Tematiske kurs og workshops

Fra Åsa Sonjasdotters workshop høsten 2021 "plasticity - when the World now is Plastic"

Tematiske kurs kan være diskusjon-, workshop- eller teoribaserte kurs, eller en blanding av formater. Tematiske kurs skal gi fordypning og inspirasjon som supplement til utviklingen av egen praksis

For de fleste tematiske kurs får skolen besøk av gjesteundervisere som arbeider profesjonelt på det høyeste nivå innenfor både film og billedkunst, med både teori og praksis. Disse tilrettelegger en- eller flere ukers fokuserte kurs i dialog med skolen og faglige ansatte. Kurs skapes i tett samarbeid med de eksterne underviserne for sikre både innholdsmessig og formmessig relevans i med tanke på det profesjonelle liv de kommer fra.

Under kan du få innblikk i noen utvalgte kurs og workshops som har vært avholdt ved skolen.


How does working with the growing natural darkness of the season effect and inform creative process?

This seminar is about queer science-fiction, focusing on relationships in the dark.

Students are required to attend each session, and be fully committed to working together to conceive, create, and finish a short video work inspired by specific scenes chosen by each production group to respond to.

We will read selected texts, and watch films, especially “Born in Flames” by Lizzy Borden. We will prepare and go through ONE full ALL NIGHTER of shooting in the dark, with the intention of approaching image making from the perspective of natural light and time, relationships between bodies, and how a team of creative people collaboratively navigate together through shifting states of mind.

This seminar is not only about navigating and creating work in different states of mind and conditions of light, but is also about understanding how relationships of collaboration work in front and behind the camera.

Students will be separated into working teams. Students are asked to work together from sun-down to sun-up, with the only requirement being that they must use natural sources of light.

As the seminar instructor, I will serve as producer and support through the process of this production.

Please note: After teams shoot all night, there will be a day to rest, and then a seminar/ team check-in meeting in the early evening to discuss the experience of shooting and the editing plan for the next days.

Liz Rosenfeld is a Berlin based visual and performance artist who works in film/video, performance, and experimental writing practice. Liz’s films and performances have shown in international museums and venues including The Forum Expanded Program, Berlinale, the Bergen Assembly, Berlinischer Galerie, Mapa Teatro, Sophiensæle, The Hebbel am Ufer Theatre, The Gorki Theater, Arts Admin, Galerie Emanuel Layr, The Tate Modern, The Hammer Museum, The Leslie Lohman Museum, The Barbican Centre, The CAC- Glasgow, Tramway, The Stedelijk Museum, The C/O Gallery, and The Deutsches Historisches Museum. Liz’s short films are represented by Video Data Bank and LUX Moving Image.


Vulnerability, questioning and experimentation in relation to modes of production

This workshop stems from my own artistic research and teaching experience at NKFS. As a hovedveileder I experience that students often do not have an insight to their teachers artistic practice. With this workshop I attempt to share my artistic research with the students through a practical workshop. My current artistic work is centered on LARP and I have designed a LARP for the students to play. (LARP = Live Action Role Play). The aim is to create an environment embracing vulnerability, questioning and experimentation.

The overall aim is for the students to see and experience how artistic methods are developed according to questions and challenges in a practice and in relation to modes of production. The workshop seeks to challenge norms and preconceived ideas of how to make work, to gain awareness of working collaboratively and in teams – and to underline the importance of play as part of the work.

The first part of the workshop serves as an introduction to the theoretical, emotional and research based framework for LARP. Through an artist talk, podcasts, text-reading and discussion groups we will venture into questions around LARP. Topics we will address are the role of emotionality in artistic work, and quest to develop your own artistic methods.

The second part of the workshop is practical, and we will play a LARP called The Crit designed for the workshop. An important part of this is to create/build on a character they themselves play. This will bring the students into a situation where they will themselves play and gain hands-on practice with the experimentation with artistic methods.

During the weekend I have curated a film festival screening films relating to the topic of the workshop. Together we will watch films and have discussion groups reflecting on the films.

We will use the black box, the cinema, classrooms and the cantina.

Sille Storihle is teacher and main-tutor (hovedveileder) at NKFS. Her artistic practice is research-based and primarily takes form in publications, happenings and films. Her central areas of interest include gender politics, nationalism and history. With Liv Bugge, she runs FRANK, a platform to build community, show contemporary art and generate discussions addressing hegemonic structures in society relating to gender, sexuality and desire. Her artistic and curatorial projects have been shown at Kunsthall Oslo, Kunstnernes Hus, Performa Biennial, Malmö Konstmuseum, The Norwegian Museum of Contemporary Art and The Gothenburg Biennial.

Sound is inherently cognitive and somatic, activating both the mind and the body. It is an object and it is a moving image.

This course on sound theory will enable students to experience, understand, analyze, and apply various theoretical perspectives on sonic phenomena with respect to some of the historical and current areas of research and discussion. As an introductory course, it will span topics ranging from sound as a physical force in relation to the body, to sound as a cultural signifier from both micro, macroscopic perspectives. Emphasis will be placed on sound as an individual, socio-cultural, and ‘universal’ experience as related to everyday experience, as a cultivated language (i.e. music), as a social tool, and as a medium within the expanded arts. In addition to grounding the course in theoretical premises, the instructor will utilize examples from her own work and theoretical approach of culturalpsychoacoustics.

The main objective of this course is to instill an augmented understanding of, and new ways of thinking about sound as a physical phenomenon, socio-cultural tool, and as a creative medium, in relation to various theoretical perspectives. The aim of this objective is to facilitate the student’s ability to develop articulated theories related to sound in relation to their own work.

Upon completing this course students will be able to:

- Understand sound as a physical phenomena in relation to the body.

- Analyze sound in relation to culture, society, and power.

- Gain augmented and alternative modes of listening.

- Better analyze sonic phenomena and strategies in the arts.

- Understand and alter relationships between the eye and the ear.

- Compare contrasting theoretical perspectives on sound.

- Orientate themselves towards further research in sound.

- Analyze and present a sonic phenomena in a theoretical context..

- Begin to develop a theoretical context for sound in their own practice.

- Lay the groundwork for utilizing sound and theory in their own practice.

The course uses lectures, auditions of sonic phenomena, and discussion,

culminating in a practical task to present and contextualize a chosen sonic phenomena.

Camille Norment is an artist and composer, working with various medias – for example installation, drawing, composition, live performance and building instruments – utilizing the notion of cultural psychoacoustics as both an aesthetic and conceptual framework. She defines this term as the investigation of socio-cultural phenomena through sound and music in relation to body, mind, and society. She is currently presenting PLEXUS, a commissioned solo project for DIA Chelasea (NY), and has produced work for a number of international museums such as Munch Museum (Oslo), The Rennaissance Society (Chicago), San Fransico Museum of Modern Art (SF), Thailand Biennale KRABI, etc.

En kollektiv odysse; en oplevelse, dokumentation, fortolkning og genfortælling

The Fools Journey er en kollektiv odysse. Vi iscenesætter sammen forskellige performative elementer og scener i en dramaturgi inspireret af folkefortællingernes transformative rejser. Sammen skaber, oplever, dokumenterer og genfortæller vi værket. Efterfølgende klippes individuelle versioner af det fælles materiale til et selvstændigt videoværk.

Kurset består af:

- Performance-undervisning med Jules Fischer: I kommer til at afprøve forskellige metoder inden for performance på jeres egne kroppe. Vi skal eksperimentere med hvordan performancens principper kan overføres til andre medier og aktører, lege med instruktion, dramaturgi, kompositioner og ”worldmaking-strategier”. Sammen tilrettelægger vi den store performance, øver, bygger, finder ting og steder.

- Undervisning i filmisk fortælleform og klipning af William Andreas Wivel: I kommer igennem et kort intensivt filmisk forløb, hvor I over et par dage skal lave en masse små individuelle filmiske øvelser, der skal fremhæve og accentuere jeres personlige billedsprog. Vi ser øvelserne i fællesskab og lader os inspirere af hinandens små film ved fælles gennemgang. Vi sætter op betingelser eller regler for, hvordan rejsen og det performative skal filmes. Efter rejsen vil jeg besøge jeres “klipperum” og give individuel sparring omkring klippeteknikker ud fra jeres take på det filmede.

- Tekstlæsning og filmvisninger: I løbet af kurset vil vi læse uddrag af filosof Edouard Glissants ”Poetics of Relation”, Joshua Glover & Julianna Spahr ”Gender abolition and the Ecotone War” og en lokal saga (Ketil Hængr). Derudover kommer vi til at se og tale om film af blandt andet Maguerite Duras, Mati Diop, Laure Prouvost, Pierre Huyghe og Jonas Mekas.

Kurset lægger op til at lade ideer, materialer, kroppe og fortællinger spilde ind over hinanden og kommer til at foregå meget kollektivt eller i grupper.

Den første uge af kurset er fokuseret på koncept, performance og research. Den anden er dedikeret til optagelser, klipning og gennemgang.

Jules Fischer er uddannet fra Det Kongelige Danske Kunstakademi og har i en årerække arbejdet i krydsfeltet mellem billedkunst og scenekunst med stor-skala performance centreret om fællesskab, køn og basale følelser. Jules har vist sine værker på etablerede institutioner såvel som kunstdrevne eller selvorganiserede platforme. Senest har de lavet opera-performancen DRYPPENDE STOF på Glyptoteket og er i 2022 aktuel med en soloudstilling på Den Frie Udstillingsbygning.

William A. Wivel er uddannet fra Filmskolen og arbejder med stærkt personlige karakterfilm med en tydelig visuel identitet. Hans seneste film Sayōnara blev udtaget til festivaler som Rencontres Internationales du Documentaire Montréal og International Film Festival Rotterdam, hvor den også var nomineret til hovedprisen. Nu arbejder William på hhv. en spillefilmslængde film og en kortfilm, der begge kredser om tabt verdensbillede, spørgsmål om repræsentation og flerstrengede perspektiver.

Food and ways of knowing: Site-visits, story-telling, entanglements

Resilient Infrastructures is a research unit at NFKS aiming at investigating instances of infrastructures for food and food-cultures, seen through the prism of the Anthropocene in relation to specific localities. We investigate our local surroundings in relation to global networks, and develop artistic research through methodologies from art and film, as well as from architecture, sociology, theory and activism.

The Resilient Infrastructures research-hub is shaped by a number of related ambitions: to pursue and learn about entanglements by following very concrete instances of food and its infrastructures, but also to pursue and experiment with ways of knowing; ways of formal­ising knowledge in our everyday lives, as well as within science, and thus also pedagogics. Through dialogues with related scientific communities surrounding us, we seek to research not only what these sciences know, but how they know it: What forms their knowledge is allowed to take, and how these forms are passed on.

By the Anthropocene we mean the current geological age, understood as the period during which human activity has been the dominant influence on climate and the environment, leading to the beginning of what is termed the 6th mass-extinction. Human beings have for the first time become the primary agents of change on a planetary scale, and the undeniable impacts on the environment makes us the first species that’s become a planet-scale influence – and is aware of that reality.

By entanglements we understand in the light of Karen Barads ideas, where entanglements are not relations between units, as the ones we have seen mapped in eco-system-diagrams in school. Rather, entanglements should be understood as the complicated mesh of involvements and dependencies which do not only “affect”, but rather constitute us and our surroundings.

Through continuous dialogues with food-practitioners surrounding us, especially through site-visits – visiting both traditional, historical, industrial, as well as new and alternative foot-producers and distributers – we follow paths and routes via their entanglements. Story-telling and moving images are central for our investigative methodology, providing ways of interacting, recording and collecting documents, thereby also opening potentials for further interaction. In our presentations, we operate with story-telling as a format that always implies an active and present narrator, but also – along with Donna Haraway – and active and present listener.

The research unit is lead by Katya Sander and Pelin Tan, but consists of teachers, guests and interested students. The activities of the research-hub deliberately involes researchers external as well as internal to the school, together with guests and students from all years, mixing experiences and levels of knowledge in order to experiment and develop pedagogical models for involvment in artistic research from the very beginning of the artistic education.

Pelin Tan is a sociologist and art historian. She is a member of the Artıkişler Collective and The Silent University, and is involved in artistic and architectural projects that focus on urban conflict, territorial politics, and conditions of labor. She has co-directed films with artist Anton Vidokle on the future of art and society. She has been visiting Professor at NKFS, research fellow in BAK-Utrecht with the theme “Propositions for Non-Fascist Living”, research fellow with The Japan Foundation, doing video interviews about alternative activist and artist run spaces in Japan. She was receiver of Hong Kong Design Trust grant, doing field research and video interviews in the fishing villages and infrastructure in the Pearl River Delta region of China. She has furthermore been research fellow at the Center for the Arts, Design and Social Research in Boston, researcher in the Art History Program at the Istanbul Technical University, Associate Professor and Vice-Dean in the Faculty of Architecture at Mardin Artuklu University, visiting Associate Professor at PolyU School of Design of The Hong Kong Polytechnic University, and more. She has participated in showing or creating exhibitions at places such as the Oslo Architecture Triennale, the Cyprus Pavilion at the Venice Biennale of Architecture, the Istanbul Biennial, the Biennale de Montréal, the Lisbon Architecture Triennale.

Katya Sander is Professor at NKFS. Her artistic practice is conceptually-based, often involving text, photography, film, architecture and interventions. Her work is about production and circulation of social imaginaries: Structures, models and images through which we imagine ourselves as groups, communities and societies – and through which we also imagine what we can do. In Sanders work the imaginary is not only subjective ideas, but also shared, collective articulations and projections of what is possible and what can be imagined. Her work has been exhibited at vendues such as documenta12 in Kassel, Tate Modern in London, MoMa (NY), Red Cat (LA), the Taipei Biennial, MuMok (Vienna), the Danish National Museum (Cph), and others.