| 21. |
- Cabak Rédei, Anna, et al.
(författare)
-
Seeing different motifs in one picture : Identifying ambiguous figures in South Scandinavian Bronze Age rock art
- 2020
-
Ingår i: Cogent Arts & Humanities. - : Informa UK Limited. - 2331-1983. ; 7:1
-
Tidskriftsartikel (refereegranskat)abstract
- Ambiguous figures, as described in visual perceptual psychology, are single pictures that contain several possible, mutually exclusive, motifs. Some specific cases of images in South Scandinavian Bronze Age rock art can be fruitfully analysed as ambiguous figures. Furthermore, we argue that these images represent some sort of narrativity, which needs to be understood in order to make a perceptual switch between different motifs in one picture. Using a semiotic approach, we describe the experiential requirements on the perceiver for seeing the different motifs, which differ in their iconic complexity.
|
|
| 22. |
- Bowman, Jason E., 1967
(författare)
-
Expert Panelist : Visible Art Award
- 2015
-
Ingår i: Visible Award Parliament.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I was invited as an expert panelist for the Visible Award. The Visible Award is the first international production award devoted to art work in the social sphere, that aims to produce and sustain socially engaged artistic practices in a global context. Part of the broader research project, aims to research, support and offer a discursive and productive platform to innovative artistic projects that are able to become visible also in fields other than the artistic ones.
|
|
| 23. |
- Bowman, Jason E., 1967
(författare)
-
What is at Stake in Community Practice? What Have We Learned?
- 2016
-
Ingår i: Stages: Journal of the Liverpool Biennial. - 2399-9675. ; :5, s. 2-9
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- In this writing I seek to detect a few precursory concerns that may inform an initial response to the question, ‘What is at Stake in Community Practice? What Have We Learned? In doing so I consider issues of legacy and obfuscation; the delimiting of education as a public good, and indicate the potential for artist-organisation to be considered in determining organisational practices.
|
|
| 24. |
- Kular, Onkar, et al.
(författare)
-
Allmänningen/The Common Room
- 2023
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Allmänningen/The Common Room was a Vinnova-funded project at the Faculty of Fine, Applied and Performing Arts, Gothenburg University (2018–2021). The aim of the project was to begin to develop and pilot a new public model for collaboration and usership between the university and society. Referring directly to the Swedish commons concept of Allmänningen and illustrated through terms such as Allmän (general), Allemansrätten (right of public access), Allmänheten (the general public), the commons can be viewed as not only a right to public access, but a relation between societal institutions and the individual citizen. A relation which within the context of Sweden, could and should naturally be applied and extended to the publicly funded university as a common societal resource. Although there are differences between the natural commons studied by influential figures such as Elinor Ostrom and the university as ‘commons’, the analogy stresses the relational dimensions between viable and sustainable institutions, and the public trust in the commons & its resources. Through a series of residencies in 2021, Allmänningen (The Common Room) began by inviting practitioners, collectives and organisations to help think through questions of what kind of common resources are produced within the university? How can these resources be developed as public commons? In what sense are these resources enclosed, vulnerable and at risk of exploitation? And what is needed today to produce a socially sustainable institution? By addressing these questions, the residencies through scholarship and practice piloted and began to suggest alternative modes and models for university collaboration and usership. Allmänningen/The Common Room prototyped residencies with Sandi Hilal (DAAR), Post Workers Theatre, Kulturhuset Blå Stället and Åbäke. Through four posters with edited interviews, transcriptions and commissioned texts the overall publication provides a comprehensive overview of the residency outputs and intentions.
|
|
| 25. |
- Kular, Onkar
(författare)
-
Luleå Biennial 2022, Craft & Art - Learning Room
- 2022
-
Ingår i: Galleri Syster, IASPIS - Stockholm, Rajalla - På Gränsen, European Festival of the Night - Korpilombolo, Havremagasinet Länskonsthall.
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Luleå Biennial 2022, Craft & Art, hosted by Konstfrämjandet (The Peoples Movement for Art Promotion) Norrbotten, took place place throughout the region from October 15, 2022 – January 15, 2023. The artistic directors for the 2022 biennale, Onkar Kular and Christina Zetterlund expanded its contemporary art remit to include crafts of many types, from everyday handicraft to Sami duodji and aimed to sustainably represent the richness of creative activity of Norrbotten and beyond. Recognising the expansive geography of Norrbotten, the Learning Room (extensive three month) programme of workshops, making circles, seminars, performances and talks allowed guests to access the biennial digitally through the biennial website. As well as scheduled film screenings, events through the Learning Room included making circles with Anna-Stina Svakko at Galleri Syster and Tekeste Solomon Gebremariam at the European Festival of the Night, Weaving circles led by textile artist Ida Isak Westerberg and Norrbotten’s Crafts Advisor, a workshop for youth organised in collaboration with KUBN in Haparanda, The Knowledge House for Craft hosted with Garland Magazine and Weaving Kiosk by Rosa Tolnov Clausen in collaboration with Haparanda municipality’s cultural department, Aine Art Museum and Resurscentrum för konst Norrbotten. The Learning Room had a physical stage at Galleri Syster and Havremagasinet Länskonsthall Boden for in-person events and the live broadcasting of a selection of activities from the biennial programme. Throughout the biennial the Learning Room screened loaned and commissioned films by filmmaker Karl-Oskar Gustafsson, the first Gulahallan ja birgen produced by Luleå Biennial in collaboration with Berit Kristine Andersen Guvsám, Gunvor Guttorm and Laila Susanna Kuhmunen and Good luck with your car produced by Luleå Biennial in collaboration with Region Norrbotten's Craft and Design Consultant. Loaned films included, Duoji máttut—Vætnoen maadtoe—Duoje máddoinformation and A conversation about leather tanning produced by Sameslöjdstiftelsen Sámi Duodji.
|
|
| 26. |
|
|
| 27. |
|
|
| 28. |
|
|
| 29. |
-
Konsthantverk i Sverige, del 1
- 2015
-
Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Konsthantverk i Sverige del 1 samlar 18 författare. Boken kommer ur ett gemensamt intresse att förändra och vidga en konventionell historieskrivning om konsthantverk, bortom traditionella materialuppdelningar och nationella förståelser. Det vi skriver om kan ha kallats slöjd, konst, design, pyssel, konsthantverk, formgivning, brukskonst, hantverk och hemslöjd. Historia betraktas här som något pågående, något som vi gör. Det är ingen neutral aktivitet utan den är platsspecifik. I Konsthantverk i Sverige del 1 skildrar författarna från sina perspektiv en berättelse om materialitet och görande i Sverige från sent 1800-tal och fram till i dag. Boken skall inte ses som Historien med stort h utan snarare som de första stegen i en diskussion om historia, materialitet och görande.Med texter av Zandra Ahl, Christian Björk, Otto von Busch, Päivi Ernkvist, Kakan Hermansson, Elina Holmgren, Charlotte Hyltén-Cavallius, Frida Hållander, Love Jönsson, Mahmoud Keshavarz, Gunilla Lundahl, Helena Mattsson, Anneli Palmsköld, Johanna Rosenqvist, Miro Sazdic, Rosa Taikon, Jorunn Veiteberg, Christina Zetterlund
|
|
| 30. |
-
Memories of a city
- 2017
-
Ingår i: Memories of a city. - Göteborg : University of Gothenburg. - 1101-3303. - 9789188101037 ; , s. 8-16
-
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.
|
|
