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The aim of this essay is to study how different people experience and interpret abstract art, looking at three factors. The research-material was gathered through qualitative interviews with four participants who were asked to interpret four works of abstract art. First, using Pierre Bourdieu’s sociological habitus theory, the participants were interviewed about their personal and academic backgrounds to see if, and then how, it manifests in the interpretation of the artworks. Secondly, it examines the intermediality, how the experience varies between viewing the original artwork and viewing a digital version. Lastly, the study looks at if, the title of an abstract artwork could, and how, it would affect the experience and interpretation of the work. The results showed that the participants from different academic education did interpret the artworks differently, they also had different approaches towards using the title as either a tool for understanding, or confirming their existing interpretations. Additionally the results showed that the intermediality and change in media did have an effect on the participants experience and interpretation of the artwork.

In this essay I make an attempt to propose a different view of the world. A look that turns to the world as it is. A look that longs for a world that addresses the world as it is. In this text, as in my graduation exhibition, I have used the cabinet of curiosities as a method. I have built the text in different text fragments where I present different ideas, thoughts and discussions about the displacements that people are put in, in a class society. The headings act as an instruction or rather a pointer for the reader. I use dialogue, poetry and lyrical prose in this hybrid essay to build a scene of the displacements I write about. Class markers that trick one into consuming oneself closer to norms have a central position in my essay. I want to highlight how different subordinates play out with each other.How performative assimilation is just performative assimilation, thus other limitations masked in glitter. Beware of the distance that is the consumer society. Beware of how our subjectivity is shaped by marketing.By reading and thinking together with authors such as Athena Farrokhzad, Mara Lee, James Baldwin, Trinh T. Minh-ha, Anne McClintock, Yahya Hassan, Don Mee Choi, Kristina Lugn, bell hooks and Jennifer Hayashida I examine the power of language, performative assimilation, economic capital, material capital, how accessibility that is said to be accessible is less accessible than we think, and how different class markers can create an illusion of a class belonging to which you do not belong.

What kind of times are these, when  To talk about trees is almost a crime  Because it implies silence about so many horrors?  ― Bertolt Brecht I’ve always been engaged in questioning the notion of power, and my interest in thinking critically and questioning systems in our society was something I learnt as a child. I know that being born in Sweden as a child to political refugees from Iran, shaped my world and positioned how I view it. Our family dinner discussions and bedtime stories were often about revolution and human rights. My parents political engagement for freedom didn’t end when they came to Sweden. My baba have a book publishing company called Baran that he works with alongside his 9-5 job since 1991. At Baran, he publishes novels, short stories, essays and magazines by various exile Iranian writers and artists, with the freedom of speech as a focus. These texts and books are works that could never be published in Iran. During my childhood, Baba travelled across Europe to organize with other exile-Iranian authors, artists and publishers. Me and my sister would often join these trips. Even though the agenda was about a serious issue, it was always a great adventure to be able to see the world together with them. Growing up super close to this human rights movement, I early on learned that culture, literature and art carried a big responsibility. And that it could be dangerous to be an artist, mainly if you are living in a dictatorship, but also across different nations. The power of art is infinite, and it invites free thinking, imagining, reformulations and questioning. It helps you observe the world from many different angles. That is why I believe that art itself carries a potential for change.  During my first year at the BFA program at Kostfack I wrote a short essay about Shakir Attiyah.  He is one of my friend’s baba and also a well known artist in the community of Husby where I am from. I wrote about his story, because I couldn’t understand why he was excluded from the art field. It made me angry that he didn’t have the same chance or conditions as someone from the global north to fulfill his artistic carrier and dreams. It made me angry that his story wasn’t unique and that there are so many similar stories like his about exclusion. The essay I wrote was really short and only touched the questions I raised on the surface, so at the beginning of June this year, I decided that I wanted to investigate and research on his life. I first thought that the research  would end up in a documentary or as a video essay. But it instead, it progressed into a short video piece. In this essay I present the background to my video piece, Imagined Possibilities, in relation to theory and research about artistic quality and the conditions of foreign-born artists in Sweden.  Imagined Possibilities (4 min), is a piece based on Shakir Attiyah's life (him playing as himself),  and is a play between facts and fiction. The video was my main piece during my BFA solo exhibition this year in September.

I Fångsten och fången har två av mina främsta intressen förenats: handarbete och skärmaktiviteter. Jag har lekt med tanken om skärmen som en samtidens nyckel till ett tanklöst tillstånd människan på olika sätt alltid eftersträvat. Med hjälp av textila metoder har jag materialiserat och manipulerat (upcyclat) digitala filer för att understryka likheter och skiljaktigheter mellan det digitala och det textila. Arbetet har resulterat i ett undersökande av hur ett nöje kan utvecklas till en fångenskap.

I den här essän försöker jag att kartlägga de geografiska rörelser jag gör under mina två sista år på Konstfack och hur de möten som uppstår till följd av dessa rörelser påverkar arbetet med min kandidatutställning. Jag blandar personliga anekdoter med reflektioner kring filmkonstens och det tredje språkets förutsättningar.

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Das Lehrbuch ist ein wichtiger Bestandteil des Deutschunterrichts in Schweden. Meistens enthält es ausschließlich alltägliche Texte, Dialoge und Briefe. Dies bedeutet, dass die Lernenden nicht mit literarischen Texten in Kontakt kommen. Infolgedessen verlieren die Lernenden die Möglichkeit, ihre Fremdsprache zu entwickeln und zu lernen, wie man mit dem Inhalt des literarischen Textes umgeht. Es gibt verschiedene Lesestrategien, die bei der Arbeit mit literarischen Texten nutzbringend angewendet werden können. Daher werden die Lernenden selbstständiger, das heißt autonomer, indem sie ihre Fähigkeit entwickeln und eigene Lernwege erkennen, bewerten und effektiver modellieren. In dieser Studie wird anhand von Unterrichtsbeispielen gezeigt, wie Lesestrategien im DaF-Unterricht eingesetzt und trainiert werden können. Zum Beispiel werden die metakognitiven und kognitiven Lesestrategien von Bimmel (2010:846), Lesestrategien von Ehlers (2006:36) und das Trainingsmodell Tönshoffs (1997:207) verwendet. Drei verschiedene literarische Texte bilden das Arbeitsmaterial im Unterricht: die Märchen Hänsel und Gretel und Rumpelstilzchen, Emoji-Assoziationen aus Liedtexten und Tagebucheinträge von Anne Franks. Auch Vor- und Nachteil von Lesestrategien, unterschiedliche Lesestile und der Verwendung dieser literarischen Texte werden diskutiert.