The Royal Institute of Art
Not a member yet
320 research outputs found
Sort by
Black Book - manus till performance
No full textThe contextualisation is related to, and wants to complete my Master’s essay Black Book which consists of scripts for performances. All the scripts have been performed live. A DVD with selected performances from 2009–2012 is also part of the essay. The contextualisation describes what I do in my work and relates it to fellow performance artists and inspirations such as Tamy Ben–Tor and Pierrick Sorin while Black Book is the text I use when I perform.DVD och textkort finns tillgängliga på Kungl Konsthögskolans bibliotek.Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. The master work includes a written essay and a forming part. The alternative title is the name of the forming part.</p
Aphopenial Codex : Master Essay
No full textThea naster workcontains both a written and a formal part. </p
Mellan huvudet och svansen
No full textExamensarbetet består av en skriftlig del och en gestaltande del. </p
Hobby deluxe/blood web/Schengen tour
No full textMitt examensarbete består av en nerkyld utställning och en skriftlig essä som behandlar mejans arkitektur ur ett rättviseperspektiv.[I examensarbetet ingår utställningen "Hobby deluxe/blood web/Schengen tour":] Jag ställer ut tre målningar av syntetisk päls som är bestrukna med båtepoxy och gjutna i en vakuumpåse. Dessa visas på en svampmålad vägg.Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. </p
Haunted by Shadows of the Future : ARTEFACTS
No full textHaunted by Shadows of the Future: ARTEFACTS identifierar föremål från slutet av 1960-talet till slutet av 1970-talet som har ett personligt eller familjärt samband med människorna och samhället under denna tid, och som innefattar en särskild känsla av tillhörighet, en önskan att vara en del av det moderna svenska samhälle som tog form vid den tiden. Resultatet av detta kollektiva sökande är en samling artefakter, företeelser och föremål i hemmet, sammanflätade med rika personliga berättelser och upptäckter.Haunted by Shadows of the Future: ARTEFACTS är ett samarbete mellan Tensta Museum: Rapporter från nya Sverige på Tensta konsthall och kursen Urban-Re-Mix på Kungliga Konsthögskolan (KKH) i Stockholm. Denna experimentella plattform för att förstå och delta i frågor rörande storskaliga hyresbostäder, nya bostadsområden och andra moderna utopiska projekt, som utformades i efterkrigstidens Sverige och tiden därefter, har skapats av STEAL TH.unlimited (Ana Dzokic och Marc Neelen) och Peter Lang (professor i Arkitekturteori och historia, Mejan Arc KKH) och förverkligats tillsammans med deltagarna i kursen Urban Re-Mix.</p
The businessman, the mosquito and the dragon
No full textMy master essay consists of two sections: the first part is explanatory and contextualizes my art; the second part is formed as a fictitious letter to the chinese mosquito repellent millionaire Mr Li, written in the voice of a naive, uncontrolled and neurotic person, full of desire. The contextualization is a self-reflection and deals with concepts such as utopia, desire, failure, the pathetic and identity[I examensarbetet ingår utställningen "The businessman, the mosquito and the dragon":] To present my obsession with chinoiserie, I worked as an investigator through a documentary-filmmaker approach, and also as an utopist for a dreamt world which is actually born in my upsidedown mind. The films are presented in a spatial installation in the form of a labyrinth. Material/Teknik/Längd på video: Installation/Mixed media/dokumentärfilm ca 40 min.Examensarbetet består av en skriftlig del och en gestaltande del. </p
The 29th sun of sun
No full textThe essay a small papper book, deals from a personel angle with different aspekts of the artist practice. Up against a suppelogik the essay jumps from subjekt to subject. The first chapter talks about the link between making a snowball and the painting process. Next chapters are working up against the paintingdialogue with the canvas, here are some historical referangser to Guston and Hans Hoffmann. After this the essay have to chapters, one about the potential of humor and one chapter about artistic seduction linked to the artistic production trying to find the border, between the necessary and seduction. Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet för den gestaltande delen. The master work includes a written essay and a forming part. The alternative title is the name of the forming part.</p
Little father, glorious stump
No full textNotes on the productivity of nostalgia is a treatise on otherness and memory, framed as entries into the notebook of a no-longer-young man who decides to visit places that have a nostalgic connection to him - places where he grew up, and places where he fell in love -and who is trying to overhaul the notion that you can't look back and move forward at the same time.[I examensarbetet ingår utställningen "Little father, glorious stump":] The exam work consisted of a three-room installation of sculptural objects, activated by a live sound performance, as well as a 3D animation projected unto one wall of the gallery.Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. The master work includes a written essay and a forming part. The alternative title is the name of the forming part.</p
Där vi bor!
No full textGazelle Kianoush's the Master essay "Jag ska skapa en människa!" concists of a voice and sound recording. A recorded reading of the text is mixed with sounds and gives emphasise to vocal and acoustic rather than textual and grammatical qualities. Attention is redirected from reading to listening, and thus a greater intimacy between "writing" and "reading" is sought for. The latter is also further accentuated by the low sound of the recording which demans complete concentration of the listener. The recording begins with quoting a prophecy present in the Quran, the Torah as well in the Bible before the voice immediately turns to observing that all societies are ruled by political agendas and that anyone who wants to put them into play and at stake will be punished. This observation is connected to the remark that art seems to have lost its power to cause political change, i.e change that transcends the art world and manage merge life with art. Kianoush wants to challenge and revolt against this inertia and lost faith and instead see art as a utopian project where the impossible can become possible. At heart of such attempt and project is the appreciation of the sensorial, affective body. The body is as clever and rational as consciousness, and in order to create "new worlds" and encountering the world through art in positive ways, dualist thinking has to be abandoned in favour of thinking and doing that takes bodily experience as starting point: "The greater possibilities he have to be affected, the more clear-sighted". Bodily experience is thus highlighted, and so is the fact that we at first sight always approach other beings as bodily entities through our senses. How we perceive the other as well as the impact perception has on identity construction is brought up. Gender and ethnicity are also pointed out as crucial for the way we understand and interact with other people and orientate ourselves in the world. Emancipatory politics and egalitarian claims regarding gender, ethnicity and cultural background form the recurrent theme of the essay, emphasised by quotes from among others Antonio Gramsci and activist Stokely Carmichael and expressed as everyone's right to write and perform his or her own history. For this, art can be an efficient form; but only if it is "more than a thing" and affirm its ageless appeal which is conclued by Kianoush in that "art belongs to the streets": At the end of the essay the shared origin of culture that was hinted in the opening qoute is further emphasised by a short outline of the great historical impact the so called "Orient" has had on the history of Western culture.[I examensarbetet ingår utställningen "Där vi bor!":] Jag tänker, alltså är jag! Om man tänker så finns man...men är det verkligen så? För mig har tänkandet inte något högre ontologiskt värde än kroppen. Sinnesförnimmelser och kroppsliga erfarenheter är lika intellektuella som tänkandet själv. Ju större affektionsmöjligheter vi har desto skarpsyntare är vi. Tankeverksamheten kan ses som den mentala spegelbilden av den kroppsliga erfarenheten. Jag bjöd in tre konstnärer i ett samarbete kring varandet! Kroppen och maktförhållandet mellan tankevärlden och det kroppsliga var utgångspunkten. Vi använda lera, rösten och avidentifierandet av personligheten för att undersöka ämnet. Fyra kvinnor gör en kropp inom loppet av en 5 dagars performance. Teknik: Performance i fyra delar.Mitt examensarbete består av ett 30 min ljudverk som är min masteressä och en gestaltande del som består av fyra performances av fyra olika kvinnor som tillsammans bygger en gemensam fysisk kropp.</p