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1	"Glada hundar i textil" : En studie av textilkonstens representation på Liljevalchs vårsalong. Grejder, Berit January 2020 (has links) This thesis explores the annual jury-judged exhibition in Stockholm, Liljevalchs vårsalong, mainly concerning the representation of textile art at the exhibitions from the start in 1921 to 2020. Liljevalchs vårsalong is open to everybody to show their art, whether they are established artists or amateurs, provided that they are accepted by the jury. Before 1984 there was no textile art represented at the exhibitions, due to the fact that the only accepted art genres were painting, sculpture, drawing and graphics. In the period 1985 to 1999 the genre textile art was only accepted sporadically, so the thesis centers primarily on the period 2000 – 2020 when genre criterias were abandoned and all art forms were accepted. Pieces of textile art have been represented every year since 2001 at Vårsalongen, but not to a very high extent. An exception was the year 2005 when the exhibition only accepted the genres design, fashion, crafts and handicraft. In later years the representation of textile art at Vårsalongen exhibitions indeed has increased to some extent, but this study considers that textile art has never really been any particular concern at Liljevalchs vårsalong, possibly due to the art genres traditional association with the female sphere – their work connoted to unpaid domestic leisure activity - while the central actors around the exhibiton have mostly been men. The thesis also includes a closer look at some chosen textile art objects that represent different textile techniques: embroidery, tapestry, installation, knitting, felting. The objects are analyzed from different perspectives. Liljevalchs vårsalong textilkonst konsthantverk jurybedömd utställning Humanities and the Arts Humaniora och konst
2	Utställningsrum : Hur konstupplevelsen på Liljevalchs konsthall och Fotografiska påverkas av utställningsrummets gestaltning Sundberg, Louise January 2018 (has links) Exhibition room: How the experience of art is affected by the exhibition room design at Liljevalchs art gallery and Fotografiska. This thesis explores the effect the exhibition design presented in two of Stockholm ́s art galleries has on the viewer. This study investigates Liljevalchs exhibition Vårsalongen and Fotografiskas exhibition The Extraordinary World of Christian Tagliavani. It conducts how the rooms in these two exhibitions relate to each other, and also compare the design of each exhibition room, one by one. This report is based on space syntax theory combined with observations and interviews with both the curators of these two exhibitions and people who has visited both of the exhibition rooms. This analysis show how the exhibition rooms in Liljevalchs and Fotografiska relate to each other. It also shows that the design in the exhibition room, such as the colour on the walls, lights, noises, how the art pieces are hanging as well as the spatial of the room has a big effect on the viewers experience. This thesis describes how these elements above affect the viewer in these two art galleries. Art art exhibition exhibition design exhibition room spatial art gallery museum space syntax Liljevalchs Fotografiska Konst konstutställning utställningsdesign utställningsrum rumsligt konsthall museum space syntax Liljevalchs Fotografiska Art History Konstvetenskap
3	Curatorial Intentions and Visitor Experience : Three case studies of publicly funded Konsthallar and how curatorial intentions affect the creation of social space Wästfelt, Linnea January 2024 (has links) Publicly funded art institutions in Sweden are tasked with the mission of making contemporary art available and accessible to the citizens. This thesis investigates three cases of publicly funded art institutions in Sweden, namely Göteborgs Konsthall, Malmö Konsthall and Liljevalchs Konsthall. The study examines the exhibitions presented by the institutions during the fall of 2023 and how they are curated to be inclusive or exclusive towards visitor groups. By using a model of curatorial values in conjunction with a constructed model of the exhibition as social space, inspired by Henri Lefebvre’s concept “social space”, this research will reveal different strategies used by the institutions for mediating curatorial intentions through the exhibitions. Empirically the thesis is based on observations of three exhibitions and their visitors and interviews with exhibition hosts. The material is used to examine how the institutions work towards different audiences and how curatorial decisions influence visitor behaviour within the selected institutions. The results show that the three cases differ in curatorial decisions and values. Further, the social space model used indicates that institutions differ in how they award agency to visitors. The analysis shows that visitors, by acting in unpredictable ways, contribute to the social space of exhibitions in ways not intended by the curator. In conclusion, this study shows that the mission of the municipality-driven art institution is multifaceted and holds challenges when attempting to engage a broad audience while displaying exhibitions of high artistic integrity. The curatorial choices reflect in the audience and these choices therefore determine who will partake in the exhibition. The curator therefore plays a crucial role in how the exhibitions work with inclusivity. Public Art Institutions Visitor Research Social Space Curatorial Gaze Göteborgs Konsthall Malmö Konsthall Liljevalchs Konsthall Humanities and the Arts Humaniora och konst Arts Konst Other Humanities Annan humaniora Cultural Studies Kulturstudier
4	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 1977-1978 Immonen, 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. cultural cold war cultural diplomacy Finland Sweden Scandinavia Mieke Bal 1970's art exhibition analysis Liljevalchs discourse analysis Finnish artists taidenäyttely suomalainen taide 1970-luku Suomen taiteilijaseura taidekritiikki Mieke Bal Liljevalchsin taidehalli edustusnäyttely Maaretta Jaukkuri kulttuurivaihto taidepolitiikka utställningsanalys Mieke Bal Skandinavien Finland Sverige konstkritik nationell konsttolkning 1970-tal Liljevalchs konsthall representationsutställning kulturell diplomati konstpolitik kulturekonomi diskursanalys konstbegrepp konsttolkning konstutbyte Humanities and the Arts Humaniora och konst
5	Den klassicistiska vändningen i det tidiga 1900-talets svenska arkitektur : En studie av Liljevalchs konsthall, Kungstornen och Kanslihuset i Stockholm / The Classist Turn in Swedish Architecture of the early 20th Century : a Study of Liljevalchs, Kungstornen and Kanslihuset in Stockholm Knauff, Kristina January 2012 (has links) The starting point of the thesis consists of a number of statements by prominent representatives of the cultural elite characterising architecture with references to classicism as the modern architecture. In the following years Swedish architecture was dominated by references to classical historical architecture focussing on the ideal of simplicity, which in turn formed a wider conceptual framework of ideas and ideals for architectural creation. The simple reason why the classical historical architecture became something of a role model was that it represented all these new ideals. The main purpose of the thesis is to study how architects made use of the more prominent ideals in the new conceptual framework. A secondary purpose is to describe and analyse the three chosen buildings in detail. A third purpose is to situate these buildings into the broader national context. The buildings under study are Liljevalchs konsthall (Liljevalchs Art Gallery), Kanslihuset (The Government Offices) and Kungstornen (The Towers). They were built at different times between 1910 and 1930. Each building has an obvious connection between the building program and the social changes of the time. In the first chapter the contemporary conceptual framework is presented based on examples from the architectural debate. The most important parts were the opposition to the traditional ideals in combination with the formulating of new ones like simplicity, unity and clarity as well as an orientation towards the historical national architecture and an open attitude towards new techniques. Central to the usage of the basic of elements of the historical architecture was transformation rather than imitation. The common view meant that role models and basic creational elements of the past were regarded as opportunities for new developments. The three following chapters examine the buildings under study. The buildings and their planning processes are described and the application of the historical references and their relations to historical buildings in the environment are analysed in detail. The buildings are further discussed in relation to the broader social trends of the time. The Art Gallery is discussed in view of its connections to the contemporary industrial architecture due to the industrialisation. The analysis of the Government Offices situates the practical and symbolic aspects of the building in the contemporary struggle between the monarchy and the old civil service and the newly established parliamentary democracy. The Towers are discussed in relation to the contemporary discussion of skyscrapers in Europe and in relation to the beginning of commercialism and popular culture. / <p>QC 20120424</p> Architecture architectural history Swedish 20th century architecture 1920-talet klassicism Carl Bergsten Ivar Callmander Gustaf Clason Wolter Gahn Sven Wallander Kungstornen Liljevalchs konsthall Kanslihuset Stockholm. HUMANITIES and RELIGION HUMANIORA och RELIGIONSVETENSKAP
6	Konstskolan / Artschool Olsson, My January 2006 (has links) Abstract I have made a Website called ”Art school” for Liljevalchs art Gallery, Culture administration in Stockholm and Culture school in Stockholm. It is with scholarship from these that this Website has been possible. The work whit the “Art school” started in the autumn of 2005 and ended in May 2006 on distance from Stockholm towards Blekinge technology school in Karlshamn. The Webb place is for the general public, but most for people who have interest in art and for those how want to learn more painting in different mediums. This Websites I name: oil, watercolour, acrylic, coal, gouache, and graphite. On each one of these mediums you’ll get to know about their history, what technique they have, what sort of material you need, practise and tip. All the paintings under practise and techniques have I been painting and drawing, then the paintings have been photographed during the process so you can se the structure. I rented a photo gallery in Stockholm where I could bring all the art material and photograph with a good light, then I have build a photo studio in my home. After that I have worked whit creating a good design that fits the purpose and whit a belonging logotype. The building of the Website has been time-consuming but amusing. I have worked with the program Macromedia Flash 8, Adobe Photoshop CS and Illustrator CS. / Sammanfattning Jag har gjort en webbplats som heter ”Konstskolan” för Liljevalchs konsthall, kulturförvaltningen i Stockholm och kulturskolan i Stockholm. Det är med stipendier från dessa som webbplatsen blivit möjlig. Arbetet med konstskolan påbörjades hösten 2005 och avslutades i Maj 2006 på distans ifrån Stockholm mot Blekinge Tekniska Högskola i Karlshamn. Webbplatsen är till för allmänheten, men framförallt för konstintresserade och de som vill veta mer om hur det går till att måla i olika medier. På webbplatsen tar jag upp medierna: olja, akvarell, akryl, gouache, kol och blyerts. På var och en av dessa medierna får man reda på dess historia, vad det finns för tekniker, vad för material man behöver, övningar och tips. Alla tavlor under övningar och teknik har jag målat och ritat, sedan har tavlorna blivit fotograferade under processens gång så att man kan se och förstå uppbyggnaden. Jag hyrde en fotostudio i Stockholm där jag kunde ta med allt konstnärsmaterial och fotografera för bästa ljus, sedan har jag även byggt upp en fotostudio i hemmet. Därefter har jobbet varit att skapa en design som passar ändamålet och en tillhörande logotyp. Uppbyggnaden av webbplatsen har varit tidskrävande men rolig. Jag har framförallt använt mig av programmen Macromedia Flash 8, Adobe Photoshop CS och Illustrator CS. / my_olsson1@hotmail.com Konstskolan Olja Akvarell Gouache Akryl Kol Blyerts Miljö Konst Penslar Stafflier Liljevalchs Kulturförvaltningen Kulturskolan Flash Computer Sciences Datavetenskap (datalogi) Software Engineering Programvaruteknik

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