The Royal Institute of Art
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After Work : A book about the meaning of Work
No full textEconomic stress under wage-earning has been abolished. Machines and AI have taken over dirty, heavy and tedious work. Money and social injustice are banned. All the technological resources of humanity can be used to reset the global economy to harmonize with ecology. Free citizens can spend their time in leisure practicing music, art, and poetry. Visions of the future are already here. But is it a utopia that we are seeing materializing around us or a dystopia? What will happen to people when nobody wants their labor? Does there already exist a firm border between those who have a job, with all that it entails in social and economic benefits, and the people that are on the other side of the fence- the people that have to sell their work by the hour, and who in practice are modern slaves under apps and SMS? A division between people who can safely work from home during a pandemic and those who cannot. Is everything for sale? Can you sell voluntary labour? These are some of the questions discussed in the art projects documented in this book
Ett hål är en ihålig hög : Oraklets återkomst, en förgiftad å och monstruösa åtgärder. Om högar och hål, fragment och delar som sys ihop och hjälper till att berätta historier, som ett lapptäcke.
No full textMaster essay and artistic research process about the river Viskan and the birth of an oracle. An understanding in Viskans layers of history, the landscape around a certain part of the river and ways to listen to it. An artistic process that led to the multichannel sound and sculpture installation The Oracle says: A hole is a hollow pile. Installation with moving sculptures, soilbags, office chairs, a glass lens, an oracle and a polluted river.
Ramlar du i så ramlar du i
No full textThe essay, which is part of the Master programme in Fine Arts at the Royal Institute of Art, is ment to reflect on one's own practice. The words are written parallel to the thoughts and I wanted to let them remain as they were thought. I want the works to become and continue in the same way. I search in the periphery, maybe even in the text
Kritikern som frilansande tjänsteman
No full textPå behörigt avstånd från bokförlagen finns de mediekanaler som nås av utgivningen och i vilkas uppdrag det ingår att kritiskt bedöma den. Bokrecensenten – kritikern – är ibland en frilansande skribent, ibland en fast del av en redaktion, men ofta nog sittande på fler professionella stolar än enbart kritikerns. Hur har den svenska kritikerns roll förändrats under de hundra år som gått sedan Natur & Kultur grundades
ELINA
No full textFive letters in a row: E, L, I, N, A. The E has several more horizontal strokes than the E Iwill later learn in school, the N is reversed, and the A is upside down. It doesn’t matter. Ican read it, and others can, too. Once I learned how to write my name, I couldn’t stop. Iwrote it everywhere—on my toys and on my bed frame, on the walls, the doors, theledges. There is something visceral about leaving marks and traces of oneself on differentmaterials and surfaces. Pencil on raw wood, pen on paint, and waxy crayon on plastic.Speaking and writing are part of a collective knowledge that is based on complexstructures and technologies. Walls and screens are flat surfaces that we use fororientation and as sources of information. We navigate. Slowly we are shaped. I’mtouching, tracing, and marking. Leaving something of myself behind. A record. Anencounter and exchange between my hand, the tool, and the surface. The surface isforever marked, forever destroyed, forever scarred. ELINA.In this master essay, Elina Birkehag collects her notes and reflections during her years ofmaster studies at the Royal Institute of Art in Stockholm. The essay consists of two parts.The first is written in her studio during her final year of studies, the months before her soloexhibition MOUTH TO WALL at the end of 2022. The second part is a collection of notesfrom the forests and wetlands of Dalarna, as she has been looking for tree carvings leftthere by women tending cattle a few hundred years ago
The tongue is a little member, but boast of great things
No full textAt the corner outside Handelsbanken’s headquarters, the sidewalk is broader than usual. It creates a square-like space, where public benches are installed facing the sightseeing boats leaving for the archipelago. With their backs to the display windows in Handelsbanken’s facade, the benches are crouched down, like a bent knee waiting for a sitter. The building makes up the edge of the site, like a stage set behind the people watching the scenic view. Television screens are installed in the bank’s windows, their glass sandblasted in a striped pattern that looks like a barcode. Inside, a twenty-first-century office is visible, with white laminate tabletops on aluminum legs. The screens silently project their light out on the pavement. This site is the point of departure for the work, along with a text called The Dialogue of the Exchequer, written approximately in 1180. In it, a master explains to his disciple how the economic system works by describing the tax court of the king. The scene with the Exchequer is set around a table covered with a chequered cloth. The officials sitting there each have a part to play in the drama. Their hands move objects over the surface, giving new meaning to the counters depending on their placement. The text repeatedly warns that the person explaining this system could easily retreat into a cryptic language, sealing of any possibility of understanding. An etching from ca. 1490 of the Exchequer serves as the model for the animation The tongue is a little member, but boast of great things. The Dialogue of the Exchequer is used as the script, reworked and chopped up. It is a pleasure to play the fool
En ettårig växt i ett flerårigt skelett
No full textI den här essän kommer jag berätta om träd, om skogen och om en gubbe som plockar pinnar. Om Djusa, en by utanför Hedemora där jag spenderat timmar på att promenera i skogen som ligger där omkring och hur landskapet genom åren har förändrats på grund av avverkning. Om Gaspar Borchardt, en violmakare i Cremona som vill bygga en fiol av en speciell sorts lönn som sägs längre inte existera. Om den dubbelheten jag känner för att arbeta med träet som ett levande material. Hur det känns att arbeta med våldsamma verktyg, om hur meditativ och slitsamt det är att slipa en skulptur. Jag vill belysa och berätta om trädets inneboende känslomässiga kvalitéer, om hur de vårdar och tar hand om kapade träd och stubbar omkring dom. Om hur de processar information och bär på minnen. Om den politiska debatten kring skogsindustrin som är förkroppsligat i träet självt. Men också att förklara min egen omsorg för träden och om arbetsprocessen med mina träskulpturer.
Lummigt breda brus
No full textNoise turns into form in the intertwining the and dissolving of shapes and lines. In the paintings, the idea of what is seen is interrupted by the noise. I look for camouflage in paintings. In the space between the brushstrokes, where rhe colors merge and vibrateag ainst each other. In this noise, a sonorous embodiment begins to reveal itself, a constructed nature that strives for beauty by taming the landscape. The fulfillment of our desires leads us to a streilized park, a pleasant place in the search for the arranged. I try to depict what has already been made beautiful, with, the aim of capturing more than just what is visible on the surface. The aspiration toward nature is reformulated as a dystopian ambition grasping for the beautiful in the veil of the unreal.
Essä
No full textIn this essay, I try to explore what I need in order to work in the studio. I paint and I imagine that I send out my signals, it echoes, there is something there, both outside and inside. I am fascinated by the interaction of the gaze with the emotional search in life. Painting captivates me with its seemingly playful, experimental and simple act, but it is when that act turns into deep concentration, frustration and seriousness that I can get where I want. I cannot really say why I choose the motives I choose. My work right now seems to be more and more nonverbal. The questions I try to raise are: what role does my mood play in my daily practice and how do I cope with the balance of life and work? The text also touches on similarities and differences between writing and painting. It also deals with my thoughts on motivation and the importance of being hopeful. Also, these thoughts are true right now, during May–June 2021 and I try to be careful with the idea that these thoughts apply to my practice in general. An artistic practice changes constantly, as it should
