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The Global ETD Search service is a free service for researchers
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Showing 1 to 2 of 2 (0.066 seconds)Spelling suggestions: "subject:"finnish artists"" "subject:"finnnish artists""
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INTERNATIONALIZATION OF CONTEMPORARY ART : Case studies of three Finnish artists who have exhibited in SwedenTuomaala, Outi January 2014 (has links)
This thesis examines the internationalization of Finnish contemporary artists. The focus is on their exhibitions at contemporary art institutions in Sweden, covering the period 2004–2013. The aim is to investigate what makes these exhibitions to materialize. The main question is: How do different actors, networks, collaborations, and the field of artistic production look like when art is exported for exhibition purposes from Finland to Sweden? Pierre Bourdieu’s field theory and the Uppsala internationalization process model are used as the theoretical framework. Information is collected via interviews with three Finnish artists and three Swedish curators. The main result is that the artists do not actively impact the internationalization process themselves. Rather, the internationalization occurs through an international network of professionals, some acting on behalf of the artists, and some acting in their own interests. The main driving factor for internationalization is that the Finnish art market is small. Consequently, young contemporary artists are oriented internationally. For internationalization to occur, the artists must be available to foreign curators through the international networks. Finland is aware of this and promotes international art contacts through the foundation Frame Visual Art Finland. Important contact surfaces, where curators can learn about the artists, are art events, like European art biennials.
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Konstruktioner av det nationella : En utställningsanalys av Finsk bild på Liljevalchs konsthall 1977–1978 / Constructions of the national : An analysis of the art exhibition Finsk bild (Finnish picture), Liljevalchs art gallery 1977-1978Immonen, Paulina January 2021 (has links)
By examining the art exhibition Finsk bild (Finnish picture) that was held at Liljevalchs art gallery in Stockholm 1977-78, the aim of the essay is to investigate and highlight the discrepancy between the intention of the exhibition and how it was perceived by the critics. In the aftermath of the exhibition there were discussions about why the critics were so harsh, and also the way the critics described the art and artists in terms of the national has been questioned in recent years. The method that is being used is Mieke Bals semiotic exhibition analysis model, where the art exhibition is analyzed through the narratives that are constructed in the discourse of the practice of the exhibition. The results show that the framing of the exhibition was done according to a model of a national culture exchange, within far going traditions in the Nordic countries. Therefore, the art exhibited was received as “classic Finnish art”, but the art itself was of modern international character. The framing of the exhibition placed the art in the category of artefacts, which were starting to be an outdated way of perceiving art in the 1970´s. / Uppsatsen undersöker och synliggör konflikten mellan intentionen och mottagandet av konstutställningen Finsk bild som visades på Liljevalchs 1977–1978. Mottagandet av den här utställningen har uppmärksammats i efterhand, men någon djupare vetenskaplig analys har inte gjorts. Metoden som använts till undersökningen är en utställningsanalys enligt Mieke Bals semiotiska modell, där utställningspraktiken undersöks genom diskurser som var förhärskande på det finska och svenska konstfältet. Resultatet visar att en representationsutställning som Finsk bild, var diskursivt inramad i nationella termer av finskhet, vilket därmed ställde förväntningar på konsten som visades. Konsten som visades var dock inte ”nationell finsk konst” i klassisk mening, utan konst som till sitt uttryck följde en allmän konstutveckling i spåren av västerländsk modernitet. Traditionell politisk praktik av konstutbyte hade satt ramarna för utställningen, men konstbegreppet och konsttolkningen hade delvis ersatts av nya. Konst som bärare av det nationella, förutsätter att konstverk ses som artefakter snarare än konstverk.
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