Haunted houses
(2021)
author(s): Emelie Carlén
published in: VIS - Nordic Journal for Artistic Research, Konstfack - University of Arts, Crafts and Design
This exposition uncovers the thought process behind and around the artworks Haunted Houses and Cold Readings. I focus my research on the two modernist buildings of E1027 and Villa Müller and the architects behind them. Through the production of these works I have been concerned with how narratives about these houses have been constructed and re-told – and how these narratives have changed as they have been 'rehearsed'. I have applied the methodology of rehearsal to my process in order to outline how historical writings and archival research can be used with the aim of finding alternative outcomes to what has already been written and said.
Piskan ställningen
(2021)
author(s): Livia Prawitz
published in: VIS - Nordic Journal for Artistic Research, Konstfack - University of Arts, Crafts and Design
The courtyard, laundry room, and areas for beating carpets are collective facilities in the private sphere of the home. In Stockholm you can find carpet hangers in connection to many apartment blocks even though they are very seldom used nowadays. The act of whipping carpets is an act that aims to get rid of the dirt – the remnants of life. Cleaning is a repetitive work, where something needs to be done over and over again without it producing something new.
The project Piskan ställningen consists of an essay, sound pieces, and sketches in different materials and is divided into three parts; the one who beats, the beater itself, and that which constitutes a stand for the beating. The various associations to the carpet hanger and the carpet beater form the basis of the project that centres around questions concerning repetition and productivity, place and time, the boundary between the public and the domestic sphere, and how dangerous the pursuit of alleged purity, hygiene, science, and light can be. Through text, sound and images, personal and collective memories, and the object's associations regarding reproductive labour, city planning, violence, the welfare project, and childish games are intertwined.
The material also contains other associations to control and power – with the whip as a means of threat and punishment, and an exploration of different forms of emptiness in relation to architecture, social structures, and mental space. Through a younger and an elderly woman's narrative voice, we follow an associative thought chain that interweaves the public, the domestic, and a bodily sphere. The setting is a society where she comes home from work to yet another form of monotonous routines, where cars get burned down, and tables are placed under vases, whilst someone has been digging a hole down in the city.
Through sketches in different materials, I approach the carpet beater by exploring its shape. My attempts to repeat the knots lead to a series of variations on the memory of whips where mistakes constitute the basis of new forms. In the project repetition and variations in sound, text, and drawing becomes another way of approaching repetitive work
Undersökning av Långlöt 30:1. Aktiviteter kring ruinerna av Ismantorps borg.
(last edited: 2024)
author(s): Maria Jonsson
connected to: Konstfack - University of Arts, Crafts and Design
This exposition is in progress and its share status is: visible to all.
Ismantorp fort is one of Sweden's best preserved ringforts. The ancient monument is located on the island of Öland, in the midst of the forest Mittlandsskogen. For centuries the fort has been overgrown. Dating back to the 17th century, efforts have been made to depict the fort, but these attempts were often thwarted by dense vegetation, obscuring the ruins and making them inaccessible. The surrounding forest has kept the fort itself intact, as well as the memory of it, while at the same playing a part in distorting and shaping the public's perception of the monument; through the production and reproduction of plans and depictions drawn from incorrect measurements due to the obscuring vegetation. Archival records - descriptive texts, photographs, plans, drawings - document the site and the activities of archaeologists, antiquarians, scientists, public servants, land owners, locals, tourists (and vandals). Many of these records can be found at the Swedish National Heritage Board. The National Heritage Board was responsible for managing Ismantorp fort for a period of time up until 2015 when the National Property Board took over. In this exposition, Nature plays the part of preserving the memory of the fort, as well as distorting the perception of the fort. In addition to this, the vegetation seems to have been perceived as a growing threat against the preservation of the ringfort. This villainizing of nature also poses questions regarding what constitutes a place, is it first and foremost understood as Nature, or Culture? Which agents have the right to alter a place, and how are these alterations being justified? What does it mean to "restore" a monument or a place to its original state? The research presented in this exposition is also part of a project outside of Research Catalogue, where these questions are examined through the creation of physical artworks. Some of the artworks are presented as part of the exposition.
O≡Cyan – for a dark holism to matter
(last edited: 2023)
author(s): TM
connected to: Konstfack - University of Arts, Crafts and Design
This exposition is in progress and its share status is: visible to all.
Cyan and cyanides and their connected substances, organisms, and processes, constitute subject matter and material subject for the practice-based inquiry of O≡Cyan. Cyan emerges in photochemical and photosynthetic processes imaging us: the CMYK colour space, cyanide poison, cyanobacteria, and cyanotype. Cyanide capsules, cyanobacterial algal bloom and cyanide leaching in gold mining mark their outermost horizon.
Researched with a dark holistic approach, matter, method and medium are conceptually integrated and intrinsic to each other and can give rise to a critical mass of dark holistic and cyanotopic worlding – a network of narratives, phenomena, and matter. methods on the basis of dark materiality surrounding us planetary and concerning us personally, directed towards a History of Darkness - a slowly growing ABC, or material essay for Cyan and cyanides and its dark effects.
Hur böjs arbete
(last edited: 2021)
author(s): Inger Andersson
connected to: Konstfack - University of Arts, Crafts and Design
This exposition is in progress and its share status is: visible to all.
Hur böjs arbete
Kan en tredimensionell gestaltning uttrycka ett arkivs flimmer av händelser och minnen och samtidigt påstå en fortsättning. Utan att det ena tar över det andra? Verket ’Hur böjs arbete’ började med tanken om att försöka gestalta ett arkiv. Jag funderade under arbetet på skärningspunkter mellan då och nu och framåt men också på hur minnesstruktur skulle kunna se ut gestaltad. Under en del av arbetsprocessen tyckte jag att verket började ta form av och vara en tredimensionell essä.
’Hur böjs arbete’ visades på samlingsutställningen FABRIK på Gustavsbergs Konsthall okt 2019- jan 2020. Utställningen ville undersöka kopplingen mellan nedlagda industrier/ industrimiljöer och konstnärer verksamma i eller i relation till sådana miljöer. FABRIK tog fasta på vilka uttryck och olika konsekvenser denna koppling möjligen kunde resultera i.
Det började med att jag sågade isär en kasserad gjutformslåda i en särskild vinkel och fick något som liknade en arkivmapp. Jag byggde fler lådor av brun MDF, 6 och 10 mm tjock, som jag vred och staplade omlott. Parallellt gick jag till Gustavsbergs Porslinsfabriks bildarkiv och letade efter bilder som kunde säga något om Gustavsbergs tvåhundraåriga fabriks och bruksortshistoria och om det liv som har pågått där. Jag läste praktverk om porslin och lyssnade igenom intervjuer jag tidigare gjort med äldre personer i Gustavsberg. Egna referensbitar i ateljén fick med saken att göra och några bitar upphittade i fabriksmiljön lades till. Jag byggde i det bruna skivmaterialet olika större formdelar som var och en fick rymma de större och mindre teman jag kretsade kring under arkivarbetet. Bildutskrifterna blev fler och fler. Jag ville gärna se Gustavsbergarna stå och bläddra i sin egen historia på utställningen FABRIK.
Under kursen Mikrohistorier har jag komprimerat och omformulerat verket. Samlat de ca 500 bildutskrifterna i buntar. Frångått indelningen efter olika teman och koncentrerat verket till en mer samlad gestalt. Öppningsbara lock döljer nu de foton som tidigare fanns integrerade på verket, referensbitarna är kvar men har flyttats om. Kanske har verket blivit lite mindre tillgängligt samtidigt som det har förtydligats och tar mer plats, eller kanske formulerar det nu en annan plats.
På RC kan du genom att klicka på de mindre bilderna följa några associationsbanor från arkivarbetet. De egna referensobjekten finns på bild och olika delar av verket är återgivet i de lite större bilderna.
I september 2021 visas 'Hur böjs arbete' i omarbetad form på en utställning på Konstfack med deltagare från två omgångar av kursen Mikrohistorier.
Palace.Prison-Prison.Letters
(last edited: 2021)
author(s): Soroor Notash
connected to: Konstfack - University of Arts, Crafts and Design
This exposition is in progress and its share status is: visible to all.
Rewriting a place. “Today the prisons are actually universities” read the head-title of letters. They joked “Oh, did you get a master? I just managed a bachelor, hahaha!” and there it was, the pride amid rememories of pain and crushed selves.
I revisit Qasr (palace) prison-museum-park in Tehran, Iran, and I look for unexhibited traces. What if a prison is not just the place of horror, violence, and order but also the first home of a child? What are the untold stories in this museum? What are we not supposed to remember?
This film is an attempt to rewrite this place through an archive of letters, handcrafts and photos belonging to former political prisoners and to tell an invisible and less told story.
please wait behind the red line (2011/2021)
(last edited: 2021)
author(s): Peter Norrman
connected to: Konstfack - University of Arts, Crafts and Design
This exposition is in progress and its share status is: visible to all.
The exposition "please wait behind the red line (2011/2021)" is an attempt at taking a set of unearthed and found low resolution images and giving them new meaning and importance. And as an extension, they become an archive. The images were made in one specific time. I found them many years later, already removed from their original intent. By using them as a departure point for an art work in 2011 I connected them by happenstance back to their original usage. And by returning to them once again in 2021 they become a way for me to make new work out of existing work, to explore the airport as a place for stories, and to connect and reflect on aspects of photographic practices as well as my own practice which, in many ways, is situated in both the still and the moving image. I have increasingly been searching for ways to experiment with and to find new strategies to expand on what the documentary can be, how to work with real-life material, and to offer new readings, constructions and narratives. Making new work out of previous work exploring different layers of time are of interest and create new openings for contextualizing.
This unintentional archive is reworked it into an artist book, possibly in box form. From found homemade CD to a unique box as a small, gentle gesture, intervention and artistic response. Parts of the book is presented in the exposition. A PDF of a full first rough of the book will be accessible for download.
The images in this archive are all security and ID images created for the identification purposes of visitors to a now decommissioned former international airport in Cork, Ireland. They are pilots, stewardesses, construction workers, duty-free employees, family members. In addition I am interested in what happens when images are renegotiated from their initial purpose and to give multiple readings and contexts to a simple set of found images.
OLSKROKSMOTET BLUES
(last edited: 2021)
author(s): Ann Kroon
connected to: Konstfack - University of Arts, Crafts and Design
This exposition is in progress and its share status is: visible to all.
Olskroksmotet Blues är den avslutande delen i mitt autoetnografiska projekt som i olika former har pågått sedan 2014 och där jag tidigare publicerat två artiklar. Expositionen består av tre delarbeten - arkivblad, arkivmönster och göteborg grid – jämte bakgrund och teori & metod. Utifrån min historia som fosterbarn söker jag fånga såväl mina egna erfarenheter och behov av uttryck, som att sätta dessa i ljuset av större samhälleliga skeenden.
Stora Torget i Eksjö - Den Okände Ryttaren
(last edited: 2021)
author(s): Eva Rocco Kenell
connected to: Konstfack - University of Arts, Crafts and Design
This exposition is in progress and its share status is: visible to all.
En novembernatt 1945 ägde en manifestation rum på Stora torget i Eksjö, folk gick man ur huse för att protestera mot utlämnandet av Baltiska soldater. På samma torg 2018 protesteras det igen mot utvisningar, och för ensamkommandes rätt att stanna kvar i Eksjö. Vid det tillfället samlas ett 30 tal personer på Stora torget. Händelsetrådarna sträcker sig från Kabul till Stora torget i Eksjö, genom Pippis kök via migrationsverket och ett världskrig.
DAG SOM OVAN
(last edited: 2020)
author(s): Cecilia Enberg
connected to: Konstfack - University of Arts, Crafts and Design
This exposition is in progress and its share status is: visible to all.
Filmen DAG SOM OVAN utgår från en ärvd kaffekopp och bygger på lusten att söka och se mönster på alla nivåer, från det konkreta till det abstrakta och att ge det mening och betydelse. I detta meningssökande får både de små och stora händelserna likvärdig relevans. Det finns ingen början eller slut. Tidsbegreppet är flytande. I expositionen presenteras referensmaterial till filmen och är uppbyggd som en drömmande vandring.
This exposition uncovers the thought process behind and around the artworks Haunted Houses and Cold Readings. I focus my research on the two modernist buildings of E1027 and Villa Müller and the architects behind them. Through the production of these works I have been concerned with how narratives about these houses have been constructed and re-told – and how these narratives have changed as they have been 'rehearsed'. I have applied the methodology of rehearsal to my process in order to outline how historical writings and archival research can be used with the aim of finding alternative outcomes to what has already been written and said.open exposition comments (0)
Rewriting a place. “Today the prisons are actually universities” read the head-title of letters. They joked “Oh, did you get a master? I just managed a bachelor, hahaha!” and there it was, the pride amid rememories of pain and crushed selves. I revisit Qasr (palace) prison-museum-park in Tehran, Iran, and I look for unexhibited traces. What if a prison is not just the place of horror, violence, and order but also the first home of a child? What are the untold stories in this museum? What are we not supposed to remember? This film is an attempt to rewrite this place through an archive of letters, handcrafts and photos belonging to former political prisoners and to tell an invisible and less told story.open exposition comments (0)
Olskroksmotet Blues är den avslutande delen i mitt autoetnografiska projekt som i olika former har pågått sedan 2014 och där jag tidigare publicerat två artiklar. Expositionen består av tre delarbeten - arkivblad, arkivmönster och göteborg grid – jämte bakgrund och teori & metod. Utifrån min historia som fosterbarn söker jag fånga såväl mina egna erfarenheter och behov av uttryck, som att sätta dessa i ljuset av större samhälleliga skeenden.open exposition comments (0)
Filmen DAG SOM OVAN utgår från en ärvd kaffekopp och bygger på lusten att söka och se mönster på alla nivåer, från det konkreta till det abstrakta och att ge det mening och betydelse. I detta meningssökande får både de små och stora händelserna likvärdig relevans. Det finns ingen början eller slut. Tidsbegreppet är flytande. I expositionen presenteras referensmaterial till filmen och är uppbyggd som en drömmande vandring.open exposition comments (0)