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| 3. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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Artistic Research: Being There, Explorations into the Local
- 2017
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Ingår i: Nordicum-Mediterraneum. - : The National and University Library of Iceland. - 1670-6242. ; 15:1
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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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| 7. |
- Bowman, Jason E., 1967
(författare)
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PARSE Journal Issue #2 The Value of Contemporary Art
- 2015
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Ingår i: http://www.parsejournal.com/issue/2. - Göteborg : University of Gothenburg. - 2002-0953. ; 1:2
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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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| 8. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Expansion och mångfald - en relationell forskningsdatabas : Expansion and Diversity - a relational research database
- 2021
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Ingår i: Expansion och mångfald: Digital kartläggning och analys av den utominstitutionella scenkonsten i Göteborg 1965-2000.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- I svenska teaterhistorier ses perioden 1965–2000 som en tid för framväxt och etablering av en utominstitutionell scenkonst. Fältet expanderande kraftigt när institutionsteatrarna utmanades av ”fria” grupper och en ny mycket varierad scenkonstkultur växte fram. Denna nya scenkonst ifrågasatte hierarkier, sökte sig ut från de traditionella scenerna, överskred genregränser, experimenterade konstnärligt och mötte en ny publik. En mångfald angelägna föreställningar för barn, migranter, arbetare, queera personer, studenter och många andra skapades av människor med olika kulturella bakgrunder och kompetenser. Historieskrivningen har observerat detta skifte, men endast lyft fram några få grupper, verk och välkända artister. Därmed har en endimensionell bild fått fäste i historieskrivningen, men nu har det blivit dags att utmana tidigare forskning genom att se perioden på ett nytt sätt och bejaka dess mångfald. Det är dags att inkludera de många olika uttrycken och grupperna i en historieskrivning som gör det fria kulturarvet rättvisa. Forskningsprojektet Expansion och mångfald vill använda digitalt material och metoder för att analysera, lyfta fram och tillgängliggöra frikulturen som ett värdefullt kulturarv som angår och engagerar många olika människor. Den viktiga mångfalden av uttryck, grupper, relationer och spelplatser i det expanderade fältet har visat sig vara svår för att hantera för traditionell historieskrivning. Den har genom sin linjära karaktär inte kunnat ge plats för exempelvis karnevalers mångfacetterade uttryck, migranters kulturföreningar, jazzdans som folkrörelse och konstnärlig katalysator, fysisk teater, spex och populärkulturella uttryck, danskonst i offentliga rum, och scenkonst för barn. Med mångfald och skillnader som utmaning för forskningen krävs att arkivmaterial från det expanderade fältet undersöks och görs tillgängligt på nya sätt och att tidigare oanvänt källmaterial görs åtkomligt och tas i anspråk. En grupp bestående av humanistiska och urban-sociologiska forskare med stor erfarenhet av scenkonstforskning och stadsanalyser kommer att tillsammans med experter från digital humaniora undersöka och tillgängliggöra den frikulturella mångfalden.
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| 10. |
- Wilson, Mick, 1964
(författare)
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White Mythologies and Epistemic Refusals: Teaching Artistic Research Through Institutional Conflict
- 2020
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Ingår i: Teaching Artistic Research: Conversations Across Cultures. - Berlin : De Gruyter. - 3110662396
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Bokkapitel (refereegranskat)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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| 11. |
- Bowman, Jason E., 1967
(författare)
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Speaking Mandy
- 2014
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Ingår i: European Artistic Research Network Conference: Thinking on Stage, May 2 2014, National College of Art and Design, Dublin, EIRE.
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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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| 13. |
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Intersections PARSE JOURNAL
- 2020
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Ingår i: PARSE JOURNAL. ; Summer:11
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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 14. |
- Olsson, Gertrud
(författare)
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Flux Studios – Bergväggen
- 2022
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Ingår i: Konstfrämjandet Fyrbodal och Scenstudion Gerlesborg, 26 juni–23 oktober 2022.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)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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| 15. |
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Human Population : Västerås 2020
- 2020
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Konstnärligt arbete (refereegranskat)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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| 18. |
- Velasquez Atehortua, Juan, 1963
(författare)
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NO2LNG in Gothenburg, Sweden
- 2017
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Annan publikation (övrigt vetenskapligt/konstnärligt)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. |
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On the Question of Exhibition, PARSE Journal Issue 13: Parts 1,2,3
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)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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| 21. |
- Esperi, Benedikte, 1969
(författare)
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Tiny Festival Producers : Tiny Festival Producers är ett nomadiskt konstnärskollektiv med Annikki Wahlöö, Benedikte Esperi & Cia Runesson.
- 2023
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Ingår i: Sverige, Föreningen Tiny Festival Producers, 2023.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Tiny Festival Producers producerar och framför, med sin nomadiska praktik, platsspecifika och tvärkonstnärliga verk samt deltar i konstnärlig forskning vid Nordic Summer University. Året 2023: Samverkat med komponisten och artisten Iryna Novikova aka Insomnia Taxxi. Möjliggjort att fyra Ukrainska kulturarbetar i exil har haft residens i föreningen via SWAN-nätverket / Artists-at-Risk som medverkat i produktionen 'The Answering Machine' av Finn Iunker. Arbetet med "The Answering Machine" har fungerat som en motståndshandling. Mot alienation, separation och apati. För sammanhållning, solidaritet och humor. Medverkande: Benedikte Esperi, Galyna Dutka, Yuliia Rossoshko, Cia Runesson, Andres Skreia, Stella Shokotko, Glib Skvortsov, Annikki Wahlöö and Iryna Novikova. Produktionen har turnerat och spelats i Ulricehamns rådhus, WELD Stockholm, SuperMarket Stockholm, GIBCA Extended (Finnekumla Dans & Konstscen Ulricehamn, Nordiska Folkhögskolan Kungälv, Åstol Rökeri). In-Tent- Intervention har presenterats och visats vid NSU Nordic Summer University Wintersession vid Stockholms Konstnärliga Högskola och Folk&Kultur Eskilstuna samt Tiny Festival Performancekonst i Hållnäs. 2023 års Tiny Festival genomfördes med Performancekonst i Hållnäs/På Tur i Hållnäs - en nomadisk performancefestival i, omkring och mellan fem missionshus på Hållnäshalvön. Info: På Hållnäs finns ett stort antal missionshus, och på fem orter; Sikhjälma, Lugnet, Hållen, Göksnåre och Årböle ägs dessa bönehus sedan en tid av konstnärer. Nu vill vi bjuda in alla Hållnäsbor och andra intresserade till Tiny på Hållnäs/Performancekonst i Missionshus - en eklektisk vandringsfestival genom Hållnäs. Vi vill synliggöra konstnärsklustret i Hållnäs genom att knyta an till historien kring väckelserörelsen och missionshusen som mötesplats. Vi vill återaktivera de före detta frikyrkokapellen på Hållnäshalvön för att där skapa nya rum för samtal och reflektion - i denna postsekulariserade samtid. Varje Missionshus medverkar med var sitt upplägg; en installation, utställning, performance eller musik. Mer exakt program tillkommer under sommaren och publiceras här. I Årböle upprättas ett festivalkontor och där finns spelplatser i sandtaget, i skogsdungen och på ängen. Medverkande konstnärer/platser (markerade med rosa cirkel på karta På tur på Hållnäs). Se också program för nedladdning med mer information: https://indd.adobe.com/.../c7ff253e-7623-445d-bc89... A. Sikhjälma missionshus; Carl Johan Erikson: videoverket "Fjärdsjömåla 1984 / Benlängdsskillnad" B. Lugnets baptistkapell (Sikhjälma); Karin Willén: Rörlig bild och mer om skogen i Hållnäs. C. Hållen missionshus; Kristin Fyrand och Mikael Traung i samarbete med Hållnäs Konstkoloni: 360 graders dekorasjonsmåleri, stenskulptur och ljudkonst D. Göksnåre missionshus; Anna Högberg: Samtal om det gemensamma rummet E. Årböle missionshus; Tiny Festival med Tiny Festival Producers (Benedikte Esperi, Annikki Wahlöö, Cia Runesson), Lars Bergström (Bigert & Bergström,) Guds Söner (Leif Elggren & Kent Tankred), Tierps låtverkstad (Cornelia Carleson, Sabina Westergren Ahlin, David Mattsson, Per-Olov Swing Skarpsa, Mari-ann Kuusk Wikström, Tonny Wikström), Joakim Stampe, Chuiya Chia, Birgitta Pettersson, Iryna Novikova, Galyna Dutka, Yuliia Rossoshko, Andres Skreia, Stella Shokotko, Jesper Cederholm. Föreningen har offentligt stöd från Kulturrådet, Västra Götalandsregionen, Göteborg Stad, SWAN, Region Uppsala, Tierp Kommun, Ulricehamn Kommun, WELD, Kulturrådet, Konstfrämjandet i Uppland, GIBCA Extended,
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| 22. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2016
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 23. |
- Velasquez Atehortua, Juan, 1963
(författare)
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Juan
- 2017
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Ingår i: Disobedience.live.
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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 24. |
- Wulia, Tintin, 1972
(författare)
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Memory is Frail (and Truth Brittle) – performance lecture
- 2024
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Ingår i: Jakarta, MACAN Museum, 13 Jan 2024.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)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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| 26. |
- Berglund, Kristian, 1973, et al.
(författare)
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Home away from home
- 2016
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Ingår i: Atalante, Göteborg, 161104-06.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Home Away from Home är ett scenbaserat samarbetsprojekt mellan konstnärerna Jesper Norda, Kristian Berglund och Julia Boström.
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| 27. |
- Bowman, Jason E., 1967
(författare)
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De-Imagining Critical Communities
- 2015
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Ingår i: Community Arts? Learning from the Legacy of Artists' Social Initiatives Conference, Liverpool, 1st of nov.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)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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| 28. |
- Bowman, Jason E., 1967
(författare)
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Expert Panelist : Visible Art Award
- 2015
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Ingår i: Visible Award Parliament.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)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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| 29. |
- Chavarria Aldrete, Bertrand
(författare)
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Unveiling the invisible : Documentary film
- 2022
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)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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| 30. |
- Gunve, Fredric, et al.
(författare)
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Madness and The Bastard in Motion: Learning/Teaching through Performance Studies (in Tilburg)
- 2015
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Ingår i: 7th Teachers' Academy 2015 ENACT: learning in/through the Arts Tilburg, The Netherlands.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)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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| 33. |
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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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Konstnärligt arbete (film/video) (refereegranskat)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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| 34. |
- Kjellmer, Viveka, 1964
(författare)
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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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Ingår i: Studies in Costume & Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 4:2, s. 179-191
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Tidskriftsartikel (refereegranskat)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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| 35. |
- Kular, Onkar, et al.
(författare)
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Allmänningen/The Common Room
- 2023
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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 36. |
- Kular, Onkar
(författare)
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Luleå Biennial 2022, Craft & Art - Learning Room
- 2022
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Ingår i: Galleri Syster, IASPIS - Stockholm, Rajalla - På Gränsen, European Festival of the Night - Korpilombolo, Havremagasinet Länskonsthall.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)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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| 37. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Scenographic Dialogues: Staging Carl Grabow’s 1907 Designs for A Dream Play (Part 1)
- 2019
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Ingår i: Dokumenterat. - 1404-9899. ; :51, s. 4-42
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)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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| 38. |
- Herlitz, Alexandra, 1978, et al.
(författare)
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Konsthistoriepodden, avsnitt 16: Lars Lerin, Fönster mot gården
- 2021
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Ingår i: Konsthistoriepodden. - : Acast. ; :16
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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 39. |
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| 40. |
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| 41. |
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Humanister i fält. Metoder och möjligheter
- 2016
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Att "gå ut i fält" har länge fått beskriva en mängd metodiska praktiker inom flera olika vetenskapsområden. Det är dock fortfarande ganska ovanligt att forskare inom humaniora lämnar skrivbordets avgränsade landskap för mer handfasta studier på fältet. Denna antologi undersöker vad det innebär att kombinera traditionella humanistiska metoder med olika former av fältarbete. Förändras vår syn på forskningen och forskningsobjektet om vi bedriver fältstudier? Blir annorlunda kunskap möjlig och påverkar det i sin tur synen på humaniora som ett eget fält?
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| 42. |
- Lagerström, Cecilia, 1968
(författare)
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Sakta vi gå genom stan
- 2014
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Ingår i: Dance as Critical Heritage: Archives, Access, Action, symposium report 1: Beginnings. - : Göteborgs universitet. - 9789198212105
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Konferensbidrag (refereegranskat)abstract
- En betraktelse över performance akten Silent Walk, och mötet mellan vandrare och plats i myllret på stadens gator. Silent Walk tog form som en sakta promenad genom centrala Göteborg och genomfördes hösten 2011.
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| 43. |
- Orru, Anna Maria, 1976, et al.
(författare)
-
AHA! festival 2014
- 2014
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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 44. |
- Orru, Anna Maria, 1976, et al.
(författare)
-
AHA! festival 2015
- 2015
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The AHA festival investigates the borders between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about the space between art and science. We invite scientists (physicists, historians, mathematicians, medical students), artists (dancers, musicians, painters, poets, chefs) and not least architects, 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.
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| 45. |
- Rosen, Astrid von, 1964
(författare)
-
Eric Axel Söderberg
- 2022
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Ingår i: Svenskt biografiskt lexikon (SBL).
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Biografisk artikel om scenografen Eric Axel Söderberg.
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| 46. |
- Rosen, Astrid von, 1964
(författare)
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Scenografi som medskapande aktör
- 2018
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Ingår i: Till rum blir tiden här: scenografi / Lars-Åke Thessman.. - Stockholm : Art and Theory Publishing. - 9789188031594
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 47. |
- Rosen, Astrid von, 1964
(författare)
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Scenographic approaches: conceptualizing multisensory heritage
- 2017
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Ingår i: GPS400 conference 8-9 November 2017.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)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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| 48. |
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| 49. |
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Scenography and Art History: Performance Design and Visual Culture
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)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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| 50. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Digging Where You Stand? Critical approaches to participatory and activist heritage work
- 2020
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Ingår i: ACHS 2020 Futures.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Recent years have seen growing interest in participatory, community-led and activist approaches to knowledge production across a range of disciplines and practices including heritage, archive and public history work (Flinn 2011). Frequently such practices have been associated with radical and social justice orientated politics but participatory methodologies have also been critically examined as complex and contested, not least because of unequal power and trust relations often embedded in such approaches (Sexton 2015). Dig Where You Stand (DWYS), a complex mixed methods D-I-Y history methodology, rooted in history from below movements of the 1970s and expounded by Swedish author Sven Lindqvist (1978, 1979) is a still influential, fruitful yet challenging model for participatory and activist orientated heritage practices today (Flinn & Sexton 2018, von Rosen 2017). The papers in this double session will explore some of the challenges of participatory heritage and archive work by describing recent transformative developments of DWYS, combining a 1970’s ethos that ‘history is too important to be left just to historians’ (History Workshop Journal 1,1976) with contemporary critical thinking and the affordances of digital technologies, including the use of big data and social media, participatory system design, citizen sourced materials, and the many ethical concerns that are often left invisible and unexamined when studying digital archives and heritage and their affect. By doing so, the session will re-imagine DWYS and other similar D-I-Y participatory history and heritage methodologies in a dialogue with the future, opening up for multiple human, non-human and hybrid critical dialogues challenging authorized heritage discourses and practices and supporting social justice struggles in the present and the future. The papers presented represent current critical approaches to heritage, archives and digital humanities, practised across a range of disciples and developed within the joint University College London University of Gothenburg Centre for Critical Heritage Studies.
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