Let me begin by saying that I came to theory because I was hurting, the pain within me was so intense that I could not go on living. I came to theory desperate, wanting to comprehend – to grasp what was happening around me. Most importantly, I wanted to make the hurt go away. I saw in theory then a location for healing.

- bell hooks

While our Nordic neighbors have been on the forefront of implementing artistic research and running PhD programs in art academies and universities, in Denmark there has been a reluctance to engage with artistic research on an institutional level. But while the discussion for the most part has been about what artistic research is, and whether its processes and productions can qualify as both art work and knowledge, a wealth of different artistic practices involving research are starting to emerge as an unruly field in which the research takes various different forms and expressions – practices that continue to unsettle the normative borders that govern and separate the disciplines. Similar to bell hooks’ personal account of how she came to theory, as cited above, these practices emerge out of an urgency to create new knowledges and to carve out spaces for experiences that have previously been excluded. It is out of these fissures that artistic practices come to unsettle existing forms of knowledge that govern who counts as a subject (Butler 2003). In a world that is perpetually in a state of being broken, artists, by engaging the speculative and the imaginary, engage in the co-creation of other worlds. With this special issue, we want to move away from a discussion of what artistic research is and, by gathering a wealth of diverse practices and formats, to explore how those practices contribute to a future world-making.

We welcome contributions from artistic research practices that engage:

- Community-building and collaborative processes

- Future world-making; ecologies and sustainability

- Extractionism, mining and waste

- Class, black and critical race, indigenous, feminist, gender, queer, trans, crip, mad, and disability studies and their intersectionality

- Migration and freedom of movement

- Coloniality and decolonization – especially in regard to Nordic colonialism

- Boundaries and in-between disciplines; unsettling knowledges

- What art knows – how artistic thinking develops through practices

- Critical intimacy

Periskop invites artist-researchers and collectives to be part of this special issue with contributions that can take various formats. Articles can be up to 6000 words (including notes and summary), but we are also open to shorter contributions as well as to arts-based work, essays or other formats. We are also keen on including collaborative pieces.

Articles may be submitted in Greenlandic, Faroese, Danish, Sámi, Norwegian, Finnish, Swedish, Icelandic, and English. Periskop is a peer-reviewed journal. Deadline for submission of manuscripts is the 6th of April 2020. Stylesheet and guidelines in Danish can be found at For guidelines in English, please contact the editors.

Please send abstracts (300 words max) and a short bio to no later than 25th of November 2019.

Notification of acceptance can be expected in the beginning of December 2019.

This special issue is edited by Katrine Dirckinck-Holmfeld, Camilla Graff Junior and Lise Margrethe Jørgensen.

Periskop – Forum for Art Historical Debate was founded in 1993. It is based at the Department of Arts and Cultural Studies, University of Copenhagen. The purpose of the journal is to create a Nordic forum for debates  on the discipline of art history.