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- Lundström, Anna, 1979-
(författare)
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Former av politik : Tre utställningssituationer på Moderna Museet 1998-2008
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s identity as an art institution.The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern.This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.
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- Zetterman, Eva, 1957
(författare)
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A Mexican Icon Transgressing the Border – the Queen of Selfies in Visual Art
- 2018
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Ingår i: Open Covenants – Pasts and Futures of Global America. The 10th Biennial Conference ofthe Swedish Association for American Studies (SAAS). Panel: The Territoriality of Global America: The U.S.–Mexico Border in Contemporary Cultural Production. Chair: Eva Zetterman. Panel proposal: Birgit Spengler, University of Wuppertal, Markus Heide, Uppsala University, Eva Zetterman, University of Gothenburg. Stockholm University, Sweden. September 28–30, 2018.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)
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- Zetterman, Eva
(författare)
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An Alternative Madonna
- 2000
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Ingår i: The Thirtieth International Congress of the History of Art: Comité International d’Histoire de l’Art and The Association of Art Historians. Institute of Education, London. September 3–8 , 2000. - London : Institute of Education.
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Konferensbidrag (refereegranskat)
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- Zetterman, Eva, 1957
(författare)
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Att skapa ett vi – gatukonst i Kalifornien
- 2006
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Ingår i: Dom – och vi. Humanistdagboken nr. 19. Red. Patrik J. Andersson m.fl.. - Göteborg : Göteborgs universitet. - 9173603473
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Zetterman, Eva, 1957
(författare)
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Bilden av Frida Kahlo: En omtolkning utifrån ett feministiskt perspektiv
- 1994
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Ingår i: Från runor till Modesty Blaise – Populärvetenskapliga föreläsningar hållna under Humanistdagarna den 22–23 oktober 1994. Humanistdagboken nr 7. Red. Patrik J. Andersson m.fl.. - Göteborg : Göteborgs universitet. - 9173602175
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Zetterman, Eva, 1957
(författare)
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Bodies, Menstruation Blood and Witchcraft: The Feminist Art Scene in Gothenburg in the 70s and early 80s
- 2021
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Ingår i: Conference: Gendering Transformations: Feminist Knowledge Production and Trans/National Activist Engagement. Panel Session: Gender Discourses on Embodied Experiences. Taipei, Taiwan (online), October 28–31, 2021. - : National Central Library of Taiwan (NCL).
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- With the second-wave feminism in the 1960s and 70s, women in various parts of the world started mobilizing in women’s movements, which sometimes could take different feminist directions. In Gothenburg, Sweden, several women that took part in the women’s movement were visual artists. These visual artists organized themselves in separatist constellations with different feminist agendas. Some focused on gender roles, women’s bodies and reproductive processes, some on the importance of class and solidarity with third-world women, and some on sexuality issues and lesbian identities. In their respective separate constellations, the visual artists created new kinds of feminist imagery that were spread and communicated on several arenas in Gothenburg simultaneously, such as art exhibitions in cultural institutions, street actions in public spaces, and activist manifestations in women-centered associations, bookshops and magazines. In this presentation, I focus on the feminist art exhibitions that feminist activists in the women’s movement in Gothenburg organized at cultural institutions. These feminist art exhibitions, held in the 1970s and early 80s at the Gallery Maneten, the Röhsska Museum, the Gothenburg Art Gallery and the Frölunda House of Culture, were from a national Swedish perspective unique and very radical. Drawing on oral history and archival research, I highlight some of the key actors on the feminist art scene in Gothenburg and some of their radical imagery that were displayed in these feminist exhibitions.
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