Global ETD Search

31	Lidingö Vattenverk : Ett centrum för analogt fotografiEn hommage till fotografiet som konstform / Lidingö Waterwork : a hommage to analog photography Sörman, Vidar January 2014 (has links) Fotografi är i dag mycket attraktivt och lockar mängder av folk från konstsamlare till beundrare i alla åldrar. Internationellt sett är i dag skandinaviskt fotografi högt eftertraktat och intresset ser inte ut att avta, tvärt om. Här, vid väg ände, precis invid Kottlasjön på Lidingö ligger ett gamalt vackert vattenverk. omgivet av speciell natur och ett stilla landskap. Huset har stått oanvänt sedan många år och väntar på nya vindar. Med sparsam renovering, och nödvändiga åtgärder kan detta utgöra grunden för en ny mötesplats och verkstad för samtida konstfotografi. / An old waterwork is beeing transformed to a place for photography workshops with focus on creative photography. As the light creates a tension in the photography, it will do the same here with openings, reflections and light slots. A play with the daylight. After thrifty renovations and necessary actions the waterwork will become a meetingplace for workshops and contemporary art photography. Lidingö vattenver fotografi foto analogt fotografi film konst konstfoto konstfotografi kreativt fotografi tegelhus restaurering tillbyggnad ombyggnad Kottlasjön Stockholm Fotografiska workshops Vidar Sörman Vidar Sörman teckning mörkrum studio ateljé öde distancierat annan skala arkitektur hus byggnad konstnärligt fritt Architecture Arkitektur
32	Kunskapsfabriken / The Factory of Knowledge Bergman, Malin January 2016 (has links) ”Varje människa bär på en samling utav kunskap. Tänk om man kunde skapa en miljö där alla människor kunde få slå upp dörrarna till sitt lilla magasin. En miljö där man ser varje människa som en möjlighet. En möjlighet till att lära sig mer. En resurs i Kunskapsfabriken.” Kunskapsfabriken slår upp dörrarna i kvarteret Kronan och välkomnar stadens människor. Som en del utav Sundbyberg centrum bidrar byggnaden med ett center för det icke-formella lärandet där kreativitet, skapande och gemenskap är i fokus. Kunskapsutbytet, praktisk kunskap och tron på att alla människor är en möjlighet till att lära sig mer genomsyrar projektet. Kunskapsfabriken arbetar aktivt med integration och ger plats åt SFI-utbildning i programmet. Den traditionella språkundervisningen kan på så sätt kombineras med ett program för det praktiska lärandet där språket inte är en nödvändighet. Där kroppen och framförallt händerna blir det viktigaste verktyget för lärande. / ”Every individual carries a collection of knowledge. What if you could create a space where everyone could open the doors to their own little depository? A space where every individual is seen as an opportunity. An opportunity to learn more. A resource in the Factory of Knowledge.” The Factory of Knowledge opens its doors and welcomes the people of the city. As a part of central Sundbyberg it acts as a center for non-formal education where creativity, creation and community are the focal points. The sharing of knowledge, practical knowledge and the belief in every individual as an opportunity to learn more permeates the project. The Factory of Knowledge actively strives towards integration and makes space for ”Swedish for Immigrants”-education. The traditional language pedagogy can therefore becombined with a program for practical learning where language is not a necessity. Where our body and above all our hands become the most important tool for learning. practical knowledge Swedish for Immigrants non-formal learning learning environment workshop music dance movement drama art linit glass double glazed facade Kvarteret Kronan Sundbyberg praktisk kunskap SFI icke-formellt lärande lärandemiljö kunskapsutbyte mellanrum verstad ateljé musik dans rörelse teater konst linitglas dubbelglasad fasad Architecture Arkitektur
33	Paul Mpagi Sepuya : en semiotisk och psykoanalytisk tolkning av den fragmenterade kroppen i samtida fotografi Bergvik-Forsander, Annika January 2022 (has links) No description available. Paul Mpagi Sepuya contemporary art photography queer psychoanalytical fragmented body mirror the black gaze the black body studio semiotic analysis Paul Mpagi Sepyua samtidskonst fotografi queer fragmenterad kropp psykoanalytisk bildtolkning semiotisk bildanalys spegel den svarta blicken studio ateljé svart manskropp Humanities and the Arts Humaniora och konst
34	Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS Glomm, Anna Sandaker January 2012 (has links) This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue. 700

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