| 1. |
- Fuchs, Helen, 1966-, et al.
(författare)
-
Humanioras pris och värde : resurser och utbildningskvalitet
- 2016
-
Rapport (populärvet., debatt m.m.)abstract
- Tankesmedjan Humtank har valt att under 2016 särskilt fokusera på frågan om utbildnings-anslaget och dess relation till utbildningskvalitet och arbetsvillkor inom humaniorasektorn. Som ett led i detta lägger Humtank fram denna rapport i syfte att kartlägga nuvarande situation och staka ut möjliga riktningar för framtiden.
|
|
| 2. |
- Fuchs, Helen, 1966-, et al.
(författare)
-
Humanioras pris och värde : Resurser och utbildningskvalitet
- 2016
-
Rapport (populärvet., debatt m.m.)abstract
- Hur var livet 1992? Någon som kommer ihåg? Låt mig friska upp ditt minne:Mobiltelefoni 1992: Ericssons nya modell, GH172, också kallad Olivia, fungerar över det nya GSM-nätet (det första digitala nätet, introducerat samma år) och väger 440g. Det går att skicka textmeddelanden, men det dröjer en fem-sex år innan utnyttjandet av denna tjänst blir mer allmänt.Persondator 1992: Apple lanserar Machintosh Classic II. 2 MB RAM, hårddisk 40 eller 80 MB. Processor på 16 MHz.Internet 1992: Nordiska universitet och högskolor har en egen Atlantlänk till USA, kallad Nordunet, som detta år uppgraderas till 512 kbit/s. Allmänt tillgängligt blir Internet, i liten skala via Algonet, först 1994 – men det tar fram till sekelskiftet innan mer än hälften av Sveriges befolkning använder Internet.1994 – eller var det 1995? – erbjöds doktoranderna vid Göteborgs universitet, som en tjänst av Universitetsbiblioteket, att »göra en sökning» på ett valfritt begrepp, eller en term. Jag orkade inte, men kollegan Bo tog chansen och sökte på något forskningsrelaterat begrepp och fick 173, eller nåt, resultat i en utskrift på perforerat papper.Låt oss backa några år: 1985. En engagerad samhällskunskapslärare vid Platenskolan i Motala uppmanar sina elever i klass E3B (ekonomisk linje) att skriva till någon myndighet (har glömt vilken) och ta reda på vilka register vi är med i – utan att vi bett om det, utan att vi gett vårt tillstånd. Efter några veckor dimper det ner ett brev, ett registerutdrag. Jag är med i tre stycken. Totalförsvaret (jag ska snart mönstra); körkortsregisgtret (jag lyckas efter en första kuggning ta mitt körkort, hösten -84) och något mer, glömt vilket. Vi var många som var upprörda – vafanken, vi vill inte vara med i några register! Vad är detta??? 1984? »Storebror ser dig!»?Det är ungefär här, i informationssamhällets adolescens och lyckligt naiva uppfattning om hur data förmedlas och lagras, i en tillvaro där tre register är många, och där man fortfarande kan tänka sig att utbilda sig för att bilda sig, ja, det är nu i dessa nådens år 1992 och 1993 som systemet för den moderna utbildningen för universitet och högskola konsolideras. SOU 1992:44 låg till grund för Högskolelagen och det resursfördelningssystem som fortfarande styr villkoren för hur högre utbildning i Sverige bedrivs. Det är ett system som utgår från att humaniora är liktydigt med självstudier och att humanistens kompetens inte har någonting med teknologi och moderna undervisningsformer att göra.Nu presenterar Humtank en rapport om konsekvenserna av denna 24 år gamla ordning.
|
|
| 3. |
- Fuchs, Helen, 1966-
(författare)
-
Bröstbilder och verklighet
- 2016
-
Ingår i: Kulturen: en årsbok till medlemmarna av Kulturhistoriska föreningen för södra Sverige. - Lund. - 0454-5915. ; , s. 2-4
-
Tidskriftsartikel (populärvet., debatt m.m.)
|
|
| 4. |
- Fuchs, Helen, FD, 1966-
(författare)
-
Minding the Sound – Blasting the Frame : Sound as Destabilizing Visual Art
- 2014
-
Ingår i: Minding the Sound – Sounding the Mind. - Halmstad : Halmstad University. ; , s. 4-4
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- What happens with the traditionally quiet, comfortably distanced activity of looking at art when sound or disturbing noise cannot be ignored as a part of it? In this presentation I want to discuss how sound and noise in visual art can be understood as a means to obstruct the onlookers’ ability to keep a distance, by intensifying the reality level. In the framed environment of art museums as well as outside, artists can use sound in order to obstruct the border between art and the enclosing reality. This can be experienced both as seductive and frightening, for example if there are no visible imprints of the artist at all. Thus sound and noise can destabilize our notions of what an art experience is, and thus destabilize the relations between artist, artwork, physical context and “onlooker”.In the history of western visual art, artists’ ambition to blur the difference between art as artefacts and reality has been a recurrent aim in religious as well as in secular contexts. Recurrently, new methods and techniques have been developed in order to create visual illusions of reality, thus concealing or discussing art as something artificial. Thus, sound and noise in visual art can be understood as a part of this ongoing project of exploring, depicting and experiencing illusions and reality. Artists naturally realize the possibilities of modern audio visual technology, but are “onlookers” also willing to let go of their comfortably distanced approach in order to enter the unreliable experience of audio-visual art?
|
|
| 5. |
- Fuchs, Helen, FD, 1966-
(författare)
-
Museum homepages as a tool for challenging the past and diversifying the future
- 2015
-
Ingår i: challenge the past / diversify the future. - Gothenburg : University of Gothenburg. ; , s. 68-68
-
Konferensbidrag (refereegranskat)abstract
- The purpose of this paper is to critically examine how museums can use their homepages as tools in order to handle problematic cultural heritage in their care. Focus will be laid on locally established museums, which faces problems when the first generation of enthusiasts are succeeded by a younger, and maybe more professionalised staff. Such a change of generations may coincide with an urgent need to deal with historiography as well as with fading public and academic interest. How may a museum, in a situation of that kind, use its homepage as an arena for handling a narration which might be perceived as the story or as deeply problematic and misleading? What possibilities and problems may a homepage and digital technology offer, in order to engage existing supporters as well as new groups of information providers and seekers? What sorts of traditional and untraditional sources of information are possible to make available and in what form, considering limited economical means and copyright? What freedom of actor ship is the museum willing to allow its homepage visitors, in order to make more voices heard, and previously neglected perspectives visible? Consequently, what types of control does the museum want to uphold? Is the liberty of action and effect necessarily more limited for a small museum, than for a large one? To some museums these are urgent issues which needs to be dealt with in order to maintain financing, and uphold its collection as important cultural heritage.As an example the Mjellby Art Museum/the Halmstad Group museum will be discussed, and supplemented with some Swedish as well as foreign examples.
|
|
| 6. |
- Fuchs, Helen, FD, 1966-
(författare)
-
När blir samtidskonst i kyrkan konsthistoriskt intressant?
- 2014
-
Ingår i: De kyrkliga kulturarven. - Uppsala : Uppsala universitet. - 9789155488680 ; , s. 127-134
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Varför skrivs det så lite om samtidskonsten i kyrkan? Vad krävs för att göra det intressant? Varför tycks de senaste decenniernas teori- och metodutveckling inom konstvetenskapen inte ha nått detta fält? Med utgångspunkt från en kurs om religion och bildkonst i det sena 1900-talets Sverige (7,5 hp) och min avhandling om historieskrivningen kring glasmåleri, vill jag diskutera konsekvenserna av konstvetenskapens ointresse för samtidskonst i kyrkan. Men jag vill också peka på möjligheter att reaktivera kyrkan som konstvetenskapligt intressant kontext. Konstvetenskap som disciplin har mycket att vinna på att koppla samman historia och samtid genom kyrkan som kontext, i undervisningen och med tanke på den akademiska tredje uppgiften.
|
|
| 7. |
- Fuchs, Helen, 1966-
(författare)
-
Religiös surrealism kristna surrealister?
- 2024
-
Ingår i: Halmstadgruppen - Den svenska surrealismens pionjärer. - Halmstad : Mjellby konstmuseum.
-
Bokkapitel (refereegranskat)
|
|
| 8. |
- Fuchs, Helen, FD, 1966-
(författare)
-
The Decorative as a Surrealist Method in the Halmstad group
- 2023
-
Konferensbidrag (refereegranskat)abstract
- The Halmstad Group and decorative surrealism. This text explores the reception of the Swedish Halmstad Group as surrealists during the 1930s and 1940s in relation to their use of decorative strategies. The meaning of the concept "decorative" is ambiguous in a modernistic context and what is explored in this text regardning surrealism is “decorative” as a diverse utilization of modes of composition, such as being inspired by patterns and craft, or as a continuation of academic principles of composing. “Decorative” is also associated with the “decorative arts”, which are closely connected to architecture, interior design, and craftsmanship. Central to this investigation is how different decorative aspects were evaluated and how they influenced the reception of the Halmstad Group's surrealism. Both critical and appreciative comments by art critics, such as mentioning decorative superficiality or decorative beauty, appear to reflect what was considered appealing or objectionable in the Halmstad Group's surrealism and surrealism in general. The artists were eager to explain and address criticism that they perceived as misleading. Depending on the situation they sometimes emphasized the connection to Parisian and Danish surrealism and sometimes claiming a type of surrealism of their own. Consequently, they faced criticism for not being real surrealists, or surrealistic enough. On the other hand, their often well-ordered, decorative surrealism was simultaneously valued by others. Thus, decorative strategies could be perceived as means of both emphasizing and toning down, making visible and concealing surrealism. An enlightening approach to explore decorative aspects in the Halmstad Group’s surrealism is to connect it to their post-cubism during the 1920s. Despite gradually distancing themselves from post-cubism in the 1930s, its compositional austerity sometimes remained significant. What attracted them to surrealism were poetic, narrative, dreamlike and decorative possibilities that sharply contrasted with the geometric and somewhat ethereal forms of decorative post-cubism. As an example of architectural-bound decorative surrealism, the ironwork and intarsias of the Halmstad Group in Halmstad’s modernist town hall from 1938 are examined. Considering surrealism as an avant-garde movement aiming for revolution, it's evident that this represents a different type – exquisite craftsmanship in alignment with, or at least not in overt opposition to political power in Sweden during the 1930s. The acceptance of the Halmstad Group surrealism in this context might be understood as an expression of recognition by modernist architects and art critics as well as trust by local politicians.
|
|
| 9. |
- Fuchs, Helen, 1966-
(författare)
-
The Halmstad Group : surrealism in the 1930s
- 2018
-
Ingår i: Swedish Art History. - Lund : Lund University. - 9789198369069 ; , s. 287-384
-
Bokkapitel (refereegranskat)abstract
- In the 20th-century of Swedish art the Halmstad Group (Halmstadgruppen) is associated with post-cubism during the 1920s and the introduction of surrealism during the 1930s, and the group garnered much attention being from a small provincial town having an obvious relationship to international avant-garde movements. Even so, some critics seemed unable to consider them as a part of both a local and a international context. Irrespective of art movement the Halmstad Group was related to by art critics, it was often described in relation to ‘Swedish’ art, international movements, and to preconceived ideas about provincial places such as the city of Halmstad. The group exhibited extensively in Sweden during the 1930s, and a large number of articles and newspaper items were written about them. The reception of the group’s surrealism was as profoundly divergent, and this article intends to present how the surrealism of the Halmstad Group was met during the 1930s in terms of both Swedish cultural contexts and international modernist contexts.
|
|
| 10. |
- Fuchs, Helen, 1966-
(författare)
-
The Reception of the Halmstad Group in the 1930s
- 2019
-
Ingår i: A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950. - Leiden : Brill Academic Publishers. - 9789004366794 - 9789004388291 ; , s. 241-256
-
Bokkapitel (refereegranskat)abstract
- Early on, influential art historians and critics identified the Halmstad Group as an interesting Swedish example of international surrealism. Others made fun of a supposedly odd combination of international avant-garde trends and manifestations of such an off-centre locality as the city of Halmstad. Individually the artists were both identified and denied as surrealists, depending on how strictly they were compared to preconceived notions about international surrealism. The artists themselves tried to balance this with independence in order to claim a type of surrealism of their own.
|
|
| 11. |
- Fuchs, Helen, FD, 1966-
(författare)
-
To determine cultural value for the future : is it possible or even desirable?
- 2012
-
Konferensbidrag (refereegranskat)abstract
- What art is worth paying attention to and protect as national cultural heritage has changed throughout history. Prior to the 19th century it was not obvious to attach importance to a work of art because of old age. In the context of modernism importance was connected to avant-garde movements.According to Swedish law old age and price are significant factors in determining what individual works of art are to be guarded as important cultural heritage. Currently, when modernist art begins to reach the crucial age of 100, the amount of works which need permission to leave the country will rise significantly. Permissions have to include assessments of significance as Swedish cultural heritage. Therefore, what parameters ought to be used for modernistic art needs to be discussed. But is it possible or even desirable to formulate national guidelines in order to protect and determine what modernistic art should be regarded as national cultural heritage in the future? This highlights a number of important questions such as: the notion of a national canon (in relation to an international); national canonisation processes; assessment of significant local and regional cultural heritage in relation to national notions.My intention is to discuss these questions in connection to the introduction of surrealism in Sweden. Based on approximately 200 previously neglected articles I will discuss the reception of “Halmstadgruppen” and its surrealism in the 1930s and 40s. It was constantly described in relation to “Swedish” art, international movements and to preconceived ideas about provincial places such as the city of Halmstad. As a result of successful promotion and some obvious connections to French surrealism, “Halmstadgruppen” quite early was granted a place in the history of Swedish modernism. Local support is firm and visible in “Mjellby Art Museum. The Museum of the Halmstad Group”, privately founded now financed by the city of Halmstad. However, since the millennium “Halmstadgruppen” has not generated any attention compatible to the 1930s. The surrealism of “Halmstadgruppen” seems to be regarded as uninteresting by art critics.Obviously, the notion of something as a valuable cultural heritage in a national context constantly needs to be nurtured. Exhibitions are not enough. The framing continuously needs to be updated in relation to ongoing theoretical discussions. Reliable and creative academic texts have to be written.Hopefully, existence of academic research will be one factor in predicting future cultural value. Much harder to handle is the implications of absence of research and currently unimaginable questions of future scholars. Opinions about what modernist art is worth buying, paying attention to and protect as national cultural heritage will probably change.
|
|
