30 posts
Arctic photography has long traded on scale and emptiness. What is it about isolated landscapes that continues to draw photographers north — and what do these images actually communicate?
Long before machine learning, artists were writing code as a medium in its own right. What does it mean for a visual style to emerge from a set of rules?
Net art from the 1990s is already disappearing as browsers, plugins and file formats become obsolete. How do archives preserve work that was never meant to last?
Long winters, dramatic light and a rapidly changing climate have always shaped Nordic visual art — but never more urgently than today.
From national arts councils to municipal project grants, Norway offers a relatively dense funding landscape for artists — if you know where to look.
When the artist's own life becomes the primary source material, performance art borrows from autoethnography — and raises new questions about evidence, exposure and ethics.
The Bergen School left a distinctive mark on Norwegian landscape and figurative painting. How does its visual language echo in the work of painters today?
A museum exhibit has no moving images, yet curators increasingly borrow techniques from film — pacing, lighting and sound design — to shape how visitors experience a space.
Once a technical correction step, color grading has become one of the most significant authorial decisions in modern filmmaking — and a recognised craft in its own right.
What separates artistic research from traditional scientific inquiry? An exploration of method, knowledge production and the contested space where art and academia meet.
Where does scientific inquiry end and artistic research begin? An examination of the contested boundary and what it means for knowledge production.
Documentary photography and film claim a relationship to truth that art does not. But as the two forms increasingly overlap, what does "documentary" even mean anymore?
Beyond their cultural value, regional arts festivals can have a measurable economic effect on the towns that host them — but the benefits are not always evenly distributed.
Contemporary artists increasingly mine historical and colonial archives for installation work. What ethical obligations come with repurposing material that was never meant to be art?
Many of the films that define European art cinema would not exist without a patchwork of national, regional and pan-European public subsidy.
Beyond the prompt box: how artists like Refik Anadol, Sougwen Chung and Anna Ridler train, curate and physically collaborate with machine learning systems they build themselves.
"Headless" content systems are changing how museums manage collections data — and opening new possibilities for how exhibitions are curated and delivered.
How interactive art installations leverage psychology to shape visitor behaviour, from participation triggers to social dynamics.
What makes some visitors eagerly join in with an interactive artwork while others hang back? The psychology of participation shapes how these works are designed.
Edvard Munch left Oslo roughly 1,100 paintings and 22,000 works on paper. It took the city nearly eight decades, two buildings and considerable public argument to properly house them.
A painting or a performance cannot be peer reviewed like a data set. Here is the actual infrastructure — journals, catalogues and mixed panels — that the field has built to evaluate it anyway.
How the practice-based PhD evolved from a marginal experiment into a mainstream route for artistic research in European higher education.
From informal apprenticeships to fully accredited doctorates, the practice-based PhD has transformed how European art schools train their most advanced researchers.
Citation counts and impact factors fall short in the fine arts. How are institutions learning to evaluate the real-world and scholarly impact of creative work?
After decades on the margins of national art institutions, Sámi artists are increasingly featured in major Nordic galleries. What changed, and what remains unresolved?
Why Nordic galleries and festivals are treating sound as a serious research medium — and how its impermanence is reshaping what counts as artistic knowledge.
When the gallery wall disappears entirely, what happens to composition, scale and the relationship between viewer and artwork?
