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An essay using philosophical and poetic language to describe the process of the Henriksberg industrial area, about to be demolished in Stockholm. When buying or establishing a home. What are we looking for? A place to live, eat and sleep? In a mine you dig for metals or minerals underneath the surface of the earth, when extracted they will later be refined into products. Moving from the ground to the surface, translating meaning and purpose. In a city we have invisible powers, refining value from land. An alchemical process is activated in city planning, using buildings and its inhabitants to create value as a commodity, establishing the home as an object of desire.

I invite you to read these texts to find the answers you might need. If you don't find the answers the first time, please read it again and also remember that the cycle is not necessarily linear. The first pages consist of a list of archetypes that can help you navigate through the stories. From the naive optimistic horse who has the mind of a child to the fountain where the cycle ends with all the experiences from earlier events.  The pieces fall perfectly together, especially when deciding not to decide where it's going to lead.

We describe two sculptures from the exhibition made by Nisse Bergman the 14th of November 2019 at Konstfack University of Arts, Crafts and Design. We place the production of the sculptures in a scientific as well as artistic context showing that the human brain plastically change through external stimulus.

This essay navigates around ideas of normality, assimilation, language politics and nationalism in relation to deafness and the history of the minority languages Swedish Sign Language and Meänkieli. It takes it starting point in how Audism has manifested itself within my family, a brief history of the education of the Deaf and Swedish Sign Language and continues by looking at how language oppression is used as a tool by the nation state, and ends with looking at art as proposals and methods of political resistance, expanding on the art form Visual Vernacular (VV), with the background of mine and Karin Keisu’s multi-channel film installation Back to Back (2022).

In this essay, I suggest a process of unlearning and decolonization from the perspective of a young Tornedalian woman without a mother tongue. I look at ideas of nationalism, assimilation, normativity, and homogeneity in Sweden through lived experience and memory, as well as academic research. I examine assimilation processes in Tornedalen in Sweden through academic theses by for example Lars Elenius, which I use to understand the impact that the workhouses and the ban of Meänkieli had in Tornedalen. I have read poetry by Nellie Wong and essays by for example Audre Lorde to further my understanding of how colonisation and assimilation impacts both the individual and the collective. Furthermore, this essay includes how this relates to my artistic practise and my master of the Arts project Back to Back (2022), which is part of a long-term project I am working on in collaboration with Josse Thuresson.

Jag heter Lisa Morrissey och i min kandidatuppsats intervjuar jag Lisa Morrissey som arbetar med sin kandidatutställning på Konstfack. Uppsatsen baseras på Lisas tankar kring sin utställning och sitt konstnärskap samt mina egna vidarekopplingar från detta. Jag kommer att hålla mig till intervjun som grund och jag kommer även att förtydliga vissa begrepp och referenser som Lisa nämner. I slutet av uppsatsen reflekterar jag över några saker som tagits upp under samtalet.

Uppsatsen Cavalletti är ett försök att beskriva en svårdefinierad känsla. En känsla som återfinns både inom dressyren och konsten. Beskrivningar av personliga erfarenheter, samtidskonst, cavalletti och kavaletter hjälper till att förklara de olika sidorna av känslan. Den är lärd, ett resultat av repetition samtidigt som den kommer från intuition. Den ger riktning. Genom att först treva omkring i ovetskapen för att sen, på ett ögonblick föras fram ur mörkret och få en riktning. När jag red över cavallettiserien och kände den där takten, och när jag snurrade på kavalletten och insåg att alla former stämde.

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