| 1. |
|
|
| 2. |
|
|
| 3. |
- Persson, Beatrice, 1963
(author)
-
Bildning i Bildsamhället, Filosofiska rummet
- 2018
-
In: Sveriges Radio, P1, Filosofiska rummet.
-
Other publication (other academic/artistic)abstract
- Det sägs behövas mer än tusen ord för att beskriva en effektiv bild. Tänk då hur mycket text som skulle gå åt för de uppemot 20 000 bilder som vi bombarderas av dagligen i vår visuella värld! – Bilder, inte minst rörliga, tycks oerhört mycket mer effektiva än text för att förmedla viss information, kanske särskilt känslor. Enligt Ruben går filmens budskap rakt in i oss utan att processas mentalt på det sätt som sker när man läser en text. För ungdomar är det roligare att leka med de känslospäckade rörliga bilderna än med text, påpekar Beatrice. Frida å sin sida framhåller att vi måste tänka på hur de arrangerade, idealiserade bilderna på till exempel Instagram påverkar dagens ungdom: I ett textsamhälle kan man förmedla sig med sitt intellekt, medan man i ett bildsamhälle hela tiden måste använda kroppen och ansiktet. Samtal mellan filmaren Ruben Östlund, konstteoretikern Beatrice Persson samt serietecknaren och psykologen Frida Malmgren, under ledning av Lars Mogensen. Producent: Thomas Lunderquist.
|
|
| 4. |
- Persson, Beatrice, 1963, et al.
(author)
-
Challenging Norms through Intersectional Perscetives, Artistic Exploration, and Norm-critical Pedagogy
- 2018
-
In: Art-Based Education: An Ethics and Politics of Relation. - Gothenburg : HDK - Academy of Design and Crafts, University of Gothenburg. - 9789198061864 ; , s. 149-164
-
Book chapter (other academic/artistic)abstract
- This paper originates from a university course at the Art Teacher program in Gothenburg, where we challenge norms through intersectional analyze and norm critical pedagogy in focusing on the processes where norms create and maintain hierarchical difference. For us this means that we challenge the students through proposing the question: what does it mean to be human today? Exposing them to contemporary art, postcolonial theory and interculturality in close encounter with the unknown. In workshops, artistic explorations, theoretical discussions and essay writing we force students to identify and analyze the connection between art and life. This is a conscious course of actions in trying to situate students in a painful position. A painful position is where the normal and safe begins to crack, when the protection of oneself becomes a hindrance, revealing one’s prejudices. In the painful position we are exposed to our self, forced to become aware of one’s actions of maintaining power structures and traditions. In order to convince students to come to rest in the painful position we try to create a climate for communication where different voices are allowed to speak and be heard, and various lived experiences can exist without judgement. This is a space for communication that is explorative, where contradictions are advocated, creating opportunities to rethink, evaluate and come to terms with strategies for negotiation.
|
|
| 5. |
- Persson, Beatrice, 1963, et al.
(author)
-
Challenging norms through intersectional perspectives, artistic exploration and norm-critical pedagogy : Challenging norms through artistic exploration, norm criticality and pedagogy
- 2017
-
In: InSEA 2017, The 35th World Congress of the Int'l Society for Education Through Art: Spirit/Art/Digital.
-
Conference paper (other academic/artistic)abstract
- To challenge the norms through norm critical pedagogy is to focus on the processes where norms create and maintain hierarchical difference. For us this means that we challenge the students through proposing the question: what does it mean to be human today? Exposing them to contemporary art, postcolonial theory and interculturality in close encounter with the unknown. In workshops, artistic explorations, theoretical discussions and essay writing we force students to identify and analyse the connection between art and life. This is a consious course of actions in trying to situate students in a painful position. A painful position is where the normal and safe begins to crack, when the protection of oneself becomes a hindrance, revealing ones predjudices. In the painful position we are exposed to ourself, forced to become aware of ones actions of maintaining power structures and traditions. In order to convince students to come to rest in the painful position we try to create a climate for communication where different voices are allowed to speak and be heard, and various lived exeperinces can exist without judgement. This is a space for communication that is explorative, where contradictions is advocated, creating opportunities to rethink, evaluate and come to terms with strategies for negotiation. The climate should also cater for an insight of the importance of emotions and affect in relation to the unknown. This unknown which is created through artistic representation processes is autonomous and norm critical. It is a way to see beyond the obvious, to discover hidden patterns in oneself, to see past the surface into our conceptions of the world, where prejudices and beliefs are viable. Artistic exploration and representation processes has many points of contact with processes within norm critical pedagogy, which means that art in schools and society creates important spaces which gives us all a place to practice and approach that which we not yet understand.
|
|
| 6. |
- Persson, Beatrice, 1963
(author)
-
Hospitality within the inclusive arts intervention River of Light
- 2018
-
In: NORDIK XII, No Title, 24-27/10-2018, University of Copenhagen.
-
Conference paper (other academic/artistic)abstract
- Internationally and in Sweden there are many artworks dealing with the global migration/refugee crisis. For instance, Ai Weiwei’s works at the Sydney Biennale 2018, all of them advocating for refugee’s human rights. These are artworks dealing with the traumatic conditions and experiences migrants are exposed to on their way to Europe. Upon arrival refugees face new challenges in terms of how they are being welcomed, the possibilities to be integrated, and exposure to segregation. This is something the inclusive arts intervention River of Light want to address. Located in Gothenburg, created by Behjat Omer Abdulla and Denise Langridge Mellion, River of Light enables meeting points for new arrivals in Sweden. In lantern-making workshops at locations such as the Red Cross, cultural schools and Academy of Design and Crafts, lanterns are built out of bamboo and silk paper, later to be carried in a torch train on the World Day of Social Justice. This is an art intervention created out of the belief that art can be used as a tool to accelerate the process of integration, especially amongst unaccompanied minors. This is also a project that works according to Derrida’s notions on the double law of hospitality, “the unconditional law of unlimited hospitality’ and ‘the laws of hospitality.” (Derrida, 2015) Laws that sums up the ethics of hospitality defined as an unconditional welcome which nonetheless must become conditional in order to function. However, River of Light works only according to pure hospitality “… welcoming whoever arrives before imposing any conditions on him, before knowing and asking anything at all, be it a name or an identity ‘paper’.” (Derrida, 2005)
|
|
| 7. |
- Persson, Beatrice, 1963
(author)
-
How an Art Intervention can be used to accelerate integration and the sense of place affiliation.
- 2019
-
In: MAKING INSEA 2019, University of British Columbia, Vancouver, Canada.
-
Conference paper (other academic/artistic)abstract
- Since the spring of 2015 the European shores of the Mediterranean have faced a huge amount of stranded refugees. Dead and living, they float ashore in thousands creating what is now known as the European refugee crisis. The naming of this crisis operate according to Nicholas De Genova ”as a device for the authorization of exceptional or emergency governmental measures toward the ends of enhanced and expanded border enforcement and immigration policing” (de Genova, 2017). This is the backdrop for a survey into the interactive art intervention River of Light, and the their creation of meeting points which are designed to accelerate the process of integration for newly arrivals in Sweden. Through lantern-making workshops at locations such as the refugee Camp Restad Gård, the Red Cross and cultural schools, I am investigating the position of Rancière’s ”universal teaching.” A teaching relying on mutual learning and the conviction ”that each ignorant person could become for another ignorant person the master who would reveal to him his intellectual power.” (Rancière, 1991) This is also a project working with Derrida’s double law of hospitality, and foremost his notions on pure hospitality “welcoming whoever arrives before imposing any conditions on him,” which contradicts the enhanced and expanded border enforcement and immigration policing. (Derrida, 2005 & 2000)
|
|
| 8. |
- Persson, Beatrice, 1963
(author)
-
In-between: Contemporary Art in Australia
- 2008
-
In: Comité International d'Histoire de l'Art 2008, Melbourne Australia, "Crossing Cultures".
-
Conference paper (other academic/artistic)abstract
- There is little knowledge on Contemporary Australian Art in Sweden. In order to build a foundation for the Swedish reader, the dissertation is therefore starting with an introduction, looking into the Australian Art History, written in the shape of a short outline of the exhibitions Australia presented in America, Europe and Australia during the bicentenary year of 1988. The dissertation is then continuing into two parallel tracks, i) An inquiry into how Aboriginal art fell under the spell of fine art. ii) An inquiry into the term Contemporaneity. Resulting in a final inquiry into, iii) Contemporaneity’s effects on the contemporary Australian art scene. In Australia Aboriginal art is looked upon as contemporary art and has been for a long time. This is not the case in Sweden, where Aboriginal art often is regarded as ethnographic artefacts, exhibited in ethnographic museums, an issue poorly discussed. In order to understand why this is, the dissertation is conducting an investigation into the history of how Aboriginal art came to be categorised as fine art, looking into the dichotomy: anthropology – art history, and the emergence of a market. In a time when a wide body of theoretical literature have, and still is developing around this topic, such as Howard Morphy’s forthcoming book Becoming Art: Exploring Cross-Cultural Categories, I find it interesting to look into the progress’ that has been made, but also to juxtapose the vast amount of writing that has been done in this field, and to discuss the Western world’s notions of the concept art, and why excluding categorisations still are valid. In order to compare European thoughts on the topic, I travelled to Paris and Musée du quai Branly to do inquires into how France is dealing with those issues, and to see with my own eyes how the art from Aboriginal Australia is presented. Bringing this knowledge back to Australia, continuing in a discussion of how Australia has experienced their participation in Musée du quai Branly. When the ground is established for an Aboriginal art being contemporary the dissertation is moving towards the second track, and the term Contemporaneity. Starting with a deconstruction of the concept, using Terry Smith’s writing on the subject, and hopefully the forthcoming book Antinomies of Art and Culture: Modernity, Postmodernity and Contemporaneity, (Eds.) Nancy Condee, Okwui Enwezor and Terry Smith, as well as this conference’s Session: Contemporaneity in art and its history across cultures. Aiming to discuss the concepts of time and place in a cross-cultural world, and Contemporaneity’s possibility of being forward looking. Continuing with an experiment, inserting Australian contemporary works of art into the concept of contemporaneity and finally interpret the outcome.
|
|
| 9. |
- Persson, Beatrice, 1963
(author)
-
In-Between: Contemporary Art in Australia. Cross-culture, Contemporaneity, Globalization
- 2011
-
Doctoral thesis (other academic/artistic)abstract
- This study emerges from the question: what is contemporary art, and mainly what criteria constitute contemporary art in a globalized art world in general? Thus, the focus of this dissertation is on the postcolonial context of Australia and the fact that the contemporary art scene in Australia is divided into Australian and Aboriginal art respectively. This is a division originating from the colonization of Australia that began in the 1770’s, resulting in an Australian art descending from a Western art practice, where there is further focus on two categories within this art. The first category is a so-called “young” Australian art created by young artists who are returning to skills of, for instance, woodcarving and bronze casting, emphasizing the techniques of creation, and the finish of the surfaces in a do-it-yourself-aesthetic. The second category is called Asian-Australian art, featuring diaspora artists, a category pointing to the fact that Australia is situated in the Asia-Pacific region and has a large Asian population. Aboriginal art, on the other hand, is regarded to be an unbroken tradition dating back some 40,000 years, featuring art created by indigenous artists living on ancestral land in remote communities, often being called traditional Aboriginal art, and city-based Aboriginal art produced by indigenous artists who have grown up and are living in Australian cities and have been educated in Western art schools. These four categories are represented by four artists whose artworks are analysed and interpreted from a cultural semiotic point of view in order to be used in practical examinations of the viability of the two theoretical concepts cross-culture and contemporaneity, as well as an investigation of whether the contemporary global art scene is truly global or still tends to emanate from a Western perspective. In this context the concept of cross-culture is examined through the history of how primitive art and primitive artists, and non-Western art and artists in general, have been apprehended, indicating that the crossing of cultures, making transformations and influences possible in the arts, have taken place from a Western perspective, thus demonstrating power relations deriving from colonization. Contemporaneity should be understood as an inquiry into how various artistic expressions with different time conceptions appear when produced simultaneously in different, closely connected, yet mutually incomparable cultures. This is art that communicates across the divide between cultures and as such grasps the driving spirit of the contemporary.
|
|
| 10. |
|
|
