Hur kan begreppet support structures förstås i relation till det konstnärliga projektet SOLO SHOW? Denna uppsats behandlar arbetets villkor och synliggörandet av dessa inom konstens fält. Support structures (stödstrukturer) kan förstås som det arbete som upprätthåller, uppmuntrar, stärker och står bakom (något). Närmandet till ett, eller flera,”svar” på frågeställningen sker genom ett resonerande i relation till utsnitt ur Julia Bryan-Wilsons Art Workers: radical practice in the Vietnam war era, Hito Steyerls ”Is a Museum a Factory?” och hennes tolkning av termerna ”work” och ”occupation”, samt det genomgående teoretiska verktyget: begreppet support structures.

<p>The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young artists associated with postmodernism.</p><p>The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s.</p><p>In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of artists in Sweden.</p><p>The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions. This is followed with a last group exhibition, where the idea of younger artists as <em>the</em> most contemporary were to be questioned. The thesis ends with a summary and a discussion.</p>

Uppsatsen undersöker retoriken runt konst på fyra konstverksamheters hemsidor. Konsthallarna och gallerierna som undersöks är alla belägna på landsbygden eller i mindre samhällen i Sverige. Dessa är Bjurbäcks konsthall, Virserums konsthall, Neon Gallery samt Galleri Astley. De frågor som ställs till materialet är: Vilken konst är det som presenteras och hur lyfts den fram? Vilka retoriska medel använder man sig av, och vem vänder man sig till? I vilka sammanhang presenteras konst? Vilken relation och vilket synsätt till konst förmedlas? Vilken relation till platsen och miljön där konsthallen och galleriet är belägen förmedlas? För att undersöka hur konstverksamheternas retorik är upplagd på hemsidorna har framförallt de klassiska begreppen ethos, logos och pathos fungerat som analysverktyg så som de används i metoden retorikanalys. Retorikanalys menar Brigitte Mral är en användbar metod som kan hjälpa oss att försöka förstå och tolka budskap. Hur bilder och design på olika sätt samspelar med texten har också varit viktigt att undersöka. Den redovisade analystexten i uppsatsen visar på samband mellan bild- och textretorik och hur dessa tillsammans bildar en gemensam retorik. Teorier som används i uppsatsen ger perspektiv på begreppet konst. Förutom filosofiska definitionsförsök av vad konst är eller kan vara, presenteras här föreställningar om konst i relation till tre områden: företag, teknologi och media. Ytterligare en teoretisk ingång som tolkats som relevant i uppsatsen, är att se på den lokala platsen i relation till nationen, EU och den globala världen. Resultatet i uppsatsen visar att de fyra konstverksamheterna valt olika sätt att marknadsföra konst på sina respektive hemsidor, men trots detta är retoriken för samtidskonst ofta ganska traditionell. Hemsidan kan uppfattas som en kombinerad informations- och marknadsföringskanal. Den måste kunna fungera för olika målgrupper, såsom samarbetspartners, finansiärer, skolor, med mera. Detta är något som problematiseras i uppsatsen. / The essay examines the rhetoric around art on four art galleries´ homepages. The art galleries that are examined are all located on the countryside or in smaller towns in Sweden. With their Swedish names the examined objects are the following: Bjurbäcks konsthall, Virserums konsthall, Neon Gallery and Galleri Astley. The questions that are set to the material are: What kind of art is presented and how is it conveyed? Which rhetorical instruments are used and which target groups do they aim at? In which context is art presented? Which relation to art and which perspective on art is mediated? Which relation to the site and the environment where the art galleries are located is conveyed? The classical concepts ethos, logos and pathos - as they are used in Rhetorical analysis - have been used as instruments to investigate how the rhetoric about art is applied. Brigitte Mral means that Rhetorical analysis is a useful method to help us understand and interpret messages. How pictures and design in different ways interplay with the text, has also been important to investigate. The presented analysis in the essay shows the connections between text- and visual rhetoric, and how these elements together form a common rhetoric. Theories that are used in the essay give perspectives on the concept of art. Definitions about what art can be are presented mainly from a philosophical perspective. But the idea of art is also presented in relation to three other spheres such as companies, technology and the media. Another theoretical input interpreted as relevant in the essay, is the perspective on the local place in relation to the nation, EU and the global world. The result in the essay shows that the four art galleries have chosen different ways to market art on their respective homepages. Despite this is the rhetoric on contemporary art mainly traditional. The homepage can be considered as a combined information- and marketing channel. It must function for different target groups such as collaborative partners, financiers, schools, etc. This is examined and discussed in the essay.

The aim of this thesis is to study the Swedish art field during the 1980s, from the perspective of the artistic production of Lars Nilsson. During this decade he became one of the most well known young artists associated with postmodernism. The thesis is divided into three parts, where the first part examines different influences and aspects of the art of Lars Nilsson, as well as the contexts he was a part of. This is performed through a chronological as well as a categorizing presentation, based upon different exhibitions where Nilsson participated during the 1980s. In the second part the subject is the Swedish art field, and how Lars Nilsson came to be part of a a new established category of a young generation of artists, mostly born in the 1950s, who were associated with youth, postmodernism and contemporaneousness. This part also puts attention to the importance of Lars Nittve, then art critic and curator, in introducing postmodernism, as well as establishing this new categorization of artists in Sweden. The last part of the thesis studies four different group exhibitions, and how they all exemplify how "a younger generation of artists" were to be connected with notions of postmodernism and contemporaneousness through curatorial practice. Lars Nilsson participated at the thirst three of these exhibitions. This is followed with a last group exhibition, where the idea of younger artists as the most contemporary were to be questioned. The thesis ends with a summary and a discussion.

<p>Uppsatsen undersöker retoriken runt konst på fyra konstverksamheters hemsidor. Konsthallarna och gallerierna som undersöks är alla belägna på landsbygden eller i mindre samhällen i Sverige. Dessa är Bjurbäcks konsthall, Virserums konsthall, Neon Gallery samt Galleri Astley. De frågor som ställs till materialet är: Vilken konst är det som presenteras och hur lyfts den fram? Vilka retoriska medel använder man sig av, och vem vänder man sig till? I vilka sammanhang presenteras konst? Vilken relation och vilket synsätt till konst förmedlas? Vilken relation till platsen och miljön där konsthallen och galleriet är belägen förmedlas?</p><p>För att undersöka hur konstverksamheternas retorik är upplagd på hemsidorna har framförallt de klassiska begreppen ethos, logos och pathos fungerat som analysverktyg så som de används i metoden retorikanalys. Retorikanalys menar Brigitte Mral är en användbar metod som kan hjälpa oss att försöka förstå och tolka budskap. Hur bilder och design på olika sätt samspelar med texten har också varit viktigt att undersöka. Den redovisade analystexten i uppsatsen visar på samband mellan bild- och textretorik och hur dessa tillsammans bildar en gemensam retorik.</p><p>Teorier som används i uppsatsen ger perspektiv på begreppet konst. Förutom filosofiska definitionsförsök av vad konst är eller kan vara, presenteras här föreställningar om konst i relation till tre områden: företag, teknologi och media.</p><p>Ytterligare en teoretisk ingång som tolkats som relevant i uppsatsen, är att se på den lokala platsen i relation till nationen, EU och den globala världen.</p><p>Resultatet i uppsatsen visar att de fyra konstverksamheterna valt olika sätt att marknadsföra konst på sina respektive hemsidor, men trots detta är retoriken för samtidskonst ofta ganska traditionell. Hemsidan kan uppfattas som en kombinerad informations- och marknadsföringskanal. Den måste kunna fungera för olika målgrupper, såsom samarbetspartners, finansiärer, skolor, med mera. Detta är något som problematiseras i uppsatsen.</p> / <p>The essay examines the rhetoric around art on four art galleries´ homepages. The art galleries that are examined are all located on the countryside or in smaller towns in Sweden. With their Swedish names the examined objects are the following: Bjurbäcks konsthall, Virserums konsthall, Neon Gallery and Galleri Astley. The questions that are set to the material are: What kind of art is presented and how is it conveyed? Which rhetorical instruments are used and which target groups do they aim at? In which context is art presented? Which relation to art and which perspective on art is mediated? Which relation to the site and the environment where the art galleries are located is conveyed?</p><p>The classical concepts ethos, logos and pathos - as they are used in Rhetorical analysis - have been used as instruments to investigate how the rhetoric about art is applied. Brigitte Mral means that Rhetorical analysis is a useful method to help us understand and interpret messages. How pictures and design in different ways interplay with the text, has also been important to investigate. The presented analysis in the essay shows the connections between text- and visual rhetoric, and how these elements together form a common rhetoric.</p><p>Theories that are used in the essay give perspectives on the concept of art. Definitions about what art can be are presented mainly from a philosophical perspective. But the idea of art is also presented in relation to three other spheres such as companies, technology and the media.</p><p>Another theoretical input interpreted as relevant in the essay, is the perspective on the local place in relation to the nation, EU and the global world.</p><p>The result in the essay shows that the four art galleries have chosen different ways to market art on their respective homepages. Despite this is the rhetoric on contemporary art mainly traditional. The homepage can be considered as a combined information- and marketing channel. It must function for different target groups such as collaborative partners, financiers, schools, etc. This is examined and discussed in the essay.</p>

To enter higher education means making new experiences and develop newunderstanding within a knowledge field. The situation could also entail, for thestudent, an entirely different self-understanding. This licentiate thesis deals withthis kind of learning process.The overall aim of this licentiate thesis is to analyze what an art teachers education,founded on contemporary conceptual art, can offer in terms of transformativelearning. The point of departure is adults learning processes as renegotiations ofprevious interpretations which can be transformed to new understanding. The studyanalyzes what aspects of transformative learning are reflected in students' texts andimages, produced as part of the studied course. The licentiate thesis also discussespossibilities and constraints of this learning process. The study was conducted as acase study based on a hermeneutic approach. Material was collected from thecourse blog which consisted of students' texts and images.The study results show a transformative learning process which students experiencedas emotionally tumultuous because their self-image, as future art teachers, isrenegotiated. The situation contains a dimension of learning which I call "twistingand turning" in which new understanding is being formed. This situation requires aself-reflexive creative approach. The result generates questions about therelationship between the content of the education (what) and the learner (who) in anart teachers education founded on a non-traditional base. This applies above all ineducations that challenge students' prior understanding of a field. One could alsoask how adult learning is staged as relearning in higher education. The studydevelops a concept of reflexive creativity which contains a more abstract level thanjust problem solving. The idea of reflexive turn in art education, based onconceptually contemporary art, is also discussed.

The aim of this thesis is to describe and review the visual art teaching profession from a wider cultural perspective. This can lead to a better understanding of how teachers in 2000s Sweden manage change and relate to their task. This is a starting point for the formation of question areas that are of concern: the importance of their own specific interests in various visual art media for the development of their professional knowledge; what conditions different types of schools provide for the development of the subject and the strategies visual art teachers (in the study) use to develop their teaching on the theme of contemporary art. The theoretical framework is based on a socio-cultural perspective. Analysis combine cultural semiotic and frame factor models. Institutional art theory focuses on art’s audience and the art institutions which are central to contemporary art manifestations. The thesis is based on two case studies conducted by three separate teacher-training days at Bildmuseet in Umeå. 14 Visual Art teachers from four different types of schools: compulsory school, years 7-9, upper secondary school, folk high school and volountary art school (Swe. kulturskola) participated in the study. The investigations has generated data produced through interviews, observation, self-reports and images. Contemporary Art is involved in society's constant change and mix of new medias. The changes concernes the visual art educational field. The opportunities different school contexts provides for education, has an impact on how knowledge is transformed. Conformity, solid structures, formes of assessment and low legitimacy shape resistance. Teaching in visual art is highly based on teachers' own choices. A fragmented knowledge-culture with focus on manual or digital mediations leads to different knowledge-selection. This study highlights resistances that affect applying contemporary art on its own terms. Contemporary art’s starting points and new perspectives represent other paradigms than traditional art classifications. This sigifies tension between the artworld and the educational field. To reducie the tension, a dialogue and interaction between the fields on equal terms is recommended. The study identifies a lack of procedures and resources for formal continuing professional development. There is a need of developing the collective body of knowledge, covering both the theoretical and practical knowledge in the visual art teacher culture.

Traditionella redovisningsformer i grundskolans bildämne skapar sällan utrymme för lärande. Trots att bild är ett estetiskt ämne genererar ofta redovisningsformer ett passivt förhållningssätt gentemot det som eleverna redovisar. Att redovisa inför en grupp kräver kommunikativ kompetens, något som är utanför bildämnets kursplan. Däremot kan elever lära sig att framträda, och interagera med publiken för att en lärandesituation ska uppstå. Med utgångspunkt i de traditionella redovisningsformerna undersöks utvecklingspotentialer där teater, samtidskonst, performativitet och estetiska lärprocesser tillsammans används för att besvara undersökningens syfte och frågeställningar. Hur kan redovisningsformerna i bildämnet inom grundskolan utvecklas genom performativa uttryck? För att besvara frågeställningen analyseras deltagande observationer av redovisningar på tre estetiska vuxenutbildningar genom att tematiskt kategorisera beståndsdelarna i teman för att belysa och problematisera företeelser som visade sig under redovisningarna. Gemensamma nämnare visades, oberoende av innehållet som redovisades, tydligast genom de studenter som deltog som betraktare under redovisningarna. Variationen på studenternas delaktighet visades främst genom den respons som efterfrågades och utdelades. Empirin består förutom av observationerna, även av en gestaltande undersökning. Gestaltningen har formats ur frågeställningen Hur kan en radikal redovisningsform se ut? Frågeställningen besvaras genom en performativ händelse, ett performance där uppsatsen i dess fysiska och materiella form bearbetas genom att mixas till pappersmassa som används för att tillverka nya pappersark. Gestaltningen visades som ett performance med materiella spår i form av en installation under lärarprogrammets examensutställning på Konstfack.

The Longest Journey is an experimental Master essay which consists of 27 images with accompanying texts. Part of the images are digital photographs and part of them are images created through a special process involving different software tools – mainly Adobe Photoshop and Google Earth. The texts comment on how the images themselves were created and how one might understand what they are and how they function as aesthetic objects and as potential catalysts for thought. / <p>The essay was published as part of a Master of Fine Art Degree exhibition with the same title. For an English translation of it and photographic documentation of the exhibition, please contact: markus.bowie@gmail.com</p>

Howdoyoudo (HDYD): How do you do, Howdy! Howdy (HD): Howdy, Howdoyoudo! HDYD: Vi ser ut att få en fin dag idag, tycker du inte? Synd att den måste befläckas med det vanliga smutsgörat. En efterlysning har kommit in. HD: Det har hänt igen? HDYD: Ja, det är samma visa varje gång. En luststyrd elev som oaktsamt klivit in på högskoleterritorium och inte tänkt på konsekvenserna... men räkenskapens tid kommer till alla: textförklaringen måste fram.