Visar resultat för..."Art and Theory"

Material can be symbolic and coded. Our experience of a medium's temporality becomes apparent only through our knowledge of its material behaviour. As the world becomes ever more digital and physically removed, we rely on a lot of materials (technical equipment, tools and infrastructures) to facilitate the remote accessibility of images. And yet, as we become more physically removed, our fascination with 'real' stuff increases. The texts in Material Matters represent a great diversity of practices and materials, but also the diversity of meanings suggested by the book's title. They address the materials needed for the implementation of tasks, the material out of which things are made, the material for or subject matter of scholarly work, and matter itself: the raw materials of our surroundings. The texts in the publication derive from presentations given at the conference Material Matters, held at the Royal Institute of Art on December 13-14, 2018. Published in collaboration with the Royal Institute of Art, Stockholm, Sweden.

I Jenny Källmans Ghost Hunting presenteras ett fantastiskt konstnärskap, genom det vill vi bredda och fördjupa kunskapen om samtida fotografi, och Källmans verk är en rik källa att ösa ur. Hon har varit verksam i över 20 år och är rotad i en analog fotografisk tradition men med en omisskännlig ständig nyfikenhet på fotomediets specifika egenskaper (och dess begränsningar). Vad kan ett fotografi vara och vad kan det förmedla? Låt spökjakten ta vid. Sara Walker

In our endeavor to broaden and deepen knowledge of contemporary photography, Jenny Källman s fantastic oeuvre presented in Ghost Hunting is a rich source of exploration. She has been active for over twenty years and is rooted in the analogue photographic tradition, but she has unmistakably retained an unfailing curiosity when it comes to the specific characteristics (and limitations) of the photographic medium. What can a photograph be and what can it convey? Let the ghost hunt begin. Sara Walker 

When I think of a specific location or find myself in a certain place in a city, I often envision a scene from a movie. It could be anywhere: the lawns of a park, a gas station counter, the check-in desk of an airport or a hotel, the entrance stairs of a school or a city hall, the tombstones of a graveyard. Or, pushing a button in an elevator, ordering a drink in a bar, waiting in line at the supermarket. I would now like to ask you to share one of your memories of a room or of a site in a film. How do you remember its architecture, furniture, objects, light, and sound, its atmosphere? What interests me is how images from films, memories and your immediate surroundings coincide in layers. Distinct, yet blended. Emulsions of memory and space. Kind regards, Jonas Dahlberg

I början av 1960-talet skapade Ulla Wiggen en svit målningar föreställande elektroniska komponenter och datorer. Hon utforskade denna motivvärld då knappast någon kunde förutse hur den digitala teknologin skulle revolutionera våra dagliga liv. Kort därefter, 1966 deltog hon i föreställningarna 9 Evenings: Theatre & Engineering i New York då hon assisterade Öyvind Fahlström, vars radikala konstsyn varit av stor betydelse för henne. 1969 började hon måla människor och gjorde därefter också en serie porträtt. Hon utbildade sig även till legitimerad psykoterapeut som sedan blev hennes huvudsakliga yrke fram till 2013 då hon efter en utställning med hennes tidigare verk på Moderna Museet, beslöt att återuppta sitt konstnärsskap efter ca. 30 års uppehåll. Sedan dess har hennes fokus på datorernas inre och människans yttre flyttats till insidan av människokroppen och alltmer kommit att inriktas mot hjärnan och ögats iris.

In the early 1960s Ulla Wiggen created a suite of paintings depicting electronic components and computers. She explored this world when hardly anyone could predict how digital technology would revolutionize our daily lives. Shortly afterwards, in 1966, she participated in the performances 9 Evenings: Theatre & Engineering in New York assisting Öyvind Fahlström, whose radical view of art was of great importance to her. In 1969 she started painting humans and then made a series of portraits. She also became a licensed psychotherapist, which became her primary vocation until 2013 when she after an exhibition with her previous paintings at the Moderna Museet decided to resumed her artistry after 30 years break. Since then, her focus on the computer's interior and the human exterior has shifted to the inside of the human body and increasingly focused on the brain and iris of the eye.