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- Bowman, Jason E., 1967
(författare)
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What is at Stake in Community Practice? What Have We Learned?
- 2016
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Ingår i: Stages: Journal of the Liverpool Biennial. - 2399-9675. ; :5, s. 2-9
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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.
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- Rosen, Astrid von, 1964, et al.
(författare)
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Scenographic Dialogues: Staging Carl Grabow’s 1907 Designs for A Dream Play (Part 1)
- 2019
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Ingår i: Dokumenterat. - 1404-9899. ; :51, s. 4-42
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- In a series of articles we, an art historian – von Rosen – and a theatre historian – Szalczer –, set out to reassess Carl Grabow’s 1907 designs for the world premiere of August Strindberg’s A Dream Play at the Swedish Theatre (Svenska Teatern) in Stockholm. By doing so, we challenge the persistently negative narrative on Grabow’s work with the production, to be found both in Swedish and international theatre and art history. The first article in the series focuses on Grabow’s color designs for the production, kept at the Swedish Museum of Performing Arts (Scenkonstmuseet) in Stockholm, and are made digitally accessible for the first time here in Dokumenterat. Within the broader field of scenography research designs have been proven to have agency beyond their realization on stage, and can also be used to access visual, spatial and multimodal resources of past performances. Our goal is to probe into how a scenographic approach to Grabow’s designs, understood as vital parts of the performance archive, may contribute to developing new historiographic methods while yielding new insights on the production history of A Dream Play. Throughout our first scenographic journey with Grabow’s designs we tested iconography as a method to explore and experience the world created by them. As we shall see in the next article, the testimonies of reviewers and illustrators indicate that Grabow’s collaboration with the production team resulted in different solutions than the perhaps early ideas envisioned in these designs. What is significant for us, however, is that regardless of its stage realization, the design-series manifests an autonomy, a unified artistic vision, conveyed by the succession of images as a painterly and multi-sensory reflection of the world of the play. What became apparent is that far from being haphazard superficial sketches, Grabow’s designs present a consistent interpretation of A Dream Play, with strong occult-spiritual overtones and attempts at painterly dematerialization, which counteract the realism and the materialization of the dream he was accused of by critics ever since. In our next article, we will further explore Grabow’s designs, including drawn and written information on their backsides, in the context of contemporary critical and pictorial response to the actual stage production. By staging a dialogue between the designs and the performance within its cultural milieu, we not only hope to learn more about Grabow’s craft and working process, but also about the constructive use of the scenographic approach in archival research.
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- Niinimäki, Kirsi, et al.
(författare)
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New Silk: Exploring design-science collaboration for new materials.
- 2019
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Ingår i: Clot magazine. ; March:23
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- New Silk is a 4 year material research project conducted at Aalto University aiming to produce new types of silk-like materials in the context of synthetic biology. The project is inspired by how spiders produce their cobweb – a material with properties surpassing existing synthetic materials. The New Silk project combines the knowledge of production of silk proteins with skills in polymer processing and the creative perspective of designers. The aim is to open a new interdisciplinary research path and to lay the foundation for this type of materials design, to be able to envision materials of the far future. The design research component in New Silk aims to construct new knowledge through an experimental approach during early-stage fundamental materials research. This text focuses on moments where people from different disciplines collaborate in an experimental workshop setting.
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- Kular, Onkar, et al.
(författare)
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Bass cultures: How Low Can You Go!
- 2023
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Ingår i: Art Inside Out Journal: Den allmänna designbyrån. ; :16, s. 16-29
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this event we are supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event will host film screenings, workshops, talks and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The following text provides and overview of the programme and complimentary texts introduce and frame the individual events.
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- Kjellmer, Viveka, 1964
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Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915–18).
- 2019
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Ingår i: Studies in Costume & Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 4:2, s. 179-191
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Tidskriftsartikel (refereegranskat)abstract
- In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915–18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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- Kjellmer, Viveka, 1964
(författare)
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Materializing virtual reality: The performativity of skin, body and costume in Tobias Bernstrup’s artwork
- 2016
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Ingår i: Studies in Costume and Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 1:2, s. 151-161
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Tidskriftsartikel (refereegranskat)abstract
- Swedish artist Tobias Bernstrup (b. 1970) works with multimedia, music, performance, video and computer games. He creates fictional alter egos in his works and returns to his characters in an ongoing re-mediation, digitally or in real-world artistic performances. In explicit stage costumes made of latex, leather and metal, Bernstrup performs in the interface between digital character, human being and artwork. The costume becomes a bearer of physical experiences, a bridge between the portrayed and the perceived. Through our gaze, bodily experiences are transferred in the form of embodied knowledge or haptic vision. Materiality conveys meaning and communicates with our tactile memory through glossy latex, cold metal or bare skin. The costume is a paradoxical entity: both an inseparable part of the artist’s body in the performance process and something that can be removed, yet remains part of the character. The nude body onstage can be seen as another costume, the bare skin serving as an interface between visual and physical experience. Bernstrup and his virtual alter egos slip between existences where skin, body and costume tie his virtual and physical realities together.
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