New spaces open up when you lose someone. A disappearance is the beginning of an emergence. This project is about mourning the loss of my nai nai (paternal grandmother in Mandarin) and the spaces that have opened up during the process. Through personal experience and by mapping my psychogeography of the place where I grew up with nai nai, Visättra, this project deals with the meaning of places, memories and objects. I have worked with the translation between immaterial and material things while reflecting on contemporary questions such as: attachment to places and objects, highlighting placeness that is entangled with culture, identity and politics, and situating a subjective experience in a larger narrative. What happens to the places that are attached to the memories of a person after their death? What kind of new places are born out of grief and loss? How are they manifested through different scales—from the personal to the universal and the psychological to the geographical? I have explored my questions intuitively along with theoretical frameworks followed by a process of tracing, collecting, translating and recreating carriers of memories, revealing scenes of a dichotomy between brokenness and wholeness—from then to now and from there to here.

In this research I examine, mainly focusing on representation in storytelling, how certain aspects of a persons identity in relation to the social environment gives us different modes of discrimination and privileges. I have interviewed individuals around Sweden, during 2020 to 2022, between the age span of 4 to 80 years old concerning societal and familial upbringing. I choose to focus on upbringing since how we reflect about what has shaped us tells a lot about a person and the society. What struck me during the research and the interviews is that we live at the same time, at different places, with different identities, resources and capacities giving us different experiences and views of the world. With vastly different lives: what makes us able to relate to each other? Is it our ability to feel? To feel joy, irritation or loneliness. That no matter how one's life is we all have feelings, that perhaps gives us a chance to recognize, mirror and to empathize with each other? The project resulted in six textile sculptures and eighteen photos of the textile sculptured fictional characters each photographed in their own everyday life, in “their own reality”, in different places around Sweden. The sculptures, their individual jobs, studies, unemployment and places are inspired by the interviews and the research.

Zu den Sammlungsbeständen der Staatlichen Schlösser und Burgen und Gärten Sachsens gehört auch ein kleiner Bestand von Mittelalterlicher Skulptur, v.a. Sakralplastik. Der Beitrag analysiert ihre Präsentation im Spannungsfeld von verlorenem Originalkontext des Objekts, Raumwirkung des Ausstellungsortes und Vermittlung.

Studiens syfte var att uppmärksamma den svenska konstnären Elli Hemberg. Som ett exempel på ett av konstnärens offentligt placerade verk, analyserades och tolkades skulpturen Tre löv (1974) med ikonografisk/ikonologisk teori och metod. Analysen inspirerades även av semiotisk och receptionsestetisk teori och metod. Konstnären gestaltade en skulptur i rostfritt stål föreställande tre löv. Genom att använda ett klart och enhetligt formspråk skapade konstnären balans och harmoni, men även liv och rörelse i skulpturen. Skulpturens inre mening tolkades som samtida kritik av modernismens konstutveckling. Olika slags kontexter kan ha avgörande betydelse för betraktarens tolkning av verket. / The aim of the study was to draw attention to the Swedish artist Elli Hemberg. As an example of one of the artist´s publicly placed works, the sculpture Three Leaves (1974) was analyzed and interpreted using iconographic/iconological theory and method. The analysis was also inspired using semiotic and reception aesthetic theory and method. The artist created a stainless steel sculpture representing three leaves. By using a clear and uniform design language, the artist created balance and harmony, but also life and movement in the sculpture. The inner meaning of the sculpture was interpreted as contemporary criticism of the development of art during the modern era. Different kinds of contexts can be decisive for the viewer´s interpretation of the sculpture.

In dieser Arbeit wollte ich einen Vergleich zwischen dem toten und lebendigen Materialen schaffen. Dafür habe ich mit Zement eine Skulptur von intuitiver und abstrakter Form geschaffen und darauf Moos eingepflanzt. Dadurch habe ich gehofft, dass diese Skulptur wie ein natürliches Objekt aussehen würde.

The aim of this thesis is to describe and analyze the Swedish artist Marianne Lindberg De Geer’s public sculpture Jag tänker på mig själv in relation to the female nude as a traditional motif within the western art and aesthetic. The artwork in question depicts two naked upright standing women, one of whom is represented as emaciated and skinny and the other one as voluminous and fat. By using previous research on the subject of aberrant bodily representations as its main theoretical framework and with a methodological approach based on visual semiotics, this study has found that Jag tänker på mig själv is to be seen as a deviant representation of the female body in several ways. The way in which the female body is represented in Marianne Lindberg De Geer’s sculpture has shown to deviate not only from the traditional female nude but also from the visual norms that usually characterizes aberrant representations of the female-coded body.

This subject of interest in this paper is the ideas expressed and formulated in the making andinauguration of the Branting-monument at Norra Bantorget in Stockholm. The initiative for a monument honoring the late Social Democratic leader Hjalmar Brantingwas taken at the Swedish Social Democratic Party Congress in 1928. In 1935 the party board decided to give the task of designing the monument to the much renowned artist Carl Eldh. A national fund-raising campaign for the monument was also initiated. In1942 the model of the monument was completed, but because of the war it was stored in a shelter. On June 2, 1952 the monument was inaugurated with great ceremony. Old working movement songs and anthems were played and sung and speeches were made by the Prime Minister Tage Erlander, Stockholm City Council President Carl Albert Andersson, and three foreign guests: Salomon Grumbach, Camille Huysmans and Paul LöbeIn the Social Democratic daily press reporting on the inauguration and in the speeches from the inauguration one can track several important recurring themes. It is clear that they were eager to define Branting as a prudent reformist and anti-communist. It also points out that both Branting was a big Swede that the whole nation stood behind, but also a great European and internationalist. But it also adds time to let different people describe Branting on a personal level, thus both strengthening the heroic image of Branting and making the image of Branting more personal. Even liberal newspapers adopted much of this rhetoric. The only newspaper that in the true sense took a fairly critical stance in relationship to the inauguration was the communist Ny Dag.

I följande essä, Konstens olika horisonter – ett möte med bildkonst från Senegal, Mali och Mocambique, diskuterar jag rollen som gallerist och curator i mötet med det som är okänt och främmande i konsten. I essän refereras till möten med konst och konstnärer från Senegal, Mali och Mocambique. Texten utgår dels från mina upplevelser på konstbiennalen i Dakar, dels från arbetet med två olika utställningar på Galleri Flach i Stockholm. Med utgångspunkt i min roll som kurator reflekterar jag över situationer när konstens sammanhang framstår som främmande och okända. Hur bemöter jag situationen? Vad ser jag i den och vad bidrar den med i mitt kuratoriska arbete i gallerirummet? Med stöd bland annat i hermeneutiken och filosofer som Hans-Georg Gadamer och Marcia Sa Cavalcante Schuback, beskrivs en bildningsprocess i vilken jag reflekterar över det geografiska och kulturella avståndet. I texten diskuteras också ett så kallat hermeneutiska mellanrum som uppstår i skarven mellan det välkända och det främmande. Diskussionen införlivar även tankar om hur normer i den västerländska konsthistorien påverkar mitt möte med konsten och vad jag uppfattar som konstnärlig kvalitet. I essän konstateras att mina möten och konfrontationer med det som är okänt i konsten, är betydelsefullt. Det påbörjar en process mot ny kunskap i vilken jag tydligare får syn på mig själv och mina medvetna och omedvetna föreställningar. I texten beskrivs hur jag i gallerirummet prövar mina reflektioner i praktiken i en dialog med mig själv och de konstnärer med vilka jag samarbetar. Jag betonar dialogens och den inre reflektionens betydelse för utställningens tillblivelse. Utställningen blir ett mellanrum, ett begränsat sammanhang, där dialogen och reflektionen tar form. / The following essay, Different horizons - Encounters in visual arts from Senegal, Mali and Mozambique, discusses how to encounter what is unknown and unfamiliar within art in my role as a gallerist and curator. The essay refers to encounters with art and artists from Senegal, Mali and Mozambique. The text is partly based on my experiences at the biennial in Dakar, partly from working experiences with two exhibitions at Galleri Flach in Stockholm. On the basis of my role as curator, I am reflecting on the situation when art appears unfamiliar. How do I act? What do I learn in these situations and what do they bring to my curatorial work in the gallery space? With support from hermeneutics and philosophers such as Hans-Georg Gadamer and Marcia Sa Cavalcante Schuback, I describe a learning process that takes the geographical and cultural distance into consideration. The text reflects also on the so-called hermeneutical gap (a room in between) that occurs in the joint between the familiar and the unfamiliar. The discussion incorporates thoughts on how standards in the Western art history affect my encounters with the art object and what I perceive as artistic quality. I note in the essay how these meetings and confrontations with the unknown in the art are important. It sets in motion a process towards greater knowledge in which I see myself more clearly, not the least my conscious and unconscious beliefs. The text describes how I use the gallery space to put my reflections into practice, in a dialogue between myself and the artists with whom I work. I emphasize the dialogue and the importance of an internal reflection in creating an exhibition. The exhibition offers a room within a room, a limited context, where dialogues and reflections take shape.

This Bachelor’s thesis examines the use of ancient bronze statues in the 2017 film Call me by your name by director Luca Guadagnino. Various scenes which feature ancient statues are examined individually using semiotic analysis. The scenes are examined individually, first described on a denotative level, then analyzed on a connotative level. The theoretical stand point is based on the studies of art works in film. Key theoretical concepts used are ”in between-ness” which is a state in which change in narrative is made possible through looking at art, and ”parallels”, a means of which to make art represent the characters in the film. The thesis finds the sculptures in Call me by your name to play a part in affecting the narrative of the film, mainly in regard to the love story between the two lead characters, two men named Elio and Oliver. The acts of looking, examining, and touching the statues in this film help the narrative turn in favor of the lead characters romantic relationship. The thesis argues that the nude bronze sculptures of men from ancient Greece are used in this film as signifiers of desire, timelessness and homoerotic lust.

4 mal im Jahr erscheinende Zeitschrift über aktuelle Themen der TU Chemnitz:Der Hammer fällt noch lange nicht Uni stellt sich den Herausforderungen des 21. Jahrhunderts Neuer Mathe-Dekan Gedankenaustausch in einer Welt der Netze Ein Symbol für Uni und Stadt: Der Halbleiter von Chemnitz Große Aussichten für einen kleinen Baum Immer den richtigen Nerv treffen Abschied von den Zettel-Katalogen Internationalität als Markenzeichen Rekordverdächtiger Start ins neue Semester Lehramtsausbildung läuft in Chemnitz aus Soziologen fühlen Chemnitzer Lehre auf den Zahn Knete, Heu, Kies, Mücken, Zaster, Moos, Kohle, Zunder 30 Drahtesel in vier Monaten spurlos verschwunden 13 neue Auszubildende an der Uni Der Karriere-Kick für Frauen: Informatik in Chemnitz Drum prüfe, wer sich ewig bindet... Zum Testen freigegeben: Das Fernlern-Programm ReLaTeD Was man mit Linearer Algebra alles anfangen kann Lässt sich Innovation lehren? Oder sogar lernen? Rote Karte für den gelben Riesen BECKMANN-INSTITUT für Technologieentwicklung e. V. Zwei starke Partner wollen sich zusammentun Die Wiedervereinigung muss in den Köpfen stattfinden Hochschulen gründen Arbeitsgruppe für internationales Marketing Ein schönes Geschenk für Goethe zum 250. Geburtstag Grenzüberschreitender Forscherdrang Bulgarische Wissenschaftler zu Gast klein - kleiner - mikro Pfiffige Dolmetscher retten Tausende von Programmierstunden Preiswertes aus der Bronzezeit Verdiente Ehrung für einen gestandenen Konstrukteur Preise für die Besten Großer Bahnhof zum 90. Geburtstag Der steinige Weg in die Marktwirtschaft 4. Dagstuhl-Seminar zum Geometrischen Modellieren Geisteswissenschaften - wozu? Vom Untergang einer Diktatur In Chemnitz wird tüchtig geschafft! Erfolgreich mit Fasern der ganz besonderen Art Zukunftschancen der Unis in internationaler Perspektive 200 rohe Eier geworfen und wieder aufgefangen Pech und Glück liegen auf der Matte eng beieinander Inmotion- immer in Bewegung Rauschende Uni-Ballnacht im Renaissance Chemnitz Hotel