The Royal Institute of Art
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Troubled Atmosphere – On Noticing Air
No full textThrough the lense of four different art projects, Troubled Atmosphere – On Noticing Air looks at hybrid, layered, inconsistent, muddled, unruly, contaminated gatherings of air, inquiring how air has been conceptualised and perceived, and how the construction of aerial imaginaries enables specific ways of engaging with the world and excludes others. Paying attention to the materiality, relationality and performativity of air, noticing air is explored as a methodology to consider how air, approached as a naturalcultural and technoecological phenomenon, is made perceptible and knowable under historically specific circumstances, perceptual systems, and politics of representation. For this, air is addressed through the artworks Being With (2015), The World Indoors (2015), In the Vast Ocean of Air (2016), and Often People Ask How Birds Are Affected by the Air (2017), and through corresponding texts structured around specific material-semiotic figures – the body, plants, clouds, PM2.5 (minute airborne particulate matter) – which substantiate air, and its technoscientific assemblages, and propose diversified ways of noticing air. Subject to chemical, biological, geological, technological and cultural processes and transformations, air is modified, structured, and compartmentalised, rendered inherently political with effects, consequences, and health impacts distributed unevenly and unjustly. Considering how noticing air can be expanded to reconsider relations and relatings with air that may contribute to the long-term collective feminist undertaking of reimagining liveable and breathable worlds for the many, the dissertation reflects upon the transformative role of environmental concepts and imaginaries. More specifically, it poses the author's interdisciplinary collaboration with researcher in ecology Agata Marzecova as an example of how to bring theory, criticism, and scientific research together with art and poetics, and how meaningful experimentation with formats, languages, and different ways of knowing may allow for thicker, more layered and nuanced approaches for noticing air.Gefiltert durch vier verschiedene künstlerische Arbeiten, beschäftigt sich Troubled Atmosphere – On Noticing Air mit der hybriden, geschichteten, widersprüchlichen, verworrenen, ungebändigten und verunreinigten Zusammensetzung von Luft. Das Projekt fragt danach, wie Luft konzipiert und wahrgenommen wird, und wie die Konstruktion der Welt auf der Basis von Luftaufnahmen, bestimmte Arten der Beschäftgung mit ihr ermöglicht, während andere verschlossen werden. Indem der Fokus auf die Materialität, Relationalität und Performativität von Luft gelegt wird, wird noticing air zu einer Methodologie und untersucht, wie Luft - verstanden als natur-kulturelles und techno-ökologisches Phänomen - unter historisch-spezifischen Umständen und mithilfe von Wahrnehmungssystemen und Repräsentationspolitiken konzipiert wird. Dazu wird Luft mittels der künstlerischen Arbeiten Being With (2015), The World Indoors (2015), In the Vast Ocean of Air (2016), und Often People Ask How Birds Are Affected by the Air (2017) wie auch mittels zugeordneter Texte, die um bestimmte material-semiotische Figuren herum organisiert sind - Körper, Pflanzen, Wolken, PM2.5 (winzige Partikel von Material in der Luft) adressiert. So werden Luft und ihre techno-wissenschaftlichen Assemblagen materialisiert und unterschiedliche Weisen eines noticing air vorgeschlagen. In chemischen, biologischen, geologischen, technologischen und kulturellen Prozessen und Transformationen, wird Luft modifiziert, strukturiert und unterteilt und so grundlegend politisch, wobei die Auswirkungen, Effekte und gesundheitlichen Folgen ungleichmäßig und ungerecht verteilt sind. Um der Frage nachzugehen, wie noticing air auch dazu beitragen kann, Beziehungen und Bezüge zu Luft in einer Weise zu überdenken, die etwas zu dem langfristigen, kollektiven, und feministischen Projekt beitragen kann, lebbare und atembare Welten für viele zu ermöglichen, beschäftigt sich die Dissertation mit der transformativen Rolle von umweltbezogenen Konzepten und Vorstellungen. Genauer gesagt, nimmt sie die interdisziplinäre Kollaboration zwischen der Autorin und der Umweltforscherin Agata Marzecova als Beispiel, um aufzuzeigen, was passiert, wenn Theorie, Kritik und wissenschaftliche Forschung auf Kunst und Poetik treffen und wie das Experimentieren mit Formaten, Sprachen und unterschiedlichen Arten des Wissens vielschichtigere und differenziertere Ansätze von noticing air produzieren kann
The Making and Breaking of an Icon
No full textThis essay is an effort to write my thoughts and reflections on my art practice, focusing on the work to-be-realized for my solo show in March 2021 at Galleri Mejan in Stockholm. I’ve had the intention to complement and stabilize my imagined-artwork with my writing, only to realize such a task’s difficulty. Firstly, because language itself can be unstable. Secondly, fear of losing a quality in art that is unstable in its nature. The essay consists of three sections: In the first one, I tell how I think and feel through my art practice. I also propose making space for new knowledge: In my art practice, I lean on magical thinking to stimulate bodily movements.1 I think that we need to balance ourselves between rational thinking and other modes of thinking, and this in-between-space requires continuous negotiations of different kinds. In section two, I explain how I think of images and share how I process them through my work. Then I share stories of entangled images that I’m using as source images in my current work. In the third and last section, I delve into my deep desire to control images. I challenge told narratives and reflect on creative practices of destruction and reparation.@ Galleri Mejan, Exercisplan 3, March 2021 Media: installation and a video projection. Materials: Clay, ceramic, plaster, linen, and mixed media. The Making and Breaking of an Icon is a long-term project: I repeatedly destroy and repair a self-made ceramic sculpture. The faceless figure has multiple arms and hands that seem to be hugging or containing the body. At the moment of showing the work at Galleri Mejan, the sculpture was broken, and in process of reparation. Fragments of the sculpture were laying on the ground, I continued to glue them up during the show. A shelf placed up high in the same room displays 7 small plaster replicas of the same figure, but with the addition of a horned cap on their heads. one of the replicas is broken on the ground underneath the shelf. The mold reproducing the plaster pieces is shown by the corner and seems to be in the action of production. By the entrance, a fetus-like ceramic sculpture is opening both arms. In the other room, the video work "Falling for the Narrative" is showing a performance I did earlier with the sculpture. In this performance, dressed in a self-made costume, I interact with the sculpture as a living thing: I project veneration and aggression on it. The costume that is made of linen, has carrier sacks sewed in the back, filled with rice and coins. the costume weighs around 4kgs. In the corner of the room, a pile of dust is formed on the ground.
matter that (em)bodies
No full textThe essay entitled “matter that (em)bodies” accompanies and complements the practical part of my thesis – a painting series carrying the same title. The way how this text progresses figuratively represents the development of my work, interests and anticipations from painting as a medium and the bodily depiction throughout my studies. The text and the series together, aim at finding alternative, more inclusive representation of human form and co-habitation of kins through documenting the experimentation with different canvases and acrylic paint. The experimentation has been influenced by the work of many authors and artists, which have helped to formulate a painting technique to channel the exploration of the body to canvas
Inifrån Processen
No full textA fictitious diary about being in the process of painting, questioning doubting and exploring a gaze.
The Eye of the Mole and the Perpetual Motion
No full textCentral to this essay are fourteen poems and fourteen drawings. They formed part of the exhibition The Eye of the Mole and the Perpetual Motion, which was shown at Galleri Mejan in November 2021. The poems are meant to each lack a center, but together form a circle where the exhibition's sculptural works are at the center. Each poem includes a drawing that serves as a reference to the poem. The beginning of the essay follows the process that led to the exhibition. It describes a work process where the planning and the physical work took place in parallel and how the two parts influenced each other and shaped the exhibition. Between the materials I worked with and the intuitive work process, a connection is made to the blind spot in the field of vision, a place that is just outside one's consciousness but which is always present. The idea of this place became a central part of the exhibition and the essay describes a working method for finding this place. Or at least reach as far as possible. Finally, the function of the poems is described and in what way the exhibition was installed.The Eye of the Mole and the Perpetual Motion was my master exhibition and consisted of four sculptures made of scrap metal and textiles, fourteen poems and fourteen drawings
Försök
No full textThe essay sheds light on relevant questions for a student at the Royal Institute of Art. The questions concern basic concepts in an artistic process during education with a focus on thinking as a central concept. Some of the questions in the essay are: what is idea and form? what is the relationship between idea and form? how does the artist manifest an idea in a form rather than creating a form that represents the idea? what distinguishes the manifestation from representation in an artistic context? what can different forms of language be used for or not used for in an artistic work? The essay is an attempt to answer this questions and to process what has been experienced from practical and theoretical artistic work and studies. The intention is to put the questions and answers in connection with other traditions of idea and thought than art and to present new ways of approaching these questions, rather than breaking down the questions and the essays topics into indivisible units. The approach to reach results and the method that is the basis of the essay, is my own artistic theoretical activity: my work with form in relation to studies in art theory, philosophy and fiction. The results show that the studies did not find any exhaustive answers to the questions, but rather that more unanswered questions were generated. The result is an analysis and dialectic that needs to be discussed further. Since the form of the studies is in written language a question has become relevant for further investigation: what meaning has the statements, the textual narratives that conceptualizes, makes it comprehensible and gives an work of art its meaning whose comprehensibility can not be found in the work of art?65 Inkjet prints in A4 dimension of the 33 pages from my master essay Försök and 32 photographs of texts from exhibitions and art institutions mounted on 19 sheets of plywood
GONZO
No full textThis master essay aims to contextualize my artistic practice and ask questions regarding the artist's position in relation to her work. The essay should be seen as a meta description of my artistic method which I call gonzo painting, an expression I explain and develop further in the essay. This essay is part visual and part written and should be approached more as a piece of art than a piece of academic writing. Pictures sourced from social media are used as a sort of diary and are accompanied by written thoughts. The essay was written during the six months leading up to my graduation show.
Dr. Eleine Mad
No full textDr. Eleine Mad är Madeleine Jacobsssons talesperson för dom vetenskapliga och paranormala upptäckter som uppstår i hennes världar. Hon beskriver innehåll, teknik och estetik utifrån ett kategoriseringssytem där konsten delas upp som olika typer av komponenter och därefter avkodas dessa allteftersom. För att förstå intuitionens inblandning i arbetsprocessen omförvandlas den till tre separata roller av en Sökare, Samlare och Myntare. Med rollerna försöker jag beskriva på vilka sätt som intuitionen är till gagn eller av förödelse för det konstnärliga arbetet. Sagan om M handlar om en grodlik karaktär, Delop, som lämnar sin hemplanet för att uppsöka andra världar. I sitt sökande hittar Delop ett folkslag vars syn och levnadssätt skiljer sig från hennes erfarenheter av “verkligheten” såsom hon lärt sig att överleva i den.Dr. Eleine Mad is Madeleine Jacobsson's spokesperson for the scientific and paranormal discoveries that arise in her worlds. She describes content, tecniques and aesthetics based on a categorization system where art is divided into different types of components and then decoded as they go. To understand the intuition's involvement in the work process, it is transformed into three separate roles by a Seeker, Collector and a Myntare(In swedish language the one who is a "myntare" -is verbally declaring a concept or term). With these roles I try to describe in what ways intuition is beneficial or devastating to the artistic work. The story of M is about a frog-like character, Delop, who leaves the home planet to seek out other worlds. In her search, Delop finds a world whose views and lifestyles differ from her experiences of "reality" as she learned to survive in it.Recorded sound and image material of the presentation is available for private use.</p
Processen som motiv : Att samarbeta med materialet
No full textThis master essay is about the process as a motive and how I collaborate with the material. How the paintings go from being constructions to becoming paintings where the color, gestures and mark making creates a content in itself. The fiction of materials. The essay begins with me in my studio working on a painting. Trying to solve the problems in the painting. This section ends with me flipping the painting upside-down, realising that the problem I had was gone. The next chapter is about what happens during the process from the first idea to the finished painting. How visual ideas appear in front of me in my everyday life in small details. I compare the ideas with the miracles in the 2006 movie Wristcutters a Love Story and how all the characters see small miracles; no one cares, exact the main character Zia. I also write about the Art Concrete-movment from the 1930s and there attitude towards painting. In the end of this chapter I write about Günther Förgs artistry; his fascination of the early modernist painters and how he break their rules. The next chapter is about the importens of AbEx (abstract expressionism), the artistry of Joan Mitchell and how the rapper MF DOOM influens my way of working with painting. The essay end with me talking about Maria Lassnigs influence over my own artistry. How she haunts me. In this chapter I also write about my background; my home town Gävle, the importens of the HipHop subculture and feeling a bit odd in my hometown.The very last thing is a quote about painting by Amy Sillman from her essay ”On color” and how that quote led me to where I am now as a painter.