English titel: Dandelions, memory and mysticism in the image world of Cecilia Edefalk. Content: Cecilia Edefalk (born 1954) is one of the most wellknown and respected artists in Sweden and worldwide. She started out as a postmodernist  with today iconic works as ”Baby” and ”Another movement” in the late 80´s.  Gradually she has switched her focus towards a more minimalistic expression with a great interest to visualize the invisible world. She here operates in the same tradition as many painters from the beginning of the 20th century, as Vassilij Kandinsky and Hilma af Klint - the later has she acknowledged as one of her major influences.  The  essay´s aim is  to analyze ten of her major works from the late 90´s and forward from the  starting point: How does she reproduce  the spiritual world in her highly personal visual language? She has an aesthetical dimension as well as an ideological foundation as an artist  with the conceptual thinking as starting point. Simultaneously she  has a romantic vein and  her work reflects her strong sense of intuition and feeling, present in all her techniques as painting (tempera), video, spatial and sound installation and sculpture. In her most recent series (she often works with a repetition of motives and themes over a length of time, using the notion of memory to recreate and rebuild certain images. She arranges seed heads of dandelions into still lifes as an image of fragility in nature. The dandelion becomes a vivid metaphor of natures susceptibility to decay.  Hereby she creates a tension between  the ephemeral and the eternal. The recreation of Marcus Aurelius head into a bronzer sculpture as well as her ”blowball” reflects  the repetitious cycle of nature and our own fragility. Key words: invisibility, Hilma af Klint, the spiritual world, conceptual thinking, romanticism, repetition of motives, fragility, cycle of nature, eternity.

The energy use in the existing building stock must be reduced and historic buildings need special attention, both in terms of practice and policies. The general objective of this study is to provide an improved evidence base regarding the energy use in the historic residential building stock in Sweden. Data from the Swedish data base of energy performance certificates (EPC) has been used, which are based on measured energy use.  The aim is to use the building energy data to inform on the energy use in historic buildings. Since national data on heritage values in the building stock are unavailable age, is used as a proxy, and buildings built before 1945 are studied in more detail. In the study policies for energy targets are compared with the real energy performance of the older buildings in the building stock, and based on the results their possible contribution to energy saving on a national level is discussed.  Buildings built before 1945 stand for a significant part of the energy use in the Swedish building stock, and well planned measures, taking heritage values in account, could achieve significant energy savings. Buildings built before 1845 account for a very small part of the energy use for buildings and should not be prioritised in achieving national targets for energy saving. Buildings built 1945–1974 are those that use the most energy and where renovation could have limited impact on heritage values.  Apartment buildings with district heating built between 1845 and 1945 have an average energy performance that is twice the target for new and renovated buildings. The average value or the mode value of the group could be assumed to represent a realistic target. Using this method we could identify buildings or groups of buildings that represent best practice in a given segment of the building stock. General targets for energy saving when applied to historic buildings can result in negative effects on the heritage values of the buildings. This method and the results of this study can be used to set more realistic targets for policy planning and renovation aiming to improve energy performance in the Swedish historic building stock.

I uppsatsen analyseras J.A.G. Ackes friluftsmåleri och Eugène Janssons figurmåleri från flottans badhus ur ett idéhistoriskt perspektiv, med tonvikt lagd på de vitalistiska tankar som var aktuella vid tiden för sekelskiftet 1900, liksom på Friedrich Nietzsches och Henri Bergsons inflytande på motivsfären. Därefter följer en receptionsestetisk analys av de fyra verk vardera som tidigare analyserats. Resultatet visar att Ackes och Janssons verk inte kan tolkas utifrån samma förståelse av vitalismen. Den receptionsestetiska undersökningen uppmärksammar dock att deras verk kan ha tilltalat samma implicite betraktare år 1912, trots deras olika förhållningssätt till vitalismens innebörd. / In the thesis four paintings by J.A.G.Acke depicting figures in nature and four by Eugène Jansson from the navys bathhouse are compared and analysed. The analysis is based on the vitalistic ideas of Friedrich Nietzsche and Henri Bergson, as well as on different readings of vitalism as a concept. Their works are also analysed using the methodology of the aesthetic of reception. The result of the survey shows that Ackes and Janssons paintings differ in their interpretation of the vitalistic ideas. The analysis of the aesthetic of reception on the other hand, concludes that an implicit beholder could have read both artists paintings as vitalistic, in spite of their different approach to the vitalistic ideas.

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This paper aims to investigate the public art in the city center of Västerås, the area the citizens commonly call “Cityringen”. The intent is to search for a possible differentiation between how the art created by female artists and the art created by male artists are placed in relation to important buildings and institutions. The quantity of the artworks are also taken into consideration. The study is based on gender theory, a theory that recognizes the power structures and hierarchies between genders. It also takes the aspect of site specificity and size into the analysis.    Research shows that out of the 67 public art pieces, only seven are created by female artists. Most of them are scattered through out the city with no relation to other artworks or important places and buildings. The fact is that the art around and on the exterior of the City hall is all created by male artists, while only one out of six artworks in the botanical garden were created by a female artist.    This creates a problem in that the representation does not coincide with the idea of gender equality. The public space is meant to accommodate everyone regardless of gender, sexual orientation, ethnicity and religion. This study has shown that, because of the overrepresentation of male artists, the public space in Västerås does not communicate the equality that is desirable.

<p>The dissertation is divided into four separated parts.</p><p>Part 1 is a summary of the three following parts, supplemented with components from a more general point of view.</p><p>Part 2 deals with the shaping of sea-going vessels, delivered between 1935 and 1995. All of them with some form of connection to Sweden.</p><p>Part 3 is an analysis of the architecture of the white wooden fishing boat from the west of the Swedish coast.</p><p>Part 4 is a similar analysis of the steel fishing boat.</p><p>The term "ship architecture" has been chosen in the dissertation, instead of "design" or "naval architecture". Naval architecture is a wide-ranging subject which however does not embrace that which normally is included in the concept "architecture" as it is employed by art historians and architects. Design is usually an industrial production in great quantity of identical objects. While ships, with few exceptions, are unique like buildings.</p><p>Ship architecture is a subject which has barely been treated, either in Sweden or abroad.</p><p>The source material used in this study are the "general arrangements", blueprints, published in periodicals and the fotographs of newly-built ships. The main source has been The Scandinavian Shipping Gazette, which has been published weekly on a more or less regular basis since its inception in 1905. A number of architectural motifs are each dealt with separately.</p><p>The conclusion of the study is that two separate attitudes to ship architecture can be discerned during the period under investigation. During the first one the appearance of the ship has been significant for both builders and owners. The necessary skills have been readily available.</p><p>During the latter one (a shift occuring in the mid-1960s), interest in the appearance of the ship has disappeared, instead only effiency and economy are demanded. There is still a desire for aesthetics in passenger liners, but by that time, much of the old skilled workmanship has been lost.</p><p>However, there need remain any doubt about the willingness of the shipyards also today to agree to revisions for the sake of aesthetic appearance. If there was any interest in doing so and if it was delivered at an early stage of the newbuilding process.</p>

The dissertation is divided into four separated parts. Part 1 is a summary of the three following parts, supplemented with components from a more general point of view. Part 2 deals with the shaping of sea-going vessels, delivered between 1935 and 1995. All of them with some form of connection to Sweden. Part 3 is an analysis of the architecture of the white wooden fishing boat from the west of the Swedish coast. Part 4 is a similar analysis of the steel fishing boat. The term "ship architecture" has been chosen in the dissertation, instead of "design" or "naval architecture". Naval architecture is a wide-ranging subject which however does not embrace that which normally is included in the concept "architecture" as it is employed by art historians and architects. Design is usually an industrial production in great quantity of identical objects. While ships, with few exceptions, are unique like buildings. Ship architecture is a subject which has barely been treated, either in Sweden or abroad. The source material used in this study are the "general arrangements", blueprints, published in periodicals and the fotographs of newly-built ships. The main source has been The Scandinavian Shipping Gazette, which has been published weekly on a more or less regular basis since its inception in 1905. A number of architectural motifs are each dealt with separately. The conclusion of the study is that two separate attitudes to ship architecture can be discerned during the period under investigation. During the first one the appearance of the ship has been significant for both builders and owners. The necessary skills have been readily available. During the latter one (a shift occuring in the mid-1960s), interest in the appearance of the ship has disappeared, instead only effiency and economy are demanded. There is still a desire for aesthetics in passenger liners, but by that time, much of the old skilled workmanship has been lost. However, there need remain any doubt about the willingness of the shipyards also today to agree to revisions for the sake of aesthetic appearance. If there was any interest in doing so and if it was delivered at an early stage of the newbuilding process.

This essay deals with the valuation of art with a focus on the aura of artworks. Aura is a theory developed by art critic Walter Benjamin in the early 20th century, the aura is the ”presence”of an artwork and reflects the uniqueness and authenticity that disappears with reproduction. The questions posed to the material are whether the aura affects the economic value when valuing art and what the different factors are that influence the aura. The essay has a discourse theoretical focus where the concept of aura is central, a discourse theory deals with language and its meaning which can depend on the context. The study also draws on Benjamin's theories of the aura where the concept is a theoretical tool in analyses. An iconographic analysis and iconological interpretation has been made on selected artworks, which are then contextualized in a multilevel analysis to determine how much the aura of the work has influenced the economic value. The study shows that the aura influences the economic value and that it is an important part of the valuation process as it is influenced by uniqueness, artist and provenance.

The aim of this essay is to study and analyse the sculpture Gowhar that was made on a commission for Uppsala City Hall, the sculpture was created by the swedish based artist Samaneh Reyhani. The artist created a sculpture made out of marble and bronze and it takes the shape of a seashell and it’s pearl. The pearl is a visual embodiment of the word democracy, meaning that it takes a time for a pearl to be created, such as democracy has taken time to become a part of todays society. This study examens how the design and the material of the sculpture affects its interpretation. Thereafter the placement of the artwork is analysed and the connection between sculpture and location is investigated. The method that has been used to analyse the sculpture is inspired by Jessica Sjöholm Skrubbes reworked version of Wolfgang Kemps receptions aesthetics method. The theoretical framework was inspired by Rosalind E. Krauss sculpture theory.

This essay will examine and analyse the advertising dispute between the dairy company Arla and oat drink company Oatly that played out in Swedish media 2014 and onwards. In this essay six advertisements, three from each company, will be discussed and analysed. The advertisements analysed were all produced through the years 2015-2021. Both TV-commercials and advertising images will be included in the analysis. The advertisements will be examined by a method based on semiotic image analysis and image rhetorics. They will then be compared to each other in search of differences and similarities. The aim for this essay is to answer the following questions: * What design language is used by Arla and Oatly? What themes are conveyed through this design language? * Are there any similarities or differences in the visual design languages of the two companies? * How is the rivalry between Arla and Oatly expressed visually through their advertisements? The analysis concludes that both companies use similar design choices in order to visually remind the viewer of their competitor. Color schemes typically associated with the other company is used in both commercials and advertising images. In the advertisements text is combined with pictures in order to convey a certain message to the consumer. The companies portray their competitor and their products as inferior to their own and shine a negative light on each other by for an example coming up with and displaying fake products visually similar to their competitors or encouraging consumers to flush the competitors products down the drain. Throughout the dispute both parties are seen using new takes on well known Swedish quotes in their advertisements. In the comparing analysis only a few similarities are found. The similarities include the usage of similar motifs and the play on common themes such as solidarity and alcohol consumption. Some of the differences found can be traced back to fundamental differences in the way the two companies see their own businesses. Oatly portrays themselves rather as a positive movement than an actual company and Arla portrays themselves as the obvious choice, both cooler than their competitor and superior when it comes to the taste of their products. The essay also concludes that there is yet no official end to this advertising dispute as Oatly in April of this year launched yet another advertising image referring to their competitor, this time going as far as naming Arla in the text.