| 1. |
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Crafting Cultural Heritage
- 2016
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research. What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making? How can we study and understand craft as cultural heritage? This book contains a selecion of papers from the session Crafting Cultural Heritage at the Assosiation of Critical Heritage studies inaugural conference Re/theorising Heritage 2012 in Gothenburg. The contributors are Anneli Palmsköld; Thomas Laurien; Eleonora Lupo and Elena Giunta; Gunnar Almevik and Nicola Donovan. Their common interest are theories and methods of crafting that could benefit heritage studies approach to making.
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| 2. |
- Burga, Estella, et al.
(författare)
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Nuestras Madres : Forming Political Subjects en la mesa
- 2017
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Ingår i: Architecture and Culture. - : Routledge. - 2050-7828 .- 2050-7836. ; 5:3, s. 53-56
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Tidskriftsartikel (refereegranskat)abstract
- NUESTRAS MADRES is an artwork by the art collective IDA performed at the AHRA Architecture and Feminisms Conference (2016), which consisted of a collective ritual and a poetry reading. The ritual created a safe space where a group of participants sat around a table taking turns in sharing their stories about their mothers while embroidering their mothers’ names on a single tablecloth. These were synthesized into a poem and presented the following day. IDA investigates issues in private and public space connected to knowledge production and gender normativity. Even though the role of mothers and their knowledge is usually connected to the private sphere, the knowledge of our mothers and their mothers shared en la mesa - over the table - is important in the construction of political subjects. How has this knowledge helped us survive in society as women, queer, indigenous, working class, Muslim, immigrant - as human beings?
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| 3. |
- Järdemar, Cecilia, 1974-
(författare)
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Les Archives Suédoises : from a suppressed colonial photographic archive to a collaborative decolonial counter-archive”
- 2019
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Konferensbidrag (refereegranskat)abstract
- The paper will discuss the art project Les Archives Suédoises, which explores a repressed part of Swedish colonial history by re-contextualising and reworking a hidden and dispersed archive consisting of historical glass-plate negatives photographed by Swedish missionaries in the Congo 1890 – 1930. During the second half on the 19th century, an evangelical revival spread in Sweden. The new parishes had a deep concern for missions, and inspired by Stanley’s travels in the Congo the church started sending missionaries, making Sweden one of the main actors in the area. The missionaries brought camera equipment, and the resulting photographs were used for enticing home parishes to donate funds. Missionary lantern-lectures visited chapels, schools and churches up until the sixties. For many Swedes this was their first encounter with Africa, and the images have thus had a profound influence of how Africa was imagined in Sweden. In the Congo DR on the other hand, not many photographs from the historical period remain; the colonizers controlled the technology, and the tropical climate and political turbulence has destroyed what was left. The missionaries were also very much part of a process whereby they documented the existing culture in the places where they settled – then set out to do their best to change, or even destroy it. How can we confront these types of images today, from a Swedish perspective, where there is great reluctance to look at this part of our history, and where heirs of the missionaries tend to control the narrative? And from a Congolese perspective, where the images both bear witness to the suffering of the people living through colonization, and depict village life and traditions? A collaborative artistic enquiry with Congolese artist Freddy Tsimba resulted in a new counter-archive, and a series of site-specific installations in Sweden and the Congo, looking beyond our own context-specific histories and addressing the traumatic memory left in both nations.
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| 4. |
- Fridh, Kristina, 1961-, et al.
(författare)
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Sound absorbing textile surfaces in the urban landscape - collaborative research in textile and architectural design
- 2019
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Ingår i: Futurescan 4: Valuing Practice Edited by: Helena Britt, Kevin Almond, Laura Morgan. - 9781527249691
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Konferensbidrag (refereegranskat)abstract
- The design of woven and knitted structures can be compared with the formation of buildings’ facades and constructions. However, textile designers do not generally participate when the exterior structure and facades of a building take shape, but rather when textiles and materials for the indoor environment are chosen, often with the intention of enhancing the acoustic qualities of spaces. In this research project, two architects and a textile designer collaborate, the latter focusing particularly on sound design. Incorporating textile designers in the early stages of building projects can lead to benefits of exploring and improving sound landscapes in outdoor environments. In order to search for and develop new approaches, methods and techniques in the field described as textile architecture, textile facade modules were designed and produced, and the design process was examined and evaluated from the points of departure of the two design fields. Questions such as ‘who is actually prototyping?’ arose, as well as the search for finding common references and concepts, both historical and contemporary, to strengthen the collaborative work. A practice-based experimental approach was important for the project and the merger of the two design fields, not least to put different textile techniques and materials to the test to examine how they can affect the sound landscape and experiences of space. The key activities in the laboratory work were technique, method, perception, stage-setting and context, which connected both to textile design and architecture. The different textile materials were chosen to comply with the requirements of external climate impact and rough outdoor environments. In groups of demarcated design experiments, the textile techniques of weaving and hand tufting were explored, and the modules were tested acoustically.
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| 5. |
- Palmsköld, Anneli, 1962, et al.
(författare)
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Handicrafting Gender : Craft, Performativity and Cultural Heritage
- 2018
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Ingår i: Gender and Heritage. - London : Routledge. - 9781138208148 - 9781138208162 ; , s. 44-60
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Bokkapitel (refereegranskat)abstract
- To write the history of craft and heritage engages with constructing a canon of known practices parallel to deconstructing the differences incorporated in institutions dealing with craft. Craft objects have long since been considered as heritage, but craft is also recognized as ’intangible heritage’. This can be seen in UNESCO’s (2008) designation of ’traditional craftmanship’ as a part of global intangible heritage. However, craft's gendered character is not equally recognized. In this article we will discuss craft, heritage and gender from a performativity perspective on making. The main question is how gender patterns are reflected in the understanding of craft, and in heritage making. The aim is to make visible the gender demarcations in the making of craft. We argue that the making of craft and its heritage status has been highly charged with gender differences. Recognizing this is of importance to be able to understand and to challenge heritage making processes and canons when it comes to craft. After a short theoretical background focusing on performativity and the canon of gender differences, three empirical examples are outlined. The first is about organizational aspects of handicraft, the second concerning the technique of crocheting, and the third considering visual representations of crafting, using empirical archival and published materials from the Home Craft Movement in Sweden.
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| 6. |
- Alftberg, Åsa, et al.
(författare)
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Meetings with complexity : dementia, meaning and participation in art educational situations
- 2017
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Ingår i: Interpreting the brain in society. - Lund : Arkiv förlag & tidskrift. - 9789198085495 - 9789179242930 ; , s. 109-126
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Bokkapitel (refereegranskat)abstract
- In January 2013, a three-year project, ‘Meetings with Memories’ (in Swedish: Möten med minnen), was launched in Swedish museums with guided tours for dementia-afflicted audiences. The project involved altogether 88 Swedish museums and was headed by the Alzheimer Foundation (Alzheimerfonden). Many Swedish art museums were part of the project, with the purpose that the art educational situations would create participation and dialogue with a group of people usually absent from the museums. Art in particular is regarded as a possible therapeutic rehabilitation for people with neurodegenerative diseases, where dialogue and making of art enhance cognitive abilities and quality of life. The therapeutic promise within art pedagogy is part of the larger context of the art educational situations we have studied. In this chapter, the aim is to explore how these situations are done and how participation can be made and interpreted in relation to the target group, people with dementia. We focus on the participation in terms of the meaning making, dialogical processes of the art educational practice of the project ‘Meeting with Memories'.
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| 7. |
- Chartin, Elsa
(konstnär, creator_code:cre_t)
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Elsa Chartin
- 2018
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Konstnärligt arbete (refereegranskat)abstract
- My work reveals an interest in pattern, narrative, and craft. I explore how to gradually shift a pattern through its repetitions. Can a pattern be evolving, like images on a film negative? Can I create movement in the static? Through Shibori, I am able to explore these questions. I have found a way of expression combining printing and dying. My method is entirely manual and has evolved from studying Japanese masters to become an intuitive process with years of trial and error.I work solely with different cottons. Changing density and transparency gives different result in the printing and dying. I sometimes dye the fabric black, sometimes print on it, or go from unprocessed white before the meticulous folding. I sandwich the textile package between two woodblocks and then dye or etch it in many layers. This creates geometric patterns with a slight gradient in the repetition. Each fabric is unique. Now Nordic, Sep. 20-23, 2018
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| 8. |
- Gatz, Sebastian
(författare)
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New Romanticism : It’s Time for New Realities
- 2022
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Ingår i: Transpositiones. - : Brill Deutschland GmbH. - 2749-4128 .- 2749-4136. ; 1:2, s. 55-72
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Tidskriftsartikel (refereegranskat)abstract
- The essay elaborates on the fluidity of realities and different forms of shaping them. Realities can be created and thus must be imagined first and implemented second. Reality production happens on different scales: from the small design studio – where products and desires are created – to the big world stage, where political narratives shape global happenings. At the moment we are experiencing a global dispute about how and to what extend humanity should technologically interact with nature. Should humanity intensify the control of climatic issues through the use of technology or slow down and develop new modes of being in the world? Existing movements provide space for exploring new ways of being in the world such as posthumanism, ahumanism, degrowth practice and marginalized forms of knowledge production such as occulture. Those fields come from fundamentally different (research) traditions but overlap in their quest for new non-anthropocentric ontologies. The overlapping space of these movements is conceptualized as a form of New Romanticism which opposes mainstream reality production and includes the nonhuman in its worldview. Methods for shaping realities range from speculative design to (capitalist) magic. I intend to advocate for non-hegemonic ontological explorations in academic research through experimental speculative design methods. I have written in an explorative style in order to implement speculation as a method. I first begin by looking at a tradition of Romanticism as an “irrational” opposing force to scientism and note how tendencies towards the Romantic have crept into the impetus behind other movements. Afterwards I explore different forms of shaping realities and narratives. Then I will propose new narratives for care for the age of the Anthropocene, followed by some initial ideas of how to implement New Romanticism through methods of Speculative Design. I will conclude with a short summary.
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| 9. |
- Hughes, Every Ocean, 1977-
(konstnär, creator_code:cre_t)
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Beyond the Will to Measure
- 2017
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Konstnärligt arbete (utställning/event) (refereegranskat)abstract
- The exhibition Groundhog Day travels through time and space. It looks at how repetition, recurring patterns, and nostalgia permeate our domestic life and daily routines but also opens up to new perspectives from the near future. The exhibition deals with both activity and inactivity. A performative aspect is emphasized in choreographic and performance based works, but also in the form of site-specific installations and the visitors' own encounter with objects, videos, sound, and paintings. Throughout, the act of repetition is dealt with as something in transition, never entirely repeated in its same form. Is repetition even possible, one might ask? And what is left behind – a vague memory, an uncertainess, a new fact? Or is it just another form of killing time?Curated by Andreas Nilsson9.12.2017–21.1.2018
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| 10. |
- Hughes, Every Ocean, 1977-
(konstnär, creator_code:cre_t)
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Emily Roysdon
- 2017
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Konstnärligt arbete (refereegranskat)abstract
- The exhibition will focus on these social and creative aspects of Matta-Clark´s conception of architecture, or as he put it, "making space without building it,". In addition to archive materials and important works by the artist, the exhibition will also present a selection of works by other artists, including Ed Rusha, Dan Graham, Alvin Baltrop, and Emily Roysdon, that set the context for Matta Clark’s literal and metaphorical gestures, produced in sites of urban reconstruction, abandonment, or renewal, or in economically deprived or marginal contexts.FROM 05 MAY 2017 TO 03 SEP 2017.
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