| 1. |
- 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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| 2. |
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| 3. |
- Zetterman, Eva, 1957
(författare)
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The U.S.-Mexico Border in Visual Art by Chicanas/os: Transcending National Barriers of Cultural Heritage
- 2020
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Ingår i: New Approach to Cultural Heritage: Profiling Discourse Across Borders. Eds. Cheng Le, Yang Jianping, Cai Jianming. - Hangzhou : Zhejiang University Press. - 9787308204354 ; , s. 431-466
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This chapter investigates contemporary visual art in the USA by Chicanas/os in which the U.S.-Mexico border is the common denominator. The aims of the investigating are: 1) how references to the border are expressed in different ways, 2) how different kinds of references to the border imply expressions that transcend conceptions of the U.S.-Mexico border as a dividing barrier, and 3) how various conceptualizations of the border bring forth understandings of a bi-national/transcultural heritage that reach across the border and into its both sides. By applying a combination of content analysis, visual semiotics and social semiotics and drawing from border history and the concept borderlands, a found selection of 30 artworks in different material and techniques are organized into five thematic clusters. These clusters of visual themes and conceptualizations of the border reveal that: 1) a continuity with the past is created through polyvalent visual signs and symbols that adjust themselves to the theme of any composition, and 2) that temporal and spatial links between colonial pasts, U.S.-Mexico border history and present conditions in the borderlands bring forth visual expressions of a bi-national/transcultural heritage that transcend and challenge the U.S.-Mexico border as a national barrier of cultural heritage.
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| 4. |
- Zetterman, Eva, 1957
(författare)
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The U.S.-Mexico Border in Visual Art by Chicanas/os: Transcending National Barriers of Cultural Heritage
- 2021
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Ingår i: New Approach to Cultural Heritage: Profiling Discourse Across Borders / editors : Le Cheng, Jianping Yang, Jianming Cai. - Singapore : Springer. - 9789811652240 ; , s. 307-335
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Bokkapitel (refereegranskat)abstract
- This chapter investigates contemporary visual art in the USA by Chicanas/os in which the U.S.-Mexico border is the common denominator. The aims of the investigation are: (1) how references to the border are expressed in different ways, (2) how different kinds of references to the border imply expressions that transcend conceptions of the U.S.-Mexico border as a dividing barrier, and (3) how various conceptualizations of the border bring forth understandings of a bina- tional/transcultural heritage that reach across the border and into its both sides. By applying a combination of content analysis, visual semiotics, and social semiotics and drawing from border history and the concept borderlands, a found selection of 30 artworks in different materials and techniques is organized into five thematic clus- ters. These clusters of visual themes and conceptualizations of the border reveal that: (1) a continuity with the past is created through polyvalent visual signs and symbols that adjust themselves to the theme of any composition and (2) temporal and spatial links between colonial pasts, U.S.-Mexico border history, and present conditions in the borderlands bring forth visual expressions of a binational/transcultural heritage that transcend and challenge the U.S.-Mexico border as a national barrier of cultural heritage.
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| 5. |
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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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| 6. |
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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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| 7. |
- Leach, Maddie, 1970
(författare)
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Engaging with Place: Ruin, Memory, Regeneration : Att hämta vatten – The Fountain: An art-technological social drama
- 2022
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Ingår i: The Curatorial Thing: Audacious Landscapes. - Copenhagen, Denmark : SixtyEight Art Institute.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- AUDACIOUS LANDSCAPES took place in Copenhagen 1 – 8 October 2022, with workshops and lectures led by invited culture, science, and technology professionals. The symposium's goal was to move participants’ thinking from art histories of grief to imaginative proto-histories of thriving in profoundly changed ecosystems and to move critical inquiry from a modernising to an ecologising mindset. The aim was to find a triad of art histories, climate narratives, and innovative spatial-natural theories that could enable a new climate art history. The paper ´Att hämta vatten – The Fountain: An art-technological social drama' was presented as part of a panel with the theme of Engaging with Place: Ruin, Memory, Regeneration.
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| 8. |
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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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| 9. |
- Cabak Rédei, Anna, et al.
(författare)
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Seeing different motifs in one picture : Identifying ambiguous figures in South Scandinavian Bronze Age rock art
- 2020
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Ingår i: Cogent Arts & Humanities. - : Informa UK Limited. - 2331-1983. ; 7:1
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Tidskriftsartikel (refereegranskat)abstract
- Ambiguous figures, as described in visual perceptual psychology, are single pictures that contain several possible, mutually exclusive, motifs. Some specific cases of images in South Scandinavian Bronze Age rock art can be fruitfully analysed as ambiguous figures. Furthermore, we argue that these images represent some sort of narrativity, which needs to be understood in order to make a perceptual switch between different motifs in one picture. Using a semiotic approach, we describe the experiential requirements on the perceiver for seeing the different motifs, which differ in their iconic complexity.
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| 10. |
- 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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