The Royal Institute of Art
Not a member yet
320 research outputs found
Sort by
Hushed Birds In a Shrub : About Painting But Not In Painting or The Surface of an Object Which Makes it More Than and Stops it from Being More Than It Is
No full textA text in which 4 objects are described. An octopus, the Ghent Altarpiece, a quilted ball, the Handbook of Diseases of the Skin. And 4 quotations are presented. Newt Gingrich, Donald Rumsfeld, Robert S Macnamara, Slobodan Milosevic. Political leaders responsible for wars. Their descriptions of borders, distinstions, definitions. A book (Handbook of the Diseases of the Skin) which is described in the text and is integral to the work is in the library of KKH (the Royal Institute of Art, Stockholm)13 paintings presented in November2018 at Gallery Meja
Beskrivning av marken
No full textI denna text försöker jag beskriva vad jag tänker kring mitt måleri och hur jag använder mig av mina synintryck. I bearbetningen av intrycken upplever jag att det inte finns några barriärer mellan det ena och det andra, så när det fungerar bra är en målning en uppvisare av vad perceptionen håller på med. Den spelar fritt. Den far runt hur den vill. Målningen kan hamna nära min visuella uppmärksamhet
Rojava: politics of space between revolution and war
No full textAn unknown entity rose out of the war in Syria – Rojava. As the world’s attention fixated on the Kurds’ fight against ISIS, their revolution began to restructure society along democratic confederalist ideals. The built environment, therefore, had to follow suite. KKH research conducted in northern Syria examined the politics of space in society-building and revolution, and explored the rise and fall of the Commune, architecture’s role in state-building, as well as memory and destruction. The multimedia project is an intersection, both in the methodology and its outcomes, between journalism, architectural research, and storytelling.AUTHORBenas GerdžiūnasEDITING SUPPORTJonathan Brown and Justinas ŠuliokasDESIGN AND IMPLEMENTATIONRokas AnisasThe project does not aim to be a comprehensive account of the revolution, and many of the key contextual factors – such as the PKK and other 20th century Kurdish movements – are barely touched upon. The crucial women’s rights movement and other socioeconomic accomplishments in Rojava, such as the incorporation of ethnic minorities into the decision-making apparatus, as well as economic and educational advances, also deserve to be explored in more detail.Since 2015, I’ve been reading and collecting material on Rojava’s revolution from mostly secondary sources. Since 2018, I’ve held interviews with Kurdish diaspora representatives in Europe, including, but not limited to, PYD and the Kurdish National Council representatives in Brussels.The research trip in Rojava lasted from October 26 to November 22, 2018, and was partly funded by a research grant from the Stockholm Royal Institute of Art. I was dependent on translators, although, I chose them based on recommendations from other colleagues in an attempt to find impartial people.Kobane was chosen as the main point of investigation due to its symbolic role in the fight against ISIS and its importance in the opening stages of the revolution. However, the situation varies dramatically across the SDC, especially in the Arab-dominated provinces. During the course of the investigation, I spoke to more than 40 activists and representatives from all tiers of self-administration, as well as the military. Many more local people were also kind enough to share their stories, opinions and experiences with me.Due to the aforementioned limitations, this work does not intend to be an in-depth look at the Rojava revolution as a whole, but is merely an attempt to critically examine some aspects of what happened to this ambitious project and its revolutionary communes.</p
E.I. The Blob
No full textE.I The Blob is a noise making interactive “image-organism” sensitive to sound and touch, created to explore new ways of thinking, being, acting with the Moving Image. With it we want to open up for human to non-human social relations, where situated forms of response-ability exisits, and where the digital and the organic systems are intertwined in a continual state of affecting and changing each other. E.I the Blob plays a central role in the artistic research project “Non-knowledge, Laughter and the Moving Image” where it allows us to rethink our relation to the moving image and to see it as an intra-active* vibrant body. With E.I the Blob we want to shift our attention away from the moving image as form of representation, to it as a material of psychic intensities and fields of individuation. Thus, we neither see the moving image as a tool or a property that we as subjects can control and own, nor do we look at it as a separate entity with closed borders that we are studying from outside. Instead we are interested in a research entangled with it where we could learn from and with it, and from where new temporary borders and becomings could emerge. The name E.I could stand for Earthificial Intelligence, or simply a mispronunciation or confusion of the acronyms A.I. or E.T. Funded by the Swedish Research Council (2017-03110) and hosted by Kungl. Konsth.gskolan/Royal Institute of Art, Stockholm
Absolut farmakon : Kärnavfall och evighet som tanke och konst
No full textDet använda kärnbränslet kommer att vara giftigt i 100 000 år en evighet med mänskliga mått mätt. Samtidigt står planeten inför flera andra spektakulära effekter av mo dernitetens självskadebeteenden. Kärnvapenkrigets ome delbara utplåning har återetablerats som ett hot och klimat krisen har blivit en ny suicidal horisont i närtid. Men är vårt värsta gift kanske också vårt största hopp? Något måste göras med det som återstår efter att dagens kulturer för svunnit. Konstruktionen av slutförvar för kärnavfallet ger möjligheter till att anamma en extrem långsiktighet. Den ger oss kanske en chans att ånyo ställa tanken och konsten inför evigheten. Absolut farmakon exponerar en bild av vår egen tid i ljuset av kärnavfallet och kärnvapenkriget. Ämnen som det messianska, omsorgsetiken, det moderliga tänkandet och klimatkrisen behandlas genom läsningar av Jacques Derrida, Bernard Stiegler, Carol Gilligan, Sara Ruddick, James Acord, Lina Selander och Mierle Laderman Ukeles
The Curtainous Mind
No full textPubliceringen består av dokumentation från examensutställningen The Curtainous Mind samt tillhörande essä. Essän behandlar hur den konstnärliga processen relaterar till de skeenden och upplevelser i livet som vi inte kan vara säkra på att vi tillförlitiligt kan tolka. Utställningen bestod av 3D-utskrifter ingjutna i gips, samt ett draperi och kopparplåt med screentryck på. Verken i utställningne opererarade på flertalet nivåer och påtalade samband mellan teknologi, tid och död.
Business Lingo Word From Notes Commentary
No full textDetta verk är baserat på mina anteckningar som använts för få fram ord som ofta återkommer i mitt konstnärskap och texter jag läser. Utifrån dessa ord har jag valt att kommentera på två sätt, dels så som stora företag och marknaden använder sig av dessa ord, dels min egen kommentar utifrån där jag står. Jag har valt att sätta ihop allt i en form som liknar en mindmap där allt är sammanflätat och det inte finns någon börja och inget slut, vilket reflekterar logistik sätt att verka. I slutet finns en kort beskrivning av ett av mina senaste verk där jag blandat företagsanda och kritik på samma gång
Ordmånglarens Brunn Wordmonger’s Well
No full textIn my essay I am looking at the common heritage of written signs and images through my own experience of attention deficiency and mental illness. Through this lens of experience in which words and images are vividly transformed and merged, I am reflecting on language and art and their overlapping. Throughout the text I reference early written entirely pictorial languages, the painterly terms of thought disorders, as well as how the images that gave name to the characters in the phonetic alphabet is still lurking in the very letters themselves. I also exemplify how attention deficiency can evoke new image/text hybrids in a chapter I call ADHD poetry. In my own artistic practice I am drawn towards a melting point of language, written sign, image, high and low, illusion-representation-materiality, intellect and intuition. The surface as a physical object and idea – that there is a two-dimensional space where we project fantasies and fiction. Through prose, play, rhythm, rant, word salad, crumble of meaning etc. sandwiched, I am observing the swelling of words
How to Prepare for Death
No full textAbstract of Master essay - 10 HP Izabel Lind Färnstrand Mentor: Emma Kihl Examinator: Sigrid Sandström How to Prepare for Death In this essay I dwell into the failures of our moral senses in relation to the concept of death. How does modern death culture affect our way of life and our ability to take responsibility for the life and death of others? These questions are formed by these current times and affect both my art practice and my everyday life. When facing death within my family it occur- red to me that my and my family’s relationship to death is failing us. I have become frustra- ted with the fear and silence that seems too natural to my surrounding. Not being able to talk about a part of life that is inevitable seems irrational. It became clear when the lack of under- standing and acceptance of death caused relatives an immense suffering. The struggle seemed unnessesary and urged me to try to understand more, based on their deaths. Seeing how very different the experience of dying can be made me wonder what makes a ”good” death possible for some and others not. From there my interest in the topic death culture and fear emerged, and this essay touches on this in a variety of aspects. I use my personal experiences in combina- tion with thoughts of others to talk of layers of these issues through my artistic practice. This personal method is my way of trying to structure a thinking – in a way that I can use and make sense of it – with a varied level of success. I feel it is important to note that I don’t claim to have any answes. This essay is more an attempt to pose questions around human behaviour. Even though many of these ques- tions have been asked over and over again, throughout different times, I believe it is impor- tant to ask them again and again. As long as the Human is part and violently effecting this suffering world. Many of the thoughts in this essay are based on fragments of ideas by Judith Butler, espe- cielly from her book Frames of War: When is Life Grievable? (2009). I also reference Caitlin Doughty’s From Here to Eternity: Traveling the World to Find the Good Death (2017) and and Sogyal Rinpoche The Tibetan Book of Living and Dying (1992). The themes gathered that I try to make use of in this essay and in my artistic practice are purpose, fear, death, health, happiness, narcissim and resposibility.Abstract of Artistic work How to Prepare for Death @ Galleri Mejan, Exercisplan 3, october 2019 Media: Spatial installation with a performance (1 h) Materials: Clay, plaster, metal & red plastic film How to Prepare for Death is a spatial installation in one of the gallery rooms of Galleri Mejan. The work includes the whole space of the area, such as the floor and the walls. You step into an altered reality, where the floor is covered with clay that is cracking increasingly over time and windows that are tinted red so that the air you breath seems red. When you enter your eyes need to adjust and after a while it is rather the outside that seems colored, neon green - the complementary color of red. From the clay there are metal rods sticking out vertically, with plaster sculptures at the end. These sculptures are broken, and resemble body parts with a medical aesthetics. Similar sculptures come out from the walls, like fragile fragments of something that used to be. When you walk around the sculptures the clay crackle under your feet, and crumble into smaller pieces and dust. It is constructed as an ambivalent experience of nothingness, emptiness, ”afterness” and a sanctuary of thoughts. My questions about life and death drive me to investigate how to create spaces for these subjects to feel present, so that we can face our fears