{"id":2195,"date":"2017-04-12T18:24:15","date_gmt":"2017-04-12T16:24:15","guid":{"rendered":"http:\/\/skaneskonst.se\/?p=2195"},"modified":"2017-04-12T18:24:15","modified_gmt":"2017-04-12T16:24:15","slug":"forelasning-hustadt-inshallah-learning-from-a-participatory-art-project-in-a-trans-local-neighbourhood","status":"publish","type":"post","link":"http:\/\/utv.skaneskonst.se\/en\/forelasning-hustadt-inshallah-learning-from-a-participatory-art-project-in-a-trans-local-neighbourhood\/","title":{"rendered":"F\u00f6rel\u00e4sning med Apolonija \u0160u\u0161ter\u0161i\u010d: Hustadt Inshallah"},"content":{"rendered":"
\"IMG_6242\"
\n<\/i><\/b>F\u00f6rel\u00e4sning
\nSpr\u00e5k: engelska
\nFri entr\u00e9
\n19-21<\/h5>\n

Under f\u00f6rel\u00e4sningen “Hustadt, Inshallah: Learning from a participatory art project in a trans-local neighbourhood” diskuterar Apolonija \u0160u\u0161ter\u0161i\u010d relationen mellan konst(institutioner) och uppfattningar om det offentliga rummet. Vilken roll kan konstn\u00e4ren ha i etablerandet av de n\u00e4tverk (sociala, politiska, fysiska) som en stad \u00e4r beroende av? Vilka m\u00f6jliga problem kan uppst\u00e5 n\u00e4r konstn\u00e4rliga och demokratiska v\u00e4rderingar v\u00e4gs mot varandra, exempelvis i ett konstprojekt som inbegriper olika typer av samarbeten? Apolonija Sustersic kommer ocks\u00e5 att tala om sina erfarenheter av att varit en del av Konsth\u00f6gskolan i Malm\u00f6s doktorandprogram.\u00a0F\u00f6rel\u00e4sningen \u00e4r den andra delen i f\u00f6rel\u00e4sningsserien “Mot det postgeografiska”.<\/p>\n

Apolonija \u0160u\u0161ter\u0161i\u010d \u00e4r arkitekt och bildkonstn\u00e4r. Hennes praktik arbetar utifr\u00e5 kritiska perspektiv p\u00e5 begreppet rum; vanligtvis med ett fokus p\u00e5 relationerna mellan institutioner, kulturpolitik, stadsplanering och arkitektur. \u0160u\u0161ter\u0161i\u010d intresserar sig f\u00f6r s\u00e5v\u00e4l fenomenologiska studier av arkitektur, som diskussioner om de politiska aspekterna av m\u00e4nniskors livsmilj\u00f6. Hennes praktik utg\u00e5r oftast fr\u00e5n omfattande unders\u00f6kningar av specifika situationer och platser, som hon anv\u00e4nder som utg\u00e5ngspunkt f\u00f6r sina projekt. Resultat fr\u00e5n s\u00e5dana unders\u00f6kningar presenteras inte bara som som analytisk kritik, utan utg\u00f6r i sig sj\u00e4lva \u00e4ven modeller f\u00f6r framtiden.<\/span><\/p>\n

Apolonija \u0160u\u0161ter\u0161i\u010d \u00e4r professor i fri konst vid konsth\u00f6gskolan i Oslo, och ansvarig f\u00f6r masterprogrammet Art and; Public Space. I sin doktorsavhanfling fr\u00e5n Lunds Universitet, Konsth\u00f6gskolan i Malm\u00f6, Hustadt, Inshallah: Learning from a participatory art project in a trans-local neighbourhood unders\u00f6ker hon relationerna mellan samtidskonst och rumsliga, arkitektoniska, metoder. Projektet handlade till stor del om behovet av allm\u00e4nhetens deltagande i stadsf\u00f6rnyelseprocesser. Projektet genomf\u00f6rdes i samarbete med boende i ett samh\u00e4lle i utkanten av Bochum, Tyskland.<\/p>\n

www.apolonija.sustersic.com<\/a><\/p>\n

Se \u00e4ven:
\nwww.undergrounddiscussionclub.com<\/a>
\nwww.neighbours-citizens.org<\/a><\/p>\n


\nMer om f\u00f6rel\u00e4sningsserien:\u00a0<\/strong>
\nKartan har l\u00e4nge varit ett verktyg och en modell f\u00f6r att f\u00f6rest\u00e4lla sig och fastst\u00e4lla\u00a0m\u00e4nniskans positionering i\u00a0rummet och objektens positioner i relation till\u00a0varandra.\u00a0Ett instrument f\u00f6r att avg\u00f6ra och fastst\u00e4lla gr\u00e4nser f\u00f6r vad som \u00e4r ett land,\u00a0en v\u00e4g, en stig,\u00a0eller en b\u00e4ck.\u00a0Men ocks\u00e5 f\u00f6r att dra skiljelinjer mellan kroppar som ska f\u00f6rsvaras och\u00a0kroppar som inneb\u00e4r ett hot.\u00a0Kartografins europeiska historia \u00e4r n\u00e4ra sammankopplad med f\u00f6rest\u00e4llningar och id\u00e9er om\u00a0m\u00e4nniskor som befinner sig utanf\u00f6r en fastst\u00e4lld gemenskap.\u00a0Fr\u00e5gan \u00e4r dock hur\u00a0modernitetens anspr\u00e5k p\u00e5 att uppr\u00e4tta s\u00e5dana stabila gr\u00e4nser och institutioner har\u00a0f\u00f6r\u00e4ndrats i en n\u00e4ra samtid n\u00e4r makten \u00f6ver kommunikationsmedel, teknik f\u00f6r \u00f6vervakning\u00a0och milit\u00e4ra resurser allt mer kommit att privatiseras och individualiseras.<\/p>\n

I f\u00f6rel\u00e4sningsserien unders\u00f6ks fr\u00e5gor om kartografins utvecklingssp\u00e5r f\u00f6r\u00e4ndringar konsekvenser och materialiseringar.\u00a0Serien sammanf\u00f6r forskare fr\u00e5n\u00a0olika f\u00e4lt som\u00a0tillsammans med den bes\u00f6kande publiken ger kontext \u00e5t specifika nedslag i kartskapandets\u00a0historia.\u00a0Samtliga f\u00f6rel\u00e4sningar \u00e4r \u00f6ppna f\u00f6r allm\u00e4nheten och intr\u00e4det \u00e4r fritt.<\/p>\n

F\u00f6rel\u00e4sningsserien genomf\u00f6rs med st\u00f6d fr\u00e5n Stockholms Arbetarinstitutf\u00f6rening & ABF.<\/p>\n

______________________________________________________________________<\/p>\n

Lecture
\nFree entrance
\n19-21<\/p>\n

In Hustadt, Inshallah: Learning from a participatory art project in a trans-local neighbourhood Apolonija \u0160u\u0161ter\u0161i\u010d will discuss the relationship between the perception of public space and art(institutions). What role does an artist have in the creation of an urban (social, political, physical) fabric? Is there a problem in balancing artistic, and democratic values, when being involved in a socially engaged art practice? Apolonija \u0160u\u0161ter\u0161i\u010d will also talk about her experiences of being part of the Malm\u00f6 Art Academy PHD programme. This lecture is the second lecture in the lecture series “Towards the post-geographic”.<\/p>\n

Apolonija \u0160u\u0161ter\u0161i\u010d is an architect and visual artist. Her work is related to a critical analysis of space; usually focused at the processes and relationships between institutions, cultural politics, urban planning and architecture. Her broad \u2013 ranging interest starts at a phenomenological study of space and continues its investigation into social and political nature of our living environment. She usually makes extensive researches into specific situations found on location, which she uses as a starting point of her project. The result isn\u2019t only presented as analytical criticism but it produces in itself already a suggestion for the future. She pursues new possibilities and makes proposals from a hybrid point of view that ranges beyond art and architecture, making socially committed works naturally taking the form of everyday life activity.<\/p>\n

Apolonija \u0160u\u0161ter\u0161i\u010d is currently a professor in visual art at Oslo National Academy for the Arts, a head of a new MFA program Art & Public Space. Together with architect and a professor at KTH (Stockholm), Meike Schalk she formed an operative unit, which occasionally produces research, projects, actions and discussions.<\/p>\n

\u0160u\u0161ter\u0161i\u010d PhD from University of Lund, Malm\u00f6 Art Academy, Hustadt, Inshallah : Learning from a participatory art project in a trans-local neighbourhood investigates relationships between contemporary art and spatial practices, emphasising the creation of platforms for public participation as interventions into urban regeneration processes. The project was carried out with a community in collaboration with a community in on the outskirts of Bochum, Germany.<\/p>\n

www.apolonija.sustersic.com<\/a><\/p>\n

Projects on line:
\nwww.undergrounddiscussionclub.com<\/a>
\nwww.neighbours-citizens.org<\/a><\/p>\n

\n
More about the lecture series:<\/span><\/span><\/strong><\/div>\n<\/div>\n
\n
The map has long been a tool and a model to conceive and position man spatially as well as\u00a0the objects\u2019 positions in relation to each other. An instrument to determine and establish the borders of what is a country, a road, a path or a stream. But also to draw dividing lines between the bodies to be defended and bodies perceived as threat. The European history of cartography is deeply related to the beliefs and ideas of the people who are outside a defined community. The question is how modernity\u2019s claim to establish such rigid borders and institutions has\u00a0changed in the near contemporaries when power over the means of communication technologies for monitoring and military resources increasingly has been privatized and individualized.<\/span><\/span><\/div>\n<\/div>\n
\n
\u00a0<\/span><\/div>\n<\/div>\n
\n
In the lecture series three scholars examine issues of cartographic development, impact and materialization. The series brings together researchers from different fields together with the visiting audience investigate the specific impacts of the map creation story. All lectures are open to the public and admission is free.<\/span><\/span><\/div>\n<\/div>\n
\n
\u00a0<\/span><\/div>\n<\/div>\n
\n
The lecture series is supported by the Stockholms Arbetarinstitutf\u00f6rening and ABF.<\/span><\/span><\/div>\n<\/div>\n

\u00a0<\/i><\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

Under f\u00f6rel\u00e4sningen “Hustadt, Inshallah: Learning from a participatory art project in a trans-local neighbourhood” diskuterar Apolonija \u0160u\u0161ter\u0161i\u010d relationen mellan konst(institutioner) och uppfattningar om det offentliga rummet. Vilken roll kan konstn\u00e4ren ha i etablerandet av de n\u00e4tverk (sociala, politiska, fysiska) som en stad \u00e4r beroende av? Vilka m\u00f6jliga problem kan uppst\u00e5 n\u00e4r konstn\u00e4rliga och demokratiska v\u00e4rderingar v\u00e4gs mot varandra, exempelvis i ett konstprojekt som inbegriper olika typer av samarbeten? <\/p>\n","protected":false},"author":1,"featured_media":2197,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[40],"tags":[63,72,73],"class_list":["post-2195","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-evenemang","tag-event","tag-discussion","tag-lecture"],"translation":{"provider":"WPGlobus","version":"2.8.5","language":"en","enabled_languages":["sv","en"],"languages":{"sv":{"title":true,"content":true,"excerpt":true},"en":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"http:\/\/utv.skaneskonst.se\/en\/wp-json\/wp\/v2\/posts\/2195","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/utv.skaneskonst.se\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/utv.skaneskonst.se\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/utv.skaneskonst.se\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/utv.skaneskonst.se\/en\/wp-json\/wp\/v2\/comments?post=2195"}],"version-history":[{"count":0,"href":"http:\/\/utv.skaneskonst.se\/en\/wp-json\/wp\/v2\/posts\/2195\/revisions"}],"wp:attachment":[{"href":"http:\/\/utv.skaneskonst.se\/en\/wp-json\/wp\/v2\/media?parent=2195"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/utv.skaneskonst.se\/en\/wp-json\/wp\/v2\/categories?post=2195"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/utv.skaneskonst.se\/en\/wp-json\/wp\/v2\/tags?post=2195"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}