SUPERVISORS 2019
Ellen J Røed
Ellen J Røed is professor in Film and media for the profile area Art, technology, materiality at Stockholm University of the Arts. Operating as both visual artist, researcher and educator, she has for the past twenty years been deeply involved in questioning and exploring electronic and digital materialities and cultures, as well as performative and networked aspects of media. She has completed a PhD equivalent fellowship in the Norwegian Fellowship Programme for Artistic Research and is currently responsible for the subject PhD in Performative and Mediated Practices at Stockholm Academy of the Arts. On behalf of the steering committee for The Norwegian for Artistic Research Programme, she was also responsible for the Summer Academy of Artistic Research in Tromsø 2016.
Karmenlara Ely
Karmenlara Ely is Professor / Artistic Director of the BA Acting and MA Performance programs 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. As a multi-disciplinary artist, she collaborates internationally on theater and performance works, most recently with Muriel Miguel and Spiderwoman Theater at La Mama E.T.C. and Composer Sxip Shirey. In addition to regularly publishing short pieces of performative writing and performance lectures, she is co-editor of books “Infinite Record: Archive, Memory, Performance” and “Responsive Listening: Theater Training for Contemporary Spaces” both released in collaboration with Brooklyn Arts Press. Karmenlara is also a current board member of the Norwegian artistic research program.
Karmenlara Ely is Professor / Artistic Director of the BA Acting and MA Performance programs 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. As a multi-disciplinary artist, she collaborates internationally on theater and performance works, most recently with Muriel Miguel and Spiderwoman Theater at La Mama E.T.C. and Composer Sxip Shirey. In addition to regularly publishing short pieces of performative writing and performance lectures, she is co-editor of books “Infinite Record: Archive, Memory, Performance” and “Responsive Listening: Theater Training for Contemporary Spaces” both released in collaboration with Brooklyn Arts Press. Karmenlara is also a current board member of the Norwegian artistic research program.
Karmenlara’s ongoing curatorial, teaching and research practice is based in fostering experimentation in intergenerational performance practices, relations with elders, listening, staging dreaming, material ritual actions and questioning performance’s orientation towards death and dying. Her perspective within arts institutions is critically rooted in evolving critiques of whiteness and power.
Laura Gröndahl
Laura Gröndahl is university lecturer in the Performing Arts Research Centre at the Uniarts Helsinki’s Theatre Academy. Her artistic background is in scenography (master’s degree 1985), and she has worked as full-time stage and costume designer in various Finnish theatres from 1983 to 2002. As a researcher, she has chosen the academic path in the framework of theatre and performance studies (doctoral degree 2004). However, building on her experience of artistic work, she has focused on the practices of theatre making, and the implicit thinking modes embedded in different ways of staging performances.
More recently, she has been researching documentary theatre, and at the moment, she is (hopefully) finishing her contribution to an e-book about the history of stage, written together with two colleagues.
She easily gets interested in any field of research, but based on her last endeavours, she is right now most puzzled by questions like: how to deal with past events from contemporary perspectives; how truth claims are constructed by performing documentary evidence; and how knowledge is produced by different means.
Before her present post, she has worked as university lecturer and reseracher at the universities of Tampere (2014–5) and Lapland (2013), as professor at Aalto university (2006–13), and as visiting lecturer at Helsinki university, where she also holds the title of docent in theatre research since 2015. She has published several articles, and edited scholarly journals and books.
Frank Bock
Frank Bock's creative work currently takes the form of curatorial practice as an artistic practice, with conversation and teaching linking various areas of work. He works in London in private practice and Stockholm at Uniarts, as choreography lecturer, specifically for the New Performative Practices MA programme. His engagement with dance lies in an ongoing concern with language and the body, investigating relational and social spaces. He is interested in the relationship between embodiment and knowledge, drawing upon an understanding of dance as a tool for reflection and investigation underpinned by a history of performing, choreographing, existential phenomenology and somatic practice (latterly specifically though the work of Gene Gendlin and Peter Levine).
Denise Ziegler
Denise Ziegler is an artist and researcher of public space. She was born and grew up in Switzerland, lives and works in Helsinki Finland.
Studies in Luzern (CH) at Schule für Gestaltung. Masters degree and doctorate at Academy of Fine Arts Helsinki (DFA 2010). Theses title: Features of the Poetic – The Mimetic Practice of the Visual Artist.
Currently post-doctoral researcher at the Academy of Fine Arts, Uniarts Helsinki, Finland. Current research project: Experience and Experimentality in Artistic Research – the Continuous Prototype Research Method Offers Possibilities for Reading and Developing Public Urban Space.
Ziegler often works in and for public space. She states: “In my artistic research and practice I question the concepts of urban space and public art. Experimental artistic interventions are conducted using among others situational irony as a method for reflecting on the impact urban public space and its user can have. Instead of interrogating people and involving them in the process, the interventions put questions directly to public infrastructure, to walls, fences, buildings and pedestrian ways. In a post-Beuysian vein, an artist workshop is extended to public space in order to work with its mechanisms and possibilities. This is considered a political act. The research aims to contribute to the redefinition of concepts regarding how we look at and develop public urban space.” D.Z.
Artistic practice: sculptor, installation, video, drawing, painting, intervention
For work documentation see: denise-ziegler.squarespace.com
Daniel Jewesbury
Dr. Daniel Jewesbury is Senior Lecturer in Fine Art and Vice-Prefect for Research Education at Valand Academy in Gothenburg University. Daniel is a practising artist, as well as a writer and curator. He studied in Dublin and at the University of Ulster in Northern Ireland, and lived in Belfast for over 20 years. His research interests are eclectic: art, publics, and collective sovereignty in neoliberalising cities; postcolonial material cultures; violent and sexualised artistic imagery, and the re-gendering of museum collections; and experimental moving image studies.
Rolf Hughes
A pioneer of artistic research, Rolf Hughes has been at the forefront of developments in the field in Scandinavia and Northern Europe from its inception. He is currently Research Associate and Director of Artistic Research for the Experimental Architecture Group, at the School of Architecture, Planning and Landscape at Newcastle University (UK). His research and teaching explore the contribution of artistic (practice-led) research methods to developing transdisciplinary design ecologies and modes of architectural practice with a focus on the ethics of living technologies and nonhuman agency. A writer across creative and critical genres, his practice today spans arts and design disciplines, as well as collaborations with the sciences, engineering and disruptive new technologies. He has supervised and examined PhD dissertations across architecture, art, craft, design, photography and the performing arts since 2000, including for the Bartlett, University of Westminster, Middlesex University, KU Leuven, Royal Institute of Technology, Oslo School of Architecture, Royal Danish Academy of Fine Arts, Stockholm University of the Arts, and elsewhere. While Guest Professor in Design Theory and Practice-Based Research at Konstfack University College of Arts, Crafts and Design (2006–2013), he became Senior Professor in Research-by-Design at Sint-Lucas School of Architecture (KU-Leuven, Belgium, 2007–2013), creating and teaching an international, practice-led PhD programme for architects, artists and designers. Having served two terms as Vice President of the international Society for Artistic Research (2011–2015), and developed artistic and design-led research strategy and policy for national research councils in Sweden, Norway, Austria, Italy, and Portugal, Hughes has an extensive international network of artistic research practitioners, strategists and leaders. His prose poems, fiction, and scripts have been published widely, and he is in demand as a speaker, tutor and advisor on artistic research internationally.
A pioneer of artistic research, Rolf Hughes has been at the forefront of developments in the field in Scandinavia and Northern Europe from its inception. He is currently Research Associate and Director of Artistic Research for the Experimental Architecture Group, at the School of Architecture, Planning and Landscape at Newcastle University (UK). His research and teaching explore the contribution of artistic (practice-led) research methods to developing transdisciplinary design ecologies and modes of architectural practice with a focus on the ethics of living technologies and nonhuman agency. A writer across creative and critical genres, his practice today spans arts and design disciplines, as well as collaborations with the sciences, engineering and disruptive new technologies. He has supervised and examined PhD dissertations across architecture, art, craft, design, photography and the performing arts since 2000, including for the Bartlett, University of Westminster, Middlesex University, KU Leuven, Royal Institute of Technology, Oslo School of Architecture, Royal Danish Academy of Fine Arts, Stockholm University of the Arts, and elsewhere. While Guest Professor in Design Theory and Practice-Based Research at Konstfack University College of Arts, Crafts and Design (2006–2013), he became Senior Professor in Research-by-Design at Sint-Lucas School of Architecture (KU-Leuven, Belgium, 2007–2013), creating and teaching an international, practice-led PhD programme for architects, artists and designers. Having served two terms as Vice President of the international Society for Artistic Research (2011–2015), and developed artistic and design-led research strategy and policy for national research councils in Sweden, Norway, Austria, Italy, and Portugal, Hughes has an extensive international network of artistic research practitioners, strategists and leaders. His prose poems, fiction, and scripts have been published widely, and he is in demand as a speaker, tutor and advisor on artistic research internationally.
Rolf is a member, with Rachel Armstrong and Pierangelo Scravaglieri (formerly Simone Ferracina), of the Experimental Architecture Group (EAG), whose work has been exhibited and performed at the Venice Art and Architecture Biennales (2016, 2017, 2019), Matadero, Madrid (2019), Whitechapel Gallery, London (2019), Oslo International Theatre Festival (2019), International Festival of Landscape Architecture organised by the Australian Institute of Landscape Architects (2018), Lakeside Gallery Nottingham (2018), NYU Gallatin (2018), Great North Museum (2018), Trondheim Biennale (2016, 2018), the Great Exhibition of the North (2018), Uppsala Konsert & Kongress (2017), Allenheads Contemporary Arts, Culture Lab, and the Tallinn Architecture Biennale (2017). EAG has also collaborated on several films made by Benjamin Wrigley/Art Docs, and supported by the National Trust. EAG has lectured and led workshops internationally, including Monash University, the University of Melbourne, Universidad de Sevilla, the Institute for Advanced Architecture of Catalonia (Barcelona), the University of the Underground (Amsterdam), KU Leuven (Belgium), the TTU Academy of Architecture and Urban Studies (Tallinn), the Norwegian Artistic Research Programme, and Stockholm University of the Arts.
Jyoti Mistry
Jyoti Mistry is Professor in Film at Valand Academy, University of Gothenburg in Sweden. She works with film both as a research form and as a mode of artistic practice. She has made critically acclaimed films in multiple genres and her installation work draws from cinematic traditions but is often re-contextualized for galleries and museums that are outside of the linear cinematic experience. Select works include: When I grow up I want to be a black man (2017), Impunity (2014), 09: 21:25 (2011), Le Boeuf Sur Le Toit (2010), I mike what I like (2006) and We remember differently (2004). Her work has screened at numerous festivals including the Toronto International Film Festival, Kurzfilmtage in Winterthur, Rotterdam International Film Festival, Stockholm International Film Festival, Durban International Film Festival, Edinburgh Africa In Motion festival, African Diaspora International Film Festival in New York City and Galerie Nationale du Jeu de Paume in Paris.
Select publications include: we remember differently: Race, Memory, Imagination (2012) a collection of essays inspired by her film which explores the complexity of racial identity in South Africa. Gaze Regimes: Films and Feminisms in Africa (2015). Places to Play: practice, research, pedagogy (2017) explores the use of archive as an exemplar to rethink colonial images through “decolonised” film practices. She has edited a special issue of the Journal of African Cinema: “Film as Research Tool: Practice and Pedagogy” (2018).
She has taught at University of the Witwatersrand (South Africa), New York University; University of Vienna; Arcada University of Applied Science Polytechnic in Helsinki, Nafti in Accra and Alle Arts School at University of Addis Ababa. Mistry has been artist in residence in New York City, at California College of Arts (San Francisco), Sacatar (Brazil) and a DAAD Researcher at Babelsberg Konrad Wolf Film University (Berlin). In 2016-2017 she was Artist in Residence at Netherlands Film Academy. In 2016 she was recipient of the Cilect (Association of International film schools) Teaching Award in recognition for innovation in practices in film research and pedagogy. Currently, she is the principal research investigator on a BRICS (Brazil, Russia, India, China, South Africa) cross cultural project that explores image-making practices.
Eli Bø
An architect and production designer, Eli Bø has headed degree courses in Narrative Design in Scandinavia and the UK since 2005. She is currently Professor of Design for Film and Media at Stockholm University of the Arts where she runs the MA Narrative Space/Production Design within the university’s MA program in Film & Media. Her course explores space, place, architecture and objects as narrative tools within a moving image context and looks at how new platforms and formats impact on current approaches to narrative design processes.
Eli’s own research interests focus on the designer’s visualizing tools and their impact and development in this new paradigm, looking at drawing, model making and use of prototypes as process methods, as well as investigative techniques and communication tools in their own right. She is interested in how new forms of artistic expression have opened up new links between the old hegemonies of stage-design and design for film and between innovative digital and traditional analogue practices.
Over the years Eli has contributed internationally to a number of university courses as supervisor, guest lecturer or external examiner and she supervises PhD candidates within the SKH PhD program. She has always been committed to creating networks and links for students and tutors within her unique and rather niche practice community and has set up the Nordic alliance for production design pedagogy whilst also contributing to CILECT, The International Association of Film and Television Schools where she sits on the board of GEECT, the regional association for Europe.
Eli trained at Detroit’s College for Creative Studies, The Oslo School of Architecture and Design and at The National Film & Television School (UK).
Maiju Loukola
Maiju Loukola is an artist-researcher and Doctor of Arts, with background in performing arts and scenography. Her main interests are in site and situation sensitive spatial and performative arts and in politics of space/place. She likes collaboration with aliens, recent example of which is a joint panel with cultural geographers and researchers in urban law in the context of “urban research”. Maiju’s artistic doctoral study Anywhere Near. Mediality of stage and the architecture of touch (2014) dealt with mediality of/on stage in the frame of sensuous theories and phenomenological studies on one hand, and media aesthetics and philosophical aesthetics as the other. Maiju is a member of the research group Floating Peripheries ¬– mediating the sense of place (2017–2021), and she curated the Prague Quadrenniale of Performance Design and Space 2015 Finnish exhibition (awarded 1st in Media in Performance and nominated for the PQ main prize). She participated in the recent two editions of Research Pavilion #3: Research ecologies (2019/ongoing) and RP#2:The Utopia of Access (2019) in Venice, with installation projects “into the” (installation with wind-sculpture, video projections and mirrors, considering “accessibility” to a strange territory or an unfamiliar place, through incorporating culturally recognizable points of attention with subtle and random traces caused by human operations), Out 2 (a procedural collective multi-screen moving image installation inspired by Jacques Rivette’s enigmatic 13-hour film Out1–Noli Me Tangere), and “Foaming exercises” (installation exploring spatial plurality, foam-architectures and the metaphorical use of the word foam).