Hidden Curriculum/ In Search of the Missing Lessons
Two young women wander through the spaces of a school – the corridor, canteen, staircase, library – towards the street, and public transport. They walk backwards, indifferent to people around them. What happens when all protocols are challenged or reversed? Utrecht based artist Annette Krauss is an Artist in Residence at the Whitechapel Gallery. Using performance and film as tools, she explores the transformative potential of learning. Her project “In Search of the Missing Lessons” pursues an interest in radical education and pedagogy.
PAIAP is a project by Héctor García-Jorquera (MA in Contemporary Performative Arts, Göteborg Universitet). It is his Master Thesis but also the beginning of a new platform. The vision is to create a platform where artists and professionals from other fields can meet and reflect critically on the role of Performance Art.
SACRE is an open cross-disciplinary network that creates new relations and collaborations between artists, cultural institutions and research environments within the fields of Art, Culture, the Humanities and Social studies. SACRE’s manifest is that art and artists can inspire society to find new ways for human life to unfold.
SHINE for girls is an after-school programme that is based on the theory of kinesthetic learning. It is founded by Kirin Sinha, former professional dancer and MIT in Theoretical Mathematics and Electrical Engineering/Computer Science with a minor in Music. The mission of SHINE is to improve girls’ math scores and spark their interest in mathematics through a method of formal dance training integrated with math instruction.
Laboratoriet is a centre for practical artistic research for performing arts professionals. Laboratoriet began in 2005 and is used by artists from theatre, performance, dance and cross-over genres involving for example visual arts, music or digital art.
Anne Bamford is Professor at the University of the Arts London and Director of the International Research Agency. She has explored the impact of the arts in education internationally and has done several studies for UNESCO. In 2006 she published her book The Wow Factor – a global research compendium on the impact of the arts in education.
Hotel Obscura, a project initiated by Triage (AU), is currently being developed and produced by Triage, Kara Ward productions & Arts House in Australia and Die Fabrikanten (AT), Mezzanine Spectacles (FR) & Ohi Pezoume (GR) in Europe.
This international cooperation project will focus on intercultural and artistic exchanges that investigate live art, experimentation with digital technologies that extend into urban spaces. The project aims to develop rich and long-term artistic collaborations and networks for all partners & cities.
servus.at is a cultural network-based initiative in Linz, Austria. In running its own technical infrastructure, servus.at offers virtual and physical access opportunities for artists and cultural producers. One of the main objectives of servus.at is to implement the ideas of a “free society” in a daily practice of cultural and artistic production dealing with technology and to develop a network of trust.
Rune Bosse, Artist
If i was a plant, sprouting between the forest and the beach,
Then i would grow,
become interested in growing.
Later in life through being moved and moving,
collect nourishment from different soils and places,
play with, and on, the different grounds.
I often would find myself confused and not sure of where i was going,
Then locating the starting point or origin,
would make it possible to create a line
and see a connection,
it would give me direction knowing the nature of things.
Christin Johansson/Her Spirit
She carries a deep secret. Porcelain is her healing substance and a symbol of the cycle of life. She carries a strong feeling from a time past in Dresden and Meissen. She carries the memories against her chest in the exact same spot from where energy once flowed freely. It’s time to let go, but is it possible when the intuition is so powerful and so clear? She senses the will of the porcelain with her fullest attention. She is determined and ready to undergo the transformation that is required.
Majula Drammeh is a dance artist and political activist based in Malmö Sweden. She work with questioning the “white rooms” in our society, within the art scene and in our institutions by creating work that questions why skin color still matters. She tends to use theories from philosophy and meditation in her work in progress.
Visual artist, teacher and writer. Falkeling received her BFA at Malmö Art Academy and is currently about to enroll her Masters of Fine Arts at the Piet Zwart Institute in Rotterdam. In her work, Falkeling focuses on the quiet, soft, introverted and mute materials present within what is commonly considered to be verbal political arenas and consider the representation of rooms of power as her field, to explore the political reality as it literary feels on the skin.
Ida Christina Mårdhed
is a welfare worker, writer and (performance-) artist. Since a year back a member of the Malmö-based performance group MårDiČu. Her work balances, jumps and attempts to build bridges between current social-realism and forgotten mysticism and fairytales.
Eduardo Abrantes /The Here and Now
Eduardo Abrantes is a documentary filmmaker, sound artist, and “in-and-out of academia” artistic researcher in a few hybrid fields of human experience, mostly sound, philosophy, performed creativity and existential/sensorial awareness in embodied everydayness. He is currently based in Stockholm, Sweden, having fallen in love with the circumstances of nordic life.
Susanne B. Storm (1964) DK.
Performer, teacher, founder of The Company: Aesthetic Learning. Educated as a drama teacher, Performer at The Nordic Theatre School, Aarhus and MA (Ed) in Educational Psychology. As young I worked as an actor/performer. I have then worked as a teacher for more than 30 years in the Youth and Higher educational system. I am the founder of my current company “Aesthetic Learning” where I disseminate the theory and practice of the aesthetic learning processes
Anneli Einarsson, Malmö högskola, adjunkt i pedagogiskt drama. Doktorand vid University of Chester. Jag undervisar på lärarutbildningen på Malmö högskola och på våra kurser i Pedagogiskt drama.
Industrial Strange is a Danish media art duo, consisting of sound artist John Alex Hvidlykke and visual artist Taina Hvidlykke. They work with light, sound and DIY electronics, but also performance art and communication practices. Industrial Strange has since 2007 been involved in sonic art, circuit bending, creative electronics workshops and sound performances.
Inga Gerner Nielsen
performance artist & researcher / email@example.com
EH’s artistical work deals with questions about civilisation. He wants to talk about society and subjects as memory, the present and the future. How do we want to create our world? He wants to open up for more discussion and collaboration. Erik Högström makes music, performance art and art gallery events among other things. He does also collaborate with other artists, musicians and institutions. EH lives in Malmö.
Michele Collins is an inter- disciplinary performing artist. She creates her own productions and characters through rhythm, tempo and tone along with, sincerity and responsiveness. The performances are everchanging formed and flavored by the playfulness of the audiences of all ages. An inspiration to her artistic freedom is collaborating with musicians, dancers, poets and filmmakers… She constantly renews and reviews her artistry and relates it to other artists of her trade
Karin Granstrand is a visual artist working with drawing, sculpture, installation, photography and text to register the afterlife of thoughts, impressions, everyday life. At the moment her work revolves around the concept of information and its importance // irrelevance // in daily routines. How do we read, interpret, process various forms of information? How do we handle the information // overload // that surrounds us? How can we create our own place in the world – our own room inside another room – if needed? Karin graduated from HDK Steneby, Gothenburg University, in 2011.
Ulla Silfverberg Andreasen
Ulla Silfverberg Andreasen is a lecturer in fine art and film at Vesthimmerlands Gymnasium og HF, Denmark. At Inkonst she teach the art of filmproduction. She enter as the Catalyst. She catalyze the awareness of the essentials and the aestetics.
Marieke Breyne works internationally as a performer. She establishes an artistic research towards the socializing impetus of encounters between an unpsychologized performative body and an audience. This study is boosted by a practice-based doctoral research that focusses on performing arts in post-transitional South Africa. In this phd Marieke readdresses her artistic search on the possibilities of mediating a space and the individuals within by an objectified bodily presence towards the South-African society.
Sisters of Sättra
Artist collective in Sättra on Öland. Developed a performance toolkit witch they use to express a number of issues. Architectural structures in relation to their bodies has evolved to “The body house project”. We also research our historical herritage in connection to a collective body. The Group stared on Öland in 2009. We are interested in finding new ways to relate to various landscapes and environments. We extend our bodily memory through physical challenges in joint actions to find a broader understanding of life and knowledge
Sara Bergsmark is a producer of performing arts, recently graduated from Stockholms Academy of Dramatic Arts. I have my background in independent theatre companies, gender and performance studies and in the adult education assocation ABF, Arbetarnas Bildningsförbund (the Workers’ Educational Association). In my work I want to combine my experience and knowledge in production management, academic theory and education.
Practice Room 1.1. Is a work in process, an exploration into the musicians practice room, a place of preperation, solitude, concentration. What does this small room offer as a physical and mental space ? Through exploring my own practice as a clarinettist and the experiences of other musicians, as well as sharing knowledge, experiences and processes with those at the school, we will think about if the practice room can become a universal space, and if so, what are it’s requirements ? Others at the school are invited to enter the space, or come for a clarinet ‘non-lesson’… (Developed by Rosanna Lovell, B.Mus and currently studying at the Institute for Art in Context, UdK, Berlin.)