HDK-Valand - Academy of Art and Design / HDK-Valand - Högskolan för konst och design (2020-)

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Genom webbkameran Distansundervisning och formativ återkoppling i skapande processer
(202-06-03) Haugen, Kajsa; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
In the late spring of 2020, the practice of teaching upper secondary school was confined to distance learning and online environments due to the rapid spread of COVID-19. This meant teaching and assessing students through video conference tools as well as digital platforms. As a future arts teacher, I was interested in investigating the possibilities and limitations with teaching art courses online. The study consists of eight interviews with art teachers currently working with teaching upper secondary classes in online environments. The aim of the study has been to find teachers’ views on possibilities and limitations in giving formative assessment in online environments on students’ artistic processes. I have used Grounded Theory to find themes in teacher experiences and strategies of utilizing conference tools and online environments to gain insights and provide formative assessment of students’ artistic processes. The main findings indicate that formative assessment is possible to practice in online environments. Several of the informants have found individual feedback to be more focused and in depth in one-on-one video conferences. Process portfolios have successfully been used to make artistic and learning processes visible. However, frequent student to student interactions, spontaneous peer assessment and possibilities to overview the digital classroom, were lacking in the online environments. Moreover, teachers report that the timing of feedback is not well integrated in the students’ workflow but is often given after the lesson. In general, teachers report an increase in written feedback, but some teachers hesitate to use this because they cannot get a sense of how the students receive it. Because there has been little to no time to plan for the changed circumstances of teaching, there is much room for improvement in the structuring of distance learning, if it were to continue or expand in use.
What agency do emotions have in forming futures?
(2018) Luukkonen, Kaisa; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
LÅNGSAM OCH KRÅNGLIG Min väg mot översättning
(2019) Malm, Åsa; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design; Hdk - Valand
Det finns de som säger att det är omöjligt att översätta. Andra menar att det ju bara är att skriva som det står. För två år sedan hade jag nog kunnat säga att ”man känner ju om det blir fel”. Inte alls för att jag trodde det var lätt, men för att jag uppfattade det som en lite magisk och väldigt känslostyrd verksamhet. Samtidigt insåg jag att det ställer krav på hög kompetens i både källspråk och målspråk. I den här essän har jag försökt resonera med mig själv och andra som har skrivit om översättning för att komma fram till ett eget förhållningssätt till översättningspraktiken.
Översättare och/eller litteraturkritiker.
(2019) Marques Jagemark, Lisa; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design; HDK - Valand
När jag började på Akademin Valands konstnärliga magisterprogram i litterär översättning arbetade jag redan som litteraturkritiker. Det är inte så konstigt, litteraturkritik och litterär översättning är egentligen bara två olika uttryckssätt för samma … ja, vad ska jag kalla det, passion, drivkraft eller djupa intresse. I mitt fall; en längtan efter att vara nära litteraturen, språket och berättelserna. På frågan om varför hon vill bli litteraturkritiker, svarar Anneli Jordahl i sin essä Orm med två huvuden: ”För att vara nära litteraturen […] Leva i flödet av böcker som ges ut.”1 Jag förstår henne – det var ju därför jag letade mig dit också. Jag sökte mig till kritiken eftersom jag ville hitta ett sätt att uttrycka allt det där som jag gick och funderade på efter att ha läst en roman. Det jag hade hittat mellan raderna, i kontexten, genom tematiken. Genom mig själv.
Minnenas och sinnenas betydelse vid litterär översättning – via översättarens (ålliknande) metamorfoser
(2019) Wijk, Karin; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design; HDK - Valand
Som barn följde jag ibland med min pappa ut med ekan när han fiskade ål. När jag under översättarutbildningen på Akademin Valand började översätta novellen ”Starver” ur novell-samlingen Fen av Daisy Johnson – där en ung tjej genomgår en metamorfos och blir en ål – tänkte jag tillbaka på de där fisketurerna. Jag minns särskilt när de låg och slingrade sig i … ja, vad kallades den? När jag träffar pappa nästa gång frågar jag vad den kallas, den där som de låg i. Ålsumpen, svarar han. (Han kan ha sagt ålasumpen, med ett a inkilat mellan ”ål” och ”sumpen”.) De slingrade sig i ålsumpen framme i fören. Svarta, blanka, smäckra. Ormlika, lite läskiga. Han hade tagit upp dem i ryssjor. När jag översatte novellen försökte jag gå tillbaka i tiden – hur rörde ålarna sig där i ekan? Vad vet jag om dem? Jag började fundera på vad de här tidiga minnena betydde för min översättning: kanske var det till och med så att jag drogs till novellen tack vare dem.
Modus - The Sacred Geometry
(2020-05) Omari, Moe; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
This project is a study in geometry and form that results in the creation of a work of Art. “Modus” form consists of geometric elements combined in a 3-dimensional form that can be installed in different compositions to create bespoke artwork. This model is inspired by the Muqarnas (for Stalactite Vault), which is a key component in Arabic Architecture. The adornments take shape through the repetition and interlacing of patterns over different levels and planes. The outcome of this project was exhibited through shows in galleries and as a permanent public art installation. Through the process of experimenting, I have investigated working with materials with a focus on metal and different alloys, while paying special attention to their characteristics and properties. My primary artistic focus was to create a pattern of solid elements through the choice of materials, surface treatment, and the composition of repetitive patterns; and how the numerous attempts to produce a specific design become a pattern of objects.
GRIEF AND JOY WALK TOGETHER RITUAL PLAY
(2020-06-04) Rolleberg, Emmeli; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
Ritual play is about reflecting mans ideas of the soul, and my own need for a closer connection with death through ceramic objects. These objects speak of both grief and joy, they are interpreters of non physical places, collectors of memory and an attempt at making contact. The vessel is the keeper, its mother and carer. Stones are keys to memorys and lost connections, to the ones that are gone but not forgotten, and a portal for contact, or perhaps just a glimpse.
WHEN I AM AMONG THE TREES An exploration into the space between human and non-human centred perspective.
(2020-06-15) Kettle, Alice; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
With this project, I am exploring the space between human and non-human centred perspectives. Through an interdisciplinary approach to research, I will adopt and translate theories and approaches, found in environmental psychology, landscape architecture, philosophy, and anthropology, in the hope of helping invoke new ways of thinking – one of care and co-existence with human and non-human beings. In the context of this project, by the term non-human, I am addressing the unseen things, whether living or nonliving, which are currently rendered invisible within the common design and progression paradigms. Through interviews with professionals and evaluations of material experiments and the interactions with them, I will develop and make a form that becomes an invitation to a space; a woven space, which invites interaction, fascination and restoration, as a way of helping us reorientate our perspective. The intended purpose of the design is not only about the physical form of the object, but about the types of cultivated and unexpected interactions that take place because of it. Through the documentation and evaluation of the process and interactions, I will conclude on whether this human-centred approach can help bridge the gap between non-human ways of thinking.
Hold Your Head Up AND See Your Heroic-Self
(2020-10-19) Aycan, Nihan; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
this project is about a sculptural adornment… a sculptural adornment worth to be placed on the neck of Woman that shades her Goddess-hood…a wearable sculpture with its vigorous forms, reflecting all that life force of hers as a reminder of her powerful female body…a mirror to the mind, a medium for self-realisation through a nonverbal cue, the posture of power… this project is about a trope of shield… a shield that embraces the inner power of the female body, once detected by men and then sinked into the darkness…the darkness of silence, the darkness of violence, the darkness of being a prisoner of her own body, own rage and being projected as monstrous…a shield that cuts the silence of darkness and comes back to life on the Woman's neck… this project is about revising the old myth… revising the old myth of the snake-headed Medusa that has been repeated itself over centuries as a threat to the male gaze…revising the old myth and tell the true story in order to embrace the beautiful laughing Medusa again in each of us, as Women…
Is it possible to make Ethical Dialogical Art? The ethical implications of applying Intersectional Feminist methods to work with Dialogue-based Community Art.
(2020-11-20) Wibell, Sifen; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
I am a white, non-binary, crip, and queer person with mixed european minority heritage, raised as part of the rural Swedish working class. My understanding of the world is defined by this background as well as by my time as a gender scholar and in art school. To state this is to position myself to the knowledge I am hereby trying to produce: as a person from the margins this is also where I continue to position myself and my art, in connection to the American professor, social activist, and author bell hooks’ notion of the margin as a place for radical openness. In this text I present my current ideas on how applying Intersectional Feminist methods to work in Socially Engaged Art is a radical opening towards new, cooperative knowledge, and especially when working with dialogue-based art. In conjunction with these ideas, this essay questions what the ethical implications of engaging with such work might be.
WANDER AROUND WITH GOSSAGE AND THOREAU LOOKING FOR SCHMIDT
(2020-12-17) Elgström, Patrik; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
I was looking for a monument but instead I found an anonymous patch of grass in a cemetery in Berlin which marked the grave of photographer Michel Schmidt. In an attempt to understand I had to go backward into my own history to find reasons why I was standing there. With this essay I will try to identify certain key places, figures and occurrence that have formed me as a photographer in an attempt answer my own questions. My point of departure is a conversation, or more correctly a shouting, I had with Lewis Baltz in a noise intersection surrounded by cars in 1996. This was the first time I heard about John Gossage and his book The Pond. When I finally got hold of a copy (this was pre- internet as of today when you just google everything) and looked at the pictures and tried to follow Gossage steps into the bushes, around the Pond and back to civilization. I connected Gossage`s book with Henry David Thoreau and his work Walden from 1854. (You didn’t need to be a rocket scientist because Gossage had ripped a page from Thoreau’s book as his last image – The Pond) I have been reading Thoreau from time to time the last 30 years or so. I ́m in no means an expert but, Walden; or Life in the Woods has an ability to create an imaginary room from where I can fantasize and daydream. The cabin he built overlooking the pond Walden has a real sense of place. This is what I ́m looking or trying to achieve in photography, to have a first-hand experience and capture the spirit of place. The Norwegian architect Christian Norberg-Schulz introduced the term Genius Loci – Spirit of Place in his book Towards a Phenomenology of Architecture from 1980 where he tries to “investigate the psychic implications of architecture rather than its practical side”. For me, some places have more meaning and interest than others. In photography I ́m trying to make images of this meaning, or as in this essay find meaning inside text and artworks in relation to my own experience.
DET MUSIKALISKA ÖVERSÄTTANDET
(2021) University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
What unites musical practice and translation? Is there a ”musical” way of translating? In this essay, I examine the similarities between making music and translating, based on my own experiences as a professional musician and literary translator. Furthermore, I discuss what effects the state of mind referred to as ”flow” could have on translation work.
Lekkontoret - designing an environment for participatory design practices between adult designers and children
(2021) Paterson, Catherine; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
Article 12 of the UN Convention of the Rights of the Child asserts that children have the right to participate in society, express their views and have their opinions respected. A 2009 revision of the Article outlines that, to achieve this, states should “provide an environment that enables the child to exercise her/his right to be heard”(CRC, 2009). In countries such as Sweden, where the UN Convention has been enshrined in national law, this Article presents a unique challenge – for governments, city planners, designers and other actors working with child culture. In this thesis, I consider how environments can be designed to facilitate democratic exchanges between adult designers and children. The thesis is based on the development of a research project, during which I created a design studio, Lekkontoret, and tested a method for participatory design through a case study in Gothenburg. The case study involved two adult designers working with six children to create a children’s programme for a cultural heritage site. During this project I used my position as a child culture designer to interrogate the realities of child participation and aimed to bridge the gap that exists between law and practice in the implementation of Article 12. After describing the research project and findings, I conclude this thesis by summarising the project’s outcome: a method for conducting participatory projects with children, which focuses on child-adult relations and the importance of context when facilitating participatory design projects. I propose ways an adult designer can design and implement an add-on environment for participation through props, tools and scenography, which would enable children and adults to work together on level-ground within a public site.
Ai ia - Om en texts egentliga härrörelse eller översättarens nya värld
(2021) University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
In this essay the question about the actual origin of a text is explored – is it the world of the place or the world of the language? The texts discussed here are written by a bilingual writer, Elena Bochorishvili, in Russian, about another place than Russia; specifically, Georgia. This thesis also examines about how bilingualism can affect a text and how this further impacts a translator’s work. In addition, hidden codes within the texts are searched for. It closes with a discussion on the transfer of lesser-known cultures. The essay also describes some of the author’s personal experiences of moving to a, for her, unknown world – Georgia, at the same time as the work with these texts already had started.
Relationer med Material - en hållbar konst?
(2021-01-08) Kjellberg, Annie; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
Min kunskap gällande estetik och material har varit namnlös och framträtt genom kroppsliga sensationer i motsats till en medveten kunskap möjlig att artikulera verbalt. Sedan jag började studera konst har den kunskapen benämnts och utvecklats. Material, rum, färg och form fungerar som förlängningar av mina sinnen. De relationer jag skapar med material, då främst plast, och är det viktigaste verktyget för min konstnärliga praktik. Den här essän syftar till att undersöka referenser som stöd i min utveckling av ett verbalt språk att beskriva mina relationer till material med. Jag kommer även diskutera ett förslag till ett mer hållbart förhållande till plast.
Frankenstein's Mother - Mapping structures, and researching ways of creating new ones, within the interrelated entanglement of artistic practice and motherhood
(2021-01-11) Aldén, Clara; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
American artist Judy Chicago once told another artist, Helen Million Ruby, that she had to choose between her children and artistic practice. When asked about this, she commented that she was not giving an ultimatum but merely stating a fact. In the foreword to the book The Post-Partum Document, Lucy Lippard noted that British artist Mary Kelly was “the first woman in the art world who let it be known she had a child. The rest of them kept it hidden.” These two anecdotes are from the 1970s, and the situation in which the entanglement of my artistic practice and maternity differs from theirs, but it is still complicated and sometimes conflicting. My maternity and artistic practice are deeply intertwined and dependent on each other. They were conceived at the same moment, and they feed off and influence each other. They are simultaneously intertwined and separate in the same way a mother and her child can be. I use my artistic practice to process and reconsider different aspects of motherhood. By doing so, I hope to offer additional readings to add to this container. Simultaneously, the knowledge produced by my experiences of motherhood is the origin and raw material on which I base my artistic practice. This essay aims to research different feminist strategies to approach this interrelated entanglement of motherhood and artistic practice. Situated within the thematic framework of the maternal turn, I wish to explore the possibilities of regarding motherhood as artistic practice. The maternal turn is described by professor in contemporary art and theory, Natalie Loveless, as: “[...]marked by new social media networks, curatorial projects, and recent and upcoming publications that argue for the maternal as a crucial location from which to explore the conditions, ethics, and futures of feminism today.” I will discuss maternal artworks of four artists, Catherine Opie, Sanna Lemken, Mary Kelly, and Mierle Laderman Ukeles. What different strategies and methods are employed within their works, and how do these strategies operate within the fields of motherhood and art? They have all engaged with the mother/artist entanglement and used their artistic practice to question both the institution of motherhood and the hegemonies within art, but their approaches differ. When I discuss motherhood, which I will throughout this essay from several different angles, I speak about it as a practice and not a state of being. Similarly, this practice is, in this text, not regarded as limited by biological bounds. Feminist theory and history of science professor Donna Haraway propose that we should “Make Kin Not Babies!”5 By this, she argues that disconnecting kinship from biological parenthood is crucial to enable an overture to extend the concept of kinmaking outside of the limits of Western family apparatuses. Haraway proposes that we use the words kinnovations, and clanarchy when discussing unconventional parenting. Originally proposed by Lizzie Skurnick, Kinnovator is a word for a person who creates families in unconventional ways. The word clanarchist refers to a person who refuses traditional definitions of family.
The Controlled Hallucinations of a Fragmented Gaze
(2021-01-11) Åvall, Emma; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
I break down images, both physically as well as philosophically, into bits and pieces to explore questions surrounding visual perception; examining ways of dismantling, reconstructing, and fragmenting them; and questioning the way an image is (or can be) built up by breaking it down and building it back up again. What I am after is to dissect images and dive deep into them. Both in the process of painting but also in the way I construct my images - so much is about giving attention to every part of an image; looking and activating spaces. Often when I look at a particular part of a painting I have made, I can remember what I listened to or thought about when painting it, which is one reason why I find it interesting, when making fragmented portraits, to sometimes also choose "unnecessary" parts to paint. Parts the eye may not be drawn to naturally, but through painting them - becomes activated. I am deconstructing images and assembling fractions that in one way correspond but in another way clash, by using multiple images, closely related to each other but with minor inconsistencies or changes in perspective, distance, etcetera, which makes them not fully fit together. I am driven by putting together parts that do not quite belong together, both physically as well as thematically; turning them into entities that create their own time and space. The images are manipulated. They are modeled on reality but undergo a process of manipulation, applying to them a sense of uncertainty about what is real and what is not. What connects and what does not. By referencing both art history and contemporary image culture I search for ways that these fragments intertwine, but also what pulls them apart. In this essay I will be looking at fragmentation of the image and its relationship and tension with material, space, the brain, and the eye. In order to do this, I will be using theories and research regarding visual perception and fragmentation, as well as politics of gaze, looking, and seeing with a focus on the act of active viewing. A great deal of the theoretical references in this essay are art historians. This was at first not a conscious decision on my part, but I do generally have an interest in looking at the present through the past. Canadian philosopher Marshall McLuhan once wrote: "We look at the present through a rear-view mirror. We march backwards into the future". To me, it is a way to clarify change by putting the present in perspective. In my artistic work I frequently apply art historical references or things typical for a time. This method has intertwined with building this essay. What does fragmentation and a fragmented gaze do to our understanding of an image? What happens with our perception when what we see is disrupted, fractured, and thrown into disarray? How might this have changed in the age of a constant exposure to rapid image-flow and a high-paced information stream compared to pre-internet?
The Good, The Bad and The Ugly Artist.
(2021-01-15) Fleinert, Joachim; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
Through critical theories and surveys, the essay is exploring what is written or said about the living and working conditions for artists in Denmark in the 2000s and 2010s. By reflecting on the difficult question of who or what is considered to be a good visual artist, the aim of the essay is not discussing the hypothetical question regarding the quality or definition of good art. Instead, the essay tries to point out the choices, the values or the political stand, from a Danish point of view, that categorize a good artist and perhaps also a successful artist. By discussing how open calls, public or social art can lead an artist to potential speculating on the choice in the hunt for commissions, exhibitions or recognition. By the inspiration of Sergio Leone´s movie "The good, the bad and the ugly" from 1966, and with his help of Georg Wilhelm Friedrich Hegal philosophy about the Unknown Known, the overall aim of this text is to reflect on three groups or categories of artists: Good, Bad and Ugly or populistic artist as someone being in-between good and bad. Based on the choices, political value and opportunities as visual artist is having, the essay lead to the open question of what direction or form art has today.
Effect of image in the time of covid-19 and climate change
(2021-01-15) Tamboly, Armand; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
The aim of this essay is to discuss and try to understand the role of image it’s effect on forming our way of thinking and ideology, specifically in relation to nature crisis and pandemics. On the other side I’m also willing to bring attention to our our cosuming lifestyle and it’s impact on the climate. I want to investigate and research the use of art, epecially photography on the problem of climate change which is related to it. The use of Photograph and film especially on social media nowadays are major influencer that have a positive and negative effect. In my research, I will use different approaches to gain a better understanding and see the subject from different angles. Moreover I want to discuss the use of text accompanied with the image and what it brings with it. As we live in very special times right now with pandemic, I got interesting in starting to look at the use of image and it’s impact from the Here and Now and find the relation between pandemic and the other problems we are facing during the recent years. I’m also willing to compare the outcome in both cases. During the last years, we have been facing several major problems from my point of view that endanger our future on this planet in the longer-term. And also endangering our peace, our well-being, our surrounding, and our very existence. From my point of view, photography is and has to play a major role to raise awareness and work against these major challenges that we are facing. Thanks to efforts of several photographers and activists in form of videos and still images. Problems like plastic waste in oceans and shores, melting of glaciers, pollution, distinction of species, over consumption and the abuse of nature is being exposed during the last years and urge people to act and change something in their way of living, I’m going to take a closer look at some artists work working with environment and problematize their practice at the last part of this research. The over consuming and extreme profit oriented industrial society we live in is a major player in climate change and the rise of new unknown viruses and threats that we have never seen before. I will elaborate more on this point in the chapter 2 under the section of corona and climate change
Writing with Photography. Language performativity and photography's capacity for semiotics
(2021-01-15) Torres Ràfols, Mercè; University of Gothenburg/HDK-Valand - Academy of Art and Design; Göteborgs universitet/HDK-Valand - Högskolan för konst och design
This essay started with the negative of writing a written essay. By so, I wanted to understand how photography operates as a language and what it means when one says "to read" a photograph. Can photography be the substitute for an essayistic idea? Is more than one image needed to develop and present a trustworthy idea? The reading of images and the reading of text share some qualities, they also share the same structural space: the essay, here, both will perform letting one influence the other.

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Browsing HDK-Valand - Academy of Art and Design / HDK-Valand - Högskolan för konst och design (2020-) by Issue Date