The Royal Institute of Art
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No full textIn the book we meet the eyes of young men from the turn of the last century. What they all have in common is that they are on the threshold of adulthood. They have all donned military uniforms and, together with a photographer, have immortalised themselves. They pose like the young recruits they are in a Sweden that introduced conscription in 1901
Confessions of a Swimmer
No full textTranslation by Lisa Klevemark of the first chapter of Axel Andersson, "Den koloniala simskolan" (Göteborg: Glänta, 2016).</p
Kärlek, Kropp & Arbete / Konstnärlig forskning i en osäker tid : Love, Body & Work / Artistic Research in Uncertain Times
No full textText både på svenska och engelska.Titel på engelska: Love, Body & Work: Artistic Research in Uncertain Times</p
En dålig dag är också bra
No full textThis essay is an attempt to describe the process and practice I work within, and its development in relation to material and my personal reflections. It is an attempt to describe my five years at The Royal Institute of Art divided into 6 chapters. Chapter 1-3 describes my process and thoughts about my work and its development. Chapter 4 is a brief summary of affect theory and how it relates to my practice. Chapter 5 is a short description of my understanding of what an ekphrasis is and a personal attempt of what it could be. The last chapter is a short text about what my work is about in relation to myself
Kärlek, Kropp & Arbete / Konstnärlig forskning i en osäker tid/ : Love, Body & Work/ Artistic research in Uncertian Times
No full textText både på svenska och engelska/ Titel på engelska: Love, Body & Work : Artistic Research in Uncertain Times</p
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No full textIn my essay, I reflected on my personal experience of moving to another city and all the physical, fiscal, and emotional changes that I went through. Through the text, I bounced between my thoughts of my old hometown and questions that one suburb lifestyle brings. In my painting practice, I used references from my visions and memories. In a way, every piece has a kind of resemblance to gambling and child upbringing. Every painting situation creates its own needs, and my work is engaged in staying attentive to this setting and how it changes and changes me.Fine Ar
Början på allt
No full texthe pop culture I consumed as an adolescent put a stamp on the art I do today. I loved the The O.C. and Gossip Girl. Teen series where all the characters are beautiful, rich and all messed up. You can relish in the drama and feel somewhat better about your own life. Similarly I take an early interest in Celebrities lives. First by getting exposed to gossip through my great aunt se och hör collection and then by buying my own gossip magazines in my teens. I am alone a lot in my adolescence, which I partly choose to stay at home and keep an eye on my sick mother, but also because I am bullied. It's in this solitude that I begin to draw and create things. Images rich in color, brands or beauty really draw me in. Its a place I take alot of inspiration from. I keep them with me and use them in my art whether for ideas for painting or to just use them while making collages. I love the materiality of creating collage. In my opinion, there are no rules and there is rather an attentive approach to how the pictures will look.It's not something that will work in all contexts. I tried using the collage techniques in painting, but It's not something which is working for me. Collage in 2d is not hitting its mark but rather when I work with the material in a sculpural way thats when things start to make sense. I think about how Hannah Höch revolutionised the photo montage among other Dadaists in the early 20th century. The way I see it there are no rules but rather an attentive response to images. When it comes to painting it's finally lamented itself when I work with myself as the subject. Using my memories to create the stories that are being told on the canvas.Bilderna dokumenterar min examensutställning från galleri mejan. Jag ville leka lite med utställningsrummet och valde att använda tyg för att lägga ut mina avfotograferade tecknings collage på golvet. Jag drog tyget från ett bord och ut på golvet som en mantel. På bordet låg min tecknings bok där alla avfotograferade tecknings kollage kom ifrån. Jag använde även typband hängande som tungor vid några av de andra trycken för att understrycka att dessa tryck kom från boken. Målningarna på väggarna har jag målat utifrån minnen både från barndomen men även i nutid och föreställer mig i olika situationer
Leif Engström Arbetsdagbok20 juni – 16 september 2019
No full textLeif Engström beskriver sitt arbete i dagboksform.
Danse Macabre
No full textDANSE MACABRE was shot in London in autumn 2019 during the protests and demonstrations related to Brexit dominated the streets,as well as in Winter 2020 shortly before the outbreak of Covid-19 radically re-structured the sphere of the public. Both events brought states of exception and a temporary suspensions of law. With a focus on dance and affectual politics, the film takes a closer look on what gestures and bodily expressions are provoked through the current state of crises, but also how order and disorder are inscribed in bodies and movements in public space. Through new friendships, disorder, dark humour, and erratic moving bodies and voices the film explores acts of resistance, the politics of performance, visibility, and queerness in order to to bring up urgent questions around xenophobia, closing borders, and the politics of fear
En text om materialets gensvar
No full textThis essay is based on a work. The text is written in connection to the work.The work is a digital print 24x35cm mounted on mdf and a clay/metal sculpture mounted on the surface of the print.