Week 2022



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Merete Røstad, Saša Asentić and Per Roar, Lars Ebert, Suzana Milevska, Mapping the field, MEMORYWORK”, Art and Craft and Dance Department


MEMORYWORK is a platform for sharing interdisciplinary artistic research on performative memory work. The project is developed by artists with backgrounds in Choreography, Theatre, Performance Art and Art in Public Spaces.  

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Merete Røstad is an interdisciplinary artist, educator and researcher whose practice is rooted in examining collective memory research, memory work and archives. Røstad has a doctorate in artistic research on The Participatory Monument – Remembrance and Forgetting as Art Practice in Public Sphere (2019) at the Oslo National Academy of the Arts (KHiO). Røstad is an Associate Professor in Art and Public Space (MFA) and is Research leader at the Department of Arts and Crafts at Oslo National Academy of the Arts (KHiO). In addition, Røstad leads two international interdisciplinary research projects: MEMORYWORK and ARcTic South.

Saša Asentić is a choreographer and cultural worker. He is interested in exploring the relationship between the individual and society and analyzing it in terms of social choreography. He works in the field of contemporary dance, performance and disability arts.

Lars Ebert is co-director of H401 in Amsterdam where he develops international co-operation projects on the role of the arts and participation in memory work and heritage. He also maintains an independent practice as curator, facilitator and teacher. He is a board member of a.o. Culture Action Europe and the chair of EQ-Arts.

Suzana Milevska is a curator and theorist of visual art and culture based in Skopje, North Macedonia. She was Endowed Professor for Central and South Eastern European Art Histories, Academy of Fine Art Vienna (2013-2015) and Principal Investigator, Politecnico di Milano, Milan (2016-2019). She holds a PhD in visual culture from Goldsmiths College. She won the Igor Zabel Award for Culture and Theory.


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.