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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.
    Bengtsson-Verde, Ulrika
    et al.
    Linnaeus University, The University Administration.
    Carlsson, Lena
    Linnaeus University, Faculty of Health, Social Work and Behavioural Sciences, School of Education, Psychology and Sport Science.
    Gustafsson, Birgitta E.
    Linnaeus University, Faculty of Health, Social Work and Behavioural Sciences, School of Education, Psychology and Sport Science.
    Koblanck, Henriette
    Linnaeus University, Faculty of Business, Economics and Design, School of Design.
    Lundin, Mattias
    Linnaeus University, Faculty of Health, Social Work and Behavioural Sciences, School of Education, Psychology and Sport Science.
    Mattsson, Tina
    Linnaeus University, Faculty of Health, Social Work and Behavioural Sciences, School of Social Work.
    Montesino, Norma
    Nilsson, Karl-Axel
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    En metod för kvalitetssäkring och utvecklinggenom granskning av examensarbeten: avrapportering av pilotprojekt vid Linnéuniversitetet2011Report (Other (popular science, discussion, etc.))
  • 3.
    Håkanson, Lena
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Design.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Syjuntan, workshopen och seminariet: Ett högskolepedagogiskt triangeldrama2013In: Universitetspedagogik i praktiken: Sexton lärartexter om pedagogisk utveckling / [ed] Henrik Hegender och Martin Stigmar, Växjö/Kalmar: Linnéuniversitetet , 2013, p. 103-109Chapter in book (Other academic)
  • 4.
    Palmsköld, Anneli
    et al.
    University of Gothenburg.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack.
    Handicrafting Gender: Craft, Performativity and Cultural Heritage2018In: Gender and Heritage: Performance, Place and Politics / [ed] Wera Grahn, Ross J. Wilson, London: Routledge, 2018, p. 44-60Chapter in book (Refereed)
    Abstract [en]

    To write the history of craft and heritage engages with constructing a canon of known practices parallel to deconstructing the differences incorporated in institutions dealing with craft. Craft objects have long since been considered as heritage, but craft is also recognized as ’intangible heritage’. This can be seen in UNESCO’s (2008) designation of ’traditional craftmanship’ as a part of global intangible heritage. However, craft's gendered character is not equally recognized. In this article we will discuss craft, heritage and gender from a performativity perspective on making. The main question is how gender patterns are reflected in the understanding of craft, and in heritage making. The aim is to make visible the gender demarcations in the making of craft. We argue that the making of craft and its heritage status has been highly charged with gender differences. Recognizing this is of importance to be able to understand and to challenge heritage making processes and canons when it comes to craft. After a short theoretical background focusing on performativity and the canon of gender differences, three empirical examples are outlined. The first is about organizational aspects of handicraft, the second concerning the technique of crocheting, and the third considering visual representations of crafting, using empirical archival and published materials from the Home Craft Movement in Sweden.

  • 5.
    Palmsköld, Anneli
    et al.
    University of Gothenburg.
    Rosenqvist, JohannaLinnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack.Almevik, GunnarThe Royal Swedish Academy of Letters History and Antiquities.
    Crafting Cultural Heritage2016Collection (editor) (Refereed)
    Abstract [en]

    The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research. What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making? How can we study and understand craft as cultural heritage? This book contains a selecion of papers from the session Crafting Cultural Heritage at the Assosiation of Critical Heritage studies inaugural conference Re/theorising Heritage 2012 in Gothenburg. The contributors are Anneli Palmsköld; Thomas Laurien; Eleonora Lupo and Elena Giunta; Gunnar Almevik and Nicola Donovan. Their common interest are theories and methods of crafting that could benefit heritage studies approach to making.

  • 6. Rosenqvist, Johanna
    Att bygga monument över sig själv2009In: I det andra rummet: en utställning av Fiber Art Sweden på Hallwylska museet : 11 februari-13 april 2009 / [ed] Anna Tegeström Wolgers, Stockholm, 2009Chapter in book (Other (popular science, discussion, etc.))
  • 7.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack.
    Att ta hemmet med sig bort2014In: Svenska sjömanstatueringar, Stockholm: Medströms , 2014, 1, p. 176-177Chapter in book (Other (popular science, discussion, etc.))
  • 8.
    Rosenqvist, Johanna
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Att ta saken i egna händer2009In: Handarbeta för en bättre värld / [ed] Clara Åhlvik, Otto von Busch, Jönköping: Jönköpings läns museum , 2009Chapter in book (Other academic)
  • 9. Rosenqvist, Johanna
    Att tillämpa sitt hantverk inom den fria konstens ramar2008In: Formhantverk: fortsättningsboken, praktik och reflektion / [ed] Zandra Ahl & Päivi Ernkvist, Hägersten: Constructive Craft & Dialogue , 2008Chapter in book (Other academic)
  • 10.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack, Sweden.
    Calling a visitor by her name: The potential of a subjective art educational situation2018In: [no title] – NORDIK XII Copenhagen 2018: Full Programme, The Nordic Association for Art Historians , 2018, p. 110-111Conference paper (Refereed)
    Abstract [en]

    Guided tours for adults in Art Museums are often conducted in an anecdotal and rather disinterested fashion. This has been duly critized by researchers in the art eductional field. A series of initiatives on art educational activities for participants with neurodegenerative disorders have contributed to breaking this tradition. Since 2007, the Museum of Modern Art (MoMA) in New York has offered the Alzheimer's Project: Making Art Accessible to People with Dementia. The project has aimed at increasing the well-being of participants rather than improving their art-historical education. This has in turn led to greater focus on dialogue between the art, the guide and the participants, where the participants' own observations are given special attention. Several art institutions in the Nordic countries have [no title] —NORDIK XIICopenhagen 2018PROGRAMME DETAILSq—Showing not telling. Art institutional practices of inclusions/exclusions111been inspired by this method, for example in the form of meetings with memories (see fx http://www.alzheimerfonden.se/motenmedminnen ). To call a visitor by his or her name is one aspect of the method used. This paper focuses some of the discussions about the art pedagogical position taken in feminist and queer theory through examples from the educational practice. The aim is to explore how these art educational situations are staged in relation to the target group, people with dementia and how this can broaden the public engagement in dialogue with art.

  • 11.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences. Lunds universitet.
    Crafting Cultural Heritage?: Introduction to a session2012Conference paper (Other academic)
  • 12.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Damernas doktor Fischer2010In: Yllebroderier: Berättande folkkonst från Norden / [ed] Olsson, Annhelén, Stockholm: Hemslöjdens förlag , 2010Chapter in book (Other academic)
  • 13.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences. Lunds universitet.
    Dark craft i vetenskapens källare2012Conference paper (Other academic)
  • 14.
    Rosenqvist, Johanna
    Lund University.
    Design as Craft: Performativity and Interpellation in Design History2013In: Crafting the Future: 10th European Academy of Design Conference, April 17-19, 2013, in Gothenburg, European Academy of Design, 2013Conference paper (Refereed)
    Abstract [en]

    Teaching design history to future designers poses great challenges to me as an academic in the design field. There is a constant need to further describe and analyze how design and its history continuously are being made. The role of the designer implies the crafting of artefacts or at least an ability to communicate the possibility of them being materialized. Design history has mainly focused on the object. Some concern has been directed towards the consumer aspect and the societal context, an approach that ultimately should raise questions as to what kind of performative action is needed to make design and its history. This paper presents part of a research project dealing with the performative aspects of craft practice. In the project, gender and genre in craft-, art- and design magazine are being examined from a critical perspective, focusing on the discursive limits at play. The project explores the performative aspects of practical skills by studying how notions of gender are used to communicate craft - or hand made aspects of the design process. In this paper I will discuss how the discursive limits of design have been conceptualized in Swedish design history and how representations of art-, craft - and design-making in magazines relate to the historical narrative. The Do-It-Yourself and the “critical making” aspects of contemporary design have opened my eyes to these questions. I believe that a design history with a critical approach to norms and habits in desig n practice answers to crucial questions such as: What works as incentive to do design? What makes a person think that she or he can be a designer? Or make a difference? In the long run perhaps the practitioners in their making the objects of their trade can also challenge the limitations of both genre and genre.

  • 15.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Det tidiga 1900-talets yllebroderier2010In: Yllebroderier: Berättande folkkonst från Norden / [ed] Olsson, Annhelén, Stockholm: Hemslöjdens förlag , 2010Chapter in book (Other academic)
  • 16.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack.
    Developments in research in, on and through (arts &) craft2017In: ACSIS (Advanced Cultural Studies Institute of Sweden): konferens i Norrköping, Linköpings Universitet, juni 2017, 2017Conference paper (Other academic)
    Abstract [en]

    Session: Suspensions – Mobilizing Art and Aesthetics in Cultural Research

    To talk about research in, on and through craft, art or design is a common way to describe three possibilities. By discussing some of the latest artistic research that has been developing in Swedish institutions in terms of these categories, I want to highlight some strains or hang ups or suspensions in which it leaves different researchers. I will take the field of Craft as my point of departure. Craftspeople doing research from within their professional fields, means for example doing research in craft, its materials and its methods. To do research in the same field but from an art historian’s or an ethnologist’s point of view usually means to do research on craft. To talk about research through craft could be to start by examining the processes of crafting relating it to corresponding perspectives and knowledges. But is this what the field has provided?

  • 17.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Business, Economics and Design, School of Design. Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    "En trasselsudd av betydelser"2007In: Konstperspektiv, ISSN 0347-4453, no 3, p. 32-35Article in journal (Other (popular science, discussion, etc.))
  • 18.
    Rosenqvist, Johanna
    Konstfack.
    En vara som kan tala? : Om historieproduktion och postindustriellt glasbruk: [ A Commodity that Speaks? : About Historiography and Post-Industrial Glassmaking ]2017In: Glas är massa i rörelse: [ Glass is moving mass ] / [ed] Eva Arnqvist, Johanna Gustavsson Fürst, Ingela Johansson, Åsa Jungnelius, Caroline Mårtensson, Malin Pettersson Öberg, Axel Andersson, Stockholm: Konstfrämjandet , 2017, p. 217-227Chapter in book (Other academic)
    Abstract [sv]

    Detta är en artikel om postproduktion i ett postindustriellt landskap och och att vara en vara i allmänhet och Åsa Jungnelius' verk, installationen Titta en vara som kan tala! i synnerhet. Verket, installationen, visades på utställningen Massa i rörelse på Kalmar konstmuseum 5 december 2015 - 28 februari 2016 och väckte många tankar om centrum och periferi, om objekten och objektifieringen av hantverket och hantverkaren.

  • 19. Rosenqvist, Johanna
    Folkkonstskonstnärer versus Hemslöjdskonstnärer2009In: Rondellhundar och schablonspindlar: folkkonst i tiden / [ed] Londos, Eva, Stockholm: Carlsson , 2009Chapter in book (Other (popular science, discussion, etc.))
  • 20.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Futuristisk hemslöjd, utopisk eller bara realistisk?2010In: 100 år av skaparglädje: Hemslöjden i Östergötland / [ed] Eriksson, Kerstin, Linköping: Östergötlands läns hemslöjdsförening , 2010Chapter in book (Other (popular science, discussion, etc.))
  • 21.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    HEIMATINÉ: Performance (60 min) av KOEFF (Johanna Rosenqvist, Malmö), Hans T Sternudd (Hjärup) and Pär Thörn (Berlin) på konferens Places, People, Stories, 28 september 2011 i Kalmar2012In: Places, People, Stories: A graphic novel by Mats Brate and Petter Hanberger / [ed] Cornelius Holtorf, Kalmar/Växjö: Linnéuniversitetet , 2012, p. 39-39Conference paper (Other academic)
  • 22. Rosenqvist, Johanna
    i katalog Changing fibres/ Textil i omvandling: artikel Simultaneously Interpreting Oneself2009Other (Other (popular science, discussion, etc.))
  • 23.
    Rosenqvist, Johanna
    Växjö University, Faculty of Humanities and Social Sciences, School of Humanities.
    Implementing Craft in the Institution of Art2008In: Crafted form: continuation, praxis and reflection / [ed] Zandra Ahl & Päivi Ernkvist, Hägersten: Constructive Craft & Dialogue , 2008Chapter in book (Other academic)
  • 24.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack University College of Arts.
    Introduction to Crafting Cultural Heritage2016In: Crafting Cultural Heritage / [ed] Anneli Palmsköld, Johanna Rosenqvist, Gunnar Almevik, University of Gothenburg, 2016, p. 7-10Chapter in book (Refereed)
  • 25.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Leaning on our past: The sofa cushion as a site telling a story of rural craft in today’s society2010Conference paper (Other academic)
    Abstract [en]

    For me as an art historian studying visual culture, the applied art represented by the embroidered surface of the sofa cushion, have proved to be an important site telling me about our recent past. In this paper I want to explore what stories are brought up to date in the modern day design revival or appropriation of the do-it-yourself (DIY) aesthetics of Swedish folk art.

     

    Alongside the embroidered wall hanging, the embroidered sofa cushion has been one of the most frequent DIY-object in popular press. It represents the exotic, idealised country life of the urbanised Swedish people. In a recent study on early 20-century wool embroideries I noticed a turn towards the visual comfort of the past during the 1930s and 1940s. This might have been caused by the threat of war and it resulted in the increased use of national if not nationalistic symbols. In several cultural media this aesthetics is brought the surface again today. I will discuss some prominent examples, asking questions such as: What does the return, the revisiting to and reusing of these almost century old reconstructions of a rural past implicate today? When the old visual features are echoed in contemporary design, does that necessary mean that the same ideological and historical notions are evoked? Might the nationalistic overtones even be amplified in a multi cultural society? Who listens to the call from the corner of your sofa?

     

  • 26.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack.
    Maria Adlercreutz’ Hanna Keller, textilarbetare2016In: Maria Adlercreutz, väverska mellan mörker och ljus / [ed] Elina Antell, Stockholm: Ordfront förlag, 2016, p. 27-33Chapter in book (Other academic)
    Abstract [sv]

    Ett gammalt svartvitt fotografi av Hanna Keller vid sin maskin är förlaga för Maria Adlercreutz bildväv som går under titeln Hanna Keller, textilarbetare. Det är ett foto från Norrköpings Bomullsväfveri ab  från 1910 och det återfinns i Norrköpings stadsmuseums arkiv.  En serie mer nytagna svartvita fotografier medföljer också Eva Perssons brev få.n 1993. Fotografen Horst Tuuluskorpi följer arbetet med väven 1991–94 och portr.tterar väverskan, konstnären Maria Adlercreutz som i sin tur porträtterar väverskan, fabriksarbetaren Hanna Keller. I ett av fotografierna av konstnären vävande i sin ateljé syns förlagan ligga framme. I ett tredje är det arbetsförhållandena som är det mest påtagliga: ljuset, arbetsst.llningen. I ett annat ser vi den uppkopierade arbetsritningen skymta fram mellan varptrådarna. I alla bilderna i serien framkallas ett samband mellan de två kvinnornas arbete. Artikeln handlar om detta samt om arbetsförhållanden och att låta avbilda sig.

  • 27.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences. Lunds universitet.
    Mediated Making ­: Performing Bodily Knowledge2012Conference paper (Other academic)
  • 28.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack.
    När design görs (o)görs kön: Om görandebilder, genus och genre2017In: Performativitet / [ed] Malin Hedlin Hayden, Mårten Snickare, Stockholm: Stockholm University Press, 2017, p. 17-43Chapter in book (Refereed)
    Abstract [sv]

    Utifrån föreställningen om Butlers genus som en "stiliserad upprepning av handlingar" som kommer till uttryck i gester, rörelser och stilar och Iris Marion Youngs studie av vad det innebär att "kasta tjejkast", undersöks performativa aspekter av att göra design. Utifrån tre bilder ur FORM diskuteras hur föreställningar om kön får effekter i designpraktiken så som den porträtteras i tidskriften.

  • 29.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Business, Economics and Design, School of Design. Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Recension av boken Fiber Art Sweden2007In: Paletten, ISSN 0031-0352, no 1Article, book review (Other academic)
  • 30.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Business, Economics and Design, School of Design. Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Recension av Katarina Bonneviers avhandling Behind Straight Curtains2007In: Tidskrift för genusvetenskap, ISSN 1654-5443, no 3Article, book review (Other academic)
  • 31.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    [recension av] Lilli & Prinsen. 100 år av hemslöjd och textil konst. Anna Meister (red.). Prins Eugens Waldemarsudde och Carlsson Bokförlag, Stockholm 2012. 160 s., ill. ISBN 978-91- 7331-505-0.2013In: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, Vol. 96, no 4, p. 253-254Article, book review (Other academic)
  • 32.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Reflektioner från ett sticksymposium2010In: SOND, Vol. 1Article in journal (Other (popular science, discussion, etc.))
  • 33.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    The sewing circle method of working under cover2011Conference paper (Other academic)
    Abstract [en]

    This presentation is a means of conceptually examining the sewing circle as under cover method to induce power into an unequal power structure. I will introduce historical as well as artistic predecessors. Historically, the sewing circle seems to have been used disguising power under the cloak of meeting for an ostensibly lesser cause while really discussing important matters. Women have created semi-secret discussion groups, let the men have the formal power, but not formally renounced the power of influence. The sewing society is another example of a covert public realm where women have turned the unpaid time to benefit the community. It is more open in form than the closed circle and is known to have existed in Sweden at least since 1840. Throughout the twentieth century this labour has been professionalised within handicraft associations while lately venturing into relational aesthetics. During the presentation I will exemplify with some of the many contemporary artists who have continued to use the under cover method of the sewing circle as well as the power to transform private household chores into public art.

  • 34.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences. Lunds universitet.
    Traditionen och gästforskningens villkor: om förutsättningarna för det konstnärliga projektet Tradition Matters2012In: Everything Matters / [ed] Bergström, Inger, Stockholm: Inger Bergström , 2012, p. 54-83Chapter in book (Other academic)
    Abstract [sv]

    Reflektioner i text och bild kring ett tioårigt samarbetsprojekt mellan konstnärerna Inger Bergström, Elizabet Christiansson, Tarika Lennerbjörk och Maria Wahlgren. Artikeln fokuserar särskilt på konstens och forskningens hantverk utifrån utställningen Researcher in Residence på Kunstindustrimuseum 2005.

  • 35.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Carlgren, MariaGöteborgs universitet.Fagerström, LindaMacLeod, Katarina Wadstein
    Genuspedagogiska gärningar: Subversiv och affirmativ aktion2011Collection (editor) (Other academic)
  • 36.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences. Lunds universitet.
    Hansson, Nicolas
    Att pryda en plats2011Other (Other (popular science, discussion, etc.))
  • 37.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Lund University.
    Hildeman Sjölin, Cecilia
    Lund University.
    Kyrkorummet som pedagogiskt problem – och möjlighet2014In: De kyrkliga kulturarven: aktuell forskning och pedagogisk utveckling / [ed] Emilie Karlsmo, Jakob Lindblad och Henrik Widmark, Uppsala: Acta Universitatis Upsaliensis, 2014, 1, p. 305-312Chapter in book (Refereed)
    Abstract [sv]

    I den västerländska konsthistorien utgörs stoffet – särskilt det som gäller medeltid och tidigmodern tid – till stor del av bilder och byggnader som nära relaterar till den kristna läran och till kyrkliga och religiösa förhållanden. Som konsthistoriker har vi under decennier arbetat med forskning och undervisning kring svensk och nordisk konsthistoria utifrån ett nationellt perspektiv, där materialets gränser i viss mån ter sig som en självklarhet. Då vi talar om kyrkobyggnader och kyrkorum är det en delav ett kulturarv, som vi har betraktat som mer eller mindre känd av mottagaren. I och med Svenska kyrkans förändrade relation till staten och i takt med ökande internationalisering blir detta allt mindre självklart. Vi vill i föreliggande artikel problematisera de kyrkliga byggnadernas roll inom den konsthistoria vi undervisar i. Det vi skulle vilja lyfta fram är vår egen dolda kultur och hur den ställer till problem i mötet med en grupp studenter, vars bakgrund kan innebära att de helt saknar förkunskaper om kulturellt kristna förhållanden medan de kan ha initierad kunskap om politiska system. De kyrkliga byggnaderna är en viktig del av den visuella kulturen i Sverige och i Västerlandet, som vi som lärare vill göra tillgängliga och begripliga för de studerande. Förståelsen kräver vissa kunskaper om exempelvis gudstjänstbruk och rumsliga funktioner. Men vi tänker oss att detta kan åstadkommas genom att ställa frågor som lockar till upplevelser av rumvid sidan av textstudierna. Hur kan vi skapa undervisningsformer som tar tillvara olikheter istället för att göra dem till ett problem?

  • 38.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Melin, Margareta
    Malmö University.
    Lindström, Kristina
    Malmö University.
    Ståhl, Åsa
    Malmö University.
    An Editorial Sewing Circle – Collaborative Storytelling beyond Established Journalistic Platforms: Paper presented at the Media- and Culture Studies Group at the NordMedia11 conference, Akureyri, Iceland, August 11th-13th 20112011Conference paper (Refereed)
    Abstract [en]

    This paper starts off with an editorial sewing circle and a patchwork seminar where participants were invited to contribute to an SMS-embroidery-feuillton by embroidering one of their own text-messages. Whereas research on participatory journalism has been based on established journalistic platforms (Karlsson 2010), this paper tries to understand the gathering, processing and publishing of information that takes place outside established journalistic platforms, but within known situations of everyday storytelling. In aligning us with others who use metaphors from textile handicraft in relation to knowledge construction, writing techniques and other forms for disseminating knowledge (eg. Haraway, 1988; Bränström-Öhman, Livholts, 2007; Sundén, 2008) we explore what happens in the seams between two particular platforms of storytelling: the editorial board and the sewing circle placed in an art gallery. Thus, by using something known and placing it in a different context, in a different space, we challenge the very practice of the editorial board, of journalism. This method of ours, is that of a feminist intervention into established rooms, concepts and practices. The paper consists of two parts: a written document and Texting Textiles, a collaborative patchwork-quilt based on the patchwork seminar hosted at Galleri Krets, in Malmö, August 2009.

  • 39.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Palmsköld, Anneli
    University of Gothenburg.
    Att göra genus2015In: Konsthantverk i Sverige, del 1 / [ed] Christina Zetterlund, Charlotte Hyltén-Cavallius, Johanna Rosenqvist, Tumba: Konstfack collection , 2015, p. 33-44Chapter in book (Other academic)
    Abstract [sv]

    “Konsthantverkande”, att göra konsthantverk, omfattar såväl handarbetande som konstskapande. Genom historien har detta skapande iscensatts och genomförts i skilda rum. Dessa rum har tillåtit olika grader av rörelsefrihet för de fysiska kroppar som aktivt har deltagit i produktionen. Skilda iscensättningar av görandet har styrts av föreställningar om hur tillverkning kan gå till, vem/vilka som bör utföra den och under vilka villkor den kan utövas. Med tekniken virkning som utgångspunkt diskuteras i kapitlet hur genusmönster speglar sig i förståelsen av konsthantverkets material och tekniker. Vi belyser denna relation genom några olika perspektiv. Vi börjar i en utblick mot olika sätt att betrakta görande och genus och därefter diskuteras hemmet som rum och produktionsplats vilka ligger till grund för vår förståelse. Därefter följer en presentation av virkningens historia och teknik. Med detta vill vi skapa en plattform för att diskutera kroppar, rörelser och rum i relation till virkningens praktik.

  • 40.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Palmsköld, Anneli
    Göteborgs universitet.
    Crafting Knowledge?2011In: Current issues in European cultural studies: ACSIS Conference 2011 : Norrköping, 15-17 june 2011 / [ed] Fredriksson, Martin, Linköping: Linköping University Electronic Press , 2011, p. 65-71Conference paper (Other academic)
    Abstract [en]

    ”Crafting knowledge” was a session organised by Anneli Palmsköld and Johanna Rosenqvist, that took place in Norrköping, Sweden, 16 June 2011 as part of the International ACSIS Conferences Current Issues in European Cultural Studies. Together the scholars participating in the Crafting knowledge-session were covering a range of subfields of craft studies today.The session focused on the explorative question of what an academic approach that put craft theory into practice and made craft practice into theory would consist of. This is also the main question asked in the paper “Crafting Knowledge?” that recapitulates and contextualises the outcome of the session.The paper draws up tentative categories for how research in, on and through craft can be done. By framing the knowledge emerging from craft and crafting some theories and methods of crafting are discussed. The crafted artefact and the act of making can be considered from many different aspects, for example from an artistic, historical or aesthetical point of view. Conventions of craft, rules about its making, knowledge about and knowledge through craft and crafting are some of the themes presented in a broad scope of cultural studies.

  • 41.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Palmsköld, Anneli
    Doing gender, making differenceManuscript (preprint) (Other academic)
  • 42.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Lunds universitet.
    Palmsköld, AnneliLunds universitet.Almevik, Gunnar
    Crafting Cultural Heritage2014Conference proceedings (editor) (Refereed)
    Abstract [en]

    The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research within humanities. In this publication we discuss theories and methods of crafting that might benefit cultural heritage studies approach to making, from the artistic, historical, or aesthetical point of view. We deal with discussions on questions such as: What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making?

  • 43.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Sjölin, Cecilia
    Lunds universitet.
    Kyrkorna och internationaliseringen i undervisningen2011In: / [ed] Karlsmo, Emilie, 2011Conference paper (Other academic)
    Abstract [sv]

    Som konsthistoriker har vi under decennier arbetat med forskning och undervisning kring vår nordiska/svenska konsthistoria utifrån ett nationellt perspektiv, där materialets gränser i viss mån ter sig som en självklarhet. Då vi talar om kyrkobyggnader, kyrkorum, är det en del av vår kultur, som vi betraktar som mer eller mindre känd av mottagaren. I takt med den ökande internationaliseringen blir detta allt mindre självklart; vi skulle vilja problematisera de kyrkliga byggnadernas roll inom den konsthistoria vi undervisar i på kurser för internationella studenter ... Det vi skulle vilja lyfta fram är vår egen dolda kultur, är något vi alltför lätt förbiser. Vi har särskilt tänkt på hur givet man kan ta den kristna kontexten som konstvetare när man möter internationella studenter, vars bakgrund kan innebära att de helt saknar förkunskaper om europeiska förhållanden till en ganska initierad kunskap om t ex politiska system. 

    Man ställs till svars inte som konsthistoriker utan som kulturellt kristen – och ofta är det frågor som man inte tänkt på. Hur har kollegor vid andra institutioner och andra kurser tacklat motsvarande problem? 

  • 44.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Humanities and Social Sciences, School of Cultural Sciences.
    Ståhl, Åsa
    Malmö högskola.
    Lindström, Kristina
    Malmö högskola.
    Melin, Margareta
    Malmö högskola.
    Stitching Together an Editorial Sewing Circle2011In: ISEA2011 ISTANBUL, The 17th International Symposium on Electronic Art 14-21 September 2011, 2011Conference paper (Refereed)
    Abstract [en]

    Fragmented stories of an editorial sewing circle are temporarily sewn together. We thereby explore what public emerged through the combination of two known situations and collectives for sharing, joining, and negotiating stories: the sewing circle and the editorial board. Although we make texts and textiles public, the focus was also on being public – inviting people to become part of the editorial sewing circle’s negotiation processes.

  • 45.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Suneson, Ellen
    Lund University.
    Konst och subjektskapande: Neurodegenerativa nedsättningar och dialogbaserad konstpedagogik2016In: Socialmedicinsk Tidskrift, ISSN 0037-833X, Vol. 93, no 3, p. 288-296Article in journal (Refereed)
    Abstract [en]

    Since 2007 a number of art- and research projects have been implemented where people who suffer from neurodegenerative impairments have participated in conversations about art. Previous research on these projects has mainly been focused on the physical and mental effects the art tours have had on the participants, based on interviews, surveys and questionnaires. In this text we choose to explore a different aspect of the art tours where we discuss how dialogue-based art education makes the connection between aesthetic experiences and subjecthood visible.

  • 46.
    Rosenqvist, Johanna
    et al.
    Lunds universitet.
    Wadstein MacLeod, Katarina
    Fortsatt implementering av ett kritiskt genusperspektiv2011In: Genuspedagogiska gärningar: Subversiv och affirmativ aktion / [ed] Carlgren, M., Fagerström, L., Rosenqvist, J., Wadstein MacLeod, K., Göteborg: Maria Carlgren, cop , 2011, p. 71-80Chapter in book (Other academic)
    Abstract [sv]

    Artikeln undersöker möjligheten att utifrån ett feministiskt och genus- teoretiskt perspektiv verka som relativt nyetablerad och yrkesverksam i den akademiska världen. Artikelförfattarna diskuterar utifrån den gemensamma erfarenheten av det pedagogiska utvecklingsprojektet ”Implementering av ett kritiskt genusperspektiv” lett av Anna Lena Lindberg. De lyfter fram hennes betoning av den goda mentorns betydelse och hur en god vägledare låter studenter känna sig sedda och i förlängningen motiverade till fortsatt feministisk kunskapsproduktion.

  • 47.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Zetterlund, ChristinaHyltén-Cavallius, Charlotte
    Craft in Sweden, part 1Collection (editor) (Other academic)
  • 48.
    Rosenqvist, Johanna
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Konstfack.
    Zetterlund, ChristinaKonstfack.Hyltén-Cavallius, CharlotteMulticultural Centre.
    Konsthantverk i Sverige, del 12015Collection (editor) (Other academic)
    Abstract [sv]

    Konsthantverk i Sverige del 1 samlar 18 författare. Boken kommer ur ett gemensamt intresse att förändra och vidga en konventionell historieskrivning om konsthantverk, bortom traditionella materialuppdelningar och nationella förståelser. Det vi skriver om kan ha kallats slöjd, konst, design, pyssel, konsthantverk, formgivning, brukskonst, hantverk och hemslöjd. Historia betraktas här som något pågående, något som vi gör. Det är ingen neutral aktivitet utan den är platsspecifik. I Konsthantverk i Sverige del 1 skildrar författarna från sina perspektiv en berättelse om materialitet och görande i Sverige från sent 1800-tal och fram till i dag. Boken skall inte ses som Historien med stort h utan snarare som de första stegen i en diskussion om historia, materialitet och görande.

    Med texter av Zandra Ahl, Christian Björk, Otto von Busch, Päivi Ernkvist, Kakan Hermansson, Elina Holmgren, Charlotte Hyltén-Cavallius, Frida Hållander, Love Jönsson, Mahmoud Keshavarz, Gunilla Lundahl, Helena Mattsson, Anneli Palmsköld, Johanna Rosenqvist, Miro Sazdic, Rosa Taikon, Jorunn Veiteberg, Christina Zetterlund

  • 49.
    Sundberg, Martin
    et al.
    Basel University, Schweiz.
    Rosenqvist, Johanna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art. Lund University.
    Editorial: reconsidering the Carpet Paradigm: carpet as material, motif and medium2014In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 83, no 3, p. 207-210Article in journal (Other academic)
    Abstract [en]

    In this special issue of Konsthistorisk tidskrift some implications of reconsidering the so-called carpet paradigm are persued. This can provide for new angles not only when it comes to research on the Oriental carpet and work on the carpet as motif and medium but also for demonstrating in a further sense how the carpet – and research on it – can be used as a model to understand art and art histories. The American art historian Joseph Masheck introduced this term in his influential article ‘The Carpet Paradigm" (1976). Here it includes analysing the carpet as motif as well as medium. It investigates how the carpet functions as a model for a better understanding of the image in general. Of special importance is the fact that the carpet paradigm forms a crossroads for research on images, textiles, literature, decorative arts, iconography, gender, ornament and cultural transfers–to name but a few. The lines of investigation are interconnecting.

  • 50. Sundberg, Martin
    et al.
    Rosenqvist, JohannaLunds universitet.
    Reconsidering the Carpet Paradigm2012Conference proceedings (editor) (Refereed)
    Abstract [en]

    Carpets have been important motives in the visual arts since the Renaissance and they were especially made prominent through 19th century Orientalism. The influence on painters and writers was thorough and the carpet, now more than just a motive, became a model and instrument for images. This tendency was termed the “carpet paradigm” by Joseph Masheck (1976) who traced its influence until abstraction in the 1960s. On the other hand, the carpet is important when discussing the relation between decorative and fine arts. The decorative connection was disregarded for many decades, a circumstance that makes the return of the carpet in contemporary art all the more interesting. This return – in painting, sculpture, installations etc – provides our starting point for discussions on contemporary image theory and art history.In this session, papers should address the return of the carpet paradigm as a means of analyzing the carpet as motive and/or medium. Can the carpet function as a model for a better understanding of images in general? Of special importance is the fact that it calls for various theoretical and methodological approaches – this makes it relevant when it comes to art history in general. It forms a crossroads for research on images, textiles, literature, decorative arts, iconography, gender, ornament, and cultural transfers to name but a few. The lines of investigation are interconnecting: How can image theory/art history benefit and improve through a reconsideration of the carpet paradigm? And how can contemporary art carpets alter our understanding of the carpet in a historical perspective? We welcome papers that question the historic legacy and cultural relevance of the carpet. Papers might also consider aspects such as materiality, production and cultural context, especially in terms of how materiality is linked to iconicity. A contemporary view may help in rethinking early 20th century art. The denigration of decorative matters, such as ornament and pattern, as something feminine, has been highlighted through the critical eye of a gender perspective, and this has been an important and necessary step in the deconstruction of art history. This questions many notions linked to the carpet that might be addressed. Papers that consider the other indicated line of thinking, the carpet in relation to image theory, might try to show if a nuanced reading facilitates a new take on the image, and its prolific status in contemporary art promises to make this an important and fruitful endeavor. The particular structure, the inseparable combination of material and medium in one artifact may be put to work in order to reconsider the image in general. The specific visual logic of the carpet underlines this concern.

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