Week 2022


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Christina Lindgren, “Listening to a costume” Presentation and conversation. Department of Design.

Listening to a costume

In the artistic research project Costume Agency (2018-2022) we have researched costume as an starting point for performance.

As costume design is one of the performing arts disciplines that work with ‘things’, a theoretical framework on ‘things’ and their connections to humans, can offer fruitful entries into understanding the creative process of creating a staged performance. It is thus unsurprising that an increasing number of researchers within the field of costume design and scenography have used the framework of new materialism.

Aligning with the emphasis on the dynamic and multiple interconnectedness of human and non-human actors, new materialism has been crucial also for the artistic research of Costume Agency. We research how costumecreates meaning by what it ‘does’, as an ongoing process of ‘becoming’, referring to the possibility of change and its connectedness to the other elements of a performance. The creation of a performance, with all its components, is a process in a constant mode of change, an intra-action in its becoming, to evoke Karen Barad’s words (Barad 2007).

Since 2018, we have researched how costume have agency in a performance and how a garment can act as a starting point for creating a performance. So how does do that? How does it trigger, reassemble, and generate?

I this session the project leaders, Sodja Lotker and Christina Lindgren, will have a conversation with three dancers that have participated in workshops held within the frame of Costume Agency. Their perspectives can open new insight to the question of how ‘things’, as garments, can trigger the very first associations, sensations, movements in a chain of meaning making processes of a performative setting.  

The talk will center around questions as:

  • How does the dancer respond to the impulses, associations and sensations triggered by ‘things’, as garments?
  • What does it mean to “listen” to the costume?
  • What happens when we “listen” to the costume?
  • How can a body embody a garment?
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Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.


Polyvocal Tongue The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.


TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.