Publikationer från Konstfack
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Till Källan
No full textOn the brink of a sixth mass extinction, I renegotiate, through crafting, some basic assumptions on which our economy-culture is built, those of separation and dominance. The project Till Källan / Water Talks is based on a method where I ask various places what they would want me to do on site. It is a process of reconnecting to place and the non-human, a radical rethinking of relationship between human and the other. I investigate the possibilities of craft to be a conductor of that relationship.The paper tracks various lines of thought around my practice, like trickles gathering more water into my pond. It starts in a quantum physics philosophical base for how the world is in a state of becoming through intra-action, on to why water is the perfect medium to affect the world through a puddle. I look at how my practice has an affinity with animism as philosophy and indigenous ways of relating to place and materials. I explore various facets of performativity, in world-making, craft-making, in the resulting objects and in the restoring of relationship through ritual. The enquiry that runs through the paper is what craft is when the object was made for a place rather than for the “art-world” or other economic systems. Going back and forth between a western and a non-western mindset, between practice and theory and between the poetic and prosaic, makes for a synthesizing of sources, leading up to the concept of Rewilding Craft, and a number of crafted objects and images that speak of the relationship
Design And Race: "African Design" In The Shadow Of Modernity
No full textTo explore the question of how race and design are related, I have developed a set of analysis strategies, involving props that are investigating objecthood and subjectivity. I use prototyping techniques and sketching in full scale. The design process contains three main investigation packages that ran parallel and was intertwined with each other, and resulted in a staged planetarian habitability (Mbembe, 2020) that communicates how to decolonize the African objects. The objective of this project was to investigate how to make stories about African design as well as identify how an African spatial design practice could unfold. The myth building around race is a successful practice even today. Therefore, it is necessary for each generation to undo these myths. The project resulted in objects and a spatial installation that render tangible, new ideals about modernity and design in relation to race.
9 actions - Sensoric Measures for Eternal Efficiency
No full text9 actions - Sensoric measures for eternal efficiency is a project negotiating with the consequences of modernist urban planning and its infrastructure which has produced phenomenons like “non-places”, places which neither become or are used according to the procedure of care that our public spaces require. Situated within this idea, I establish a methodology which is formulated as an eternal site analysis, which showcases the process as total and in constant transition, a perspective that rather than becoming an dogma aims to question the raised methodology in relation to site and the analysis within the field of interior architecture. The methodologies aim to embody the sequence of time and space, to bodily engage our senses and re-evaluate the relation to the surrounding environment. This is captured in 9 actions inspired by methods within performance, architecture and installation art. The sequence is examined with different mediums, such as filmmaking, drawings, 3d scans, diagrams, sound recordings, photographs and various other interpretations. A compilation of these acts emphasizes the importance of the methodology of the process and its ability to reconfigure. Concluded and executed at Konstfacks Spring exhibition 2021, visitors were invited to interact with a selection of actions examined during the project. Described below, 3 of the exhibited sequences: “REPET Workshop”; as an act of instruction to understand and question the bodily configuration of normative behaviours in relation to sites. “Pedestrian Measures”; a documented act where the participant was dressed in a reflective apparatus in order to experience irregularities hidden in the spatial hierarchy of sites - as fields of perceived space. “Den gemensamma kroppen”; A collective act, pronounced as the common body of the space. An installation where visitors were invited to dress and interact bodily to engage full focus. A reflective action configuring the use of the body and its sensory abilities in context of common spatial production
sensing interdependency, experiencing embeddedness, extending the frame while zooming in
No full textThis text is a dialogic conjunction of working practices developed in and around specific quarries, with Karin Reisinger tracing the material and life-worlds of iron ore in Malmberget and Petra Lilja the limestone in Limhamn, both in Sweden. We walk and think with humans and non-humans such as rocks, stones and minerals through our respective practices and pedagogies of design and architecture. Our practices take place in and around quarries, extractive sites of mining. We come in after the machines, when it is time to think about how to move forwards, to deal with the losses, to repair and care and to find strategies of surviving and coming together in educational situations. Dealing with the large-scale spatial changes, we are deeply aware that we are participating in massive earthly and material movements. With this paper we also share connections between theory and practice, based on a feminist–materialist framework. These connections lead us to the various applied practices of sensing interdependency, experiencing embeddedness and extending the frame while zooming in and to its epistemological reverberations
COLORUM : a ceramic investigation of form, in relation to balance and spatiality
No full textI call my project COLORUM - A ceramic investigation of form in relation to balance and spatiality. Colorum means colors in Latin. Dividing the word, color from English, and rum is space in Swedish. I have investigated the ceramic process through basic geometric shapes. Trying to understand, learn, feel and master the material. Work with and against it, control, and let go of control. I have been working with casting techniques and exploring the primary forms, challenging the material, pushing the clay norms to their edge. By relating to geometry, I defy myself to create these precise forms in ceramics. I combine soft, colorful glazes on the surface with a strict body that creates a juxtaposition that opposes each other. The journey continued by challenging the precise forms through gravity movement creating imploding bodies. I'm curious about the dialogue and the meeting between different expressions in shapes, material, and volumes
FIELDS : a post qualitative study of rhizomatic learning in visual art
No full textDet här examensarbetet utgår ifrån idén om kunskaper som icke-linjärt och geografisktorganiserade. För att ge idén en form målar texten upp fantasibilden fältet, som kopplassamman med en figuration av de posthumanistiska filosoferna Gilles Delueze och FélixGuattari: rhizomet. Genom att synliggöra hur konstnärligt bildskapande kan förstås somrhizomatiskt lärande ämnar studien kontextualisera posthumanistiska alternativ fördidaktiska tillvägagångssätt i bildundervisning. Studiens relevans för det bildpedagogiskafältet motiveras av att lärande i bildskapande redan tenderar att kännetecknas av oriktade,kreativa och flödande processer. De huvudsakliga forskningsfrågorna som studienengagerar sig i är hur rhizomatiskt lärande framträder i konstnärligt bildskapande och hurdetta synliggör och kontextualiserar posthumanistiska alternativ för didaktiskatillvägagångssätt i bildundervisning. Studien antar metodologiska praktiker inspireradeav autoetnografi, utvecklade genom postkvalitativt tänkande. För att framkalla empirikonstruerades ett meningsfullt kollaborativt måleriprojekt mellan mig själv och engymnasieelev från bild- och formprogrammet, vilken betraktas som medforskare istudien. I analysarbetet används en kartograferande analys, som syftar till att synliggörakomplexa sammankopplingar som uppstår inom ramen för bildskapande praktiker. Dettaarbete leder fram till att exempel på hur materiell agens, konfabulativa konversationeroch materiellt-diskursiva praktiker görs synliga inom bildskapande sammanhang, vilketskrivs fram i denna uppsats samt gestaltas i måleri, ontologiteoretisk textformgivningsamt haptisk-optisk, metodologisk lek. De posthumanistiska trådar som går att följagenom uppsatsen bär alla på erbjudanden om didaktiska tillvägagångssätt förundervisning i ämnet bild och därför avslutas uppsatsen med att ett första steg tas in i endiskussion om didaktik. Genom att ta tillvara oriktade kreativa processer, konfabulativakonversationer och konstnärliga möten mellan mänskliga och icke-mänskliga aktörerbidrar detta examensarbete till ett pågående samtal om posthumanistisk pedagogik
Indigenous &: Placing Practice While Being Displaced : Teresa Faris on Advocacy and Resistance
No full text"the good china"
No full textThe article focuses on the bone china, a type of porcelain made via a process of adding bone ash to soft-past porcelain bodies. Topics discussed include artist Dana Claxton's 1997 "Buffalo Bone China," the writing of Paul Seesequasis that narrate the use of buffalo bones, and decolonization according to scholars Eve Tuck and K. Wayne Yang
Reimagining place
No full textIn the beginning of the 2004 video essay Los Angeles plays itself, the Hollywood critical film theorist Thom Andersen states ‘The city is big. The image is small’. What Andersen refers to, as a long-time citizen of Los Angeles, is the way Hollywood tends to create a romanticised and narrowed image of its city through film. The three-hour long documentary by Andersen is built up mainly by the use of clips from different Hollywood movies through its history of filmmaking. By representing and reproducing these clips, he examines the ways the city has been depicted through decades. Utilizing and disassembling these misinterpreted images and stories, Andersen creates his own story which further reveals what he believes to be the truth. What interests me in Andersen’s case is the way he works with a city and its architecture, displaying the embedded social and political structures, by twisting the perspectives through the use and repetition of these historically recognizable clips. When he takes something that already exists and alters its presence or meaning, other questions might be evoked, making it more visible by exposing its opposites