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- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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Artistic Research: Being There, Explorations into the Local
- 2017
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Ingår i: Nordicum-Mediterraneum. - : The National and University Library of Iceland. - 1670-6242. ; 15:1
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- How does artistic research engage with the concept of local? In what ways can art practice be an intervention into traditional notions of history and culture? How does it engage with local and global identities? This book raises questions about transient art practices and site-specific works within communities, as well as art and research based experiences localized in urban and rural spaces, within the body and memory. Being There is a wide-ranging anthology that demonstrates the field of artistic research has never been stronger. The essays and meditations are by visual artists, writers, performers, filmmakers, historians, sound artists, and activists who have worked together in the Nordic Summer University and who share a desire to unite their creative practices with critical enquiry. Their contributions were generated within twice-yearly symposia that moved between Nordic and Baltic countries over a three year cycle of practice-based research. Some contributions are enigmatic meditations on place, whilst others, paradoxically, address the question of what is local through the notion of the nomadic. Whether describing quests of individual artists, or relating to collective endeavours, these works are engaged with the spaces in between. Each offers the reader a thoughtful encounter with the aesthetic, and the political, within a myriad of art practices across a rapidly evolving Europe. A part of the series NSU-press and the subject areas Philosophy and Art
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- Bowman, Jason E., 1967
(författare)
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PARSE Journal Issue #2 The Value of Contemporary Art
- 2015
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Ingår i: http://www.parsejournal.com/issue/2. - Göteborg : University of Gothenburg. - 2002-0953. ; 1:2
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- With Professor Andrea Phillips (University of Gothenburg) and Dr. Suhail Malik (Goldsmiths, University of London) , I co-edited the second edition of the peer-reviewed PARSE (Platform for Artistic Research Sweden) Journal. This edition dealt specifically with questions of value in contemporary art and included a total of 11 peer reviewed contributions.
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- Wilson, Mick, 1964
(författare)
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White Mythologies and Epistemic Refusals: Teaching Artistic Research Through Institutional Conflict
- 2020
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Ingår i: Teaching Artistic Research: Conversations Across Cultures. - Berlin : De Gruyter. - 3110662396
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Bokkapitel (refereegranskat)abstract
- This essay outlines a heuristic model of a teaching practice that attempts to operate within the fundamentally contested field of artistic research by exploring the terms and processes of conflicted institutional practices and rhetorics. Taking account of the different ways in which artistic research has become a highly visible moment of institutional conflict, this paper outlines an approach to teaching early-stage researchers through active processes of knowledge conflict. The model outlined here proposes a group process by which fault-lines of conflict and disagreement may be thematized and operationalized within a teaching praxis. The provisional model being proposed is based upon concrete experiment and application over the last decade in a range of formal and informal educational settings.
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- Bowman, Jason E., 1967
(författare)
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Speaking Mandy
- 2014
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Ingår i: European Artistic Research Network Conference: Thinking on Stage, May 2 2014, National College of Art and Design, Dublin, EIRE.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I will present at the very beginning of a research process, towards the making of a new art work through which I aim to interrogate the heritage of the phonocentric Oralist tradition in the education of Deaf people. I seek to ‘read’ and deconstruct Alexander McKendrick’s film, Mandy (1952) through a co-participatory process - with Deaf people educated through Oralism and of the same generation as the child protagonist in the film - to question the advocacy of entry into the symbolic via the ‘spoken’ and ‘speech-identification’ and its relations to psychoanalytic and inter-subjective, spectator-focused film theory. Through mimetic and performative processes inherent to Oralism (such as speech-reading, lip-reading, ventriloquism, echo-practice, dubbing and lip-synchronisation) I aim to adapt Mandy - itself an adaptation of Hilda Lewis’ novel, 'The Day is Ours' (1947) – in ways that reveal the psychoanalytic dynamics of shame at play in Oralism’s delineation of Deafness as a culture and its adherence to Deafness as a disability.
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Intersections PARSE JOURNAL
- 2020
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Ingår i: PARSE JOURNAL. ; Summer:11
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE journal concludes the theme of “Intersectional Engagements in Politics and Art”, first initiated as a research arc within PARSE in 2018. Under this theme, artists, scholars and students, as well as a wider public have gathered to share a critical exploration of the nexus of race, coloniality, gender and sexuality in contemporary art-making, scholarship and artistic research. Focusing on socially engaged practices related to memory, history, embodiment and alterity, the journal issue offers yet another set of considerations that brings together research by practitioners and scholars from a wide range of fields, disciplines and contexts. The theme began as a way to address and explore interest within arts research about the notion of intersectionality as a mode of creative practice, as well as a form of critical analysis. This interest, arguably following a turn towards the intersectional in feminist artistic practice and pedagogy, came as scholars in the humanities and social sciences were already debating the various appropriations and reifications that had seemingly made intersectionality into “a grand theory of everything”, to use Kimberlé Crenshaw’s words, with the effect of positioning intersectionality as a deeply contested, seemingly overdetermined concept.
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Human Population : Västerås 2020
- 2020
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Konstnärligt arbete (refereegranskat)abstract
- I Human Population tar konstnären med en grupp deltagare på en guidad tur genom stadscentrum. Framför olika byggnader och på gator breder hon ut en stor genomskinlig byggplast på marken.Ett frottage (en gnuggbild) med pastellkrita växer fram och synliggör markens struktur. Samtidigt berättar Torell om tillgänglighet som en mänsklig rättighet. Om rösträtt och inkludering. Om asfalt mot vågiga betongplattor - inte för att de är dekorativa, utan för riktningarna de skapar för den som har nedsatt syn. (Katrin Ingelstedt/Västerås konstmuseum)
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- Velasquez Atehortua, Juan, 1963
(författare)
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NO2LNG in Gothenburg, Sweden
- 2017
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- FILM FROM THE DEMONSTRATION 6 AUGUST 2017 DURING CLIMATE CAMP SWEDEN AGAINST THE CONSTRUCTION OF A LIQUID NATURE GAS TERMINAL IN GOTHENBURG, SWEDEN. NO2LNG MUSIC: VARNING TILL DE RIKA, BY CATS AND DINOSAURS, PERFORMED LIVE IN THE CAMP.
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On the Question of Exhibition, PARSE Journal Issue 13: Parts 1,2,3
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE, published in three parts, examines the question of the exhibition. One of the aims of this series-issue is to turn attention to the material, experiential, as well as conceptual and political conditions of the exhibition that may have been overlooked within the growing literature on curatorial and exhibition histories. Our aim, as editors is not to elevate the exhibition form. Rather, we wish to interrogate exhibition as a pervasive category of display and mediation where principles of exposition, demonstration, exemplification, taxonomy, circulation, commentary, spectatorship and valorization are operative. Since the 1990’s curatorial discourse has sought to position the curatorial away from, or at the very least as in excess of, the practical tasks of exhibition-making whilst the burgeoning field of exhibition histories has created a historiographic approach to the forms, developments and questions posed by exhibition. This series of contributions seeks, in some respects to return to the fundamental question of exhibition-to interrogate it as a self-explanatory category. Part 1 published in June 2021 includes contributions from Dave Beech, Kathrin Böhm, Alaina Claire Feldman, Samia Henni, Steven Henry Madoff, Saul Marcadent, Lisa Rosendahl and Jéssica Varrichio; and roundtables with Rasha Salti, Nick Aikens, Kristine Khouri and Anthony Gardner; and with Yolande Zola Zoli van der Heide, Gavin Wade, Mick Wilson and Franciska Zólyom. The contributions in Part 2 extend the considerations initiated in Part 1, by bridging the world-making and ordering techniques of exhibition–what we might broadly call its onto-epistemological register-with the pragmatic and technical questions of exhibitionary apparatuses, or its operational register. The purpose being not to create a dichotomy but rather to set up a field of tension and interference between different moments of production-analysis. This part offers detailed analyses of individual exhibitions, allowing for an interplay between the specificities of singular instances coupled with a wider angle from which to survey the field. Part 2 contains contributions from Ingrid Cogne Patrizia Costantin, Kris Dittel & Jelena Novak, Catalina Imizcoz, Joey Orr, Barbara Neves Alves, Mateusz Sapija, Vladislav Shapovalov, Sasha Shestakova, and Joshua Simon. The restless questioning of exhibition underpins Part 3, where artists curators and researchers unpick exhibition’s entangled relationship to pedagogy, to institutional processes, to aesthetics, to constituent work, to lived experience and the ways in which the political arises out of these entanglements. Part 3 includes texts by Doreen Mende, David Morris and Grace Samboh, Ola Hassanain, Li Yizhuo, Ginevra Ludovici, Cătălin Gheorghe, Sabine Dahl Nielsen, a visual essay by Paul O’Neill and a roundtable with Jeanne van Heeswijk, Maria Hlavajova, Damon Reaves & Mick Wilson
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