| 1. |
- Andersson, Cecilia
(författare)
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Gatukonst : på plats i staden
- 2005
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Ingår i: Kulturstudier i Sverige. - Linköping : Linköping University Electronic Press. ; , s. 53-69
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Konferensbidrag (refereegranskat)
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| 2. |
- Hällgren, Nina, 1977-
(författare)
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Designing with Urban Sound : Exploring methods for qualitative sound analysis of the built environment
- 2019
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The licentiate thesis Designing with Urban Sound explores the constitution and qualitative characteristics of urban sonic space from a design-oriented and practice-based perspective. The act of lifting forth and illuminating the interaction between architecture, the creation of sound and a sonic experience aims to examine and develop useful tools and methods for the representation, communication and analysis of the exterior sonic environment in complex architectural spaces. The objective is to generate theoretical and practical knowledge within the field of urban sound planning and design by showing examples of different and complementary ways of communicating and analyzing sound than those which are commonly recognized.
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| 3. |
- Lundvall, Erik
(författare)
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Snyltmöbler
- 2005
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- Projektet snyltmöbler har kommit till som ett svar på bristen av flexibilitet i möbleringen av den offentliga miljön i staden. Snyltmöblerna kompletterar de befintliga, fasta möblerna. De är lätta att flytta och ger större möjlighet att anpassa olika platser efter olika behov. Snyltmöblerna kan täppa till hål där stadens storskaliga möbleringsprogram brister, och uppmuntrar till ett mer aktivt utnyttjande av stadsmiljön.Stadens invånare kan själva vara med och möblera den.Fyra ledord sammanfattar projektet: flexibilitet, omtanke, temporärt, komplement
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| 4. |
- Bergholm, Adam, 1977-
(författare)
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Key Notes on the Unruly City : Social, Material, and Spatial Transgressions
- 2023
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This research departs from three intersecting field studies in Berlin, Copenhagen, and Paris, and includes both my interventions in the urban texture and integrations with existing communities working in the subject field of the Right to the City (Lefebvre 1968). The projects explore the mutable “nature” of cities and build on political philosophies which describe egalitarian actions that have shaped what those places could be. Laid out across three chapters (X, Y & Z) are descriptions of work processes for multiple projects that locate a social and spatial phenomenon which I call “the unruly city.”Manufactured keys, trapdoors, dug-out tunnels, informal dissemination, bricolaged furniture, loopholes, pulleys, hatches, and shacks recur throughout the thesis; each of these tools, methods or architectural elements support a praxis of transgressivism and stealth. Even if the practical constructions, historical investigations, and cultural theory analyses explored in the thesis do not give access to the physical places themselves, they unlock rooms in the reader’s political imagination, by showing that such spaces exist. At the core of Lefebvre’s philosophical and political argument is the call for action. Praxis is understood here as holding the potential of critical performativity: the possibility to merge culture and politics with claims of creating access to the urban and the production of space. A promise of going beyond philosophy and theory to arrive at praxis. Jacques Rancière (2019) theorizes that which is recognized as (im)possible through sensation. In effect, Rancière addresses a regulation of what can be done. By departing from such an aesthetic order of distributed sensibility, there is the possibility to make a true politics; one which can peel off the foreclosing façades of Western democracy, where the order of things is contested by, as Rancière frames it, the part which has no part. This would be an active politics that challenges the policed order of inclusions and exclusions regarding of what is felt, seen, heard, and perceived. A politics of affect, accomplished by spatial, material, and theoretical practices. In order to imagine the unimaginable—whether it is about spaces, living conditions, or coded systems—imagination must transgress into praxis: speech acts that contributes to our perception, and the other way around. Here, each work becomes a monument to the is-possible—a concrete, non-abstract refutation of any arguments which claim another way of creating or engaging with the city beyond that which is commercially sanctioned to be impossible.
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| 5. |
- Khosravi Noori, Behzad, 1976-
(författare)
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The Life of an Itinerant through a Pinhole
- 2020
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Ingår i: VIS : Nordic Journal for Artistic Research. - Stockholm : Stockholms konstnärliga högskola. ; :3
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Tidskriftsartikel (refereegranskat)abstract
- Between 1956 and 1968, the photographer Gholamreza Amirbegi captured a wealth of images from around his neighborhood in southwestern Tehran. At the time the city had just seen a major influx of working-class immigrants from the country’s smaller municipalities. By re-narrating these materials, which evoke not only particular, local memories, but also distinct subaltern histories, this overlooked archive tells stories of social change from below in Iran, as seen in Gholamreza’s subjects: global cinematic images, and unconscious colonial memory. By applying a comparative historical-material analysis, Khosravi Noori’s aim here is to develop a practice based, multi-sited archaeology of contemporary history. This approach begins with an excavation of the historical materials themselves, in order to both discover lost identities in these images, and to displace them from sedimented historical positions. In doing this, he asks the question: What happens to the past from the vantage point of the future?
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| 6. |
- Kriisa, Ida, 1977-
(författare)
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Att se och synas
- 2010
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Att vara (att existera) innebär att man är synlig. Synlig för en betraktare, synlig i relationer och synlig i maktstrukturer. I subjektiva studier av blicken kommer jag att spegla mig själv; utifrån mina erfarenheter som synlig respektive osynlig. Jag har utgått ifrån att Den seende är den som i relation till den synliga är den med makt. Ett genusperspektiv är ofrånkomligt även om min önskan är att det skall förhålla sig sekundärt i relation till makt och blick. Sett ur ett historiskt perspektiv är det ingen slump över vem som tar sig rätten att titta på vem. Oavsett hur jag lever ut mitt eget kön eller ej så definierar blicken som ser mig som en kvinna. Med ett avstamp i ett utanförskap (fångad i kvinnligheten) studerar jag blicken utifrån tre olika perspektiv. I spegeln, I staden och I dramat. Perspektiv som behöver förstås ur ett postmodernistiskt utgångsläge där begreppen kön och blick är interkonstitutionella fenomen som snarare artikulerar en brist än något givet. (Sheikh;2007:14, Laclau, 1996:144). I det första avsnittet; I spegeln undersöks det privata. Existensiella dubier blir utgångspunkt för en gestaltande undersökning om att se och synas. I spegeln finns även reflektioner om hur jag skapar mig själv inför mina egna ögon. Vilken position intar jag då? Och för vilka syften skapar jag mig? En iscensättning av en camp-identitet (Meyer; 2005). I avsnittet; I Staden undersöks egna erfarenheter av att se och synas i stadsrummet. Här ryms den manliga flanören och den kvinnliga erfarenheten av att vända bort blicken. I det tredje avsnittet; I Dramat åskådliggörs maktförhållanden i första hand mot subjektiva erfarenheter där jag (queer, camp, subjekt, kvinna) artikulerar mig själv i relation till andra i ett iscensatt skådespel. Hur positionerar jag mig? Jag intar en femme fatale karaktär och bygger kring henne dramer i vilka mitt kön, min kraft och konstnärlighet definieras. Hur definierar jag mig i mellanrummet mellan mig och de som ser mig. Mellan dig och mig! I varje kapitel tränger sig den konstnärliga processen in, tar plats i påståenden eller som frågor eller som bilder för mitt öga. Jag har ingen avsikt att stringent separera de olika perspektiven i de tre olika avsnitten och jag har heller ingen ambition av att vara allmängiltig. Studierna utgår helt från mina subjektiva erfarenheter och då jag definierar mig som queer kommer jag att sträva efter att poängtera och hävda mitt utanförskap från den kvinnliga sfären (gemenskapen) samtidigt som jag ikläder mig dräkten av en femme fatale. Texten är framställd fragmentariskt i spänningsfältet av blickar, makt och sexualitet.
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| 7. |
- Khosravi Noori, Behzad
(författare)
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Three or Four Ir/relevant Stories : Art and Hyper-Politics
- 2021
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This book documents and reflects on three artistic projects and their processes. As a “marginalia” to the projects I also presents arguments, stories and ir/ relevant discourses. What I call marginalia extends to aspects of a historical backdrop of these three projects and the stories behind them. It is partly a reflection on my process and experiences, but, more crucially for me, it is what I would like to call marginalia. It extends to aspects of a historical backdrop that were not necessarily present in the process of exhibition making. In this book, I reflect upon different modes of exhibition making and artistic research practices, however, this book is not simply a postscript to those works. It also serves as a form of marginalia to my artistic explorations in relation to art, history, and global politics. Combining fragments of histories, it constitutes a bricolage of things, events, and narratives. The book itself comprises the fourth and final story. “Three or Four Ir/relevant Stories” here mirrors the conjunction of some historical and cultural cases that, in my point of view, need to be acknowledged. It is an artistic research investigation, proposing a multi-sited, archaeological approach to histories of art and life that also constitute part of my lived experience in the Global South and the Global North. By bringing multiple subjects into my study, as well as historical reenactment in the form of a review of archival materials in the exhibition space, I explore possible correspondences, seen through the lenses of contemporary art practice, subalternity, and the technology of image production. In my investigations of certain artworks and their histories, I aim to develop everyday observations into archaeological interpretations to displace the image from its past historical location and bring forth the question: What will happen to our collective past in the future? The exhibitions themselves embody a hybrid approach, an expression that portrays multiple combinations and interpretations of various art genres and subject matters. By their very nature, the works present multiplicities of materials, which in their collection into an exhibition amount to a sort of cabinet of curiosities. I neither stick to one method of artistic investigation, nor focus on a single medium. Instead I aim to reconnoiter the possibilities that inhere an artistic survey. At no point do I follow any fixed blueprint for, or definition of, artistic production; in short, I might argue that in my artistic practices, I attempt to avoid dividing method from life’s experiences. It is, in part, the narrative fluidity of such a microhistorical investigation that enables me to imagine the exhibition as a point of departure of my artistic exploration and research of such micro elements of contemporary history. I aim to investigate whether it was possible establish a storytelling structure that would mirror the branching paths of the archaeological trace and its background—a transdisciplinary materialism that brings multiple dimensions of history into one temporary place called an exhibition. In so doing, I have sought to produce a cross-generational platform where the audience can engage with the multiplicity of the contemporary past, and per- haps also revisit their own memories.
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