Artistic Research




Research on yarn and the performativity of laying out yarn


I collaborate with Norwegian visual artist Tina Jonsbu, currently artistic PhD candidate at KHIO Oslo, since 2016 on a  research project where we engage with the materiality of yarn and with the pondering on similarities and diffrences in our respect art fields and practices. We met at the Summer School for Artistic Research in Tromso, Norway.  We share an intrest in minimalism, conceptual art and the clivage of how Agnes Martin´s work was placed in a minimalist canon though she herself conceived her work as expressionist.


From my perspective as artist-researcher with a background in choreography the work contributes to an expanded notion of choreography. The collaboration is a piece of reflection that sheds light on processuality versus fixed object,  bodily perception and duration, performance understood in the first place as "doing" . In other words: How to inhabit a space with the physical body present without classifying the doing as dance or choreography  but by translating performing in the first place as “doing”? 

"Keep on Threading or: a title", performed by Jana Unmüßig, CARPA6 - Conference of Artistic Research 2019, August 2019.


©Flis Holland

"Two Bodies with Yarn", performed by Tina Jonsbu and Jana Unmüßig, Floating Peripheries Conference, University of Lapland, Rovaniemi, January 2019

Here are three visuals of "Thoughts on Threads" - a performance evening at Somatische Akademie Berlin (2017). Tina and I had invited the three performers Lisa Densem, Aline Landreau and Alistair Watts to research performatively different types of wool and yarn.





Currently I work on post-doc artistic research project in the frame of my post-doc position at Cfar - Center for Artistic Research of Uniarts Helsinki.  Working title of the Project is stumble on breathing.

In expanded contemporary choreorgaphy breath is most often tangible when dancing is about to be exhausted (Lepecki 2006) and the materiality of the physical body and movement appears (see for example works of Meg Stuart). Or breath is used as means to create social exchange and a sense of community (see: e.g. work on Angela Schubot and Jared Gradiner). I can´t identify my interest in breath if either one of these takes on breathing.

For the moment, I hang in with Italian conceptual artist Piero Manzoni´s Artist´s Breath. For Artist´s Breath Manzoni attaches a blown up balloon on a small wooden base onto which he also fits a small plate with “Piero Manzoni – Artist´s Breath”. Then the blown-up balloon slowly deflates and the work is sold when the deflation is complete. The work Artist´s Breath(1960) is an example how the human body is addressed by means of breath while simultaneously addressing the dissipation of the subject-matter (the artist´s breath) which ultimately hints also at the disappearance of the human body itself (Kukuljevic 2017).

I am looking forward to meeting different practitioners that deal with breath during my upcoming residency in Freiburg, E-Werk. Title of the Project in Freiburg: Breathing Matters. Throughout the residency there will be regular 'open doors':There will be a workshop with Lisa Densem (NZ/Berlin) and a workshop with Heidi Wilm ( Vienna). Both will expose thoughts and doing on breath in relation to somatic body work. Lisa in relation to BreathExperience; Heidi in relation to Shiatsu. Christopf Solstreif-Pirker (Graz) will give a lecture on breath from his perspective as performance artist and architect. And there will be a screeing of a video-essay on breath by Juliette Blightman (London). At the end of the residency, I will present my work - half lecture,half performative expriment - breathing matters

Lepecki, André. Exhausting Dance.New York: Routledge, 2006.

Kukuljevic, Alexi. Liquidation World. Cambridge: MIT, 2017.

This residency is made possible through the generous support of 












MY ARTISTIC DOCTORATE (2011- 2018 / including two maternity leaves)

My artistic research project took place in the frame of a doctor in Arts (D.A.) at the Performing Arts Research Centre at the Theatre Academy  at the University of the Arts Helsinki, in affiliation with the programme in choreography. Methodological tool number 1 for exploring the research subject was the artistic doing, my artistic practice, followed by reflecting upon and contextualizing this doing  through  other artists´ work, artistic research theory, phenomenology and cultural studies. The research consisted of three artistic parts and a written component.


Artistic part 1 (2013): "Coulor, Coulor" link: , pass word: zguestz  ;

Artistic part 2 (2015): "///" link:, pass word: jana1

(plese note: correct date of performance Februray 2015)

Excerpt of artistic part 3 (2016): "see/time/composing" link: , pass word: ap3


The written component "Composition and Choreography - Critical Reflections on Perception, Body and Temporality",

published by Acta Scenica, Theater Academy Helsinki.