Ever since 1919 has “Rädda Barnen” aka, “Save the Children” fought for the rights of the child. The UN convention tackles many important fights today concerning social sustainability which goals are pointing towards the improvement of children’s life conditions. Today we live in an adults world with an adults mind. How are we supposed to change this world to a world fit for children and youth if we do not invite them into the decisions and change-makings? Are we starting to understand the importance of child participation and are we finally inviting them to start shape their world together with the help of adults?   This thesis contributes to a discussion around the work of Save the Children and the practice of co-designing with children by addressing article 12 in the UN convention; “ Every child’s right to hold and express their views”. It supports a complex activity with workshops and thoughtful discussions in how to change for a world fit for children and where research towards an understanding of co-design practice with children has played part.   The framework in this study presents a practical solution and an initial structure of co-design with children with a low-tech prototyping, all as a prop for discussion amongst parents and adults in the position of decision-making.

Denna undersökning syftade till att analysera historia i konst genom att förenkla Panofskys analysmodell. Detta i samband med ett pedagogiskt tankesätt för att i framtiden utveckla analysredskap för mina elever på gymnasienivå. Panofskys analysmodell är tidskrävande och komplicerad, för att konkretisera detta för eleverna utvecklade författaren en enklare variant som är menat att lägga grund för intressanta diskussioner i klassrummen.   För att undersöka detta valde författaren två olika konstverk, ett från Barocken (1600tal), ett från Romantiken (1800tal), och analyserade dessa utifrån sin egna analysmodell. Detta för att faktiskt själv ha använt sig av den innan man ger ut den till eleverna. Efter det tog författaren fram en gymnasieuppgift i kulturhistoria, med ytterligare ett konstverk från 1800talet, där syftet är att eleverna ska lära sig om nationalismen.   Studien visade att en enklare analysmodell, kopplad till kunskapskrav och baserad på Panofskys analysmodell kan både ge kunskap och skapa intresse hos betraktaren/eleven.

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DAYDREAMS Three years ago my friend Maja and I were sitting at a beach on an island in Thailand, fasting, drinking green-juices and coconuts with straws. We were painting and talking about our dreams. I was dreaming about painting big walls, dreams that felt far away. The next day I found myself on an expressboat to the nearest island hospital. I was totally exhausted. I wanted to step into the new year like a new person, but ended up like this. I survived the ordeal and came home alive. Upon returning home I got the opportunity to paint my rst indoor wall at Marie Laveau, where my friends and I had a club. It was a relatively small job, but such a cool feeling painting along with other female aritsts in a safe space. I knew inside that this was something I wanted to explore more deeply. I began to see the connection between textile and spraypainting in a whole new way. I’ve found in my life that one step always leads to another, and hard work often brings results. My dream about one day painting a large wall was now a realistic possibilty. The summer of 2017 I suddenly found myself on an airplane heading for Ajman in the Arabic Emirates. I had been invited to paint a 16 meter high building overlooking the sea. The outdoor temperature was 42 degrees. I was so nervous and scared. I’ll never forget the feeling of being so high up on a wobbly skylift shifting back and forth in the wind while the engiine was overheating. Panic. I was stuck. However, once again I managed. The painting was completed and I’ve never felt so proud and happy before. I’m a big believer in dreaming, when I dare to visionize in all directions I feel that somewhere it will be recieved. I’ve seen that the possibility of my dreams coming true increases when I write them down and talk about them, even though it at times can feel scary. Even though sometimes I don ́t feel capable or my con dence is shaky. To be good at something requires taking that rst step.

This study is about the reception of Paul Gauguin’s art in Sweden in 1926 and 1970. I chose these dates because of the exhibitions displaying Gauguin’s art in Stockholm then, as it is the reception in Sweden I’m concerned with. The reception will be examined by studying relevant material as exhibition catalogues and newspaper articles. The study starts with a biography on Gauguin’s life to provide relevant background information. Then, a semiotic analysis of the painting Manao tupapau (1892) that Gauguin painted during his first stay on Tahiti (1891-1893). I feel that this paining really represents the imperial gaze Gauguin used to view and portrait the local population on Tahiti with. Throughout my study I use postcolonial theory in my analysis and I also draw parallels between Gauguin’s art and the racial photography of indigenous populations that Åsa Bharathi Larsson writes about. I feel that the production of photos have a lot in common with the production of Gauguin’s art and the result also shows that this racial photography helped establish the imperial gaze that the Swedish art critics later viewed Gauguin’s art with, especially in 1926. In 1970, the gaze had evolved and Gauguin’s lifestyle was criticized. Still, In spite of this critic, Gauguin’s art can still be exposed today (2017-18), without any mentioning of the circumstances under it was made, nor its exotifying traits. / Det här arbetet handlar om receptionen av Paul Gauguins konst i Sverige i samband med de utställningar av hans konst som tagit plats i Stockholm år 1926 och 1970. Arbetet består av analyser av det material som producerats i samband med utställningarna; utställningskataloger och tidningsartiklar. En semiotisk bildanalys av hans målning Manao tupapau har utförts då jag anser att det verket bäst sammanfattar de koloniala strukturer jag menar Gauguins konst bär på. Postkolonial teori används genomgående som teori i arbetet och jämförelser mellan den konst som Gauguin producerade på Tahiti i slutet av 1800- talet och de rasbiologiska fotograferingar som Åsa Bharathi Larsson skriver att Sverige utförde på Tahiti under sent 1800-tal har utförs. Resultatet visar också att dessa rasbiologiska studier bidragit till att lägga grunden för den koloniala blick med vilken konstkritiker i Sverige betraktade Gauguins konst främst år 1926. Studien visar att blicken med tiden utvecklades och att det år 1970 riktades kritik mot Gauguins livsstil. Trots detta kan idag (2017-18) Gauguins konst exponeras utan att omständigheterna kring hur den skapades eller de exotifierande egenskaper den bär på, nämns.

Gazelle Kianoush's the Master essay "Jag ska skapa en människa!" concists of a voice and sound recording. A recorded reading of the text is mixed with sounds and gives emphasise to vocal and acoustic rather than textual and grammatical qualities. Attention is redirected from reading to listening, and thus a greater intimacy between "writing" and "reading" is sought for. The latter is also further accentuated by the low sound of the recording which demans complete concentration of the listener. The recording begins with quoting a prophecy present in the Quran, the Torah as well in the Bible before the voice immediately turns to observing that all societies are ruled by political agendas and that anyone who wants to put them into play and at stake will be punished. This observation is connected to the remark that art seems to have lost its power to cause political change, i.e change that transcends the art world and manage merge life with art. Kianoush wants to challenge and revolt against this inertia and lost faith and instead see art as a utopian project where the impossible can become possible. At heart of such attempt and project is the appreciation of the sensorial, affective body. The body is as clever and rational as consciousness, and in order to create "new worlds" and encountering the world through art in positive ways, dualist thinking has to be abandoned in favour of thinking and doing that takes bodily experience as starting point: "The greater possibilities he have to be affected, the more clear-sighted". Bodily experience is thus highlighted, and so is the fact that we at first sight always approach other beings as bodily entities through our senses. How we perceive the other as well as the impact perception has on identity construction is brought up. Gender and ethnicity are also pointed out as crucial for the way we understand and interact with other people and orientate ourselves in the world. Emancipatory politics and egalitarian claims regarding gender, ethnicity and cultural background form the recurrent theme of the essay, emphasised by quotes from among others Antonio Gramsci and activist Stokely Carmichael and expressed as everyone's right to write and perform his or her own history. For this, art can be an efficient form; but only if it is "more than a thing" and affirm its ageless appeal which is conclued by Kianoush in that "art belongs to the streets": At the end of the essay the shared origin of culture that was hinted in the opening qoute is further emphasised by a short outline of the great historical impact the so called "Orient" has had on the history of Western culture. / [I examensarbetet ingår utställningen "Där vi bor!":] Jag tänker, alltså är jag! Om man tänker så finns man...men är det verkligen så? För mig har tänkandet inte något högre ontologiskt värde än kroppen. Sinnesförnimmelser och kroppsliga erfarenheter är lika intellektuella som tänkandet själv. Ju större affektionsmöjligheter vi har desto skarpsyntare är vi. Tankeverksamheten kan ses som den mentala spegelbilden av den kroppsliga erfarenheten. Jag bjöd in tre konstnärer i ett samarbete kring varandet! Kroppen och maktförhållandet mellan tankevärlden och det kroppsliga var utgångspunkten. Vi använda lera, rösten och avidentifierandet av personligheten för att undersöka ämnet. Fyra kvinnor gör en kropp inom loppet av en 5 dagars performance. Teknik: Performance i fyra delar. / <p>Mitt examensarbete består av ett 30 min ljudverk som är min masteressä och en gestaltande del som består av fyra performances av fyra olika kvinnor som tillsammans bygger en gemensam fysisk kropp.</p>

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Maskinen snurrar med 300 varv per minut. Jag applicerar tryck, leran formas och färgerna blandas. Jag har formgivit, men tillsammans har vi tillverkat, en servis i infärgad lermassa. Genom en produktionsmetod där maskinen blir medskapare serieproducerar vi unikhet. Stegmaskinen har en tvåhundraårig historia som arbetshäst inom porslinsindustrin. Nu gammal, omodern och övergiven, men inte uttjänt. I mitt projekt får den en ny chans att skina. Jag svarvar gipsformar och tillverkar profilerade metallsteg till maskinen. Lermassorna färgar jag in med mineraler och oxider och skapar en sammansättning som jag sedan lägger i maskinens händer. Med min handkraft pressar maskinens arm ner massan mot den roterande gipsformen, färgerna blandas, och ett objekt tar form. Resultatet blir en förening av människan, materialet och maskinen.

This essay and the work within describes my project where I have been investigating the possibilities to explore the material pewter through my craftsmanship as a glassblower. I've been trying to find new methods and expressions in my work by adding another material to my practice and questioning my own tradition as a glassblower and my perception of glass. Inspired by post humanist theories on materialism I have through a experimental approach developed a method of combining the two materials into objects or Hybrids.

Wahls Trio This paper’s main purpose is to describe the process of using your own band as an experimental workshop. The paper explores the various different steps of composing and also describes how the process can be different from time to time. The impact of role models is analyzed and used as a point of discussion, by comparing them to each other and finding the uniqueness of each band. By using the analysis of role models there are possibilities to explore ways of mimicking soundscapes and musical conditions. This way you can find paths to transfer them to one’s own band.The paper brings up questions about what energy is and what it means in a musical context. It also covers what it is like to record jazz music in a studio environment and how different ways of recording can affect the music and the musicians. In the concluding reflections the role as a drummer is analyzed in relation to the comfort level in different musical situations.The paper concludes in reflections on the learnings from the whole musical process that finalizes in the exam concert.