No description available.

The thesis examines the trope of anamorphosis as a formal dimension of art practice and as a critical tool for exploring subjective vision. Anamorphosis is a technique of perspective that produces a distorted image that may only be corrected and made coherent when viewed from a specific angle. In order to re-form an oblique anamorph, it is necessary to view the image from a position that is markedly different from the conventional, frontal viewpoint. This process of eccentric viewing relies on the observer of the work to actively locate the viewing position that will re-form the image and confer meaning. The beholder of anamorphic images becomes aware of herself as a viewing subject and consequently, this act of viewing affirms the construction of vision as reflexive and self-critical. The thesis takes as its point of departure the claim of the influential art critic and theorist, Rosalind E. Krauss that the art practice of the German-American artist Eva Hesse, specifically the work, Contingent, 1969, represented a reinvention for its own time of an anamorphic condition through a mutual eclipse of form and matter. Krauss deploys the device of anamorphosis as a means of addressing the problematic of the relationship between the categories of painting and sculpture, and the debates into which Hesse's work intervened during the late 1960s. The thesis outlines the history of anamorphosis and its relation to geometric perspective from its genesis in the Renaissance to contemporary artists' engagement with anamorphic strategies of disruption. The psychoanalytical model of vision proposed by Jacques Lacan deploys anamorphosis as an exemplary structure in the elaboration of the gaze. The thesis discusses various dimensions of the anamorphic in art practice since 1970, with reference to works by Hannah Wilke, Richard Hamilton, Rachel Whiteread, Christine Borland and Shirazeh Houshiary.

No description available.

No description available.

En trend jag sett i reklam och utformning av produkter (vissa av dessa konsumerar jag såklart själv) är ett tydligt mänskligt tilltal, jag är målgruppen och jag blir glad när någon är snäll mot mig.  Mycket grejer i utförande, tilltal och estetik liknar sånt man skulle kunna hitta om man utifrån tittar på en autonom vänsterrörelse eller DIY-rörelse. Stark, slagordsliknande text, underdogpositionerande, text och bild gjort i nåt som liknar potatistryck eller andra enklare grafiktryck man kan göra själv i hemmet, tvångsmässigt användande av ordet revolution.Det blir någon slags schablonbild av vad dom tycker att en autonom vänsterrörelse är, eller en schablonbild av vad dom tycker att DIY är och hur det ser ut. Dom försöker härma och efterlikna så himla, himla mycket men når inte riktigt dit. Istället för att prata om att reklam är något dåligt, när till och med reklamen själv ofta säger att reklam är något dåligt som man är trött på, vill jag göra på ett annat sätt. Istället för att prata om att jag är arg på hela approprieringsprocessen, att det kanske trubbar något fint och viktigt motstånd eller kamratskap som finns och måste få finnas, är att kanske göra likadant som ”dom” gör. Jag gör mitt bästa med att anamma ”deras” språk, ”deras” stelsnälla låtsade kompistilltal, fräschör, smygnationalism, kontorsvärld, corporate storytelling. Jag kommer försöka så himla, himla mycket men jag kommer inte riktigt nå dit. I mitt arbete frågar jag mig hur jag kan göra något skojigt med något jag tycker är jobbigt? Det jobbiga är alltså när företag snor uttryck och anda från gräsrotsrörelser och aktiviströrelser för att sälja mer prylar. Syftet är alltså att det ska bli något skojigt.

The purpose of this work is to present a reframing and repositioning of films made by Derek Jarman via in-depth textual analysis (rarely seen previously) and attention to relevant theoretical connections (such as heritage, pastiche, camp, adaptation). These discussions are anchored to a consistent contextual grounding within the British film industry/culture, which includes consideration of the history and role/s of the BFI, dialogues with debates of national cinema and heritage, an assessment of Channel 4’s impact and influence, and an investigation into the function of British Film Year and its lists of acknowledged films. The first chapter addresses shortcomings and problems of previous framing, and gives an example of my textual analysis and methodology using previously ignored filmic texts Queen is Dead and Paninaro. With the stifling and dominant biographical/auteur approach removed from application (and the label Jarman accounted for as a categorising structure of the text rather than a reference to an external figure), the thesis considers the films as cultural texts which examine representation and heritage. The next three chapters explore Jubilee, The Tempest, and Caravaggio respectively, addressing the films’ uses of history, cultural heritage and style via facets such as temporal layering, punk and camp modalities, pastiche approaches, adaptation, appropriation, and allusion. The thesis opposes arguments that can be reductive, monolithic, and totalising (like auteur, biographical, and heritage frames of analysis), and instead makes central the operations of the specific filmic text. Rather than allowing texts (in terms of content and meaning) to be subsumed into an examination of the life and personality of the director (as has so often been the case with Jarman films), the filmic texts are observed, analysed and discussed via attentiveness to the particular properties of the text (style; representations; framing), and connected to the British cinema context of the period.

No description available.

A NOTE FROM ME TO YOU ABOUT WHAT I WILL BE HIDING In a moment I will introduce myself to you as a storyteller and a constant traveller; bothdescriptions are accurate and so is the description of an ‘object maker’. In combination withstories, objects are created and either the story or the object is presented, and so you will have tosettle for only one element in the upcoming writings. Singular edition photographs, books or evenengraved instruments will be hidden from you during the tales. Documentation; this could be the simplest way of describing my method, things are simplywitnessed and written down, or traces are caught on camera. Objects as documentation and thenthe reverse; stories within stories and photographs within photographs. There is an aim to makeall information obtained into a riddle.It is experiences which trigger these tales: people I meet, or texts which magically match with reallife events and synchronize. I use the word ‘magically’ since my own plans always turn out to bedisappointing. I attempt to plan, but often something else takes over; leaving chance to create thework. Most objects involved are rather small and simple; there exists a distance between these objectsand you. They are about their own details; about the small engravings one might pass; about thewood used for the framing and about the printing process which makes a blue bright. They areabout time; they require time. Time to reveal the amount of information they keep captured withinthemselves. They are about places; they require space to breath in and out. The photographic is present in these tales and it is also the photographic which makes me hidethese objects from you now; to reveal or hide a bigger context. It is the photographic which sinksinto my way of thinking. I use text and stories and the imaginative and the real as a photographer,despite not being one. However, I do document the objects previously mentioned and theircontext and find new life in these images. This is where the work continues, it is a non-stop‘connecting-the-dots’ way of working. I do not care for fiction; although I do not care for the fantastic either. Truth is there is aboringness to this process, as things are sometimes repetitive and executed in the here. Aninability to access ‘the there’, at first sight, could perhaps be said. But let’s admit there is no fun intelling tales which will actually happen. You will travel through stories in where various sorts of information are combined and narrationsout-of-nowhere are created. Connections between gossip and truth and present and past andearth and earth are intertwined into a sort of imaginary world in where nature is centralized.A riddle and at the same time an insight into an artistic process. The travel never ends

The paper talks about the topic of pursuing the perfect body and how we are controlled by the standards of per- fections. I chose this topic because of the development of the Chinese gym industry and personal experience . Many people try to pursue the standards of perfect bodies and use these standards to define themselves. Most people take it for granted that our bodies should look a certain way. In this paper, I want to question these standards and raise people’s awareness of the image of their bodies. I will also talk about my opinions about bodies.   In my practical work, I mix different metals with different values into one piece and shape the material into vessel forms. I use the material and the forms to question perfections and the attitude towards bodies in the society . Then I make the vessels into jewelry pieces to discuss how our bodies are treated as jewelry . I use my jewelry works to question what our bodies are and help people see their bodies in a different perspective.

WAGS Är en förkortning av wives and girlfriends och syftar på kvinnor som lever tillsammans med idrottsmän. Fenomenet WAGS startade med de brittiska tabloidernas besatthet av Victoria Beckham. Med hjälp av sociala medier är i dag många Sportfruar några av Sveriges största influencers. Detta är ett visuellt undersökande av att leva ett liv styrt av sin partners framgångsrika sportkarriär, samt mina delade åsikter kring deras Livsstil.