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

Library

The project will be ongoing during the week. The performers will be present at these times: Tuesday: 12:00-17:00, Thursday: 14:00-18:00. Friday: 10:00-14:00.

“Scores in the library: composition and sense-making among books” is a development research project within Den Danske Scenekunstskole, funded by the Danish Ministry (2024–2026). This KUV project speculates around how the library can become a fertile ground for reflection and practice — a site where sense-making unfolds in critical and speculative ways.

Documentation plays a constitutive role in Artistic Research, and this project insists on its potential as an intrinsic part of artistic work. It questions notions of order, tendency, and orientation, and considers how documentation can actively support artistic processes. Since documentation is integral to the academic environment, it is crucial to reflect on its procedures and implications continually, and to explore practices that operate at the intersection of creation and documentation.

The research consists of a score lasting approximately 3 hours and 30 minutes, during which the practitioner is invited to browse and inhabit the library while composing a panel. The process involves engaging with the library books, movement or somatic practices, and writing.

Inspired by Aby Warburg’s approach in the Mnemosyne Atlas, the score aims to create a space for reflecting on how we generate ideas, engage with images (including considering text as an image), and envisage alternative methods of world-making. This research offers a solid foundation for stage arts to reflect and develop ways of fostering intuitive and experiential connections while working with sense-making.

The audience may leave and re-enter at any time during the event.

BIO:

Quim Bigas is an artist working in the field between choreography, dramaturgy and information processes, and an associate professor of dance at the Danish School of Performing Arts, Copenhagen. See: https://quimbigas.com/2016/08/22/about-quim/

Janne-Camilla Lyster is a 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, and is a professor in choreography at the Oslo National Academy of the Arts. See: https://jannecamillalyster.no/

White Box

All week

Arbeidsstasjonen – en møbelfabrikk
På en nedlagt bensinstasjon utenfor Jessheim har vi etablert Arbeidsstasjonen – et sted der mennesker med rus- og psykiske helseutfordringer får en ny sjanse. Vi tror på arbeid som mer enn inntekt: det gir rytme, identitet og tilhørighet. For mange av våre deltakere blir arbeid med møbler og kreative prosjekter det første steget mot en ny retning i livet.

Resepsjonsgalleriet

All week

At the Borders of Iron (Iron Notes) is a series of events and a network that gather together professionals, makers, students and broader audiences around the common theme of metal. With a strong background in metalworks and blacksmithing this network brings together artists, creators, designers, producers and educators from five different countries with different kinds of events to broaden the view of the use of metal in the society today Estonia, Finland, Italy, Norway, Sweden. This consortium seeks to find ways to strengthen the awareness of blacksmithing tradition, its possibilities to enhance regionality and co-operation between several countries. With different types of events the aim is to open the role of metal also to broader audiences with themes that link people with this special material culture. There are six partners in this consortium: four different universities, one blacksmithing biennial and one blacksmith company. In the project, every partner has their own network within the arts and crafts and metal fields. During the project years, every partner will be either hosting or taking part in different types of events around the project theme, all together six different types of events.

21. januar–1. februar 2026

Åpent onsdag–søndag kl. 12.00–16.00, med unntak av dager med kveldsprogram.

Onsdag 21. januar

15.30

Servering av suppe, så langt beholdningen rekker.

16.00–16.45

Hvilke krav stiller nye publiseringsvilkår til illustrasjonsundervisningen? Må alt endres? Panelsamtale med Hilde Kramer, Alexandra Falagara, Herman Breda Enkerud og Andreas Berg.

17.00–17.45

Digital folkekunst: Sharkplane77 og historien om The Living Machine Community. Foredrag med Erlend Peder Kvam.

18.00–18.45

Det store kuppet: Om tillit, sannhet og satire etter KI. Samtale med Siri Dokken, Flu Hartberg og Christian Bloom.

Fredag 23. januar

16.00–16.45

Pågående publiseringsarbeid. Kortforedrag med Ane Thon Knutsen, Lotte Grønneberg, Rune Helgesen og Martin Lundell.

17.00–18.00

Tavlegjennomgang. Samtale med alle deltakerne i prosjektet, moderert av Trond Lossius.

18.00–20.00

Midissage, vernissage, finissage. Åpning og avslutning midtveis i prosjektet, med lett servering og gemyttlig taffel.

Søndag 25. januar

12.00–16.00

Imot typografien 3. Fire timers auto-ikonoklastisk eksperiment mellom performance, forelesning, workshop og offentlig samtale, med Stefan Ellmer.

09:45-15:15

Location: LIBRARY

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

A K Dolven

A K Dolven is one of Norway’s most prominent contemporary artists with an extensive international career.
Dolven’s practice involves a variety of media; painting, photography, performance, installation, film and sound. Recurring themes in her production are the representation of natural forces and their resonance with human sensibilities. Her work alternates between the monumental and the minimal, the universal and the intimate. Interpersonal relations and interactions are central to her practice, and many of her performance-based works involve collaborations with other people.

Robel Temesgen

Robel Temesgen (b. 1987, Ethiopia) is an artist whose practice spans painting, installation, performance, and publication. His work explores the symbiotic relationships between people, places, and spiritual traditions, often engaging with vernacular knowledge systems and the metaphysical dimensions of everyday life. Temesgen’s long-term projects, including Adbar, Addis Newspaper, and Practising Water, investigate how cultural memory and ritual shape public space and collective experience.Temesgen is currently a PhD fellow in Artistic Research at the Oslo National Academy of the Arts. Since 2010, he has served as a lecturer in the Painting department at the Alle School of Fine Arts and Design, Addis Ababa University.

From 3BA Dance: 

«The Players Are Just Tired People In Better Shoes»

A collaborative choreography project.

They told me to stop beating a dead horse.
But I never had the whip.
I’m not it.
I don’t have it.

And yet, here I am, standing in the middle of it.
This… is it.
Or maybe just someone who showed up late.
“Is this it?”
I asked the sky, the wall, the reflection in the window.
No one answered.
They always say:
Don’t hate the game, hate the players.

But the players are just tired people in better shoes.
So instead,
Love the haters. Play the game.
Play the players. Hate the game.
Circle back. Reset.
Maybe this could be it.
Maybe the circumstances are just right.

Participants from 3BA contemporary dance:

Abraham Winsnes
Bartek Widerski
Elias Elvegaard
Elida Solberg Bakke
Iris Engeness
Jenny Krog
Laura Nilsen
Live Karlsen
Cocreaters/But not performing:
Aline Lebrun
Franziska Raab

Head of Professor and Head of Bachelor in Contemporary Dance
Anne-Linn Akselsen

11:45-13:00

Teorirommet

This conversation takes its point of departure from Artistic Research Week 2026—a special year marking 30 years of artistic research in Norway, and 30 years of the Oslo National Academy of the Arts (KHiO).

The intention is to remember, acknowledge, and give credit to a programme that is quite unique, and that over time has secured an important place internationally.

This is not conceived only as a celebratory endeavour. It is a gentle reflection on recent history, and also a look ahead: from today’s vantage point, where do we stand—and what might we imagine for the future?

Nina Malterud, Ane Hjort Guttu, Morten Qvenild and  Marianne Skjulhaug

Nina Malterud (b. 1951) graduated from the National College of Art and Design in Oslo (1971-74) and has worked as an artist since then. From 1994, she was a professor of ceramics at the Bergen National Academy of the Arts, and between 2002 and 2010 served as Rector of the same institution. Subsequently, she has held various roles as a senior advisor at both national art academies and at the Faculty of Fine Art, Music and Design at the University of Bergen, particularly concerning artistic research and PhD education. She had a solo exhibition at Kode in Bergen in 2022 and in that same year, she was awarded the Ulrik Hendriksen Honorary Prize and Appointed Officer of the Royal Norwegian Order of St Olav. In 2025 she curated the exhibition An Impatient Desire – Norwegian Association for Craft Artists 50 Years at Lillehammer Art Museum.

Morten Qvenild (NMH)

Morten Qvenild has been deputy principal at NMH since 2023 and has led NMH's PhD program in Artistic research since 2022. He is a professor of live electronics and has 25 years of experience as a musician and project manager for various music and art projects. He was involved in campus development at NMH and has been a dedicated project manager for the work with NMH's new strategy since October 2023.

Ane Hjort Guttu (KHiO)

Ane Hjort Guttu is an artist and filmmaker based in Oslo. She works in a variety of media but has in recent years mainly concentrated on film and video works, ranging from investigative documentary to poetic fiction. Among recurrent themes in her work are the relationship between freedom and power, economy and the public space, social change, and limits of action. Guttu is also a writer and curator, and she is a professor at the National Academy of the Arts, Oslo. An anthology of her written works was published in 2018.

13:00–14:00

Reception area

14:00-16:00

Teorirommet

What is the value of artistic research and practice in times of human and cultural genocide? The Academy of Fine Art at KHiO 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.

Curator, PhD, and author Sarah Rifky will talk about the place she co-founded and ran from 2012 to 2015 in Cairo, called Beirut, and its relationship to politics ("Beirut was started in the aftermath of the uprising in Egypt and explored the place of art in this rebellious era. It closed in 2015 after increased security and reduced support”), to the social, to the immediate past and to the long-term future. Her lecture will be followed by a presentation by the Dahaleez collective with similar questions, perhaps with greater emphasis on cultural workers in Gaza, the conditions there for artists, and the artistic research environment, and how places like Beirut influenced this scene. These two focused but brief presentations will be followed by a public panel discussion moderated by Professor Dora García.

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

Kan opera åpne verden for oss på nye måter? Henrik Holm og Camilla Haukaas kobler operaformen til begrep som mening, nærvær og væren.

Holm er professor i filosofi og førsteamanuensis i pedagogikk ved OsloMet og Steinerhøyskolen.. Haukaas har lang erfaring fra skole og kunst og har deltatt på flere forskningsprosjekter ved OsloMet

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

Scene 4

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, based on the article Performance on the Way.

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

In her talk, member of What, How & for Whom/WHW collective Ivet Ćurlin will discuss how the specific perspective of working in Zagreb continuously have influenced her collective curatorial practice. As many other European countries, Croatia faces the devastating side-effects of radical right-wing populism and historical revisionism. At the same time, it has a particular history of liberation, socialism, multi-ethnic federation, and national independence in a form of corrupt free market capitalism that shapes its present. How can we rethink exhibitions as interventionist forms in ideological, social and material circumstances in conditions of economic and political adversity? Her presentation will touch upon several projects from different periods that cover WHW’s work from the very beginning of their practice to the present.

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.

17:00–21:30

Reception area

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

11:40-13:00

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

Stories are fundamental structures of meaning. They foreground certain causal relationships, omit others, and shape how the world becomes intelligible. This lecture examines stories in text, on stage, and in film as tools of cognition.
The central focus is the allegorical—the figurative: stories that speak indirectly, through displacement, imagery, and paradox. Such narratives have historically been central, but today they have a weak foothold in Western art and literary discourse, where mimetic—that is, imitative—modes of expression are often given priority.
These questions are grounded in the lecturer’s own artistic practice, and in work on developing allegorical narratives in literary and cinematic formats, as a form of resistance to an increasingly literal understanding of the world.
The lecture concludes with a screening of the film Animalia, which recently won the Grand Prize at the Trieste Film Festival. This is a 25-minute science fiction film and part of the lecturer’s artistic research and development project from the past year.
The lecture can be held in Norwegian or English. If anyone who does not speak Norwegian wishes to attend, please get in touch at least two days in advance.



Øystein Stene : Foredrag og filmvisning – om allegorien i fortellerkunsten

Fortellinger er grunnleggende meningsstrukturer. De løfter fram bestemte årsakssammenhenger, utelater andre, og former hvordan verden blir forståelig. Denne forelesningen ser på fortellinger i tekst, på scene og i film som erkjennesesverktøy.
Det sentrale anliggende er det allegoriske, det billedlige: fortellinger som taler indirekte, gjennom forskyvninger, bilder og paradokser. Slike fortellinger har historisk vært sentrale, men har i dag et svakt fotfeste i vestlig kunst- og litteraturdiskurs, der mimetiske, altså etterliknende, uttrykk ofte gis forrang.
Disse spørsmålene forankres i egen kunstnerisk praksis, og i arbeidet med å utvikle allegoriske fortellinger i litterære og filmatiske formater, som motstand mot en stadig mer bokstavelig forståelse av verden.
Forelesningen ender med visning av filmen «Animalia» som nylig vant hovedprisen i Trieste film festival. Dette er en 25 minutter sci-fi-film og en del av siste års KUF-prosjekt for foredragsholder.
Forelesningen kan skje på norsk eller engelsk. Om noen som ikke er norsk-språklig ønsker å delta, ta kontakt minst to dager i forkant.

13:00–14:00

Reception area

14:00-16:00

Scene 4

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

Scene 4

This lecture takes my PhD project A critical practice for youth (2025) and my practice as a performing arts critic as its starting point. In my practice, I understand criticism as a response to an encounter with arts – in my case usually performing arts. The response can take many formats and expressions and can also take place in different publics.

For the last years I have been researching possible formats and methods for criticism with youths who watch performing arts through the national program The Cultural Schoolbag (DKS). In this work I have become interested in not only formats for criticism, but also the myriads of understandings of ‘public’. What remains from the encounters between performance and audience? What aspects are being prioritised and what is left out? Where, how and to who do we address our responses from these encounters?

In this talk I will be sharing some of the findings in my research, as well as inviting into a conversation about (performing) arts, audience, critics and public conversations. I am interested in how the places and the people we encounter the arts with are part of the arts encounters, and how this is often left out of the public conversations about art.

Performance is always an invitation to co-create, to imagine something. Which methods, formats and understandings of art, criticism and public are useful for a continued co-creation and collective conversation of performance?

Bio

Anette Therese Pettersen is a theatre, performance and dance researcher and critic, with a PhD in theatre from the University of Agder in Norway. She is a theatre and dance critic in Morgenbladet, Norsk Shakespearetidsskrift and Scenekunst.no, as well as co-founder of projects on criticism, such as Performing Criticism Globally, Solitude & Assembly, Writingshop, Critics in Conversation, Dansekritikerrørsla (Dance critic movement) and Porøse kunstmøter (Porous Art Meetings).

16:30-18:00

Biblioteket

Taking Artistic Research Week as a moment to trace intersecting lines of their research, the artists Dora García, Saskia Holmkvist, Martin White and the researcher and dramaturg Bojana Cvejić, will present their current preoccupations under four concepts:

Timelines suggests a practice of accounting for our orientation in a historical present and our experience of historical time. Which narratives and histories – continuities, incomplete analogies, contradictions and ruptures – do we address or re-stage in our research?

With perseverance, we would like to map out persistence in struggles and forms of resistance in artistic practice and political action, that we are investigating.

Revolt refers to various acts of insurgency, which we study in our work, from protests and riots to ‘minor gestures,’ and forms of political organization by means of culture and art.

With solidarity, we would like to unfold legacies of social and political solidarities across cultural work and art practice. We invite Valeria Graziano and Tomislav Medak to present their work under the transnational collectivity Pirate Care.

Dora García will discuss the parallelisms, crossovers and divergences between concepts like Pirate Care, Radical Tenderness and Comradely Love, having as a background the work she developed on the legacy of Alexandra Kollontai in the project "Amor Rojo" (2018-2024).

Saskia Holmkvist will bring her ongoing research Unstable Times into discussion, revisiting an earlier work, the performative city tour Procession Action Tour developed in Riga in 2018. The tour addressed contested and monumental history through counter-acts led by artists and activists in the late 80s. Now adding new layers in response to the historical shift following Russia’s war on Ukraine.

Bojana Cvejić will discuss strategies in practicing solidarity in her recent involvement with La Candidate and Alliance F.O.R.T.E.S. in Brussels, led by the artist Anna Rispoli. Which specific problems do we face when forging a local collective and a transnational alliance of undocumented domestic workers and artists? What are the effects of alternating artistic and activist methods when this collective reflects on itself through a ‘women’s struggle’ and the timeline of that struggle?

Martin White will present a lecture performance:'The Souls of White Folk' examines a specific case of solidarity from The Namibia Association in Elverum - a small industrial town in Norway - to Namibia’s independence organisation, the South West Africa People’s Organisation (SWAPO). Its title borrowed from an essay by W.E.B. Du Bois, 'The Souls of White Folk’ sits within a larger discourse of the development of whiteness, analysing some of the forms it has taken in relating to Namibia.

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.

18:15-20:00

Biblioteket

Pirate Care is a transnational collectivity active since 2019, gathering activists, researchers and practitioners who take a stand against the criminalization of solidarity and for common infrastructures of social reproduction. It grew through collective pedagogy, most visibly in the open Pirate Care Syllabus and its associated shadow library, designed to support and activate collective learning from situated practices that operate in the narrow grey zones between laws, institutions and technologies. Alongside this pedagogical commons, Pirate Care has taken the form of exhibitions, workshops, reading groups and gatherings. It insists that private property, work and metrics are active forces stripping away the societal means to look after one another. The book Pirate Care: Acts Against the Criminalization of Solidarity was published by Pluto Press in 2025.

Valeria Graziano, PhD, is an Associate Professor of Interdisciplinary Social Sciences at the Centre for Advanced Studies Southeast Europe (CAS SEE), University of Rijeka, whose work moves between research, cultural practice, and political organising around labour politics and care justice. Drawing on operaismo, institutional analysis, and transfeminist materialism, she studies refusal of work and the political uses of pleasure as collective tactics amid the authoritarian drift of the present and the shrinking horizons of welfare. She convened the collaborative research Figure It Out. The Art of Living Through System Failures (Drugo More, 2024) and Pirate Care.

Tomislav Medak is a researcher with a PhD in technopolitics and planetary environmental crisis. Over the last couple of years, he has been working with Valeria Graziano and Marcell Mars on the Pirate Care project and is politically active within the green-left political platform Možemo! in Croatia. His research interests include care, ecology, technology, and capitalist development, with a particular focus on disability and the commons. Formerly, he was a member of the theory and publishing team of the Multimedia Institute/MAMA in Zagreb and an artist in the performing arts collective BADco.

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

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

20:00-21:30

Auditoriet

The right to usership should prevail over the right to ownership. This is the message underlying the film Who is Afraid of Ideology. Part. 4: Reverse Shot. Set primarily in a private quarry in northern Lebanon, the film seeks to reframe the meaning of property in relation to land. Arsanios explores the local community, examining an agricultural cooperative’s attempt to transform private land into a common or social waqf. As the film’s subjects reflect on the possibility of overturning the current legal system, they repeatedly reference the impact of the Ottoman Empire’s 1858 land reform, which stripped local inhabitants of their land. Here, the land itself becomes the undisputed protagonist of the work, portrayed as a living organism, rich with memory and capable of resisting the concept of property. The land thus emerges as a symbol of non-property, of the interconnection between geological, legal, and historical systems, and of an ecological perspective that rejects anthropocentrism in favor of reactivation and communalism.

Marwa Arsanios, Who Is Afraid of Ideology? (Part 4): Reverse Shot, 2022. Digital video, color, sound, 35 min.

BIO:

Marwa Arsanios’ practice tackles structural questions using different devices, forms and strategies. From architectural spaces, their transformation and adaptability throughout a civil war, to artist-run spaces and temporary conventions between communes and cooperatives, the practice tends to make space within and parallel to existing art structures allowing experimentation with different forms of assemblies. Film becomes another device and space for connecting struggles through images and montage. In the past nine years Arsanios has been attempting to think about these questions from a new materialist and a historical materialist perspective with different feminist movements that are in a struggle for taking back their land. She tries to look at questions of property, law, economy and ecology from specific plots of land, while focusing on the histories of the commons in the levant region. She has been part of artist collectives and initiatives, the most recent being the legal communalisation of a land in the North Lebanon through its transformation to a Mashaa. Solo shows include: Joan Miro Foundation (2025), Artium Museum (2025), Sandretto Foundation (2025), BAK Utrecht (2024), Kunsthalle Bratislava (2023), Heidelberger Kunstverein (2023), Mosaic Rooms, London (2022), Contemporary Arts Center, Cincinnati (2021); Skuc Gallery, Ljubljana (2018); Beirut Art Center (2017); Hammer Museum, Los Angeles (2016); Witte de With, Rotterdam (2016); Kunsthalle Lissabon, Lisbon (2015); and Art in General, New York (2015). Her work has also been featured in numerous group exhibitions including: Documenta 15 (2022), Mardin biennial (2022), Sydney Biennial film program (2022), 3rd Autostrada Biennale, Pristina (2021); 11th Berlin Biennale (2020); The Renaissance Society, Chicago (2020); Gwangju Biennial (2018); Lülea Biennial (2018); Kunsthalle Wien (2019); 1st Sharjah Architecture Triennial (2019). Arsanios was a researcher in the Fine Art Department at the Jan Van Eyck Academie, Maastricht (2010–12). She completed a PhD at the Akademie der bildenden Künste in Vienna.

17:00–21:30

Reception area

10:00-11:00

Teorirommet

Professor Pedro Gómez-Egaña will speak about "The Great Learning", an exhibition at the MIT List Visual Arts Center in the spring of 2025. The exhibition brought together sculptural, kinetic, video, and sound works, grouping them around the notion of Orchestration. Orchestration addressed the operational demands of the works, including their activation, triggering, movement, and resetting, while simultaneously articulating a mode of performativity situated between the operational and the theatrical.

Professor Liv Bugge will speak about "Umbilical Fire”, a project on the relationship between energy and biological and cultural reproduction through material from TV and film archives and the making of sculpture and film. "Umbilical Fire" stems from an interest in energy politics, our relationship with fossil fuels, and the representation of fossils in national narratives.

Professor Ane Hjort Guttu has observed that few visual artists in Norway publish socially engaged texts and cultural criticism alongside their artistic practice, and that this therefore appears to be an important and underrepresented perspective. To emphasize the importance of this perspective, she has initiated editorial and research work to produce a curated and illustrated publication with selected texts written between 2018 and 2025, developed in collaboration with the publishing house Tekstbyrået and authored by Nina M. Schjønsby and Halvor Haugen. The texts span poetic, essayistic, and documentary forms.

Professor Saskia Holmkvist has been working on "Unstable Times", a project that revisits two of her earlier works related to "contested" history, created in connection with the Riga Biennial in 2018–2019. A new film currently in production, viewed from today's perspective, will add new historical layers given the historical turn since the Russian war against Ukraine, and build new narratives and aesthetics related to the present, based on previous dialogues and material, by bringing together themes such as historical erasure and the limitations of translation through critical listening, oral speculation, and repetitions.

11.15-12.00

Library

TITLE:
Temporal Imaginations: Notating Time - Project introduction

Contributor:
Janne-Camilla Lyster 

Content:
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/ 

Nikolaus Gansterer is an artist, researcher and teacher at the University of Applied Arts Vienna where he is researching performative practices of notation and reflection. His research practice is grounded in a transmedial and transdisciplinary approach, underpinned by conceptual discourse on performative visualization and cartographic representations. His artistic research work was awarded with several prizes, among others as PI of two grants for artistic research by the Austrian Science Fund, developing systems of notation of atmospheres. https://www.gansterer.org/ 

Ellen Ugelvik is a Norwegian pianist and leader of the NordART center for Artistic Research at the Norwegian Academy of Music, renowned for her work in contemporary music. She collaborates internationally with composers and artists, performing as a soloist and chamber musician at festivals such as Donaueschinger Musiktage and Ultima. Her dedication to premiering new works has led her to collaborate with composers like Helmut Lachenmann and Øyvind Torvund, earning her the title "Performer of the Year 2016" from The Norwegian Society of Composers. Ugelvik has performed with major Norwegian and international ensembles, including the Oslo Philharmonic and Klangforum Wien. Ugelvik is a professor at the Norwegian Academy of Music. http://www.ellenugelvik.com/ 

12.00-13.00

STED:
LIBRARY

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

Content:
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 in Oslo. We also visited Chetham's Library, the first public reading room in North England, where Marx and Engels wrote their Communist Manifesto.
In this version of Reading Room, 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 on an archive of local, experiential knowledge developed through interactions 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 and has performed and received 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 in England for many years as a historian, museum curator and academic. In 2021, she stopped paid work and now focuses on writing. She writes short, personal essays that draw on literary and academic forms to explore themes such as mourning and childhood. She has publications (books, chapters, and articles) in Victorian social history, museology, and now this more experimental essay form that draws on psychoanalysis and the psychosocial.

Accessibility information:

• The programme will be in English.
• Content note: there will be references to LGBTQ and death by suicide, the Holocaust, racism and wars.

13:00–14:00

Reception area

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? Hvordan forstå, skape og fremføre operaformen i dag? I dette mini-seminaret får du innblikk i hvordan Håkon Nystedt (dirigent/komponist) og Ivar Tindberg (regissør/dramaturg/librettist) tenker i forhold til det å frembringe nye operaverk. Bli med på en samtale om operaformen, om kunstneriske prosesser og samarbeid - der fremtidens operascene tar form.

14:15-15:30

Library

Conversation with Khaled Elayyan, artistic director of Sareyyet Ramallah-First Ramallah Group, a leading centre for contemporary dance in Palestine, as well as the host for Ramallah Contemporary Dance Festival among others.

Helle Siljeholm, PhD student at KHIO and long term collaborator of Khaled Elayyan in partnership with Sara Christophersen, will lead the conversation with Elayyan in the Library.

Elayyans visit to KHIO during research week is made possible through Elayyan being an invited guest at Dance Conference 2026, which is organized by Sparebankstiftelsen DNB in collaboration with Norwegian Dance Artists, Danseinformasjonen, Dansens Hus, and the National Council for Dance Education (NADU).

Khaled Elayyan — Biography

Khaled Elayyan (b. 1965, Al-Bireh, Palestine) is a leading figure in Palestinian performing arts and cultural management. He serves as Executive Director of Sareyyet Ramallah (First Ramallah Group), as well as Artistic Director of the Sareyyet Ramallah Dance Company and Director of the annual Ramallah Contemporary Dance Festival.

Educated with a Master’s in Sociology from Birzeit University, Elayyan has played a central role in advancing contemporary dance and community arts in Palestine. His early artistic career included work as a dancer, choreographer, and trainer with key local troupes, and he later became instrumental in institutional cultural leadership.

Before his current roles at Sareyyet Ramallah, Elayyan directed major cultural organizations and festivals, including the Popular Art Centre (1994–1999), Al-Kasaba Theatre and Cinematheque (2000–2010), and several film festivals such as the Al-Kasaba International Film Festival and the European Film Week. He also coordinated the Palestinian Audio Visual Project at the A.M. Qattan Foundation.

A respected cultural strategist, Elayyan has served on juries for national and international arts awards and festivals and has helped build regional networks for dance, including co-founding the MASAHAT Dance Network. His leadership at Sareyyet Ramallah has been key to establishing contemporary dance as a vibrant art form in Palestine and connecting local artists with global audiences.

16:00-17:00

Scene 4

Abels tårn NRK

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

17:30-18:30

Teorirommet 

Dan Perjovschi is a renowned Romanian artist known for his instantly recognizable black-and-white drawings.

Dan Perjovschi draws critically, with humour, directly on the walls of art institutions around the world.

For KHiO’s 30 years jubileum, Dan Perjovschi will make a work for the walls of the space known under the name «Vrimla».

Perjovschi has had solo exhibitions at Tate Modern London, MoMA New York, Macro Rome, Moderna Museet Stockholm, Reykjavik Art Museum, Vannabbe Eindhoven, Ludwig Cologne, Nasher Duke University or Kiasma Helsinki and group exhibitions at Centre Pompidou Paris, Tate Liverpool, Castello di Rivoli Torino, MoMA San Francisco, MUAC Mexico, MAM Warsaw, MCBA Lausanne and MOT Tokyo.

He has participated in Documenta 15 and the art biennials Istanbul, Venice, Sao Paulo, Moscow, Sydney, Lyon, Dublin, Iasi, Timisoara and Jakarta.

He received the George Maciunas Award in 2004, the ECF Princess Margriet Award, Amsterdam 2012 (with Lia Perjovschi) and the Rosa Schapire Kunsthalle Hamburg Award in 2016.

Perjovschi is the laureate of the Gheorghe Ursu Human Rights Foundation 1999 and of the Civil Society Gala CERE Participation 2016.

Since 2010 he has been working in Sibiu on the public art project Horizontal Journal.

18:30-19:30

Auditorium

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:

• Interpretation in Norwegian Sign Language

• 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.

17:00–21:30

Reception area

09:15-15:45

Auditoriet

Textiles invites you to «anger» as part of Kunst og håndverk’s Agenda. This lecture series is delivered by international guest speakers and textile researchers in the main auditorium.

Anger can be described as an emotional reaction that occurs when we experience a threat, violation, injustice or that someone is preventing us from achieving our goals. It is a powerful feeling that can mobilise energy to defend ourselves, set boundaries or create change. The body often reacts physically with a faster heartbeat and tense muscles, and anger can help us understand and communicate our needs, even though it can sometimes lead to destructive behaviors.

But perhaps anger can best be described as something in motion, a direction. Crafts, perhaps especially textile crafts, are often described with clichés about its innocent softness, its meditative potential and its harmless materiality. But aren’t frustrated hands and bodies tearing at materials and tools just as true?

In this Agenda seminar we will take part in perspectives and reflections on anger in both art and textile research. We will hear about knowledge that looks for anger, knowledge that angrily cuts paper, the anger of our time, the disguised anger and perhaps get an answer to the question what does anger make us do?

09.15: Refreshments

11.00: Kristina Müntzing

13.00: Jessica Hemmings

14.15: Freddie Robins

15.15: Panel Discussion

Moderated by Emelie Röndahl

11.00: The Working Body: anger, limits, surfaces, and the cut - Kristina Müntzing (Textiles Agenda)

11.00-12.00

Auditoriet

This lecture examines the working body as both creator and destroyer, and how anger emerges within artistic and industrial forms of labour. Drawing on the histories of women in textile production, I explore how bodily effort becomes a site of both autonomy and exploitation. The artistic process mirrors these tensions as material resistance, scale, and frustration shape the work in the studio. By cutting, scraping, and puncturing photographic surfaces, the image is treated as a corporeal structure that can be opened or disrupted. These gestures invite reflection on what lies beneath visibility, and how limits—material, bodily, and archival—inform both artistic practice and lived experience.

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.

13.00: Anger in the Archive: carceral craft in women’s prisons - Jessica Hemmings (Textiles Agenda)

13.00-14.15

Auditoriet

Textiles are made by incarcerated individuals for a number of reasons. Some are the result of forced labour, others represent a hobby or pastime, and a third group are produced covertly to carry communication within or beyond the prison or workhouse walls. This lecture looks for traces of anger in these historical materials. Is it ever really possible to sense the embodied lives of these textiles’ makers? Why are textiles a recurring material of choice for redemptive labour?

14.15: Apologies, but I loathe this stuff with a passion - Freddie Robins (Textiles Agenda)

14.15-15.15

Auditoriet

"I am angry. Aren’t you? If not, why not?" This lecture presents Robins' anger and the anger of others. As Johnny Rotten famously sang in the Public Image Ltd song, Rise (1986) “anger is an energy”. — How do I utilise this supposedly negative emotion as both motivation and content within my practice? How do I respond to the anger of strangers towards my practice and how have other similar artists responded to the same provocation?—Robins predominantly works with knitting. This activity is often viewed, and marketed, as a mindful activity. Something to slow us down, re-engaging with the material world and our sensory needs. How can these two diametrically opposing uses and views of knitting co-exist?

Robins 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.

15.15: Panel Discussion (Textiles Agenda)

15.15-15.45

Auditoriet

Q&A discussion with Kristina Müntzing, Jessica Hemmings, Freddie Robins, Emelie Röndahl and Franz Petter Shmidt

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.

13:00–14:00

Reception area

14:00-15:30

Teorirommet