Karen Erika Earle Kipphoff

• Nadeau, Carole & Kipphoff, Karen (2022). Blind Spot—Staring Down the Void. Theatre Research in Canada. ISSN 1196-1198. 43(1), p. 58–80. doi: 10.3138/tric.43.1.a03.
• Kipphoff, Karen Erika Earle (2014). Instrumental Objects as Playful Subjects - An Example of Artistic Research in Art Education. In Sekkelsten, Ådne & Graffer, Sidsel (Ed.), Scenekunsten og de unge. Vidarforlaget AS. ISSN 978-82-7990-273-7. p. 238–247.

View all works in Cristin

• Allsopp, Ric & Kipphoff, Karen Erika Earle (2020). Blind Spot: Staring Down the Void. Performance Research Books. ISBN 978-1-906499-08-2. 232 p. Show summary

  The blind spot is a natural phenomenon at the origin of sight and a metaphor for forms of cultural, psychological, social and environmental blindness. This collection of original essays, artworks, writings and resources responds to a wider Blind Spot artistic research project (2016-2020) initiated at the Norwegian Theatre Academy. It features contributions from Ric Allsopp, Irving Finkel, Karen Kipphoff, Kiran Kumar, Ageliki Lefkaditou, Nigel Llewellyn, Kevin Mount, Alice Oswald, Theron Schmidt, Sophie Sleigh-Johnson, Henrik Treimo and Britta Wirthmüller. The publication forms part of the Performance Research Books series, ‘Thinking Through Performance’. Blind Spot: Staring down the void is in two parts contained in a slipcase. Part 1 is a reference pamphlet with an editorial introduction, a catalogue of artworks, an overview of the parent research project and notes on contributors. It also includes a list of the references to Ric Allsopp’s introductions to the five sections of Part 2. Part 2 is a concertina-bound book of commissioned essays on the theme of the blind spot, with artworks by Karen Kipphoff. The design and layout of Part 2 enable two panoramic spreads to open out across the three rector and two verso sections of the concertina binding. As a standalone, Part 1 can be read as a map to Part 2.

• Treimo, Henrik; Lefkaditou, Ageliki & Kipphoff, Karen (2019). BLIND SPOT – en utstilling om å se og se etter [BLIND SPOT – An exhibition about looking and seeing]. Norsk Teknisk Museum. ISBN 978-82-90115-54-3. 60 p.

View all works in Cristin

• Salinas, Cecilia G.; Bratrud, Tom; Lien, Marianne Elisabeth; Broch, Tuva Beyer; Treimo, Henrik & Kipphoff, Karen [Show all 9 contributors for this article] (2023). Privatlivets grenser: nye skillelinjer, nye samvær. Show summary

  DIGSOS I/0 - Digital Sosialitet i Hverdagen (DIGSOS) er et formidlingsprosjekt i form av en utvidet utstilling ved Norsk Teknisk Museum. DIGSOS springer ut av SAMKUL prosjektet Privatlivets Grenser; Sosialiatet og tilhørighet i digitale hverdagsliv (NFR 303048) som startet i 2020 og løper til våren 2024. Privatlivets Grenser (PG) undersøker hvordan digitale verktøy former sosialitet, grensesetting og tilhørighet, med særlig fokus på grenser mellom det private og det offentlige . Med utgangspunkt i Marianne Gullestads klassiker 'Kitchen-Table Society', spør vi 'hvor er kjøkkenbordene nå?': Hvilke arenaer utgjør 'backstage' for sosiale relasjoner, og hvordan forhandles grensene mellom privat og offentlig, individet og fellesskapet i en digital tidsalder? Hvilke nye former for sosialitet kommer til? Norsk Teknisk Museum er samarbeidspartner i prosjektet, og SAI har bidratt i etableringen av deres utstilling I/0, og har også lagt inn formidling fra prosjektet i form an en temaløype, en samling av digitale formidlingspunkter med utgangspunkt i gjenstander i utstillingen. DIGSOS I/0 muliggjør at en sentral del av NTMs utstillingslokale settes av til formidling fra PG. Vi vil i samarbeid med designere etablere en 'analog' sone i form av f.eks. kjøkkenbord, samt en vegg for projisering, der vi inviterer publikum til å reflektere over digital sosialitet i hverdagen, før og nå, og på tvers av generasjoner. Hensikten er å løfte fram det ikke-lineære, uforutsigbare og erfaringsnære i digital sosial interaksjon, på en refleksiv måte som står i et spenningsforhold til den mer gjenstands- og innovasjonsfokuserte dimensjonen i I/0-utstillingen, samt å utfordre publikoums antagelser teknologi som lineært framskritt. I tråd med sentrale funn i Privatlivets Grenser, vil DIGSOS desentrere medie som sådan ('non-media-centric aproach') og rette søkelyset mot hvordan innlemming av digitalisering i sosial praksiser omskaper både hverdagslivets sosialitet og digitale medier.

• Kipphoff, Karen (2022). https://www.goethe.de/ins/ro/ro/ver.cfm?event_id=23554667 . Show summary

  https://www.goethe.de/ins/ro/ro/ver.cfm?event_id=23554667

• Kipphoff, Karen ; Garcia Lopez, Saul; Tomola, Alice; Andersson, Stefan; Wamberg, Nicolaj & Jordan, Ayesha (2021). Norwegian Theatre Academy at Palmera - Platform II: Scenography & Performance.
• Kipphoff, Karen ; Dyrløv Høegh, Olga Regitze & Bogaert, Mirte (2021). Norwegian Theatre Academy at Palmera, Platform I - Scenography Walking Talking Minerals.
• Kipphoff, Karen ; Garcia Lopez, Saul; Graffer, Sidsel & Schulte, Philipp (2021). Critical Breakfast I, II and III.
• Kipphoff, Karen ; Fjørtoft, Susanne; Lucas, Pavlina; Johnston, Sandra; O'Donnell, Sinead & Johannessen, Kurt (2021). PAB LOKAL NATURE MADE / HUMAN MADE. Show summary

  PAB LOKAL NATURE MADE / HUMAN MADE ​​ Friday November 5th, 19:00 at Kunsthall 3,14 ​ ​ NATURE MADE - HUMAN MADE ​ Performance Art Bergen is 10 years old and the performance organization Bbeyond, Belfast is 20 years old in 2021.On the occasion of this double anniversary, we will collaborate on organizing two performances in Bergen and two performances in Belfast. ​ The performances are split into two categories: - Nature Made: Untreated material / objects from nature. - Human Made: Objects/materials that are made by the artist or others. The performance artists from Bbeyond, Belfast, will work from the same starting points simultaneously in time and with the same materials. The performances will begin the sessions synchronously in Bergen and in Belfast. The performances in Belfast will be streamed and projected life size alongside the Bergen performance and vice versa.

• Kipphoff, Karen (2021). Blind Spot Cylinder, Blind Spot Cone. Show summary

  Curated by Rita Marhaug and Anette Friedrich Johannessen ANNOUNCEMENTS With the hymn of Mary, from the Gospel of Luke chapter 1 in the Bible, we invite artists to create a performance work in or outside Storetveit on October 16th. The artist(s) are free to interpret the text themselves. We seek performances with a duration of 2-3 hours that must withstand the possibility of a certain interaction with the other artists and the audience. The headline "ANNOUNCEMENTS" points forward to something that might come. This is closely linked to the church as a place for religious rituals and transcendent /altitude experiences.

• Kipphoff, Karen (2021). Blind Spot Cone.
• Kipphoff, Karen (2020). Blind Spot related drawings, photographs, prints and panoramas . In Allsopp, Ric & Kipphoff, Karen Erika Earle (Ed.), Blind Spot: Staring Down the Void. Performance Research Books. ISSN 978-1-906499-08-2. Show summary

  Illustrations By Karen Kipphoff Cover: the ceiling of the cupola of Oscar Niemeyer's incomplete and abandoned International Fairground, Tripoli, Lebanon, photographed in 2019. Introduction pp.12, 14, 18, 22: sketches made during the Blind Spot performance, Fredrikstad/Bergen, 2017 p.28: cone anamorphosis, detail of the exhibit made for the Blind Spot exhibition, Museum of Science and Technology, Oslo 2019-2020 Part 1: Holes | Voids pp.7, 9, 13, 14, 36: Sweets, images selected form an edition of a series of 16 risographs pp. 10-11, cont'd. on pp. 58-59 and pp.100-101: a panoramic photograph of a detail of matting covering the courtyard of the central asylum seekers’ registration centre, Berlin, 2016 Part 3: Bodies | Memory pp.92-99: Oscar Niemeyer's incomplete and abandoned International Fairground, Tripoli, Lebanon, photographed in October 2019 during a workshop excursion with Cornelia Krafft and students. Part 4: Appearances | Visibilities pp.152-153, cont'd. on pp. 194-195, sketches of dancers made during Etienne Guilloteau's Blind Spot workshop, HZT Uferstudios, Berlin, September 2018 Part 5: Optics | Drawings p166, cylinder anamorphosis made for the Blind Spot exhibition, NTM, Oslo 2019-20

• Kipphoff, Karen Erika Earle (2020). Into the Thicket. In Allsopp, Ric & Kipphoff, Karen Erika Earle (Ed.), Blind Spot: Staring Down the Void. Performance Research Books. ISSN 978-1-906499-08-2. p. 167–168. Show summary

  Into the thicket When you disappeared, I stood at the edge of the vast stretch of green at which we had just arrived. Men were running up and down the far side of the field. When you reappeared, the long drive home. Smoke filled the car. [...]

• Kipphoff, Karen Erika Earle (2020). Drawing Blind Spots. In Allsopp, Ric & Kipphoff, Karen Erika Earle (Ed.), Blind Spot: Staring Down the Void. Performance Research Books. ISSN 978-1-906499-08-2. p. 183–199. Show summary

  Drawing Blind Spots Making an Appearance The question addressed in this article is how to visualize the blind spot and give body and presence to something that doesn’t exist, or which at least cannot be seen, during an artistic process, and to present it as or in performance. Until the 19th century, the tools of choice for witnessing and documenting were pencil, engraving needle or ink and pen. These were powerful prosthetic extensions of the body-eye-mind axis as they created visual renderings and records of what had been observed. The observations thus became transportable and could often be communicated in a better way than by writing or speech. Physical copies and elaborations of these renderings could be transposed to other media, they could be copied, printed, shared, distributed and discussed. As technology progressed and coincided with artists’ need and desire to capture faster and render more precise, spectacular and elaborate illustrations of what they saw, tools and structures were employed that helped and assisted the drawing process, only to disappear as newer tools came along. The transition from analogue to digital representation of the seen, heard, written and produced is happening as another, equally revolutionary transition from material to virtual communication, thinking, meeting, working and production is taking place simultaneously. Collections, exhibitions and research on the many vanishing ‘devices of wonder’[1] provide us with an understanding of historical optical tools, automatons, cameras and the spectacular representations created by them while raising questions about the future: ‘How do we bring vanished mechanisms into our midst again so they can provide substance to the thinned formats of virtuality, thoughtful alternatives to the automated logics of cybernetics?’ (Stafford, 2001:1)

• Allsopp, Ric & Kipphoff, Karen Erika Earle (2020). Chasing Blind Spots . In Allsopp, Ric & Kipphoff, Karen Erika Earle (Ed.), Blind Spot: Staring Down the Void. Performance Research Books. ISSN 978-1-906499-08-2. p. 3–13. Show summary

  This book is about forms of seeing and not seeing, about visual and cultural blind spots, about how we are able, choose or are made to see, and thereby experience and engage with the natural, social and cultural worlds in which we live. Our intensively visual and visible technological culture extends how we see in terms of optical vision. It drives our ability to image and represent our physical and embodied worlds at micro and macro levels, to surveil and control and influence behaviours, to imagine and project our individual and collective futures. It also reveals an awareness or lack of awareness of our personal, cultural and collective blind spots. While the optical blind spot is a natural phenomenon at the origin of sight, it is also by extension a metaphor for forms of cultural, psycho- logical, political, social and environmental blindness. The distinction between vision (the optical frame of seeing) and visuality (the cultural frame of seeing) as Hal Foster has pointed out, is neither opposition nor identity, but ‘a difference, many differences, among how we see, how we are able, allowed, or made to see, and how we see this seeing or the unseen therein.’ (Foster, 1988:ix) Perhaps a similar point can be made about blind spots, or ‘the unseen therein’. Blind spots can be understood and experienced as absences, as voids, as negative, concealed, proscribed or suppressed spaces, as well as spaces through which affirmative and generative presences can, or can be made to, appear. Foster makes the underlying point that ‘with its own rhetoric and representations, each scopic regime seeks to close out these differences: to make of its many social visualities one essential vision, or to order them in a natural hierarchy of sight.’ (ibid.ix) The questions and propositions that inform this book and the form that it takes, have tried to take an opposite approach: to resist hierarchies, to open up the possible and potential differences within the idea and metaphor of the blind spot in order to understand the multiple and complex ways in which it hinders and informs how we engage ‘seeing and not seeing’, and to find imaginative ways to put into play its generative possibilities.

• Kipphoff, Karen Erika Earle; Allsopp, Ric; Treimo, Henrik & Wirthmüller, Britta (2020). Blind Spot Final Presentation of Research Project.
• Lindeneg, Andrea & Kipphoff, Karen Erika Earle (2019). Moving Meetings.
• Kipphoff, Karen Erika Earle (2019). Workshop, Forelesning, Performance .
• Kipphoff, Karen Erika Earle (2019). Blind Spot - Staring Down the Void .
• Kipphoff, Karen Erika Earle; Treimo, Henrik & Lefkaditou, Ageliki (2019). Blind Spot - An Exhibition About Looking and Seeing.
• Kipphoff, Karen Erika Earle; Treimo, Henrik; Lefkaditou, Ageliki; Oredsson, Jakob & Arx, Serge Patrick von (2018). Blind Spot Workshop III .
• Kipphoff, Karen Erika Earle; Guilloteau, Etienne Frederic; Asteriou, Nefili; Vaisanen, Emmi & Song, Young-Won (2018). Blind Spot - Staring Down the Void.
• Kipphoff, Karen Erika Earle (2018). Drawing Performance Finse Performance Art Bergen/ Performance Art Oslo, Finse, Norge, 24.-26.08.2018.
• Kipphoff, Karen Erika Earle; Treimo, Henrik; Lefkaditou, Ageliki; Lange, Ellen & Canellis, Patricia (2018). Blind Spot Workshop II.
• Kipphoff, Karen Erika Earle; Treimo, Henrik; Lefkaditou, Ageliki; Lange, Ellen; Johannessen, Toril & Loring, Phil [Show all 7 contributors for this article] (2018). Blind Spot Workshop 1/2018.
• Kipphoff, Karen Erika Earle (2018). Blind Spot -Staring Down the Void .
• Kipphoff, Karen Erika Earle; Treimo, Henrik; Lange, Ellen & Canellis, Patricia (2017). Blind Spot Labor 3.
• Kipphoff, Karen Erika Earle; Treimo, Henrik; Lange, Ellen; Canellis, Patricia & Langdalen, Siri (2017). Blind Spot - Labor 2. Show summary

  Workshop med målsetning om å utvikle ideer til en utstilling med utgangspunkt i begrepet «Blind spot». Blind spot, eller blind flekk, er navnet på en flekk i vårt øye. Det beskriver det området i netthinnen der synsnerven kommer inn fra i øyet hjernen. Fordi det ikke er sanseceller der, er det et blindt område. Området ble først illustrert i 1619. I dag er det et vanlig legevitenskapelig begrep. Blind spot fungerer også som en metafor i en rekke sammenhenger, og er utgangspunktet for et kunstnerisk forskningsprosjekt «BLIND SPOT» ved Norwegian Theatre Academy. I dette prosjektet referer begrepet bredt til det som er «uncannily present at the center, but remains invisible and undescribed». Slik konnoterer begrepet motsetninger som visible/invisible, known/unknown eller static/fluid etc. Blind spot kan handle om det vi ikke ser, av fysiologiske årsaker, eller av kulturelle og ideologiske grunner. Det kan handle om dementia, tomrom, forvirring eller det ubegripelige, eller om kamuflasje som skaper blind spots, og også om hvordan vi «lærer» å se innenfor ulike kulturer og dermed oppfatter perspektiver forskjellig (Müller-Lyers illusjon). Til sist; for hver historie vi forteller er det noe som ikke blir fortalt. Forskningsprosjektet Blind Spot (NTA) skal resultere i en utstilling (samt publikasjon og performance), Nasjonalt medisinsk museum (NTM) ønsker å utvikle en utstilling omkring sin samlingen relatert til øyet.

• Kipphoff, Karen Erika Earle; Treimo, Henrik; Lange, Ellen; Langdalen, Siri; Canellis, Patricia & Lossius, Trond (2017). Blind Spot - Labor 1.
• Kipphoff, Karen Erika Earle & Haffner, Nik (2017). Presentasjon.
• Kipphoff, Karen Erika Earle; Lossius, Trond; Holm, Ingvild; Nadeau, Carole; Fairuz, Farid & Carvalho, Marcio (2017). Blind Spot - Staring Down the Void Performance.
• Kipphoff, Karen Erika Earle (2017). Drawing on - Performance.
• Kipphoff, Karen Erika Earle; Lossius, Trond; Nadeau, Carole; Fairuz, Farid; Holm, Ingvild & Carvalho, Marcio (2017). Blind Spot - Workshop 2 Berlin.
• Kipphoff, Karen Erika Earle; Carvalho, Marcio; Fairuz, Farid; Holm, Ingvild; Lossius, Trond & Nadeau, Carole (2017). Blind spot - Staring down the void. Show summary

  En gruppe kunstnere med en felles interesse for synsansens rolle i mennskelig erfaring og i samfunnet, leker seg i denne forestillingen med blindsonens kunstneriske potensiale og uklare omstendigheter. Blindhet er fravær av syn. Det kan oppleves som svart, eller det kan være ingenting. Den plutselige blindhet som oppstår når man skrur av lyset oppleves som svart. Ingenting er derimot manglende synsopplevelse, som verden bak ens eget hode. Kunst og media forholder seg overveiende til synssansen. Dette kan utfordres på mange måter av kunstnere som stiller spørsmål om begreper, politikk, religion og moral i samfunnet. Synet er målskive for et massivt bombardement av korte, problematiske, forvirrende og besværlige budskaper, som tilsammen danner et villniss eller en avgrunn.

• Kipphoff, Karen Erika Earle (2016). Blind Spot - Introduction to the artistic research project.
• Kipphoff, Karen Erika Earle (2016). Uten tittel, performance.
• Kipphoff, Karen Erika Earle; Haffner, Nik; Ullerup-Schmidt, Cecilie; Nadeau, Carole; Carvalho, Marcio & Lossius, Trond (2016). Workshop I, August 2016.
• Kipphoff, Karen Erika Earle (2016). Blind Spot - Staring Down the Void Introduction to Artistic Research Project Financed by pku programm of Norway.
• Kipphoff, Karen Erika Earle (2016). Edutopia.
• Kipphoff, Karen Erika Earle; Alda, Robert; Carson, Gillian & Marhaug, Rita (2015). Reality Check. Billedkunst (Oslo). ISSN 1501-4460.
• Kipphoff, Karen Erika Earle (2015). Un(familiar) - Performance with Alda, Carson, Kipphoff, Marhaug.
• Kipphoff, Karen Erika Earle (2015). The Un(familiar) .
• Kipphoff, Karen Erika Earle & Weltzien, Julie (2014). Placements Objects_ Bodies_ Landscape .
• Kipphoff, Karen Erika Earle (2014). Nedfall – Tulle Ruth. Show summary

  teskt til utstilling

• Kipphoff, Karen Erika Earle (2014). Sted, Erindringskultur i fotografi og kunst. In Ågotnes, Hans-Jakob; Barndon, Randi; Engevik, Asbjørn & Selberg, Torunn (Ed.), Når Industrisamfunnet blir verdensarv. Scandinavian Academic Press. ISSN 978-82-304-0110-1. p. 113–142.
• Kipphoff, Karen Erika Earle (2014). The Din.
• Kipphoff, Karen Erika Earle (2014). Casting Salt.
• Kipphoff, Karen Erika Earle (2014). You are lying! Keynote as Lectureperformance.
• Kipphoff, Karen Erika Earle (2013). Performance Nå 4. Show summary

  kurator for Performance Nå 4 Festival, arrangert av Performance Art / Bergen Elektronisk Kunstsenter (med Espen Sommer Eide /Kristin Tårnesvik, Pablo Zuccotti/Jan Hustak, Amanda Steggell og Guro Gomo

View all works in Cristin