Supervisors 2017
Mieko Kanno is a violinist with a specialism in the performance of contemporary music. She has a parallel career as musician and academic, and is dedicated in both capacities to the development of a new practice in music. She is especially known for her pioneering work on subjects such as complex notation and microtonality, and her research ranges from performing on the Violectra electric violin with live electronics and commissioning works for it, to a long-term project on John Cage’s Freeman Etudes. She is Professor in Artistic Doctoral Studies at Sibelius Academy, the University of the Arts Helsinki.
Lindsay Seers studied at the Slade School of Fine Art, University College London (BA Hons, Sculpture and Media 1991-94) and at Goldsmiths College, University of London (MA Fine Art 1999-2001), where she now works as a lecturer on MA Fine Art. Through Seers’ photographic explorations the past is constantly reconfigured, as if it contains an infinite virtual potential for different outcomes, which are all already embedded in one another. Instead of providing a neutral platform for the viewer, her installations place the film imagery within the structures most appropriate to the narrative constructs. Seers is a supervisor at Norwegian University of Science and Technology.
Dorita Hannah is Research Professor of Interdisciplinary Architecture, Art & Design at the University of Tasmania (Australia). Specializing in theatre architecture and architectural performativity, she collaborates with artists, designers and cultural organizations to co-conceive, design and direct events, installations, exhibits, objects and environments. Hannah is also Adjunct Professor of Stage & Space at Aalto University in Helsinki.
Rossella Ragazzi is an associate professor in Media Anthropology and Museology at Tromsø University Museum, the Arctic University of Norway. Her main research topics are performance, migration & mobility, cultural heritage, transcultural cinema, “multisited” ethnography, visual anthropology, indigenous epistemology. She is a film scholar graduated at La Sorbonne in France, and professional filmmaker graduated from the Italian National Film Academy. Ragazzi is also a visiting associate professor at Freie University in Berlin, Visual and Media Anthropology department, Institute of anthropology. She is also a supervisor at the Norwegian Artistic Research Fellowship Programme.
Karmenlara Ely is Professor and Artistic Director of Acting at Østfold University College/Norwegian Theatre Academy. Before NTA, Karmenlara taught full time at New York University’s Tisch School of the Arts, where she holds a PhD in Performance Studies. She collaborates internationally as a performer, creator, dramaturg and scenic artist on theatre and performance works. Involved in leading and advising projects in artistic research, her topics of inquiry usually examine the critical role of the body in taboo breaking, the materialities of intimacy, memory, ethics and pleasure in the creation of art. Her areas of study include the shared territories between ritual and performance forms and carnival and festival arts, including questions around embodiment and desire in post-colonial realities.
Rebecca Hilton is an Australian artist whose practice incorporates dancing, choreographing, teaching, conversing and writing. Over three decades she has contributed to the work of an array of artists, including Russell Dumas, Stephen Petronio, Mathew Barney, Michael Clark, Tere O’Connor, Jennifer Monson, John Jasperse, Lucy Guerin, Tino Sehgal, Xavier Le Roy, Scarlet Yu, Chrysa Parkinson. Rebecca uses embodied practices and choreographic systems to explore concepts and manifestations of GROUPNESS. Her research environments include, but are not limited to - dance companies, community organisations, visual arts institutions, music festivals, universities and friendship circles. She is a Professor in the research area SITE EVENT ENCOUNTER at the Stockholm University of the Arts and is writing a book on DANCERNESS.
Susanna Helke is currently the Professor of Research and the director of the Critical Cinema Lab at the department of Film, Television and Scenography at Aalto University. She is a filmmaker and artist-researcher whose film work has gained wide domestic and international recognition. Her films have received awards and it has been screened in major international film festivals, including IDFA, Chicago IFF, Visions du Réel IFF, Hotdocs Toronto IFF, among others, as well as in retrospectives and special screenings (e.g. the National Gallery in Washington DC, the Tate Modern, and the Art Institute, Chicago). Her work on the theory-praxis interface examines the intersection of poetics and politics in the documentary cinema in dialogue with, for example, contemporary political philosophy and critical theory. Her dissertation A Trace of Nanook, discussed the contemporary cinema methods on the borders of the ‘documentary’ and ‘fictional’ film.
Niclas Östlind is a curator, educator and researcher. His PhD is a curatorial-based study of the history of photography in Sweden 1970–2014, and the thesis consists of 10 exhibitions and 12 publications. He is head of the Master program in Photography at Valand Academy and co-manage the research school at the Faculty of fine, applied and performing art at the University of Gothenburg. He has recently co-curated the research driven exhibition and book Watched! Surveillance, Art and Photography (2015, initiated by Louise Wolthers), and is leading the research project Photography in Print & Circulation as a part of a larger research collaboration between Valand Academy and Hasselblad Foundation.
Kent Olofsson is a composer and a professor at the Malmö Academy of Music, which is a part of the Faculty of Fine and Performing Art at Lund University. He teaches composition and electroacoustic music. He is also part of the research staff at Inter Arts Center, which is an interdisciplinary centre for artistic research and experimentation within the faculty. As composer he has an extensive artistic output of nearly 200 works that span a broad field of genres, ensemble types and contexts including music for orchestra, chamber music, electroacoustic music, music theatre, alternative rock music, music for baroque instruments and works for dance performances and installations. Since 2009 he is collaborating with Swedish theatre group Teatr Weimar. Their productions have been widely recognized also internationally with performances like Hamlet II: Exit Ghost, A Language at War and Arrival Cities: Hanoi, the latter composed for Vietnamese instruments, chamber ensemble and electronics. He is currently finishing his doctoral dissertation in artistic research, “Composing Sonic Art Theatre – Musical composition as a dramaturgical strategy”, which explores working methods in in contemporary theatre and performing art based on his work as composer with Teatr Weimar.
