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Sökning: AMNE:(HUMANITIES) AMNE:(Arts) AMNE:(Art History)

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  • Öhrner, Annika, 1962- (författare)
  • Barbro Östlihn och New York : Konstens rum och möjligheter
  • 2010
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.
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  • Rome and the guidebook tradition : from the Middle Ages to the 20th century
  • 2019
  • Samlingsverk (redaktörskap) (refereegranskat)abstract
    • Almost everyone has used a guidebook, when travelling or in the armchair at home. But how and when was the guidebook born? In this book, seven scholars from various disciplines argue that the guidebook emerged in Rome in the late Middle Ages, to form a surprisingly consistent model for guidebooks up to our time. The descriptions of must-see monuments, recommended routes, practical information and value-laden instructions have guided travellers to Rome through more than 1000 years.
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  • Rosenqvist, Johanna (författare)
  • Könsskillnadens estetik? Om konst och konstskapande i svensk hemslöjd på 1920- och 1990-talen
  • 2007
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • The main objective of this PhD thesis, "An Aesthetics of Sexual Difference? On Art and Artistry in Swedish Handicraft of the 1920s and 1990s", is to investigate the field of handicraft in relation to a wider field of cultural production. Its aim is to contribute to a mapping of interrelated outlines of handicraft and art based on empirical studies of artistic creation in two local Swedish handicraft organizations during the modernism of the 1920s and the postmodernism of the 1990s. Aesthetics is here seen as notions about expressions of art and limits for artistic creation, thus not as separated from ideas about gender differences but rather as dependent on them. This implies a social practice in which boundaries between institutional practices and individuals are created in relation to each other over time. A theoretical starting point is formed in gender studies, with reference to Luce Irigaray's An Ethics of Sexual Difference (1984). The critical imperative that lies in questioning what difference it makes if a work of art is made by a woman, comes from feminist art historians like Marsha Meskimmon, while Pierre Bourdieu's sociological theories about the fields of art has inspired the discussion of distinctions between handicraft and art. Comparisons are made between Swedish handicraft and its international counterparts, where concepts like ?Folk art? and ?ornament? are investigated and the Art Déco-exhibition in Paris 1925 forms a point of departure. Methodologically the two case studies include analysis of individual artworks as well as the artist's context, based on archival research. Aesthetics of sexual difference is not evident in individual works of handicraft but rather in their being organized differently as compared to art. More importantly: difference has been maintained through the way of writing about the works ? or rather not writing about them ? and their creators. From the case study of the 1920s it is concluded that textile handicraft production was part of modernist aesthetics. But rather than being seen as individual innovators, as would modernist artists, women who produced handicraft were looked upon as representatives of a tradition and therefore not always mentioned by name. This ran partly counter to contemporary laws that strengthened the right of designers. Ideologically, however, it fitted the prevailing complementary gender order to have the female-dominated handicraft organization differently structured from the male-dominated professional field of art. In the 1990s an eclectic attitude towards tradition was a key element in postmodernist aesthetics and transgressing of genres was legion, in handicraft as well as in the arts. During the decade, handicraft was exhibited in several shows, for example at the Liljevalchs art gallery in Stockholm. Compared to the earlier period, individual artists within the handicraft organization were more visible. Parallel to an ideological and statutory work for gender equality, the number of men in the organization increased, as did the use of materials traditionally thought of as masculine, and focus was now on the making of ?sloyd? instead of earlier emphasized connections to household production and the home.
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  • Bengtsen, Peter (författare)
  • The Street Art World
  • 2014
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • In recent years, street art has become embedded in popular culture and received growing attention from the art market and art institutions. Work by street artists has entered galleries, auction houses and museums, and some artists have been given the opportunity to create large-scale sanctioned public art projects. Simultaneously, widespread photographic documentation of street artworks and the circulation of images online have provided artists with a potentially global audience. The Street Art World investigates street art as a relatively newly established field within contemporary art. With the American sociologist Howard S. Becker’s notion of “art worlds” as a central point of departure, the book seeks to characterise street art by studying and participating in the everyday interaction among the artists, gallerists, collectors, critics, curators, bloggers and street art enthusiasts that make up the social environment (the street art world) in which the term street art is continuously given its meaning. Major themes addressed in the book include: (1) The social construction of the meaning of the term street art and the resulting difficulties in formally defining what street art is. (2) The often contradictory attitudes within the street art world towards art history and the institutions of art. (3) The relationship between street art, the art market and the institutional art world. (4) The relationship between street art and public art. (5) Street art’s potential to affect the viewer’s perception of public space, and the possible challenges the increasing digital mediation of street art may pose to bringing this potential to fruition. While the book presents central characteristics of the street art movement, it also acknowledges that it is not feasible to pin down the nature of street art once and for all, since street art is a product of complex social processes.
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  • Skånberg Dahlstedt, Ami, 1967, et al. (författare)
  • Artistic Research: Being There, Explorations into the Local
  • 2017
  • Ingår i: Nordicum-Mediterraneum. - : The National and University Library of Iceland. - 1670-6242. ; 15:1
  • 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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  • Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
  • 2008
  • Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
    • When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
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  • Bowman, Jason E., 1967 (författare)
  • PARSE Journal Issue #2 The Value of Contemporary Art
  • 2015
  • Ingår i: http://www.parsejournal.com/issue/2. - Göteborg : University of Gothenburg. - 2002-0953. ; 1:2
  • 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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  • Hayden (Pettersson), Hans, 1965- (författare)
  • Gregor Paulsson och den konsthistoriska tolkningens problem
  • 1997
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • The core of this thesis is a critical reading of the Swedish art historian Gregor Paulsson's (1889-1977) method of historical interpretation. Initially; Paulsson developed his scholary perspectivefrom the tradition of formalist aesthetics dominating Swedish art history writing in thebeginning of the 20th century. His approach to art history radicaIly changed by the end of the1910's, when he came in touch with experimental psychology. From his own experiments inartistic creativity, he concluded that the governing factor in this process was the ability toapprehend meaning. Paulsson defined the work of art as a homogeneous and ambiguous symbol,which, within its form, combines many different levels of meaning. The task of art historicalinterpretation was to map the meanings carried by the symbol.In his mature works, from the 1930's onward, Paulsson developed these thoughts into a methodof interpretation, dealing both with the psychological and social dimensions of the work of art.Through the concepts of "field" and "function", he tried to reconstruct the original value andmeaning of the work of art and buildings. Thus, he was able to expand the field of research for arthistorians to include all manner of forms and objects of the human environment. In his method,Gregor Paulsson tried to unite the old scholary ideal of a comprehensive system, where all aspectscould be interpreted with reference to each other and to the whole, with the results and theories ofmodern, specialized sciences. His vision was to create a theoretical foundation for a new field ofresearch, which he described as an "aesthetic enviromental morphology".
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  • Schult, Tanja, 1973- (författare)
  • A hero's many faces : Raoul Wallenberg in contemporary monuments
  • 2009
  • Bok (refereegranskat)abstract
    • Raoul Wallenberg is widely remembered for his humanitarian activity on behalf of the Hungarian Jews in Budapest at the end of World War II, and known as the Swedish diplomat who disappeared into the Soviet Gulag in 1945. Today, Wallenberg’s example is used to communicate humanitarian values and human rights in many democratic societies. His story incorporates a classical hero narrative which has survived the ‘un-heroic’ 20th century.In 2008, there exist thirty-one Wallenberg monuments in twelve countries on five continents, from Hungary to Sweden, from Canada to Chile, from Australia to Russia. The rich diversity of the monuments invites to discuss the different concepts of Wallenberg and heroism as expressed in the artists’ works. The art-historical focus of this interdisciplinary study makes it a valuable contribution to the discussion of personal monuments, as well as to the socio-historical research on the commemoration of Wallenberg and the concept of the hero.
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  • Bowman, Jason E., 1967 (författare)
  • Speaking Mandy
  • 2014
  • Ingår i: European Artistic Research Network Conference: Thinking on Stage, May 2 2014, National College of Art and Design, Dublin, EIRE.
  • 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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  • Snæbjørnsdóttir, Bryndis, 1955, et al. (författare)
  • between you and me
  • 2011
  • Ingår i: Animal Influence, Interactive Futures ' 11, 17th to 19th November 2011, Vancouver, Canada.
  • Konferensbidrag (refereegranskat)abstract
    • between you and me This presentation focuses on the exhibition by Snæbjörnsdóttir/Wilson, entitled “between you and me”. The project centres on the representations and intrinsic value of things and calls into question the myriad bases upon which we construct such representations. Snæbjörnsdóttir/Wilson have for some time in their work examined specific relationships between human and non-human animals – in “nanoq: flat out and bluesome” the polar bear, in “Big Mouth” the Tasmanian Tiger, in “(a)fly” urban pets etc. “between you and me” examines a contemporary set of relationships between humans and seals, with its particular focus on the coastal areas of Iceland where humans and seals, with its particular focus on the coastal areas of Iceland where interaction of one sort or another has been customary for many centuries. In the Kalmar Art Museum, the installation was interspersed throughout the entire building – on the ground floor, the library, the upper stairwell and the main gallery on the top floor. In this upper space, the artists placed their key video work, “the naming of things”, in direct dialogue with selected works from the collection at Kalmar including drawings, prints, paintings, photographs and textiles, all of which in one way or another represent animals. Our colonization of the building in this way, its implications for the audience, together with our staging of a public seminar event held during the exhibition are all discussed during this presentation. In addition, short video extracts will be screened. Because most representations are constructed to perform some agenda of our own – in the case of animals, to entertain, to inform, to provide food, to remember, to stand for all others of the species, to symbolize human behavioural characteristics etc – in this process, the animal itself is occluded – eclipsed by its avatar or likeness, which is always a simplification and therefore must accordingly signify a loss. Snæbjörnsdóttir/Wilson’s work challenges the anthropocentric systems of convenience that sanction a daily acceptance of such loss and in an attempt to address such historical and contemporary imbalance, posits the alternative idea of “parities in meeting”.
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  • Snæbjørnsdóttir, Bryndis, 1955, et al. (författare)
  • Vanishing Point: Where Species Meet
  • 2011
  • Ingår i: Animal Gaze 2011, 27th-28th of October 2011, the Metropolitan University London..
  • Konferensbidrag (refereegranskat)abstract
    • Abstract: Vanishing Point: Where Species Meet Vanishing Point: Where Species Meet is the title of Snæbjörnsdóttir/Wilson’s most recent artwork, which was part of the Gothenburg Biennial 2011. The title, which references Donna Haraway’s book When Species Meet, pinpoints significant ambiguities in meetings between human and animal. The focus of this artwork is the attempt by the artist to share a meal with members of another species, namely seagulls, on camera. The three-screen video work sets out the conditions for a meeting but does not fetishize or document the act of species coming together. The talk will explore the thinking behind this artwork and the processes of its making. It will question the ambition of recording an equal meeting between human and animal, at least on camera and in the context of contemporary art, whilst avoiding either being sensationalist or prompting readings of domestication. It proposes that despite the impossibility of a visual exposition of this meeting, a meeting has nevertheless occurred which as a consequence, provides the basis for considering the nature and the possibilities of such a connection.
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22.
  • Bäcklund, Jan, Senior lecturer, 1966- (författare)
  • Art, Craft, and Industrial Production : The humiliation of Josiah Wedgwood, the revenge of art forgery, and the concession of contemporary art
  • 2015
  • Ingår i: Design Prozesse 2015, Eine Tagung zum Verhältnis von Kunst und Design. - Basel : Hochschule für Gestaltung und Kunst FHNW.
  • Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
    • How Josiah Wedgwood will be a Great Contemporary Artist after two centuries of Humiliation through the Secret Schemes of Art ForgersAccording to Joseph Alsop (The Rare Art Tradition, 1981), art is defined, and I believe rightly so, by eight epiphenomenons: collecting, history, market, museum, forgery, re-evaluation of taste, antiquities (old for old's sake), and super-prices. Incidentally, design share with art all of those eight epiphenomenons: there are design collecting, a history of design, a market for design, design museums, design forgery, re-evaluation of taste, antiquities (for instance bakelite telephones or Umbrian majolica), and super-prices. Still, it is evident that design is subsumed under an other discourse than art. Something, then, must be different, the question remains: in what?When the issue is on the relationship between art and design, we imply, consciously or not, that this relationship is asymmetric in such a way that art is more refined, more specialized, and more narrow than design. And in a certain perverse way, we assume that design desires or strives to be like art, if not actually be art. I will here try to test the opposite direction in the relationship: what if art desires or strives to be like design? This is not a new reversal. It was attempted by the constructivists, by the Arts & Crafts movement, and by Bauhaus. But they all failed in this regard. Art and design continued to be separate disciplines and discourses, and maybe even more so after these attempts. I will take another stance, within a more emotional framing on the conflict, in terms of humiliation and revenge, with which I believe it can be shown that the difference stems from a metaphysics of history, resulting in different conceptions of proper name vs trademark, of origin vs periphery, and of the concepts to create (creare ex nihilo) vs to forge (facere de materia).This will be done in five moments:I. The Humiliation of Wedgwood (art-craft-industrial production) ---> a) the humiliation (i.e. the Portland Vase) b) The figures is continuously produced. (i.e. Flaxman Ewers)II. The Bastianini Affair 1864 and South Kensington MuseumIII. The Occult Italian Avantgarde of Forged Primitives (cf. Ruskin, Arts & Crafts)IV. Technical Forensics and reverse engineering in the Han van Meegeren case 1937V. Elaine Sturtevant (reverse engineering). Eleanor Antin (contingent pasts). Hito Steyerl (artistic research). Hilma af Klint (interested interaction)
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  • Liljefors, Max, et al. (författare)
  • Förflutenhetens bilder
  • 2004
  • Ingår i: Historien är nu. En introduktion till historiedidaktiken.
  • Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
    • This essay reflects on the advantages and dangers of using visual art in the teaching of history. It concludes with a number of practical suggestions to teachers who want to use art in their teaching.
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  • Berggren, Lars, et al. (författare)
  • Förord – Editorial
  • 2023
  • Ingår i: ICO Iconographisk Post. - 2323-5586. ; 2022:3/4, s. 3-5
  • Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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