| 1. |
- 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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| 2. |
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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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| 3. |
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Crafting Cultural Heritage
- 2014
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Proceedings (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 within humanities. In this publication we discuss theories and methods of crafting that might benefit cultural heritage studies approach to making, from the artistic, historical, or aesthetical point of view. We deal with discussions on questions such as: 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?
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| 6. |
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Konsthantverk i Sverige, del 1
- 2015
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Konsthantverk i Sverige del 1 samlar 18 författare. Boken kommer ur ett gemensamt intresse att förändra och vidga en konventionell historieskrivning om konsthantverk, bortom traditionella materialuppdelningar och nationella förståelser. Det vi skriver om kan ha kallats slöjd, konst, design, pyssel, konsthantverk, formgivning, brukskonst, hantverk och hemslöjd. Historia betraktas här som något pågående, något som vi gör. Det är ingen neutral aktivitet utan den är platsspecifik. I Konsthantverk i Sverige del 1 skildrar författarna från sina perspektiv en berättelse om materialitet och görande i Sverige från sent 1800-tal och fram till i dag. Boken skall inte ses som Historien med stort h utan snarare som de första stegen i en diskussion om historia, materialitet och görande.Med texter av Zandra Ahl, Christian Björk, Otto von Busch, Päivi Ernkvist, Kakan Hermansson, Elina Holmgren, Charlotte Hyltén-Cavallius, Frida Hållander, Love Jönsson, Mahmoud Keshavarz, Gunilla Lundahl, Helena Mattsson, Anneli Palmsköld, Johanna Rosenqvist, Miro Sazdic, Rosa Taikon, Jorunn Veiteberg, Christina Zetterlund
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| 7. |
- 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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| 8. |
- Palmsköld, Anneli, et al.
(författare)
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Preserving the past to serve the future
- 2023
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Ingår i: FORMakademisk. - : OsloMet - Storbyuniversitetet. - 1890-9515. ; 16:4
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Tidskriftsartikel (refereegranskat)abstract
- Lilli Zickerman (1858–1949) was an entrepreneur who took part in organising the Swedish handicraft associations in the late 19th century. She was also a pioneer in the archives and active in the feminine sphere of textile handicraft. From 1914–1931 she conducted a huge inventory called Swedish Folk Textile Art that consists of more than 24,000 photographs and descriptions of vernacular textiles and manuscripts for a planned series of books and films. By mapping textile handicrafts, she aimed to preserve traditional textile craft techniques to inspire their continued production. Her intention was to create an archive for the inspiration and education of future textile artists. The inventory has had effects that are still apparent today; this paper illuminates the ways in which Zickerman’s ideas about textile handicrafts have contributed to the continuation of Swedish cultural heritage and how it has become an authorised heritage discourse that continues to guide the scholars and practitioners involved in the history of textiles and their production. Here, we will present the first article within an ongoing project on Swedish Folk Textile Art and how it was conducted. We will contextualise the ideas and knowledge that it contains by focusing on Zickerman’s intention to preserve the past to serve the future. From a critical craft perspective, we will discuss geographical mapping as a method for investigating the inventtory; the inclusion and exclusion of geographical areas, textile techniques, materials and people; the ideas and the knowledge that are expressed in the inventory; and the networks that it created. By doing so, we aim to highlight the connections between people, between people and materials, and between history and the current day.
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| 9. |
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Reconsidering the Carpet Paradigm
- 2012
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Proceedings (redaktörskap) (refereegranskat)abstract
- Carpets have been important motives in the visual arts since the Renaissance and they were especially made prominent through 19th century Orientalism. The influence on painters and writers was thorough and the carpet, now more than just a motive, became a model and instrument for images. This tendency was termed the “carpet paradigm” by Joseph Masheck (1976) who traced its influence until abstraction in the 1960s. On the other hand, the carpet is important when discussing the relation between decorative and fine arts. The decorative connection was disregarded for many decades, a circumstance that makes the return of the carpet in contemporary art all the more interesting. This return – in painting, sculpture, installations etc – provides our starting point for discussions on contemporary image theory and art history.In this session, papers should address the return of the carpet paradigm as a means of analyzing the carpet as motive and/or medium. Can the carpet function as a model for a better understanding of images in general? Of special importance is the fact that it calls for various theoretical and methodological approaches – this makes it relevant when it comes to art history in general. It forms a crossroads for research on images, textiles, literature, decorative arts, iconography, gender, ornament, and cultural transfers to name but a few. The lines of investigation are interconnecting: How can image theory/art history benefit and improve through a reconsideration of the carpet paradigm? And how can contemporary art carpets alter our understanding of the carpet in a historical perspective? We welcome papers that question the historic legacy and cultural relevance of the carpet. Papers might also consider aspects such as materiality, production and cultural context, especially in terms of how materiality is linked to iconicity. A contemporary view may help in rethinking early 20th century art. The denigration of decorative matters, such as ornament and pattern, as something feminine, has been highlighted through the critical eye of a gender perspective, and this has been an important and necessary step in the deconstruction of art history. This questions many notions linked to the carpet that might be addressed. Papers that consider the other indicated line of thinking, the carpet in relation to image theory, might try to show if a nuanced reading facilitates a new take on the image, and its prolific status in contemporary art promises to make this an important and fruitful endeavor. The particular structure, the inseparable combination of material and medium in one artifact may be put to work in order to reconsider the image in general. The specific visual logic of the carpet underlines this concern.
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| 10. |
- Rosenqvist, Johanna, 1971-, et al.
(författare)
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An Editorial Sewing Circle – Collaborative Storytelling beyond Established Journalistic Platforms : Paper presented at the Media- and Culture Studies Group at the NordMedia11 conference, Akureyri, Iceland, August 11th-13th 2011
- 2011
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Konferensbidrag (refereegranskat)abstract
- This paper starts off with an editorial sewing circle and a patchwork seminar where participants were invited to contribute to an SMS-embroidery-feuillton by embroidering one of their own text-messages. Whereas research on participatory journalism has been based on established journalistic platforms (Karlsson 2010), this paper tries to understand the gathering, processing and publishing of information that takes place outside established journalistic platforms, but within known situations of everyday storytelling. In aligning us with others who use metaphors from textile handicraft in relation to knowledge construction, writing techniques and other forms for disseminating knowledge (eg. Haraway, 1988; Bränström-Öhman, Livholts, 2007; Sundén, 2008) we explore what happens in the seams between two particular platforms of storytelling: the editorial board and the sewing circle placed in an art gallery. Thus, by using something known and placing it in a different context, in a different space, we challenge the very practice of the editorial board, of journalism. This method of ours, is that of a feminist intervention into established rooms, concepts and practices. The paper consists of two parts: a written document and Texting Textiles, a collaborative patchwork-quilt based on the patchwork seminar hosted at Galleri Krets, in Malmö, August 2009.
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