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  • 1.
    Lundström, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    Bodies and Spaces: On Dorothea Tanning's Sculptures2009In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 78, no 3, p. 121-130Article in journal (Refereed)
    Abstract [en]

    Dorothea Tanning is primarily known as a painter but during an intensive period around 1970 she created nearly twenty cloth sculptures. These peculiar objects, made out of fabric, stuffing, lace, velvet, fake fur, etc., animates the exhibition space and sets an intricate play between bodies. As such they may be seen as physical concretizations of motives found in Tanning's paintings. The essay departs from these cloth sculptures in order to discuss two key themes in Tanning's work, her portrayal of bodies and spaces. Moreover, Tanning's reoccurring interest in transgressions of different sorts, is set in relation to the surrealist movement's general strive to provoke and overcome boundaries. More precisely, Tanning's sculptures and installations are mirrored in avant-garde experiments with the exhibition format, and her sculptured bodies dissolute boundaries is contrasted against her male colleagues more restless zeal to override taboos through an aggressive use of the female body.

  • 2.
    Lundström, Anna
    Stockholm University, Faculty of Humanities, Department of History.
    Exhibition History: A product of contemporary interests? A case study of Rörelse i konsten (Movement in Art), Moderna Museet Stockholm (1961)2016In: The Return of History: Reconstructing art exhibitions in the 21st century, 2016Conference paper (Other academic)
    Abstract [en]

    The exhibition Rörelse i konsten (Movement in Art) in 1961 was the first of a number of exhibitions at Moderna Museet in Stockholm which took the form of a comprehensive milieu. Hon–en katedral (SHE –A Cathedral) in 1966, and Poesi måste göras av alla! (Poetry Must be Made by All!) in 1969 are others. These exhibitions went beyond established exhibition formats, spectator-conventions, and ultimately questioned the idea of the artwork as an autonomous object. Rörelse i konsten has become pivotal in the museum’s recounting of its own history, and has been referred to and partly restaged in 2008 and 2011. Rörelse i konsten, and the various forms of re-enactments it has been subject to, will be taken as a starting point for a wider discussion on the on-going writing of exhibition history. Partly conducted from within, the field itself (artists, curators and museum directors are reflecting upon the impact of these exhibitions on their own practices) this form of history writing tends to be partial. Frederick Kiesler’s and El Lissitzky’s exhibition models from the 1920s and onwards, the ‘labyrinthic’exhibitions of the post-war era, of which Rörelse i konsten is an example, are often used as historical references to frame contemporary practices. I will argue that this history is conditioned by interests in ourpresent (such as critical investigations of the art institution, spectator’s participation, and artistic collectivity). As such, it tends to obstruct wider investigations of these exhibitions’origination and impact.

  • 3.
    Lundström, Anna
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Former av politik: Tre utställningssituationer på Moderna Museet 1998-20082015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This study examines the concepts of art, politics and art institution departing from three cases of exhibition situations at Moderna Museet in Stockholm, 1998–2008. The cases are considered in relation to different aspects of the museum’s identity as an art institution.

    The first case, the Pontus Hultén Study Gallery (2008–), is an interactive exhibition space containing 34 mechanical screens for displaying art. It is understood here as a comment on the museum’s identity as a collecting institution. The author critically analyses a number of common oppositions in avant-garde theory regarding museum culture, such as the museum as a place for passivity rather than activity, preservation rather than initiation, and ultimately death rather than life. The second case, the exhibition series Moderna Museet Projekt (1998–2001), was marked by the ambition to integrate artworks into contexts outside the physical museum building. Here case analyses focus on the distinction that the series established between art and a presumed alternative, such as life, reality, or politics. The third and last case, the sound installation Forty-Part Motet (2001) by Janet Cardiff, was installed in an exhibition space that actualised the ideals of the so-called white cube. In the institutional critique of the 1960s and 1970s, this exhibition space was dismissed as isolated and detached from society, an idea that is critically examined. Throughout the different case studies, spectator positions and potential agency are of particular concern.

    This thesis concludes that the concepts of art and politics are different permeable forms of experiences, visibilities and practices, that cross and intertwine. This conclusion is informed by Jacques Rancière’s notions of aesthetics and politics. In this reading, the art institution is not a barrier separating art from politics, reality or life, but nor is it a dead or deadening space. Rather, the art institution, as a social space and concept of art, is considered as intertwined with other forms of visibilities and experiences. Thus, regarded as a frame for a certain type of visibility, the art institution is capable of establishing a difference that is both unproblematic and urgent.

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