| 1. |
- Ståhl, Ola
(författare)
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15.09.2007
- 2011
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Ingår i: ak28 revisited and three parallel visions. - Stockholm : Mount Analogue. - 9789163385230 ; , s. 70-91
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Bokkapitel (populärvet., debatt m.m.)
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| 2. |
- Norberg, Micael, 1969-
(författare)
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Jag Buddha och mig själv : noteringar
- 2012
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Bok (populärvet., debatt m.m.)abstract
- “Jag hade önskan om att detta arbete skulle handla om lycka och att jag skulle kunna förstå lycka, framgång och vad de begreppen betyder. Jag utgick från perspektivet om min egen lycka (som om jag visste vad lycka var) men upptäckte snabbt att jag fick börja med att utgå från ingenting. Mina förutfattade meningar och dualistiska tankesätt fick mig att inse att jag måste börja om från början. Det blev ett antal ord satta i en följd med en förhoppning om att de skapar någon slags berättelse. Inte en berättelse om makt, strukturer, sex eller politik utan en betraktelse av olika tillstånd som tillsammans bildar en minnesbild. Det är noteringar kring händelser. Det handlar kanske mest om att gå.”
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| 3. |
- Rosenqvist, Johanna, et al.
(författare)
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Att pryda en plats
- 2011
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Annan publikation (populärvet., debatt m.m.)
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| 4. |
- Rydén, Susanne, et al.
(författare)
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Stå upp för Hillfons konstnärskap
- 2014
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Ingår i: Svenska Dagbladet. - 1101-2412. ; 2014-08-16
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 5. |
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| 6. |
- Bäcklund, Jan, Senior lecturer, 1966-
(författare)
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Afdrift
- 2014
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Ingår i: Monsieur Antipyrine. - Århus : Antipyrine. - 1602-2246. ; :1, s. 85-90
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 7. |
- Hietala, Jan, 1962-
(författare)
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Eat Work Rest : The Exhibition
- 2011
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Annan publikation (populärvet., debatt m.m.)abstract
- Eat Work Rest is a project about an artist’s private and public spheres. The artist Prince Eugen of Sweden, Duke of Närke (1865-1947) is set in focus. The prince’s life, as all other artists’, was separated in a private and a public sphere, and perhaps even more evidently so in his case due to his birth. The difference between the private and the public cut through the prince’s work as an artist, his social life, his official tasks and even in what was served in his home the palatial villa Waldemarsudde on the sea just outside the city centre of Stockholm. The project Eat Work Rest, consisting of a book and an exhibition, originates from a few sentences 1st curator Göran Söderlund at Prince Eugen’s Waldemarsudde uttered early on the New Year of 2009. We were in his office in the villa. He told that they – the management of the palace – had harboured plans to re-make the Prince’s study on the ground floor for some time. He said it almost as if en passant. The book includes texts by Charlotte Birnbaum, Power Ekroth and Christina Wistman. To give some understanding of the context, it should be mentioned that the interiors of three private chambers in the palace are missing since 1947, and of several guest rooms. These were removed, all according to the provisions of the Prince’s will. The exhibition consists of an installation piece, an associative reconstruction of the vanished study on the first floor and the Prince’s bedchamber, emptied from their original contents soon after the Prince’s death 1947. The chambers are re-constructed as moving digital images based on C.G. Rosenberg’s pictures of 1947, and excerpts from the documentary ‘A Summer Day at Waldemarsudde’, shot by Lennart Bernadotte in 1943, in form of back-projections on silver screen walls, which makes it possible for a viewer to experience the imagery from the inside too. The projections are 3 x 4 m and the installation covers an area of some 500 m2. I recognise both these colleagues as contributors to the final result, in a inter-textual sense. Objects and furniture essential for the original rooms, are on lone from Stopalo AB Stockholm. These furniture are set in new unorthodox positions not unlike large assemblages. In the room Eat we meet a kitchen table, some dining room chairs from the 18th century, a couple of pheasants, an egg-box and an IKEA lamp from the 1970. In the room Work we find a desk from the 18th century, and early 19th century lamp and rake for a tennis court. In the room Rest we find a pair of riding boots, a gentleman’s hat-box, a chair, an electrified chandelier, and an finally a 18th century cast iron dolphin. The objects were presented on 18th century rugs.
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| 8. |
- Kihl, Emma, 1976-
(författare)
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A4-arket
- 2013
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Ingår i: OEI. - Stockholm. - 1404-5095. ; :62, s. 329-339
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 9. |
- Ozmin, Janek, 1975-, et al.
(författare)
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Atlantic City Genocide Memorial
- 2011
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Annan publikation (populärvet., debatt m.m.)abstract
- The proposed memorial site sits on the axis between the suburban fabric of the city, predominately existing to the west of Albany Avenue and the tourist and commercial centre of the city to the east. Building on the formal composition of the city the proposition situates itself on a north south axis with the existing World War I Memorial located in O'Donnell Park. Albany Avenue opens into Route 40 formed from the Oregon Trail navigating from Atlantic City, west to San Francisco.Visitors are presented with both the World War I Memorial and the Holocaust Memorial.The Genocide Memorial appears as a black Chamber in the Atlantic Ocean extending the city's fabric into the sea, connecting all continents through the moving waters of the ocean. Amongst the sand and removed from the sea a room, described as the Orientation Chamber, sits marking access from the boardwalk to the beach. As a result the memorial site expands beyond a bounded territory encompassing the city's formal layout, its boardwalk and its inherent natural and man made landscape.
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| 10. |
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