINK: https://tisch.nyu.edu/about/directory/performance-studies/93142600

Per Roar, Professor and Head of the Master’s Programme in Choreography, KHIO – LINK: https://khio.no/en/staff/per-roar-thorsnes

Bojana Cvejić, Professor of Dance Theory, KHIO. LINK: https://khio.no/en/staff/bojana-cvejic

Torunn Robstad, Professor and Head of the Master’s Programme in Dance, KHIO – LINK: https://khio.no/en/staff/torunn-helene-robstad

18:30-19:30

Teorirommet

What, How & for Whom/WHW (established in Zagreb in 1999) is a curatorial collective based in Zagreb and Berlin, whose members are Ivet Ćurlin, Ana Dević, Nataša Ilić and Sabina Sabolović, along with designer and publicist Dejan Kršić.

In 2018 WHW collective launched an independent international study program for emerging artists called WHW Akademija, based in Zagreb.

From 2003 – 2023 WHW was running the program of Gallery Nova, a city-owned gallery in Zagreb. From June 2019 to June 2024 members of the collective Ivet Ćurlin, Nataša Ilić and Sabina Sabolović were Artistic Directors of Kunsthalle Wien. In that period, on behalf of the collective Ana Dević was running WHW’s Zagreb-based programs: WHW Akademija and Gallery Nova. In August 2024, Ivet Ćurlin, Nataša Ilić and Sabina Sabolović were appointed as Artistic Directors of the next edition of Skulptur Projekte Münster, to be held in 2027.

Zagreb WHW team also consists of curator Ana Kovačić and financial and EU project manager Gordana Borić.

20:00-21:00

Auditoriet

I want to protest yet I dance - a practical essay

A live, work-in-progress presentation of the dance film essay "I want to
protest yet I dance" which asks, what does it mean to dance in the
studio, right now, when there are many reasons to be on the street
instead. It turns its inquiry to dancing in the studio in
an attempt to understand the relationship between dance and protest and
to elucidate the resistant poetics and politics of dancing.

duration: 20 minutes

Bio

Benjamin Pohlig (NO) is a choreographer, dancer and researcher
originally from Berlin now based in Oslo, Norway. He studied
contemporary dance both in England and Belgium. In his choreographic
work, he explores the theatre as agora, a place in which social and
political behaviours are not only practised, but are also experienced
physically. This concept appears across his works, including the
participatory solo "dance yourself clean", and his collaborations "5
seasons" with Katie Vickers and "A Farewell to Flesh" with Sunniva Vikør
Egenes. As a dancer, he has worked internationally with amongst others
Martin Nachbar, Renan Martins and Isabelle Schad. From 2019 to 2022 he
was an ensemble member of Cullberg where he danced with Eleanor Bauer,
Alma Söderberg and Deborah Hay. As a Phd researcher at KHiO he now
investigates the relationship between dance and protest drawing both on
the concepts of social and expanded choreography and his personal
experiences as a dancer and citizen.

10.00-11.10

Biblioteket

Artist researchers invite you to attend a series of reflective and future presentations in the library, to access a collective memory of material- and medium-based artefacts, and to experience a haptic environment of shared knowledge.

10.00 - 10.30

TiO2: The Materiality of White - Marte Johnslien, Associate Professor of Ceramics
This project studies the chemical compound titanium dioxide (TiO2), the world’s most used white pigment through history, first patented for industrial production in Norway in 1909. The pigment is produced from ilmenite, a mineral which is mined in Rogaland. The extraction has a devastating impact on the local environment in Sokndal. The research aims to bring titanium dioxide back to its earthly origin by reconnecting it with the landscape it came from, and to make it visible through ceramic processes.

10.30 - 10.50

(Re)Definition of Printmaking - Aleksandra Janek, Professor of Printmaking
While international printmaking events explore various technological and conceptual aspects, the core question—What is printmaking today?—often remains elusive. This project critically examines the evolving nature of printmaking in response to technological, ecological, and cultural shifts. The presentation offers insight into ongoing research and dialogue between theorists and artists, opening pathways that challenge traditional boundaries and redefine the medium.

10.50 - 11.10

Iron Notes - Jorge Manilla Navarrete, Professor of Metal and Jewellery
‘At the Borders of Iron’ is a network and series of events at institutions in Italy and the Nordic region funded by the European Union. By relying on a strong background in metalworks and blacksmithing, the collaboration brings together artists, creators, producers and educators to engage with artistic research activities in Estonia, Finland, Italy, Norway and Sweden. The consortium seeks to find new ways to strengthen the awareness of blacksmithing tradition, to enhance regional possibilities and future co-operation across different countries. The presentation accompanies two group exhibitions by metal and jewellery students in both reception gallery and selduken gallery.

Moderated by Victoria Browne

11:30-13:00

Biblioteket

Artist researchers invite you to attend a series of reflective and future presentations in the library, to access a collective memory of material- and medium-based artefacts, and to experience a haptic environment of shared knowledge.

11.40 - 12.00

Bypassing Deep Time - Trine Wester, Associate Professor of D-Form
By burning shells from Pacific oysters harvested directly from the Oslofjord in a specially built lime kiln, the same type of lime extracted from limestone quarries is produced. This lime is used in the development of a plastic, self-hardening material intended for use in artistic work. Through collaboration with various interdisciplinary communities, the project has also created temporary social spaces where interaction and local belonging have fostered new relationships for further cooperation. During the presentation, images from the process so far will be shown, and material samples will be available before and after..

12.00 - 12.20

Woven Strategies - Emelie Röndahl, Professor of Textiles
As the newly appointed Professor of Textiles, Röndahl will introduce her artistic practice in handwoven rya, as well as research interests and some loose ideas for a new project presented at Parse in November 2025. She will present an update on Franz Petter Schmidt’s artistic research project ‘Beyond Heritage’, and introduce the Agenda-KUF special—with invited textile researchers presenting material on the theme of anger.

12.20 - 12.40

Art, Water, Bodies - Sara R. Yazdani, Associate Professor of Art History
In this talk, Yazdani will introduce her research on contemporary art and sensibilities. She will take the very different works of the artists Carolina Caycedo and Tai Shani as a place of departure to discuss how contemporary artworks, in various forms and mediums, and through different engagements with materiality, produce worlds based on strange affective relations that open for alternative knowledges of bodies, water, and nature.

12.40 - 13.00

MishMash: Creative Practice, AI Literacy & Co-Creative Futures - Tiril Schrøder, Professor of Drawing, Øystein Stene, Assistant Professor of Theatre and Trine Wester, Associate Professor of D-Form

MishMash is a national consortium funded by the Research Council of Norway. The project examines how AI reshapes creative practices across art, design and education as it becomes embedded in everyday tools—often regardless of choice. In response, shared guidelines, ethical awareness and environmental responsibility are urgently needed. MishMash aims to strengthen AI literacy, build critical understanding of its impacts and pitfalls. We welcome colleagues interested in joining and contributing to the project.
Moderated by Victoria Browne

11:30-12:30

Teorirommet

Livre d’images sans images by Mette Edvardsen & Iben Edvardsen borrows its title from a book by H.C. Andersen, also referred to as The Moon Chronicler. The book follows a conversation between a painter and the Moon, where the Moon describes to the painter what she sees on her journey around the world every evening, telling the painter to paint what she describes. “This conversation, as in the now obsolete meaning of the word (‘a place where one lives or dwells’), was the starting point for our work. Using the weather report as dramaturgy, (‘the moon did not show up every evening, sometimes a cloud came in between’), we have created and collected materials from our conversations in the form of recordings, text, voice, drawings, references, found images, loose connections, inspirations and imaginations, in the order they came to us. They are at the same time sources and traces, material and support for new imaginations or events to come.” The work consists of three different media: vinyl, paper and live performance.

On the occasion of the Artistic Research Week, Mette Edvardsen will share excerpts from the work by playing tracks from the LP and telling some of the stories.

From website: https://metteedvardsen.be/projects/livre-d'images.html

Bio
Mette Edvardsen works within the performing arts as a choreographer and performer. She has worked since 1994 as a dancer and performer for several companies and projects and has developed her own work since 2002. She presents her works internationally and continues to develop projects with other artists, both as a collaborator and as a performer. Making books and publishing is an important part of her practice. She is co-founder of Varamo Press and her long-term project ‘Time has fallen asleep in the afternoon sunshine’ involves publishing as well. She runs Norma T, a bookshop and project room, in her workspace in Oslo, and is currently finalizing her PhD at Oslo National Academy of the Arts.

11:30-13:00

Scene 4

Gjennom mange års undervisning i bevegelse med skuespillerstudenter har jeg utforsket det kroppslige uttrykket som ligger mellom dans og teater; det som potensielt kan erstatte tekst og som snakker mer til kroppen enn til hodet. Jeg har utviklet et diagram som utfordrer og utvider spennet i bevegelsesvokabular og rombruk, og inviterer dere med dette til å ta del av funnene mine så langt. Velkommen til presentasjon og fysisk workshop onsdag 21.jan 2026 fra kl 11.30 – 13.00.

Karen Høybakk Mikalsen er dansekunstner, pedagog og koreograf, og førstelektor i bevegelse for skuespill på Teaterhøgskolen. Hun underviser alle årskull i kroppslig bevissthet, scenisk nærvær, relasjonsarbeid og komposisjon, inkludert soloarbeid, kontaktimpro og Ensemble Thinking.

11:30-13:00

Auditoriet

14:00-16:00

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Mohammad Abbasi, Ilse Ghekiere, and Tendai Makurumbandi.

The three new research fellows at the Academy of Dance will introduce their artistic PhD projects and engage us in a conversation and exchange.

Mohammad Abbasi will introduce the project "Reclaiming the confiscated body of connection." According to Akira Kasai, “we inhabit two bodies: an internal body, located within the limits of our skin, and an external body that extends outward and connects to the internal bodies of others.” For Abbasi, the body of connection refers to the latter, this shared body, which in many societies is vulnerable to confiscation by authority—whether through imprisonment, the design of urban space and architecture, the imposition of lifestyles, or other mechanisms used to manipulate and regulate the connection between one’s body and the bodies of others. Abbasi's research centres on a key question: How can one reclaim the body of connection?

Ilse Ghekiere will introduce her project To Be a Body for You, which explores the undocumented life of German-Norwegian dancer Elsa Lindenberg (1906–1990) and asks the broader question: How do we tell the life of a dancer, as a dancer?

This sharing will take the form of a class and will include elements of “Spenningsregulering,” a movement-awareness approach rooted in the teaching of Elsa Gindler, who was Elsa Lindenberg’s most significant influence.

Tendai Makurumbandi will introduce the project "Omnivibrance: Choreographing Rhythmic Futures Through Decolonial Practice"- in which he is exploring vibration as a form of choreographic and decolonial knowledge. The project is a collaboration with the Opera in Kristiansund and is the first to be funded as a Public PhD project at KHIO.

BIOS

Mohammad Abbasi is an actor, dancer, choreographer, video artist, and festival director whose work explores the intersections of performance, activism, and embodied research. While studying theatre directing at the University of Tehran, he also performed with the Mehr Theatre Group. His first choreographic work, Recall Your Birthday, 2003, was shown at the Fadjr Festival. From 2008 to 2010, he studied contemporary dance at the Centre National de Danse Contemporaine in Angers, France. After returning to Iran, he founded the Invisible Centre of Contemporary Dance in Tehran, supporting independent dance in a context where the art form remains largely unofficial. In 2011, he launched the UNTIMELY Dance Festival, which showcased works by emerging Iranian choreographers alongside international productions from Brussels, Berlin, Amsterdam, and Zurich. Since 2008, Abbasi has also been active as a dance filmmaker. His film I AM MY MOTHER has been screened internationally and has received multiple awards. His work is often politically charged, addressing cultural restrictions surrounding dance in Iran and using artistic activism to question and challenge systems of authority. In the autumn of 2025, he began his PhD fellowship at Dance at KHIO

Ilse Ghekiere is a Belgian artist, dancer and writer whose work moves between performance, research and critique. She studied dance at the Antwerp Conservatory and holds an MA in Art History from the Free University of Brussels. As a dancer, she has worked with, among others, Michèle Anne De Mey, Mette Ingvartsen, Solveig Styve Holte and Jan Martens. As founder of ENGAGEMENT ARTS, she has been a leading voice on issues of sexual misconduct and abuse of power in the art world. As an art critic, she writes for, among others, Norsk Shakespearetidsskrift and Rekto:Verso. She is now based in Oslo and continues to explore the agency of dancers as a PhD fellow at Dance at KHIO.

Tendai M. Makurumbandi is a dancer and choreographer who grew up in Zimbabwe and is based in Kristiansund. In his work, he explores themes of identity, culture, and colonialism. He is the founder of the dance company MAKUDA, holds a BA in Dance from Zimbabwe and an MA in Choreography from the Oslo National Academy of the Arts. He is the founder of In2IT International Dance Festival in Kristiansund and was awarded Heddaprisen for the Best stage performance – dance in 2024 for his solo performance My Song. From 2026, he is a PhD Fellow at Dance at KHIO, funded by a Public PhD fellowship from the Norwegian Research Council and Operaen i Kristiansund.

16:30-18:30

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16:30-18:00 and 18:30-20:00 (break between)

Biblioteket

Once dehistoricized, democracies themselves become amnesiac and fragile. ... It is dangerous to cut them from their roots, opposing them to the historical experiences through which they were created. This is why, in the countries of continental Europe that experienced fascism, we have no need for 'anti-antifascist' democracies.

EnzoTraverso, New Faces of Fascism

We propose two consecutive sessions in which several research projects and a lecture-presentation by external guests (Pirate Care) would converge under the title above.

The title outlines four ideas:

Timelines: “mind the history!” the projects re-examine artworks, political events and legacies in art practice and political thought from history into the present, addressing lines of continuity, incomplete analogies, contradictions and ruptures

Perseverance: stands for persisting in inquiry, artistic research, art practice and political action against difficulties, obstacles and resistances now and then

Solidarity: will be addressed under the current predicament of its criminalization; most concretely through the presentation of Pirate Care

Revolt: refers to various experience of insurgency, in the shape of riots, protracted protests or minor acts of resistance, especially in art practice

Presentation of research projects:

Saskia Holmkvist, Dora García, Bojana Cvejić, Martin White (lecture performance) 1,5h

Half hour break

Lecture presentation by Valeria Graziano (Rijeka) and Tomislav Medak (Zagreb) 1,5h

Pirate Care

see https://www.plutobooks.com/product/pirate-care/

https://pirate.care/pages/concept/

order to be determined

Besides the topics, one of the objectives of this session is to explore the intersecting lines of inquiries across researchers and departments.

Time: session one 1630-18h

session two 18.30-20h

Place: Library

17:00-18:30

Katedralen

Ramona Salo about the project

As a Ph.D. fellow in design specializing in fashion, my work navigates the intricate connections between relationships, landscape, and storytelling. This project approaches research not as an objective endeavor, but recognizes it as deeply subjective and, fundamentally, a commitment to those relationships.

My engagement with this material is an act of sharing, but also of safeguarding knowledge and experience within the communities, emphasizing how our lives are interwoven with the landscape. The project aims to explore sharing as an artistic research method, rooted in collaboration and the communal ownership of knowledge and experience.

Ultimately, my Ph.D. project explores fashion as a dynamic system for building relationships and expressing collective and individual identity. This work is an ethical commitment to ensuring that knowledge circulates back to the community from which it originates.

The small exhibition taking place at the Cathedral, will be showcasing the result of an artistic collaboration from last summer. This display features images created by photographer Skjalg Vold, in collaboration with dance artist, model and choreographer Marianne Haugli, and make-up artist Lise Erlandsen. Presented in print as a deliberate contrast to fleeting digital content, this display invites to a more present appreciation of the work, «before it hits instagram". This exhibition will present our fashion editorial, allowing viewers the time and space to truly appreciate the dedicated effort, and synergy poured into every single image.

The event will transform the space into a dynamic, living landscape, complemented by a performance and a small fashion presentation, shaped by the actors in the landscape.

The list of contributors will be updated closer to the date.

18:30-19:30

Teorirommet

Dan Perjovschi lives and works in Bucharest and Sibiu Romania.

His solo exhibitions include: “Drawing the World”, Ludwig Forum for International Art Aachen (2021), The Prize Drawing“ Kunsthalle Hamburg (2016), “Unframed” Kiasma, Helsinki (2013); “Not over” MACRO, Rome (2011); “What Happen to US?” MoMA (2007); “I am not Exotic I am Exhausted” Kunsthalle Basel (2007), “The Room Drawing” Tate Modern (2006) “May First” Moderna Museet Stockholm (2006) and “Naked Drawings” Ludwig Museum, Cologne (2005).
He has participated in numerous group shows including Documenta 15 (2022); Sao Paolo Biennial (2014); Sydney Biennial (2008); “The Magelanic Cloud” Centre Pompidou (2007); the Venice Biennale (2007) and the 9th Istanbul Biennial (2005).

Perjovschi received George Maciunas Prize in 2004, The European Cultural Foundation Prize in 2012 (with Lia Perjovschi) and Rosa Schapire Prize/Kunsthalle Hamburg in 2016

Represented by Jane Lombard New York and Michel Rein Paris/Brussels

20:00-21:30

Auditoriet

Marwa Arsanios will show a film from the project Who is afraid of ideology

10:00-11:00

Teorirommet

with questions and debate moderated by Dora García

11.15-12.00

Scene 4

How do we imagine time? And how do the imaginings of time affect how art is performed?

Through notions of notation, Temporal Imaginations: Notating Time aims to deepen the understanding of how time is imagined and materialized in performing arts. By examining notation systems for movement and sound as well as practices of expanded and experimental notation, we will set out to research how disciplines such as choreography, music and performative drawing present unique perspectives of time. Through concepts of metaphor and gesture, we will explore how time is shaped, perceived and expressed within performing art practices.

The project began in November 2025, led by artistic researchers Janne-Camilla Lyster (project leader), Ellen Ugelvik (The Norwegian Academy of Music) and Nikolaus Gansterer (University of Applied Arts Vienna). The presentation will be given by Janne-Camilla Lyster.

BIO:

Janne-Camilla Lyster is a Norwegian choreographer, writer and performer. She has a particular interest in pre-figurative practices, including scores, experimental notation and notation systems for movement, as well as transdisciplinary work. She has published poetry collections, novels, plays, essays and performance scores. In Lyster’s artistic PhD Choreographic Poetry (2020), the crafting of experience of time was explored through writing literary score for dance. Her Choreographic Toolbox #1: Metamorphoses (2023) explored pre-figurative notions in performing arts. Through participating in PKU-funded Craftsmanship (2023), she researched temporal aspects of movement notations systems as well as open forms scores. Lyster is a professor in choreography at the Oslo National Academy of the Arts. https://jannecamillalyster.no/

12.00-13.00

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Luisa Greenfield, Camilla Graff Junior, Myna Trustram, and Per Roar.

Reading Room is a collaborative performance that weaves together artistic research practices, including writing, performing, reading, movement, and analogue film, through a tapestry of personal and political histories that engage with collective memory—an assembly of materials in dialogue, devised for a library. Developed by Myna Trustram, Camilla Graff Junior, Luisa Greenfield, and Per Roar.

Our collaboration began over ten years ago when we explored journal writing and the Journal, which led to Are you still there? Four approaches to the journal (2013/2018). During Covid, this was followed by an enquiry into Presence (2021), then a study of the Archive, the performance Living and Lasting (2022), and then Reading Room (2025), which is also a part of Per Roar’s contribution to the PKU-funded artistic research project MEMORYWORK.

The process behind Reading Room started in Manchester in February 2025, where we discussed what it means to bear witness as an act of resistance. As part of this, we visited the People’s History Museum, the national museum of democracy in England, which tells the radical stories of people uniting to champion ideas worth fighting for, such as the Matchgirls, whose strike in 1888 inspired a wave of collective organising among industrial workers in the UK and abroad, including Oslo. We also visited Chetham's Library, the first public reading room in North England, where Marx and Engels wrote their Communist Manifesto.

Although designed for a library, it will be tested in a different setting for this occasion. Camilla Graff Junior and Per Roar will participate live, while Luisa and Myna will join remotely.

BIOS:

Luisa Greenfield is a visual artist primarily working with analogue film and essay writing. She holds a PhD in Art and Media, and her recent 16mm film works, which she screens internationally, come from a close study of early film history. She is an active member of the LaborBerlin analogue film collective and is a regular editor and essay contributor to books and journals on film and artistic research.

Camilla Graff Junior is a performance artist and curator whose works are situated at the intersections of visual art, creative writing, ecofeminist theory, archive studies, and affect. Her current project, WE, ANIMALS (2021 – present), draws from an archive of local and experienced knowledge developed through interaction with the Fjaltring-Trans area on the Danish West Coast, its citizens, animals, and plants. Over the last thirty years, Camilla has conceived solo and collaborative works, performed and received in residencies in Europe, Africa, South America, and the United States.

Per Roar works as a choreographer, performer, and artist-researcher. Drawing on his interdisciplinary background and concern for socio-political issues, he combines strategies from social research with somatic approaches to choreography, as seen in his doctorate, Docudancing Griefscapes (2015), from the University of the Arts Helsinki. He is a professor of choreography at KHIO and was a co-leader of MEMORYWORK (2021-2024), an artistic research enquiry into the politics of remembrance and representation.

Myna Trustram worked for many years as a historian, museum curator and academic in England. Since 2021, she has worked as a writer, mostly writing short experimental essays that draw on literary and academic forms to explore themes such as mourning, childhood, separation, and emptiness.

13:00-14:00

Biblioteket

The Metalogues Research Project – One of the main concerns of this project is the ethical nature of democracy in the arts and it’s implications for practices that are orientated towards socially located practices.

In this panel discussion Alex Furunes, Tale Næss and Maziar Raein will discuss how they have engaged with the ethical issues and conceptually framed democratic practices.

Moderated by Anke Coumans

14:00-16:00

Prøvesal 1

Hvordan skapes en samtidsopera? I dette seminaret får du et unikt innblikk i hvordan dagens komponister tenker når de skriver ny opera – fra de første ideene til ferdig partitur. Vi løfter også blikket mot scenen og diskuterer hvordan fremførelsespraksis utvikles i møte med nye uttrykk og estetiske valg. Bli med på en samtale om kunstneriske prosesser, tolkning og samarbeid – der fremtidens operascene tar form.

16:00-17:00

Scene 4

17:30-18:00

Vrimla

16:30-18:30

Formsalen

In this panel discussion the staff and PhD Research Fellows of Design Department will discuss how to manoeuvre through the epistemological issues confronting artistic research in Design practices.

The panel will include: 

• Kirsti Bræin
• Lotte Grønneberg 
• Erlend Peder Kvam
• Ramona Irene Myrseth 
• Maziar Raein 
• Sigurd Strøm 
• Isak Holtan Wisløff

Moderated by Anke Coumans

18:30-19:30

Teorirommet

To whom does movement belong?

My talk will be less the presentation of a research than the outlining of some preliminary thoughts on a still quite open search. It will be the sharing of an unresolved inquiry into some recent disturbances taking place both in the ontopolitical definition of “movement” and in its expressive performance. The inquiry is animated by a simple question: to whom does movement belong? It seems to me that to posit this question at this exact moment in history has at least three merits: first, it indicates that “movement” has indeed been turned into “property” in our contemporary version of integrated global surveillance capitalism; second, it is a question that directly addresses the kinetic-affective infra-structural continuum informing the current re-animation of fascism in Western democracies; third, it is a question that challenges dance to consider if, how, and under which conditions, it may (still) want to claim “movement” as its (proper) property.

Bio:

André Lepecki

Essayist, dramaturge, and independent curator based in New York City. Full Professor, Department of Performance Studies, New York University and Associate Dean, Center for Research & Study, Tisch School of the Arts, NYU. Author of Exhausting Dance: performance and the politics of movement (2006, published in fifteen languages); Singularities: dance in the age of performance (2016); Idiorrítimia (2018); and Co(reo)imaginar: ensaios com a dança e a performance (2025). Curator of festivals and projects for HKW-Berlin, MoMA-Warsaw, MoMA PS1, the Hayward Gallery, Haus der Künst-Munich, Sydney Biennial 2016, among others. “Best Performance Award 2008” from AICA/US for co-curating and directing the redoing of Allan Kaprow’s 18 Happenings in 6 Parts (Haus der Kunst 2006, PERFORMA 07). Since 2008 he collaborates in several of Brazilian artist Eleonora Fabião’s actions. In 2024 he curated the online exhibit Soiled–Paul McCarthy’s early performance works (1971-76) for Xavier Hufkens gallery.

19:30-21:00

Biblioteket

Saša Asentić in conversation with Angela Alves and Diana Anselmo

In this presentation, Saša Asentić introduces his critical research methodology in dance history and articulates the concept of “dis-construction” as a framework for rethinking memory and re-enactment practices in contemporary dance. The method proposes an anti-ableist re-reading of canonical works through collaborative processes with disabled and Deaf artists, challenging established aesthetic hierarchies and modes of historiography.

Asentić will demonstrate this approach through the example of Kontakthof by Pina Bausch, a work he has been critically engaging with since 2017 in collaboration with diverse disabled and non-disabled artistic communities across Europe. The session will include a conversation with Angela Alves and Diana Anselmo, Asentić’s colleagues and artistic collaborators on Dis Contact (2023) – a performance situated within his ongoing series exploring the aesthetics of access and the politics of memory in dance.

Accessibility information:

• Library and Kunsthøgskolen i Oslo are accessible for wheelchair users.

• The program will be in spoken English without subtitles.

• Audio description of video excerpts and visual descriptions will be integrated in the presentation.

• The audience will be offered space for wheelchairs, as weel as chairs and other alternative seatings (bean bags, armchairs, sofa)

• Audience members can leave and return at any time during the event.

• The space will be lit throughout the program. There will be no strobe or flickering lights, nor loud, deep or surprising sounds. Each video projection and sound will be announced during the program.

• Content note: there will be a mention of death of disabled people in the WW2, as well as of antifascists, Slavs, Roma and Sinti, LGBTIQ+, and Jewish people.

10:00-11:00

Scene 4

The internationally renowned British anthropologist Tim Ingold (CBE FBA FRSE) will be delivering the Design Keynote lecture on the theme of contemporaneity and heritage – drawing on the passage of generations – a topic he has explored in his recent book The Rise and Fall of Generation Now (2024). Furthermore, he will propose how we can aim to frame a new humanism that may take us beyond the polarisation of our present day political moment in history.

Moderated by Maziar Raein

11:30-13:00

Teorirommet

I 2023 kom det i stand et samarbeid mellom teatergruppen De Utvalgte, Teater Innlandet og meg (Lars Erik Holter). Det var daværende teatersjef ved Teater Innlandet, Thorleif Bamle, som først spurte meg om jeg kunne tenke meg å stå på scenen igjen, etter et opphold på 32 år. Jeg svarte at dersom jeg skulle virke som skuespiller igjen, så måtte det bli under forutsetning av at regien ble tatt hånd om av Bamle selv, eller eventuelle andre regissører som holdt på med innovativt scenisk formspråk. Dette for å gi meg selv sjansen til å kunne jobbe med teaterformer jeg ikke hadde tidligere erfaringer med. På den måten ville perioden bli lærerik for meg og jeg kunne til og med gjøre produksjonen til et forskningsprosjekt i forbindelse med min stilling ved Teaterhøgskolen. På et tidspunkt fant Bamle ut at han hadde nok med å styre teatret, og vi begynte å tenke på hvilken regissør vi skulle kontaktet. Enden på visa, eller starten på den, var at De Utvalgte ble spurt om å være med, og de takket ja. Prøvene startet i 2023 med en workshop i mai + spredte prøver i august/september/oktober, med premiere 23 november.

Forestillingen het AKA Macbeth.

Det intervjuet du nå skal se, er både en presentasjon av De Utvalgte og deres arbeidsmetoder, og en oppsummering av samarbeidet.

11:30-13:00

Scene 4

Det er ikke bare hva du uttrykker som er viktig, men også hvor du uttrykker deg fra. I dette interaktive foredraget kaster Marius Holth, førstelektor ved Teaterhøgskolen, lys – eller skal vi si lyd – over sammenhengen mellom stemme, kreativitet og bevissthet. Hvordan kan vi bruke stemmen til å utforske ulike bevissthetstilstander? Og hvordan kan disse bidra til å skape god kunst?

På foredraget får deltakerne selv prøve kreative øvelser der stemme og lyd står i sentrum. Marius Holth har gjennom en årrekke arbeidet med kunstnerisk utviklingsarbeid under betegnelsen Stemmereiser, hvor nettopp forholdet mellom stemmen og vår indre verden utforskes. Han har også i mange år veiledet studenter ved Teaterhøgskolen i prosessen med å skape noe fra ingenting.

I dette interaktive foredraget får deltakerne teste noen av teknikkene og øvelsene som kan fungere som døråpnere – der stemmen kan være en nøkkel inn til vår indre verden. Marius Holth er også forfatter av boka Stemmens frigjørende kraft, tilgjengelig i alle bokhandler.

11:30-12:15

Scene 8

Petra Fransson

13:00-16:00

Auditoriet

Textiles invites you to Kunst og handverk’s Agenda. This lecture series is delivered by international guest speakers and artist researchers in the main auditorium.

13.00: Jessica Hemmings, HDK-Valand, Gothenberg
14:00: Freddie Robbins, Royal College, London
15:00: Kristina Muntzing, Malmö

Jessica Hemmings writes about textiles and her current research, “Carceral Craft: the material of oppression or expression?”, is funded by the Swedish Research Council (2025-2027). She is Professor of Craft (HDK-Valand, University of Gothenburg), Professor II (Oslo School of Architecture and Design), Visiting Professor (Moholy-Nagy University of Art & Design, Budapest) and was the Rita Bolland Fellow at the Research Centre for Material Culture, the Netherlands (2020-2023).

Freddie Robbins is an artist, maker, knitter and collector. She is Interim Head of Programme and Professor of Textiles at the Royal College of Art, London. In 2025 she was the Stephen E. Ostrow Distinguished Visitor in the Visual Arts, Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, Oregon, USA, with her solo exhibition ‘Apotropaic’. Her work is held in public collections including Victoria and Albert Museum, London and Kode, Bergen.

Kristina Müntzing is an artist living and working in Malmö. She is educated at Goldsmiths College, University of London and Valand Academy of Fine Arts. She has participated in exhibitions nationally and internationally, including at Kiasma in Helsinki and Kunst Werke in Berlin, and is now working on an exhibition for Halmstad Konsthall in January 2026.

14:00-15:30

Teorirommet