A central and inseparable part of my artistic practice is my active involvement in artistic research. I completed my PhD in 2018 and hold an artistic postdoc in 2021-2023. In parallel with this, I regularly give workshops and seminars at doctoral level at The Artistic Faculty in Gothenburg. I am in the panel of the research section of the Danish journal Seismograf and have been engaged by the Journal of Artistic Research (JAR) for peer-reviewing. It is basically about my belief in the potential of artistic research to generate new formats, ways of thinking, working methods, in short; artistically generated knowledge, which contributes to the development of art, the art world, the education system and society at large.

In my own research, I have been interested in making visible the processes that form the basis of art’s capacity “to make a difference”. What does this really mean in practice? Through my doctoral thesis  Before Sound – Transversal Processes in Site-Specific Practice (2018), I focused on the insignificant, often invisible parts of the practice, and through artistic works, textual outputs and the development of artistic and conceptual approaches, so-called transversal methods, highlighted and made visible these insignificant parts as central to the practice’s potential to make a difference. A speaker cable, the echo from a stone wall both have radical potential and agency. With a theoretical framework influenced by philosophy of immanence (Deleuze and Guattari), feminist theories (Haraway) and new materialism (Bennett), I developed a leveled way of thinking and practicing sonic site-specific processes as an aesthetic-ethical practice between complex processes and bodies in negotiation, ranging between materiality, discourses, technology, ideology, geography and the human and non-human, dismantling strongly cemented and outdated representational models of thinking about spatial and site-specific production.

My current research project Sonic Visions of the Arctic, which is based on transversal approaches developed through my doctoral thesis, is an interdisciplinary study that examines the “image of the Arctic” in relation to science and artistic use of scientific data. Within the Anthropocene/Postanthropocene artistic field and discourse, there is today a large number of artistic practices that in various ways deal with scientific data, and whose practices work with “translations”, or simply take these data as “authentic”. The project, which has a media-critical incentive, can be said to have the sub-goal of investigating how these scientific “images” are created, by following the work of scientific researchers, and the potential of artistic documentary practice to critically and artistically respond to these “images”. Through collaboration with researchers at the Bolin Center for Climate Research at Stockholm University, the project explores how underwater acoustic technology used by scientists in the Arctic (North Greenland and the Sullitelma glacier on the border between Norway and Sweden) is used to create information about glaciers and seabed changes.
The focus has been on developing artistic exploratory outcomes, approaches, and conceptual tools that examine/make visible the agency of scientific technology and how it contributes to the “image of the Arctic”

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