| 1. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Walking in Suriashi as a Radical and Critical Art of Inquiry
- 2023
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Ingår i: Walking as Critical Inquiry. - Cham : Springer. - 9783031299902 - 9783031299919 ; , s. 151-173
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Bokkapitel (refereegranskat)abstract
- This chapter contributes to the discussion on moving in and through site-specific and urban space; at the cusp between higher dance education and everyday life, creating a post-Certauian tear through space and time as a call for agency. It draws from my Ph.D. research Suriashi as Experimental Pilgrimage in Urban and Other Spaces, where I propose an experience of society from within a Japanese 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. Gender is constructed physically through the positioning and moulding of the body. The original practice is performed in the dance studio or on stage. My research asks whether suriashi also could be a method for agency to act, as being active, or to activate, and temporally alter spaces outside the theatre; i.e. the practical application of this artistic practice outside the theatrical context. 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. Suriashi performed in urban spaces was able to unfold and identify new relations between aesthetic practice and politics, between movements and monuments in the city as a way to critique the unequal distribution of power, and by looking for new ways to protest/resist peacefully. I assess this from three of my many experiments with slow suriashi walkings. The first one is Suriashi Intervention, performed at Gothenburg Culture Festival in August 2016. This experiment did two things: it engendered the city’s unacknowledged dance archive, while performing critique of the unequal distribution of funding of the arts. The second experiment is an ‘invisible’ suriashi performed by the then Hong Kong-based scholar Ching-yuen Cheung during the violent protests at Yuen Long Station in Hong Kong in July 2019. It showed how artistic methods are necessary when democracy collapses. The third experiment regards introducing suriashi as methodology to master students of Contemporary Performative Arts at University of Gothenburg. Here, suriashi unveiled important issues regarding art in urban spaces, necessary for the art student. To further contextualize, I interlace my arguments through positionings by sociologist Doreen Massey.
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| 2. |
- Wikström, Josefine, 1983-
(författare)
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A Critique of Capitalism : The Mediation of Abstract Labour in Yvonne Rainers Task Dance
- 2019
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Ingår i: PARSE Journal. - Gothenburg : University of Gothenburg. - 2002-0953. ; :9
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Tidskriftsartikel (refereegranskat)abstract
- Art’s primary function, at least for a certain tradition of thinking, is to criticize capitalist society. But what in capitalism should be criticized? And how can art perform such a critique? Taking these questions as its staring point this article argues for three things mainly. First, by expanding on Frankfurt School thinker Theodor Adorno’s form theory, that art primarily should criticize capitalism through its form, understood as “sedimented content.” Secondly, taking Marx’s term abstract labour and the way it has been further theorized by contemporary thinkers such as Moishe Postone and Chris Arthur, that abstract labour is the main mediating social form of capitalism and therefore should be the main focus for critique. Finally that art can only negate the social form of abstract labour though its own form. These arguments are being discussed through American choreographer Yvonne Rainer’s (1934-) work, which can be categorised as “task-dance”, an artistic strategy that developed in the late 1950s and early 1960s by choreographers Anna Halprin, Simone Forti and Rainer. Through Adorno’s understanding of form, I argue that Rainer’s early task-dance works criticise capitalism at the level of form rather than at the level of representation.
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| 3. |
- Wikström, Josefine, 1983-
(författare)
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Konst, samhälle och teknologi hos Adorno
- 2020
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Ingår i: Paletten: tidskrift för konst. - Göteborg : Stiftelsen Paletten. - 0031-0352. ; 320, s. 18-22
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 4. |
- Ghoul, Nayef, 1992-
(författare)
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Ghorba : Homesickness
- 2022
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Annan publikation (film/video) (populärvet., debatt m.m.)abstract
- Ghorba is a video essay for my reaserch work I made during my two years in Stockholm Univeristy of the arts. Ghorba wich means homesickness or search for a home or place and can also be used in terms for describing the life in exile. It´s a word where many people with northafrican descent use to descibe their situation for the new life in the new settlement. In my work Ghorba Im trying to discover my existence in where I belong. I do it by following some questions behind my rescent projects and some film archive I found.
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| 5. |
- 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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| 6. |
- Wikström, Josefine, 1983-
(författare)
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Från Paris till Abu-Dabi : Om konstens nya villkor
- 2018
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Ingår i: Paletten: Tidskrift för konst. - Göteborg : Stiftelsen Paletten. - 0031-0352. ; 309, s. 32-35
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 7. |
- Wikström, Josefine, 1983-
(författare)
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Interest in the Body : Art, Autonomy and Natural Beauty in Adorno
- 2021
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Ingår i: Critical Theory. - Stockholm : Södertörns högskola. - 9789189109353 - 9789189109360
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Bokkapitel (refereegranskat)abstract
- The aim of this essay is to elucidate the dialectical relation between Adorno’s concept of art and that of natural beauty. The purpose is also to ask what function natural beauty has in Adorno’s overall concept of art and what this may indicate about the role of natural beauty and art today. I will begin by looking into Adorno’s concept of art and above all what he understands as the autonomy of art. I will then show how this relates to what Adorno conceptualises as natural beauty and how this is inseparable from the autonomy of art. This will lead to the following conclusion, namely that what art takes from nature is the separation—its form—rather than its beauty, what Adorno calls “natural beauty as such”. I will then connect this separation to the most central separation in contemporary capitalism, namely the separation or abstraction of the human from her labour as well as from her own body. My argument here is that art, if it wants to say something about nature needs to take this mediation of abstract labour into account as a new mediation. Towards the end of the chapter I discuss what this might mean for the role of dance and performance within contemporary art today.
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| 8. |
- Wikström, Josefine, 1983-
(författare)
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Politisk konst eller post-politisk politik
- 2015
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Ingår i: Paletten: Tidsskrift för konst. - Göteborg. - 0031-0352. ; :300, s. 12-14
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 9. |
- Wikström, Josefine, 1983-, et al.
(författare)
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Reproduktion : Reproduktion och kritik
- 2020
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Ingår i: Glänta. - Göteborg : Glänta produktion. - 1104-5205. ; :1-2, s. 98-105
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 10. |
- Wikström, Josefine, 1983-
(författare)
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When the Object and Praxis Meet
- 2017
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Ingår i: Paletten Art Journal. - Gothenburg : Stiftelsen Paletten. - 0031-0352. ; 307-308, s. 48-53
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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