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PhD and Postdoc Projects

Jane Jin Kaisen

PhD Student

The working title of my PhD project in artistic research is Translational Aesthetics
Taking outset in my artistic practice that evolves around the workings of memory and entangled transnational histories that resonate in the present moment, I am developing a notion of translational aesthetics as an artistic research method and aesthetics of resistance.

Through film, video -and archive installations, discursive events and writing, I explore with my PhD project a notion of translation as an artistic strategy and multi-layered aesthetic that may function as a prism for critical and self-reflexive dialogue.

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Link

www.janejinkaisen.com

Katarina Stenbeck

PhD Student

In Search of the Lost Future is a curatorial practice based PhD project, which explores the age of radical disruptions of the Earth’s systems through a series of exhibitions and events. The project critically explores the idea of the Anthropocene by looking at the relationship between ecocide and capitalist structures, their inherent logics and histories of slow violence.

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+45 3374 4638

Tamar Beta Guimaraes

PhD Student

Tamar Guimarães (b. 1967) works with film and other forms of time based media. Her work has been exhibited at international biennials, museums and art spaces such as the Belgian Pavilion of the 56th Venice Biennial (2015), the 31st São Paulo Biennial (2014), the 55th Venice Biennial, International Exhibition (2013), the 11th Sharjah Biennial (2013), the 29th São Paulo Biennial (2010), the 7th Gwangju Biennial (2008), the 3rd Guanghzhou Triennial (2008), the Guggenheim Museum, NY (2014), the SculptureCenter, NY(2013), SESC, São Paulo (2013), the Jeu de Paume Satellite, Paris (2012), Århus Kunstbygning (2012), Gasworks, London (2011), Frac Île-de-France / Le Plateau, Paris (2010) and Museu de Arte Moderna de São Paulo (2009) and CPH:DOX (2007 and 2013) among others.
 
Guimaraes was keynote speaker at the Specters, Hauntings and Archives, Univ. of Amsterdam (2009), Panel speaker at Images Film Festival and Experimental Media Congress, Toronto (2010), a speaker at the XIX Image Symposium: Bewitched System, The exorcising role of images, CA2M, Madrid (2012), at ‘Something you Should Know: Artistes et Producteurs Aujourd'hui’ at École des Hautes Études en Sciences Sociales) Paris, 2014, and at Copenhagen Art Fair (2015). Guimarães has written for Art Forum, Frieze, Mousse Magazine and Art Review.

Guimaraes has taught workshops at the Royal Danish Academy of Fine Arts in 2008, 2009 and 2010, and together with Katrine Dirckinck-Holmfeld, she co-organized a creative thesis writing seminar for PhD candidates at the Royal Danish Academy of Fine Arts and The PhD University of Copenhagen in 2014. Guimarães holds an M.A. from Mälmo Art Academy, an M.F.A. from the Royal Danish Academy of Fine Arts and was a studio fellow of the Whitney Independent Study Program (NY) in 2007/2008. 

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Rikke Luther

PhD Student

The title of my PhD is “Concrete Aesthetics: From Universal Rights to Financial Post Democracy”. As the title suggests, this research has two parts.

The first part of the research is examining the political, and specifically democratic, ‘architectures’ that gave concrete its particular meaning in Scandinavian societies in the era between 1945 and 1980. It is the era of the post-war welfare state in most parts of Europe. More generally, that coincides with the era of universality symbolised by the Universal Declaration of Human Rights (UDHR). So, concrete the universal material seeming gave form to those ideals.

The second part of the research, is examining the current meaning of concrete in the very different context of today. That is a context – beside concrete is negative linked to climate change – defined in relation to what Colin Crouch has defined as the ‘post-democratic era’, in that the main dynamics ordering social space are no longer that of democracy, but rather those based on, or derived from, the freedom of markets.

Practical outputs of this research will use artistic work to generate new, materially embodied, understandings of these developments.
 

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Katrine Dirckinck-Holmfeld

Postdoc

Affect’s Time is the work title for my post-doctoral research project. Through the triple engagement with the affect, time and materiality of digital image production the project explores how to develop the conceptual framework of what I call affect’s time. The timing of affect is often described as the “missing half-second” between an initial affect is being registered in the brain to the affect’s registration by consciousness, but I suggest that an affective experience opens up to a possibility of multiple space-times existing within the same moment.

Through the production of video installations, archival research and performative presentations, I explore affect’s time as both a glitch to a normative time and a wandering in time that is able to connect different space-times. What I situate with Edward Said as contrapuntal: an awareness of simultaneous dimensions in which new and old environments are occurring together. Film-screenings, performances, exhibitions and discursive events, which I organise in collaboration with other artists and cultural producers at the cultural venue & bar Sorte Firkant | Abajour, pushes the conceptual development of Affect’s Time by creating an intimate space where multiple space-times can exist within the same window pane.
 
Katrine Dirckinck-Holmfeld (1981) is a visual artist and postdoctoral researcher working with video installation and performative practices. She holds a MFA from the Royal Academy of Fine Arts in Copenhagen and a MA in Visual Cultures from Goldsmiths College 2007 and a PhD from University of Copenhagen, Department of Arts & Cultural Studies. Her artistic research PhD Time in the Making: Rehearsing Reparative Critical Practices (2015) develops the conceptual and practical framework of reparative practices by shifting Eve Kosofsky Sedgwick’s notion of the reparative reading from a hermeneutics to an image practice. She has developed the video installations Djisr (The Bridge) 2008, TIME: AALBORG | SPACE: 2033 (2010), movement (2012), Leap into Colour (2012- 2015), Schizo Archive (w. Arendse Krabbe, Mathias Kryger & Nina Wengel 2016), The Christmas Report & Other Fragments (ongoing). Her current artistic work & research explores notions of affect, time and materiality through a collective engagement with the bar & cultural venue Sorte Firkant | Abajour, which she is a co-founder of.
 

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Mads Kullberg

Researcher, PhD

The Royal Danish Academy of Fine Arts’ collections
Institution history, art history and learning utility

This project studies how an art academy’s collections of works and study objects evolve through ongoing mutual exchanges between concepts such as identity production, cultural heritage and practical learning utility. 

Through different eras, changing approaches and attitudes towards these concepts have, of course, had a major impact on the academy’s collecting activities and emphases. Parts of the collections are formal in nature and were acquired as part of the academy’s programme (such as the Academy’s art collection), while others relate directly to a given didactic function (such as the Schools of Visual Arts’ collection of plaster casts and parts of the print collection). 

One of the subjects naturally arising when studying the use of collections concerns the extent to which past and present professors and students at the academies are inspired by, challenge, and interpret the vast body of historical material embedded in the collections – and how this aspect as well as changing practices and changing perceptions of art are reflected in the overall composition, priorities, accessibility and upkeep of the academy collections.

The project takes its starting point in the Schools of Visual Arts’ own collection, but will encompass comparative studies that investigate how other European art academies with similar backgrounds relate to their collections and other cultural heritage. These will include the Royal Academy of Arts in London, École Nationale Supérieure des Beaux-Arts in Paris and Accademia di Belle Arti di Brera in Milan.

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