Engelska

Den bild vi har i Sverige idag av den internationella konstnärsskara som samlades i den franska byn Grez-sur-Loing under 1870- och 80-talen, präglas i hög grad av sin tids nationalistiska kulturklimat, men också av den konstruktion av platsen och fenomenet konstnärskoloni som både konstnärer och konsthistoriker skapat i efterhand. Vissa fakta i historieskrivningen har etablerats som sanningar. Berättelsen om den skandinaviska Grezkolonin har återberättats så många gånger, att det nu existerar en tydlig bild av det glada kolonilivet och dess melankoliska, gråtonade måleri, som sägs härröra från den fuktmättade luften i flodlandskapet. Grezkolonin besöktes flitigt av svenska konstnärer som Carl och Karin Larsson, Karl Nordström, Nils Kreuger, Georg Pauli och Julia Beck, men även av konstnärer från USA, England, Skottland och Irland. Konstvetaren Alexandra Herlitz har undersökt hur bilden av kolonin framställts i svensk konsthistorisk litteratur och jämfört denna med bildmaterialet, utsagor i opublicerade källor och den bild av Grezkolonin som engelskspråkig litteratur beskrivit där utgångspunkten varit andra nationer än den svenska. Alexandra Herlitz forskning visar att den bild som skrivits fram i Sverige innehåller aspekter som är signifikativa för hur de hela tiden återkommit och betonats. Till dessa hör en etablerad föreställning om att de skandinaviska och engelskspråkiga konstnärer som vistades samtidigt i Grez endast hade ytliga kontakter med varandra. Likheter i den internationella konstnärsskarans ofta gråstämda verk, som till exempel motiven, har förklarats med gemensamma franska förebilder och inte minst byns lokala vädervillkor. Många hittills opublicerade källor vittnar om kontakter mellan de olika ländernas konstnärer. Herlitz menar att dessa sociala och artistiska kontakter senare delvis förnekades av konstnärerna, för om det inte fanns någon social kontakt alls, skulle inget konstnärligt inflytande ha varit möjligt något som kan ha varit av viss betydelse för dessa konstnärers senare karriärer. En av hennes slutsatser är att det finns aspekter i de internationella verken från Grez som snarare kan ses som ett resultat av den sociala konstnärsgemenskapen än ur gemensamma förebilder och en etablerad platsmyt om det gråa Grez.

The growing flow of digital culture depends on the hidden protocols of its underlying systems. To explore how interfacing shapes spectatorship online, this pioneering study pinpoints experiences of flow through the friction of photo-based glitch art by Phillip Stearns, Rosa Menkman, and Evan Meaney. Homing in on the viewer, these three cross-disciplinary case studies present and analyze material that is new to the art-historical context. In particular, they focus on how glitched artworks in online environments make viewers aware of their own activity within the flow, causing a break from the increasingly naturalized integration of system and individual. When a glitch invites the viewer to try out different positions in relation to the system, a tactical spectatorship unfolds.

The impact of our industrialized culture on nature - including the exploitation of natural resources, global warming, and climate change - is one of the most crucial and urgent issues of our times. Environmental centers have developed within several scientific disciplines with a common global interest - trying to secure the future of our existence in the world as we know it. The book Broken sets out to investigate environmental change and explore our relation to nature. It also follows in the photographic tradition of raising awareness and supporting policymakers, politicians, researchers, environmentalists, and activists. Featuring texts by seminal environmental photographers and theorists, the book Broken re-evaluates early environmental photography and investigates new ways of experiencing and visualizing landscapes in an interdisciplinary context.

Today we are all photographers. Self-portraits are everywhere and snapshots of our lives are circulated and shared frenetically on various social media networks. Distinctions are blurred, not only between the private and public spheres but also between professional and amateur photographic practices. This calls for increased knowledge about the performative characteristics of digitized and networked visual communication. What are the limits of automation and what is the potential of virtuality? When is visuality empowering and when is self-monitoring out of control? Auto investigates how the everyday digital photography of our times challenges notions of autobiography, interactivity, and democracy.

This book is about The Kingdoms of Elgaland-Vargaland (KREV). KREV was proclaimed in 1992 and consists of all Border Territories: Geographical, Mental & Digital . Elgaland-Vargaland is the largest and most populous realm on Earth, incorporating all boundaries between other nations as well as Digital Territory and other states of existence. Every time you travel somewhere, and every time you enter another form, such as the dream state, you visit Elgaland-Vargaland.

<br/><br/>This <i>Viewer</i> chronicles <i>Momentum10 The Emotional Exhibition</i>, the tenth edition of the Nordic Biennial of Contemporary Art held in the small town of Moss, Norway. Generously illustrated and beautifully designed, the publication takes the reader on a visual tour through the exhibition, providing an overview of the artworks in situ by the twenty-nine international artists included in the Biennial: André Alves (PT), Anne de Vries (NL), Annika Larsson (SE), Christodoulos Panayiotou (CY), Eija-Liisa Ahtila (FI), Eirik Senje (NO), Erik Öberg (SE), Fanny Ollas(SE), Francesc Ruiz (ES), Gabriel Lester (NL), Hannaleena Heiska (FI), Ilkka Halso (FI),Ina Hagen (NO), Johanna Billing (SE), Julieta Aranda (MX), Keren Cytter (IL), Knut Åsdam (NO), Olafur Eliasson (DK), Pauline Curnier Jardin (FR), Pauline Fondevila (FR), Pepo Salazar (ES), Ragnar Kjartansson (IS), Regina de Miguel (ES), Rosalind Nashashibi (UK), Salla Tykkä (FI), Saskia Holmkvist (SE), Sissel Tolaas (NO), Stine Marie Jacobsen (DK), Åsa Cederqvist (SE).  <br/><br/><br/><br/>The Viewer also features texts in English and Norwegian by the curator of Momentum10, Marti Manen, and the Biennial's director Dag Aak Sveinar, as well as a conversation with the artist Olafur Eliasson.

New Småland investigates issues of entrepreneurship, immigra­tion and emigration, and looks in various ways at the relationship between the rural and the urban. These three themes characterise both a common and a historical understanding of Småland. The project examines questions such as: What happens in the transition from glass industry to tourism? How can a region that is depopulated, grow and develop at the same time? How did the centre of town end up in a field? What does the relationship between Småland and Swedish Minnesota look like today? Do artists and designers know about the knowledge base and poten­tial that exists in Småland s industries? Do local manufacturers know which artists and designers that work in the area and what their skills and ambitions are? <br/><br/>By asking these questions and developing different approaches to creating a dialogue between international contemporary art and local knowledge, we can start to advance an updated picture of Småland. <br/><br/>This book also presents the string of exhibitions that took place from 2019 to 2020 and the processes that led to them. The texts gathered here reflect on the conferences, seminars, residences, workshops and international collaborations that have taken place in Småland during the past four years, and the book as a whole highlights a model that supports long-term relationships and at the same time allows for experimentation. It emphasises and en­gages with local actors and accentuates the role of contemporary art in Småland today. <br/><br/>With contributions by: Abraham Hurtado, Anders Sunna, Ane Graff, Ane Hjort Guttu, Ann Mirjam Valka, Anna Ekman, Axel Stratschnoy, Behazad Khosravi Noori &amp; René Léon-Rosales, Caroline Mårtensson, Cecilia Järdemar, Center for Land Use Interpretation, Cristina Bogdan, Curatingpublicspace, Dan Karlholm, Elna Svenle, Éric van Hove, Freddy Tsimba, Frida Sandström, Greece is For Lovers, Joanna Sandell, Jonatan Habib Engqvist, Juan Pedro Farba Guemberena, Katja Aglert, Katr na Neiburga, Lela Pierce, Maria Lantz, Markus Vallien, Mike Bode, Olav Fumarola Unsgaard, Peter Aronsson, Petri Saariko, Runo Lagomarsino, Stine Marie Jacobsen, SUPERFLEX, Åsa Jungnelius. Edited by Jonatan Habib Engqvist.<br/><br/>New Småland is a collaboration initiated by four art institutions, three regions and one university. The book is published by Arvinius + Orfeus Publishing and Linneaus University Press. www.nyasmaland.se