Week 2021

Panel Discussion

“Memory Work”, Merete Røstad.

MEMORY WORK comes out of a research collaboration at Oslo National Academy of the Arts (KHIO) between the departments of Dance and Art & Craft. The project involves an international group of artist-researchers, including research fellows at KHIO, as core members.

Merete Røstad and Per Roar initiated MEMORY WORK in collaboration with Sasa Asentic (Serbia / Germany), Manuel Pelmus (Romania), Eliot Moleba (South Africa), Solveig Styve Holte (Norway), Nayria Castillo (Venezuela / Austria), Ingri Fiksdal (Norway), Xavier Le Roy (France / Germany) and Myna Trustram (United Kingdom). The project is supported by a group of experts who will thematically contribute the critical discourse and the quality of dissemination. They include Boris Boden (Public Art and New Artistic Strategies, Bauhaus University, Weimar); Nitin Sawhney (Department of Computer Science, Aalto University, Helsinki) and many others.

Dr Per Roar, choreographer-researcher, performer, professor and head of the MA programme in choreography, Oslo National Academy of the Arts 

Dr. Boris Buden, philosopher, professor at Fakultät Kunst und Gestaltung, Bauhaus University, Weimar

Dr. Merete Røstad, interdisciplinaryartist, Associate professor and Head of the MFA Art and Public Space, Oslo National Academy of the Arts

Dr. Nitin Sawhney, Professor of Practice, Department of Computer Science, Aalto University, Helsinki

Eliot Moleba, Research fellow at the Theatre academy, Oslo National Academy of the Arts

Nayria Castillo, artist and artist-researcher at Institute for Urbanism at Graz University of Technology (TU).

Saša Asentić, performing artist and artistic leader of PerArt (Berlin/Novi Sad) 

Solveig Styve Holte, Research fellow in choreography, Oslo National Academy of the Arts


Keywords: Choreography, Memory, Performative, Public Art, Public Sphere, Remembrance.

MEMORY WORK is an interdisciplinary artistic research enquiry into the politics of remembrance and representation. It explores states of performative flux in which multiple temporalities, past, present and future, are entangled and coexist. Through probing into gaps or blind spots or unmarked wounds that affect us in the present (Phelan 1993), we artistically search for distinct ways to account for people’s location in history (Davis 2010: 149). We start from a critical research position that asks: 

Whose stories are heard, retold, and given attention? What are we doing with our agency and privilege to perform? What are reiterated and repurposed performatively through our artistic work? 

Our artistic concerns lie in the intangible structures that shape the way we perceive and remember the past and hence understand the world around us. The questioning is urgent both for the arts and society at large. 

Our performative art practices share with politics the entangled relationships between power and agency as they both become manifest through public representation (Franko 2006).  As W. Benjamin argues,  similar entanglements form our understanding of history: By capturing fleeting fragments of the past, we reimagine and narrate our history that shapes the future (Benjamin 1968). MEMORY WORK is preoccupied with this potential: the ways to reactivate and re-contextualize memory in public spheres. 



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.