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| 2. |
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| 3. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(author)
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Artistic Research: Being There, Explorations into the Local
- 2017
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In: Nordicum-Mediterraneum. - : The National and University Library of Iceland. - 1670-6242. ; 15:1
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Review (other academic/artistic)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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| 4. |
- Bowman, Jason E., 1967
(author)
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PARSE Journal Issue #2 The Value of Contemporary Art
- 2015
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In: http://www.parsejournal.com/issue/2. - Göteborg : University of Gothenburg. - 2002-0953. ; 1:2
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Other publication (other academic/artistic)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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| 5. |
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| 6. |
- Gunve, Fredric, et al.
(author)
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Madness and The Bastard in Motion: Learning/Teaching through Performance Studies (in Tilburg)
- 2015
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In: 7th Teachers' Academy 2015 ENACT: learning in/through the Arts Tilburg, The Netherlands.
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Artistic work (other academic/artistic)abstract
- This paper performs a dialogue/an encounter between Madness (or the false mad Demidamia from the opera La Finta Pazza performed in Venice in 1641) and the Bastard (the illegitimate love child of arts, performance and education). Entangled they move through time, talking, confronting, shaping and diffracting a non‐existing form. Their method is about diffracting every inch of their journey. Meeting obstacles, facing resistance, walking into bubbles of flair and comfort, stepping into dilemmas and borderlands. Continuously asking themselves: What happens in the microscopic moment? When no/thing could even be imagined. On their way they challenge both time and existence. Learning through teaching through learning. Their journey is an ornamenting becoming in itself. It is an example of mattering as in meaning-‐making and knowledge processing, based on a performance of the indeterminable and affinity. The outcome in the performative encounter in itself – a potential model for teaching and learning in higher arts education.
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| 8. |
- Wilson, Mick, 1964
(author)
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White Mythologies and Epistemic Refusals: Teaching Artistic Research Through Institutional Conflict
- 2020
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In: Teaching Artistic Research: Conversations Across Cultures. - Berlin : De Gruyter. - 3110662396
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Book chapter (peer-reviewed)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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| 9. |
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Intersections PARSE JOURNAL
- 2020
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In: PARSE JOURNAL. ; Summer:11
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Other publication (other academic/artistic)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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| 10. |
- Bowman, Jason E., 1967
(author)
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De-Imagining Critical Communities
- 2015
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In: Community Arts? Learning from the Legacy of Artists' Social Initiatives Conference, Liverpool, 1st of nov.
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Conference paper (other academic/artistic)abstract
- I contributed a presentation and moderated a session. This daylong event brings together distinguished thinkers and practitioners from the field of community arts, in order to discuss the legacy of such practices in the light of a renewed interest in socially engaged art. This event will re-open conversations and instigate new ones, ensuring that important work undertaken in the 1970s and 1980s continues to resonate. Speakers: Assemble, Ania Bas, Sonia Boyce, Jason E. Bowman, Polly Brannan, Anna Colin, Anna Cutler, Rosie Cooper, Janna Graham, Granby 4 Streets Community Land Trust, Jeanne van Heeswijk, Homebaked, Sophie Hope, Nina Edge, Bill Harpe, Wendy Harpe, Loraine Leeson, Angela McKay, Andrea Phillips, Laura Raicovich, Alan Read, Frances Rifkin, Sally Tallant, Nato Thompson and Ed Webb-Ingall. This event is part of a weekend of programmes in Liverpool and beyond that considers current approaches in socially engaged art
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| 11. |
- Bowman, Jason E., 1967
(author)
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Speaking Mandy
- 2014
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In: European Artistic Research Network Conference: Thinking on Stage, May 2 2014, National College of Art and Design, Dublin, EIRE.
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Conference paper (other academic/artistic)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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| 12. |
- Orru, Anna Maria, 1976, et al.
(author)
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AHA! festival 2016
- 2016
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Other publication (other academic/artistic)abstract
- For the third year, the AHA festival investigates the meeting between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture and the Department of Physics. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about exploring the world through art and science. We invite scientists (physicists, historians, astronomers, engineers), artists (dancers, musicians, painters, poets, acrobats) who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.The first year’s theme ’Embodiment’ (2014) explored the body as our anchor in the world, followed by the 2015 theme on ’Numbers’, a delightful net we cast over the world. This year's theme is ’Uni-verse,’ again a natural consequence of our interest in the relation between art and science. The elemental force that drives science as well as art is curiosity. Come be curious with us! During the festival we have chosen to divide the word universe into three: uni and "-" and verse. Uni means that something is combined into a whole. Verse means that we are turned in a direction, the origin of the word tells us that it is the plow that turns at the end of the field. And the dash "-" is all the spaces and cracks where new discoveries can grow. Art and science unfolds in the gap between what we know and what we want to know.
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| 13. |
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Human Population : Västerås 2020
- 2020
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Artistic work (peer-reviewed)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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| 14. |
- Rosen, Astrid von, 1964
(author)
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Database as Utopian Performer
- 2021
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In: ANTS Utopia and Performance, Stockholm, 30 september-02 oktober, 2021.
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Conference paper (other academic/artistic)abstract
- Abstract: In this paper, a relational database, a digital technological device, constructed by humans for humans, is understood as an active agent, a precarious and even utopian performer, acting in the broader field of performing arts historiography. The database was constructed, and is still being developed, within a cross-disciplinary research project called Expansion and Diversity: Mapping and analysing independent performance in Gothenburg 1965-2000 (funded by the Swedish Research Council). During 2021, the last year of Expansion and Diversity, as project leader I find it timely to reflect upon and analyse the particular role of the database in relation to the ambitions and dreams connected with its existence. With the Swedish city of Gothenburg as a case study, the role of the database was and still is to help better representing and making accessible the complex diversities of independent performing arts from 1965 to 2000. On the one hand, I can demonstrate that the database is capable of doing precisely this and explain how it does it. On the other hand, since its launch in 2020, the database has been described as ugly, difficult to operate, lacking functions, or unable to meet wishes for archival representation. To debate and explore these frictions, I have started to play with the idea of understanding the database as a utopian performer, an agential feature, who affects and is affected by, the humans engaging with it. Drawing on Victor Hugo, I will start by considering the database-performer “utopian” as it thrives on a scholarly dream of a future performing arts historiography that will be more just, inclusive, diverse and democratic. Second, by turning to Slavoj Žižek, I will grapple with the urgent struggles and areas of friction involving the database. For example, in what ways does it account for and represent the materialities of performance, the materialities of archival remains as well as the material dimensions of scholarly work? Equally urgent is to address the frictions between the project’s findings and common media and historiographical beliefs of what groups and features are “important” to represent. Third, the database forms part of a participatory or “dig where you stand” approach in terms of practitioner involvement in the research. As suggested by Jill Dolan, utopia “takes place now, at the interstices of present interactions, in glancing moments of possibly better ways to be together as human beings”. By including the relational database among the “beings” forming utopia in the present, I yearn to find ways of accounting for the potential community building that goes on in the here and now, in the everyday struggle to shape and shift performing arts historiography.
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| 15. |
- Skånberg Dahlstedt, Ami, 1967
(author)
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Suriashi as a ceremonial, subversive act
- 2019
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In: WNM 2019: Walking’s New Movements’: a conference to discuss the latest developments and future prospects for radical walking and walking arts.
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Conference paper (other academic/artistic)abstract
- Abstract My presentation departures from my PhD project ‘Suriashi – an interventionist practice in urban spaces’, where I look at society from within a Japanese practice called suriashi. Suriashi is practiced in performance, martial arts and Sumo wrestling. On stage, suriashi often represents the traveler in constant flux, either travelling between geographical places or travelling from a spiritual state to a human state. The practice not only depicts geographical places, it also depicts metaphysical and liminal spaces and time. For my research, I have since 2014 practiced suriashi at a very slow pace in urban spaces, in squares and on streets, inside busy places, as a solo act, a conversation act, an activist act, a thing-to-do-together-act, a gift-act, a friendship act etc. I will present what I have found since I started to practice in 2000 with the master Nishikawa Senrei in Kyoto. The slow practice has become a methodology to approach spaces, while investigating the location of bodies and immaterial and material monuments, and thereby challenge how we relate to each other and to spaces.
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| 16. |
- Rosen, Astrid von, 1964, et al.
(author)
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Scenographic Dialogues: Staging Carl Grabow’s 1907 Designs for A Dream Play (Part 1)
- 2019
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In: Dokumenterat. - 1404-9899. ; :51, s. 4-42
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Journal article (other academic/artistic)abstract
- In a series of articles we, an art historian – von Rosen – and a theatre historian – Szalczer –, set out to reassess Carl Grabow’s 1907 designs for the world premiere of August Strindberg’s A Dream Play at the Swedish Theatre (Svenska Teatern) in Stockholm. By doing so, we challenge the persistently negative narrative on Grabow’s work with the production, to be found both in Swedish and international theatre and art history. The first article in the series focuses on Grabow’s color designs for the production, kept at the Swedish Museum of Performing Arts (Scenkonstmuseet) in Stockholm, and are made digitally accessible for the first time here in Dokumenterat. Within the broader field of scenography research designs have been proven to have agency beyond their realization on stage, and can also be used to access visual, spatial and multimodal resources of past performances. Our goal is to probe into how a scenographic approach to Grabow’s designs, understood as vital parts of the performance archive, may contribute to developing new historiographic methods while yielding new insights on the production history of A Dream Play. Throughout our first scenographic journey with Grabow’s designs we tested iconography as a method to explore and experience the world created by them. As we shall see in the next article, the testimonies of reviewers and illustrators indicate that Grabow’s collaboration with the production team resulted in different solutions than the perhaps early ideas envisioned in these designs. What is significant for us, however, is that regardless of its stage realization, the design-series manifests an autonomy, a unified artistic vision, conveyed by the succession of images as a painterly and multi-sensory reflection of the world of the play. What became apparent is that far from being haphazard superficial sketches, Grabow’s designs present a consistent interpretation of A Dream Play, with strong occult-spiritual overtones and attempts at painterly dematerialization, which counteract the realism and the materialization of the dream he was accused of by critics ever since. In our next article, we will further explore Grabow’s designs, including drawn and written information on their backsides, in the context of contemporary critical and pictorial response to the actual stage production. By staging a dialogue between the designs and the performance within its cultural milieu, we not only hope to learn more about Grabow’s craft and working process, but also about the constructive use of the scenographic approach in archival research.
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| 17. |
- Velasquez Atehortua, Juan, 1963
(author)
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Juan
- 2017
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In: Disobedience.live.
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Other publication (other academic/artistic)abstract
- Disobedience Live var en direktsänd dokumentär om fyra aktivisterna Sigrid, Kevin, Juan och Sarakka som gav sig av på en resa för att delta i en civil olydnadsaktion för klimatet. Tillsammans med tusentals andra ville de blockera infrastruktur för uppgrävning och förbränning av brunkol i Rhineland, Tyskland. Dokumentären pågick dygnet runt 22-27 augusti 2O17 och visades i realtid. Detta konstprojekt genomfördes av Troja scenkonst, som ville belysa demokratins tillstånd idag samt olika former av engagemang som människor ägnar sig åt – med civil olydnad som utgångspunkt. Mer info om scenkonstkollektivet Troja finns på trojascenkonst.se
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| 18. |
- Velasquez Atehortua, Juan, 1963
(author)
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NO2LNG in Gothenburg, Sweden
- 2017
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Other publication (other academic/artistic)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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| 19. |
- Bowman, Jason E., 1967
(author)
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Expert Panelist : Visible Art Award
- 2015
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In: Visible Award Parliament.
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Conference paper (other academic/artistic)abstract
- I was invited as an expert panelist for the Visible Award. The Visible Award is the first international production award devoted to art work in the social sphere, that aims to produce and sustain socially engaged artistic practices in a global context. Part of the broader research project, aims to research, support and offer a discursive and productive platform to innovative artistic projects that are able to become visible also in fields other than the artistic ones.
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| 20. |
- Bowman, Jason E., 1967
(author)
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What is at Stake in Community Practice? What Have We Learned?
- 2016
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In: Stages: Journal of the Liverpool Biennial. - 2399-9675. ; :5, s. 2-9
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Journal article (other academic/artistic)abstract
- In this writing I seek to detect a few precursory concerns that may inform an initial response to the question, ‘What is at Stake in Community Practice? What Have We Learned? In doing so I consider issues of legacy and obfuscation; the delimiting of education as a public good, and indicate the potential for artist-organisation to be considered in determining organisational practices.
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| 21. |
- Kular, Onkar, et al.
(author)
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Allmänningen/The Common Room
- 2023
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Other publication (other academic/artistic)abstract
- Allmänningen/The Common Room was a Vinnova-funded project at the Faculty of Fine, Applied and Performing Arts, Gothenburg University (2018–2021). The aim of the project was to begin to develop and pilot a new public model for collaboration and usership between the university and society. Referring directly to the Swedish commons concept of Allmänningen and illustrated through terms such as Allmän (general), Allemansrätten (right of public access), Allmänheten (the general public), the commons can be viewed as not only a right to public access, but a relation between societal institutions and the individual citizen. A relation which within the context of Sweden, could and should naturally be applied and extended to the publicly funded university as a common societal resource. Although there are differences between the natural commons studied by influential figures such as Elinor Ostrom and the university as ‘commons’, the analogy stresses the relational dimensions between viable and sustainable institutions, and the public trust in the commons & its resources. Through a series of residencies in 2021, Allmänningen (The Common Room) began by inviting practitioners, collectives and organisations to help think through questions of what kind of common resources are produced within the university? How can these resources be developed as public commons? In what sense are these resources enclosed, vulnerable and at risk of exploitation? And what is needed today to produce a socially sustainable institution? By addressing these questions, the residencies through scholarship and practice piloted and began to suggest alternative modes and models for university collaboration and usership. Allmänningen/The Common Room prototyped residencies with Sandi Hilal (DAAR), Post Workers Theatre, Kulturhuset Blå Stället and Åbäke. Through four posters with edited interviews, transcriptions and commissioned texts the overall publication provides a comprehensive overview of the residency outputs and intentions.
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| 22. |
- Kular, Onkar
(author)
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Luleå Biennial 2022, Craft & Art - Learning Room
- 2022
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In: Galleri Syster, IASPIS - Stockholm, Rajalla - På Gränsen, European Festival of the Night - Korpilombolo, Havremagasinet Länskonsthall.
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Artistic work (other academic/artistic)abstract
- Luleå Biennial 2022, Craft & Art, hosted by Konstfrämjandet (The Peoples Movement for Art Promotion) Norrbotten, took place place throughout the region from October 15, 2022 – January 15, 2023. The artistic directors for the 2022 biennale, Onkar Kular and Christina Zetterlund expanded its contemporary art remit to include crafts of many types, from everyday handicraft to Sami duodji and aimed to sustainably represent the richness of creative activity of Norrbotten and beyond. Recognising the expansive geography of Norrbotten, the Learning Room (extensive three month) programme of workshops, making circles, seminars, performances and talks allowed guests to access the biennial digitally through the biennial website. As well as scheduled film screenings, events through the Learning Room included making circles with Anna-Stina Svakko at Galleri Syster and Tekeste Solomon Gebremariam at the European Festival of the Night, Weaving circles led by textile artist Ida Isak Westerberg and Norrbotten’s Crafts Advisor, a workshop for youth organised in collaboration with KUBN in Haparanda, The Knowledge House for Craft hosted with Garland Magazine and Weaving Kiosk by Rosa Tolnov Clausen in collaboration with Haparanda municipality’s cultural department, Aine Art Museum and Resurscentrum för konst Norrbotten. The Learning Room had a physical stage at Galleri Syster and Havremagasinet Länskonsthall Boden for in-person events and the live broadcasting of a selection of activities from the biennial programme. Throughout the biennial the Learning Room screened loaned and commissioned films by filmmaker Karl-Oskar Gustafsson, the first Gulahallan ja birgen produced by Luleå Biennial in collaboration with Berit Kristine Andersen Guvsám, Gunvor Guttorm and Laila Susanna Kuhmunen and Good luck with your car produced by Luleå Biennial in collaboration with Region Norrbotten's Craft and Design Consultant. Loaned films included, Duoji máttut—Vætnoen maadtoe—Duoje máddoinformation and A conversation about leather tanning produced by Sameslöjdstiftelsen Sámi Duodji.
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| 28. |
- Rosen, Astrid von, 1964
(author)
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Eric Axel Söderberg
- 2022
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In: Svenskt biografiskt lexikon (SBL).
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Book chapter (other academic/artistic)abstract
- Biografisk artikel om scenografen Eric Axel Söderberg.
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| 29. |
- Rosen, Astrid von, 1964
(author)
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Scenographic approaches: conceptualizing multisensory heritage
- 2017
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In: GPS400 conference 8-9 November 2017.
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Conference paper (other academic/artistic)abstract
- During the last decades the concept of scenography has not only undergone considerable theorization but has also expanded beyond more traditional theatrical settings to include potentially all environments, objects, actors and actions (McKinney & Butterworth 2009, Lotker & Gough 2013, McKinney & Palmer 2017, Aronson 2017). This expansion has to an increasing extent emphasized the critical, transformative potential of embodied, multisensory dimensions of scenographic events emphasizing the roles of participants and performers. In recognition of this the aim of my presentation is to identify productive approaches within scenography research to better conceptualize and examine multisensory heritage. In particular the paper will explore relational, affective and material approaches to multifaceted performative, socially engaged and artistic events. I will for example look into Dr Alda Terracciano’s multisensory digital installation Zelige Door on Golborne Road from the arts and heritage project Mapping Memory Routes of Moroccan Communities.
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| 30. |
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Scenography and Art History: Performance Design and Visual Culture
- 2021
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Editorial collection (other academic/artistic)abstract
- Scenography and Art History reimagines scenography as a critical concept for art history, and is the first book to demonstrate the importance and usefulness of this concept for art historians and scholars in related fields. It provides a vital evaluation of the contemporary importance of scenography as a critical tool for art historians and scholars from related branches of study addressing phenomena such as witchy designs, Early Modern festival books, live rock performances, digital fashion photography, and outdoor dance interventions. With its nuanced and detailed case studies, this book is an innovative contribution to ongoing debates within art history and visual studies concerning multisensory events. It extends the existing literature by demonstrating the importance of a reimagined scenography concept for comprehending historical and contemporary art histories and visual cultures more broadly. The book contends that scenography is no longer restricted to the traditional space of the theatre, but has become an important concept for approaching art historical and contemporary objects and events. It explores scenography not solely as a critical approach and theoretical concept, but also as an important practice linked with unrecognized labour and broader political, social and gendered issues in a great variety of contexts, such as festive culture, sacred settings, fashion, film, or performing arts. Designed as a key resource for students, teachers and researchers in art history, visual studies, and related subjects, the book, through its cross-disciplinary frame, does consider, implicitly and explicitly, the roles of both scenography and art in society.
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| 31. |
- Skånberg Dahlstedt, Ami, 1967
(author)
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A Body of Accents
- 2018
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In: Nordic Journal of Dance. - 1891-6708. ; 9:1, s. 44-51
-
Journal article (peer-reviewed)abstract
- Dance practice is often hidden inside dance studios where it is not available for dialogue or interdisciplinary critique. In this paper I will look closer at one of the accents my body holds, since the year 2000. To Swedish dance academies it is maybe the most foreign accent I have in my dance practice. It has not been implemented as ‘professional dance’ in Western dance studios. This foreign accent is called Nihon Buyō, Japanese dance, also known as Kabuki dance. Nihon Buyō, Nō or Kabuki are local performing arts practices for professional performers in Japan. A few foreigners are familiar with these practices thanks to cultural exchange programmes, such as the yearly Traditional Theatre Training at Kyoto Art Centre. There is no religious spell on the technique, or a contract written that it must be kept secret, or that it must not leave the Japanese studio or the Japanese stage. I will compare how dance is being transmitted in the studio in Kyoto with my own vocational dance education many years ago. Are their similarities to how the female dancer’s body is constructed? Might there be unmarked cultural roots and invisible originators to the movements we are doing today in contemporary dance? Dansutövandet hålls ofta dold innanför dansstudion där det inte görs tillgängligt för dialog eller tvärdisciplinär kritik. I denna text kommer jag att se närmare på en av de dialekter som min kropp har sedan år 2000. För svenska dansakademier är det kanske den mest främmande dialekten som jag har i min danspraktik. Den har inte implementerats som "professionell dans" i dansstudior i väst. Denna främmande dialekt kallas Nihon Buyō, japansk dans, även kallad Kabuki-dans. Nihon Buyō, Nō eller Kabuki är lokala scenkonstformer för professionella scenkonstnärer i Japan. Några få utlänningar känner till dem tack vare olika kulturutbytesprogram, till exempel den årliga traditionella teaterträningen, T.T.T., på Kyoto Art Center. Tekniken är inte belagd med någon religiös besvärjelse. Det finns heller inte några skrivna avtal om att den måste hållas hemlig, eller att den inte får lämna den japanska studion eller den japanska scenen. Jag kommer att jämföra hur dans kommuniceras och förs vidare i studion i Kyoto med min egen yrkesdansutbildning för många år sedan. Finns det några likheter i hur den kvinnliga dansarens kropp konstrueras? Finns det några omärkta kulturella rötter och osynliggjorda upphovskvinnor till de rörelser vi gör idag i nutida dans?
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| 32. |
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On the Question of Exhibition, PARSE Journal Issue 13: Parts 1,2,3
- 2021
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Editorial collection (other academic/artistic)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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| 33. |
- Chavarria Aldrete, Bertrand
(author)
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Unveiling the invisible : Documentary film
- 2022
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Artistic work (other academic/artistic)abstract
- Unveiling the invisible (2022) is a short film about the Artistic Research project by Bertrand Chavarría-Aldrete, PhD candidate at Lund University in the form of a workshop for the blind and visually impaired.
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| 34. |
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In the archival multiverse, the blubber decays but the fever increases. : A contribution to VIOLENCE: the fourth biennial PARSE Research Conference at the Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Sweden. Under the "Archives and Witnessing" section of the conference. Moderated by Åsa Sonjasdotter
- 2021
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Artistic work (film/video) (peer-reviewed)abstract
- The presented work is composed by Marc Johnson — a memory worker — who is currently a Ph.D. candidate in performative and media-based practices at the Stockholm University of the Arts. The shared perspectives are engaging issues of violence from the center of an artistic practice-based research focused on archival practices and concerned with how a documentary heritage circulates, is formed, debated, shared, and re-interpreted.The lecture-performance starts by considering the “Rights of Nature” — from recent environmental litigations in Aotearoa (New Zealand), Bolivia, and Ecuador — which focus on the idea of legal standing. What does it take to enforce the legal personhood of a river or other natural entities?Marc Johnson investigates and reflects on some ways to deal with representations of murdered bodies — human and more-than-human (cellular life forms) — without replicating historical patterns of abuse? Under what conditions shall these documents, artifacts, or, images be seen?Marc Johnson collaborates with Hitomi Ohki 大木瞳 — Soprano singer — to expose how polyphony[1] and counterpoint[2] applied to cinema can be used practically to navigate the uncertain archive(s) of violence studies.Marc Johnson addresses the dynamics of archival silences[3] and archival amnesty[4] as an important reminder of the ways in which violence — despite its presence in the everyday life of most people mainly through paper-based, and online news media (including social networks) — can also be deeply buried and invisible through institutional and corporate powers and other means; nonetheless impacting the lives of ordinary people (as opposed to powerful people, military, political and business leaders).The proposal does not intend to resolve; but rather to expose and to put oneself in the presence of using the means of montage.Skepsis is the deployed strategy throughout the duration of the time-based work as defined by Jacques Derrida as a “vigilance, and attention of the gaze during an examination. […] One is on the lookout, one reflects upon what one sees, reflects what one sees by delaying the moment of conclusion.”[5] [1] A process of combining two or more voices so that they harmonize with each other but maintain their individuality.[2] A process of adding one or more melodies as an accompaniment to a given melody according to certain fixed rules; a composition in which melodies are thus combined.[3] Rodney G. S. Carter, “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence,” Archivaria, September 25, 2006, 215–33.[4] Tonia Sutherland, “Archival Amnesty: In Search of Black American Transitional and Restorative Justice,” ed. Michelle Caswell, Ricardo Punzalan, and T-Kay Sangwand, Journal of Critical Library and Information Studies, Critical Archival Studies, 1, no. 2 (2017): 1–23, https://doi.org/10.24242/jclis.v1i2.42.[5] Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. Pascale-Anne Brault and Michael Naas (Chicago: University of Chicago Press, 1993).
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| 35. |
- Orru, Anna Maria, 1976, et al.
(author)
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AHA! festival 2014
- 2014
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Other publication (other academic/artistic)abstract
- ”Science and art” is the typical motto of a polytechnic, with the Royal Institute of Technology in Stockholm as a Swedish example. Only too seldom do we have occasion to ask ourselves what the words are meant to imply.The Royal Institute of Technology received its emblem in 1827. At that time, ”science” referred to theoretical knowledge, and ”art” to practical ability. Our understanding of the world around us on the one hand, our capacity to change it on the other – in both cases in a systematic or methodical fashion, and in both cases in broad generality. Today, we would rather speak of theory and practice, but the question is essentially the same: how do we go from thought to action, and how do we get back again?But the meaning of the two words was soon to change. Today, ”science” no longer refers to systematic knowledge, but rather to a highly professionalised, specialised and often technically advanced activity intended for the production of empirically secure facts. Similarly, ”art” is no longer a methodical ability, but rather a complex and autonomous activity comparable to science: the creation of images, sounds, and other forms of sensuous experience with a most immediate effect. Forms that grab hold, shake up, leave us at a loss. Experiences that make us question ourselves and the world around us.The relation between science and art has become more complex, but is just as important to attend to. Their meeting is still that of theory and practice, but also something more: a meeting of causal connections and meaningful coherences, of given conditions and unsuspected possibilities, of the order of things and our own place within it.By bringing together science and art, architecture provides an ideal playing field for such a confrontation. This is why the Department of Architecture at the Chalmers University of Technology has initiated the AHA! Festival, October 21–23, 2014 that, during three days of lectures, workshops, conversations, exhibitions, concerts, performances, and mingles, will offer thought-provoking experiences, hands-on surprises, itinerant perspectives, and savoury ideas. In this way the festival welcomes students and researches at Chalmers and the University of Gothenburg to turn the searchlight onto the relation between two different– but equally important – human activities.
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| 36. |
- Wulia, Tintin, 1972
(author)
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Memory is Frail (and Truth Brittle) – performance lecture
- 2024
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In: Jakarta, MACAN Museum, 13 Jan 2024.
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Artistic work (other academic/artistic)abstract
- This performance lecture is based on an eponymous installation of 115 charcoal and graphite drawings the artist made in 2019, which was based on a text published in 2018. It questions the nature of reality and the building block of human knowledge, which is perceived mainly through humankind’s limited senses, the main part of which is the eye. At an allegorical level, it interrogates how our understanding of the world is largely constructed visually and recorded through memory, and how these are also prone to manipulation, for example in state propaganda and isolated versions of state-sanctioned history. --- Art does not merely articulate an artist’s personal expression but is often inseparable from a larger historical, political, and geographical context. To kick off the 2024 Museum MACAN public programs, artist/researcher Tintin Wulia presents a performance lecture and discussion session, Memory is Frail (and Truth Brittle). Exhibited as 115 illustrations drawn with charcoal and graphite, Memory is Frail (and Truth Brittle) presents a connection between major world events scattered across different times and places, and how these events are recollected by humans. As the subject navigates through ideas surrounding reality, frailty of memory, and human geography and history, Wulia interrogates what we believe to be reality is constructed largely from our sensory perception, state-sanctioned histories, and fragile memories of humans.
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| 37. |
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Challenge the past / diversify the future - proceedings
- 2015
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Editorial collection (other academic/artistic)abstract
- Challenge the Past / Diversify the Future is a multidisciplinary conference for scholars and practitioners who study the implementation and potential of visual and multi-sensory representations to challenge and diversify our understanding of history and culture. This volume contains an overview of all the presentations.
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| 38. |
- Kjellmer, Viveka, 1964
(author)
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Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915–18).
- 2019
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In: Studies in Costume & Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 4:2, s. 179-191
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Journal article (peer-reviewed)abstract
- In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915–18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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| 39. |
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Konstens kunskap : Knowledge of art
- 2021
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Editorial collection (other academic/artistic)abstract
- Boken är en studie I den konstnärliga forskningens metoder, teorier och resultat betraktat genom tolv avhandlingar framlagda vid Konstnärliga fakulteten vid Göteborgs universitet. The book is a study in the methods, theories and results of Artistic Research viewed through twelve PhD-Theses defended at the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg.
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| 40. |
- Bowman, Jason E., 1967
(author)
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Elements of Performance Art : The Theatre of Mistakes
- 2015
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In: PARSE Conference, Universitty of Gothenburg, 3-6 November.
-
Conference paper (peer-reviewed)abstract
- Elements of Performance Art. The Ting: The Theatre of Mistakes ‘Working without a watch and without a tape-measure, the performance artist may come to rely on a sense of “performance time”- where yards are expressed by strides and feet by paces, where minutes are expressed by counts and, where time and space are expressed by any means that may be devised.’ Instigated by Anthony Howell, a poet and dancer and founder of conceptualist magazine Wallpaper, The Ting: The Theatre of Mistakes was a UK-based collective formed in 1974, which disbanded in 1981. Their foundational work was generated through a series of openly advertised events at which, from 1974-1976, attendees co-developed a series of game-based exercises via instructional rules informed by spatiotemporal mechanisms, which were collectively named The Gymnasium, and thoroughly recorded in a suite of eponymous notes. Their sole publication Anthony Howell and Fiona Templeton’s Elements of Performance (refined by activities developed via The Gymnasium from 1974-76) was self-published and distributed by Ting in 1976 in an initial edition of 60 and in 1977 in a revised edition of 800. The Ting: The Theatre of Mistakes’ ethos and methods of production are outlined in the publication against six convergent elements: conditions, body, aural, time/space, equipment and manifestation with a total of 42 exercises to be structured via chance allowing for multiple formations and focalised structures. Designed as a comb-bound instructional manual with an introductory manifesto, Elements of Performance Art offers a unique insight into how Ting advocated the temporal liveness of performance art be created via instruction and chance with cross-disciplinary activities. It remains an out-of-print but influential publication within the history of inter-disciplinary and is arguably the first manifesto for Performance Art in the UK. Jason E. Bowman will curate a career survey of The Theatre of Mistakes in 2017. For the PARSE conference he has invited Anthony Howell to workshop, with a series of participants, a re-activation of exercises from Elements of Performance Art. Bowman and Howell will subsequently be in conversation regarding Elements of Performance Art, temporalities and inter-disciplinary concepts of time.
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| 41. |
- Herlitz, Alexandra, 1978, et al.
(author)
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Konsthistoriepodden, avsnitt 16: Lars Lerin, Fönster mot gården
- 2021
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In: Konsthistoriepodden. - : Acast. ; :16
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Other publication (other academic/artistic)abstract
- I detta avsnitt pratar vi om det mest samtida konstverk i poddens historia hittills, nämligen Lars Lerins akvarellmålning ”Fönster mot gården” från 2009, som finns i Nordiska Akvarellmuseets samlingar. I podden pratar vi om Lerins motivvärld och arbetssätt, men även om akvarellmediets historia och traditioner samt föreställningar som förknippas med detta medium. Inte minst kontextualiserar vi målningen och dess motiv. Vi berättar bland annat om filmförlagan ”Fönstret åt gården” från 1954 och dess utgångspunkter som filmens regissör Alfred Hitchcock hittade i den amerikanska målaren Edward Hoppers konst och hans voyeuristiska motiv.
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| 42. |
- Rosen, Astrid von, 1964
(author)
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Scenography as co-creative agent
- 2018
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In: Time Here Becomes Space : scenography / Lars-Åke Thessman ; translation: Gabriella Berggren, Eva-Marie Barker, Bettina Schultz.. - Stockholm : Art and Theory Publishing. - 9789188031624
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Book chapter (other academic/artistic)
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| 43. |
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| 44. |
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| 45. |
- Akner-Koler, Cheryl, 1956-, et al.
(author)
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Sharing Haptic Attributes : Model development of 4 haptic attribute models for hand, nose, mouth and, body
- 2020
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In: Working Together 2020.
-
Conference paper (other academic/artistic)abstract
- Our topic concerns how to conduct practice-based research between and within three aesthetic disciplines: sculptor, professional taster, and performative artist. We continue to work with the material and experiences developed during the 3-year VR-funded HAPTICA research project. Our plan is to actualise a few practical situations that show how we gained both a deeper aesthetic knowledge within our own artistic disciplines and grew more sensitive and knowledgeable about the challenges faced in the other disciplines. The overall topic has been to expand the field of aesthetics by including the proximity senses: tactile, haptic, smell, taste, and movement by conducting artistic research in haptic.
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| 46. |
- Sjöström, Kent
(author)
-
Skådespelaren i handling : Strategier för tanke och kropp
- 2007
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Artistic work (other academic/artistic)abstract
- In the thesis, that has its basis in my educational work at Malmö Theatre Academy, I discuss how actors in training solve the problem of embodying the role ? how they, from their ideas, feelings, thoughts and knowledge create the physical actions of the role. My discussion has its basis in how the training in acrobatics can form a sort of model for the strategies needed by the actor to perform on stage. An initial point for this thesis is the question about where the actor finds her motive for the role's physical action: in the role's future or in the role's past? A second starting point for the thesis is how the actor's imagination or conceptions affect her physical actions. These two starting points can be summarized in my research question: How are the cognitive strategies of the actor affecting the scenic actions of the role? A first step in answering the research question is found in the written evaluations of the students, concerning how acrobatics can function as a cognitive model for scenic action. The second step in answering this question takes its starting point in the students? description of their work with scenic situations and from these testimonies, more specific qualities appear. Here, two approaches are basic: first, that the students work with their imagination to create a stimulating and sensory objective for their scenic task, and second, that the spoken line, as well as the purely physical action, are tools in solving this task. These two approaches are summarized in the terms goal image and verbal action. My methodical grasp of the entirety of the thesis can be summarized in the function of the reflecting practitioner. To interpret the accounts of the students, a more specific and qualitatively focused method was required. In my interpretation of the students? descriptions of their work, I have focused on two qualities. The first is how the work has lead to the students being rid of a form of negative self-awareness, having focused outward. The second is how the work has lead to increased specificity and concretion in scenic choices. However, the research question has not only been seen from a student perspective. Through my references to the experiences, instruction and standpoints of several other theatre practitioners, I have shown an approach where cognitive strategies are central to physical action. There, I have also wanted to focus on how cognitive strategies are dependent on the form of verbal expression of the scenic task. How one formulates one's task is central to the physical action.To illuminate the work with the actor's cognitive strategies further, I have throughout the thesis referred to different theories of action and emotion. Within these I have looked for experiences that can change and strengthen the knowledge of the actor's physical actions.
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| 47. |
- Kular, Onkar
(author)
-
Luleå Biennial 2022, Craft & Art - Festival
- 2022
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In: Sameslöjdsstiftelsen Sámi Doudji, Jukkasjärvi Church, The Sami Center for Contemporary Art, Kiruna City Library, Sörbyn-Sundsnäs hembygdsförenin, Galleri Syster, Norrbottens Museum.
-
Artistic work (other academic/artistic)abstract
- Luleå Biennial 2022, Craft & Art, hosted by Konstfrämjandet (The Peoples Movement for Art Promotion) Norrbotten, took place place throughout the region from October 15, 2022 – January 15, 2023. The artistic directors for the 2022 biennale, Onkar Kular and Christina Zetterlund expanded its contemporary art remit to include crafts of many types, from everyday handicraft to Sami duodji and aimed to sustainably represent the richness of creative activity of Norrbotten and beyond. The biennial opened with a curated festival weekend (15th-16th October) stitching a relational map of geographic connections through workshops, displays, seminars and performances across regional venues and organisations. The festival welcomed guests to join together in activities and introduce themselves to the biennial. Festival collaborators include Sameslöjdsstiftelsen Sámi Doudji in Jokkmokk, Berits Straw Craft Museum at Sörbyn-Sundsnäs hembygdsförening, Jukkasjärvi Church, The Sami Center for Contemporary Art, Karasjok, Norway and Kiruna City Library where works from Kiruna Municipality Art Collection were exhibited.
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| 48. |
- Olsson, Gertrud
(author)
-
Flux Studios – Bergväggen
- 2022
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In: Konstfrämjandet Fyrbodal och Scenstudion Gerlesborg, 26 juni–23 oktober 2022.
-
Artistic work (other academic/artistic)abstract
- Projektet "Bergväggen" utfördes av Flux Studios – 8 konstnärer/designers – och startade med fyra residenshelger under våren 2022 på Scenstudion Gerlesborg. Under dessa helger undersöktes kropp och rum under ledning av scenkonstnärerna Eva Dal och Mikael Norlind. Därefter utförde vi medverkande konstnärer åtta platsspecifika verk i relation till den närliggande bergväggen i Gerlesborg. Projektledare för hela projektet var Helena Pernow, textilkonstnär. Seminarier, performance och uppföljning ingick.
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| 49. |
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| 50. |
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Human PARSE JOURNAL
- 2020
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In: PARSE Journal. ; :12
-
Other publication (other academic/artistic)abstract
- The 2019 PARSE conference “HUMAN” invited contributions to “reimagine, remake, expose and expand the human vis-à-vis notions of the nonhuman, inhuman, subhuman, post-human and inhumane.This collection offers no singularly defined notion of human. Instead it offers positions and analysis, performances and speculations on variegated ideas of the human—with its multiple pre-fixes, hence *human. The contributors all search for revitalised understandings of human in the context of revised histories, uncertain present conditions and in a future when technology, algorithms and environmental concerns, biodiversity and human biology converge in an ethical and political quagmire.
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