Detta examensarbete handlar om hur man utformar installationer som återger platsens historia i en besöksträdgård. Dåtid möter nutid genom gestaltning av historien i tillfälliga trädgårdsinstallationer. Arbetet beskriver en gestaltningsprocess som börjar med studier av platsen. Fakta och inspirationsmaterial har samlats in, bearbetats och resulterat i tolv olika installationsförslag. Stor hänsyn är tagen till beställarens tankar och önskemål. Platsen som jag utgått från under arbetet är en Hälsingegård med anor från 1700-talet. Avgörande i arbetsprocessen har varit att det funnits mycket historia och fakta att tillgå. Den gamla hälsingegården med sin relativt orörda trädgård har i sig varit en stor inspirationskälla.

Blue-Print: Human/Hydrokinetic Drawing Projects, is based on an expanded field of drawing practice, centering on a series of spatial and time-based projects at various bodies of water around the world. Blue-Print drawing projects set out to describe a language that articulates a human/hydrokinetic relationship. This expanded drawing practice emerges through diverse forms of installation, video, land-art, kinetic sculpture, light works, sensor-drawing, photography, living-monochromes, sound, durational events and research. This expanded drawing practice is based on an inquiry into the relationships between land/place and thought/movement. It addresses the processes through which landscape, and its forms, are internalised in conceptual space, and the ways in which conceptual frameworks are projected outwards onto the landscape. The work is informed by, and contributes to, the paradigms of eco-poetics and psychogeography. Both of these paradigms engage with the relationships between the physical world and the human experience of space and time. Combining the two through my practice creates a view of the environment and the human as two interdependent circulatory systems. Bodies of water/weather cycles/conceptual systems/the human as a water-body, these are subjects in my work as much as the sense of circulation comes through methodologically and aesthetically in the actual making and form of my expanded drawings. This approach to art practice uses process in a particular way, that is as a primary means of making an artwork, although it could be said that such an approach is also an anti-method in as much as the 'method' is variable - it is continually invented given the situation/circumstances. What is consistent is a dynamic of proliferation; the work spreads out in different directions and in unpredictable ways. Here process is not for 'outcome' but is the work itself. My overall practice has taken drawing as the base from which to work. My works are combinational and connective. They are based on a type of research that is deliberate, intense and composite, and which activates the spaces of transformation that exist in the movement between landscape and thought, the circulation between environment and human. This investigation uses human engagement with moving bodies of water to generate drawings in a variety of ways, according to the specifics of each hydrokinetic system. This interest in human/hydrokinetic relationships stems from my experiences as a surfer and surfing is one of the means with which I create drawing works within this investigation. I am interested in the unique and dynamic complexity of hydrokinetics in each of the chosen locations and how this complexity of movement influences the drawing/ recording process. I am interested in generating real-time drawing works from the particular intersection of: place; time; human/hydrokinetic activity; ecological forces at work and the specific ways in which these variables all affect the resultant form of abstraction. Further to this I am interested in exploring the capacity of abstraction to access, and refer to, psychological space more readily than naturalistic renderings of the landscape.

[pt] Robert Smithson, artista americano da Land Art, procura ampliar seu campo de atuação cultural, para isso, o artista atua no limite entre os meios artísticos. Suas ações - nas quais o indissolúvel vínculo entre matéria e mente seria o vórtice engendrador - promovem fraturas, seja no universo da arte, seja no correspondente mundo, que permitem a eclosão das suas obras poéticas e seus jogos artísticos. O artista não privilegia meio algum de atuação, contudo, fabula o panorama zero - território fictício das possibilidades plásticas – a partir do qual reformula imaginativamente tempo e natureza. Em seus textos, Robert Smithson evidencia outros nexos para o fazer artístico – evidentemente gerando ainda o desvio na circulação da produção - e parte para assimilação irrestrita de seus dispositivos operatórios e sua transitividade: site e non-site, dialética entrópica, atopia, escala, cristais inorgânicos, espelhos, mapas, labirintos, deslocamento, materialidade, paisagem, deriva e, finalmente, a escrita. Todavia, tais elementos não são fortuitos; eles transitam, grosso modo, entre a qualidade da atualidade em arte – por constante tensão produtora - do circuito artístico e as correntes revivenciadas, paradoxalmente pelo artista, dos romantismos, o Alemão, poético e filosófico de élan verbal; e o sublime, a experiência da formação da cultura americana. / [fr] Robert Smithson, artiste américain du Land Art, cherche élargir son champs d’actuation cuturelle, ainsi, l’artiste joue sur le limite entre les moyens artistiques. Ses actions – dans lequelles il y avait l’indissoluble lien entre la matière et l’esprit comme tourbillion générateur – font avancer des fractures, soit dans l’universe de l’art, soit dans le monde correspondant, qui permetent d’éclosion de ses ouevres poétiques et ses jeus artistiques. L’artiste ne valorise aucun moyen d’actuation, pourtant, il imagine le panorame zero – un territoire fictif de les possibilités plastiques – apartir duquel reformule imaginement du temps et de la nature. Dans ses articles, Robert Smithson manifeste des autres sens pour le faire artistique – évidement il y gère un genre de detourne sur la circulation de la production – et il pars encore à l’illimitée assimilation de ses dispositives opératoires au-délà de sa transitivité : site et nonsite, dialetique entropique, atopie, échelle, cristaux inorganiques, miroirs, chartes, dédales, deplacement, materialité, paysage, dérive et, à la fin, l’écriture. Toutefois, ceux éléments ne sont pas aléatoires ; ils y traversent, en gross, la qualité de l’actualité dans l’art – à travers d’une tension productrice – du circuit artistique et les mouvements révécus, paradoxalment par Smithson, du romantismes, l’allemand, poétique et philosophique d’élan verbale ; et le sublime, comme experience de la formation de la culture américaine.

The thesis deals with artistic tendencies in the landscape from the sixties to the present. The main attention is focused on historical basics of land art, land art formation in Czech republic and the difference between the American and the European approach in creation. An important issue is finding connections between land art and landscape architecture. The paper describes selected foreign and domestic authors who deal with creation of new public spaces, lying on the border between land art, sculpture and landscape architecture. The literature review also raises the question of applied land art, which uses forms of land art (the same means of expressions and principles) to achieve another objective (eg. solving problems and needs). This direction drifts the form of land art into the interdisciplinary area where the land meets the sociology, landscape architecture, history and other fields that have an impact on shaping of the landscape. Hence projects are created allowing the strengthening of the historical, economic, social and landscape features. It thus creates an opportunity where people can experience the landscape and feel sense of belonging. The practical part outlines the problems of landscape in the project area - Anenská Studánka, arising from landscape analysis.Solution to cultural problems is suggested through applied land art that helps us to talk to people about the problems of the landscape. As a form of applied art land a public exhibition of art in the landscape was chosen, which enables us to attract people to the landscape, to identify problems and landscape values, raise awareness about the history of the site and allow a common experience in the landscape. Applied land art was tested in project Hřebečsko - a region that (DID NOT) disappear(ed), which aimed to raise awareness of local people about the history and identity of the place they live in, and gradually restore the lost relationship between people and the landscape. The aim was to address mainly local people and create a space for meeting, sharing and forming new relationships through the shared experience. The benefit of this thesis is the realization of the project as the main organizer. The thesis thus brings practical experience and knowledge of organizing events (own know - how). The work can serve as a guide for organizing similar projects, which are transferable to other locations.

This work is complementary theoretical part of my practical art project on "Path of Water". Introductory chapter is devoted to the water. I'm investigating physical properties of the water in different states of matter and particularly its movement. I even consider its place in the art. The second chapter is devoted to the development of the landscape and its changes caused by the nature and human. The third chapter deals with the meaning, origin and history of land art in the world and in Bohemia. The fourth chapter describes the most interesting places and history surrounding the village Staré Dobrkovice in which the chosen place can be found. Intentions and descriptions of implementations are dealt with in fifth chapter. In the end I summarize the development of entire project and individual parts and I evaluate individual achievements and meeting of determined criteria.

Cette thèse s’origine dans un étonnement. Il s’agit de comprendre pourquoi, au milieu des années 1960, plusieurs artistes de la nouvelle avant-garde américaine s’emparent d’un objet que la modernité de l’art semblait avoir à jamais abandonné : la perspective linéaire. Pourquoi cette construction, intimement liée à l’héritage artistique de la Renaissance, cristallisa-t-elle les préoccupations d’artistes qui entendaient liquider cet héritage s’inscrire dans une histoire strictement américaine de l’art ? Comment put-elle se concilier avec l’élaboration d’un projet d’avant-garde ? Le but du travail est de passer du constat d’un paradoxe au diagnostic d’un symptôme. Pour cela, il convient de dépasser le sentiment d’un retour incongru et rétrograde du passé de l’art, pour considérer la manière dont la perspective est suscitée à nouveau par un champ contemporain qui la déplace en l’exploitant. Notre étude se concentre sur les cas de Robert Smithson (1938-1973) et de Mel Bochner (1940-), d’abord, parce que leurs usages de la perspective furent les plus concertés et les plus conséquents ; ensuite parce qu’ils occupent deux positions à la fois proches (liés d’amitié, ils réfléchirent et travaillèrent ensemble) et distinctes : là où Smithson, d’abord lié au mouvement minimal, s’orienta vers le Land Art, Bochner se rapprocha du courant conceptuel. Cette diversité de pratiques permet de saisir la manière dont la perspective résonne avec une pluralité de problématiques propres à la période. Trois axes principaux animent notre étude : éclairer ce qui, dans le contexte artistique contemporain, favorisa et accompagna le retour de la perspective ; préciser la spécificité des usages et des pensées de la perspective que développèrent Smithson et Bochner et la manière dont ceux-ci fut souvent la pierre de touche de leurs particularismes ; comprendre comment l’un et l’autre transformèrent l’objet qu’il convoquaient, et réinventèrent la perspective plutôt que de la réhabiliter. / This dissertation is born out of astonishment. It aims at understanding how, in the middle of the 1960s, several artists of the American avant-garde seized an object that artistic modernity seemed to have discarded for good: linear perspective.Why did this device, so tightly linked to the legacy of Renaissance art, crystallize the interest of artists whose project was to put an end to this legacy and to write a strictly American history of art? How could it fit into an avant-garde agenda? This work aims at turning what seems to be a paradox into the understanding of a symptom. This means overriding the feeling of an incongruous and reactionary comeback and understanding how perspective is called forth by a specific context that recodes it and transforms it.To do so, we focus on the works of Robert Smithson (1938-1973) and Mel Bochner (b.1940). First of all, because they are the two artists, among the avant-garde, who most engaged with perspective. Secondly, because they were both close (as friends they thought and worked together) and apart in the artistic field: Smithson drifted from Minimalism to Land Art, while Bochner moved toward Conceptual Art. This diversity helps us observe how perspective reflects several questions at stake in the artistic landscape. Three main lines of questioning structure this dissertation: highlighting what features of the artistic context trigger this return of perspective; specifying how Bochner’s and Smithson’s use of and thinking about perspective differ from this general context and reflect their particular positions; and finally, showing how they both transformed the object they conveyed, reinventing perspective rather than simply recalling it, and eluding its usual definitions to produce new ones and reveal others.

I detta arbete har jag undersökt vilka möjligheter och metoder som finns för att skapa konst i utemiljö. Hur kan skapande i offentlig miljö utföras inom skolan? Vad går att göra med hänsyn till olika regler och lagar? Syftet med studien är att synliggöra tillvägagångssätt för skapande i offentlig miljö som kan utföras som platsspecifikt görande tillsammans med elever. Empirin består av flera olika delar; en intervjustudie, litteraturstudie och dokumentation från konstnärlig forskning. Som komplement till detta undersöks telefonsamtal och mejlkorrespondens med olika företag och myndigheter. Den konstnärliga forskningens empiri består av en skriftlig och en visuell dokumentation från när jag prövat olika praktiker som gatukonst eller land art, och undersökt skapandeprocessen genom mitt eget görande. Dessa experiment är gestaltningar i sig själva, men fotodokumentation från dessa försök ligger till grund för gestaltningen som visades på Konstfacks vårutställning. Där sammanställs de olika försöken och sorteras i två olika grupper, lagliga metoder eller olagliga. Resultatet av projektet visar att det trots den juridiska gråzonen kring skapande i utemiljö finns goda möjligheter att genomföra undervisning lämplig att genomföra tillsammans med elever i skolan, med hjälp av flera användbara metoder från land art och gatukonst. Gestaltningen visar fotodokumentation på några av dessa möjliga metoder och kan även användas som diskussionsunderlag tillsammans med elever.

abstract: Counter-Landscapes: Performative Actions from the 1970s – Now presents a group of artists working in both natural and urban environments whose work exploits the power of place to address issues of social, environmental, and personal transformation. Through a focused selection of key works made between 1970 and 2019, which extend beyond traditional categories, Counter-Landscapes illuminates how the methodologies created by women artists in the 1970s and 1980s are employed by artists today, both men and women alike. Developing a practice of performative actions, these artists countered the culture that surrounded and oppressed them by embodying the live elements of performance art in order to push for social change. Looking back to the 1960s and the counter-culture mindset of the times, I approach the histories of land, performance, and conceptual art through feminist studies. Then I apply the same feminist approach to philosophical histories of landscape, place, and space. Through a discussion of an extensive range of works by 25 artists, this research seeks to demonstrate the indelible influence of feminist art practice on contemporary art. It brings the work of an innovative generation of women artists—Marina Abramović, Eleanor Antin, Agnes Denes, VALIE EXPORT, Rebecca Horn, Leslie Labowitz, Suzanne Lacy, Ana Mendieta, Adrian Piper, Lotty Rosenfeld, Bonnie Ora Sherk, Beth Ames Swartz, and Mierle Laderman Ukeles—together with more recent work by artists who have adopted and extended their methods. These artists, both male and female, include Allora  &  Calzadilla, Francis  Alÿs, Angela Ellsworth, Ana Teresa Fernández, Maria  Hupfield, Saskia  Jordá, Christian Philipp Müller, Pope.L,  Sarah Cameron Sunde, Zhou Tao, and Antonia Wright. / Dissertation/Thesis / Doctoral Dissertation Art History 2020

Comme artiste investie de préoccupations environnementales, je considère les rapports entre ART-NATURE-CULTURE intimement liés. La NATURE est présente DANS L'ART, et L'ART DANS LA NATURE, depuis que nous prenons conscience des limites de la Terre. Plusieurs mouvements et évènements artistiques en font foi, à commencer par le Land Art, l'Éco Art et l'Art environnemental, pour ne nommer que ceux-là. Les filiations de ma pratique avec ces mouvements artistiques enrichissent ma réflexion sur les particularités de ce thème de création. Les journaux, les revues d'information de même que les bulletins de nouvelles télévisées sont un apport important pour nourrir mon propos artistique. Mes perceptions de l' actualité environnementale ainsi qu'une résidence effectuée en Antarctique ont inspiré le travail de création pour la fin de cette maîtrise. Ce projet, RAFRAÎCHIR L 'IDÉE DU MONDE, se compose de la production de trois interventions; deux oeuvres sculpturales et une autre technologique (Web cam), présentées en galerie et dans l'espace public.

Este trabalho disserta sobre as relações entre a arte contemporânea brasileira e a paisagem, através de algumas obras que nela intervieram diretamente, assim como de projetos que propunham-se a intervir, mas não foram executados. Tais obras, ao incorporarem os elementos naturais e culturais que constituem a paisagem, evidenciam-na e fazem-nos refletir sobre sua formação, transformação e apreciação. Foram escolhidas duas exposições que, a princípio, seriam realizadas em escala nacional, e que propuseram de modo mais efetivo a intervenção da arte brasileira na paisagem, estimulando discussões sobre o tema. São elas: projeto Fronteiras (1998-2001), que abordou as referências geográficas da paisagem, e projeto Margem (2009-2010), cujas referências eram as urbanas. Com Fronteiras, a partir do tema fronteira, abre-se o debate sobre território, região, escala geográfica e modos de ocupação territorial; mas a arte introduz nele a necessidade da paisagem. Já com Margem, vêm à tona questões da paisagem urbana, em específico, como os rios são apropriados e percebidos. Esta é uma amostragem de obras que, abordando referências distintas da paisagem, fazem-nos refletir sobre a produção artística nacional que tem na paisagem mais do que uma inspiração, mas um elemento constitutivo; assim como de que modos a paisagem é, possivelmente, uma influência para estas obras. / This research disserts about the relationship between brazilian contemporary art and landscape, regarding some works of art that interfered directly in it, as well as projects that intended to do it, but were not accomplished, eventually. These works, as they incorporate natural and cultural aspects of the landscape, they emphasize it and raise a debate on its development, transformation and appreciation. Two expositions - which were to be taken, at first, in national scale - more effectively proposed the intervention of brazilian contemporary art into the landscape and stimulated discussions on these matters. They are: Fronteiras ( 1998-2001), which approached the geographical landscape references, and Margem (2009-2010), which focused the urban ones. Within Fronteiras, from the boundary theme, the discussion arises on territory, region, geographical scale and models of territorial occupation; nevertheless, art introduces the need of landscape in this debate. In contrast, Margem brings up issues related to the the urban landscape, specifically how rivers are appropriated and apprehended by people. This is a sample of works of art that approach landscape in different ways, which lead us to consider how brazilian contemporary art handles landscape, not only as an inspiration, but as a constitutive component of the work; they also highlight how landscape might be, possibly, an influence on them.