| 1. |
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| 2. |
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| 3. |
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| 4. |
- 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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| 5. |
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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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| 6. |
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Memories of a city
- 2017
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Ingår i: Memories of a city. - Göteborg : University of Gothenburg. - 1101-3303. - 9789188101037 ; , s. 8-16
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Presented at the international conference Challenge the past / diversify the future, the contributions collected herein deal with ways of challenging accepted historical representations of the City by offering modes of recollection and perspectives that capture both multi-sensory and multi-layered aspects of urban context. As such, they offer new empirically grounded research on the experiences of the inhabitants, both past and present, whether individually or as a collective. With a focus on the city as a space that is performed by a host of actants reaching across time through both materiality and memory, the authors critically address modes through which visual, audible, and multi-sensory representations can challenge, diversify or uproot conventions of urban representation. Four projects. Four takes on making representations of a city.
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| 7. |
- 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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| 8. |
- Caoduro, Elena, et al.
(författare)
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Documenting Fashion
- 2023
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- An original, rich and timely compendium on the relationship between fashion and the documentary moving image that explores the topic from a variety of disciplines, from film and media studies to design, communication, history and journalism." Monica Titton, University of Applied Arts, Vienna.
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| 9. |
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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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| 10. |
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| 11. |
- 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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| 12. |
- 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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| 13. |
- 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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| 14. |
- Florea, Ioana, 1981
(författare)
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Gazeta de Arta Politica : Political Art Gazette
- 2017
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Ingår i: Gazeta de Arta Politica. - 2559-6446. ; 5:18, 19
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Gazeta de Artă Politică discusses, analyzes and promotes the social and political dimension of the most diverse forms of cultural and artistic projects. G.A.P. aims at: • disclosing the political dimension of artistic objects, including those that do not explicitly assume it; • analyzing the potential impact of major cultural programs and public policies in the cultural sphere; • promoting artistic projects with emancipatory goals and contributing to the consolidation of an Eastern-European left-wing-oriented arts network; • elaborating a revolutionary artistic discourse and practice, from a local perspective.
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| 15. |
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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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| 16. |
- Fried, Alexandra, 1976, et al.
(författare)
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Konsthistoriepodden, avsnitt 15: Andy Warhol, Marilyn Monroe
- 2021
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Ingår i: Konsthistoriepodden. - : Acast. ; :15
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- I detta poddavsnitt talar vi om Andy Warhols fyra serigrafier ”Marilyn Monroe” från 1967, som finns på Göteborgs konstmuseum. Vi berättar mer om varför popkonsten skiljer sig så mycket från annan konst i sitt uttryck och formspråk, och hur det massmediala konsumtionssamhället som växte fram efter andra världskriget inspirerade popkonstnärer som Andy Warhol. Det är en tid då det enorma bildflödet i det offentliga rummet, som vi är så vana vid nuförtiden, precis tar fart och då konstnärer använder sig av de återkommande bilderna från underhållningsindustrin och reklamer för att kommentera på samhället och för att utplåna skillnaderna medan populärkultur och finkultur. Medan Andy Warhol hade full fokus att visa Monroe som en säljbar produkt från underhållningsindustrin, ser vi i detta poddavsnitt människan bakom motivet och berättar mer om den oerhörda personliga tragedin som Warhol, nästan omgående efter hennes självmord 1962, exploaterade ytterligare.
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| 17. |
- 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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| 18. |
- Mistry, Jyoti, 1970
(författare)
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Decolonising Film Education
- 2020
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Ingår i: Film Education Journal. - Scotland : SCOTTISH INTERNATIONAL FILM EDUCATION.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The discussion around how to develop curricula that are inclusive and reflexive of their historical and epistemic positions has grown in urgency. This is connected to discourses around the call for decolonising institutions, reconstituting teaching-learning frameworks and revitalising pedagogy, which draws from and includes multiple experiences and subjectivities present in the classroom. How then do we approach the necessity for revising received certainties of western knowledge paradigms and reference points to include histories, experiences and image-making practices that draw from multiple positions and perspectives? More significantly, images (and image-making) are increasingly central to modes of expressing research processes and outcomes across faculties and disciplines. Experiments in decolonising pedagogy implies that there are no given certainties of what decolonising might mean in image-making beyond its metaphoric meanings. The approach suggests working through historical and contemporary power relations in representations to encourage collaborative understandings of what the “decolonial” might be that advances active teaching-learning and encourages critical thinking which is central to the idea of critical pedagogy. More importantly how does this relate to the contemporary issues in film education where online platforms are increasingly central to education and exhibition (dissemination) of content. Drawing from the conference-workshop titled: Decolonising Pedagogy: Exploring processes in image-making as a case study this presentation provides some reflection on the implications of shifting paradigms and challenging received canons and addressing an integrated disciplinary approach to other (across) disciplines. This presentation will offer a set of conceptual possibilities gleaned not just from this particular workshop-conference but site some examples from visual methodologies framed by the BRICS (Brazil, Russia, India, China South Arica) geo-economic alliance film practice research. The ideas proposed in this presentation will further suggest that strategies for active learning implies not just a radical shift in pedagogic approaches but that the re-examination of the curriculum advances socio-political enquiry, affirming critical thinking by encouraging student engagement with curriculum (content) and the how (methods) of what is taught (not just the what (content) of the curriculum) is paramount to active learning.
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| 19. |
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| 20. |
- Tetzlaff, Andrew, et al.
(författare)
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Tintin Wulia: Secrets
- 2023
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Ingår i: Melbourne, RMIT Gallery, 5 Dec 2023 - 27 Jan 2024.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Tintin Wulia is an Indonesian Australian artist whose work reflects on globalisation and geopolitics and uses personal stories to unpick and lay them bare. For over 20 years she has researched the histories that have been told by the world’s dominant narrators, scrutinising their blindspots and systemic inequities and retelling them from nonconforming perspectives. Wulia’s recounting brings the past powerfully into the present and centres it on the voices of the periphery. Her works decode, reinterpret and represent history, orienting us to the current global situation in an effort to help collectively navigate towards a more socially just future.
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| 21. |
- Wulia, Tintin, 1972, et al.
(författare)
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Tintin Wulia: Disclosures
- 2024
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Ingår i: Jakarta, Baik Art, 10 Jan - 24 Feb 2024.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- “Tintin’s recent projects offers essential context, illuminating the interconnectedness between national happenings and the influence and complicity of external forces. They reveal how these forces have molded Indonesia’s modern history’s socio-political contours. In this way, her work establishes a dialogue between the personal and political, between hidden histories and communal memory, and between the banality of everyday life and the extraordinary events that shape it. This preoccupation can be seen across all of the works within this exhibition.” (Aaron Seeto, December 2023) BAIK ART Jakarta is pleased to present Tintin Wulia: Disclosures. Tintin Wulia is an Indonesian Australian artist whose work reflects on globalisation and geopolitics and uses personal stories to unpick and lay them bare. For over 20 years she has researched the histories that have been told by the world’s dominant narrators, scrutinising their blind spots and systemic inequities and retelling them from nonconforming perspectives. Tintin’s recounting brings the past powerfully into the present and centres it on the voices of the periphery. Her works decode, reinterpret and represent history, orienting us to the current global situation in an effort to help collectively navigate towards a more socially just future. Tintin Wulia: Disclosures is presented in parallel with Tintin Wulia: Secrets at RMIT Gallery, Melbourne. It is prepared in conjunction with Tintin’s artistic research project at the University of Gothenburg entitled Protocols of Killings: 1965, distance, and the ethics of future warfare, funded by the Swedish Research Council (2020-02828), and is co-supported by various institutions and collaborators.
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| 22. |
- Ulfsdotter, Boel, 1959, et al.
(författare)
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Introduction
- 2023
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Ingår i: Documenting Fashion / edited by Elena Caoduro, Boel Ulfsdotter. - Edinburgh : Edinburgh University Press. - 9781474476164 ; , s. 1-7
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Bokkapitel (refereegranskat)
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| 23. |
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| 24. |
- Foka, Anna, 1981-
(författare)
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The digital aesthetic in 'Atlantis: the evidence' (2010)
- 2018
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Ingår i: Ancient Greece on British television. - Edinburgh, Scotland : Edinburgh University Press. - 9781474412599 - 9781474412612 - 9781474412605 ; , s. 187-202
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Bokkapitel (refereegranskat)
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| 25. |
- Mäntymäki, Tiina, et al.
(författare)
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Introduction
- 2015
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Ingår i: Deviant Women. - Oxford : Peter Lang Publishing Group. - 9783653995923 ; , s. 9-25
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Bokkapitel (refereegranskat)abstract
- The construct of the deviant woman is analysed from literary, sociolinguistic and historical-cultural perspectives, revealing insights about cultures and societies. Furthermore, the studies recognise and explain the significance of the concept of deviance in relation to gender that bespeaks a contemporary cultural concern about narratives of femininity.
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| 26. |
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| 27. |
- Cappelen, Birgitta, 1962-, et al.
(författare)
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From designing objects to designing fields : from control to freedom
- 2003
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Ingår i: Digital Creativity. - 1462-6268 .- 1744-3806. ; 14:2, s. 74-90
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Tidskriftsartikel (refereegranskat)abstract
- In this paper we want to explore Field as a concept and as a metaphor for understanding interactive systems. By interactive systems we mean both systems and artworks, where the user by interacting changes the course of events. We intend to show why we need new terms and why we consider Field to be a fruitful concept and term. Further we will show how the Field concept changes both our understanding of what we do as designers and composers and how we acknowledge our audience. We will exemplify the design consequences of the Field concept by going through some design considerations we made when designing the audio tactile installation Mufi.
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| 28. |
- Fried, Alexandra, 1976, et al.
(författare)
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Konsthistoriepodden, avsnitt 5: Edward Hopper, Nighthawks
- 2020
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Ingår i: Acast. - Göteborg.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Denna vecka tar vi oss till New York på 1940-talet, när vi ska prata om Edward Hopper och hans mest välkända målning ”Nighthawks” från 1942. Vad inspirerade Hopper när han målade detta verk? Vad betyder ”Nighthawks”, som inte helt korrekt översattes till ”Nattugglor”, och varför heter målningen så? Och hur kom Edward Hopper med sin säregna stil att påverka filmskapare i Hollywood och deras filmfotografi? Vi ska också närma oss verket genom att lyfta samtidskontexten och konstnärens biografi, som inte är så välkända för oss i Europa.
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| 29. |
- Fried, Alexandra, 1976, et al.
(författare)
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Konsthistoriepodden, avsnitt 7: Jean-Michel Basquiat, Irony of Negro Policeman
- 2020
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Ingår i: Acast. - Göteborg.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Idag ska vi prata om den amerikanske konstnären Jean-Michel Basquiat och hans konstverk ”Irony of Negro Policeman” från 1981, vilket avspeglar rasismen, diskrimineringen och ojämlikheten, som då som nu tillhör vardagen för afroamerikaner i metropolen New York. Basquiats verk baserade sig på egna erfarenheter och upplevelser, men ofta även på vad han läste i böcker. Hur kan vi förstå kombinationen av bild och text i detta verk? Hur kom det sig att Basquiat blev en del av New Yorks jetset och hängde med konstnärer som Andy Warhol och popstjärnor som Madonna? Hur uppstod hypen kring Basquiat, både på 80-talet och i vår egen tid? Och hur blev han en av de få afroamerikanska konstnärerna som har fått en plats i den etablerade konsthistorieskrivningen? Veckans avsnitt är ett konsthistoriskt bidrag till människorättsrörelsen Black lives matter, som har engagerat så många människor i år.
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| 30. |
- Herlitz, Alexandra, 1978, et al.
(författare)
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Konsthistoriepodden, avsnitt 1: Jan Vermeer, Flicka med pärlörhänge
- 2020
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Ingår i: Acast. - Göteborg.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Vem är den mystiska och mytomspunna flickan som är avbildad i Jan Vermeers målning ”Flicka med pärlörhänge” från ca 1665? När blev målningen först omnämnd och vad hette den innan den så sent som på 1990-talet fick sitt nuvarande namn? Varför känner vi oss tilltalade av motivet? I dagens podd berättar vi de vedertagna historierna bakom ”Flicka med pärlörhänge”, men också om de nyaste forskningsresultaten som de tekniska undersökningarna i det holländska projektet ”The Girl in the Spotlight” har givit oss på sistone.
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| 31. |
- Herlitz, Alexandra, 1978, et al.
(författare)
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Konsthistoriepodden, avsnitt 19: Pablo Picasso, Guernica
- 2021
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Ingår i: Konsthistoriepodden. - : Acast. ; :19
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- På Museo Reina Sofía i Madrid får man beskåda Pablo Picassos enorma målning “Guernica” från 1937, som har blivit en av de starkaste skildringar av krigets fasansfulla våld och förödelse och som fortfarande är en laddad antikrigstavla. Redan 1936 hade Picasso fått uppdraget av den nyvalda republikanska regeringen att måla ett verk till den spanska paviljongen på världsutställningen 1937 i Paris och han hade redan en bildidé med titeln “Målare och modell”. Men efter att han läst i franska tidningen om den fruktansvärda bombningen mot den baskiska staden Guernica, förkastade han sin ursprungliga idé och började att arbeta med det nya motivet för målningen. Det spanska inbördeskriget hade härjat sedan 1936, när fascisterna med general Francisco Franco i spetsen genomförde en statskupp mot regeringen. Den 26 april 1937 vid halvfemtiden bombades staden Guernica av den tyska Kondorlegionen, som agerade som stöd för Franco och fascisterna. Uppdraget var kallblodigt. Guernica var inget militärt mål, utan man attackerade med mening den civila befolkningen. Det var marknadsdag i Guernica och 10 000 människor från regionen ska ha uppehållit sig i staden. För tyskarna var det en övning av en ny bombningstaktik som skulle skrämma motståndarna. Attacken varade i över tre timmar och de 24 flygplanen som dundrade in över den baskiska staden kastade nästan 22 000 kilo bomber över staden, som av den tyska befälhavaren uppgavs vara jämnad med marken efter bombningen. Staden sägs ha brunnit i 3 dagar och det är inte känt hur många människoliv denna terrorakt skördade. Det har uppskattats allt från några hundra till tusentals dödsoffer. Inom mindre än en månad arbetade Picasso fram den enorma duken på 3,49 x 7, 76 m som skapade stort uppseende på världsutställningen, där den visades tillsammans med dokumenterande fotografier från det spanska inbördeskriget.
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| 32. |
- Herlitz, Alexandra, 1978, et al.
(författare)
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Konsthistoriepodden, avsnitt 3: Gerhard Richter, Tante Marianne
- 2020
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Ingår i: Acast. - Göteborg.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Den tyske konstnären Gerhard Richter rankas år efter år som en av de dyraste levande konstnärerna i världen. I veckans avsnitt ska vi tala om hans målning ”Tante Marianne” från 1965. Vem är flickan med det försynta leende och den lilla bebisen som visas på målningen? Vilket fruktansvärt familjeöde döljer sig bakom den till synes harmlösa bilden? Och hur blev Gerhard Richter med sina symboliska och träffsäkra ”fotobilder” en av Tysklands viktigaste konstnärer?
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| 33. |
- Mistry, Jyoti
(författare)
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Cilect GEECT: Artistic Research and Film Practice
- 2020
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Ingår i: CILECT GEECT - European section of Association of International Film Schools.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Discussion on artistic research with regard to film practice. Contexts for artistic research in terms of research strategy and politics on how film universities can employ artistic research as a transdisciplinary field and the case studies across different institutions.
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| 34. |
- Alexander, Skantze
(författare)
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Trädgårdsmästare & arkitekter : att skriva från början eller skriva från slutet: prospektiva kontra retrospektiva filmmanuspraktiker
- 2020
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Bok (refereegranskat)abstract
- Det finns olika sätt att skapa ett filmmanus – skriva fritt från en spontan idé, eller mer planerat med ett bestämt slut i åtanke. Jag och tre andra manusförfattare skriver varsitt kortfilmsmanus med respektive metod. Jag intervjuar dem efteråt och för egen processdagbok, och jämför de olika manusen: vad har de olika metoderna för olika förlopp, och hur kan dessa skillnader förklaras?Utifrån en kritisk diskussion av olika manusmanualer, undersöker jag dessa prospektiva kontra retrospektiva skrivpraktiker med fokus dels på process och dels på resultat. Resultaten som kan användas både i manusförfattande samt i skrivundervisning.
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| 35. |
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| 36. |
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| 37. |
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| 38. |
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| 39. |
- Asgaard Andersen, Michael, 1973, et al.
(författare)
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Paradoxes of Appearing: Essays on art, architecture and philosophy
- 2009
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The book contains a collection of essays by scholars and artists from a range of different fields including art, art history, architectural theory and philosophy. The essays are based on papers given at a symposium in Copenhagen in June 2008 and refer to the following considerations: When spectators confront and designers invent works of art and architecture, vital questions regarding their appearance arise. These are not simply questions about what appears, also what does not, i.e. what withdraws when works are experienced and created. How do we cope with this withdrawal, with latencies that escape concretization? What are the productive paradoxes associated hereto and how do they influence the processes of making? Based on multiple discourses on these subjects, contemporary positions in art, architecture and philosophy draw up new challenges, especially with regard to the creative practices. Within and between these positions emerge potentials for modes of thinking and doing with a new sensitivity.With contributions by Michael Asgaard Andersen and Henrik Oxvig, Renaud Barbaras, Andrew Benjamin, Olafur Eliasson, Sanford Kwinter, David Leatherbarrow, Martin Seel, David Summers, and Sven-Olov Wallenstein.
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| 40. |
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Female Authorship and the Documentary Image: Theory, Practice and Aesthetics
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- This two volume set investigates the theoretical and practical framework that informs scholarship on documentary film that has hitherto neglected questions of gender and female authorship. It examines a wide array of documentary phenomena through global and transnational case studies and interviews. It also place a special emphasis on the nature of both individual and collective filmmaking and the ways in which these dynamics inform documentary work.
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| 41. |
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| 42. |
- Johnson, Marc
(författare)
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Dear Beloved Reader : 30% seminar lecture
- 2022
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Annan publikation (refereegranskat)abstract
- My 30% seminar is divided in 7 chapters.1. Labour of access2. Restricted by law3. Genealogical imagination4. We are cyborgs5. Plur1verse of genres6. Disclosure7. Future plansI have been conducting a series of experiments that all relate to finding ways to re-enact and re-enable an experience of the past in the present and into the future; excavating methods to repeat fragments of history whose importance might not have been fully understood or acknowledged.The seminar goes along the politics of access to the archive(s), artistic research strategies used, and the proposed ongoing works.I will be discussing with Jyoti Mistry (Professor of Film, Photography and Literary Composition Unit at the HDK-Valand - Academy of Art and Design, Gothenburg).
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| 43. |
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| 44. |
- Ranjan, Ram Krishna
(författare)
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Contracts of making, viewing and listening: Researching in and through films
- 2020
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Ingår i: International Journal of Film and Media Arts. - : Universidade Lusofona de Humanidades e Tecnologias. - 2183-9271. ; 5:2, GEECT Special Issue, s. 124-137
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Tidskriftsartikel (refereegranskat)abstract
- This paper tells the story of Contracts of making, viewing and listening, a 17-minute film that has emerged as part of my ongoing doctoral study in Artistic Research in Film. Taking the Bengal Famine of 1943 as a site-event, the doctoral research focuses on investigating and experimenting with epistemologies and ontologies of expressions emanating from a space of subalternity, especially Dalits. Contracts of making, viewing and listening can be seen as an artistic intervention into Satyajit Ray’s Distant Thunder – made in 1973, the film tells the story of effects of the Famine in rural Bengal through the eyes of a Brahmin couple. The artistic intervention was geared towards both critically reading the film from the lens of Dalit consciousness, and to explore ways of writing that critique in the language of the film itself. By retracing the journey of Contracts of making, viewing and listening, this paper focuses on how research is performed in and through the medium of film in this intervention, its multiple conceptual/material contingencies, and ultimately what it proposes in the context of artistic research.
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| 45. |
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Thresholds: Interwar Lens Media Cultures 1919–1939
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Perioden mellan 1919 och 1939 var en exceptionell tid för både fotografi och film. I denna antologi erbjuder framstående svenska och internationella forskare och experter nya perspektiv på mellankrigstidens linspraktiker. Thresholds undersöker film och fotografi via ett flertal olika spår där teknik, idéströmningar, grupper och individer står i fokus under mellankrigstidens formativa era. Texterna lyfter fram tidigare okänt material genom att presentera nya fallstudier och kritiska reflektioner kring linsmediernas roll för både samhällsbyggande och konstnärligt experimenterande i och utanför Europa. Boken är nära kopplad till utställningen "Det nya ögat", som visas på Hasselblad Center i Göteborg perioden maj–september 2021.
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| 46. |
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| 47. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Suriashi as Experimental Pilgrimage in Urban and Other Spaces
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This practice-led PhD-thesis draws on an existing Japanese movement practice called suriashi, which translates as sliding foot. Suriashi is a specific gender codified walking technique in classical Japanese dance and theatre, and an important method for acting on stage. It is one of the foundations for how the performer positions him/herself for movement on stage. My thesis asks whether suriashi could also be a method to act, as being active, or to activate, in other spaces outside the theatre. A key feature is the practical application of this artistic practice outside the theatrical contexts where it is usually located. This relocation brings a traditional form into new configurations, connecting to everyday practices and sites of resistance and performance. It also contributes to the burgeoning field of walking arts practice, bringing a Japanese dance-based practice into a dialogue with debates and practices of Western dancing and walking. The practice-led research includes suriashi walks, labelled as ‘experimental pilgrimages’, which are documented especially for the thesis. They have been captured on video and serve as material evidence of what kind of questions and answers suriashi as experimental pilgrimage activated. The video documentations, to which readers are guided to through specific links and timecodes, provide the possibility to experience suriashi walking both visually and corporeally. They also represent the artistic artefact and outcome of this practice-led research. The video capturing suriashi adds to an expanded perspective on screendance as durational artistic practice. The thesis shows how suriashi embodies ideologies, such as gender, as well as discussing how our presence in urban spaces is always gendered. Suriashi as a gendered technique provided a tool for walking with integrity - a flâneuse strategy - which led to the application of suriashi for political engagement through embodiment.
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| 48. |
- Thompson, Linda Maria, Lecturer, 1978-
(författare)
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(In)visible powers : witnessing the ‘tourist-waters’ of Nämforsen
- 2023
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Ingår i: Cultural Geographies. - : SAGE Publications. - 1474-4740 .- 1477-0881. ; 30:2, s. 325-332
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Tidskriftsartikel (refereegranskat)abstract
- This artistic research reflection explores Sweden’s legally-mandated ‘tourist-release’ at the Ångermanälven River’s storied site of Nämforsen. Against World Wars and calls for energy independence of the mid 1940s, the iconic Ångermanälven River was industrialised from a free-flowing salmon river to eventually a series of 44 dams and hydropower plants. Later, a unique environmental court legal judgement resulted in ‘tourist-water’ at Nämforsen that gives the illusion of a free-flowing river during summer months. Existing for solely aesthetic purposes, tourist-water is an unexplored example of the (in)visible powers perpetuating myths associated with hydropower and place in Sweden. Through text and images, this piece reflects on witnessing this tourist-water phenomena through place-based documentary arts practice. The fieldwork is part of a doctoral project in artistic practice focusing on how photography can mediate complex issues in places of environmental change through the case of Nämforsen. Strategies such as framing, time-scaling and montage have emerged from this practice at the same time as ethical concerns related to representation are raised. This case is especially pertinent as hydropower in Sweden comes under increased scrutiny, simultaneously as it is marketed as a sustainable energy solution. The piece furthermore highlights the lasting implications of conservation efforts centred historically on aesthetic rather than ecologic values.
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| 49. |
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Transcultural Identity Constructions in a Changing World
- 2016
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- This volume takes a broad outlook on the concept of transculturality. Contributions from 19 authors and specialists, of almost as many diverse origins, grapple with this concept, each in their own way. How can transculturality be described? How can it help us understand our world? Many of the chapters deal with literary texts, others with the stories told in movies, drama, and visual art. There are texts about the complexity of the European Burqa-Ban debate, the negative aspects of Portuguese multiculturalism, or the border-crossing experiences of Filipino immigrants in Ireland. Several chapters examine stereotypes, the idea of movement, the dissolution of cultural borders, or the nature of bilingual writing. It is a unique contribution to the field, on a virtually global scale.
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| 50. |
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