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| 23. |
- Jewesbury, Daniel, 1972, et al.
(författare)
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The Infinite City, episode 1: Talking Heads and Magic Jugs
- 2018
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Ingår i: The Infinite City podcast. - Belfast, UK : PLACE (Planning Landscape Architecture Community Environment) Northern Ireland.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- First episode of a new podcast exploring the urban environment, regeneration and development, in which artist and writer Daniel Jewesbury conducts the listener on a walk through Belfast - past and present. Tthree moments in Belfast’s public cultural history give insight into enduring questions about art, publicness, exclusion and the city. The Infinite City is produced by Rebekah McCabe and Conor McCafferty for PLACE, with assistance from Maria Postanogova and Stuart Gray. Music for this episode was composed by Conor McCafferty. The podcast is supported by Feilden Clegg Bradley Studios and Arts and Business Northern Ireland.
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| 24. |
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Memories of a city
- 2017
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Ingår i: Memories of a city. - Göteborg : University of Gothenburg. - 1101-3303. - 9789188101037 ; , s. 8-16
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Presented at the international conference Challenge the past / diversify the future, the contributions collected herein deal with ways of challenging accepted historical representations of the City by offering modes of recollection and perspectives that capture both multi-sensory and multi-layered aspects of urban context. As such, they offer new empirically grounded research on the experiences of the inhabitants, both past and present, whether individually or as a collective. With a focus on the city as a space that is performed by a host of actants reaching across time through both materiality and memory, the authors critically address modes through which visual, audible, and multi-sensory representations can challenge, diversify or uproot conventions of urban representation. Four projects. Four takes on making representations of a city.
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| 25. |
- Olsson, Gertrud
(författare)
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Den lilla skalan i den stora – Kaklet i osmanska rum
- 2022
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Den lilla skalan i den stora (2022) är ett forskningsprojekt om kakel som har mynnat ut i en bok. Mönster och ornament är något fundamentalt sedan tidernas begynnelse och återfinns i alla kulturer. Boken berättar om ornament, mönster och material, om form och teknik, och om de hantverkare som tillsammans arbetat fram de det osmanska rikets kakelklädda väggar. Kunnandet spreds och omformades i möten mellan olika kulturer när konstnärer och hantverkare flyttade till nya platser och uppdrag. Boken tar sin början i 1200-talets Konya (i nuvarande Turkiet), en central plats för kakeltillverkningen där applicering, teknik och formgivning följde seldjukdynastins stil. Under tidigt 1400-tal skedde en stilbrytning då osmanerna introducerade en persisk tradition för hur kakel kunde användas i arkitekturen. Därefter följer den lysande tidigosmanska kakelutvecklingen i Bursa under 1400-talet fram till höjdpunkten av kakelutsmyckningar i Istanbul under 1500- och 1600-talen – den högosmanska tiden. Ett kapitel tar upp det estetiska förhållningssättet under 1500-talet, medan ett avslutande kapitel är fokuserat på 1800-talet och en återblick till de tidigosmanska kakelrummen. I boken möts ornamentet, materialet samt berättelsen kring hantverkare, konstnärer och arkitekter som tillsammans arbetar fram de osmanska kakelklädda väggarna.
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On the Question of Exhibition, PARSE Journal Issue 13: Parts 1,2,3
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE, published in three parts, examines the question of the exhibition. One of the aims of this series-issue is to turn attention to the material, experiential, as well as conceptual and political conditions of the exhibition that may have been overlooked within the growing literature on curatorial and exhibition histories. Our aim, as editors is not to elevate the exhibition form. Rather, we wish to interrogate exhibition as a pervasive category of display and mediation where principles of exposition, demonstration, exemplification, taxonomy, circulation, commentary, spectatorship and valorization are operative. Since the 1990’s curatorial discourse has sought to position the curatorial away from, or at the very least as in excess of, the practical tasks of exhibition-making whilst the burgeoning field of exhibition histories has created a historiographic approach to the forms, developments and questions posed by exhibition. This series of contributions seeks, in some respects to return to the fundamental question of exhibition-to interrogate it as a self-explanatory category. Part 1 published in June 2021 includes contributions from Dave Beech, Kathrin Böhm, Alaina Claire Feldman, Samia Henni, Steven Henry Madoff, Saul Marcadent, Lisa Rosendahl and Jéssica Varrichio; and roundtables with Rasha Salti, Nick Aikens, Kristine Khouri and Anthony Gardner; and with Yolande Zola Zoli van der Heide, Gavin Wade, Mick Wilson and Franciska Zólyom. The contributions in Part 2 extend the considerations initiated in Part 1, by bridging the world-making and ordering techniques of exhibition–what we might broadly call its onto-epistemological register-with the pragmatic and technical questions of exhibitionary apparatuses, or its operational register. The purpose being not to create a dichotomy but rather to set up a field of tension and interference between different moments of production-analysis. This part offers detailed analyses of individual exhibitions, allowing for an interplay between the specificities of singular instances coupled with a wider angle from which to survey the field. Part 2 contains contributions from Ingrid Cogne Patrizia Costantin, Kris Dittel & Jelena Novak, Catalina Imizcoz, Joey Orr, Barbara Neves Alves, Mateusz Sapija, Vladislav Shapovalov, Sasha Shestakova, and Joshua Simon. The restless questioning of exhibition underpins Part 3, where artists curators and researchers unpick exhibition’s entangled relationship to pedagogy, to institutional processes, to aesthetics, to constituent work, to lived experience and the ways in which the political arises out of these entanglements. Part 3 includes texts by Doreen Mende, David Morris and Grace Samboh, Ola Hassanain, Li Yizhuo, Ginevra Ludovici, Cătălin Gheorghe, Sabine Dahl Nielsen, a visual essay by Paul O’Neill and a roundtable with Jeanne van Heeswijk, Maria Hlavajova, Damon Reaves & Mick Wilson
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| 29. |
- Chavarria Aldrete, Bertrand
(författare)
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Unveiling the invisible : Documentary film
- 2022
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Unveiling the invisible (2022) is a short film about the Artistic Research project by Bertrand Chavarría-Aldrete, PhD candidate at Lund University in the form of a workshop for the blind and visually impaired.
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| 30. |
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In the archival multiverse, the blubber decays but the fever increases. : A contribution to VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden. Under the "Archives and Witnessing" section of the conference. Moderated by Åsa Sonjasdotter
- 2021
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Konstnärligt arbete (film/video) (refereegranskat)abstract
- The presented work is composed by Marc Johnson — a memory worker — who is currently a Ph.D. candidate in performative and media-based practices at the Stockholm University of the Arts. The shared perspectives are engaging issues of violence from the center of an artistic practice-based research focused on archival practices and concerned with how a documentary heritage circulates, is formed, debated, shared, and re-interpreted.The lecture-performance starts by considering the “Rights of Nature” — from recent environmental litigations in Aotearoa (New Zealand), Bolivia, and Ecuador — which focus on the idea of legal standing. What does it take to enforce the legal personhood of a river or other natural entities?Marc Johnson investigates and reflects on some ways to deal with representations of murdered bodies — human and more-than-human (cellular life forms) — without replicating historical patterns of abuse? Under what conditions shall these documents, artifacts, or, images be seen?Marc Johnson collaborates with Hitomi Ohki 大木瞳 — Soprano singer — to expose how polyphony[1] and counterpoint[2] applied to cinema can be used practically to navigate the uncertain archive(s) of violence studies.Marc Johnson addresses the dynamics of archival silences[3] and archival amnesty[4] as an important reminder of the ways in which violence — despite its presence in the everyday life of most people mainly through paper-based, and online news media (including social networks) — can also be deeply buried and invisible through institutional and corporate powers and other means; nonetheless impacting the lives of ordinary people (as opposed to powerful people, military, political and business leaders).The proposal does not intend to resolve; but rather to expose and to put oneself in the presence of using the means of montage.Skepsis is the deployed strategy throughout the duration of the time-based work as defined by Jacques Derrida as a “vigilance, and attention of the gaze during an examination. […] One is on the lookout, one reflects upon what one sees, reflects what one sees by delaying the moment of conclusion.”[5] [1] A process of combining two or more voices so that they harmonize with each other but maintain their individuality.[2] A process of adding one or more melodies as an accompaniment to a given melody according to certain fixed rules; a composition in which melodies are thus combined.[3] Rodney G. S. Carter, “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence,” Archivaria, September 25, 2006, 215–33.[4] Tonia Sutherland, “Archival Amnesty: In Search of Black American Transitional and Restorative Justice,” ed. Michelle Caswell, Ricardo Punzalan, and T-Kay Sangwand, Journal of Critical Library and Information Studies, Critical Archival Studies, 1, no. 2 (2017): 1–23, https://doi.org/10.24242/jclis.v1i2.42.[5] Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 1993).
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