Doctoral Theses / Doktorsavhandlingar Högskolan för design och konsthantverk (2012-2019)

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Browsing Doctoral Theses / Doktorsavhandlingar Högskolan för design och konsthantverk (2012-2019) by Subject "artistic research"

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    Händelser på ytan – shibori som kunskapande rörelse
    (2016-05-11) Laurien, Thomas
    In present times, shibori, though originally a Japanese word, is an international umbrella term for craft techniques related to the dyeing of textiles. In an artistic context, shibori signifies the act of (e)laborating by way of compressions – in order to create patterning and/or three dimensionality. In and through a practice-based artistic research project, the question: What is shibori, and what does shibori do? acts as my guide, where the initial focus is on the introduction and development of shibori as an artistic practice in a Swedish context. Here, Japan takes on a main role, albeit in the form of a backdrop – subtly but noticeably influencing the events being staged. Shibori comes to take the shape of a vehicle, and I, the researcher, have set the vehicle and myself in a knowledge-forming motion, where interviews are conducted with artists in Sweden, courses in shibori are observed and taken part in, group shows are performed in Japan and Sweden, as well as addressed through the written work that comes into being. Curatorial experiences are also reflected upon in a number of closely-connected essays. A space, in the format of an essay, is created as part of the final stage – where shibori meets concepts such as wonder, affect and sensation, and where questions on the role and impact of discursive language in art-making and art experience are raised. Answers to the research question “What is shibori, and what does shibori do?” gradually surface and highlight an abundance of aspects and insights. These include: discovering that artists approach shibori in independent ways, whilst still safeguarding Japanese material and immaterial cultural heritage; shibori becoming a space of possibles, characterised by the presence of strong intention and the appreciation of chance, side-by-side, in mutual interaction; and curatorial experience acting to highlight shibori in its role to enhance the experience of plenitude. Shibori thus comes to signify the forming, as well as the experiencing, of knowledge – in motion between theory and practice – where broader issues, such as the construction of identity, the creation of acting spaces through performative negotiations, as well as curating as both an artistic research method and an artistic act of making, are also revealed. Beholding and reflecting, I perceive that the envisioning and staging of Events on the Surface have enabled, and continue to enable me, in my quest to find a way into the conceptual, bodily and material constituents of shibori-making, in particular, and artistic practice, in general.
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    Lerbaserad erfarenhet och språklighet
    (2016-11-22) Medbo, Mårten
    During the course of the twentieth century, a doubt emerged – first within visual arts, and later also within crafts – where the relevance of the traditional way of making art was addressed, as were thoughts on what was termed ‘empty shape’. The notion that shape in itself was no longer artistically valid is closely linked to notions of materiality as hindrance, and immateriality as freedom – all of which have had a major influence on contemporary visual arts and crafts, in general, and, more specifically, on what I term ‘theory-practice’ within the field of crafts. During the past few decades, increasing proof of this influence on the field of crafts as a whole has also been experienced. As a ceramist expressing myself through clay, form has never been empty, and clay never a hindrance, and my dissertation is an attempt to put materiality as hindrance, and immateriality as freedom, in context, as well as to reflect upon questions related to their emergence and what impact they have within the field of crafts. My point of departure here is my own experience as an artist and ceramist, where inquiring and exploring takes places through practical knowledge. I argue that there is no such thing as immateriality in art and that all artistic expression requires bodily-situated craft skill of some kind in order to be materialised and communicated, as well as to take place in the world. I also argue that art should be seen as what I term ‘language-practice’. Through this practice I craft the concept of ‘clay-based language-ness’ and ‘language- like-ness’ in order to come as close as possible to describing, in words, the kind of communication I wish to create as a ceramist, as well as what art-making (‘art-crafting’) constitutes when conceptual artists create their art. Regarding crafts as a language-practice, however, conflicts with the theory that is setting the tone as well as leading the field of crafts today. I therefore wish, and propose, to find a way out of this conflict-ridden situation. As part of this endeavour, I present the text-based part of the dissertation and the clay-based part of the dissertation – side by side.
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    Vems hand är det som gör? En systertext om konst/hantverk, klass, feminism och om viljan att ta strid
    (2019-01-25) Hållander, Frida
    Whose hand is making? And how can we understand craft practices in dialogue with society through making and objects? How do we understand objects that manifest resistance? This dissertation in artistic research explores craft practices within the fields of ceramics and textile, through the method and form of autoethnography, and on the basis of an intersectional perspective. It understands making as embodied experience and knowledge, conditioned, but not always bounded, by societal structures, and it documents the resistance against, and the resilience of, repressive structures, in dialogues and struggles where objects gain agency. It is an examination that moves between the bookishness of libraries and historical trajectories on the one hand and making as collective practice on the other, the latter represented in what this study defines as case studies of making. The study creates the term “together-making” to describe and analyse collective craft practice as simultaneously a method of research and of making as a potentially political and socially-conscious act. Through two case studies of making the study assembles an archive of willfulness. In the first case study of making, ceramic practice and historical objects emanating from feminist and anti-slavery movements, are explored through a process of together-making, putting together the exhibition From Pottery to Politics in 2016. In the actual exhibition, further ceramic objects from Swedish twentieth century come into play to re-direct the shape of the exhibition, exemplifying the ways in which this study understands objects as manifest, material politics inciting response. The second case study of making, takes off from the geographical area known as »de sju häraderna«: a centre for Swedish textile manufacture and home-based industry since the seventeenth century. Focusing on a group of local seamstresses who organized Sweden’s first women’s football series in the 1960s – Öxabäck IF – the study investigates textile objects in dialogue with society reflected through the textile history of labour and feminist political movements in the nineteenth and twentieth century. This case study also documents the process of research through together-making, and the exhibition Öxabäck IF – Without You no Tomorrow, 2016.