Global ETD Search

1	Mapas dissidentes: proposições sobre um mundo em crise (1960-2010) / Dissenting maps: propositions on a world in crisis (1960-2010) Mesquita, André Luiz 21 February 2014 (has links) Esta tese é uma investigação sobre um conjunto de mapas e diagramas produzidos por artistas e ativistas entre as décadas de 1960 e 2010, a partir de diferentes contextos de transformação social, política e econômica em momentos de crise, de conflito e de formas potenciais de resistência. Através de documentos como catálogos, manifestos, artigos, fotografias, documentários, obras de arte, reproduções de mapas e entrevistas, a pesquisa realiza uma análise sobre esse conjunto de mapeamentos desenvolvidos por três gerações de artistas. No primeiro capítulo, este trabalho examina os jogos e mapas realizados nos anos 1960 e 1970 pelo sueco-brasileiro Öyvind Fahlström (1928-1976) durante as tensões geopolíticas da Guerra Fria (1947-1991) e as mudanças estruturais e organizacionais do capitalismo global na década de 1970. No segundo capítulo, a tese discute a obra do norte-americano Mark Lombardi (1951- 2000), artista que, durante a década de 1990, procurou mapear com suas estruturas narrativas redes internacionais de poder e transações financeiras obscuras envolvendo bancos, governos e elites dominantes da sociedade neoliberal. O terceiro capítulo trata das práticas de contracartografia conduzidas entre os anos 1990 e 2010 pelos coletivos de arte ativista Bureau dÉtudes (França), Counter-Cartographies Collective (Estados Unidos) e Iconoclasistas (Argentina). Com base nas articulações entre arte contemporânea, ativismo político e cartografia crítica, a tese considera que os mapeamentos realizados por esses artistas-ativistas trazem experiências importantes de produção de conhecimento e contribuem para a visualização das relações de poder no mundo contemporâneo, opondo-se também aos mapas supostamente imparciais, objetivos e naturalizantes do mundo guiados por interesses corporativos, militares e governamentais. / This thesis is an investigation on a series of maps and diagrams produced by artists and activists between the 1960s and the 2010s, in different social, political and economical contexts of change and crisis, conflict and potential forms of resistance. Through the analysis of documents, catalogs, manifestos, articles, photographs, documentaries, art works, reproductions of maps and interviews, the research approaches mappings developed by three generations of artists. The first chapter examines the games and maps created in the 1960s and 70s by the Swedish- Brazilian artist Öyvind Fahlström (1928-1976), during the geopolitical tensions of the Cold War (1947-1991) and the structural and organizational changes in global capitalism in the 1970s. The second chapter discusses the works of the American artist Mark Lombardi (1951-2000), who, during the 1990s, has tried to map international power networks and obscure financial transactions involving banks, governments, and neoliberal elites, using narrative structures. The third chapter addresses counter-cartography practices developed between the 1990s and 2010s by activist art collectives Bureau dÉtudes (France), Counter-Cartographies Collective (United States) and Iconoclasistas (Argentina). Based on the interrelations between contemporary art, political activism and critical cartography, the thesis considers that the mappings produced by this activists-artists are important experiences of producing knowledge and visualizing power relations in the contemporary world, creating an opposition to supposedly neutral and objective maps created according to corporate, governmental and military interests. Activism Art collectives Ativismo Cartografia crítica Coletivos de arte Critical cartography Mark Lombardi Mark Lombardi Öyvind Fahlström Öyvind Fahlström
2	Mapas dissidentes: proposições sobre um mundo em crise (1960-2010) / Dissenting maps: propositions on a world in crisis (1960-2010) André Luiz Mesquita 21 February 2014 (has links) Esta tese é uma investigação sobre um conjunto de mapas e diagramas produzidos por artistas e ativistas entre as décadas de 1960 e 2010, a partir de diferentes contextos de transformação social, política e econômica em momentos de crise, de conflito e de formas potenciais de resistência. Através de documentos como catálogos, manifestos, artigos, fotografias, documentários, obras de arte, reproduções de mapas e entrevistas, a pesquisa realiza uma análise sobre esse conjunto de mapeamentos desenvolvidos por três gerações de artistas. No primeiro capítulo, este trabalho examina os jogos e mapas realizados nos anos 1960 e 1970 pelo sueco-brasileiro Öyvind Fahlström (1928-1976) durante as tensões geopolíticas da Guerra Fria (1947-1991) e as mudanças estruturais e organizacionais do capitalismo global na década de 1970. No segundo capítulo, a tese discute a obra do norte-americano Mark Lombardi (1951- 2000), artista que, durante a década de 1990, procurou mapear com suas estruturas narrativas redes internacionais de poder e transações financeiras obscuras envolvendo bancos, governos e elites dominantes da sociedade neoliberal. O terceiro capítulo trata das práticas de contracartografia conduzidas entre os anos 1990 e 2010 pelos coletivos de arte ativista Bureau dÉtudes (França), Counter-Cartographies Collective (Estados Unidos) e Iconoclasistas (Argentina). Com base nas articulações entre arte contemporânea, ativismo político e cartografia crítica, a tese considera que os mapeamentos realizados por esses artistas-ativistas trazem experiências importantes de produção de conhecimento e contribuem para a visualização das relações de poder no mundo contemporâneo, opondo-se também aos mapas supostamente imparciais, objetivos e naturalizantes do mundo guiados por interesses corporativos, militares e governamentais. / This thesis is an investigation on a series of maps and diagrams produced by artists and activists between the 1960s and the 2010s, in different social, political and economical contexts of change and crisis, conflict and potential forms of resistance. Through the analysis of documents, catalogs, manifestos, articles, photographs, documentaries, art works, reproductions of maps and interviews, the research approaches mappings developed by three generations of artists. The first chapter examines the games and maps created in the 1960s and 70s by the Swedish- Brazilian artist Öyvind Fahlström (1928-1976), during the geopolitical tensions of the Cold War (1947-1991) and the structural and organizational changes in global capitalism in the 1970s. The second chapter discusses the works of the American artist Mark Lombardi (1951-2000), who, during the 1990s, has tried to map international power networks and obscure financial transactions involving banks, governments, and neoliberal elites, using narrative structures. The third chapter addresses counter-cartography practices developed between the 1990s and 2010s by activist art collectives Bureau dÉtudes (France), Counter-Cartographies Collective (United States) and Iconoclasistas (Argentina). Based on the interrelations between contemporary art, political activism and critical cartography, the thesis considers that the mappings produced by this activists-artists are important experiences of producing knowledge and visualizing power relations in the contemporary world, creating an opposition to supposedly neutral and objective maps created according to corporate, governmental and military interests. Ativismo Cartografia crítica Coletivos de arte Mark Lombardi Öyvind Fahlström Activism Art collectives Critical cartography Mark Lombardi Öyvind Fahlström
3	Öyvind Fahlström i översättning : Historieskrivning på Moderna Museet genom exemplet Manipulera världen – Aktivera Öyvind Fahlström / Öyvind Fahlström in Translation : History writing at Moderna Museet through the example Manipulate the World – Connecting Öyvind Fahlström Höglund, Moa January 2019 (has links) Öyvind Fahlström in translation aims to examine how Moderna Museet interpreted Öyvind Fahlström in Manipulate the World – Connecting Öyvind Fahlström; an exhibition that showcased pieces by the postwar artist Öyvind Fahlström together with works by contemporary artists. I understand the exhibition as a ’game of translation’, in which the artworks and the texts connected to Manipulate the World are put in play with previous interpretations of the artist. ’Game of translation’ is a concept that draws on Fahlström’s concept of game, as well as Mieke Bal’s and Susan Sontag’s different understandings on the power dynamics of interpretation. As in the works by Fahlström, Bal and Sontag, the viewer and her interpretations are placed in center of my analysis. Manipulate the world aimed to ’activate’ Fahlström. Even though the exhibition presented Fahlström as an artist who tried to actively disrupt established narratives, I concluded that the translation of Fahlström presented in and as the exhibition relied heavily on the established history of that same artist. Within the framework of that history, Manipulate the world presented two relatively new readings of Fahlström’s art: they highlighted the presence of colonial and postcolonial criticism in Fahlström’s production and launched an understanding of the artist’s variable paintings as political models. translation; historiography Art History Konstvetenskap
4	Att måla med ord : En analys av Bengt Emil Johnsons användning av orden som visuellt medel i verket "Omkoppling. (Till Öyvind Fahlström.)" Nordström, Joel January 2007 (has links) No description available. Bengt Emil Johnson konkret poesi Omkoppling. (Till Öyvind Fahlström.) ord som visuellt medel bilddikt visuell poesi Öyvind Fahlström måla med ord, Art Konstvetenskap
5	Att måla med ord : En analys av Bengt Emil Johnsons användning av orden som visuellt medel i verket "Omkoppling. (Till Öyvind Fahlström.)" Nordström, Joel January 2007 (has links) No description available. Bengt Emil Johnson konkret poesi Omkoppling. (Till Öyvind Fahlström.) ord som visuellt medel bilddikt visuell poesi Öyvind Fahlström måla med ord, Art Konstvetenskap
6	Selektering och urvalsprocessen inom elitidrott, hur upplevs den i praktiken av elever/spelare : en kvalitativ studie inom fotboll och ishockey / Selection process in elite sports, how is it experienced in reality by students/players : a qualitative study in football and ice hockey Dottemar, David, Ek Johansson, Johan January 2022 (has links) Syfte och frågeställning Syftet med studien är att utforska hur elever/spelare resonerar kring sina upplevelser om urval och selekteringsprocessen inom NIU-gymnasium samt elitidrott (fotboll och ishockey) på manliga ungdomssidan från 16 år och uppåt. Syftet är vidare att belysa vilka egenskaper elever/spelare upplever är viktigast vid uttagningsprocessen. Frågeställningar: - Hur upplevs selektering och urvalsprocessen i praktiken av elever/spelare? - I vilken mån upplever elever/spelare att rekryteringsansvariga/skolan tar hänsyn till kriterierna varje NIU-gymnasium ska göra inför urval och selektering? Metod Studien har använt sig av en kvalitativ ansats. Detta då studien avsett att undersöka elever/spelares tankar och åsikter kring urval och selekteringsprocessen. En semistrukturerad intervjuguide har använts vid intervjuerna. Sex intervjuer genomfördes, tre personer verksamma inom fotbollen och tre personer verksamma inom ishockeyn. Deltagarna i studien var mellan 16–20 år gamla och har gått eller går på ett NIU gymnasium samt är aktiva inom sin idrott. Resultat Vad gäller resultatet framkommer det att kontakter inom idrotten är av stor vikt för att ta sig vidare i selekteringsprocessen, även egenskaper som spelförståelse, drivkraft och inställning är viktigt. När det gäller metoder för uttagningsprocessen så nämns tryouter som en väldigt central del men även scouting förekommer. Flertalet av deltagarna upplever orättvisor vad gäller selekteringsprocessen och kopplar oftast det till kontakterna inom sporten. Sett till användandet av de fem NIU kriterierna är upplevelsen bland majoriteten att man oftast bara tar hänsyn till det första kriteriet, idrottsspecifika färdigheter och förutsättningar. De andra kriterierna hamnar oftast i skymundan och man hoppas kunna lösa dessa under resans gång. Slutsats Slutsatsen vi kan dra utifrån studien är att selekteringsprocessen är ett komplext område som väcker mycket diskussioner. Respondenternas upplevelser varierar angående om det sker en rättvis eller orättvis bedömning vid olika urval. Utifrån respondenternas upplevelser lyder slutsatsen att man tagit sig långt i arbetet med selekteringsprocessen, den kritik som dyker upp är att alla spelare bör få fler chanser och inte selekteras bort redan efter en uttagning. / Aim The purpose of the study was to investigate how students/players reason about their experiences of selection and the selection process within NIU high school and elite sports, football and icehockey on the male youth side from 16 years and up. The purpose was also to illustrate whatattributes that are most important in the selection process. The study is based on the following questions: - How is the selection and selection process experienced in practice by students/players?- In what way do students/players feel that the person in charge of recruitment/the school takes consideration to the criteria that each NIU high school must make before selection? Method The study has used a qualitative method. This is because the study is intended to examine students/players thoughts and opinions about the selection and selection process. A semistructured interviewguide has been used in the interviews. Six interviews were conducted, three people were active in football and three people were active in ice hockey. The participants in the study were between 16–20 years old and have attended or are attending a NIU high school and are active in their sport. Results It appears that contacts in the sport are of great importance to move forward in the selection process, also attributs such as game understanding, drive and attitude are important. When it comes to methods for the selection process, tryouts are mentioned as a very central part, but scouting also occurs. Most of the participants experience injustices regarding to the selection process and usually link it to the contacts within the sport. In terms of the use of the five NIU criteria, the experience among the majority is that they usually only take consideration into the first criterion, sports-specific skills and conditions. The other criteria usually end up in the shadows and the persons who is responsible hopes to be able to solve these during the journey. Conclusion The selection process is a complex area that raises a lot of discussions. The respondents experiences vary regarding whether there is a fair or unfair assessment in different selections. Based on the respondents experiences, the conclusion is that they have come a long way in the work with the selection process, the criticism that arises is that all players should get more chances and not be selected away already after one selection. Selection Selection football Selection ice hockey PG Fahlstrom Elite investment Selektering och urval Selektering fotboll Selektering ishockey PG Fahlström Urval Elitsatsning Selektering Sport and Fitness Sciences Idrottsvetenskap
7	Konst och kartläggning kring 1970 : Modell, diagram och karta i konstens landskap / Art and Mapping around the year of 1970 : Maps, Models, and Diagrams in the Artistic Landscape Uggla, Karolina January 2015 (has links) The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method. In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s. The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations. The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping. In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image. Conceptual art maps mapping art and cartography art and mapping visual culture art and science scientific images art and cybernetics alienation the linguistic turn Agnes Denes Sten Eklund Hans Haacke Öyvind Fahlström Richard Long Yoko Ono Robert Smithson
8	Les Voies du dessin : statut et redéfinitions du dessin dans les avant-gardes occidentales des années 1950-1960 / Graphic paths : the status of drawing in western avant-garde movements of the 1950s and 1960s Daniel, Hugo 28 November 2015 (has links) L’absence du dessin des histoires de l’art des années 1950-1960 interroge, alors même que des signes de reconnaissance de la part d’artistes comme Rauschenberg, Hesse, Tinguely,Twombly, Beuys, ou Lebel et d’autres acteurs ont pu être observés.Le dessin doit être défini à partir de ses opérations et compris dans sa relation aux autres médiums. Il est donc considéré comme pratique. En mettant en oeuvre une histoire matérielle, culturelle et sociale de l’art, qui s’appuie sur les dessins eux-mêmes, des documents d’archive et des entretiens avec des acteurs de la période, il s’agit de saisir les relations qui font vivre le dessin.Il s’agit d’appréhender la reconnaissance du dessin et sa redéfinition, entre les interrogations des artistes, les évolutions des critiques et les projets des galeristes et commissaires d’exposition pour montrer comment le dessin se comprend comme une réalité complexe, en acte. Le dessin se redéfinit également comme un moyen de manipuler des images qui deviennent pléthoriques. L’histoire de la psychiatrie confère à la pratique du dessin une valeur expérimentale rarement égalée dans l’histoire de l’art. Cette pratique expérimentale découle de son association à la pensée et met au jour une continuité insoupçonnée dans la période. Qu’il s’agisse d’en renforcer l’assimilation à une « origine de l’art », d’en faire la matrice d’un regard et d’une méthode artistique plus générale, ou le lieu marginal d’une expérience spécifique, la pratique du dessin se comprend dans un éventail large de ses réalités. / Drawing is hardly studied in works of art history focusing on the 1950s and 1960s. This fact is all the more surprising that many artists, such as Rauschenberg, Hesse, Tinguely, Twombly, Michaux or Lebel, but also critics, gallerists and curators took notice of the medium at that time.Drawing must be defined according to its operations and analyzed in its relationshipwith other media. It is approached as a practice. This project is based on a material, culturaland social understanding of art history, it relies on the study of drawings, but also on archive documents and interviews with major figures of the period. From the working process of artists, to the changing discourses of critics and therenewed interest of curators and gallerists, drawing is redefined as a complex object. It allows artists to deal with the flow of images that characterizes the 1950s and 1960s. It also takes on an experimental quality because of its association to the thought process. Psychiatrists andartists have used the practice of drawing to better understand the mind. Whether it is used as an origin of art or as a marginal space implying specific experiences, drawing in the 1950sand 1960s is multi-faceted and is studied as such. Dessin -- XXe siècle Processus créatif Arts graphiques -- XXe siècle Statut des images Art -- psychiatrie Eva Hesse Joseph Beuys Oyvind Fahlström Drawing—20th century Creative process Status of images Graphic arts— 20th century Art—Psychiatry 740
9	Barbro Östlihn och New York : Konstens rum och möjligheter Öhrner, Annika January 2010 (has links) The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework. Barbro Östlihn post war art history American post war art history Swedish art history pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Barbro Östlihn post World War II Art History American post World War II art Swedish Art History pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Art Konstvetenskap

Search results