PhD-project: Screened Visions / National Visions
How does todays omnipresent screen culture function as a vehicle for neo liberal strategies, disseminating and reaffirming world views funded on inequality in terms of class, gender, race and borders that inevitably has contributed in creating the political right wing turn we're now experiencing?
With the above sentence as a backdrop, I will use a potential research fellowship to examine the role contemporary digital screen culture play in the rise of new nationalist visions, and look at how the screen; technology and material, contribute in the production of our memories and presetting of our future actions. A vital part of the project will be to investigate and explore how we as artists, cultural producers and users of screens- and moving image technology can employ strategies to counter and question manipulative strategies within contemporary screen culture and imagery working to forth national visions and neo-liberal thought material. Could these strategies serve as tools to undo subjectivities and process of invisibilization, and further build new imaginaries breaking with the dictatorship of the free market and visions of the national in the face of globalization?
My project will have a dynamic work process; fluctuating in between investigating the topic, examining strategies from other works (by artists, collectives, research institutes) and my own artistic responses informed by the findings. Using my eye as a screen-based artist, I will create artistic responses throughout a 3-years period; documenting (w/ digital and analogue cameras) material from screens leading up to a final project existing in between the realm of the public, virtual and textual; possibly a public screen intervention, a virtual platform, and a screen based exhibition displaying my own artistic strategies developed throughout the period.
I have a research based practice, but a hands-on physical way of working; using text, photo, analoge film & moving image-technology in the process; projects taking the form of a public intervention, a film, a book, or an installation; often examining the surface of the screen and materials presented. My practice over the past years have spanned through the making of art projects but also programing of screening series, talks and seminars. I started exploring this in a previous project looking at the relation between gender between and screen-history in a 4 days events ‘The Pleasures and Politics of Looking’, which included talks, lectures and screenings, organized with UiO, Fritt Ord, UKS and Cinemateket. I am now exploring this part of my practice further in a project with the Munch museum, and also as member of the curatorial board at Kunstnernes Hus Kino. This will continue to be an integral part of my practice in the proposal for a fellowship, and part of the active reflection happening throughout the period; exploring research collectively through workshops and conversations also involving students at KHIO.
The proposal is a continuation of an ongoing investigation of mapping aesthetics, media technologies and ideological strategies in contemporary screen culture, and the first iteration in the project focusing on ‘the national’ is happening in 2018 in the public screen project ‘The Feedback-loop’ with Munch Museum on the Move and curator Natalie Hope O’Donnell. If granted a fellowship, I will use the next three years following a similar model to the ‘The Feedback-loop’, consisting of three parts informing each other; an intervention in urban space, an exhibition display of my research, as well as a screening series where I invite colleagues from my international network to share knowledge, work and insights with the arts community of Oslo.
Arbeider som arkiveres/publiseres i KHIODA reguleres av Lov om opphavsrett til åndsverk. Opphavsmannen beholder opphavsretten til materialet i KHIODA, men gir brukerne tillatelse til å sitere fra verket, samt videreformidle det til andre, i henhold til åndsverkslovens regler. En forutsetning er at navn på utgiver og opphavsmann angis. Kommersiell bruk av verket er ikke tillatt uten etter skriftlig avtale med opphavsmannen.