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1	Art/Work : Om arbetets villkor och det forskningsbaserade utställningsprojektet SOLO SHOW Taavoniku, Masha January 2015 (has links) Hur kan begreppet support structures förstås i relation till det konstnärliga projektet SOLO SHOW? Denna uppsats behandlar arbetets villkor och synliggörandet av dessa inom konstens fält. Support structures (stödstrukturer) kan förstås som det arbete som upprätthåller, uppmuntrar, stärker och står bakom (något). Närmandet till ett, eller flera,”svar” på frågeställningen sker genom ett resonerande i relation till utsnitt ur Julia Bryan-Wilsons Art Workers: radical practice in the Vietnam war era, Hito Steyerls ”Is a Museum a Factory?” och hennes tolkning av termerna ”work” och ”occupation”, samt det genomgående teoretiska verktyget: begreppet support structures. Samtidskonst arbete immateriellt arbete stöd support structures forskningsbaserad konst diskurs arbetsvillkor Natasha Sadr-Haghighian SOLO SHOW Celine Condorelli Gavin Wade James Langdon Julia Bryan-Wilson Hito Steyerl
2	Dokumentární přístupy v pohyblivém obraze v současné umělecké praxi / Documentary Approaches in Contemporary Fine Art Moving Image Bačíková, Alžběta Unknown Date (has links) The Dissertation titled Documentary Approaches in Contemporary Fine Art Moving Image focuses on the practical and theoretical research of documentary approaches to videos and films in the art field. It notices especially the self-reflexive strategies as a consequence of critical approach towards the medium itself and lack of belief in its ability to mediate reality or truth. Attempts to convey reality by audiovisual means are accompanied by the reflection of the way this happens. The Dissertation also reflects on the uncertain relation between the documentary and truth, which has been described in art by the artist and theoretician Hito Steyerl. The examined artworks were made in the period between the beginning of 21st century, when the documentary turn was reflected intensively, and the present time. The selection of examples was strongly influenced by the local study of Israeli art in The Video Archive of the Center for Contemporary Art in Tel Aviv. Motives of conflict, violence and trauma resonating in studied videos and films influenced further selection and analysis of the authors’ documentary methods from a different context. In the selected works I can see particularly various forms of alienation effects and self-reflexive approaches. Using these procedures the artists highlight the constructedness of the audiovisual work and the way it was produced. Recurring formal principles have been stated. Reenactment of real events, revealing the way the work was produced or the artist’s position in the production process; these strategies indicate the uncertain relationship between the documentary work and reality. In the frame of these tendencies also reevaluation of the observational documentary strategies as something seemingly opposite to self-reflexive strategies is reviewed. Theoretical outcomes are continuously accompanied by author’s own art projects concentrated around the form of documentary portrait and its (de)construction. They experiment with the formal principles analyzed on a theoretical level.
3	Sanning och konsekvens : En studie av den estetiska intentionen hos tre verk av Felix Gmelin / Estetik i förhållande tillverklighet : Tre verk av Felix Gmelin, Hito Steyerl och Ann-Sofi Sidén Hydén, Malin January 2009 (has links) <p>You could say that the Swedish artist Felix Gmelin in his art uses media to get closer or further away from what we consider to be the reality and also truth. The purpose of this study is to discuss what this means for the intention of his art works. The starting point is my own aesthetic experience of his painting and the installations <em>A Gentleman’s agreement (1996), Farbtest, Die Rothe Fahne II (2003) and Tools and Grammar 2.5 (2007).</em> Each of these works of art consists of different kinds of prefabricated material such as articles, films and documents. These kinds of material are often considered to stand in the way of the aesthetic experience, maybe because they are supposed to be closer to reality and therefore to truth. The thesis of this study is that the truth in art is inscribed in the aesthetic framework of each art piece and also in the technical support it uses. If for example the support consists of an investigative journalist’s documentary research, in Rosalind Krauss’ description, the truth might be found in the authenticity of the documentary material. If the technical support has to do with sampling instead, as in the re-use of existing materials to create new works of art, the truth can probably not be found in the different pieces of material but in the work ofart in itself. It does not matter then if the different pieces of material it consists of is traditionally considered unaesthetic. The conclusion of this study is that Gmelin’s <em>Gentleman’s agreement</em>, <em>Farbtest, Die Rothe Fahne II</em> and <em>Tools and Grammar 2.5</em> actually discuss what truth is and if there is an aesthetic truth.</p> / Examensarbetet består dels av en vetenskaplig rapport (se Huvudtitel och Abstract), dels av en vetenskaplig artikel (se Alternativ titel). Tools and Grammar A Gentleman’s agreement Asyncronism as a Principle of Sound technical support Journal No. 1 - An artist's impression In passing Estetisk sanning intention teknisk plattform Felix Gmelin Farbtest Die Rothe Fahne II Tools and Grammar God ton Konstvandaler Bei den Blinden Asyncronism as a Principle of Sound undersökande journalistik dokumentär sampling montage intention parafras Hito Steyerl Ann-Sofi Sidén Journal No. 1 - An artist's impression Vid sidan om Art Konstvetenskap
4	Sanning och konsekvens : En studie av den estetiska intentionen hos tre verk av Felix Gmelin / Estetik i förhållande tillverklighet : Tre verk av Felix Gmelin, Hito Steyerl och Ann-Sofi Sidén Hydén, Malin January 2009 (has links) You could say that the Swedish artist Felix Gmelin in his art uses media to get closer or further away from what we consider to be the reality and also truth. The purpose of this study is to discuss what this means for the intention of his art works. The starting point is my own aesthetic experience of his painting and the installations A Gentleman’s agreement (1996), Farbtest, Die Rothe Fahne II (2003) and Tools and Grammar 2.5 (2007). Each of these works of art consists of different kinds of prefabricated material such as articles, films and documents. These kinds of material are often considered to stand in the way of the aesthetic experience, maybe because they are supposed to be closer to reality and therefore to truth. The thesis of this study is that the truth in art is inscribed in the aesthetic framework of each art piece and also in the technical support it uses. If for example the support consists of an investigative journalist’s documentary research, in Rosalind Krauss’ description, the truth might be found in the authenticity of the documentary material. If the technical support has to do with sampling instead, as in the re-use of existing materials to create new works of art, the truth can probably not be found in the different pieces of material but in the work ofart in itself. It does not matter then if the different pieces of material it consists of is traditionally considered unaesthetic. The conclusion of this study is that Gmelin’s Gentleman’s agreement, Farbtest, Die Rothe Fahne II and Tools and Grammar 2.5 actually discuss what truth is and if there is an aesthetic truth. / Examensarbetet består dels av en vetenskaplig rapport (se Huvudtitel och Abstract), dels av en vetenskaplig artikel (se Alternativ titel). Tools and Grammar A Gentleman’s agreement Asyncronism as a Principle of Sound technical support Journal No. 1 - An artist's impression In passing Estetisk sanning intention teknisk plattform Felix Gmelin Farbtest Die Rothe Fahne II Tools and Grammar God ton Konstvandaler Bei den Blinden Asyncronism as a Principle of Sound undersökande journalistik dokumentär sampling montage intention parafras Hito Steyerl Ann-Sofi Sidén Journal No. 1 - An artist's impression Vid sidan om Art Konstvetenskap
5	Momma & Mormor : Berättelsen om Fridhem Björklund, Ingrid January 2021 (has links) I mitt projekt utvecklar jag konstnärliga designmetoder för att studera, samla in och berätta om kvinnohistoria och interiörhistoria, inspirerat av feministiska och queerteoretiska perspektiv på temporalitet, identitet, historia, material och berättande. Mitt examensarbete utgår från min 90-åriga mormors berättelser om sina barndomsminnen av hennes två mormödrar ‘Momma’ och ‘Mormor’ och hur det var att spendera somrarna på deras gård, Fridhem. I formgivning av bordet Fridhem, tavlan Systrar på gungbräda i trädgården, installationen Flytande fragment och installationen av dessa under Konstfacks Vårutställning 2021 tillsammans med ljudverket Minnen från Momma och Mormors Fridhem, manifesterar jag studierna och berättelsen. Design kvinnohistoria historiografi Jämtland Jamtli cottagecore tiktok cutting together-apart etsning i sten ornament Bergs socken Momma och Mormor Obberlind Lindroth Obbarius Fridhem Infiltration temporaliteter polytemporär dikotomier dekonstruktion protolys CNC-fräs hauntology konstnärligt arbete möbeldesign formgivning kritisk installation bord ljudverk Bergs Hembygdsförening Dala sten kalksten representation feminism queerteori Karen Barad Hito Steyerl Beatriz Colomina Llewellyn Negrin Kvinnohistoriska historieskrivning stenbrott stenindustri textilt hantverk arkitekturteori synlighet mekanismer för synlighet Den Feminina Textilen inredningsarkitektur Axel Einar Hjorth svensk design konstfack interiör lyssnarupplevelse muntlig historia minnen minnets materialitet tolkande interiörhistoria post-dualism Segring Design Design Architecture Arkitektur History Historia

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