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- Jonsson, Stefan, 1961-
(författare)
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Aesthetic Knowledge of Social Transformations : Migrant Agency and Political Emergence in the Artwork
- 2020
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Ingår i: The Large Glass. Journal of Contemporary Art, Culture and Theory. - Skopje : Museum of Contemporary Art Skopje. - 1409-5823. ; :29-30, s. 10-17
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Tidskriftsartikel (refereegranskat)abstract
- To say that migration entails new forms of political emergence amounts to the proposition that migration today constitutes a ‘hypothesis’ of a coming society, where sovereignty does not translate into exclusion. Over the past two-three decades, the human sciences, helped by art and literature, have begun to explore this hypothesis. This is the context of several recent interrogations by artistic practices and aesthetic works of notions such as citizenship, borders, sovereignty, statehood and community. In this context, we can recognize migration, including the colonial legacies from which it derives and the agency that it exercises, as a political process constitutive of our future. At the core of such analyses is the process whereby the aesthetic presentation transforms political negativity, and objective historical constraints, into agency, a site of becoming.
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| 3. |
- Jonsson, Stefan, 1961-
(författare)
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On Pia Arke
- 2017
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Ingår i: Afterall. - Chicago and London : The University of Chigago Press. - 1465-4253. ; :44, s. 10-20
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Tidskriftsartikel (refereegranskat)abstract
- Pia Arke’s work reminds Danes and Europeans of a history they never got to know, or were taught not to know, because it happened overseas. It began to be shown and discussed at the beginning of the 1990s,a period when notions of globalisation offered new models for understanding the dynamics of the world and exposed neglected historical and aesthetic issues. Among the most important of these issues were the colonial legacies of Western European states. In this context, Pia Arke’s interrogations of the suppressed past of Denmark’s relationship with Greenlandbegan to resonate. The daughter of an Inuitseamstress and a Danish telegraphist, shewas born in 1958 in Scoresbysund, orIttoqqortoormiit, Denmark’s outermostcolonial settlement in northeast Greenland.She was from birth entangled in imperialprocesses that endowed her with split visionand multiple identities. These qualitiesanimated her art already in the 1980s, whenshe studied at Copenhagen’s Royal Academy of Fine Arts, and until her untimely death at the age of 48, when she stood on the threshold of international recognition.Pia Arke’s work displayed a mesmerising blend of approaches: painting,photography, montage, video, performance and installation art. Her violation of artistic genres was carefully premeditated. A tastefor the absurdity of scientific collectingbrought her to examine under groundvaults – paleontological and ethnographic archives – stuffed with dusty specimens.She made a mockery of all attempts to represent and classify the natives and nature of the Arctic. Solidarity with the silenced victims of history prompted her to reinvent the art of photography, and to strenuously engage with oral history. She deconstructed ethnography, photography,travel writing, history, landscape painting and much more, and reassembled their elements into multilayered and ambiguous montages conceived in a spirit of criticality and playfulness.
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| 5. |
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Isolarion
- 2005
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Konstnärligt arbete (refereegranskat)
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| 6. |
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Om Anna Ådahls Massor
- 2018
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Konstnärligt arbeteabstract
- Anna Ådahl 2018 av Stefan Jonsson (ENG) 180415 rev SJ.docPage 1of 5Stefan JonssonOnAnna Ådahl’s CrowdsFew things areasbewitchingas the sight of large crowds in motion. Consider the flock of swallows, tens of thousands of birds in perfect coordination,forminga dancing cloud.Considerthe opening of the Olympic Games, a military paradein China or the crowdmaking its way acrossSergel’s torg in Stockholm during rush hour. Look at the colony of ants, the start of the long distance cross-country ski raceVasaloppet, a herd of cattle or the procession of demonstratorsthat stretches for miles in front of and behind you. Anna Ådahl often takes such perspectives. She entersthe metroand seeks a viewpoint with an overview. Then she resolutely places herself or her stand-in in the flow and creates a dam....
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| 7. |
- Jonsson, Stefan, 1961-
(författare)
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Andrea Geyer : Art Exhibit Review
- 2006
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Ingår i: Artforum International. - New York : Art Forum. - 1086-7058. ; 44:8, s. 262-262
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 8. |
- Bolt Rasmussen, Mikkel, et al.
(författare)
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Protestens billeder : Forord
- 2023
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Ingår i: K & K. - Århus : K & K. Kultur og Klasse. - 0905-6998 .- 2246-2589. ; 51:134-135, s. 3-14
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Tidskriftsartikel (refereegranskat)abstract
- Prefatory article that introduces the themes, topics and articles of this special issue on the images of protest.
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| 10. |
- Jonsson, Stefan, 1961-
(författare)
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Förord
- 2015. - 1
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Ingår i: Inga undantag. - Göteborg : Nätverkstan. - 9789186717094 ; , s. 6-9
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Varför finns det konst? Och varför är den nödvändig för samhället? Denna essä av Mikael Löfgren kartlägger villkoren för svenska konsthallar inriktade på samtidskonst. Han undersöker deras arbetssätt, finansiering och publik. Samtidskonsthallens del av svensk kulturpolitik må vara liten, dess omedelbara ekonomiska betydelse försumbar, dess tillvaro undanskymd för flertalet. Men granskar man saken närmare framträder konsthallarnas roll som spanare efter alternativa samhällen, laboratorier för nya sätt att leva och sambandscentraler mellan de lokala krafter och globala makter som påverkar hur vi bor, arbetar, känner och lever. Som essän visar kan även små institutioner ha väldig betydelse. Den verksamhet konsthallarna står för tillför samhället med alla dess medborgare något som är lika livsnödvändigt som omätligt och omätbart, nämligen en förmåga att se sig själva och reflektera över sina platser i helheten. I förlängningen bidrar de till att bemyndiga medborgaren och vidmakthålla demokratin.
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