Norway jobs | Art Jobs


Call for proposals “Creative practices as a tool to work with heritage. Theater, performance, live art” Summer Symposium





Call for proposals “Creative practices as a tool to work with heritage. Theater, performance, live art" Summer Symposium

Oslo, Norway, July 28 - August 4

Deadline: June 1st


We warmly invite you to take part in the Summer Symposium organized by the Nordic Summer University. Our section will be focusing on the Nordic-Baltic regions’ heritage and all kinds of performative practices which will be considered as a tool to interpret, redefine and appropriate heritage.

This focus seems to us important and relevant for at least two reasons. Firstly, today many researchers consider heritage as a process and even as a performance. Secondly, the interaction between heritage and art opens up new possibilities, ranging from the inclusion of the body and perception to the chance to discover something for one's own experience.

Future participants can propose both theoretical presentations (up to 30 minutes) and practical workshops (up to 90 minutes). Possible topics include, but are not limited to: 

site-specific theater and performance in historical sites or on historical topics

embodied knowledge and body memory

theater and performance in museums

historical reenactment

performative commemoration

interventions in a city space

connection between urban environment and people, social practices

heritage as performance

Since our Study Circle was created specially for Nordic Summer University, we are eager to focus on cases and topics dedicated to the Nordic-Baltic regions and will prioritize applications connected to this geography.

Find full information in the links below

Contact & Links: 

Repression – Expression // Violence – Creative Resistance






This residency seeks to create a space for exploration and community between artists whose creative practices respond to experiences of conflict and oppression. It is underpinned by PRIO’s ongoing research project INSPIRE which investigates creative practice and activism in contexts of war.

About the residency
The 2022 Russian invasion of Ukraine has once again brought the reality of war into sharpened focus - against a backdrop of ongoing conflicts around the world that continue to devastate the lives of individuals and communities. 

Creative practices engage the imagination, poetics, innovation, critical thinking and powers of expression - potential defences and resources for addressing the trauma of war and building new futures. This residency will probe the ways that creative practice can enable new ways of seeing, understanding and relating in response to individual and collective experiences of violent conflict and oppression. It will ask how creative practices can counteract the many ways that the realities of conflict and oppression are silenced: can establish platforms for new local and global narratives, and create space for dialogue, response, critique, and supportive affirmation. It has been in planning since May 2021, but its purposes now feel more urgent than ever.

Selected residents will form a temporary community of around eight local and international participants. The residency will involve group activities, as well as time for independent work. Collective activity is likely to include: creative exchange around the residency theme, workshops, talks, walks, sharing and listening, and visits to relevant places and institutions in Oslo.

The residency intends to end in an open house and informal sharing of the process and work that has been discussed and developed throughout the residency. Other potential outcomes and activities will be decided by the group throughout the residency period.

The residency will take place with PRAKSIS in Oslo over 4 weeks. A collaboration between PRAKSIS and the Peace Research Institute in Oslo (PRIO), it has been developed in dialogue with artist Motaz Habbash, who will join throughout the residency. The residency is supported by Kulturrådet, Oslo Kommune, and the Research Council of Norway through the PRIO INSPIRE project.

About Motaz Al Habbash
Motaz Al Habbash is a Palestinian artist who has lived in Norway since 2014. Motaz works as an artist, producer and curator. In his art, exclusion and the search for identity are themes he frequently works with. Motaz is co-initiator and project manager for "Here and There", a mentor programme supporting artists who are newly arrived to Norway. In this programme, Motaz guides newcomers to establish themselves financially and creatively within the art community in Norway. The aim of the programme is to find concrete solutions – by building bridges between artists, institutions and mentors – that contribute to actual artist participation in the cultural field.

About PRIO
The Peace Research Institute Oslo (PRIO) conducts research on the conditions for peaceful relations between states, groups and people. Founded in 1959, the Peace Research Institute Oslo (PRIO) is an independent research institution known for its synergy of basic and policy-relevant research. In addition to such research, PRIO conducts graduate and post-graduate training and is engaged in the promotion of peace through conflict resolution, dialogue and reconciliation, public information and policyn making activities.

Researchers at PRIO seek to understand the processes that bring societies together or split them apart. They explore how conflicts erupt and how they can be resolved; investigate how different kinds of violence affect people, and examine how societies tackle crises and the threat of crisis. PRIO hosts the Centre on Culture and Violent Conflict (CCC), which is devoted to the study of relations between culture and violent conflict and is anchored in the arts and humanities. The residency was developed in collaboration with CCC director Cindy Horst and coordinator Sara Christophersen, who will assist in facilitating the residency.

Prizes Details: 

What we offer
The residency offers participants a space to meet, work and engage in creative exchange. Activities and events will be developed in dialogue with the residency group, with residents actively contributing to the collective experience by leading sessions and sharing insights into their creative practice. The residency will facilitate an open space for reflection, discussion and individual or collective creation. The participating artists’ activity and event programme will be additionally supported by invited guests and speakers. Weekly meals encourage discussion, debate and friendship. On weekdays PRAKSIS will provide lunch at PRAKSIS HQ. Dinners for all residents plus invited guests are held weekly.

This residency is free of charge and offers comfortable accommodation for non-Oslo based residents in central Oslo. Local residents will continue to live at their usual address. The residency community will regularly come together at PRAKSIS, PRIO and other locations, including for events and meals. Those who have no other means of attending may apply to receive a stipend to support their participation. Our team is also happy to support applications for external grants wherever possible.

Residents are responsible for their own travel and any further costs. Two to three places are available for international residents. Further places may be offered subject to securing support. Approximately five spaces are available to local residents.

One or two stipends are available for interested candidates who can only participate if provided with a stipend. Please mark the box on the application form if you can ONLY participate if you receive a stipend.

Contact & Links: 

Nature Scribbles and Flesh Reads






This residency proposes a process of collective research into relationships between body and environment, through an investigation of the impact of chemicals and toxins on human and non-human bodies.

Kajsa Dahlberg writes:
I still vividly remember the childhood sensation of visiting my grandmother’s tiny fabric store in the (then) working class neighborhood of Majorna in Göteborg. I would suffer immediate physical reactions: itchy eyes and throat, nausea and fatigue – plus an emotional conflict between the comfort I felt in the company of my grandmother and the messages coming from my body, telling me, “Get out!” Even as a small child I was able to sense the significance of the shop and its contents as a place that was simultaneously familiar and deviant, even threatening.

This residency sets out to investigate environmental pollution and its unequal effects on all things living and non-living from the perspective of transcorporality – a concept developed by Stacy Alaimo to describe the ways that human and non-human bodies are “intermeshed with the dynamic, material world, which crosses through them, transforms them, and is transformed by them.”

We are all exposed to a material world that is constantly moving in and through our bodies. In this respect the body could be seen as the scientific instrument through which we register our environment. When overexposed, the body autonomously sets boundaries, and in this process, it also describes the world from which it emerges. It is one way of being in touch; of being in a reciprocal relation to the world.

An example: Parallel to the growth of the petrochemical industries since World War II –i.e. the beginning of what has been named the Anthropocene Epoch– more and more people experience bodily reactions to "normal" amounts of environmental toxins. These toxins come from an increased use of agricultural fertilizers and pesticides. Synthetic materials such as particle board, plastics, food additives. Chemicals used by the textile industry.

Throughout the course of the residency participants will be invited to question the ways in which their bodies become registers of their environments. Questions guiding this enquiry include: What is the threshold between that which is toxic and that which is not? How do we, the residency group, register the Anthropocene in our bodies and by what normative standards? What is a normal body? In what instances do our intensities and sensitivities become strengths that help us see the world as habitable and animate? What opportunities arise when we have non-normative experiences of the world?

To understand ourselves as trans-corporal subjects for the duration of the residency means not only to put emphasis on the possibilities and limits of our own corporeal selves, but it also entails acknowledging that the marks left across bodies are not equally distributed. They are informed by the conditions under which one works and are connected to the landscapes one inhabits. This opens up questions such as: whose bodies sustain the most extreme impacts of contemporary industrial production? In what ways does pollution extend beyond geopolitical boundaries and how are these ongoing material interactions gendered, racialized and reverberated by massive inequality?

Research Approach
This investigation “moves through” bodies both literally and metaphorically, inviting multi-disciplinary perspectives. Applications are welcomed from potential participants whose approaches may be historical, nonhuman, medical, ecological, legal, geological, personal,  political or otherwise relevant to the residency agenda. Kajsa Dahlberg hopes to bring together a group of collaborators from diverse backgrounds to focus on a process of collective learning, research and the sharing of experience. 

The residency’s key foci will be; on the ways that the interactions of material worlds and bodies become visible; on the variable politics of representation that inflect those processes; on the relationships between the body as instrument, registering the world that surrounds it; and the physical registrations that artists make via images, sound and the reorganisation of matter.

Through the residency, participants will engage with spaces and things, seasides and roadsides and each other, through presentations, readings and talks, physical and imaginative exercises, queerfeminist discourse,affect theory, crip theory, environmental activism and/or much more.

Potential Outcomes
The residency aims to bring together aspects of the residents’ collective research into a publication or another form, to be launched at Index in Stockholm – most likely alongside Dahlberg’s upcoming solo presentation at the gallery (dependent on Covid and/or other contingencies).

Prizes Details: 

What PRAKSIS Provides
This residency is free of charge and offers comfortable accommodation for non-Oslo based residents in central Oslo. Local residents will continue to live at their usual address. The residency community will regularly come together at PRAKSIS and other locations, and at events and meals.

Selected international participants receive a stipend of 3000 NOK (approximately 300 euros) towards additional costs.

Weekly meals encourage discussion, debate and friendship. On weekdays PRAKSIS will provide lunch at PRAKSIS HQ. Dinners for all residents plus invited guests are held weekly.

Oslo has a vibrant and adventurous arts landscape. PRAKSIS will provide residents with information and links to the city’s cultural scene, informing them about exhibitions, talks, performances and other events. PRAKSIS seeks wherever possible to connect participants with relevant organisations and individuals in Oslo, introducing the residency community to Oslo creatives in various spheres, including curators, writers, and artists.

Residents are responsible for their own travel and any further costs.

Three places are available for international residents. Further places may be offered subject to securing support. Approximately four spaces are available to local residents.

Contact & Links: 

OPEN CALL Scene:Bluss Bedbug Edition






For all sleepwalkers, insomniacs, hypersomiacs, pill-poppers and sloth-like creatures. This is a call to you:

Scene:Bluss – The Bedbug Edition will center around the bed as catalyst for a collective imagination, a place from which to question modes of production and making sleepwalking a working method. A furniture both loved and feared, underappreciated and over-used, the bed will be our starting point to gather at ‘The School of Sleep’ in Porsgrunn, Norway.

The two week project-based residency will consist of a series of workshops, talks and experiments with invited guest teachers. Some of our suggestions for 'The School of Sleep' is : a lullaby choir, sew-your-own-bedspread-workshop, a nightmare spa, text production in groggy state and an 'all nighter' at the local bar.

All these experiments will be used to generate performative material that we will assemble together. At the end of the two weeks, during PIT (Porsgrunn International Theatre Festival) June 17-20, we will perform and share what has been developed with the festival audience.

During the residency participants will develop questions and share working methods within a frame where sleep is not an eight-hour dependency. So now we ask: Can sleep be something to be interrupted, questioned, manipulated?

Practical info:

This year there are 10 available residency spots.

Bedbug edition : 'The School of Sleep' is 8th - 20th of June

The residency will support:
- Travel costs
- Simple accommodation
- Food
- Artist Card, that provides 50% of all performances during PIT

Invited speakers and workshops for the period will be confirmed shortly.

About and more info:

Scene:Bluss is an annual, artist run, experimental platform to show and talk about artistic work and a place to test out and share ideas. This year's Bedbug edition is led by playwrite and poet Runa Borch Skolseg and dancers and choreographers Alexandra Tveit and Marie Ursin. The goal is to generate immersive and collective projects. Scene:Bluss collaborates with PIT, Porsgrunn International Theater Festival,

Scene:Bluss Bedbug Edition is an opportunity for you to reflect on your performance fantasies through the framework of a collective project with a theme and a group of organizers. We want to think together by working together and work together by thinking together.

“We are not looking for a cure for sleeplessness, although we welcome this as well, we are more drawn to states of the in-between, overlapping time perceptions and excerpts of this horizontal history with its rituals and mysteries. Basically, we are not trying to improve anything, we just want to take a closer look at what is already there with a nightly attention.” - Runa, Alexandra and Marie

We are looking forward to hearing your horizontal stories,

Runa, Alexandra and Marie


Contact & Links: 








Residency 18: Perfection / Speculation proposes a multi-disciplinary investigation of the meanings and ethics of genetic technologies.

This residency is informed by Adam Peacock’s Genetics Gym project, developed while he was Designer-in-Residence at London College of Fashion’s Fashion Space Gallery. Applications are invited from investigators whose focus is on the modifiable human body as a medium of expression, experimentation, research and social interaction. Artists, designers, scientists, writers, psychologists, programmers, film- and video-makers, anthropologists and others based in Oslo, across Norway or internationally, are all welcome to apply. We are looking for talented individuals with distinctive approaches to the residency topic, whatever their specialism. It is intended that the final selection will reflect the scientific as well as the social and cultural dimensions of the area in focus.

Perfection / Speculation will connect with body cultures of the past, present and future. It is supported by a dynamic relationship between its two residency partners: the Vigeland Museum and queer live events co-ordinators Karmaklubb*. The project will revisit the work of Norwegian sculptor Gustav Vigeland (1869-1943) to investigate past and future constructions of gender, race, sexuality, age, body politics, and the notion of the ideal human. Building on Karmaklubb*’s agendas, it aims to probe the social and digital cultures arising from discussions and practices around genetics and the body, and to establish a hub within global conversations about future impacts of design technologies on our bodies.

Perfection / Speculation will feature events developed with the residency partners, a multi-faceted approach to research and project development, and the possibility of a concluding public event showcasing diverse residency outcomes. Events will include a very nice post-talk party arranged by Karmaklubb*.

The Genetics Gym project explores the consumer psychology that informs technology-driven contemporary human interactions. In development over seven years, the project presents a hypothetical scenario in which a commercial pharmaceutical company allows consumers to ‘design’ themselves in any way imaginable using genetic technology. Genetics Gym explores the psychological preconditions that drive the desire for bodily modification and transformation. It is part of a wider series of experiments that Peacock has titled ‘The Validation Junky’ – examinations of technology-driven socio-cultural issues, including testing the possibility of programming artificial intelligence to ‘read’ the subjective, qualitative and highly context-specific attributes that make up our “ideal” self-presentations. Genetics Gym is a collaboration between Peacock’s studio, UCL’s Human Genetics and Embryology department and London College of Fashion’s Applied Psychology in Fashion department. Originally exhibited at the Fashion Space Gallery in 2017, Genetics Gym was also shown in Science Gallery Melbourne for PERFECTION (2018) and Science Gallery Dublin for PERFECTION (2019). It also forms a chapter in ‘Crafting Anatomies: The body as site in fashion and textiles research practice’, scheduled for publication by Bloomsbury Academic Publishers in February 2020.

Post-disciplinary artist-designer Adam Peacock is an Associate Lecturer in Design Strategy and Future Related Design at London College of Fashion, and a contributor to LCF’s Fashion Futures MA. He co-runs an experimental fashion-architecture studio for the Master of Architecture degree at the University of Melbourne (2019-). He is the founder of the experimental framework The Validation Junky, whose most recent project, Genetics Gym, was featured in the BBC Radio 1 Stories documentary DNA+: Beauty, and was presented as the opening keynote speech at the 2018 Product Innovation Apparel conference in Milan. Adam has designed for Heatherwick Studio, WilkinsonEyre and Amanda Levete Architects and contributed to strategic-design projects with Stella McCartney, Lyst, Audi and FIAT. He was Artist in Residence at the Visible Futures Lab, School of the Visual Arts, NYC in 2015-16 and 2016 Designer in Residence at the Fashion Space Gallery at London College of Fashion, University of the Arts London. In 2018, he received the Robert Garland Treseder Fellowship at the the University of Melbourne.

Danai Papadimitriou is a curator based in London and working in the fields of art, architecture and design. Her curatorial practice examines the way these fields interact and shape human behaviours and communities within an urban context. Most recently Danai has been studying yoga practice and philosophy aiming to explore new ways of interaction between people and communities, as well as the role of spirituality in contemporary western society. 

The Vigeland Museum is devoted to Norway's most famous sculptor, Gustav Vigeland (1869-1943). It combines the curating of Vigeland’s heritage with the presentation of contemporary sculpture, installation and video art.

*Karmaklubb* is a nomadic queer club concept and conversational platform, dedicated to ‘thought and pleasure across categories’. Its events bring together diverse individuals and groups, forming hybrid spaces designed to break down boundaries and challenge categorical thinking.


The residency understands that this topic can be approached both as a hard science or as an expressive narrative; and so is looking for talented individuals with a distinctive approach to the topic. The output might be; experimental sounds, manipulated imagery, diagrammatic output, scientific research, cultural research/papers, creative writing, digital human body design, CGI, or a format still to be defined.

Applications are welcomed from artists, as well as practitioners or theorists in other areas whose interests and experience are relevant to the residency’s theme. Selected residents will be part of a temporary community of between five and eight local and international participants. The residency will involve group activities, discussion and creative exchange around the residency theme, as well as time for independent working. Selection is based on applicants’ ability both to gain from, and contribute to, the activities of the month-long residency.

PRAKSIS aims to provide an environment for development and professional growth: applications are welcome from practitioners of differing ages and experience levels.

PRAKSIS residencies are intensive and structured around the interests and needs of their participants. The particular form that each residency takes is developed collectively through discussion once the group comes together. At the start of the residency, group members are encouraged to share their reasons for applying and what they hope to get out of their time with PRAKSIS.

Early in the residency each participant is expected to give a brief introduction to their practice. Self-led activity will be supplemented by collective activity including, but not limited to visits, meals, discussions and a series of public events that aim to further group research and practice while opening dialogues to wider publics.

This residency is free of charge and offers comfortable accommodation for non-Oslo based residents in central Oslo. Local residents will continue to live at their usual address. The residency community will regularly come together at the residency studio space, and at organised events and meals.

International participants receive a stipend of 3000 NOK (approximately 300 euros) towards additional costs.

Weekly meals encourage for discussion, debate and friendship. On weekdays PRAKSIS will provide lunch at the working space. Dinners for all residents with invited guests will be held weekly.

Oslo has a vibrant and adventurous arts landscape. PRAKSIS will provide residents with information and links to the city’s cultural scene, informing them about exhibitions, talks, performances and other events. PRAKSIS seeks wherever possible to connect participants with relevant organisations and individuals in Oslo. PRAKSIS residencies aims to introduce the residency community to Oslo creatives in various spheres including among others: curators, writers, and artists.

Activities and events will be mainly held at PRAKSIS’s space in central Oslo. At the start of the residency, participants are invited to make a presentation, informally introducing themselves and their practice to the rest of the group. Other activities include residency related visits, a tour of Oslo's galleries, networking events, discussions and group critiques – some open to the public. A screening/seminar event will address issues surrounding the residency theme.

Residents are responsible for their own travel and any further costs.

Two places are available for international residents. Places may be offered subject to securing support. Approximately four spaces are available to local residents.

Our team is happy to support applications for external grants wherever possible. 

Residents are welcomed to suggest or lead an action, activity or workshop that will clarify and support their own background, interests or methodologies. Participants are also encouraged to contribute towards a shared resource list in advance of the residency, potentially including readings, podcasts, films or other materials for consideration during the residency.


  • English is the common language at PRAKSIS and residents must be sufficiently fluent to participate in group discussion and activity.
  • Residents are expected to involve themselves fully in the work of the residency: joining meals, participating in events and engaging with the resident community.
  • Accepting a residency involves a commitment to participation for the full residency term.

Contact & Links: 

Call for Presentations! Critical Costume 2020: COSTUME AGENCY, Norway





Call for Presentations

Critical Costume 2020: COSTUME AGENCY

Oslo National Academy of the Arts (KHIO), Norway

Workshops: 10-21 August 2020

Conference and Exhibition: 21 – 23 August 2020

We invite artists, researchers, scholars, designers to submit their proposals for workshop-, conference- and exhibition participation

Applications deadline: January 5th, 2020 

“The veil is music because it is the artifice through which a body extends itself to engender forms into which it disappears.” 

Jacques Rancière

In his essay the Dance of Light (2011)about Loie Fuller’s innovative dance practice, and poet Stéphane Mallarmé’s infatuation with it, Jacques Rancière gives special focus to the role of dress in a redefinition of avant-garde art. Following Mallarmé, Rancière calls the dress a veil, in order to uncover its potential and says that “(t)he veil is not only an artifice that enables one to imitate all sorts of forms. It also displays the potential of a body by hiding it. It is the supplement that the body gives itself to change its form and its function.” Here the dress of the dancer enables her to disappear, it enables the body to be dislocated and to change. This is why the ‘veil’ is the ‘music’. It is an agent that provides new realities of the body to emerge; it performs. 

A garment in contemporary performance goes even beyond an agent activating abstract abilities of presence of the body on stage. Costume interacts with the other performance elements in extremely complex ways. It is a carrier of stories, executor of political activism, it becomes an embodiment of conceptual thinking, a critical questioning. Costume does not only perform via the body; it extends to space, landscape, and audience. It is an actor in itself. Costume is communication and communicated, it is a tool for research, it dances phenomenologically, it affects us kinesthetically. It is an agent. It is a force field. Costume performs. It does things. And the costume designer becomes director, thinker, researcher and shaman – constructing, deconstructing and reconstructing realities, different ways of being, into the ‘unthinkable’. 

Critical Costume 2020 will focus on the agency of costume in performance, costume as the main performer and the costume designer as the initiator of performance. Following Costume Agency, a three-year artistic research project by Christina Lindgren (KHIO, Oslo) and Sodja Lotker (DAMU, Prague), Critical Costume 2020 will explore different ways in which costume performs, different genres and formats it initiates, but also specific dramaturgical strategies that are ingrained in costume, and are probably yet to be used to their full potential. 

Critical Costume 2020 (CC 2020) at the Oslo National Academy of the Arts (KHIO) consists of workshops, a conference, and an art exhibition:

We invite costume designers, researchers, and other artists working with costume design as performance, as performative installation, as performative sculpture, as community gathering, as research, as a way of thinking, as a way to communicate, as music, as the bridge into the ‘unthinkable’ to submit their proposals. 

CC2020 WORKSHOPS: August 10 – 21, 2020. Within four parallel workshops over the course of two weeks, designers and artists will have an opportunity to develop a performance from their already existing costumes and objects with local performers provided by the organizers. Each workshop will include rehearsals, dramaturgical consultations and group feedback sessions. The last day will offer a public presentation of workshop findings for the participants at Critical Costume 2020 Conference and Exhibition. 


To apply for a workshop, please submit:

Presenter’s short bio up to 300 words. 

Photo or drawings of your garments 

Description of project up to 300 words: describe your visions for a performance embedded in the garments or/ and ideas for what to try out in the workshop.

Max. 4 images, video links, links to your website.

CC2020 CONFERENCE: August 21 – 23, 2020. CC2020 CONFERENCE will comprise  scholarly and artistic presentations on current projects and/ or research. Presentations can have a multiplicity of formats:  academic papers, artistic presentations, short interactive workshops, Flash Talks, video essays and other formats will be accepted. Presentations will vary from 5-20 minutes. The exact length of your presentation will be decided after the confirmation of your participation (based on the final program). 


To apply for the CC 2020 conference, please submit:

Presenter’s short bio up to 300 words

An abstract of your research/project up to 300 words

Max.2 images (for project-based presentations), video links, links to your website.

CC2020 EXHIBITION: August 21 – 23, 2020. CC2020 EXHIBITION will present artworks that focus on how costume shapes performance, where the costume initiates or is one of the main initiators of the performance. Please describe how a costume performs in your project, or how your proposed performance should be made accessible to the exhibition visitors (via text, video or other tools). 

The exhibition may include (but is not restricted to): costume, sculpture, performative sculpture, (wearable) object, installation, performative installation, live performance; digital video, digital imagery, animation; research websites, web portals, web radio, blogs, vlogs, podcasts; interactive design for performance and new forms of interactive artworks.


To apply for the CC 2020 exhibition, please submit:

Artist’s short bio up to 300 words

Project proposal up to 300 words, max. 3 images/sketches of the proposed idea

Max.3 images, video links of your existing artworks, and links to your website

Technical specifications for the submission of materials for the exhibition:


1. Your video should be uploaded to Vimeo, and should not exceed 2 MINUTES in length (trailer).

2. Max. 3 images of the proposed artwork for the exhibition. Please include title, materials, dimensions, year of production. 

3. Images should be saved in JPG or PDF. Maximum data size of your entire application is 10 MB.

4. Do not send the original works.

5. CC2020 is not responsible for the production/shipment fees and insurance in case of damage and loss. 



Prof. Christina Lindgren, Oslo National Academy of the Arts and 

Dr. Sodja Lotker, Prague Academy of the Arts


Prof. Yuka Oyama PhD, Academy of Design & Craft University of Gothenburg



Camila Svingen, Oslo National Academy of the Arts




January 5th 2020


Notification of acceptance: February 15th, 2020

Applicants to confirm participation: March 15th, 2020

Preliminary program: April 2020

For conference – deadline for uploading the presentations: August 19th, 2020

For the exhibition – last date for the arrival of your artwork: August 19th, 2020



All delegates attending this 3-day event will need to a pay a registration fee, which will include catering. Significant discounts will be available for postgraduate researchers and independent artists. There will also be a 1-day registration option available. Each participant is responsible for their travel and boarding expenses.

The event language is English.


Entry Fee:

Fee Detail: 
All delegates attending this 3-day event will need to a pay a registration fee, which will include catering. Significant discounts will be available for postgraduate researchers and independent artists.
Contact & Links: 


Subscribe to Norway