Engelska

<b>The world is changing. The changes are rapid and dramatic. Reality is to a higher extent than before volatile, uncertain, complex, and ambiguous. Recognizing and understanding complexity is crucial. </b> <br/><br/>Performing Arts leadership is well prepared for these changes. In fact, performing arts could well be in the forefront of how to navigate in these challenges. In this book Lotta Lekvall explores performing arts leadership in the challenges facing society as well as the role of art and culture in the 21st Century. <br/><br/><b>Lotta Lekvall</b> is Executive Director at Folkteatern in Göteborg and former CEO of Nätverkstan Kulur. She has long experience of working in the art and cultural sector both nationally and internationally, on cultural policy, cultural entrepreneurship, and on cultural and creative businesses.

How Little is Enough? Testimony of a Pilgrim by Steinunn Knúts-Önnudóttir is a key component of the artistic PhD thesis How Little is Enough? Sustainable Methods of Performance for Transformative Encounters. The book contains an essay and manuscripts of the four performances of the artistic research; No Show, Island, Strings and Pleased to Meet You. The essay is a testimony of the artist's journey and gives an insight into the artistic research process, while providing an overview of the findings. In the essay Steinunn Knúts-Önnudóttir explores how the performing arts can respond to the current environmental and social challenges, by investigating the affordances of relation specific performances through methods such as performative encounters and porous and embracing dramaturgy through the prism of existential sustainability. How Little is Enough? Testimony of a Pilgrim was presented as part of Dr Steinunn Knúts Önnudóttir's PhD dissertation at Malmö Theatre Academy in September 2024. Steinunn Knúts-Önnudóttir, born in Malmö in 1965, is a performance maker and artistic researcher based in Iceland. She has worked as a director, writer, dramaturge, and performer in Iceland, the UK, Scandinavia, and beyond, with her work playing in Reykjavik, Malmö, New York, Vienna, online, on television, and radio. Steinunn was a dramaturge at the City Theatre in Reykjavik and a lecturer and dean at the Iceland University of the Arts. In her work, she focuses on existentially sustainable, relation-specific performances and performative encounters. Steinunn is also a mother of three, a theologian, life coach, and pottery maker.

Behind the Scenes gives you an inside look at today's design industry and the challenges it faces, the commercial undercurrents that shape and define it and a glimpse of those in power. The book includes subjects such as design media and PR and the relationship between the two, payment methods in the design industry, the escalating speed of the new and the effect it has on the products, as well as the importance of pricing. Behind the Scenes is a book debating the issues around design that rarely is spoken about.

Ljusbacken was one of the leading communes in Sweden in the 1970s. It represented much of what came to be associated with the "hippie movement" and later the "prog movement". Much of the most extreme phenomena in the movement resided here. Healing, primal scream therapy, yoga, meditation, drugs, sexual liberation were essentially important ingredients. In Ljusbacken, artist Joanna Lombard visits the mythical place of her childhood home, searching its surfaces for an answer to an unknown question. The book is the artist's journey of facing the memories and extracted stories that were generated during her childhood in the commune. Using contemporary photographs of the places where the stories unfolded a tension is created between the stories' time and space.

This book explores the notion of belonging in contemporary photography in Turkey and Sweden. Throughout the investigation, Erika Larsson uses the term engaging to bring together a range of theoretical perspectives in order to move beyond a representational take on photography. In so doing, her aim is to approach particular photographic works as affective, embodied, and situated interactions or acts. Through the lens of these theoretical perspectives, she explores a number of different photographic projects that in one way or another deal with the notion of belonging.   <br/><br/>Larsson argues that affective and embodied perspectives are significant and often overlooked both in terms of contemporary photography and theoretical discussions around belonging. In bringing these two themes together, the explorations reveal previously unforeseen aspects of how experiences of belonging are shaped, felt, and negotiated through contemporary photography.  <br/><br/>In order to bring close attention to certain photographic works and how they function within particular situated space, Larsson focuses on works from the areas in and around Sweden and Turkey, but the discussion also reflects on the wider question of European experiences of belonging. 

Qualis artifex pereo ? translated What an artist the world loses in me, was the dying words of the infamous Roman emperor Nero. The phrase here marks what Bo I Cavefors and Martin Bladh through their performance-series The Theatre of the Decadence of Cruelty for several years have manifested: the close proximity between staged debauchery and oppressive violence transformed through artistic self-exploration; how humiliation can be handled when converted into enjoyment, sexual absolutism and a strict acceptation of its most profound consequences: sperm, blood and the crack of the whip; and in the end, the question: what is sensation in itself? One answer that is presented in this work is that sensation is a violent physical overload, an attack on the nervous system best handled completely naked, when one is bleeding and disappearing into sexual ecstasy. STYX förlag presents QUALIS ARTIFEX PEREO - a book and a DVD. The book includes: ? a manifesto ? essays by the artists ? in-depth interviews: Cavefors on Cavefors by Johannes Flink Bladh on Bladh by Peter Sotos discussing the nature of their art and their drives ? 9 color collages by M.Bladh ? a poem by M.Bladh intersected by a text amalgam based on works of Georges Bataille ? original action scores for the performance pieces ? the work INJURY The DVD includes two performance pieces: QUALIS ARTIFEX PEREO (40 min) performed and filmed in Malmö, 8th of June 2008. Actors: Bo I. Cavefors, Martin Bladh, Erica Li Lundqvist, Johanna Rosenqvist. Film: Aryan Kaganof. African Noise Foundation in association with Grymhetens Teater Dekadens Music: Martin Bladh Sound engineer: Mikael Oretoft QUALIS ARTIFEX PEREO ? FINIS (27 min) performed and filmed in Norrköping, 12th of June 2009. Actors: Bo I. Cavefors, Martin Bladh, Johan Adolphi, Mikael Oretoft. Film: Peter Andersson, Lars Bosma Music: Martin Bladh plus the extra feature INSULT - a video work by Martin Bladh (15 min)

Through experiments, "design therapy" and alternative methods, this book tells the story about the experimental design project The Kinship Method, that took place 2018 to 2019. <br/><br/>It s a story and example of how a practice based project can grow knowledge and contribute to change the designer role. As well as questioning the ideas of how design should be done and why we should make a "fun revolution". <br/><br/>Five designers are challenged to break patterns in order to find new styles and methods.It starts individually with the designing of a chair each, only to be infiltrated by each other s shapes in the following two stages. Each chair moves on to the next designer, who in turn must use 20-40% of the chair s form elements for a new chair. Consequently, fragments, pieces and artistic expressions are inherited from the previous generation. Everything is done under time pressure and with no insight into what the others are doing. There are now three generations with a total of fifteen chairs that are related to each other. Each generation of chairs is followed by a group discussion where they reflect on: What happens to the style and design? What happens within us? What can we learn? Does it create diversity, development or conformity? <br/><br/>The purpose of the project is not to make the best chairs or the best design. After following the project one might assume that it is about processing any possible design traumas, challenging authorship, finding new ways to collaborate. But for the initiator  Margot Barolo, those three are just ingredients, or means, for developing new ideas on alternative designer roles and design production. All that she will reveal in this book. <br/><br/>It can be seen as an instruction, as well as a debate post, or an inspiration. For all of you who are interested in processes, artistic work, design and its place within production and goods this book are of interest. The participating designers are Margot Barolo, Andreas Nobel, Erik Björk, Mia Cullin and Fredrik Paulsen.