This thesis is a study of representations of Pacific Asia in exhibitions in Stockholm. In the Swedish culture and art sphere, a public discussion surrounding Asia is conspicuously absent even though there are significant amounts of residents in Sweden with an Asian background. The thesis analyses three selected exhibitions: Korea Gallery at the Museum of Far Eastern Antiquities, Dreamers’ Quay, Dreamers’ Key at Bonniers Konsthall, and From dying to living at Moderna Museet. The material consists of field observations, exhibition catalogs, handouts, wall texts, and interviews with the involved curators alongside with the exhibitions themselves. The thesis aims to initiate a critical discussion around the representations of the so-called “Other” and the implications of curatorial approaches in these exhibitions that primarily revolve around Asian themes with the help of the following research questions: 1) How is Asia portrayed and represented in each exhibition?; 2) What perception of Asia and Asianness is conveyed through the exhibitions as well as by the way of other related material?; and 3) How is the curatorial approach to the exhibitions with ethnographic themes revolving around Asianness? The qualitative case studies assess both the content and visuals of the exhibitions and the preparation processes of the exhibitions, and theoretically, they are informed by Stuart Hall’s theory of representation as well as Hal Foster’s and Miwon Kwon’s writings on the artist as ethnographer. Through an examination of the three case exhibitions, the thesis finds that representations of Asia are varied and have benefited from extensive curatorial efforts but show occasional weaknesses in terms of displaying the Other. The thesis contributes to a better understanding of representations of Asia in exhibitions in Sweden and hopefully paves the way for future research of this kind.

Thesis work «Specificity of the contemporary historical museum expositions» is devoted to the analysis of the actual for the XXI century process of transformation of the modern museum appearance based on a new ideas of the exhibition artists. Greater emphasis is laid on a contemporary museum conceptions that were developed on the West in XX-XXI century. Unfortunately, they are not well-known to native reader, so work was undertaken to translate books in English into Russian. The deepened classification of the historical museum exhibition was created on the base of foreign materials. Application of exhibition techniques described in the dissertation will increase attractiveness of Ekaterinbourgs museums. In instance of depiction and analysis achievements in construction museum exhibition created by foreign artists, thesis presents and investigates museum areas, created by Ekaterinbourgs group of exhibition designers and artists «The white square» and «Museum technologies» and a huge studio of creators from the Urals regional institute of museum design. Comparative study European styles and artists creative scripts of constructing the exhibition with ones, made by Ekaterinbourgs artists, distinguishes global and local problems, which appear during the design, creation and construction of exhibition. The dissertation tries to solve some of the declared problems and to offer ways of development the art of museum exhibition. The practical significance of the thesis is in the fact that it can be used as an instruction to the museum exhibition design and construction. / Магистерская диссертация «Специфика экспозиций современных исторических музеев» посвящена анализу актуального для XXI века процесса смены изменения облика современного музея на основе новых идей художников-экспозиционеров. В исследовании уделяется внимание современным концепциям, которые были разработаны на Западе в конце XX – начале XXI века. К сожалению, они малоизвестны отечественному читателю, поэтому была проведена работа по переводу английских текстов на русский язык. На основании материалов зарубежных авторов создалась более углубленная схема классификации экспозиций исторических музеев. Применение некоторых предложенных техник в наших музеях увеличит их привлекательность для посетителей. На примере описания и анализа достижений в создании экспозиций зарубежными коллегами, в магистерской диссертации представлены и исследованы музейные пространства, созданные екатеринбургскими коллективами экспозиционеров «Белый квадрат» и «Музейные технологии», а также бригадой Уральского регионального института музейных проектов. Сопоставление европейских стилей и школ создания экспозиции с отечественными методами помогло выявить общие и частные проблемы, с которыми сталкиваются художники-экспозиционеры при дизайне экспозиций. В исследовании предпринята попытка к решению поднятых проблем, намечены векторы развития экспозиционного искусства. Практическая значимость исследования заключается в том, что оно может быть использовано в качестве пособия по созданию музейной экспозиции.

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Mémoire en recherche-création / Considérant le peu d’espace fait aux artistes s/Sourd-es et handicapé-es dans les milieux culturels (Leduc et al. 2020b) et le potentiel d’autodétermination de l’autogestion, cette recherche-création propose comme création le centre DC - Art Indisciplinaire (dc-art-indisciplinaire.com), autogéré par des artistes de la diversité capacitaire, et ce mémoire théorique réflexif des enjeux qui l’ont (in)formée. De ma posture autiste mad queer de classe ouvrière, j’aborde les signifiances dominantes de la création formant une culture d’exceptionnalité artistique hiérarchisée. Je démontre comment l’agentivité épistémique des personnes de la diversité capacitaire est décrédibilisée par les institutions culturelles et d’enseignement. Je définis ma pratique comme une méthodologie indisciplinaire et neuroqueer, des affordances always-in-the-making (Dokumaci 2017) afin de répondre à la question : Comment diriger nos énergies dépensées à performer des normes institutionnelles inatteignables et épuisantes, dans la création de possibilités émancipatrices collectives crip? A partir d'une réappropriation d'un mécanisme de survie connu des personnes autistes et queer, ma pratique de création de situations me permet de répondre à ces discriminations en imitant les normes capacitaires, neuronormatives et hétéro/homonormatives afin d’hacker les milieux dans lesquels j’évolue. Je soulève le « pour et par » comme insuffisant à l’émancipation de nos communautés, elles aussi régies par des rapports de pouvoirs multiples. Enfin, ce projet a cherché longtemps à faire ce que Remi Yergeau pointe comme l’impératif de pirater de manière « criptastique », un hack qui « […] s’insurge contre la normalisation forcée, celle qui passe de l’ajustement corporel à quelque chose de collectif, d’activiste et de systémique » (Yergeau 2012, ma traduction). / Considering little room given to d/Deaf and disabled artists in cultural circles (Leduc et al. 2020b) and the potential for self-determination in self-governance, this research-creation enables the creation of the disabled led artist-run center DC - Indisciplinary Art (dc-art-indisciplinaire.com). Furthermore, the following written essay constitutes a theoretical thought about the issues that have (in)formed the center’s creation. From a working-class queer mad and autistic perspective, I study the major meanings associated with the notion of creation and the way they form a hierarchical artistic exceptionality culture. I demonstrate how the epistemic agency of people from the ability diversity is discredited by cultural and educational institutions. I define my practice as an undisciplined and neuroqueer methodology, always-in-the-making affordances (Dokumaci 2017) to answer the question: How to redirect the energy spent performing unattainable and exhausting institutional standards, by creating possibilities for a crip collective emancipation? With the reappropriation of a known autistic and queer survival mechanism, my creation of situations practice allows me to respond to these discriminations by imitating able, neuronormative and hetero/homonormative norms in order to hack the environments in which I evolve. I question the “for us and by us” as insufficient for our communities’ emancipation because they are also governed by multiple power relations. Finally, this project has long sought to do what Remi Yergeau points out as the imperative to hack in a "criptastic" way, a hack that "[…] protests against forced normalization, that which goes from bodily adjustment to something collective, activist and systemic" (Yergeau 2012).

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The purpose of this thesis is to examine the artistry of the Swedish artist Gerda Wallander (1860–1926). Wallander’s artistry has until recently been overlooked in Swedish art history, it is therefore uncharted territory. Provincialism is used as the overall theoretical framework in this study. By applying provincialism as the overall theoretical framework, the study distinguishes between international, national, and personal characteristics in Wallander’s aesthetics. In order to rediscover her artistry, the following study analyzes her biography, exhibitions, works of art, as well as the media coverage of Wallander’s artistry. The applied method is based on network analysis inspired by Pierre Bourdieu, biographical method, picture analysis inspired by Jan-Gunnar Sjölin, and close reading. The study demonstrates that Wallander’s artistic career is divided in two different periods, 1883–1895 and 1909–1919. Wallander’s aesthetics is characterized as moderate progressive in both of these periods, as the study suggests that this artistic sensibility enables her to gain recognition as a professional artist within the Swedish art scene. In addition, Wallander specializes in cityscape-painting depicting Stockholm during the early 20th century in her second artistic period. This illustrates the provincial aspects of Wallander’s artistry, as she implements both international and national artistic influences into her art. Furthermore, this study suggests that Gerda Wallander’s way of depicting pre-modern Stockholm is her way of dealing with the new urban experience, which is an effect of the rapid transformation of the Swedish capital in the beginning of the 20th century. The study exposes the lack of knowledge of this field, namely the depiction of Stockholm in early Swedish 20th century art within the Swedish art history discipline.

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This essay is a comparative study of two sculptures with the same motive and title, The Dance, by Ellen Roosval: a freestanding sculpture created in 1925 and a relief sculpture from 1933. The essay has two objectives: to analyse these works of art and to highlight the artist Ellen Roosval as an example of a female artist in the early 20th century. Roosval’s reworking of the free-standing sculpture into a relief generates multiple transformations. The research questions in the current study are: how the reception of the works relates to the viewer; how typology, site and material affect the design and expression; and how the two sculptures relate to the interwar period aesthetics, dance and the motive. In the analysis of both works aspects of their meaning in relation to the beholder’s experience have been crucial. The applied method of analysis originates from Wolfgang Kemp as developed by Jessica Sjöholm Skrubbe, with particular emphasis on the beholder’s movements, the meaning of the term site-specific and the impact of the base. The study begins with a general background on the situation for female sculptors in the early 20th century, the artist Ellen Roosval, and dance. The dance section also introduces the dance company The Swedish Ballet (1920-25) that the two versions of The Dance were a tribute to. Then follows a contextualized analysis of the works focusing on the formal elements, the different sites, bases and the beholder’s movements. Next follows an analysis of typologies, materials and stylistic expressions as well as the shaping of the human body, nudity and movements. Roosval’s The Dance 1933 is compared both to the relief The Dance by Antoine Bourdelle from 1912 and to the Swedish Ballet performances. The analysis concludes with a discussion of how the site relates to the choice of materials and how aesthetics and dance relate to the period 1920s. The results demonstrate aspects of various transformations in relation to the beholders experience. The final discussion concludes on Roosval’s norm-breaking achievements, which inspired the title of this essay: The Resistance of Time.

The period after the February 1948 posed great changes for the cultural sphere, the groups and clubs were dissolved, artists who did not want to squeeze into the limits of socialist realism had no choice than to close themselves in the privacy of their homes and studios. After 1950, however, a group of friends around Jiří Kolář formed in Prague, who shared the same views on political and cultural development and, despite various artistic orientations, captured everyday experiences in pictures or texts. The thesis focuses on the friendship of Jiří Kolář, Vladimír Fuka, Eva Fuka, Zdeněk Urbánek, Jan Rychlík, Kamil LhoJan Hanč, Josef Schwarz-Červinka, Emanuel Frynta and others, and tries to portray this period of time, their mutual inspirations and relationships, and especially the extremely creative atmosphere, which was originated in this friendly circle. The thesis is based on diary entries, drawings, collages, poems and literary texts, which they created together and for each other in this unique, free and inspiring environment.