https://www.spreaker.com/podcast/audioreflection-pod--4892780
During 2020 and 2021, the artists in the NPP Master program were confined to digital spaces, communicating from several continents, and living through the global pandemic as they pursued their studies. Their choreographic and performative practices were challenged by time zones, proximity restrictions, international borders, care-giving responsibilities and an overwhelm of digital data. As the education switched to being mostly online, the students began to experiment with the relation between digital media and live presence. What would have been studio visits became ‘radio visits,’ and the question of how to share experience without proximity, or how to create proximity in separate spaces, became central challenges. The Audioreflection pod answers these challenges by proposing an audio space where listening is an artistic act to be shared, like touch, but across borders, wherever and whenever the listener can join.

Audioreflection pod includes episodes by the artists Adriana Cubides, Annika Boholm, Csilla Hodi, Eva Mohn, Irene Cantero Sanz, Iris Nikolaou, Katarina Eriksson, Nadi Gogoulou, Kristin Nango, Leah Landau, Louise Crnkovic-Friis, Salka Ardal Rosengren, Sofie Burgoyne and Sunniva Vikør Egenes.

The episodes are produced by the artists, with support by Robin Jonsson.

Mixing: Robin Jonsson

Intro: Iris Nikolaou (composition made by the voices/ sounds of the 14 NPP students)

Image: Csilla Hódi

The Master’s Program New Performative Practices (NPP) creates a site for active, nuanced questioning and expanded artistic knowledge wherein the students define what constitutes their artistic practice. The programme consists of two years of advanced studies. It is research preparatory, qualifying the student for a Master of Fine Arts in Choreography, with a specialization in Performative Practices. By constructively questioning established methods and focusing on the sustainability of artistic practices, the NPP education offers a space for art that challenges the commonplace.

Audioreflection pod is the second edition of the SKH Dance Podcast series.

SKH Dance Podcast cherishes the oral tradition in dance and choreography. Despite the vivid discourse around dance, there is relatively little published writing dealing with dance and choreography. In fact, the transfer of knowledge, the debating and sharing in the dance field often happens orally: through conversations, verbal instructions, in workshops, in studios, in after talks and theatre foyers. By welcoming listeners into this audio space, the SKH Dance Podcast series aims to further resonant discussions within the field.]]>enPerforming ArtsCopyright Institutionen för dans - SKHhttps://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/6ba90c4c4141bebe94dd363a2cc9a9a6.jpghttps://www.spreaker.com/podcast/audioreflection-pod--4892780Fri, 19 Apr 2024 10:17:01 +0000Institutionen för dans - SKHInstitutionen för dans - SKHfeeds@spreaker.comAs part of the education, artists from the MA program New Performative Practices (NPP) launch a joint podcast: fourteen individual episodes inviting the listener to audio spaces reflecting a wide range of perspectives on artistic practice. The series...
During 2020 and 2021, the artists in the NPP Master program were confined to digital spaces, communicating from several continents, and living through the global pandemic as they pursued their studies. Their choreographic and performative practices were challenged by time zones, proximity restrictions, international borders, care-giving responsibilities and an overwhelm of digital data. As the education switched to being mostly online, the students began to experiment with the relation between digital media and live presence. What would have been studio visits became ‘radio visits,’ and the question of how to share experience without proximity, or how to create proximity in separate spaces, became central challenges. The Audioreflection pod answers these challenges by proposing an audio space where listening is an artistic act to be shared, like touch, but across borders, wherever and whenever the listener can join.

Audioreflection pod includes episodes by the artists Adriana Cubides, Annika Boholm, Csilla Hodi, Eva Mohn, Irene Cantero Sanz, Iris Nikolaou, Katarina Eriksson, Nadi Gogoulou, Kristin Nango, Leah Landau, Louise Crnkovic-Friis, Salka Ardal Rosengren, Sofie Burgoyne and Sunniva Vikør Egenes.

The episodes are produced by the artists, with support by Robin Jonsson.

Mixing: Robin Jonsson

Intro: Iris Nikolaou (composition made by the voices/ sounds of the 14 NPP students)

Image: Csilla Hódi

The Master’s Program New Performative Practices (NPP) creates a site for active, nuanced questioning and expanded artistic knowledge wherein the students define what constitutes their artistic practice. The programme consists of two years of advanced studies. It is research preparatory, qualifying the student for a Master of Fine Arts in Choreography, with a specialization in Performative Practices. By constructively questioning established methods and focusing on the sustainability of artistic practices, the NPP education offers a space for art that challenges the commonplace.

Audioreflection pod is the second edition of the SKH Dance Podcast series.

SKH Dance Podcast cherishes the oral tradition in dance and choreography. Despite the vivid discourse around dance, there is relatively little published writing dealing with dance and choreography. In fact, the transfer of knowledge, the debating and sharing in the dance field often happens orally: through conversations, verbal instructions, in workshops, in studios, in after talks and theatre foyers. By welcoming listeners into this audio space, the SKH Dance Podcast series aims to further resonant discussions within the field.]]>cleanepisodichttps://www.spreaker.com/episode/sunniva-vikor-egenes-entrances-exits-a-pieces-series--45273884What I try here is very small compared to those other pieces, I think. There is nobody with me in the room, and nobody to make- with. The piece I imagine here is more a memory than an idea and more a re- creation of performances that I have already witnessed.

Sunniva Vikør Egenes is a dancer currently based in Stockholm, who has collaborated with choreographers such as Martin Nachbar (DE), Anne- Mareike Hess (LUX) and Rosalind Crisp (AU). She has been involved in the award- winning film, GRITT by Itonje Soimer Guttormsen, where her essay was turned into the voice- over for the main character, and she is currently serving on the board of Ravnedans festival in Norway. During the two years of the NPP program she has worked through and with different types of material such as clay, metal and with film. In those processes she has been interested in looking at different types of embodied knowledges, and is often running between recognition, bewilderment and moments when she re- encounters her own dancing whether it is in memorising poems from different languages or trying to slip through a space behind a camera.]]>https://api.spreaker.com/episode/45273884Wed, 16 Jun 2021 15:42:26 +0000Institutionen för dans - SKHThroughout this Spring I have asked colleagues to imagine pieces that don’t exist, and tell me about these pieces for the camera. I have loved watching people get into their ideas, to follow how something arrives to become more or something else. I...What I try here is very small compared to those other pieces, I think. There is nobody with me in the room, and nobody to make- with. The piece I imagine here is more a memory than an idea and more a re- creation of performances that I have already witnessed.

Sunniva Vikør Egenes is a dancer currently based in Stockholm, who has collaborated with choreographers such as Martin Nachbar (DE), Anne- Mareike Hess (LUX) and Rosalind Crisp (AU). She has been involved in the award- winning film, GRITT by Itonje Soimer Guttormsen, where her essay was turned into the voice- over for the main character, and she is currently serving on the board of Ravnedans festival in Norway. During the two years of the NPP program she has worked through and with different types of material such as clay, metal and with film. In those processes she has been interested in looking at different types of embodied knowledges, and is often running between recognition, bewilderment and moments when she re- encounters her own dancing whether it is in memorising poems from different languages or trying to slip through a space behind a camera.]]>1063cleanfullhttps://www.spreaker.com/episode/sofie-burgoyne-with--45273886
Sofie Burgoyne is a female-identifying artist based in nipaluna, lutruwita also known as Hobart, Tasmania. Her practice is centered around the body and rooted in choreography but emerges in many forms. Interested in togetherness in difference, her artistic practice often sets up rehearsals or tests for being, living and working together. Sofie prioritises collaboration and cross art-form conversation as processes of leaning into unexpected encounters and change. Recent artist credits include, The Pink Palace for Constance Ari, Field Notes from Care Workers for Bus Projects and a written publication, Red Sandstone for A Published Event’s Lost Rocks Project.]]>https://api.spreaker.com/episode/45273886Wed, 16 Jun 2021 15:42:18 +0000Institutionen för dans - SKHAccompanied by one of my best friends James O'hara, we list "WITHS"; that which accompanies, holds up, leads, follows and exists within, the artistic practice in which I shared through a series of encounters at the end of my NPP studies. Sofie...
Sofie Burgoyne is a female-identifying artist based in nipaluna, lutruwita also known as Hobart, Tasmania. Her practice is centered around the body and rooted in choreography but emerges in many forms. Interested in togetherness in difference, her artistic practice often sets up rehearsals or tests for being, living and working together. Sofie prioritises collaboration and cross art-form conversation as processes of leaning into unexpected encounters and change. Recent artist credits include, The Pink Palace for Constance Ari, Field Notes from Care Workers for Bus Projects and a written publication, Red Sandstone for A Published Event’s Lost Rocks Project.]]>1123cleanfullhttps://www.spreaker.com/episode/salka-ardal-rosengren--45277067
Salka Ardal Rosengren works with dance and performance. She graduated PARTS in 2010 and has since worked with artists such as Eszter Salamon, Xavier Le Roy, Daniel Linehan, Gunilla Heilborn, Malin Élgan, Tino Sehgal, Boris Charmatz, Salva Sanchis, Rosalind Goldberg, Liz Kinoshita and Sarah Vanhee. She has produced her own work in collaboration with dancer and choreographer Mikko Hyvönen (Trash Talk), Andrew Hardwidge (subsubbodysub) and artist Nicholas Hoffman (The Thing With a Hook).

She’s currently working on her project Lasting Figures: https://www.uniarts.se/english/news/events/events-spring-2021/npp-presentations-weeks/salka-ardal-rosengren]]>https://api.spreaker.com/episode/45277067Wed, 16 Jun 2021 15:42:03 +0000Institutionen för dans - SKHFor this podcast Salka has invited dancer and choreographer Hana Lee Erdman to ask her questions about her artistic practice. Salka Ardal Rosengren works with dance and performance. She graduated PARTS in 2010 and has since worked with artists such...
Salka Ardal Rosengren works with dance and performance. She graduated PARTS in 2010 and has since worked with artists such as Eszter Salamon, Xavier Le Roy, Daniel Linehan, Gunilla Heilborn, Malin Élgan, Tino Sehgal, Boris Charmatz, Salva Sanchis, Rosalind Goldberg, Liz Kinoshita and Sarah Vanhee. She has produced her own work in collaboration with dancer and choreographer Mikko Hyvönen (Trash Talk), Andrew Hardwidge (subsubbodysub) and artist Nicholas Hoffman (The Thing With a Hook).

She’s currently working on her project Lasting Figures: https://www.uniarts.se/english/news/events/events-spring-2021/npp-presentations-weeks/salka-ardal-rosengren]]>1802cleanfullhttps://www.spreaker.com/episode/louise-crnkovic-friis-rebe-a-case-for-extended-ontology--45273888
About Louise Crnkovic-Friis:
I work within the intersection of somatic practice, machine intelligence and neurodiversity. I explore what happens when you go beyond the neurotypical definition of intelligence.
My current practice is performed through the collaboration with artificial intelligences doing generative choreography, writing and semantic style transfer – contrasting and integrating it through the lens of neurodiversity. The ultimate expression is multimodal and can take shape as something visual, textual, choreographic or somatic. My previous roles have been a published researcher, an artistic director, a choreographer, a founder, a mentor and a dancer.]]>https://api.spreaker.com/episode/45273888Wed, 16 Jun 2021 15:41:54 +0000Institutionen för dans - SKHMy practice revolves around extended ontology as seen through the lens of artificial intelligence (AI) and neurodiversity. In this podcast episode I have a conversation with an AI to get a better understanding of its world view, especially from the...
About Louise Crnkovic-Friis:
I work within the intersection of somatic practice, machine intelligence and neurodiversity. I explore what happens when you go beyond the neurotypical definition of intelligence.
My current practice is performed through the collaboration with artificial intelligences doing generative choreography, writing and semantic style transfer – contrasting and integrating it through the lens of neurodiversity. The ultimate expression is multimodal and can take shape as something visual, textual, choreographic or somatic. My previous roles have been a published researcher, an artistic director, a choreographer, a founder, a mentor and a dancer.]]>1147cleanfullhttps://www.spreaker.com/episode/leah-landau-puppy-as-practice--45273889https://api.spreaker.com/episode/45273889Wed, 16 Jun 2021 15:41:45 +0000Institutionen för dans - SKH1208cleanfullhttps://www.spreaker.com/episode/kristin-nango--45273890
Read more about Kristin Nango’s degree project Being with – in an expanded field: https://www.uniarts.se/english/news/events/events-spring-2021/npp-presentations-weeks/kristin-nango-being-with-in-an-expanding-field]]>https://api.spreaker.com/episode/45273890Wed, 16 Jun 2021 15:41:35 +0000Institutionen för dans - SKHKristin pondering with slow thoughts around what her practice could do with somebody IN them ? ... But - where is IN? Read more about Kristin Nango’s degree project Being with – in an expanded field:...
Read more about Kristin Nango’s degree project Being with – in an expanded field: https://www.uniarts.se/english/news/events/events-spring-2021/npp-presentations-weeks/kristin-nango-being-with-in-an-expanding-field]]>843cleanfullhttps://www.spreaker.com/episode/nadi-gogoulou-the-sound-of-the-artistic-practices-that-i-do--45273892How does my kinetical practice sounds?
Does an editing practice have a sound?
Edit a film, edit a moving image, edit a closet, edit a text, edit a voice recording, edit this audio zine.
A filming practice that is an experiment to experience screen as a site for liveness and liveness as a site for screen-ness.
Cooking methods and a practice of cooking in conversation with dance and choreography.
What is the role of fiction in the artistic practices that Nadi is practicing?
Playing as a tool and an entry point to practice and experiment.

The episode consist of sounds and words from the artistic practices that Nadi practiced during her masterstudies at New Performative Practices at the Dance Department of the Stockholm University of the Arts (2019-2021).

Nadi Gogoulou is a dancer, performer and dancemaker. She holds a diploma in Dance, has a degree in Economics and a master in New Performative Practices. She has worked with many Greek choreographers in dance and site-specific performances and creates projects of her own, such as “DownFall”, “On the spot”, “Late Night Impro”, “the move” and “sHow me”, “The cooking-with-Nadi show” and “B.A.W.L.”. She directs her own short films with screenings in International Film Festivals. Nadi works in theater productions in Greece as a choreographer and gives classes of improvisation and her own style of moving, in a class that she call “Join the Fun”.
Rhythm, pattern, loops, repetition, iteration, musicality, virtuosity, playfulness, game, rules, +1-ness are essential key words for Nadi’s artistic practices and work. Furthermore, Nadi is interested in making things practically with hands as a method to work, and therefor to create methods as a choreographic tool to use. She put attention on making a dance, a move, a piece, a video, on taking a photo, making the costume, creating the music, saying the song or even singing the song, making the score and doing the score, following, editing, spilling and failing the score. In these ways she thinks of herself as a method enthusiast. To make methods that generate, maintain, inspect and transform. To generate as to make things. To generate choreography from inside the choreographing. To maintain what she makes and keep working with it. To inspect it while still practicing it, to examine what is happening, how it functions. To set a formula not in terms of a magical spell but to identify methods that create space for different perceptions to exist.]]>https://api.spreaker.com/episode/45273892Wed, 16 Jun 2021 15:41:24 +0000Institutionen för dans - SKHWhat is the sound of a practice? How does my kinetical practice sounds? Does an editing practice have a sound? Edit a film, edit a moving image, edit a closet, edit a text, edit a voice recording, edit this audio zine. A filming practice that...How does my kinetical practice sounds?
Does an editing practice have a sound?
Edit a film, edit a moving image, edit a closet, edit a text, edit a voice recording, edit this audio zine.
A filming practice that is an experiment to experience screen as a site for liveness and liveness as a site for screen-ness.
Cooking methods and a practice of cooking in conversation with dance and choreography.
What is the role of fiction in the artistic practices that Nadi is practicing?
Playing as a tool and an entry point to practice and experiment.

The episode consist of sounds and words from the artistic practices that Nadi practiced during her masterstudies at New Performative Practices at the Dance Department of the Stockholm University of the Arts (2019-2021).

Nadi Gogoulou is a dancer, performer and dancemaker. She holds a diploma in Dance, has a degree in Economics and a master in New Performative Practices. She has worked with many Greek choreographers in dance and site-specific performances and creates projects of her own, such as “DownFall”, “On the spot”, “Late Night Impro”, “the move” and “sHow me”, “The cooking-with-Nadi show” and “B.A.W.L.”. She directs her own short films with screenings in International Film Festivals. Nadi works in theater productions in Greece as a choreographer and gives classes of improvisation and her own style of moving, in a class that she call “Join the Fun”.
Rhythm, pattern, loops, repetition, iteration, musicality, virtuosity, playfulness, game, rules, +1-ness are essential key words for Nadi’s artistic practices and work. Furthermore, Nadi is interested in making things practically with hands as a method to work, and therefor to create methods as a choreographic tool to use. She put attention on making a dance, a move, a piece, a video, on taking a photo, making the costume, creating the music, saying the song or even singing the song, making the score and doing the score, following, editing, spilling and failing the score. In these ways she thinks of herself as a method enthusiast. To make methods that generate, maintain, inspect and transform. To generate as to make things. To generate choreography from inside the choreographing. To maintain what she makes and keep working with it. To inspect it while still practicing it, to examine what is happening, how it functions. To set a formula not in terms of a magical spell but to identify methods that create space for different perceptions to exist.]]>1283cleanfullhttps://www.spreaker.com/episode/katarina-eriksson-in-the-forest--45273894
Katarina Eriksson is a Stockholm based dance-person engaged in; different ways of learning, how to work with creativity and curiosity, how to share time and space, how to engage in a sustainable way of living and how to let failure be a part of creative work. She also continuously asks questions. At the moment she is specifically looking at time and distance, responsibility and sustainability, rhythm and dynamics. To look and listen and look and listen again. As a performer she works in close collaborations. The work has changed over time, going from being a dancer in a classical repertoire company performing a lot of choreography that she was not involved in creating, to being a free-lance dancer who is part of the creative process. The ongoing project, Rörelsetruppen, is a group of artists and writers that meet to move and talk about certain themes such as; falling, boarders, weight. There is an interest in movement and the sharing of experiences. In 1997 Per Sacklén, Håkan Mayer and Katarina started Räserbyrån, a dance-collective, to create an alternative way of working with dance, a way that was democratic and non-hierarchic. They collaborated with musicians from the field of experimental music at Fylkingen and curated improvisation sessions inviting dancers from various scenes to participate. Räserbyrån works with certain themes such as; collaboration, participation, site specific, being gentle to nature and each other, learning, being curious and exploring the tactile senses.]]>https://api.spreaker.com/episode/45273894Wed, 16 Jun 2021 15:41:17 +0000Institutionen för dans - SKHIn this episode we meet Katarina Eriksson in her kitchen in Gröndal and in the body of Per Sacklén on a walk in the forest. These spaces encourage thoughts to unfold around creative process, artistic practice, dance, life, responsibility and nature....
Katarina Eriksson is a Stockholm based dance-person engaged in; different ways of learning, how to work with creativity and curiosity, how to share time and space, how to engage in a sustainable way of living and how to let failure be a part of creative work. She also continuously asks questions. At the moment she is specifically looking at time and distance, responsibility and sustainability, rhythm and dynamics. To look and listen and look and listen again. As a performer she works in close collaborations. The work has changed over time, going from being a dancer in a classical repertoire company performing a lot of choreography that she was not involved in creating, to being a free-lance dancer who is part of the creative process. The ongoing project, Rörelsetruppen, is a group of artists and writers that meet to move and talk about certain themes such as; falling, boarders, weight. There is an interest in movement and the sharing of experiences. In 1997 Per Sacklén, Håkan Mayer and Katarina started Räserbyrån, a dance-collective, to create an alternative way of working with dance, a way that was democratic and non-hierarchic. They collaborated with musicians from the field of experimental music at Fylkingen and curated improvisation sessions inviting dancers from various scenes to participate. Räserbyrån works with certain themes such as; collaboration, participation, site specific, being gentle to nature and each other, learning, being curious and exploring the tactile senses.]]>1179cleanfullhttps://www.spreaker.com/episode/iris-nikolaou-does-a-body-of-a-sound-carry-also-the-body-of-its-source--45273895
More information: https://www.uniarts.se/english/news/events/events-spring-2021/npp-presentations-weeks/iris-nikolaou-affective-resonances

Iris Nikolaou is a transdisciplinary artist from Athens. Ηer work traverses across the modalities of dance, theatre and sound. She has been developing the concept of choreosounding as a container of her research on listening from, to, with and through a body and in relation to place, other bodies, e/motion, inner and outer sound worldings. Through choreosounding she explores embodied deep listening as a choreographic tool and a movement research strategy. She works as a performer, choreographer and teacher in various contexts and institutions in Europe and the U.S. including the School of Drama of the faculty of Fine Arts at Aristotle University of Thessaloniki, the National Theater of Northern Greece, the National Opera of Greece and Athens Festival.

Credits Podcast
Affective Resonances is enveloped in six soundscape compositions that contain voices, field recordings, music and aural/oral manifestations of the work of people that I encountered while practicing embodied deep listening and have influenced me and informed the practice throughout the process.
Besides Pauline Oliveros’, Hildergard Westerkamp’s, Steven Feld’s and John Cage’s work, which have infiltrated and inspired the work in audible and inaudible ways, I here want to acknowledge the multitude that is implicitly or explicitly part of this work. Additionally, to the credited sounds, I am also grateful to the locations, the animate and inanimate life evoked via the field recordings, which are impossible to name. I leave those to the listener's imagination.

This podcast includes excerpts from the following audio collages:

I.SENSESCAPE
Contains excerpts from Luc Ferrari's Petite symphonie intuitive pour un paysage de printemps (1973-74), (from Hétérozygote / Petite Symphonie Intuitive Pour Un Paysage De Printemps, Recollection, February 2017); flute improvisation by Iris Nikolaou; field recordings by Iris Nikolaou*; found sounds from freesound.org **

II.SOUNDPLACES
Contains excerpts from Eliane Radigue’s Triptych (1978) (Important Records, 2009); Craig Shepard’s Sheepshead Bay (from On Foot: Brooklyn, Edition Wandelweiser Records, 2014); T.S. Eliot's Four Quartets (recited by T.S. Eliot and Alec Guiness); Samuel Beckett’s The Unnamable (recited by Iris Nikolaou); field recordings by Iris Nikolaou* and Yorgos Samantas, found sounds from freesound.org **

III.FEMALE COCKTAIL PARTY
Contains fragments from lectures and interviews of: Adrianne Rich, Rosi Braidotti, Virginia Woolf, Angela Davis, Sara Ahmed, Erin Manning, Audre Lorde, Mary Overlie, Lisa Nelson, Karen Barad, Donna Haraway, Judith Butler, Deborah Hay, Frances Stonor Saunders. Compiled by Iris Nikolaou.

* collected from the beginning of the pandemic until now, May 2021.
** licensed under Creative Commons / CC0 1.0 Universal - Public Domain Dedication.]]>https://api.spreaker.com/episode/45273895Wed, 16 Jun 2021 15:41:10 +0000Institutionen för dans - SKHThis audio collage is made of fragments from my degree presentation, the questions, the voices of my untimely collaborators and listening scores that were present for me throughout the process. Here, I am transposing some of the materials that...
More information: https://www.uniarts.se/english/news/events/events-spring-2021/npp-presentations-weeks/iris-nikolaou-affective-resonances

Iris Nikolaou is a transdisciplinary artist from Athens. Ηer work traverses across the modalities of dance, theatre and sound. She has been developing the concept of choreosounding as a container of her research on listening from, to, with and through a body and in relation to place, other bodies, e/motion, inner and outer sound worldings. Through choreosounding she explores embodied deep listening as a choreographic tool and a movement research strategy. She works as a performer, choreographer and teacher in various contexts and institutions in Europe and the U.S. including the School of Drama of the faculty of Fine Arts at Aristotle University of Thessaloniki, the National Theater of Northern Greece, the National Opera of Greece and Athens Festival.

Credits Podcast
Affective Resonances is enveloped in six soundscape compositions that contain voices, field recordings, music and aural/oral manifestations of the work of people that I encountered while practicing embodied deep listening and have influenced me and informed the practice throughout the process.
Besides Pauline Oliveros’, Hildergard Westerkamp’s, Steven Feld’s and John Cage’s work, which have infiltrated and inspired the work in audible and inaudible ways, I here want to acknowledge the multitude that is implicitly or explicitly part of this work. Additionally, to the credited sounds, I am also grateful to the locations, the animate and inanimate life evoked via the field recordings, which are impossible to name. I leave those to the listener's imagination.

This podcast includes excerpts from the following audio collages:

I.SENSESCAPE
Contains excerpts from Luc Ferrari's Petite symphonie intuitive pour un paysage de printemps (1973-74), (from Hétérozygote / Petite Symphonie Intuitive Pour Un Paysage De Printemps, Recollection, February 2017); flute improvisation by Iris Nikolaou; field recordings by Iris Nikolaou*; found sounds from freesound.org **

II.SOUNDPLACES
Contains excerpts from Eliane Radigue’s Triptych (1978) (Important Records, 2009); Craig Shepard’s Sheepshead Bay (from On Foot: Brooklyn, Edition Wandelweiser Records, 2014); T.S. Eliot's Four Quartets (recited by T.S. Eliot and Alec Guiness); Samuel Beckett’s The Unnamable (recited by Iris Nikolaou); field recordings by Iris Nikolaou* and Yorgos Samantas, found sounds from freesound.org **

III.FEMALE COCKTAIL PARTY
Contains fragments from lectures and interviews of: Adrianne Rich, Rosi Braidotti, Virginia Woolf, Angela Davis, Sara Ahmed, Erin Manning, Audre Lorde, Mary Overlie, Lisa Nelson, Karen Barad, Donna Haraway, Judith Butler, Deborah Hay, Frances Stonor Saunders. Compiled by Iris Nikolaou.

* collected from the beginning of the pandemic until now, May 2021.
** licensed under Creative Commons / CC0 1.0 Universal - Public Domain Dedication.]]>1155cleanfullhttps://www.spreaker.com/episode/irene-cantero-sanz-a-conversation-for-npp-audioreflection-pod--45273897Recorded at B58 an afternoon in May 2021

With:
Annika Boholm as the translator
Csilla Hódi as the observer
Iris Nikolau as the accompanier
Irene Cantero Sanz as the lantern]]>https://api.spreaker.com/episode/45273897Wed, 16 Jun 2021 15:40:48 +0000Institutionen för dans - SKHWritten by Irene Cantero Sanz Recorded at B58 an afternoon in May 2021 With: Annika Boholm as the translator Csilla Hódi as the observer Iris Nikolau as the accompanier Irene Cantero Sanz as the lanternRecorded at B58 an afternoon in May 2021

With:
Annika Boholm as the translator
Csilla Hódi as the observer
Iris Nikolau as the accompanier
Irene Cantero Sanz as the lantern]]>743cleanfullhttps://www.spreaker.com/episode/eva-mohn-nine-sleeps--45273898
Eva Mohn is a dancing artist from Minneapolis and residing in Stockholm. She enjoys symphonic patterns, mutually exclusive rules, dissonance, unison, dark humor and perpendicular lines.]]>https://api.spreaker.com/episode/45273898Wed, 16 Jun 2021 15:40:28 +0000Institutionen för dans - SKHEva plays with listing, accumulating and synthesizing. In this composition she is actively working with these three actions as a priority over composing. Eva Mohn is a dancing artist from Minneapolis and residing in Stockholm. She enjoys symphonic...
Eva Mohn is a dancing artist from Minneapolis and residing in Stockholm. She enjoys symphonic patterns, mutually exclusive rules, dissonance, unison, dark humor and perpendicular lines.]]>861cleanfullhttps://www.spreaker.com/episode/csilla-hodi-sustaining-conversations--45273899What has been already there? What has been touched upon by the scheduled reflections and generous sharings caused by the studies. What does it feed on? How has it been feeding us? The questions of my self-interview are not edited into the audible version of it, but previous and alive practices are observed, through which a cherishing definition of (artistic) practice gets outlined.

Csilla Hódi is working through the potential of artistic worldmaking at the borders and outside of social institutions of art. Instead of foregrounding the singular artist, she is inhabiting 'other grounds', using lack of clarity, overidentification or collectivity as strategies. She is interested in the interplay of knowledge bodies emerging from different orientations. At the moment she is looking at possible ways of thinking with mushrooms. She has her roots in Eastern-european post-studio art, in embodied public space research, in life as art traditions and in emancipatory practices. Educated as a visual designer @ MOME, Budapest and a choreographer @ UNIARTS, Stockholm.]]>https://api.spreaker.com/episode/45273899Wed, 16 Jun 2021 15:40:14 +0000Institutionen för dans - SKHThe novel forms of distanced and control brought by the year 2020 intertwined with our master studies orbiting around the idea of artistic practice stimulated our care for a place of ceaselessness. What has been already there? What has been touched...What has been already there? What has been touched upon by the scheduled reflections and generous sharings caused by the studies. What does it feed on? How has it been feeding us? The questions of my self-interview are not edited into the audible version of it, but previous and alive practices are observed, through which a cherishing definition of (artistic) practice gets outlined.

Csilla Hódi is working through the potential of artistic worldmaking at the borders and outside of social institutions of art. Instead of foregrounding the singular artist, she is inhabiting 'other grounds', using lack of clarity, overidentification or collectivity as strategies. She is interested in the interplay of knowledge bodies emerging from different orientations. At the moment she is looking at possible ways of thinking with mushrooms. She has her roots in Eastern-european post-studio art, in embodied public space research, in life as art traditions and in emancipatory practices. Educated as a visual designer @ MOME, Budapest and a choreographer @ UNIARTS, Stockholm.]]>1254cleanfullhttps://www.spreaker.com/episode/annika-boholm-a-bit-all-over-the-place--45273900
Sound montage: Hara Alonso & Irene Cantero Sanz

Annika Boholm is born in Falun, Sweden. Her artistic practice spirals around materiality, movement, performative writing, translationality.]]>https://api.spreaker.com/episode/45273900Wed, 16 Jun 2021 15:40:03 +0000Institutionen för dans - SKH1 cat & 11 people talk to the question What am I doing? Sound montage: Hara Alonso & Irene Cantero Sanz Annika Boholm is born in Falun, Sweden. Her artistic practice spirals around materiality, movement, performative writing, translationality.
Sound montage: Hara Alonso & Irene Cantero Sanz

Annika Boholm is born in Falun, Sweden. Her artistic practice spirals around materiality, movement, performative writing, translationality.]]>1593cleanfullhttps://www.spreaker.com/episode/adriana-cubides-what-we-are-seeing-is-not-necessarily-what-the-thing-is--45273901
I realized that without necessarily holding this question as a starting point, what I did is an intent to speak from my practice while also speaking about it, making more tangible what I am busy with both through form and language, making the ‘how’ and the ‘what’ equally carriers of content.
What you will hear is a selection of bits and pieces taken from conversations with Jeanine Durning (my supervisor since August 2020), from some brief recordings of my work in public space and some reflections around what constitutes my practice. I address my practice in general while also refer to what I have been busy with during the period of this Master program that leaded to my final presentation see-through, a performative film-event.

ADRIANA CUBIDES - some lines about me
Being born in Vienna Austria to Colombian parents and growing up in between different cultures and ways of thinking has shaped my artistic approach and practice. While educated in the field of dance and performance, I carry an interdisciplinary thinking with a constant desire to expand the borders of what something can be - be that a field, a role, a category or a concept. I pursue a fluid way of perceiving and relating to my environment replacing the notion of fixed identities by mobile relationalities. Displacing, de-constructing and layering meanings, questioning and enlarging what is assumed as performative or performative spaces, blurring process and product, I currently ask myself: What is the process entailed in seeing and perceiving differently that allows for new spaces to open up in the way of relating to our surrounding and how is that new understanding able to be reflected in how performance is thought?]]>https://api.spreaker.com/episode/45273901Wed, 16 Jun 2021 15:39:39 +0000Institutionen för dans - SKHHow to bring the nature of my practice and work closer in conveying content through a language based articulation and the form in which that articulation is arranged? I realized that without necessarily holding this question as a starting point,...
I realized that without necessarily holding this question as a starting point, what I did is an intent to speak from my practice while also speaking about it, making more tangible what I am busy with both through form and language, making the ‘how’ and the ‘what’ equally carriers of content.
What you will hear is a selection of bits and pieces taken from conversations with Jeanine Durning (my supervisor since August 2020), from some brief recordings of my work in public space and some reflections around what constitutes my practice. I address my practice in general while also refer to what I have been busy with during the period of this Master program that leaded to my final presentation see-through, a performative film-event.

ADRIANA CUBIDES - some lines about me
Being born in Vienna Austria to Colombian parents and growing up in between different cultures and ways of thinking has shaped my artistic approach and practice. While educated in the field of dance and performance, I carry an interdisciplinary thinking with a constant desire to expand the borders of what something can be - be that a field, a role, a category or a concept. I pursue a fluid way of perceiving and relating to my environment replacing the notion of fixed identities by mobile relationalities. Displacing, de-constructing and layering meanings, questioning and enlarging what is assumed as performative or performative spaces, blurring process and product, I currently ask myself: What is the process entailed in seeing and perceiving differently that allows for new spaces to open up in the way of relating to our surrounding and how is that new understanding able to be reflected in how performance is thought?]]>1157cleanfull