Around what does knowledge crystallize within art research as a special field? and how possibilities arise for innovation, a critical perspective, and the impossibility of art within a context that has an epistemological basis? Are there examples of questions I come up with to address in the lecture.
The aim of analyzing and clarifying these phenomena is that by doing so it will be possible to better account for art research as epistemological processes, to increase understanding of how fields of study or areas of knowledge are formed around art research.

NARP's goal was to graduate artists from all art disciplines with a doctorate equivalent to other doctoral degrees, but different since the research was 100% practical/artistic. The lecture will also involve development on the website; The Research Catalog, which was founded as a media platform for art research and to bridge the gap between practical art research and doctoral theses. The lecture will be delivered as a PowerPoint presentation.

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The NARP experiment 2003 - 2024

Artistic Research in Norway - a brief history

In this presentation I will trace the history, development and speciality of the Norwegian Artistic Research Program which was founded in 2003, but will this year be faded out in the form it has been operating. NARP aim to develop and cultivate an artistic research environment/community where the main infection was on the artistic research but not on the thesis writing. NARP aimed at grading artists from all fields with a PhD degree which was equal to other PhD degrees but difference since the research was 1001T artistic/practice based. The development of The research and research presented and research was based.

Some of the experiments were shown publicly at The Kitchen in New York, but others later found their way to the Media Study/Buffalo Video Museum, a department at New York State University that was specifically created to promote knowledge of new media such as video. The intention is to examine whether at the University of Buffalo, research has been carried out from the field of video art, which had an impact on knowledge of the properties of video and the development of video art imagery and how that knowledge creation took place. At the same time, questions about the distinction that has been made between experimental art, research and artwork with video art as a reference will be raised.

Margrét Elísabet Ólafsdóttir, professor of art studies at the Faculty of Fine Arts of the Iceland Academy of the Arts

Experiment or Research: An Emerging New Art

In this lecture, the intention is to look back at the early years of video art and especially the career of Steina and Woody Vasulka, who started experimenting with video around 1970. Some of the experiments were published in new media such as video. This lecture intended out in the field of knowledge and knowledge of the evidence of the evidence, has had on the experience of the experience of the experience of the experience.

It will be examined how an artist's ideas and experiments continue to ferment under the surface and can pop up much later and become real in different media, as a different kind of work or design product.

In the era of technology, information and artificial intelligence, the role of the artist raises questions Is the artist becoming obsolete, or is his sensory knowledge, artistry and intent in collaboration with the machine and automated processes one key to shaping aesthetics in the present?

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This talk traces the evolution of Primitiva, a generative jewellery design project that hybrids human creativity with machine precision. Katrín Ólína delves into how years of experimental storytelling and two-dimensional explorations evolved into a collection of symbolic talismans, highlighting the dynamic interaction between introduction, tacit knowledge, and digital tools. The project demonstrates how creative experiments can resurface and migrate across media, where human insight and technology merge to create meaningful designs.

In an age named by technology, information, and artificial intelligence, the role of the artist invites reflection. Is the artist becoming obsolete, or do their tacit knowledge, artistic sensitivity, and ability to infuse intention into collaborations with machines and automated processes critical essential in shaping contemporary aesthetics?

Katrín Ólína is an Icelandic industrial designer with a diverse international and academic career. Her international work spans product design, interior design, graphic art, and research. Ólína led the Product Design program at the Iceland University of the Arts from 2000 to 2004 and is currently the head of its Design Department.

In the lecture, Fraser will use theory and case studies to show how he incorporates sensory knowledge and craftsmanship back into the design process, interweaving thoughts, decisions and processes that characterize both the practices of certainty and risk.

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‘Workmanship of risk’, an idea formed by David Pye in 1968, uses any kind of technique or system ‘in which the quality of the result is not predetermined, but depends on the judgment, and care which the maker exercises as he works’. This is in contrast to the workmanship of certain found in mass production, where the quality of the product is always predetermined before anything is actually made.

Through a combination of theory and case studies, this presentation will illustrate how I encorporate tacit knowledge and workforce back into the design process and intertwine the thoughts, decisions and processes that characterise both the workforce of certification and the workforce of risk.

Professor Fraser Muggeridge is a graphic designer based in London. Throughout a wide range of forms, from artists’ books and exhibition catalogues to posters, marketing material, exhibitions, websites, film titles and music, the studio prioritises artists’ and writers’ content over the imposition of a signature style. By allowing images and texts to sustain their own intent and impact, each project is applied with typographic form and letterform playing a key role in arriving at a sympathetic yet subject alluring object.

www.pleasedonotbend.co.uk

We used various methods (including asking, reading, interviewing, walking around, working in groups, inviting others to participate, documenting and creating events). In this seminar we are going to talk about a community project developed in Borgarnes, “ Getting out in Brákarey” (February-June 2024), where diverse working methods were used that resulted in creative events with the participation of local people.

Emily Lethbridge is a research associate professor at Árnastofnun. Her research is about Iceland's medieval literature, especially in terms of the preservation and reception of ancient texts in a concrete context. She is also a teacher within the Faculty of Humanities at UI. See more: https://www.arnastofnun.is/is/the institute/starfsfolk/emily-lethbridge.

Sarah Woods is an award-winning writer and creative systems thinking expert Her musical and Boff Whalley, SANCTUARY, about asylum, the church and the state, will premiere in England in September Her remake of Alexis de Tocqueville's DEMOCRACY was recognized as a “BBC Radio 4 Drama of the Week” It is the co-PI of the project WOMEN'S SPOR.

Bergdís is an actress, director, screenwriter and drama teacher. She founded the theater group Spindrift with six actresses who have written and performed plays for 10 years and traveled with them around the Nordic countries, Great Britain and next to China. Bergdís' passion also lies in social arts and she works as a hospital clown at the Ring Children's Hospital and leads art workshops for children who have parents with mental health problems at Our World. Bergdís is currently studying at the Iceland Academy of the Arts for a master's degree in performing arts.

Gosia Trajkowska is a performing artist, visual artist and director She works mostly in pairs Together with Vera Popova, she co-directed the exhibitions “CRIMEA”, “Pink Bitterness Princesses”, “How To Disappear Completely”, “Dream Institution” and the three-part podcast “Beethoven Was a Lesbian” Together with Agata Lech, she created and curated two poetry films: “A Year without Summer” and “Ballad for Balconies” She has a fine arts degree from the School of Arts in Szczecin, and is currently pursuing a master's in performing arts at the Iceland Academy of Arts.

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Women's track was awarded a 3-year grant by Rannís in 2023. One of the key project aims is to bring creativity into traditional academic applications and discourse, and to build creative responses to story and place on deeply-laid traditional academic foundations, bringing academic methods and materials into research through practice work. The project together a variety of what needs, discussion and artistic practice was research, and artistic practice. The presentation of society.

Emily Lethbridge is Associate Research Professor at the Árni Magnússon Institute for Icelandic Studies. She works on Iceland's medieval literary heritage, exploring its transmission and reception in material contexts. She also Teaches within the Humanities Department at the University of Iceland. See further: https://www.arnastofnun.is/is/the institute/starfsfolk/emily-lethbridge

Sarah Woods is an award-winning writer and creative systems thinker. Her musical SANCTUARY, about refuge, church and state, written with Boff Whalley, opens this September. Her re-imagining of Tocqueville's DEMOCRACY was recently named BBC Radio 4 Drama of the Week Sarah is co-PI of KVENNASPOR.

Bergdís Júlía Jóhannsdóttir Bergdís is an actress, director, scriptwriter and drama teacher. She founded Spindrift Theater with six actions who have created performances for 10 years, touring around the Nordic countries, the UK and next in China. Bergdís is suitable about socially engaged art and works as a Health Clown at the Children's Hospital as working with children of parents with mental illnesses at Our World. She is currently a student in the Icelandic University of the Arts on the master program of performing arts.

Gosia Trajkowska is a performer, visual artist, and director. Most willingly she works in duets. Together with Vera Popova, she directed the performances “CRIMEA”, “Pink Bitterness Princesses”, “How To Disappear Completely”, “Dream Institution” and a three-episode “Beethoven Was a Lesbian” podcast Together with Agata Lech, she directed and created two poetry films: “A year without summer” and Ballad for Balconies“ A graduate of Visual Arts at the Academy of Art in Szczecin. Current, she is a student of the Icelandic Master's degree of the Icelandic Arts at the Icelandic University of the Performing Arts in the Arts.

They work on the development of an exhibition for Gerðarsafn in exhibition management and conversation with Becky Forsythe. The exhibition is based on micro - phenomenological interviews, but that method consists of getting interviewees to describe their experiences of the Surtseyjar environment and project a descriptive picture of their experiences and memories of previous (physical) experiences.

Þorgerður Ólafsdóttir (1985), graduated with a BA in art from the Iceland Academy of the Arts (2009) and an MA in art from the Glasgow School of Art (2013). In her work, she examines different things and phenomena that are intertwined with our understanding and relationship with nature during a time of great awareness. Þorgerður is one of the participants in the Relics of Nature research project and recently published the book Esseyja/Island Fiction in connection with her project on Surtsey.

Gunndís Ýr Finnbogadóttir lives and works in Iceland. She graduated with an MA in art from the Piet Zwart Institute and Plymouth University in 2008 and an M.Art.Ed. in art education from the Iceland Academy of the Arts in 2011. Gunndís works as an assistant professor at the Art Education Department of the Iceland Academy of the Arts. She is a doctoral student at the University of Iceland, and studies environmental relations through movement and artistic thinking in an art research project aimed at the development of environmental education.

Becky Forsythe is the curator In her projects, Becky has placed great emphasis on collaboration and networking, which she is based on insight, care and critical communication As a curator, she has worked on exhibitions and publications in museums, galleries and artist-led projects in Iceland, including at the Reykjavík Art Museum, the Museum of Contemporary Art, Hafnarborg, Gerðarsafn, Kling & Bang, ASÍ and Skaftfell. Becky is the holder of a research position on the role of women in Icelandic art history Reykjavík Art Museum and she is also part of the editorial board of the magazine Myndlist á Iceland.

Trailer from video work

Presentation photo: Photo taken from Surtsey 3D, model built by Birgi Vilhelm Óskarsson, see details here

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Unstable Ground is a visual art project and artistic research by Gunndís Ýr Finnbogadóttir and Þorgerður Ólafsdóttir, based on interviews with individuals who traveled to Surtsey between 1966 and 2022, among other things. Their exhibition opens in Gerðarsafn in autumn 2024, curated and in dialogue with Becky Forsythe. The exhibition is based on micro-phenomenological interviews, a method that supports interviews to describe their experience of the environment of Surtsey and present a vivid picture of their experiences and memories from previous (physical) experiences.

Þorgerður Ólafsdóttir graduated with a BA in Fine Arts at Iceland University of the Arts (2009) and MA in Fine Arts at the Glasgow School of Art (2013). In her practice she considers various things that are connected to our understanding of and relationship to the natural world as it meets, overlaps and is interrupted within human environments. She is a part of the research project Relics of Nature and recently published the book Island Fiction in relation to her ongoing project about Surtsey island. www.thorderlafsdottir.info

Gunndís Ýr Finnbogadóttir lives and works in Iceland. She graduated with an MA in Fine Art from the Piet Zwart Institute and Plymouth University in 2008 and M.Art.Ed. in art education from the Iceland University of the Arts in 2011. Gunndís is an assistant professor at the Iceland University of the Arts, Department of Arts Education. She is currently a PhD candidate at the University of Iceland, investigating environmental immersion and movement in thinking in an artistic research project aimed at developing environmental pedagogies.

Becky Forsythe is a curator whom practice centers relationship building and cooperation as methods for curating with intuition, care and critical exchange. As curator Becky has initiated, led and collaborative on exhibitions and publications in museums, galleries and artist-led institutions in Iceland including, Reykjavík Art Museum, The Living Art Museum, Hafnarborg, Gerðarsafn, Kling & Bang, ASÍ and Skaftfell. Becky currently holds the research position on the role of women in Icelandic art at Reykjavík Art Museum and is on the editorial board of the magazine Art in Iceland.

In that context, RSG considers it important to simultaneously promote dialogue between researchers from different backgrounds and methods, who, however, have in common a connection with the working life of culture and creative industries; and between them and the people working in this field, not least those who carry out the core activities of artistic creation and communication. The aim of the talk is to open this conversation and examine whether and how RSG can support art research and its dissemination, to conduct assessments and research on the value of art and art research, and to examine whether and how the methods of art research can be used in research conducted by the center.

Erla Rún Guðmundsdóttir is the director of the Creative Arts Research Center. She previously worked at Statistics Iceland as an expert in cultural statistics and was involved in the development and improvement of various databases and publications, including in relation to cultural indicators and sample research on the cultural and media consumption of the citizens. Erla Rún has a master's degree in the field of management and finance in the arts, culture and creative industries.

Creative Arts Research Center

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The Icelandic Research Center for the Creative Industries (RCCI) was founded in 2023, with the aim of promoting and stringhening research regarding cultural and creative economy. In that context, RCCI believes it is important to simultaneously promote dialogue between researchers with warning backgrounds and methodology, who, however, have in common a connection to the cultural and creative economy; and between them who found and research in this research and research.

2. Steingerður Lóa Gunnarsdóttir //Games as art and learning - understanding of games as interdisciplinary works and tools.

Games are a form of art that crosses borders They appear in the art world in the form of pictorial poetry or interactive works that emphasize the unique experience of the participant Gamemaking is one of the most interdisciplinary forms that can be found: it requires visual and sound art, programming, graphic design, game, experience and lip design, and artistic insight The game is in our blood, and thus we learn and study the world from a wet childhood Learning and Research Form that everyone should take as an example throughout their lives.

Steingerður completed an MFA degree in game design from NYU Tisch in 2015. She has published three progressive and award-winning video games: Sumer, Triple Agent and Out of the Loop. Steingerður is part of the game art group Isle of Games and has taught game design at Reykjavík University for the last 5 years

Photo: Fossil Image: Isle of Games

3. Joost Rekveld// Lightning Empiricism; Thinking Through Devices

What can humans learn from interacting with the machines they have built? Through material experiences of machines belonging to various distinctions in the history of technology and science, artist Joost Rekveld explores that question The outcome of that research can be seen in the form of exotic phenomena in abstract films he creates.

Joost's dynamic films have been shown at film festivals and at art venues around the world Since 1996, he has taught in various fields where arts and sciences meet.

More information at http://www.joostrekveld.net/ 

English

Thinking with and through devices - the impact of technological development on the human senses and artistic explorations. Seminar at Hugarflug held in connection to the establishment of a joint study program between Iceland Academy of the Arts and Reykjavík University in digital art and interactive technology.

1. Hidden bird// Performing Arts in Physical and VR spaces - Practical & Aesthetic approaches

Hidden bird will speak about their work in creating immersive, audience-centric experiences both in physical spaces and the virtual. This will range from practical concerns, eg how to handle motion in virtual reality, to aesthetic, sensitivity and storytelling techniques, to methods of including live performance (motion capture, IK systems, live director control etc).

Hidden bird consists of performer & producer Nanna Gunnars and digital artist Owen Hindley. More info at huldufugl.is 

An overview of how I've toggled digital and analog technologies in the production of sculptural projects. My interest lies mainly in how small and visually striking analog physical objects or models can be transferred into the digital realm, worked, processed and eventually reverted back into an analog end product. The digital is a very useful tool both for upscaling, visualization and analysis of object properties but its aesthetics are not always desirable.

Carl Boutard is a Swedish visual artist living in Iceland since 2017. He currently works as an associate professor and BA program director at the IUA. His work is mostly sculptural and often located in public space. Carl graduated with an MA from Malmö Art Academy in 2007 and also has a BSc in Architecture from the Royal Institute of Technology in Stockholm.

Discover the future of sustainable design with hemp fibers, as emphasized by the New European Bauhaus initiative. This innovative study shows the potential of hemp fibers in acoustic design, enabling the creation of sound-absorbing interior elements, furniture, and more. By integrating hemp fibers into modern architecture and design, we can identify easily environmental construction practices. Hemp fibers with the use of these significant and environmental factors.

Vilte Adomaviciute is a biomaterial researcher, interior architect, and designer currently working as a scientist in the New European Bauhaus project. She holds two master's degrees, one from Vilnius Academy of Arts (VDA) and another from the Iceland University of the Arts (LHI). Her main focus is on sound-absorbing biomaterials.

Today, a large proportion of products are produced so far from consumers that there is no connection to the production In the past, there was a direct connection between industry and the population, but traditions and material assets in each place are easily forgotten The testes of the study shed light on sensory knowledge and the aforementioned relationship through artistic observation followed by material, form, craftsmanship, image and text.

The starting point is Masonite's design and bibliography, which the design duo Folkform worked on for over a decade, but today Masonite is synonymous with different types of fiberboard The study begins between the Masonite brand's documents, spelled with a large „M“", the wood fiber material invented by William H. Mason in the United States in the second decade of the last century When the last Masonite plant in Sweden was closed in 2011, Masonite became a historical cultural heritage.

The study paints a picture of the collaboration between designers and craftsmen in various workshops, mainly within the Swedish manufacturing industry. The importance of the proximity of the design process to the production is highlighted and the numerous connections hidden behind the product's creative process are identified.

İSTHÁM

The Production Novellas is an artistic investigation of material and place, revealing a decade of research by Anna Holmquist, co-founder of Folkform design studio. Told through her 10-year collaboration with a now-closed Masonite factory in Rundvik, Norrbotten, Holmquist exams how design can re-connect consumers with industry, craft and local traditions.

A large part of the production today is produced so far from the consumer that there is no connection to the production. That there have historically been direct connections between an industry and the people, local traditions and material estimates of the place is easily forgotten. The thesis makes the tacit knowledge and these relationships visible through an artistic exploration concluded through a combination of materials, form,craft, image and text.

The starting point in the theme is the design and documentation of Masonite, which the design duo Folkform worked on for more than a decade. Masonite has become synonymous with an entire range of different types of fibreboard. This investigation takes its starting point in sheets of the Masonite brand, spelled with a capital” and a lowercase ethnic at the end, a wood fibre material invented by William H. Mason in the United States in the 1920s. When the last Masonite factory in Sweden closed in 2011, Masonite become a historical and cultural heritage.

The thesis portraits the collaboration between designers and craftsmen in various workshops, mainly within the Swedish manufacturing industry. It highlights the importance of a design process close to production and shows the many relationships hidden behind the product's creation process.

Anna Holmquist is one of the founders of the art and design studio Folkform.
Folkform first entered the public spotlight with their experimental work with materials, especially
Masonite where flowers and plants are pressed into the boards - giving them a brand new expression. Folkform has also become an international name and has received serious priest design awards. Their work can be found in the permanent design exhibition at the National Museum in Stockholm, Röhsska in Gothenburg and in The National Museum of Art, Architecture and Design in Oslo, to mention a few places.

Anna Holmquist is also working with interdisciplinary design research, at Konstfack University College of art and the Royal Institute of Technology in Stockholm, focusing on materials. She has been an invited lecturer at Beckmans School of Design, HDK and many other universities and institutions in Sweden.

Gunndís Ýr Finnbogadóttir lives and works in Iceland. She graduated with an MA in art from the Piet Zwart Institute and Plymouth University in 2008 and an M.Art.Ed. in art education from the Iceland Academy of the Arts in 2011. Gunndís works as an associate professor at the art education department of the Iceland Academy of the Arts. She is a doctoral student at the University of Iceland, and studies environmental relations through movement and artistic thinking in an art research project aimed at the development of environmental education.

Kristín Valsdóttir is an associate professor at the Art Education Department of the Iceland Academy of the Arts. Kristína's research and work focuses on music education, art teacher education, learning culture and lifelong learning of artists and teachers. She has a B.Ed. as a music education teacher from the Iceland Teachers College, a master's degree in music and dance pedagogy from the Orff Institut, a Mozarteum and a master's degree in education in 2006 and a doctorate in 2019 from the University of Iceland.

Guðbjörg R. Jóhannesdóttir is an associate professor at the Faculty of Art Education at the Iceland Academy of the Arts. Environmental philosophy has been at the forefront of her work since she began studying philosophy at the University of Iceland. She graduated with a master's degree in Values and the Environment from Lancaster University and a doctorate in philosophy from the University of Iceland. Guðbjargar's research focuses on environmental aesthetics, environmental ethics, phenomenology, perceived knowledge, physicality, landscape, interdisciplinary work and participation.

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In the department of art education, the aim is to promote students’ self-knowledge and understanding of sense knowledge. In the talk, we will discuss „tacit knowledge“ in the education of art teachers based on selected examples from the work and the faculty's participation in the research project: Make Sense: Embodied, Experiential Inquiry and Research (MakeSense). Then we will discuss the methods of Focusing, Thinking at the Edge and Micro-phenomenology and how they are helpful in studies and research.

Gunndís Ýr Finnbogadóttir lives and works in Iceland. She graduated with an MA in Fine Art from the Piet Zwart Institute and Plymouth University in 2008 and M.Art.Ed. in art education from the Iceland University of the Arts in 2011.
Gunndís is an associate professor at the Iceland University of the Arts, Department of Arts Education. She is currently a PhD candidate at the University of Iceland, investigating environmental immersion and movement in thinking in an artistic research project aimed at developing environmental pedagogies.

Kristín Valsdóttir is an associate professor at the Iceland University of the Arts’ department of art education. She completed a B.Ed. as a music teacher, a diploma in music and dance from Orff Institut, 1992, an M.Ed degree from the University of Iceland in 2006 and a PhD in 2019. Her research focuses on music education, teacher training, learning culture and arts-teachers professional development.

Guðbjörg R. Jóhannesdóttir is an associate professor at the Iceland University of the Arts’ department of art education. Her research centers on environmental ethics, phenomenology and aesthetics, and she has published papers and book chapters on landscape, beauty and sensuous knowledge. Her current research with human psychology and environmental aesthetics focuses on human-environment/body-landscape relations and processes, and their role in human thinking and understanding.

Also, the overlap of culture and nature in her work is particularly examined in terms of natural hazards, but many of her works have an urgent mission to the present, which is characterized by efforts to rethink the traces that humans have marked in nature, sky and earth with their entire ecosystem. Her works that disappear around the big river Þjórsá became, among other things, a source of the theme of the Southern Biennale in the summer of 2024, which includes trips by artists, designers, architects and scholars on the banks of Þjórsár from estuaries to recordings. The project, collaboration, approaches and the results of the research of the biennial participant will be reported.

Aðalheiður Lilja Guðmundsdóttir (b. 1968) is an independent-working scholar. She studied philosophy in Iceland and philosophy of art in France. In 2010 -2021, she worked as a professional director of art studies and assistant professor at the art department of the Iceland Academy of the Arts. Aðalheiður Lilja has carried out various projects in the fields of art studies and art, including research, writing and exhibition. Her research has focused on contemporary art, artist bookmaking and gender studies within the arts.

Agnes Ársælsdóttir (b. 1996) is an artist and curator with an emphasis on one's connection to one's environment, methods of art research and processes of cooperation.
She graduated with a bachelor's degree in art from the Iceland Academy of the Arts in the spring of 2018 and is currently studying for a master's degree in Exhibition, Media and Curatorial Practice at the University of Iceland. Her work has been shown both in Iceland and abroad, but recent projects include Between the Issues at the Art Festival in Reykjavík 2024 and her solo exhibition Possible garden in the Sculpture Garden of the Sculptors Association. Along with that, she curates the Southern Biennale 2024 and the Hamraborg Festival.

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The session discusses trigger that have arisen from a research project on the visual artist Borghildi Óskarsdóttir (b. 1942) that ended in Marc 2024 with the publication of a book on her works and an exhibition at Reykjavík Art Museum. The research work is presented with an infection on Borghildur's material and international project art research. Also, the overlap of culture and nature in her works is especially important natural hazards, but many of her works are absolutely relevant, in times that are characterized by the human mark on nature of the animals, 200, Her works of the literature on the literature, 200, Her works of the literature on the other works of the society, 20, 200, Her works of the organization of the society, (s).

Aðalheiður Lilja (b. 1968) is an independent researcher. She studied philosophy in Iceland and philosophy of art in France. In the years 2010 -2021, she worked as a head of art studies and lecturer at the Fine Arts Department of the Iceland University of the Arts. She has carried out various projects in the fields of art theory and visual arts, including research, writing and exhibition making. Lilja's main honor is in the field of contemporary art, artists’ books and gender studies in the arts.

Agnes (b. 1996) is an artist and curator concerned with man's connection to their environment, techniques of artistic research, and collaborative processes. She graduated with a BA in Fine Arts from Iceland University of Arts in 2018 and currently studies masters of curation at the University of Iceland. Her works have been expanded both in Iceland and abroad, among her recent projects are Inter-bite at Reykjavík Arts Festival and her solo show Potentially Garden at Reykjavík Association of Sculptors. She is also a curator for The South Iceland Biannual's 2024 edition and Hamraborg Festival.

Mamady Sano, Rokia Sano, Alpha Camara, Younoussa Camara and Ousmane Sylla are african dancers and drummers from Ballet Merveilles de Guinée from Guinea west Africa They will perform an energetic African dance and drum show with the addition of answering questions about Guinean culture.

Mamady Sano is the artistic director of Ballet Merveilles de Guinée and one of the most sought-after African dance teachers from Guinea He has traveled all over the world promoting Guinea's culture since moving to New York in 1997 and was a teacher at Long Island University and Alvin Ailey, among others. Mamady now lives in Iceland and Guinea and still travels all over the world to teach Mamady is the founder of Dance Africa Iceland whose main goal is to promote African dance, drumming and culture in Iceland and Guinea.

Rokia Sano is a magnificent dancer in Ballet Merveilles de Guinée and a very popular teacher with students from all over the world who travel to Guinea Rokia has traveled to Japan to teach dance to students She is excellent on stage and has participated in countless shows and events in Guinea.

Alpha Camara is a magnificent dancer in Ballet Merveilles de Guinée and is excellent on stage He has participated in countless shows and events in Guinea and helped Mamady welcome students from all over the world and guided them through the culture of Guinea.

Ousmane Sylla is a magnificent doun doun drummer in Ballet Merveilles de Guinée and Camara Percussion He is excellent on stage and known for his great energy in drumming Ousmane has participated in countless shows and events in Guinea.

Younoussa Camara is a magnificent Djémbe drummer in Ballet Merveilles de Guinée and founder and director of Camara Percussion He is considered one of the best drummers of his generation and is a great teacher. Younoussa is excellent on stage and has participated in countless shows and events in Guinea and Senegal.

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Mamady Sano is the artistic director of Ballet Merveilles de Guinée and one of the most sought-after African dance teachers from Guinea. He has traveled around the world promoting the culture of Guinea since he moved to New York in 1997 and was a teacher at Long Island University and Alvin Ailey, among others. Mamady now lives in Iceland and Guinea and still travels around the world to teach. Mamady is the founder of Dance Africa Iceland which main is to promote African dance, drumming and culture in Iceland and Guinea.

Rokia Sano is a phenomenal dancer in the Ballet Merveilles de Guinée and a very popular teacher with students from all over the world who travel to Guinea. Rokia has traveled to Japan to teach dance to students. She is brilliant on stage and has participated in countless events in Guinea.

Alpha Camara is a phenomenal dancer in the Ballet Merveilles de Guinée and is brilliant on stage. He has participated in countless events in Guinea and helped Mamady to welcome students from all over the world and guide them through Guinean culture.

Ousmane Sylla is a phenomenal doun doun drummer in Ballet Merveilles de Guinée and Camara Percussion. He is brilliant on stage and known for his high energy drumming. Ousmane has participated in countless events in Guinea.

Younoussa Camara is a phenomenal Djémbe drummer in the Ballet Merveilles de Guinée and founder and director of Camara Percussion. He is considered one of the best drummers of his generation and is an excellent teacher. Younoussa is brilliant on stage and has participated in countless events in Guinea and Senegal.

ARRANGEMENT is an event on the border of an installation or workshop as part of an artistic study The Thel (2024-2027), but the project explores how visual perception, sound, and movement can produce a meditative state, play with the senses, and create a sense of intimacy in the context of live performance Participants are invited to enter a space where patterns and forms can be built from a number of sponge blocks Simple instructions can be read on walls but otherwise participants are free to observe, or participate without words The goal is to create a space where communication takes place precisely through other bodies without words, to highlight a sensory and physical approach to how we learn and experience together Guests are invited to experience on their own terms and form their own relationships, whether as an audience or participants.

Katrín Gunnarsdóttir is a choreographer living in Reykjavík. She is an associate professor at the Department of Performing Arts at LHÍ and the professional director of the BA program in Contemporary Dance. Katrín has written over a dozen choreographies, participated in numerous projects in Iceland as well as in many countries abroad and received numerous awards and awards. Katrín has mostly done work for the field but also installations in museums and non-traditional spaces. In recent years, Katrín has worked to build movement languages and imagery where softness, listening, ever-changing movement and the fusion of bodies with their environment play a key role. Along with developing her own work, she works with the art group Marble Crowd. https://www.katringunnarsdottir.com/

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ARRANGEMENT is an event located between an installation and workshop as a part of artistic research Soft Encounters (2024-2027), an ongoing research project that investigates how various audio and visual stimul can trigger a mediating experience in the wall, but otherwise participants are free to follow, or participate with conditions and conditions.

Katrín Gunnarsdóttir is a Reykjavík-based choreographer, currently an associate professor at Iceland University of the Arts and program director of BA in Contemporary Dance Practices. Her work focuses on soft encounters, using embodied listening and affective labor of the cancer to create intricate choreographic landscapes. Katrín creates work for stage but also creates installations in galleries, museums and public spaces. She has made multi award-winning performances that have been shown around Iceland and in Europe. As well as focusing on her artistic practice, Katrín works with multidisciplinary Marble Crowd.

https://katringunnarsdottir.com/

In the previous years, he had written a great deal and taught people about „labor science“, and summarized his theories about it in the writings Vit og strit from 1915 and Vinnan from 1917. Here we will emphasize the connection between these writings and Guðmund's presentation of the experience of time, natural time and rhythm, but it can be seen from Guðmund's conclusions that he is open to the different effects of his own experience, philosophy and literature in his methodology and thinking. The main results of the reading are that the first Icelandic management theories at the beginning of the twentieth century are aesthetic and also capture the opposing ideas that have influenced ideas about work in the last century.

Njord Sigurjonsson is a doctor in cultural policy and cultural management and works as a professor at the University of Bifröst. Njörður has conducted research on management, cultural management and cultural policy, but among the published articles and book chapters from recent years are: „Work, rhythm and time science„ (2024); “Orchestra Leadership„ in the book Managing the Arts and Culture: Cultivating a Practice, published by Routledge; “The Business of Culture: Cultural Managers in Iceland and the first waves of the Pandemic„ (2022); “The Political-Aesthetics of Participation: A Critical Reading of Iceland's National Cultural Policy„ (2021) and “Cultural Policy, Participation and Immigration" (2020).

(THEM

The presentation will address Guðmundur Finnbogason's ideas about beauty, time and the aesthetics of work. Guðmundur published the first Icelandic book on aesthetics in 1918, From sight, but in the years before he wrote extensibly on Scientific Management as is noticeable in the publications Vit og strit from 1915 and Vinnan from 1917. The aim of the study is to contextualize Icelandic aesthetic management theory and better understand the concept of ethnicity in Guðmundur's theory.

Njord Sigurjonsson Ph.D. is Professor of Cultural Management at Bifröst University in Iceland. His main research areas are cultural management, cultural policy, sound culture and organizational aesthetics. Selected recent research papers and book chapters include „Orchestra Leadership“ (2022), “ The Effect of COVID-19 on Cultural Funding and Policy in Iceland” (2022), “ The Political-Aesthetics of Participation “ (2021), “ The Fourth Industrial Revolution and Music Management” (2020), and „ Experience Leadership: Lessons From John Dewey“ (2018). 

The exhibition shows works of art and different finds from nature that are intertwined with the history of man and his influence and extend far beyond the sky of the earth.

Þorgerður Ólafsdóttir (1985), graduated with a BA in art from the Iceland Academy of the Arts (2009) and an MA in art from the Glasgow School of Art (2013). In her work, she examines different things and phenomena that are intertwined with our understanding and relationship with nature during a time of great awareness. Þorgerður is one of the participants in the Relics of Nature research project and recently published the book Esseyja/Island Fiction in connection with her project on Surtsey.

İSTHÁM

The exhibition Future Fragments is based on Þorgerður Ólafsdóttir's artistic research project, where she looks into phenomenon related to the Anthropocene as well as what we consider to be cultural and natural heritage.

The exhibition mountains new artworks created in relation to objects from the collections of the National Museum of Iceland. These objects are unearthed objects from the contemporary past, something that Þorgerður categories as present-heritage or now-remains. The exhibition also includes artworks from her research project in relation to the island of Surtsey, which was recently published in the book Esseyja / Island Fiction.

Moreover, the exhibition plants the seeds of a Future Collection, an Archive of Anthropogenic Artefacts, an assemblage of phenomena, objects and symbols related to the Anthropocene. They appear to use through the conglomeration of culture, nature and minerals, challenge contextal ideas of what is culture and what is nature. In addition, they offer a perspective on how the future of our heritage could appear.

Sigríður Þorgeirsdóttir is a professor of philosophy at UI. She is a leading researcher at an international research and training project in physical critical thinking and understanding. See recently a book: Practicing Embodied Thinking in Research and Learning, co-ed. D. Schoeller and G. Walkerden, Routledge 2024.

Katrín Ólína Pétursdóttir is an industrial designer and dean of the Design Department of the Iceland Academy of the Arts. Her projects span an interdisciplinary field of design from product design, interior design, illustration and design research.

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Minisophy: A practical workshop in writing a minimal text with the methods of embodied, critical, creative thinking and with the help of AI language processing tools. Participants work on an idea, develop it with the methods of embodied, critical thinking and write it with the help of a chat bot.

Sigridur Thorgeirsdottir, professor of philosophy at the University of Iceland. Principal investigator www.trainingect. com

Katrín Ólína Pétursdóttir is an Icelandic industrial designer with an academic and international career. Her international approach span product design, interior design and graphic art and research.
Ólína's academic rolls include leading the Product Design program at Iceland University of the Arts (1999-2004) and heading its Design Department since 2021.

Students have worked that week to practice graphical presentation of their text and have the opportunity to be in conversation with each other and the recipients.

MA students in stage colors at the Iceland Academy of the Arts and participants in the project:

Eygló Höskuldsdóttir Viborg, Bergdís Júlía Jóhannsdóttir, Malgorzata Maria Trajkowska, Esperanza Y. Palacios Figueroa, Aðalheiður Sigursveinsdóttir Najattaajaraq Joelsen, Henrik Koppen 

(T.O.N.

 There will be a joint exhibition by master's students at the Iceland University of the Arts, where they have worked with a graphic designer to present their artistic research from written text to a performative/ visual space in a dialogue with the viewer. The dialogue in between the students and the viewer are important factor and the practice to make their research and thinking process more visible.