Engelska

Lotta Antonsson's work recalls her fascination with the late 1960s and 70s, in a style where documentary and fiction blur in a merging of social and sexual revolutions. From a process that utilizes techniques of collage and montage there emerges a personal way of looking at the ephemeral nature of things, whether printed matter such as magazines and books, or natural objects such as shells, minerals and driftwood. Antonsson's analogue cuts and repetitions seize upon the allegorical potential of image fragments, liberating fashion and erotic photography to become explorations of the gendered aspect of their histories. Antonsson belongs to the generation of Swedish artists who emerged in the early 1990s, whose work was inspired by postmodernist art and theory (including a questioning of the male gaze as well as the construction of the woman as an object) and often use humour, irony and self-distance as part of their method.

In a unique project, a group of leading corporate governance experts from Denmark, Finland, Norway and Sweden have come together to define and explain the Nordic model of corporate governance. This book is a result of this project. The book provides a timely contribution to the European debate about corporate governance and its current quest for active and engaged shareholders. The essence of the Nordic governance model is to create incentives for shareholders to be engaged and take a long-term approach to the companies that they own. An international perspective on the Nordic corporate governance model is provided by Stanford professor Ronald Gilson. This book deserves to be widely read and carefully studied by anyone interested in the design of corporate governance systems Colin Mayer, Peter Moores Professor of Management Studies, Said Business School, University of Oxford.

<p>In Sophie Tottie s recent work re-workings of previous work, text material and leftover products like paint and brush cleaner are incorporated and reused in new work. Tottie s works function as prisms that weigh, measure, and materialize something that seems to belong to an inner, intangible reality but which manifests itself in an outer material and physical existence.   The work in AiWHEtL circles around the act of learning, where one main question is not what it is about but how it works. The book includes four texts that discuss Tottie's work from the 1990s up to the present a work that is not a conglomeration of facts and an end point, but which remodels through actions, ongoing contemplation and re-evaluations of what has been said and done. </p><p>I Sophie Totties senaste arbeten används omarbetningar av tidigare arbeten, textmaterial och restprodukter som penseltvätt i nya arbeten. Totties konst fungerar som ett slags prismor som väger in, mäter och materialiserar det som kan tyckas tillhöra en inre, opåtaglig verklighet med en yttre materiell och fysisk tillvaro. AiWHEtL utgår från ett lärande där frågan inte är vad något handlar om utan hur det fungerar. Boken innehåller fyra texter som diskuterar Totties arbete från 90-talet till idag ett arbete som inte är ett konglomerat av fakta och en slutpunkt utan något som omdanar i handlingar, pågående betraktande och omprövande av det som gjorts och sagts. </p><br/><p></p>

<p><i>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. </i>Sara Walker</p><p><i>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.</i> Sara Walker  </p><p></p>