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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 7 of 7 (0.018 seconds)Spelling suggestions: "subject:"eyvind"" "subject:"gevind""
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Mapas dissidentes: proposições sobre um mundo em crise (1960-2010) / Dissenting maps: propositions on a world in crisis (1960-2010)Mesquita, André Luiz 21 February 2014 (has links)
Esta tese é uma investigação sobre um conjunto de mapas e diagramas produzidos por artistas e ativistas entre as décadas de 1960 e 2010, a partir de diferentes contextos de transformação social, política e econômica em momentos de crise, de conflito e de formas potenciais de resistência. Através de documentos como catálogos, manifestos, artigos, fotografias, documentários, obras de arte, reproduções de mapas e entrevistas, a pesquisa realiza uma análise sobre esse conjunto de mapeamentos desenvolvidos por três gerações de artistas. No primeiro capítulo, este trabalho examina os jogos e mapas realizados nos anos 1960 e 1970 pelo sueco-brasileiro Öyvind Fahlström (1928-1976) durante as tensões geopolíticas da Guerra Fria (1947-1991) e as mudanças estruturais e organizacionais do capitalismo global na década de 1970. No segundo capítulo, a tese discute a obra do norte-americano Mark Lombardi (1951- 2000), artista que, durante a década de 1990, procurou mapear com suas estruturas narrativas redes internacionais de poder e transações financeiras obscuras envolvendo bancos, governos e elites dominantes da sociedade neoliberal. O terceiro capítulo trata das práticas de contracartografia conduzidas entre os anos 1990 e 2010 pelos coletivos de arte ativista Bureau dÉtudes (França), Counter-Cartographies Collective (Estados Unidos) e Iconoclasistas (Argentina). Com base nas articulações entre arte contemporânea, ativismo político e cartografia crítica, a tese considera que os mapeamentos realizados por esses artistas-ativistas trazem experiências importantes de produção de conhecimento e contribuem para a visualização das relações de poder no mundo contemporâneo, opondo-se também aos mapas supostamente imparciais, objetivos e naturalizantes do mundo guiados por interesses corporativos, militares e governamentais. / This thesis is an investigation on a series of maps and diagrams produced by artists and activists between the 1960s and the 2010s, in different social, political and economical contexts of change and crisis, conflict and potential forms of resistance. Through the analysis of documents, catalogs, manifestos, articles, photographs, documentaries, art works, reproductions of maps and interviews, the research approaches mappings developed by three generations of artists. The first chapter examines the games and maps created in the 1960s and 70s by the Swedish- Brazilian artist Öyvind Fahlström (1928-1976), during the geopolitical tensions of the Cold War (1947-1991) and the structural and organizational changes in global capitalism in the 1970s. The second chapter discusses the works of the American artist Mark Lombardi (1951-2000), who, during the 1990s, has tried to map international power networks and obscure financial transactions involving banks, governments, and neoliberal elites, using narrative structures. The third chapter addresses counter-cartography practices developed between the 1990s and 2010s by activist art collectives Bureau dÉtudes (France), Counter-Cartographies Collective (United States) and Iconoclasistas (Argentina). Based on the interrelations between contemporary art, political activism and critical cartography, the thesis considers that the mappings produced by this activists-artists are important experiences of producing knowledge and visualizing power relations in the contemporary world, creating an opposition to supposedly neutral and objective maps created according to corporate, governmental and military interests.
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Mapas dissidentes: proposições sobre um mundo em crise (1960-2010) / Dissenting maps: propositions on a world in crisis (1960-2010)André Luiz Mesquita 21 February 2014 (has links)
Esta tese é uma investigação sobre um conjunto de mapas e diagramas produzidos por artistas e ativistas entre as décadas de 1960 e 2010, a partir de diferentes contextos de transformação social, política e econômica em momentos de crise, de conflito e de formas potenciais de resistência. Através de documentos como catálogos, manifestos, artigos, fotografias, documentários, obras de arte, reproduções de mapas e entrevistas, a pesquisa realiza uma análise sobre esse conjunto de mapeamentos desenvolvidos por três gerações de artistas. No primeiro capítulo, este trabalho examina os jogos e mapas realizados nos anos 1960 e 1970 pelo sueco-brasileiro Öyvind Fahlström (1928-1976) durante as tensões geopolíticas da Guerra Fria (1947-1991) e as mudanças estruturais e organizacionais do capitalismo global na década de 1970. No segundo capítulo, a tese discute a obra do norte-americano Mark Lombardi (1951- 2000), artista que, durante a década de 1990, procurou mapear com suas estruturas narrativas redes internacionais de poder e transações financeiras obscuras envolvendo bancos, governos e elites dominantes da sociedade neoliberal. O terceiro capítulo trata das práticas de contracartografia conduzidas entre os anos 1990 e 2010 pelos coletivos de arte ativista Bureau dÉtudes (França), Counter-Cartographies Collective (Estados Unidos) e Iconoclasistas (Argentina). Com base nas articulações entre arte contemporânea, ativismo político e cartografia crítica, a tese considera que os mapeamentos realizados por esses artistas-ativistas trazem experiências importantes de produção de conhecimento e contribuem para a visualização das relações de poder no mundo contemporâneo, opondo-se também aos mapas supostamente imparciais, objetivos e naturalizantes do mundo guiados por interesses corporativos, militares e governamentais. / This thesis is an investigation on a series of maps and diagrams produced by artists and activists between the 1960s and the 2010s, in different social, political and economical contexts of change and crisis, conflict and potential forms of resistance. Through the analysis of documents, catalogs, manifestos, articles, photographs, documentaries, art works, reproductions of maps and interviews, the research approaches mappings developed by three generations of artists. The first chapter examines the games and maps created in the 1960s and 70s by the Swedish- Brazilian artist Öyvind Fahlström (1928-1976), during the geopolitical tensions of the Cold War (1947-1991) and the structural and organizational changes in global capitalism in the 1970s. The second chapter discusses the works of the American artist Mark Lombardi (1951-2000), who, during the 1990s, has tried to map international power networks and obscure financial transactions involving banks, governments, and neoliberal elites, using narrative structures. The third chapter addresses counter-cartography practices developed between the 1990s and 2010s by activist art collectives Bureau dÉtudes (France), Counter-Cartographies Collective (United States) and Iconoclasistas (Argentina). Based on the interrelations between contemporary art, political activism and critical cartography, the thesis considers that the mappings produced by this activists-artists are important experiences of producing knowledge and visualizing power relations in the contemporary world, creating an opposition to supposedly neutral and objective maps created according to corporate, governmental and military interests.
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Öyvind Fahlström i översättning : Historieskrivning på Moderna Museet genom exemplet Manipulera världen – Aktivera Öyvind Fahlström / Öyvind Fahlström in Translation : History writing at Moderna Museet through the example Manipulate the World – Connecting Öyvind FahlströmHöglund, Moa January 2019 (has links)
Öyvind Fahlström in translation aims to examine how Moderna Museet interpreted Öyvind Fahlström in Manipulate the World – Connecting Öyvind Fahlström; an exhibition that showcased pieces by the postwar artist Öyvind Fahlström together with works by contemporary artists. I understand the exhibition as a ’game of translation’, in which the artworks and the texts connected to Manipulate the World are put in play with previous interpretations of the artist. ’Game of translation’ is a concept that draws on Fahlström’s concept of game, as well as Mieke Bal’s and Susan Sontag’s different understandings on the power dynamics of interpretation. As in the works by Fahlström, Bal and Sontag, the viewer and her interpretations are placed in center of my analysis. Manipulate the world aimed to ’activate’ Fahlström. Even though the exhibition presented Fahlström as an artist who tried to actively disrupt established narratives, I concluded that the translation of Fahlström presented in and as the exhibition relied heavily on the established history of that same artist. Within the framework of that history, Manipulate the world presented two relatively new readings of Fahlström’s art: they highlighted the presence of colonial and postcolonial criticism in Fahlström’s production and launched an understanding of the artist’s variable paintings as political models.
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Att måla med ord : En analys av Bengt Emil Johnsons användning av orden som visuellt medel i verket "Omkoppling. (Till Öyvind Fahlström.)"Nordström, Joel January 2007 (has links)
No description available.
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Att måla med ord : En analys av Bengt Emil Johnsons användning av orden som visuellt medel i verket "Omkoppling. (Till Öyvind Fahlström.)"Nordström, Joel January 2007 (has links)
No description available.
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Konst och kartläggning kring 1970 : Modell, diagram och karta i konstens landskap / Art and Mapping around the year of 1970 : Maps, Models, and Diagrams in the Artistic LandscapeUggla, Karolina January 2015 (has links)
The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method. In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s. The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations. The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping. In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image.
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Barbro Östlihn och New York : Konstens rum och möjligheterÖhrner, Annika January 2010 (has links)
The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.
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