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- Bärtås, Magnus
(författare)
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Bergtagen : Zauberberg Spirited away
- 1993
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Ingår i: Bergtagen : Zauberberg : Spirited away. - Norrköping : Norrköpings konstmuseum.
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 2. |
- Bärtås, Magnus
(författare)
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Biographies
- 2015. - 1 uppl.
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Ingår i: Radical Re Re Re Re Re Rethinking. - Stockholm : Konstfack. - 9789185549139 ; , s. 96-105
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 3. |
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| 4. |
- Bärtås, Magnus, 1962-
(konstnär, creator_code:cre_t)
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The Strangest Stranger and Other Stories
- 2016
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Konstnärligt arbete (refereegranskat)abstract
- Filmen The Strangest Stranger är en skildring av Johnnie Walkers (egentligen Joni Waka) liv – en judisk man i Tokyo och förebild för en karaktär i Haruki Murakamis roman Kafka på stranden. Johnnie Walker ser sig som den siste av ”de gamla judarna” i Japan då alla ur de generationer av judar som levt i Japan sedan början 1900-talet har lämnat landet. I sitt dagliga liv i Tokyo berättar han ideligen sin historia för vilt främmande människor som han möter på gatan och i olika sociala sammanhang.Den experimentella dokumentären The Strangest Stranger utgår från konstnärens möten med Johnnie Walker under närmare 20 års tid. Huvudpersonen absorberar fiktion i sitt liv och iscensätter sig själv. I en situation med socialt tryck verkar han ignorera den dominerande ordningen, samtidigt som han använder sin position av att var henna gaijin (”den konstigaste främlingen”) som en plats för frihet att skapa en vardagskomedi.
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| 7. |
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| 8. |
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| 9. |
- 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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| 10. |
- Bärtås, Magnus, 1962-
(författare)
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Ur fas med folket
- 2009
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Ingår i: Expressen. - 1103-923X. ; :10 mars
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- Varför skiljer sig samhällets förväntningar på konst så mycket från konstvärldens? Magnus Bärtås, professor på Konstfack, svarar på frågan om konstens nytta.Expressen 2009-03-10
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