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  • 1.
    Alftberg, Åsa
    et al.
    Lund University ; Malmö University.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack.
    Meetings with complexity: dementia, meaning and participation in art educational situations2017In: Interpreting the brain in society: cultural reflections on neuroscientific practices / [ed] Kristofer Hansson & Markus Idvall, Lund: Arkiv förlag & tidskrift, 2017, 1, p. 109-126Chapter in book (Refereed)
    Abstract [en]

    In January 2013, a three-year project, ‘Meetings with Memories’ (in Swedish: Möten med minnen), was launched in Swedish museums with guided tours for dementia-afflicted audiences. The project involved altogether 88 Swedish museums and was headed by the Alzheimer Foundation (Alzheimerfonden). Many Swedish art museums were part of the project, with the purpose that the art educational situations would create participation and dialogue with a group of people usually absent from the museums. Art in particular is regarded as a possible therapeutic rehabilitation for people with neurodegenerative diseases, where dialogue and making of art enhance cognitive abilities and quality of life. The therapeutic promise within art pedagogy is part of the larger context of the art educational situations we have studied. In this chapter, the aim is to explore how these situations are done and how participation can be made and interpreted in relation to the target group, people with dementia. We focus on the participation in terms of the meaning making, dialogical processes of the art educational practice of the project ‘Meeting with Memories'.

  • 2.
    Andersson, Inger
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Folk på tapeten: Om konstruktionen av folkkonstnären i framställnngar om Bernhard Jönsson i Färgaryd2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I uppsatsen studeras hur konstruktionen av en folkkonstnär sker i två porträtterande texter mot en bakgrund som ifrågasätter logiken i konstruktionen.

    I uppsatsen tecknas en levnadsberättelse över Bernhard Jönsson, Färgaryd. Exempel ges på hans oljemåleri vilket sätts i sammanhang med den modernistiska epoken. Postmodernistiskt idégods jämförs med sydsvenskt bonadsmåleri för att finna likheter. Därnäst granskas två texter som presenterar Bernhard Jönsson som folkkonstnär.

    Författaren belyser genom sina exempel hur konstruktionen av folkkonstnären bygger på ignorerande av vissa fakta. Analyserna av presentationerna visar hur folkkonstnären blir utsatt för generaliseringar, mytifiering och avintellektualisering. Författaren jämför i diskussionen de skilda konsekvenserna av att kategorisera Bernhard Jönssons sentida bonadsmåleri till folkkonsten eller postmodernismen.

     

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  • 3.
    Andersson, Mark
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Bruce Springsteen och myten om Amerika: en studie av skivomslagsbilder2010Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I uppsatsen behandlas omslagsbilderna till Bruce Springsteens Born In The U.S.A samt singelversionen av titelspåret utifrån teorier kring nationellt mytskapande, genus och skivomslagskonst.

    I uppsatsen undersöks hur och i vilket syfte en artist etablerar en image samt hur denna image kan tolkas i flera olika kontexter. Här visas genom semiotisk bildanalys på hur omslagsbilderna driver en aktiv kritisk retorik mot ett politiskt system. Vidare visas på populärkulturens möjligheter att med mytologiserad symbolik och bildspråk aktivt opponera sig mot vedertagna konventioner och sociopolitisk verklighet.

    Den mytologiska retorikens inneboende tvetydighet och förfogandet däröver lyfts fram, liksom hur en artist genom skivomslagsbilden kan formulera sin identitet för att aktualisera och utmana sociala och politiska konventioner och trender.

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  • 4.
    Arvidsson, Anna-Karin
    Linnaeus University, Faculty of Arts and Humanities, Department of Design.
    Blända Powerplay: Att dela makt och ansvar2018In: Konstkritik och konstpedagogik – hållbara framtidsperspektiv: Växjö 2 februari 2018, 2018Conference paper (Refereed)
    Abstract [sv]

    Som konstnär och lektor i design vid Linnéuniversitetet är jag initiativtagare till konstprojektet Blända Power Play. I Blända Power utforskade jag, 8 konst-och designstudenter samt en konstpedagog/kurator Växjös ishockeyarena utifrån perspektivet makt och jämställdhet. Vår gemensamma kartläggning ledde till en iscensättning där allmänheten bjöds in att inta arenan den 17 december 2016, efter de nya förutsättningarna gruppen skapat. De runt 200 personer som besökte arenan fick ta på sig röda strumpor och ge sig ut på isen för att interagera med andra besökare och en installation av ljud, ljus och föremål. Metodiken i projektet har haft som ambition att sudda ut och kasta om ursprungliga roller för att bilda en mer jämställd situation. Processen har haft en framskjuten roll och allas kompetens och olika erfarenhethar varit viktig. Situationen skiljer sig på flera plan från den man befinner sig i som undervisande lärare på ett universitet. På universitetet är man hänvisad till olika incitament så som kursplaner och betygsättning vilket i sig skapar en struktur som styr process och resultat. Projektet har i sin form genererat många frågeställningar och intressanta aspekter som diskuteras och härleds till tendensen; The educational turn. Blända Power Play är också en del av ett större projekt som haft ett tydligt fokus på hur olika konstnärliga processer kan påverka och förändra frågor kring jämställdhet nu och framöver.

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  • 5.
    Bard, Sofia
    Växjö University, Faculty of Humanities and Social Sciences, School of Education.
    Norra Ängby: Ett småstugeområde som är 1900-talshistoria2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen behandlar husen i småstugeområdet Norra Ängby i Bromma, som är ett resultat av den bostadspolitik som bedrevs i Stockholm under 1900-talets första decennier. Området Norra Ängby byggdes ut mellan 1930 och 1938 och är Stockholms största sammanhängande småstugeområde.

    Uppsatsen diskuterar begreppen egnahem, småstugor och trädgårdsstad. Uppsatsen tar även upp en historik om trångboddheten i staden efter industrialismens framfart och de bostadspolitiska åtgärder som gjordes för att få bukt med bostadsbristen.

    Området Norra Ängby och dess arkitektur undersöks i fem avslutande fältstudier, med fokus på byggnadernas arkitektur vad avser rumsfördelning och exteriör, med utgångspunkt i rådande byggstilar som nationalromantik, 20-tals klassicism och funktionalism.

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  • 6.
    Bjerre, Tobias
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Genom odöda stilar och transformerade masker: Populärkulturell återanvändning av Goyas och Fuselis konst i nyadaptionen av slasherfilmen Terror på Elm Street2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study examines Goya’s etching The Sleep of Reason Produces Monsters and Fuseli’s The Nightmare and how they are used in the slasher movie A Nightmare on Elm Street (2010). The purpose of this study is to explore the artworks and their role within the movie and examine if it is possible to distinguish stylistic and thematic similarities between the works despite being separated by approximately 200 years. The artworks are analyzed according to a semiotic method, while the movie is analyzed mainly using the study’s theoretical aspects: intermediality, transmediality and intertextuality. The result shows that intertextual references and self-referential expressions are frequently used in slasher movies. However, the specific role which these artworks play in the movie is often hard to decipher. There are several similarities between the artworks and the movie and previous studies shows that early horror movies were influenced by gothic novels and romantic paintings which were transmediated to fit the film medium. The art works used in A Nightmare on Elm Street (2010) have the same motifs as part of the film’s story and are also part of a postmodern trend of mixing between so called high culture and popular culture.

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  • 7.
    Bladh, Ewa
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Den inramade kvinnan och den gränslösa "kvinnan": - olika läsningar av en konstbild2009Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    Abstract

    INSTITUTION:                                        Institutionen för kulturvetenskap Linnéuniversitetet

    ADRESS:                                                  351 95 Växjö

    TELEFON:                                                0470-70 80 00

    HANDLEDARE:                                       Hans T Sternudd

    TITEL:                                                      Den inramade kvinnan och den gränslösa ”kvinnan” – olika läsningar av en konstbild.

    ENGELSK TITEL:                                    The framed woman and the limitless “woman” – different readings of a picture

    FÖRFATTARE:                                        Ewa Bladh

    ADRESS:                                                  Parkgatan 16

                                                                     360 42 Braås

    TYP AV UPPSATS:                                 C-uppsats

    VENTILERINGSTERMIN:                      Ht 2009

     

    Uppsatsen syfte är att se hur olika läsningar av en konstbild påverkar bilden av den representerade kvinnan. I uppsatsen tolkas bilden utifrån tre olika läsningar, för att se hur bilden av den representerade kvinnan ändras och vad det kan ha för betydelse.

     

    De olika läsningarna har sin utgångspunkt i olika genusteorier, därefter jämförs analyserna med varandra, samt diskuteras utifrån syftet och frågeställningarna. Här relateras teori och material till varandra.

     

    Uppsatsen argumenterar för att ett queerperspektiv öppnar upp för fler tolkningsmöjligheter, genom att det uppmanar oss att tänka bortom uppdelningar och gränsdragningar. Performativitet är en bättre utgångspunkt för analysen av bilder där kvinnor är representerade, eftersom den kan möjliggöra en identifikation över genus- och sexualitetsgränser.

     

    Keyword: feministisk konstteori, genus, performativitet, queerteori, representation,

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  • 8.
    Blom, Pauline
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Ett drömlikt äventyr: En undersökande studie om upplevelser av HelenaBlomqvists verk.2015Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen syfte var att undersöka varför olika recensenter av Blomqvists verk upplever liknande känslor och därmed använder samma beskrivande ord. Frågeställningen blev således; Vilka visuella element återkommer i Blomqvists verk? Vilka visuella element kan kopplas till traditionella visualiseringsmetoder av sagor, fantasier och drömmar? Vilka visuella element kan således kopplas till recensionernas upplevelsebaserade beskrivningar? För att besvara frågeställningarna användes Pierre Bourdieus teori om habitus, ett antal begrepp och visualiseringsmetoder, samt tre analysmetoder; word map, innehållsanalys och semiotisk analys. Uppsatsens word map analyserade recensionernas mest och mindre återkommande ord. Vidare bestod innehållsanalysen av 50 verk av Blomqvist, utav dessa valdes tre verk som representerade resultatet ut för semiotiska analyser. Resultatet avslöjade att de mest återkommande orden (värld, verklighet och djur) och de mindre återkommande orden (bland annat känsla, bildvärld, barn och plats) kunde relateras till de kategorier som utmärktes i innehållsanalysen. Dessa kategorier var nämligen barn, växtlighet, kalla färger, djur och horisont. Dessutom återfanns flera element som kunde kopplas till traditionella visualiseringsmetoder. Resultatet blev således att verkens innehåll i kombination med habitus kan ha styrt betraktarnas känslor och därmed deras beskrivningar av Blomqvists verk.

  • 9.
    Boman, Joakim
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Att måla en nation: En studie av svenska landskapsmålningar vid Allmänna Konst- och Industriutställningen i Stockholm 18972019Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper examines the exhibition Allmänna konst- och industriutställningen in Stockholm 1897 and how landscape paintings by Swedish artists possibly could be interpreted as a part of the exhibitions political intention of being nationalistic. Methodically it is influenced by art historian Michael Baxandalls social history concept period eye. Focus is here about how and with what arguments the paintings could be said to be a fruit of their society. The purpose is to investigate whether, and if so, with witch rhetorical language the paintings were exhibited to help communicate a notion of common national values. The result shows that the paintings were exhibited together with international paintings, not side by side but divided country by country. Several paintings have parts in their motifs that in this context can be said to be related to the construction of national identity. A conclusion is that both paintings and context are performative. 

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  • 10.
    Bruhn, Jørgen
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Language and Literature.
    On the Borders of Art and Poetry2012In: The Borders of Europe: hegemony, aesthetics and border poetics / [ed] Helge Vidar Holm, Sissel Lägreid, Torgeir Skorgen, Aarhus Universitetsforlag, 2012, p. 217-230Chapter in book (Refereed)
  • 11.
    Bruhn, Jørgen
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Thune, Henriette
    University of Stavanger, Norway.
    In between Life and Death: Sophie Calle’s Rachel, Monique (2014)2018In: The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection / [ed] Sonya Petersson, Christer Johansson, Magdalena Holdar, Sara Callahan, Stockholm: Stockholm University Press, 2018, p. 25-48Chapter in book (Refereed)
    Abstract [en]

    This chapter is dedicated to Sophie Calle’s aesthetically rich and existentially moving art exhibition Rachel, Monique (2014), representing her mother’s death in 2006. Calle’s well-known dichotomies between private and public, random acts and aesthetic form are repeated in a new dichotomy between life and death, and the nuances in between these. The authors suggest a combination of some of the fundamental notions of intermedial studies combined with the aesthetic theory of Mikhail Bakhtin in order to grasp the exhibition and the experience of it.

  • 12.
    Brunow, Dagmar
    Linnaeus University, Faculty of Arts and Humanities, Department of Film and Literature.
    Between Remembering and Forgetting: The Archive and Cultural Memory2018In: Archiving the Unarchivable – Das Unarchivierbare archivieren: 22.–24.11.2018, Kassel: Documenta Archiv , 2018Conference paper (Refereed)
    Abstract [en]

    In the wake of the ‘archival turn’ the digitization of archival collections has been regarded as an important means of countering forgetting, especially in view of analog film stock and videotapes slowly decaying. But has digitization become a hollow promise? Can long-term preservation really be granted? The initial optimism has been challenged by the increasing number of data cemeteries, too. These are due to short-lived digitization projects, which are lacking sustainable planning. And to add, archival storage alone does not automatically contribute to cultural memory. Instead, archival holdings need to be circulated again, preferably in various media environments, in order to feed into our constantly changing, dynamic cultural memory. This keynote address will explore the relation between memory and forgetting in the archive. Advocating for sustainable archival projects, it will discuss the impact of materiality (e.g. paper, videotapes and digital data). Looking at media specificity involves the question of what gets lost in media transformation, for example in video documentations of performance art or expanded cinema. Situating itself within recent trends in cultural memory studies, the talk will outline the challenges and possibilities of today’s archival practice. Drawing on a number of case studies from the documenta archive as well as other heritage institutions, it will present ways of curating access to digitized collections. Different modes of access allow for a re-circulation of the archive, thus providing ways of constructing cultural heritage and memory.

  • 13.
    Brunow, Dagmar
    Halmstad University.
    [ Review of ] Borderline: Ein Film von Kenneth Macpherson2009In: testcard #18: Regress / [ed] Atlanta Athens, Roger Behrens, Martin Büsser, Jonas Engelmann, Johannes Ullmaier, Mainz: Ventil Verlag , 2009, p. 294-295Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    Review of the DVD edition of Macpherson's experimental film "Borderline", a British avant-garde classic negotiating issues of race and sexuality.

  • 14.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    A Topological Projection2012In: [Presented at] Vilnius Art Academy, 17.12.2012, 2012Conference paper (Other academic)
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  • 15.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Aby Warburg: Art research between art theory and artistic practice2004In: Seminariet ”Kunst og forskning”, (arr. Siri Meyer, Bergens Universitet), Oslo, april 2004, 2004Conference paper (Other academic)
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  • 16.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Adfærdens objekt: Den sig opførende krops omvending af intentionalitet og kausalitet for et fremtidigt kunsthistorisk narrativ2017In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, no Særskriftsserie 4, p. 143-152Article in journal (Refereed)
    Abstract [en]

    The emerging revaluation of The Baroness, Elsa von Freytag-Loringhoven is surprisingly not driven by any alleged 'first readymade', but rather by her performative practices and in-real-life behaviour as "allographic strategies" against the hypertrophies of the art work and the artist. This performative mode points at altogether different art historical vector, a vector than stems from the Berlin cabaret scene and gives a partial explanation to the otherwise inexplicable recent interest in Aby Warburg's Mnemosyne project. It is suggested here that when allographic practices, together with the recent focus on performativity, are included in the context of the intrinsic "autographical" character of visual art, will have far-reaching consequences for the status of the art work (towards an affective documentality) and its "author fuction" (towards an ambiguity with regard to subject-object positions).

  • 17.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Afdrift2014In: Monsieur Antipyrine, ISSN 1602-2246, no 1, p. 85-90Article in journal (Other (popular science, discussion, etc.))
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  • 18.
    Bäcklund, Jan
    Aarhus University, Denmark.
    Amatørfotografi og ”mental realisme”: Mette Sandbye: Mindes­mærker. Tid og erindring i fotografiet2001In: Standart, ISSN 0903-1928Article, book review (Other academic)
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  • 19.
    Bäcklund, Jan
    Aarhus university, Denmark.
    Arkiv och encyklopedik: Spekulation i rundgång omkring museet som samlare av (exempelvis) konst1999In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, Vol. 7, no 14, p. 37-53Article in journal (Refereed)
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  • 20.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Art, Craft, and Industrial Production: The humiliation of Josiah Wedgwood, the revenge of art forgery, and the concession of contemporary art2015In: Design Prozesse 2015, Eine Tagung zum Verhältnis von Kunst und Design: Fachhochschule Nordwestschweiz, Hochschule für Gestaltung und Kunst, 21 March 2015, Basel: Hochschule für Gestaltung und Kunst FHNW , 2015Conference paper (Other academic)
    Abstract [en]

    How Josiah Wedgwood will be a Great Contemporary Artist after two centuries of Humiliation through the Secret Schemes of Art ForgersAccording to Joseph Alsop (The Rare Art Tradition, 1981), art is defined, and I believe rightly so, by eight epiphenomenons: collecting, history, market, museum, forgery, re-evaluation of taste, antiquities (old for old's sake), and super-prices. Incidentally, design share with art all of those eight epiphenomenons: there are design collecting, a history of design, a market for design, design museums, design forgery, re-evaluation of taste, antiquities (for instance bakelite telephones or Umbrian majolica), and super-prices. Still, it is evident that design is subsumed under an other discourse than art. Something, then, must be different, the question remains: in what?When the issue is on the relationship between art and design, we imply, consciously or not, that this relationship is asymmetric in such a way that art is more refined, more specialized, and more narrow than design. And in a certain perverse way, we assume that design desires or strives to be like art, if not actually be art. I will here try to test the opposite direction in the relationship: what if art desires or strives to be like design? This is not a new reversal. It was attempted by the constructivists, by the Arts & Crafts movement, and by Bauhaus. But they all failed in this regard. Art and design continued to be separate disciplines and discourses, and maybe even more so after these attempts. I will take another stance, within a more emotional framing on the conflict, in terms of humiliation and revenge, with which I believe it can be shown that the difference stems from a metaphysics of history, resulting in different conceptions of proper name vs trademark, of origin vs periphery, and of the concepts to create (creare ex nihilo) vs to forge (facere de materia).This will be done in five moments:I. The Humiliation of Wedgwood (art-craft-industrial production) ---> a) the humiliation (i.e. the Portland Vase) b) The figures is continuously produced. (i.e. Flaxman Ewers)II. The Bastianini Affair 1864 and South Kensington MuseumIII. The Occult Italian Avantgarde of Forged Primitives (cf. Ruskin, Arts & Crafts)IV. Technical Forensics and reverse engineering in the Han van Meegeren case 1937V. Elaine Sturtevant (reverse engineering). Eleanor Antin (contingent pasts). Hito Steyerl (artistic research). Hilma af Klint (interested interaction)

  • 21.
    Bäcklund, Jan
    Aarhus University, Denmark.
    Design och de sköna konsternas intimsystem: Teckningen. Modellen. Figuri­nen1998In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, Vol. 6, no 10, p. 9-44Article in journal (Refereed)
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  • 22.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Det reciproke plagiat: Charlataneri og negativ identitet hos Elmyr de Hory i anledning af Orson Welles' F for Fake2013In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, no 34, p. 170-188Article in journal (Refereed)
    Abstract [en]

    Orson Welles’ last film, F for Fake from 1973, not only doubles several figures from Clifford Irving’s biography of the forger Elmyr de Hory, the character ‘Orson Welles’ doubles the character ‘Elmyr de Hory’ as well in their common denominator as charlatans> Orson as a non-filming movie-maker, Elmyr as a non-artist painter and draughtsman. Whereas this for Orson was an intentional ambition in his film-making, it seems for Elmyr to have been an unintentional involutarism. As most artists, Elmyr strived for recognition of his own works under his own name. The problem was, however, that he did not have any real identity. With regard to quality, Hory could not really see the difference between a Modigliani portrait painted by Modigliani in 1910’s and another Modigliani portrait by Elmyr. This indifference towards the logic of artistic fame, established by different avantgardes, Hory probably had in common with all our lesser known artists, who thought that aesthetical qualities could be exchanged to artistic value. Elmyr’s paradoxical success – starting with Clifford Irving’s biography and Orson Welles’ film – illuminates a strategy for traditional or mediocre artists, to test artistic value, with a type of retrogardian chock-effect: reciprocal plagiarism.

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  • 23.
    Bäcklund, Jan
    Aarhus University, Denmark.
    Distracted Forms and Smoke Sculptures : Notes on I. N. Kjær’s As to "and days with Henrietta": Zerstreute Formen und Rauchskulpturen : Anmerkungen zu I.N. Kjærs As to ”and days with Henrietta”1998In: Out of the North: Contemporary Art from Denmark and Sweden [exhibition, Württembergischer Kunstverein, Stuttgart, 24. September bis 15. November 1998] / [ed] Martin Hentschel, Rosan Bosch, Ostfildern: Hatje Cantz Verlag, 1998, p. 65-69Chapter in book (Other (popular science, discussion, etc.))
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  • 24.
    Bäcklund, Jan
    Norwegian University of Science and Technology NTNU, Norway.
    Documenta XII: Om fordele og ulemper ved en historie for kunsten2007In: Le monde diplomatique. Norsk-dansk utgave, no 8, p. 12-13Article in journal (Other academic)
    Abstract [no]

    Årets documenta viderefører den kosmopolitiske linje fra forrige documenta, med kraftig emfas på kunsten i globaliseringens tidsalder. Intet værk og ingen grupp af værker kan siges at gøre status eller pege i hvilken retning kunsten er på vej. Værkerne er ikke hængt monografisk efter kunstner, heller ikke tematisk efter genre, emne eller stil, men snarere «rytmisk». Det viser sig være et greb som sætter kunstens og kunsthistoriens situation på sin spids. De fleste udstillede værker synes at datere sig fra tiden omkring 1955-75 udført av mindre kendte kunstnere. Det vi kan iagttage er et konsekvent forsøg på at omlægge den eurocentrisk-vestlige kunsthistorie. Documenta 12 kommer ikke at lykkes med at skrive en ny fortælling for kunsten, eftersom vi beskuere ikke kan have at det skal lykkes, men det er stadigvæk det bedste forsøg på omlægning vi nogensinde har set indenfor kunstvæsenet selv.

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  • 25.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Efter Historien: Skulpturen: En betragtning foranlediget af Pontus Kjerrmans ‘hestefigurer’2017Other (Other (popular science, discussion, etc.))
  • 26.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Art, Denmark.
    Embodied Futures: Walid Raad, the Niaux Cave, and the Perfective Future of the Work of Art2016In: Two-day seminar for MFA and ph.d. students at the Art Academy in Vilnius: 13–14 October 2016, Art Academy in Vilnius , 2016Conference paper (Other academic)
    Abstract [en]

    The background for this talk is the no longer operating logic of the avantgarde (and thus of art). With modernism and the avantgarde, art operated from the view-point of an already perfective future (utopia, the end of art, the last painting etc.). This meant that the meaning of any art work, was to transgress always closer to this end, and by this narrative we could decide which works were important (compossible with this narrative) and which were irrelevant (incompossible with this narrative). With the advent of 'contemporary art' (1964/1973), but not really recognizable until rather recently, it has become clear that this logic is no longer operating. The future of art has become contingent. This talk will try to explore what the question of the shape of the future implies for the art work and art history - a kind of "art epistemology" (What does art know? What does the art-work know?). The case in point will be Walid Raad's recent performance-installation Scratching On Things I Might Disavow (2007) and a lesson to be learned from paleolithic cave paintings (40,000–10,000 B.C.).

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  • 27.
    Bäcklund, Jan
    Aarhus University, Denmark.
    Fortrængning og mellemrum: Aby Warburgs mnemosyneatlas og renæssancens ars memoria1998In: Passage, ISSN 0901-8883, E-ISSN 1904-7797, Vol. 14, no 31/32, p. 155-161Article in journal (Refereed)
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  • 28.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Fountain, even2012In: The Beautiful, the useful, the necessary: International symposium, as part of the 300th anniversary of the Royal Academy of Fine Arts in Brussels- founded in 1711, 2012Conference paper (Other academic)
    Abstract [en]

    When the readymade emerged as the central category of the art object during the late sixties, and thenceforth changed the production of art fundamentally, The Fountain became, retrospectively, the prime object of reference. Art production of today can't be thought of without the notion of readymade deeply rooted in its very definition. It is thus curious, that the "unassisted readymade", of which Fountain is the parameter, is totally absent -- or rather: invisible -- in the arts from the 60s and onwards. The reason for this is, we believe, with the readymade as a mode in the production of art, follows, with necessity, the concept of fake. This case-study of Fountain will try to make this point.

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  • 29.
    Bäcklund, Jan
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Försök till diagnostik av österrikisk konst: Konstverksaborter på bakgrund av av sen-josephinistisk defaitism och den andra republikens proporzer2005In: Hæfter for Gæstfrihed, ISSN 1397-3673, no 3-5, p. 167-177Article in journal (Other academic)
  • 30.
    Bäcklund, Jan
    Aarhus University, Denmark.
    Grottgrotesk & Weltlandschaft: Hednisk-kristna konkordanser i Sydnederländskt 1500-talsmåleri och Rabelais’ Quart Livre2001Report (Other academic)
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  • 31.
    Bäcklund, Jan
    Independent.
    Halblustig und nicht wirklich kritisch …: Kunst, modstand og mikropolitik på baggrund af Julius Deutschbauer og Gerhard SpringManuscript (preprint) (Other (popular science, discussion, etc.))
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  • 32.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Hebefreni2015In: Årssymposium 2015, Formålsløs dvælen: Æstetik og Kulturs årsseminar, Århus, 30 oktober 2015, Aarhus: Aarhus University , 2015Conference paper (Other academic)
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  • 33.
    Bäcklund, Jan
    Aarhus University, Denmark.
    Historia och teori i en karnevalsk tid: Betingelser för en efterestetisk diatribik: Karpovs svar på Kabakov och Kamsky2000In: Æstetisk Teori? / [ed] Morten Kyndrup, Carsten Madsen, Århus: Aarhus Universitetsforlag, 2000, p. 64-91Chapter in book (Refereed)
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  • 34.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    History and theory for artists2009In: KUNO Coordinators and Network meeting in Umeå 2009, 2009Conference paper (Other academic)
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  • 35.
    Bäcklund, Jan
    Aarhus University, Denmark.
    In the Belly of the World: On Pieter Bruegel’s Battle between Carnival and Lent and Messir Gaster of François Rabelais2001In: European Iconography East & West 2: The Iconography of the Fantastic / [ed] György E. Szönyi, Attila Kiss, Márta Baróti-Gál, Szeged: Jate Press , 2001, p. 105-120Chapter in book (Refereed)
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  • 36.
    Bäcklund, Jan
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Introduction2006In: Art and Alchemy / [ed] Jacob Wamberg, Copenhagen: Museum Tusculanum Press, 2006, p. 9-20Chapter in book (Refereed)
  • 37.
    Bäcklund, Jan
    Aarhus University, Denmark.
    Konstens former i sinnet: Fysiologiska aspekter i de estetiskhistoriska patos- och patetikdis­kus­sionerna1998In: Patos? / [ed] Birgit Eriksson, Niels Lehmann, Århus: Aarhus Universitetsforlag, 1998, p. 191-217Chapter in book (Refereed)
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  • 38.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    Kunsthistorie for kunstnere | Art history for artists2013In: Det Kongelige Danske Kunstakademi, Billedkunstskolerne: 2012.10-2013.10, Köpenhamn: Det Kongelige Danske Kunstakademi, Billedkunstskolerne , 2013, p. 120-126Chapter in book (Other (popular science, discussion, etc.))
  • 39.
    Bäcklund, Jan
    Norwegian University of Science and Technology NTNU, Norway.
    Kunstværkets skygge2006In: Le Monde diplomatique. Norsk-dansk utgave, no 1, p. 18-18Article in journal (Other academic)
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  • 40.
    Bäcklund, Jan
    Aarhus University, Denmark.
    LEON BATTISTA ALBERTI, Om Billedkunsten [De pictura]: traduzione di, a cura di Lise Bek, Copenhagen, Ed. Nyt Nordisk Forlag Arnold Busck - 20002002In: Albertiana, ISSN 1126-9588, E-ISSN 2035-6307, Vol. 5, p. 299-306Article, book review (Other academic)
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  • 41.
    Bäcklund, Jan
    Aarhus University, Denmark.
    Liderliga paragrafer: Till en socialestetik1996In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, Vol. 4, no 7, p. [7]-[28]Article in journal (Other (popular science, discussion, etc.))
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  • 42.
    Bäcklund, Jan
    Aarhus University, Denmark.
    Modernismen Fullbordad: Anmärkningar till Ad Reinhardt och konstens konceptualisering1995In: Det Forskudte / [ed] Morten Kyndrup, Carsten Madsen, Århus: Aarhus Universitetsforlag, 1995, p. 51-70Chapter in book (Refereed)
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  • 43.
    Bäcklund, Jan
    Norwegian University of Science and Technology NTNU, Norway.
    Noen problemer med å reparere samtidskunst2006In: Le Monde diplomatique. Norsk-dansk utgave, no 2, p. 29-29Article in journal (Other academic)
    Abstract [da]

    Den 4. januar gik Pierre Pinocelli løs med en lille metalhammer på Marcel Duchamps Fountain i Centre Pompidou i Paris. Ikonoklasme, eller vandalisme af kunst, har altid eksisteret parallelt med kunst. Det skal derfor heller ikke forbavse os at det var en kunstner som gik løs på Fountain. Det er nemlig typisk kunstnere som vandaliserer andres kunst.

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  • 44.
    Bäcklund, Jan
    Independent researcher.
    Nogle betragtninger over kunstens "form-af-tid", der er blevet blotlagt ved fremkomsten af "contemporary art"2019In: Terræn: Veje ind i samtidskunsten / [ed] Camma Juel Jepsen, Rasmus Kjærboe, Sine Krogh, Martin Søberg, Århus: Aarhus Universitetsforlag, 2019, p. 110-129Chapter in book (Refereed)
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  • 45.
    Bäcklund, Jan
    Norwegian University of Science and Technology NTNU, Norway.
    Nyt kunstpolitisk terræn: Arkivet2006In: Le Monde diplomatique. Norsk-dansk utgave, no 3, p. 12-12Article in journal (Other academic)
    Abstract [da]

    I væsentlig mindre grad henvender udstillinger sig til besøgernes kunstbetragtninger for i højere grad at appelere til en total kunstoplevelse. Kunstnere som Olafur Eliasson, der producerer værker som såvel formelt som konceptuelt, passer som fod i hose til den nye autonome museumsarkitektur. Hvad sker med arkivet, hvis kunstsamlinger cirkulerer som bevægelig kapital? I dag er det temmelig irrelevant at tale om «det originale verk» - værkerne gebærder sig snarere som software. Sammen med Getty Images Inc. ejer Bill Gates sitt Corbis de digitale rettighederne til så godt som ethvert verk med reproduktionsværdi.

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  • 46.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    O wzniołościach (w kontekście sztuki)2015Other (Other academic)
  • 47.
    Bäcklund, Jan
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Om veck och andra formella krokar: Bidrag till en teori om hörn1996In: On the corner / [ed] Ivar Tønsberg, Signe Guttormsen, Freddie A. Lerche, København: Zeitraum Malerei , 1996Chapter in book (Other (popular science, discussion, etc.))
  • 48.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    On Causality2012In: [Presented at] The first meeting of the Research Network "What Images Do", KADK, Copenhagen, 13.12.2012, 2012Conference paper (Other academic)
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  • 49.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    On sublimities (within an art context)2015Other (Other academic)
  • 50.
    Bäcklund, Jan
    The Royal Danish Academy of Fine Arts, Denmark.
    On the Non-Locality of Images: The Current Sensation of Van Gogh, The Soon Forgotten Scam of the Beltracchi’s, and The Future Success of Hilma af Klint2013In: [Presented at] The Third Meeting of the Research Network "What Images Do", Düsseldorf, 11—13 November 2013, 2013Conference paper (Other academic)
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