Visual research has historically been productive in foregrounding marginalised voices through photovoice as alternative to the written and oral forms of participation that dominate public participation. Photovoice projects have however been slow to leverage digital and spatial technologies for reworking the method in ways that enable geospatial analysis and collect structured metadata that can be used in workshops to bring different groups together around unpacking urban problems. The Urban Belonging project contributes to this by testing a new application, UB App, in an empirical study of how participants from seven marginalised communities in Copenhagen experience the city, including ethnic minorities, deaf, homeless, physically disabled, mentally vulnerable, LGBTQ+, and expats in Denmark. From a dataset of 1459 geolocated photos, co-interpreted by participants, the project first unpacks community-specific patterns in how the city creates experiences of belonging for different groups. Second, it examines how participants experience places differently, producing multilayered representations of conflicting viewpoints on belonging. The project hereby brings GIS and digital methods capabilities into photovoice and opens new epistemological flexibilities in the method, making it possible to move between; qualitative and quantitative analysis; bottom-up and top-down lenses on data; and demographic and post-demographic ways or organising participation.
A research theme examining diversity and inclusion in video games, using an intersectional perspective and typically addressing issues related to the representation of gender, race, and LGBTQ+ people, but also touching broader topics such as class, age, geographic privilege, physical and neurodiversity, the (unevenly distributed) impacts of the climate crisis, and other aspects of identity.
Society continues to place an exaggerated emphasis on women's skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.
