School of Photography 2010

School of Photography University of Gothenburg 2010

School of Photography University of Gothenburg 2010

Contents Introduction Lasse Lindkvist �������������������������������������������������������������������������������������������� 5 Bachelor of Photography

Introduction Hans Ekelund ������������������������������������������������������������������������������������������������ 8 Agnes Thor ����������������������������������������������������������������������������������������������������������������������������������������� 10 Nicola Bergström Hansen ������������������������������������������������������������������������������������������������� 16 Jesper Ulvelius ��������������������������������������������������������������������������������������������������������������������������������� 22 Frida Klingberg ����������������������������������������������������������������������������������������������������������������������������� 28 Ina Devik ����������������������������������������������������������������������������������������������������������������������������������������������� 32 Simon Berg ����������������������������������������������������������������������������������������������������������������������������������������� 38 Erika Hedman ��������������������������������������������������������������������������������������������������������������������������������� 44 Martin Jacobsson ������������������������������������������������������������������������������������������������������������������������� 50 Rebecca Miana Olsson ����������������������������������������������������������������������������������������������������������� 56 Ida Andersson ��������������������������������������������������������������������������������������������������������������������������������� 62 Erik Betshammar ������������������������������������������������������������������������������������������������������������������������� 68 Anne Schwartz Melby ������������������������������������������������������������������������������������������������������������� 72 Ida Borg ������������������������������������������������������������������������������������������������������������������������������������������������� 74

Master of Photography

Introduction Annika von Hausswolff ������������������������������������������������������������������� 82 Kim Westerström ������������������������������������������������������������������������������������������������������������������������� 84 Kerstin Hamilton ������������������������������������������������������������������������������������������������������������������������ 94 Erik Berglin ������������������������������������������������������������������������������������������������������������������������������������ 102 Johannes Samuelsson ������������������������������������������������������������������������������������������������������������ 108 Anna Lamberg ������������������������������������������������������������������������������������������������������������������������������ 118 David Molander ����������������������������������������������������������������������������������������������������������������������� 126 Linda Hofvander ���������������������������������������������������������������������������������������������������������������������� 134

Research

Introduction Hans Hedberg ��������������������������������������������������������������������������������������� 146 The End of Security – Globalisation and New Capitalism Annika von Hausswolff and Jan Jörnmark ������������������������������������������������� 148 An Irish Odyssey – Per L-B Nilsson Hans Hedberg ������������������������������ 158 Rephotography in an Arctic Landscape – A Photographic Study as a Dialogue With History Tyrone Martinsson �������������������������������������� 174 International Research Symposiums in Photography 2009 Tyrone Martinsson ������������������������������������������������������������������������������������������������������������������ 182 Research Strategy �������������������������������������������������������������������������������������������������������������������������� 187

Chronicle

Tutors, PhD Students and Staff �������������������������������������������������������������������������������� 194 Visiting Tutors ������������������������������������������������������������������������������������������������������������������������������ 195 Courses ������������������������������������������������������������������������������������������������������������������������������������������������ 196 Exhibitions �������������������������������������������������������������������������������������������������������������������������������������� 197 Books by Tutors and Students ������������������������������������������������������������������������������������ 197 Students ���������������������������������������������������������������������������������������������������������������������������������������������� 201 contents 3

Introduction Lasse Lindkvist Head of School The School of Photography at the University of Gothenburg is truly unique. It is the only university institution in Sweden to deal with the subject of Photography in a complete environment, with education at the bachelor, master and PhD level.

In recent years, the School of Photography has also succeeded in initiating and building up research within its field. A ­significant step was taken when we adopted a research strategy, which is included in this publication. This strategy has now been broken down into an action plan, and we are working hard to implement a number of pilot projects which, it is hoped, will lead to new know­ledge being gained within artistic research. These projects will also form the basis for applications to various funders of research and open up opportunities for cooperation with other research environments. Hans Hedberg, Head of Artistic Research, introduces artistic development work and research carried out by employees at the School of Photography.

Selected work by graduating master’s and bachelor’s students is also included in this book. Examination exhibitions have traditionally been held in Gothenburg and Stockholm, where the work has been reported on in full and appraised, being assessed by examiners and opponents. This work demonstrates a wealth of opportunities to redefine the concept of photography, and to shape our understanding, our experience of the world around us and ourselves, photographically.

Elsewhere in this publication, Professor Annika von ­Hausswolff – who, together with Professor Lotta Antonsson, is responsible for the education of the master’s students graduating this year – introduces the questions addressed by her students. Curator Niclas Östlind provides brief descriptions of the work of each individual master’s student. Director of Studies Hans ­Ekelund, who is responsible for education at the bachelor’s level, has also provided an introduction in which he describes on what he sees as the underlying issues in his students’ work.

The graduating students’ theses are published separately, and I would recommend that you track down copies and read them!

They provide an excellent picture of the dilemmas and opportunities faced by contemporary photography.

Finally, I would like to thank the students, tutors and editors who have worked on material for this book. introduction 5

Bachelor of Photography

Agnes Thor Nicola Bergstrรถm Hansen Jesper Ulvelius Frida Klingberg Ina Devik Simon Berg Erika Hedman Martin Jacobsson Rebecca Miana Olsson Ida Andersson Erik Betshammar Anne Schwartz Melby Ida Borg

Introduction Hans Ekelund Director of Studies

Every generation creates its own language, viewpoint or interpretations to articulate its position in – and experience of – the world.

One of the tasks of artistic education is to try to place the choice of aesthetics, perspectives and works within a context. What boundaries have been marked out by previous generations? How can these boundaries be crossed? And within that which is newly formulated, how can we break off with or develop earlier approaches?

What works? And what doesn’t? What can be read or interpreted?

What is important? Where do the boundaries of this narrative lie?

Or the boundaries of the artistic form, or of language?

The graduating BA students in photography of 2010 have all investigated, crossed and taken a position on various boundaries. Many 8 bachelor of photogr aphy

of them have made use of – and held dialogues with – a range of photographic histories and genres, and with the work of individual photographers, both well-known and forgotten.

Frida Klingberg’s work presents a critical review of natural depiction. A wealth of different approaches are brought into collision with each other, reused and reformulated: journalistic narratives, dramatisations, poetic reflections, etc. Ida Borg shifts the boundaries of the seductive capacity of commercial imagery and dismantles its linguistic structure – a structure that stretches between well-being and drama. Ina Devik’s series of portraits of children on the verge of adulthood also reflects the photographer’s limitations: who actually speaks through a portrait? The photographer or the subject? Ina portrays children in unusual ways – serious, with a strong sense of integrity. Ida Andersson uses the medium of film and surrealistic methods to create a sect-like society that struggles to deal with and express the loss of a member. Simon Berg has delved deeper into the collaborative role of the beholder, focusing on the shapes of many different openings, awakening an interest that is both ambivalent and pressing, with feelings of disgust and discomfort. Anne Schwartz Melby’s work uses collage and an assumed dictatorial perspective to reshape the sublime landscape which is, in fact, unsurveyable and totally divorced from our influence: the urban landscape. Erik Betshammar approaches his own archive of images from a new point of departure, extracting new readings and meanings by submersing himself in exaggerated details. Agnes Thor explores the boundaries of actual memories and the dream-world of imagination, while Rebecca Miana Olsson and Jesper Ulvelius work with interpretations of people, environments and everyday reflections that unobtrusively ask universal and existential questions, awakened by carefully conveying traces to the observer. Erika Hedman pushes at the ultimate boundary: the boundary that separates life from death. She takes the perspective of a child – a child who finds it hard to comprehend the fact that a loved one has gone. Nicola Bergström Hansen engages in dialogue with 19th century police photographs of felons, creating her own rogues’ gallery of recycled images from CCTV snapshots of criminals. In contrast with the early police archives, the subjects of her portraits have been stripped of their identifiable features. ­Martin Jacobsson deconstructs and reassembles the constituent parts of an image to test how the time-bound nature of photography can be broken up, thereby transforming two dimensions into a sculptural object.

Each new generation has a mission to transgress, reformulate, redraw and redefine the content of the given boundaries. How is this generation carrying out its mission? introduction 9

Agnes Thor

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Nicola BergstrĂśm Hansen

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Jesper Ulvelius

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Frida Klingberg

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Ina Devik

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Simon Berg

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Erika Hedman

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Martin Jacobsson

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Rebecca Miana Olsson

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Ida Andersson

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Erik Betshammar

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Anne Schwartz Melby

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Ida Borg

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Master of Photography

Kim Westerstrรถm Kerstin Hamilton Erik Berglin Johannes Samuelsson Anna Lamberg David Molander Linda Hofvander

Introduction Annika von Hausswolff Professor

It wasn’t just by chance that this year’s master’s class were photographed as The Class of 2010. In a stylish reworking of the traditional class photo, this group appears a little more cinematic, a little more self-assured, maybe even a little better looking than others. A self-confident gesture to muster the forces before the academic final stretch, but also a way of writing photographic history.

The School of Photography’s master’s programme is devised so that they begin the two-year programme with me in year one. Meeting a new class is always fun, and slightly nerve-wracking. Meeting the individual behind a fascinating application, and taking the first step towards creating a team spirit and a sense of solidarity with the small group of eight students. With one foot in the present and one in the coming year two, when my colleague Lotta ­Antonsson takes over with what is known as the examination course, we get to know each other through individual discussions and criticism classes. This involves a great deal of commitment from both parties, and you always grow close to your students. I am full of admiration at the confidence my students are willing to place in me, and the scope for criticism and reaction that our discussions provide.

A discussion is a room that we furnish with our experiences. I don’t normally worry about concepts such as right or wrong, good or bad. What I’m interested in is finding out whether my students’ work harmonises with their intentions, and how they can best express their ideas artistically. An idea never comes from an empty void, and with the help of continuous meetings we can trace the origin of ideas and contextualise them in the present.

I have seen David Molander’s visual journey from an American truck stop to documentation of Slussen in Stockholm – which is un­paralleled in terms of photographic representation – with my own eyes. We have all sailed with Johannes Samuelsson onboard the S­ wedish ship Götheborg, following his narrative about dreams, deceit, crises and reconciliation in Ett modernt äventyr (A Modern ­Adventure). Over the course of her two-year master’s programme, ­Kerstin ­Hamilton has 82 master of photogr aphy

managed to travel through, live in and bid f­arewell to L ­ esjöfors. The rest of us were presented with a tender portrait of a former industrial town trying to adapt to new living conditions.

Our theory teacher, Fredrik Svensk, joined us on our journey through the master’s programme. In his courses, the students develop their analytical skills by writing essays and papers. We normally also have a joint criticism class, in which Fredrik provides new angles of approach to the more practical work. Many discussions have been held on how to relate to the institution itself, both from a teaching perspective and as a student. The situation can be compared to a kind of double exposure of a room, where you are in different places at the same time. The boundaries are blurred, and there has to be an awareness of the different spaces you occupy.

Our students show specimens of a rare breadth in their creativity.

In Kim Westerström’s art, for example, deeply personal experience meets a conceptual approach. Melancholy reflections on mankind’s predicament are presented with a kind of humour, balancing out into a philosophical whole. An element of basic research can be detected in Linda Hofvander’s artistic project. Space, distance and perspective are mapped here with a refined poetry. Anna Lamberg says that she is afraid of death. With touching courage and great consistency, she chooses to take us, the observer, by the hand and show us potential locations for the transition to the other side.

At the time of writing, six months have passed since the master’s students left the school. Thanks to forums such as Facebook, I can do a fair job of following what they are doing now. I often think about what Erik Berglin said to us at examination time just before the summer. Annika Eriksson, Lars-Erik Hjertström ­Lappalainen, Sinziana Ravini and I sat in a row as opponents, ready for the students’ presentations. After a powerful report on his project in Iceland, Erik mentioned as an aside that “art makes the world a slightly better place to be human in”. This obvious desire to make a difference is a source of great inspiration to me in times of doubt. Yes – even civil servants sometimes question their role…

Finally, I would like to thank my sister Lotta Antonsson for her fantastic collaboration.

Many late nights have been devoted to our work teaching at the University of Gothenburg. introduction 83

Kim Westerström Idea and concept: Invild Hovland Kavdal

Time and memory are intimately tied to objects used in daily life – things that paradoxically have become almost invisible because of their presence. In his projects Kim Westerström investigates the ability – and inability – of images to capture and convey the past.

His installations combine various media, and photography often has a key role both conceptually and practically. Like imprints that humans leave on objects, photography is also indexical in character. Photographs are physical traces of the past and give our memories a sensual quality, as well as an undercurrent of melancholy, which is present in his work.

Niclas Östlind, curator

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Kerstin Hamilton

Kerstin Hamilton is a storyteller grounded in the classic documentary tradition’s hunger for the real. With devotion to the place and the people she is portraying, she has been living in the ­village to learn and see how things are if you are not just passing by. Both the documentation and the working process – her r­ eflections day by day and self-scepticism – are presented in images and text.

It becomes obvious to the observer that a history like this is not unmediated, but a socio-political reality seen from a particular vantage point. A story also shaped and informed by the medium and its tradition.

Niclas Östlind, curator

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Erik Berglin

With an intense devotion – one could call it manic – Erik B ­ erglin uses images from different sources, not least the history of art.

Through combinations and displays, the stream of pictures is organised in patterns built on rhymes and recognition. A s­ tructure becomes visible and reveals passions that are tightly connected with seeing and images. More than anything else, there is a desire to make things meaningful and constantly refine the senses, m ­ aking us more open-minded and reflective.

Niclas Östlind, curator

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Everything Is Borrowed Interest in found photography has grown in digitalised form, probably because the images have been detached from their origin and the originator can not be found, just like postcards at a flea market. On sites such as Flicker and Ffffound the uploader of an image is appreciated on the basis of her selection and her ability to find interesting images, while the question where or by whom the images were originally taken rarely arises. It is the constitution of the collection that attracts the attention from other users.

According to Roland Barthes, we are exposing ourselves – m ­ aking ourselves vulnerable when showing examples of what we like. This is the point of departure for Everything Is Borrowed, using found images, arranged around different associations. I am interested in similarities between famous works of art and anonymous private images. In Art History this kind of comparison is common, but it only concerns recognised and historically important examples of related image solutions and themes. When private images, often unconsciously, mimic famous works of art, questions arises about originality and copyright.

Copying and re:use contributes to a large amount of the Internets huge flow of information. This information is seen as public ­property. One could say it is a cultural manifestation, but it is also seen as copyright violation. Words like appropriation, ­remediating and remixing have become incorporated into the discourse re­lating to the global, digital network. The Internet gives us access to vast quantities of visualisations of the world – information – which we can edit, alter or, if we like, distort. This has become a uni­ versal and collective act which generates a vast flow of digital codes that are constantly recoded in a continual transformation of the surface, expression, intention and content of images, films and music. ­Relatively simple technology has made the visual exchange of ­information accessible and straightforward for the masses. One could say it is a cultural manifestation, but it is also seen as copyright violation. Everything Is Borrowed attempts to visualize this new information flow and its consumption patterns.

Erik Berglin

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Johannes Samuelsson

Johannes Samuelsson is a historian and a storyteller. Through a combination of different methods and practices – reportage, interviews, books, the Internet, exhibitions, readings, etc. – he investigates a particular project called Ostindienfararen (Swedish Ship Götheborg III). At first glance it looks provincial and ridiculous in all its grandeur and opulence, but after closer scrutiny it becomes obvious that it is deeply tied to social networks that are essential for the political structures of Gothenburg. As the history and all its implications are unfolded, the presence of the narrator is made explicit and present, and this dual perspective makes us aware of the construction of reality, both past and present.

Niclas Östlind, curator

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A Modern Adventure Part 4, 2008/2009 The day predicted by Anders Wästfelt has finally come. The ­Swedish Ship Götheborg III and the company SOIC AB are being sold to a new foundation. As a concluding nod towards the original founders, a meeting is being arranged at the premises at Eriksberg.

Anders asks me if I would like to come to the meeting. I accept his invitation, and I expect this to be the end of my narrative.­ The Gothenburg mafia, headed up by Tengroth and Bengtsson, has finally completed its takeover.

Anders and his brother Hans pick me up in a black car. They seem pleased to see me. I’m pleased to see Anders again. Our pre­ vious meeting has already started to feel like a far-off dream. When we arrive we look around the souvenir shop and Anders chats with those who are already here. The atmosphere is slightly tense, and I try to take an interest in the souvenirs: t-shirts, mugs, small models of the ship, books, posters, etcetera. We are shown into the meeting room, and more founders appear. Most of them are older men of retirement age, and all of them seem to be not entirely comfortable with Anders’ presence. Anders acts as if he has not noticed and takes photographs of as much as he can. I say hello to a man in a suit, who says that he represents the Swedish Armed Forces. County ­Governor Göran Bengtsson chairs the meeting. He says that the new foundation will secure the future of the ship. He tells us who the new owners are. These are the same companies as usual: Business Region Göteborg, Göteborg Hamn AB, SKF, Stena Line and Volvo. Swedbank and Region Västra Götaland are also involved as financial backers. He also talks about the summer’s Baltic Sea journey and lists the port calls that are ready. Sundsvall isn’t mentioned.

After the meeting, the founders, the new board and I take our seats for a buffet inside the ship. I find myself at a table with four older men who do not pay me much attention. I sit glancing at Anders and his brother, who are talking with Göran Bengtsson.

In the car on the way home, I feel a little sad but also somehow relieved. Perhaps it’s all over now. Perhaps I can let this story go. As I get out of the car, Anders calls after me cheerfully: “Don’t forget the summer celebrations in Liden! If we work at it now, we might even get the ship to Sundsvall.” I nod, understanding that the matter hasn’t been settled yet, and that this is why we went to the meeting.

A few weeks later, an invitation arrives from Anders and Berit.

Anders writes that both Bengt Tengroth and Municipal Commissioner Göran Johansson have been invited, and that I should bring my camera. The celebration runs over the course of three full days, with a packed timetable. I hesitate at first, but I realise that I cannot turn down the invitation. I’m too curious.

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More than a hundred guests are seated in Anders and Berit’s ­Pentecostal church. The church is packed, and I sit at the back in a corner. The guests have been offered whisky, and the atmosphere is great. Anders sits wearing a garland of flowers on the raised platform at the front of the church, which is constructed like a theatrical stage.

Berit is compère for the evening, and the first act is a Bellman impersonator. The audience proves easy to please, and the songs and jokes are greeted with rapturous applause.

Once the applause has died down, Bengt Tengroth takes to the stage, saying: “My wife Marianne and I would like to thank Berit and Anders for inviting us to this celebration of Anders’ birthday, the Swedish Ship Götheborg III coming to Sundsvall and much more besides. Thank you!” He then goes on to talk about his role as chairman of the Port of Gothenburg Board of Directors and CEO of the company that rebuilt Norra Älvstranden in G ­ othenburg. He also talks about how he got involved in the Swedish Ship project in the mid-1990s. His only comment on the dispute is: “Everything we then came up against had its aspects.” He doesn’t actually express any great regret, but there is still something sincere in his speech. He builds bridges with Anders and Berit in front of all of us. The speech ends with Anders and Bengt embracing each other. Then Anders says something that takes me, at least, by surprise: “Thank you very much for everything you’ve done for us. To be honest, I have to say that the Swedish Ship Götheborg wouldn’t be sailing today if it weren’t for Bengt. Even though we haven’t always seen eye to eye on everything.” Those present note the understatement and laugh.

Even Bengt laughs. Bengt says: “Indeed!” This raises even more of a laugh. Anders presents him and ­Gothenburg’s ­Municipal Commissioner Göran Johansson with a bottle of meadow­sweet schnapps each.

The next day, all the guests travel to Sundsvall for the arrival of the Swedish Ship Götheborg III. It’s warm, and the sun beats down on us. I stroll around on the quay, taking photographs of the people gazing at the horizon. Once the ship is in sight, two local celebrities take their place on the temporary stage, which is decorated with a red banner emblazoned with the words “Sundsvall: the Capital of Norrland”. Both Anders and Göran Johansson are invited up onto the stage. Göran explains how much Anders has done for the ship, but adds that there has been a great deal of discussion over the years. Anders is described by the female compère as a madman, an energetic entrepreneur who “gets the wheel spinning”.

She also says that the ship is the second most beautiful woman in Anders’ life, after Berit. She then changes her mind and says that the ship is Anders’ baby. But she never says what Anders has actually done for the ship. In some way, this is understood. Anders surprises the compères by inviting Berit and a few of the other johannes samuelsson 111

attendees to join him in song. He says that the song is dedicated to Göran ­Johansson, Bengt Tengroth and everyone else who helped to build the ship. An accordionist keeps time and Anders encourages the audience to join in. He looks tremendously pleased when the song comes together. “One time I sail in the harbour. One time I hold you in my arms. One time my friend tells the tale of what will come again. One time in the land of dreamers we two walk hand in hand. One time, my darling, I will come home to you.” After the song, Anders presents a book to the captain of the ship. Anders says that the book is for the ship’s library. The book is all about the porcelain cargo from the old ship. It was written by Berit, Professor Bo ­Gyllensvärd and the late Professor Jörgen Weibull. I think this is almost like a conceptual artistic act – a way for Anders and Berit to make their mark. A way of writing a chapter of the ship’s history, both ­figuratively and literally.

In the evening we make our way into Liden and enjoy a threecourse meal at the Hotell Liden. Towards the early hours of the morning, I notice how Bengt, Anders and Berit are embracing each other in a group hug. One of the guests urges me to take a picture, and I just manage to get out my camera and take a shot before they let go of each other.

The celebrations have now entered their third day, and we have travelled back to Sundsvall – this time to go aboard the ship. But first we stand on the quayside and listen to a speech in honour of Anders. The speaker is a representative of SOIC AB, and is dressed in 18th century costume, complete with a wig, blue and yellow satin trousers and a dress coat. He gives an outline history of diving from Aristotle to Jacques Cousteau. He then recounts Anders’ own diving history up until when he took the initiative to build the S­ wedish Ship Götheborg III. “The rest is contemporary ­history, dear friends,” he says. After contemporary history – which he skips over – he says that Sundsvall wanted Anders back, and so Anders moved from Gothenburg up to the town of Liden. The fact that Anders and Berit moved due to the disagreement with the politicians of Gothenburg does not appear to be relevant at this time. The actor concludes his performance. “It is with the greatest respect and gratitude that I stand here playing the part of supercargo. I would like to thank you, dear Anders, for your ­sterling work and the wonderful idea of rebuilding our beautiful ship Götheborg! Thank you very much!”

In the evening, the guests will continue the celebrations at the Casino Cosmopol, and on the following day Anders will finally get to sail with his ship. But I myself am now satisfied and, after the tour of the ship, I say farewell to Anders and Berit. On the bus, I note that the tide has turned once again. At the same time, I have 112 master of photogr aphy

an uncomfortable feeling that I have missed something important.

Having engaged in a bitter power struggle for more than a decade for the rights to the Swedish Ship, they have now been united in friendship. When they were enemies, it was easy to create a comprehensible picture. This was the story of the man who took on the state and the big companies. Anders and Berit were the goodies, and Tengroth, Bengtsson and the City of Gothenburg were the baddies.

The questions pile up in my head. How did this happen? Is it so simple that now the foundation has been sold Anders and Berit can be allowed to re-join the project? But does this really mean that they are friends now? Maybe this was all just a performance for the audience in Sundsvall? Far away from Gothenburg. Perhaps Anders and Berit played along so that things would once again feel the way they did before? Back then, it was them who ran the ­Swedish Ship project together with their friends and a­ cquaintances.

Did they play along so they could finally sail with the ship after ­having waited for so many years? Were Bengt and Göran forced to come up to Sundsvall so that Anders and Berit wouldn’t steal the show on their home turf? I never really had the chance to talk to them during the celebrations, so after the summer I call Anders to ask how it feels afterwards. He and Berit are just bringing in the autumn’s potato crop at Wästergården, but he pauses to catch his breath. He wants to have a little chat. He describes the celebrations as a remarkable experience, and he believes that Tengroth and ­Johansson’s intentions were honest. He adds: “When the Devil grows old, he become religious. History can’t be rewritten, but the time had come to make peace.” I want to tell Anders that history can always be rewritten, but he interrupts by asking about my writing. “Write like you usually do,” he suggests. “Too many people show a decided lack of restraint.” In the background, I hear Berit say: “Don’t listen to him. He’s never understood creative writing.”

Anders laughs his infectious laugh and continues: “Just keep looking ahead and don’t work yourself to death.” I thank him and wish him likewise before we hang up.

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Anna Lamberg

Anna Lamberg’s intensely charged works reveal gaps in reality. She deals with the all-encompassing and haunting presence of death, the dark and unconscious aspects of life. Her photographs are part of larger installations which create situations and worlds that embrace the visitor. The images have a strong cinematic expression and the constructions resemble sets from horror movies. All together, it creates a peculiar and eerie atmosphere.

Niclas Östlind, curator

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David Molander

Slussen lies at the heart of Stockholm, a structure that organises the logistics of the cross-city traffic. Built in the 1930s it is a para­digmatic example of functionalistic architecture, but in David Molander’s multilayered representation the place is both a living organism and an urban structure. The more he has documented the complex building, the more surreal it has become. Reality seems to escape when it is approached with the objective eye of photography. No aspect of Slussen is overlooked in his work, but – despite all the facts and the overwhelming materiality of the building – the photographs seem fictional and Slussen a ruin of a vision of the future from the past.

Niclas Östlind, curator

Linda Hofvander

Linda Hofvander’s transformation of vernacular objects and situations makes the depicted reality enigmatic and dreamlike. The medium of photography and film – its materiality, history and visual characteristics – is highly present in her body of work, and it is obvious that things are viewed through a camera and a lens and captured on a light-sensitive material. Despite her photographs’ subdued tonality and expression they have a strong impact that grows over time. She combines mind and matter in images with a conceptual and sensual approach in an unusual manner. Surface and depth are one.

Niclas Östlind, curator

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Research

The End of Security – Globalisation and New Capitalism Annika von Hausswolff and Jan Jörnmark An Irish Odyssey – Per L-B Nilsson Hans Hedberg Rephotography in an Arctic Landscape – A Photographic Study as a Dialogue with History Tyrone Martinsson International Research Symposiums in Photography 2009 Tyrone Martinsson Research Strategy

Introduction Hans Hedberg Head of Artistic Research

The research and the artistic development work carried out at the School of Photography can be described as extensive. However, this perspective is based on the size of the school. In terms of all the important and exciting issues that should be investigated in ­connection with photography – a field that, we believe, also includes the transformation of still image production within the digital formats – there remains a great deal, almost everything, to be done.

In order to be able to live with our own ambitions and muster our resources, boundaries are therefore necessary. For this reason, the School of Photography has adopted a research strategy, which is reproduced in this publication. An action plan has also been drawn up, in connection with which a large number of different pilot research projects have been set up – often in partnership with artists and researchers, both within the University of Gothenburg and externally, both nationally and internationally. This probing approach, to investigate in practice what are the most functional forms for artistic research under the School of Photography, is quite simply essential during a start-up phase.

The artificial distinction between theory and practice that is mani­ fested in, for example, the university system’s division of the field of 146 r esearch

art into History of Art and Schools of Art has not had as much of an impact on photography. Photographic education (and now research) has often integrated the different approaches in a less dramatic, more productive and more dynamic manner. One example of research collaboration currently being ­carried out by the School of Photography on the theme of Writing Photographic Histories together with the Hasselblad Foundation reflects this synthesis. So far, this collaboration has resulted in a number of photo­graphic seminars with internationally distinguished artists and photo historians. Another effect is a new one-year m ­ aster’s programme in which different historical photographic genres/approaches are regarded as a starting point for both interpretations and theoretical reflection.

The School of Photography has also recently been delighted to receive support from the Swedish Research Council. Senior ­Lecturer, Dr Tyrone Martinsson has been awarded SEK 2.6 million, and this project is presented here. Internally, too, within the University of Gothenburg, visiting researcher funding and artistic development funding have been awarded to the School of Photography to a greater extent than would be expected in view of the size of the department. Professor Lotta Antonsson, Maja Hammarén, Professor Mika ­Hannula, Professor Annika von Hausswolff and Julia Tedroff are just some of those running artistic development projects financed by the Board for Artistic Research and Development.

Senior Lecturer Per L-B Nilsson also receives funding from the Board for Artistic Research and Development. Since 1965, Nilsson has worked on taking photographs of Ireland, from many different approaches and perspectives. Some of his extensive volume of work is presented in this book.

New work carried out by Professor Annika von Hausswolff is also reported on in this book. Together with Associate Professor Jan Jörnmark from the Chalmers University of Technology and Gothenburg Research Institute, she has created and described environments which, as a result of global economic trends and new capitalism, have been abandoned and fallen into disrepair.

Landscapes and environments are the common denominator of the research and development projects presented in this publication. In a contemporary landscape’s environmental design, with its claims of relevance, it seems to be hard to avoid seeing the economic circumstances that affect the subject. Naturally, this clearly applies in terms of von Hausswolff’s and Jörnmark’s projects. However, it is also relevant to the photographs of Per L-B Nilsson and, to the greatest extent, Tyrone Martinsson. The darker sides of the economic system – arrogance, ruthlessness and greed – are significant when it comes to places being abandoned and falling into disrepair, life on remote islands, and glaciers turning into water. introduction 147

The End of Security – Globalisation and New Capitalism Annika von Hausswolff Professor, School of Photography Jan Jörnmark Associate Professor, Chalmers University of Technology and Gothenburg Research Institute

Gazing upon images from the crumbling school in Detroit, one contemplates the fact that just fifty years have passed since John F Kennedy launched the idea of an American welfare state: We stand on the edge of a New Frontier – the frontier of unfulfilled hopes and dreams, a frontier of unknown opportunities and beliefs in peril. Beyond that frontier are uncharted areas of science and space, unsolved problems of peace and war, unconquered problems of ignorance and prejudice, unanswered questions of poverty and surplus.

The Kennedy and Johnson years were defined by this dream of an American welfare state, the creation of the Great Society. Investments in the already decrepit inner cities, education, housing, culture, healthcare and social support were ambitious. This A ­ merican mustering of strength was not unique, as the path staked out towards the Great Society merely reflected the welfare policies already pursued for several decades in Western Europe.

Pensions, healthcare and a high standard of education were natural elements in the new post-war societies of Western Europe.

In Sweden, we had our own variant of this welfare model. What distinguished us, perhaps, from the rest of Europe was the “efficiency” argument: a technologically perfected social welfare system would boost societal productivity, able to offer “all” citizens a place in the sun. The goal was the same, however, throughout the western world, and differences between the individual nations were fewer than the myth of the Swedish welfare state would have us believe.

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But reality contradicted the dreams of a better world. In the US, the Kennedy brothers were assassinated just a few years apart, and Richard Nixon was elected President in 1968, facing leadership of a nation in a state of economic and moral free fall. The Vietnam War reached its climax, and inner-city uprisings destroyed sections of many classical cities, leaving city blocks reduced to ash and rubble. The Bretton Woods international monetary system collapsed after just a few years, followed by the oil crises and Watergate. In the increasingly globalised climate of competition, industry after industry fell apart.

In both the United States and Europe, this marked the end of the visions of social security. Digitalised networks replaced the state-administered, disintegrating economic systems, spawning deregulation of the capital markets. Deregulation picked up speed, and in Sweden the turnover of the stock exchange increased more than a hundred-fold during the 1980s. Old corporations were bought up and broken apart, and new telecommunications and information industries were launched into a spiral of rapid growth.

The new capitalism also changed the fundamental conditions for how the traditional social security systems worked. Competition quickly increased when market alternatives became readily available. New residential areas were built, outcompeting both the social housing projects of the 1960s and 1970s and the run-down inner cities. Private capital and health insurance schemes were introduced, appealing to the new consumer over the old alternatives. Today, many of the most ambitious projects of the 1950s and the 1960s are in decline. Large social housing projects have been demolished, and in the US there are inner cities that resemble war zones more than anything else. Social security systems have often led to dependence on benefits and class differences becoming even more pronounced.

The concept behind the globalisation project is to describe and analyse these societal and physical changes through photographs of environments that have been abandoned, been outcompeted or died a natural death. Capitalism is a process of creative destruction, where the successes of new production systems build upon weakening of the old. We clearly live in a society where this change is occurring at a faster rate than ever before, and where modern capitalism has shown to have highly unstable elements. The effects are felt in a growing sense of alienation among people in society when faced with the appearance of the new. This alienation is channelled into meaningless nostalgia, often with bizarre political undertones.

We feel therefore compelled in our attempt to explain the framework of globalisation and digitalisation in an apparent and gripping manner. the end of securit y  149

Abandoned School, Detroit, USA , 2010

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Abandoned School, Gothenburg, Sweden, 2010

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An Irish Odyssey – Per L-B Nilsson Hans Hedberg Head of Artistic Research

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What actually constitutes seeing? In a photographer, or in an individual? Perception, as we understand it, seems to be partly a socialised act of volition. We see what we want to see. We see on the basis of given formats, patterns and templates. We tend to see that which confirms our conceptions of the world. We reflect ourselves in reality. We see through our culture’s veils, our culture’s arrangements for – and of – seeing. Arrangements that build up, create and dominate the visual world.

Shocking, unusual impressions and events can break the pattern of habit in these arrangements, opening up a tear in the ingrained automatic approach and shifting the underlying conditions for what we see and what we experience. But at the same time, perception – what we see – is a glimpse into what lies outside the control of consciousness, steered by a language of unconsciousness and connected to desires which, to a varying degree, are hidden from us, both as individuals and as photographers.

Per L-B Nilsson, Senior Lecturer at the School of P ­ hotography, has been taking photographs in Ireland since 1967. During this time he has approached the Irish landscape – and those who inhabit it – from many different approaches, altering his photographic position. These approaches are dependent on the different roles that he has assigned himself as a photographer. And these roles, the differing perspectives that he creates, tell a narrative on the basis of, and engage in constant dialogue with – bracing t­ hemselves against, confirming – the differing contemporary times and their arrangements for seeing.

From 1967 right up to the present day, Nilsson had used a photographic idiom that has come to be known as street photography.

He takes photographs in Dublin, Galway, Limerick, Clifden and Westport. Street photography can be read as an expression of a growing urban society, in which more and more people move in close proximity to each other, within public spaces, without coming into closer contact with each other. The genre often emphasises temporary constellations, encounters which are almost choreographed in their nature, between people’s gazes and bodies in streets, on pavements and on pedestrian crossings, or in public places, pubs and betting shops. It is not uncommon for the genre to convey expressions of different feelings in the human face: arrogance, sorrow, joy, suffering, tenderness, etcetera. These expressions are often ambivalent and absorbing, and often have an evasive existential dimension that creates different types of living conditions – everything from yearning to despair – against the backdrop of the urban environment.

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Walker Evans, Paul Strand, Henri Cartier-Bresson and Christer Strömholm. The latter forms a natural partner to Nilsson’s photo­ graphy, depicting the street children of Dublin. But in contrast to Strömholm’s images, in which children are often given a passive role, sometimes as strange, exotic beings and sometimes as victims, the children who appear in Nilsson’s street photography radiate a sense of self-assuredness, self-confidence and intrinsic value.

Between 1971 and 1995, Nilsson took photographs on ­Inishmaan, a small, isolated island without a harbour. The group of islands to which Inishmaan belongs lies in the Atlantic, off the west coast of Ireland. Inishmaan has had a significant cultural impact, both historically as a Celtic place of worship and more recently, in the 1930s, as the setting for Man of Aran, a documentary produced by the American film-maker Robert J Flaherty. Another important cultural reference is John Millington Synge’s plays The Playboy of the Western World and Riders to the Sea, inspired by stories from his visits to the island between 1898 and 1902. Synge also took photographs, and some of his images are published in the book The Aran Islands. A more recent cultural reference is 1996’s The Cripple of Inishmaan by Martin McDonagh, a play with a postcolonial toolset and postmodern logic, which deconstructs and dramatises the making of Flaherty’s documentary.

Together with a number of Flaherty’s other films, Man of Aran came to have a significant impact on the documentary concept as a method and aesthetic attitude within film-making, and on documentary photography. Flaherty’s breakthrough film, Nanook of the North, about the Inuits of north-east Canada, was a commercial success and enabled him to repeat the concept elsewhere in the an irish odyssey 161

world. Criticism has been levelled against Flaherty’s Canadian ­project in recent years for a number of reasons, such as his censor­ ship of contemporary fishing methods in favour of traditional methods, his unwillingness to help some Inuits who faced great danger while he continued to film them, and his life-long denial of and dissociation from the son he fathered with one of his leading Inuit actresses. However, Flaherty also created a methodology that is still used by photographers with documentary pretensions. He took equipment with him – a not entirely simple process – in order to film on location and then show his films to the performers. And Flaherty did not film actual events, instead staging them with real people after having considered how they could be dramatised most effectively. This method has come to be known as docu-fiction, and formed the starting point for what was later established as a field of knowledge within anthropology: visual anthropology.

It is easy to understand Flaherty’s and Nilsson’s fascination with Inishmaan. Although their visits are separated by half a century, the island is still described as being as close to a time capsule as it is possible to find in Ireland, perhaps mainly due to its isolation. 160 people are now said to be permanent residents on the island. The weak soil has been created by generations of mixing seaweed and sand. Farming and fishing are still carried out using methods that, in some cases, are attributable to years gone by. Celtic remains the dominant language.

Flaherty’s film Man of Aran has also been subject to recent censure, both in The Cripple of Inishmaan and in George Stoney’s 1978 film, How the Myth was Made, which criticises Flaherty’s cinematic and dramatic tendencies. For example, it is pointed out that he

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chose the most photogenic people to make up an ideal ­family, thus disregarding their true relationships, and that he ­persisted in showing only older fishing methods.

Stoney’s criticism is, perhaps, borne fourth in the light of the spirit of the time. In the 1960s and the 1970s, the ideal in terms of documentary claims was, for many photographers and filmmakers, to depict the unstaged, the spontaneous, the untouched – what could be said to be the truth. The meaning of the term “docu­mentary” had thus shifted to some degree away from the dramatised and the formed since Flaherty and others had created it or undertaken it some decades previously. However, a question that was avoided during the 1960s and the 1970s – and which would encounter a strong backlash in the language-critical and postmodern discussion that followed – was that of how the photographer chose, positioned himself within and influenced the environment he photographed. The most extreme conclusions from this criticism would be that no depiction of reality was possible unless that reality was the photographer’s own, and that the clearest and most sincere form of narrative was that which is staged or fictional – the form that makes no claim to speak on behalf of anyone else.

When Nilsson documents Inishmaan, he takes different approaches to these arrangements for seeing and photography. In keeping with the spirit of the time, he does not begin his documentation by directing the people in his subjects – he acts differently to his predecessor Flaherty. Instead, there is a dialogue with other photographic depictions of islands: Paul Strand’s Outer Hebrides and Chris Killip’s Isle of Man. The American David Plowden’s way of working with the narrative by putting together images 164 r esearch

in sequences is another point of reference. The few people who appear in Nilsson’s photographs from Inishmaan act according to their own preferences. Like Flaherty, he gives his images back to those whose reality he documents, creating trust, contact and dialogue. But unlike Flaherty, Nilsson establishes a lasting relationship with the landscape and its inhabitants – contact which lasts for decades. Nilsson’s attitude is close to some of the classic ideals of social anthropology: sympathetic observation, prolonged communication, the low profile of the observer and the intense attempt to understand the other party.

Nilsson’s version of Inishmaan is primarily a classic narrative project. Living conditions are shown and expressed. The endless days of toiling in the struggle against the elements, protected by stone walls, is depicted unobtrusively. The sense of exposure at the mercy of the sea is portrayed. The relationship between the people and their relationship with the landscape are clear.

But in this narra­tive about the lives of others, there is also – as with every romantic landscape painter – a subject that speaks, expresses and affirms. It can also be assumed that, to some degree, Nilsson reflects this b­arren, isolated, harsh, unfamiliar and ­ naked, v­ ulnerable landscape.

After completing his documentary series on Inishmaan, ­Nilsson began working in 1997 on Connemara Pictures, a project that would take him ten years. This represented a major change in terms of approach, subject and aesthetics. The subordinate attitude that a documentary photographer takes in relation to his subjects and his narrative can be discerned and identified even in the first photographs in Connemara Pictures. But there is soon a distinct shift towards other values. The sense of realism becomes more preoccupied by atmosphere. Something mysterious, maybe even threatening – certainly something unspoken. Edward ­Hopper announces his presence as a frame of reference.

But Nilsson does not come to a halt with Hopper – in a language which many more subjective documentary photographers have made their ideal – but continues his journey into a more dramatically pared down, disbanded, unformable, hardly – as yet – linguistic experience of reality. A stage set appears, where ordinary buildings and normal objects take on an unreal character, as if made from paper; alien, yet eerily familiar. Fragile and fabricated. In contrast to Inishmaan, there is no transparency here. The fragment is the constant centrepiece, and the onlooker is united with the photo­grapher in decoding the emotional status of these fragments. This is not an assignment with a clear outcome or an obvious answer. But Nilsson’s photographs feel particularly relevant to our time, our experience and our situation.

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for seeing, for our perception and an aesthetic that we can recognise as our own. The ambivalent feelings that Nilsson’s fragment awakens and his way of photographing them is shared by many of the School of Photography’s students. They share the same subjects, working in a similar way and presumably on a similar basis.

As if to resist all simple categorisations, Nilsson has worked since 2007 on yet another narrative project entitled The North, Derry and Belfast. Like many photographic artists he deftly changes his approach, to the distinct annoyance of those who conservatively crave predictable development and consistency. In this series the focus is on political history, through Nilsson’s interpretations of charged environments. The photographs show locations from Northern Ireland such as Derry’s Bogside with Free Derry – the ­Catholic area that declared itself independent in 1969 and where the Catholic protests, the uprising against discrimination, began.

In Belfast, Nilsson has photographed Falls Road, where the conflicts between Catholics and Protestants have led to deadly flareups, the Protestant Shankill Road and the absurd Peace Wall, a wall several kilometres in length that divides the Catholic and Protestant areas – in reality, 40 separate walls and barriers.

This most recent Nilsson project also connects to the introductory question in this text, but in an expanded form. What actually constitutes seeing? In an epoch? In a time? In a society?

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Rephotography in an Arctic Landscape – A Photographic Study as a Dialogue With History Tyrone Martinsson Senior Lecturer

This cross-disciplinary research aims to rephotograph Swedish landscape photographs from Svalbard and through a dialogue with history perform a visual comparative study of the contemporary Arctic landscape to argue about the future.

This research project is concerned with an investigation of place and change over time and the understanding of a change in the wilderness landscape of the Arctic, in Svalbard, due to global warming. It is about the perception of the Arctic and relates to the production and representation, historical context, contemporary applications and interpretations of historical photographs through rephotography. Photographic studies on site, in the field, based on historical photographs and using the method of rephotography, gives us images of the present and the past that speak beyond the possibilities of written records. The result is a visual record – photographic documents and artistic representations – as Ansel Adams repeatedly defined the photograph. It is that dialogue between science and art that lays within Adams definition of the photograph that is one of the key motivations for this work.

The project is based on Nils Strindberg’s and Gerard De Geer’s 1896 photographic surveys in Svalbard of the area around ­Amsterdamøya and Danskøya and in Isfjorden. Svalbard is an area in the Arctic that is closely connected to Sweden’s activity in the Polar Regions. It has a special place in our polar and scientific history. The archipelago has no indigenous people. It is a land that man has come to for natural resources and the Wildness, to use ­Thoreau’s term. It is a political place with a dramatic history from its discovery by the Dutch in 1596 to its present position within a presumed future area for the exploitation of natural resources hidden in the Arctic sea. Svalbard has seen it before, and visible all over the coastal areas are the traces of human activities, spurred by economical interests or political and military strategies, neither interested in preserving the Wildness of the North. Even tourism begin 174 r esearch

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to wear heavy on the land, but is a source for public opinion on preservation which of course raises interesting and complex issues on how we can avoid to love wilderness to death. How do we value wild places? How do we communicate a value that works outside of our economical systems? As Aldo Leopold wrote “wilderness is the raw material out of which man has hammered the artifact called civilization”. Photography is one way of communicating a need to preserve the remaining pockets of that raw material.

The use of rephotography for environmental issues has a tradition in North America. The landscape and wilderness areas in Svalbard can be compared to that tradition and particularly work in the, very different yet similar, desert lands of the American West.

The literature on landscape photography and the American West is vast. Within this project the practice of photo­graphic research is to, through critical reflection and research analysis, be part of and contribute to the study of landscape and photography in a larger context of environmental science engaged in understanding a decline in living landscapes and of the changing environment in the Arctic. The comparison of photography for environmental work in a North American tradition expands analysis and asks new questions regarding the changing landscape in the Arctic, as well as contributes to the development of theories and empirical work in the studies of landscape and photography from a Swedish perspective, in a Northern European context. There is much left to do on landscape photography in Sweden and the Arctic in general where the literature is very limited. Compared to the American tradition the studies and literature on landscape, nature and the environment and photography is almost non-existent in Sweden.

Lacking in Swedish polar history is a comprehensive study of the use of photography on expeditions and in fieldwork here the aim is to create a base for such a study ranging from Nordenskiöld’s early expeditions to the 1980s Ymer expedition and beyond.

During the fall of 2009 I conducted a research survey of a large number of photographs from various Swedish Arctic expeditions from the 1870s to the 1980s housed in several archives at different Swedish institutions. Photographic research is here applied to act as a way to show how photographs as artistic representation can communicate narratives and data in photographic documents.

Through rephotography of 19th century landscape photographs, new visual records can be created not only to be used for comparison with historical data but also offer a base for future comparisons.

The changes revealed in the micro example of northwest Svalbard are part of environmental issues on a global scale. Vanishing landscapes and modern times direct and indirect damage to the limited wilderness areas left on earth due to industrial development, r ephotogr aphy in an arctic l andscape 177

over population and massive exploitation of natural resources, are issues that raises questions far beyond this project but is certainly part of it. What future has mankind when the wild places and the beauty and enchanted natural places are gone or forever changed and destroyed? Rephotography offers a possibility to see changes over time and to learn more about the work of the 19th century photographers. Rephotography also creates interesting questions regarding time and place and viewpoints in representations of landscape and, equally important, reveal what was not photographed and raise questions on how a landscape is portrayed is influenced by the photographers experience and cultural references. Photography can be used to study this process of making the landscape, perceptions of the Arctic as a frozen northern land – the very concept of the Arctic wilderness – as well as the changes to those perceptions.

Photographs offer a direct and detailed comparison of change and raise questions about the future. What will this place look like in twenty, fifty, a hundred or even just ten years? How will the concept of a frozen north change and thus our perceptions of the Arctic? If the ice is gone, the seal will decrease and the polar bears will be gone, what will then be the characteristics of the Arctic?

Finally, the research project contributes to the history of photo­ graphy as the original photographs to be used are yet to be introduced to a national and international context of photo history and expedition photography. In a society with a strong visual culture, a visually rich project, contextualised and critically incorporated within research, can make an impact in that society far beyond the research community and the cultural establishment. I believe that when practice based photographic research meets with scientific disciplines new ways of studying and communicating issues regarding man and nature, landscape and the environment are born.

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International Research Symposiums in Photography 2009 Tyrone Martinsson Senior Lecturer

In autumn 2009, three symposiums were arranged in Gothenburg with leading international photo historians, with the aim of ­creating a more direct focus on developing research within photo­graphy and initiating work on photographic history from a S­ wedish perspective.

This was also part of the process of developing the right conditions for creating a stable research environment within the field of photography at the University of Gothenburg’s School of ­Photography, in partnership with the Hasselblad Foundation. A thematic symposium on landscape photography was also arranged, focusing on man’s impact on the environment. This symposium was linked to 2009 Hasselblad Award winner Robert Adams’ commit­ment to nature and the environment, as well as the topical interdisciplinary issues relating to photography, history, nature and environmental and climate research to which this is connected.

The aim of the symposiums is to develop research within the field of photography by laying the foundation for working under a joint editorial umbrella to come up with a number of themes r­ elating to Swedish photographic histories, in which chronology and thematic perspectives overlap and complement each other. Each participant at the 2009 symposiums added a perspective on the study of photo­ graphy, and contributed experience and dialogue on the development of the theme of Swedish photographic history studies.

Another ambition is that this photographic history project should also involve the more practical aspects of photography. We want to contribute towards trying to include the practising photo­ grapher’s, field researcher’s or artist’s perspective of the work relating to the history and theory of the photographic image. We also want to work towards developing practice-based attitudes towards research in photo­graphy, in which interdisciplinary dialogues are a matter of course. This perspective is important, not least in terms of the exchange between academic research and artistic/practice-based research, as well as in relation to research carried out by other disciplines. The School of Photography is in the middle of development work in connection with research. As part of this process, a research strategy has been adopted at the School, and two lines of research have evolved as the initial focus of the School’s research environment.

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One of these lines of research is Simulation, in which the focus is on the future of photography, and the challenge relating to the increasingly advanced synthetic image in relation to how we currently perceive photography as a medium is investigated and problematised. The other line of research, Doing History, is a concept based on the dialogue with history through photo­ graphy in which collections, archives and museums constitute the basis for investigations and studies of photographs as documents and artistic representations. This latter line of research is also ­connected to photographic history studies and the reuse of photo­graphs through rephotography in different contexts and inter­disciplinary collaboration.

Photography is an interdisciplinary practice with many different focuses and applications, in which the technology has undergone major changes and development in recent decades. The symposiums and the field of research to which these are linked are intended to reflect the versatility of photography. We also want to create a broad methodical means of ingress into the research field of photography. The symposiums in autumn 2009 attracted a great deal of attention within the subject field, and an excellent network of contacts was built up for future work to develop and establish the School of Photography as a national research environment in photography, and from an international perspective, in which the Hasselblad Foundation is an important and well-established part of this development.

Some of the internationally best known photo historians were invited to the symposiums. We also invited artistic practitioners who work within photography with a dialogue with photographic history and with connections to landscape, nature and man’s impact on our environment. The invited guests gave their perspectives on various elements and specialisations within the latest and leading international research within the field of photography. The guests held half-day seminars and then took part in smaller p ­ ost-seminar meetings which focused specifically on research methodology within photography. The following guests came to Gothenburg: Professor Michel Frizot Professor Frizot is Professor of Photography and Director of Research at CRAL EHESS (École des Hautes Études en Sciences Sociales). He has worked on and published a number of books and articles about photography over a long period of time, and is often engaged internationally as a lecturer and keynote speaker.

His publications include A New History of Photography (1998), Photo Trouvée. Amateur photographs collected together with Cédric international r esearch symposiums in photogr aphy 2009 183

de Veigy (2006) and Henri Cartier-Bresson’s Scrapbook: Photographs 1932–1946 (2006). In recent years, he has worked to revitalise studies of the photographic image. He has attempted to find ways to escape the deadlocks of academic traditions which are not founded on photography, in order to broaden the study of photography and bridge the linguistic barriers to the medium that were created at the turning point between modernism and postmodernism.

Professor Geoffrey Batchen Professor Batchen is Professor of Photography and Contemporary Art at the City University New York. He has published a number of articles and books about photography, and is often engaged internationally as a lecturer and keynote speaker. His published works include Burning with Desire: The Conception of Photography (1997), Each Wild Idea: Writing, Photography, History (2001) and Forget Me Not: Photography and Remembrance (2004). He teaches subjects including writing photographic history, and much of his work focuses on investigating the study of photography. He has written on subjects including the development of photography’s history, theory and cultural significance.

Professor Michael Lesy Professor Lesy is Professor of Literary Journalism at Hampshire College. He has published a number of works within the field of photography since his most discussed work, Wisconsin Death Trip from 1973. Recently published works include Long Time Coming: A Photographic Portrait of America, 1935–1943 (2002), Angel’s World: The New York Photographs of Angelo Rizzuto (2005) and Murder City (2007). He is engaged internationally as a lecturer and keynote speaker, and is also involved in photographic research and its methods, specialising in fields such as visual literacy. This field is largely about learning to read photographs, and works using tools to find methods for studying photographs, what photographs can communicate in archives, narratives that photographs can convey and how we arrive at these.

Professor Elizabeth Edwards Professor Edwards is a Senior Research Fellow at the University of the Arts London, London College of Communication. She has published a number of articles and books about photography, and is often engaged internationally as a lecturer and keynote speaker. Her published works include Anthropology and Photography 1860–1920 (1992), 184 r esearch

Raw Histories: Photographs, Anthropology and Museums (2001) and Photo­graphs Objects Histories: On the Materiality of Images (2004), which she edited together with Janice Hart. She has worked for many years with the cultural function of photography and its status as an artefact in collections and archives, as well as what photography can communicate. Photographs as historical documents and material objects, and the interpretation of these are recurring themes in her work.

Museum Director Colin Westerbeck Westerbeck is Director of UCR California Museum of Photo­ graphy. Westerbeck has long worked with photography, and was curator of photography at the Art Institute of Chicago for many years. He is often engaged internationally as a lecturer and keynote speaker, and has recently worked with the photographer Robert Adams. His publications on photography include Irving Penn: A Career in Photo­graphy (2007) and Joel Meyerowitz (2005). He writes regularly on photography for journals and photography publi­cations, and regularly undertakes lecturing engagements.

Professor Mark Klett Professor Klett is Professor of Art at Arizona State University, and has worked with landscape photography in southwest USA since the mid1970s. He is often engaged internationally as a lecturer and keynote speaker. He is best known for his rephotographic works Second View: the Rephotographic Survey Project (1984) and Third Views, Second Sights: A Rephotographic Survey Project of the American West (2004). These rephotographic works are collaborative projects, and also resulted in Yosemite in Time: Ice Ages, Tree Clocks, Ghost Rivers with Rebecca Solnit and Byron Wolfe (2005). He is currently working with Byron Wolfe in the Grand Canyon on the project Charting the Canyon. He has worked on dialogues with historic photographers and photographs.

On the basis of experience-based work, Klett provides an opportunity to understand how photography was used to create places, and how we can use images to observe changes over time. Recurring themes in his work include time and the representation of location, as well as our relationship to our environment and man’s impact on the landscape.

Photographer and photographic researcher Stevie Bezencenet Bezencenet has been involved in research and research education within photography for many years as Principal Lecturer at the ­University of Westminster, London. She published Photographic international r esearch symposiums in photogr aphy 2009 185

Practices: Towards a Different Image in 1987, and has contributed towards many ­exhibitions and anthologies. She has a particular interest in landscape photo­graphy and female photography. Her many years of experience in practice-based research are a major asset in discussions relating to research methodology within the field of photography. She has also worked particularly with the landscapes of both the UK and the US. Her approach often comes from a feminist perspective in the study and representation of nature and landscape.

Photographer Gerry Johansson Johansson is one of Sweden’s best established and most prominent landscape photographers. He has worked both in Sweden and internationally for several decades. Like Robert Adams, he has used books as one of the main forums for publishing his photographic series from different countries and locations. His publications include ­Halland.

30-tal och 80-tal (Halland. 1930s and 1980s, 1985), Amerika / Gerry Johansson (America / Gerry Johansson, 1988), Sverige / Gerry Johansson (Sweden / Gerry Johansson, 2005) and Ulan Bator (2009). He was also involved in the Swedish project ekodok-90, which dealt with photo­ graphy relating to the ecological landscape.

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Research Strategy School of Photography

Why is a Research Strategy Needed?

This question seems justified at an institution where research is largely conducted within the framework of third-cycle courses, even though there are currently ambitions (reflected in the School of Photography’s vision) to create external research projects. Some discussion partners have also expressed fears that an institutional adoption of a research strategy could restrict or exclude freedom and good ideas.

The institution’s subject development responsibility counters this view however. In the subject of Photography, this responsibility is unique in Sweden. Not taking a stance in this discussion would hardly be living up to this responsibility. What issues are critical and what should be analysed in relation to how photography has developed and changed during our time? To what degree are the hopes and ideas for changes that are linked to the digital format realistic and desirable? The institution should probably ask itself these kinds of questions and try to offer hypothetical answers, opinions, ideas that can constitute the basis for their incorporation into study programmes and artistic practise. Definite answers may be impossible or even undesirable. But the questions drive development and thinking around photography. Even hypotheses that may later be considered incorrect or less relevant are of value.

They give students, the faculty board and the institution a point of resistance. In this way, conflict and debate between different approaches, views of reality or ideas become drivers of knowledge.

The institution is also responsible for subjects that go beyond the people who work there. A responsibility that should be maintained when people who are currently active within the institution have left. Thus it is also desirable that their contribution to the knowledge base can still be identified and linked. An aimless search for new knowledge without dialogue with the critical mass that the School of Photography can – and does – constitute, is less likely to contribute to the primary aim of academic institutions: to formulate, gather and convey new knowledge. A critical mass is also a context with limitations; if it is to become dynamic and functional, the people involved must feel there is a degree of urgency in the issues raised by the research. r esearch str ategy 187

Discussions have also revealed opinions about what should formally be included in a research strategy, and led to criticism of a strategy that would prioritise some areas in favour of o­ thers.

This could be considered a question of circumstances and context rather than principle. But the institution should have the same freedom and rights as individual researchers to formulate its research questions and survival strategy. In the School of Photo­ graphy’s case, the issue is how much a diversified research environment like this relatively small institution can offer without sacrificing its dynamics and effectiveness, and how many different competencies the School of Photography can afford to support. It can always be claimed that each decision is a question of normative encroachment that thereby restricts freedom and opportunity. But many artists and researchers have the opposite experience of limitations, specifically that they are necessary for initiating work processes and that limitations hold the key to getting something said or interpreted.

Added to this is the institution’s need to carve a niche for itself – especially at international level, perhaps – in an increasingly competitive education and research environment. The School of Photography’s desire to live up to its international ambitions also requires standing for its content perspectives, which are communicable and can make the institution recognizable; i.e. a desirable reputation for “that is where they work – successfully – with…” This kind of clarity and visibility also creates benchmarks and starting points for potential networks within the Faculty of Fine, Applied and Performing Arts, the University of Gothenburg and other national and international a­ cademic institutions. This gives the institution a navigational compass in its search for partners and competence.

The School of Photography is currently in a construction stage in regard to research – in addition to the research that is already conducted by doctoral students. But this shortcoming also creates opportunities. At the same time, a strategy cannot emerge without a history or context. As such, the focus of the research conducted by doctoral students, where only a few have defended their theses so far, is important. It is also important to try and identify what characterises the School of Photography today and the needs that may exist for new knowledge within first cycle courses. And a research strategy should focus on what could be at risk within the subject of photography in the future.

The present proposal proceeds from an outward movement.

What is the embryo of research focus and issues today? How can these be refined and defined? Instead of trying to base the ­definition of The School of Photography on an external analysis and then adapting the school to a strategic position in that external world, 188 r esearch

the spirit of this proposal is rather to use existing trends within the School of Photography as a map for discovering and establishing contacts in the external world.

Area 1 Professor Elizabeth Edwards, visual anthropologist and historian, speaks about photography as a source of articulation for history and memory. That which in Edward’s case applies for individuals and groups, also applies in a transferred sense for markets, communities and states. The precondition is the photo’s index, which is a unique and distinctive feature of photography compared to many other artistic representations and narratives, but that has points in common with other types of recording apparatus that provide a basis for a close realistic interpretation. The photographic image accommodates an historic and contemporary, dynamic and productive, tension between a subjective representation and an impression of something at a certain moment of reality. Or inversely, a tension between an image convention’s violation of reality and the real nonconformance (in reality) of the object in relation to this convention.

The School of Photography has a strong tradition of working interpretively, critically and inquiringly with photographic conventions and problems, especially historical. This includes observing their influence in relation to an individual and collective identity, and reflecting the established and designed aspects of conformity. This is demonstrated by Lotta Antonsson, for example – Professor of Photo­graphy – who in one of the discussions that underlies this statement says, “My own work tries – amongst other things – to critically analyse established photographic conventions as normative, to routinely and invisibly convey, give value, meaning and attitudes in our everyday lives, historically or in the present.

The task that I have given myself is to try and reveal, reformulate and displace these s­ tories, conceptions, power systems, dress them in another grammar, give them another interpretation.” Lotta Antonsson’s approach is not far from how Annica Karlsson Rixon – doctoral student in photography – works to create alternative visual representations for patriarchal historical image formats or the deconstructive transformation that Cecilia Grönberg – doctoral student in photography – exposes whole archives to. Or how Lasse Wallsten – doctoral student in photography – reformulates, transforms and critically reviews conventions for visual evidence.

Niclas Östlind – doctoral student in photography – also focuses on time-emblematic historical and artistic issues when, by reconstructing three important exhibitions from the 1970s to the 1990s, he writes and rewrites Swedish photographic history. r esearch str ategy 189

The School of Photography has also recently started a secondcycle study programme in photography which focuses on practical and/or theoretic writing or “doing”, processing different photographic formats. The starting point can be archives – in museums or companies, or owned by photographers – which also involves paraphrasing, revealing, processing, critically reviewing and transforming. During autumn 2009, the programme began with a number of seminars by an internationally acclaimed photography historian who gave different perspectives of the task – self-imposed or commissioned – of writing photographic history.

There are also a number of student projects alongside of the second-cycle programme that work with similar problems, at both first and second cycle levels within “ordinary” programmes.

Elizabeth Edward’s perspective of photography as a source of articulation for history and memory is thus well maintained with critical approaches within the institution. The perspective accommodates distanced critical observations from a number of different instrumental practitioners, both artistic and commercial.

Although the School of Photography’s research can only be described as under­developed, there is already a solid base to build upon and continue cultivating. If we consider the critical task of academic institutions, the approaches described above would only seem natural for a school of photography.

This area could be called Doing History.

The area could also become one of University of Gothenburg’s profile areas where the Faculty of Fine, Applied and Performing Arts plays an active role, specifically for Cultural Heritage.

Area 2 The discussions within the School of Photography faculty reveal that many people are concerned about what the shift from analogue to digital imaging implies for photography as realistic representation, as documen­tation, as an index and as a form of art. The School of Photography has now focused on this shift in various ways – by incorporating the Digital Representation research programme – department heads, supervisors, doctoral students – and by the temporary recruitment of guest professor Lev Manovich, one of the world’s most noted theorists of digital media, who was actively involved in the university for a period. But the relationship between analogue and digital photographic perspectives is also a living discussion in relation to many of the interpretive works produced by students from first to third cycle level. A quick glance backwards shows the contours of something urban built around the mass, a growing industrial production of goods and 190 r esearch

consciousness that in the world of art gives inspiration for a slow farewell to manual work. Ever since Duchamp finished painting in 1912; from his Fountain and Bottle Dryer via Warhol’s persistent appropriation of other people’s pictures to the 1980s establishment

by Richard Prince and others of advertising images in galleries, until the present and the School of Photography students’ way of working with different web-based image databases for their works.

The development has partly confirmed Baudrillard’s thesis on the hyperreal, i.e. that images/photos/films that were once created with the purpose of representing reality have now become their own “reality” without claiming or needing to carry the burden of representation and that these photos are now re-used in circulation to manifest new types of meaning. Digitization of the image format has further strengthened the distance between reality and representation; the format can be edited, and a conceivable reality can be simulated to a degree and with a speed that was previously considered impossible or unimaginable Even though the significance of the digital shift for our culture should still be considered unclear – the way we think, our emotions, to be born, to be human, in short, our predicament – it is obvious that the digital simulation capacity will affect us and probably upset our perception of our place in the world. Here, the photographic/digital formats respond to an intricate web of systems simultaneously; our bodies, our perception and desires, technology and the distribution of data/information, aesthetics and image conventions, etc.

For photography – as a handed-down system of production and consumption of images – the shift implies that the system’s self-understanding is sent into a state of flux and that new intellectual constructs are created. Accordingly, there are at least two reasons for being interested in simulation as a field of research: the medium-specific and the sociocultural. The relationship with photographic formats is essential in both cases.

This field of research could be called Simulation.

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Chronicle

Tutors, PhD Students and Staff Visiting Tutors Courses Exhibitions Books by Tutors and Students Students

Tutors, PhD Students and Staff Lars Lindkvist – Senior Lecturer, Head of School Tyrone Martinsson – Senior Lecturer, Director of Studies MA Hans Ekelund – Lecturer, Director of Studies BA Hans Hedberg – Head of Research Sven Andersson – Professor Lotta Antonsson – Professor Mika Hannula – Professor Annika von Hausswolff – Professor Anneé Olofsson – Professor Per LB Nilsson – Senior Lecutrer Peter Boström – Lecturer Maja Hammarén – Lecturer Pelle Kronestedt – Lecturer Julia Tedroff – Lecturer Cecilia Grönberg – PhD student Annica Karlsson–Rixon – PhD student David McCallum – PhD student Marco Munoz Campos – PhD student Arne Kjell Vikhagen – PhD student Lars Wallsten – PhD student Niclas Östlind – PhD student and Lecturer Marit Albertson – Personell Administrator Magnus Bernvik – Coordinator Christina Dege – Head of Administration Mia Lockman–Lundgren – Administrator Åsa Nord – Financial Coordinator Göran Danielsson – Technician Jens Tore Holst – 1:st Luthier Thomas Schön – Technician Elisabeth Welander – Human Resources Officer

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Visiting Tutors

Lars Olof Gustafson

Johannes Samuelsson

Cecilia Hallin

Anna Samuelsson

Kerstin Hamilton

Kalle Sanner

Henrik Andersson

Pontus Hammarén

Tanya Shehan

Henrik Andersson

Per Hanstorp

Jakob Sjöstedt

Jerker Andersson

Lars-Erik Hjertström Lappalainen

Johan Sjöström

Geoffrey Batchen

Christina Hunnervall

Jemima Stheli

Stevie Bezencenet

Helga Härenstam

Anna Strand

Nina Bondeson

Tobias Jansson

Henrik Sundblad

Nicolas Bourriaud

Kari Jantzen

Gertrud Sandqvist

Torbjörn Briggert

Jan Töve Johansson

Fredrik Svensk

Christel Brost

Gerry Johansson

Jan Svenungsson

Magnus Bärtås

Jan Kaila

John Tagg

Trinidad Carrillo

Johanna Kallin

Vibeke Tandberg

Pierre Coinde

Leif Karlén

Anna Tarschys

David Crawford

David Karlsson

Anna Tellgren

Lene Crone Jensen

Annica Karlsson Rixon

Briggert Torbjörn

Mark Curran

Diana Kaur

Ulla-Lisa Tordén

Kajsa Dahlberg

Mark Klett

Karin Wagner

Anna Dahlgren

Gunilla Knape

Lars Wallsten

Anna Danielsson

Henrik Lagerberg

Colin Westerbeck

John Digance

Maria Lantz

Johan Westin

Marius Dybwad Brandrud

Karl Larsson

Christian Wideberg

Magdalena Dziurlikowska

Michael Lesy

Elin Wikström

Elizabeth Edwards

Karin Lindh

Hendrik Zeitler

Pelle Ehn

Peter Lundberg

Pernilla Zetterman

Robert Eklund

Annica Lundén

Niklas Östholm

Power Ekroth

Ulf Lundin

Patrik Elgström

Thorbjörn Magnusson

Katarina Elvén

Anthony Marcellini

Krister Engström

Helena Mattsson

Magnus Engström

Laura Mott

Annika Eriksson

Tova Mozard

Gösta Flemming

Christian Nilsson

Michel Frizot

Gary O’Dwyer

Anna Ganslandt

Nils Olsson

Cecilia Gelin

Jussi Parikka

Mara Lee Gerdén

Julia Peirone

Ann-Charlotte Glasberg Blomqvist

Lina Persson

Petros Gougoulakis

Frans Josef Petersson

Dave Green

Sinziana Ravini

Michael Grenmarker

Lovisa Ringborg

Oscar Guermouche

Jenny Rosengren

Sara Gunn

Michelle Marie Roy

Fredric Gunve

Jelena Rundqvist chronicle 195

Courses

Experimental Cinema Documenta History of Photography and Video Art

Bachelor Degree Courses, First Cycle

Photographic Summer Project Digital Photography – Introduction

Critical Studies

Analogue photography – Introduction

Topic: Hff

The Creative Documentary

Topic: Object, Image, Desire and Communication Topic: Photography, Narration and Archives

Master Degree Courses, Second Cycle

Topic: Conceptual Photography Topic: Privat/ Public

Critical Studies

Topic: Feminist Strategies in Photograhy and Fine Arts

Topic: Hff MA

Topic: Photograhy and Object

Art and Culture Theory A

Topic: Home/Homelessness

Art and Culture Theory B

Topic: War and Photography

Artistic Pedagogy A

Topic: Post-media Aesthetics

Artistic Pedagogy B

Topic: Intersectionality in Art Practice

Art and Text

Topic: Microfictions and Narratology

Advanced Photography in Graphic Design

Topic: Photography and Data Visualization

The Histories of the Photographic Image –

Topic: Nature Photography Independent studies Indepth Theory Art and Culture Theory A Art and Culture Theory B Photography and Communicaiton A Photography and Communicaiton B

Theory and Research I The Histories of the Photographic Image – Theory and Research II The Histories of the Photographic Image – Theory and Research III The Histories of the Photographic Image – Theory and Research IV

History of Photography

Underwater Photography

The Camera

Modernity Retired

Photography Lighting

Academic Writing

Digital Image Preparation

Photographic Summer Project MA

Digital Colour Management

Independent studies

Digital Retouch Fine Art Digital Printing Color and B/W Animation and Postproduction Photography in Graphic Design Web Design Digital Asset Management Digital Video Production: Lighting Technique/Audio Recording Digital Video: Camera / Editing / DVD Authoring The Analogue Colour Process The Analogue Black and White Process Photographic Silkscreen Workinglife Knowledge for Photographers Artistic Education 196 chronicle

Exhibitions

Books by Tutors and Students

Sätt att beskriva / Ways to Describe, Linda Hofvander,

2010

Galleri Monitor.

Everything is Borrowed, Erik Berglin, Galleri Monitor.

Hello Darkness, my old friend, Kim Westerström in collaboration with Ingvild Hovland Kaldal, Galleri Monitor.

Lova mig att ingenting kommer att hända, Anna Lamberg, Galleri Monitor.

Bilder från ett modernt äventyr, Johannes Samuelsson, Galleri Monitor.

Välkommen, förbipasserande, Kerstin Hamilton, Galleri Monitor.

Nu inser du att jag samlat på dig, Anna Strand, Malmö konsthall, Malmö, 2010.

Album, Kalle Sanner, Blackbook Publications, ­Gothenburg, 2010.

Röst!, Annica Carlsson Bergdahl; photography: Jerker Andersson, Carlssons bokförlag, Stockholm, 2010.

Ways to describe, Linda Hofvander, Blackbook ­Publications, Gothenburg, 2010.

What do you mean by that METAPHORS, Signe Vad, Blackbook Publications, Gothenburg, 2010.

Clouds of Witness, BFA 2010, Röda Sten.

An Urban Anatomy, David Molander, 2010.

Det verkar som verklighet, MFA 2010, Göteborgs konsthall

Välkommen, förbipasserande: dagboksanteckningar och

The Mutual Friend, Spring exhibition, Galleri Monitor and Storgatan 43.

Everone their own Historian, students from Analogue and Digital Photography – Introduction, Galleri Monitor and Storgatan 43.

Surrounded by Seven, MFA 2011, Allingsås konsthall.

Monday Projects, Project Gallery.

Döda kompositörers sällskap, Agnes Holmström, Galleri Monitor. dessa historier började i verkligheten, men slutade i fiktionen, Lotta Törnroth, Galleri Monitor.

fotnoter, Kerstin Hamilton, 2010.

Att skriva ett modernt äventyr, Johannes Samuelsson, it-is förlag, 2010. sprickor och andra sprickor, Karl-Johan Stigmark, OEI editör, Gothenburg, 2010.

Fläckar, ord, Karl-Johan Stigmark, OEI editör, Gothenburg, 2010.

DER, DAS BUCH, DIE, Christofer Näsholm, 2010.

The Limbo Pictures, Lovisa Ringborg, Bokförlaget Arena, Malmö, 2010.

Om grönska: gröna växter för vackrare trädgård,

Creative Sound Wave Stimulate Brain,

Gabriella Dahlman, Ica Bokförlag, Västerås, 2010.

Cora Hillebrand, Galleri Monitor.

Pure architecture / Åke E:son Lindman, essay by Niclas

World of Sleepers, Come Dream Your Vision, Lina Rojzman and Lotta Nordin, Galleri Monitor.

Solros, Simon Blanck, Galleri Monitor.

Konst eller vetenskap, försök #1, Joachim Fleinert and Martin

Östlind; interview by Julia Tedroff, Bokförlaget Arena, Malmö, 2010.

Bländande bilder (återuppförd) / Dazzling Pictures (reenactment), Niclas Östlind, Gothenburg, 2010.

Jacobson, Galleri Monitor and fasad Storgatan 43.

2009 Stationshus: järnvägsarkitektur i Sverige, Gunilla Linde Bjur; Krister Engström, Balkong förlag, Stockholm, 2009.

Gravity, Kalle Sanner, Farwell Books, Gothenburg, 2009.

Crows, Mårten Lange, Farwell Books, Gothenburg, 2009.

Apan är rädd, Simon Berg, Blackbook Publications, ­Gothenburg, 2009.

Sprinten, Kalle Sanner, Blackbook Publications, ­Gothenburg, 2009. chronicle 197

Anomalies, Mårten Lange, Farwell Books, Gothenburg, 2009. 2007 The looking glass photos, Helga Härenstam; Ylva ­Smedberg, Helga Härenstam, Gothenburg, 2009.

Sudden Death, Valdemar Lindekrantz, Scopium, ­Gothenburg, 2009.

Ich bin die Ecke aller Räume, Annika von Hausswolff ; essays: David Neumann; John Ajvide Lindqvist; Malin Hedlin Hayden, Magasin 3 Stockholm Konsthall, Stockholm, 2007.

2008

Machina, Mårten Lange, Farwell Books, Gothenburg, 2007.

Woodland, Mårten Lange, Farwell Books, Gothenburg, 2007.

The Last Golden Frog, Helena Blomqvist, Angelika ­Knäpper Gallery, Stockholm, 2008.

Naini and the Sea of Wolves, Trinidad Carrillio, poem by Sara Hallström, Farewell Books, Gothenburg, 2008.

Dharavi: Documenting informalities, editing: Jonatan Habib Engqvist and Maria Lantz, The Royal University College of Fine Arts, Stockholm, 2008.

Still films, Ulf Lundin; Gil Blank, Galleri Magnus Karlsson, Stockholm 2008.

Refricater: porträttserier, Christer Järeslätt, Sanatorium, Stockholm, 2008.

Den vilda trädgården, Gabriella Dahlman, Natur och kultur, Stockholm, 2008.

Brudar, Annica Carlsson Bergdahl; foto: Jerker ­Andersson, Carlsson, Stockholm, 2008.

Bygga skorsten (Building chimneys), Jan Svenungsson, Atlantis

ABC mer, John S. Webb, LL -förlaget, Stockholm, 2007.

Killar, Annica Carlsson Bergdahl; photo: Jerker Andersson, Carlsson, Stockholm, 2007.

An Artist’s Text Book, Jan Svenungsson, Helsinki Finnish Academy of Fine Arts, Helsinki, 2007.

Man versus nature, photographs by Joakim Karlsson, JKF Photo, Helsingborg, 2007.

Various parts corners world, Karl-Johan Stigmark, OEI editör, Gothenburg, 2007.

Public loudspeakers: information and disinformation, ­ Henrik Rylander, Kning Disk, Gothenburg, 2007.

Sju timmar plus, Thomas Bergh, G ­ othenburg, 2007.

Vibeke Tandberg, Lillehammer kunstmuseum, Haugar Vestfold kunstmuseum, Lillehammer, 2007.

Portrait, Kalle Sanner, Goodbye Vanity; Hello Insanity, Gothenburg, 2007.

and Stiftelsen Wanås utställningar, Stockholm, 2008.

I hjärtat av Mellanöstern, en inre resa av yttersta betydelse,

80 millioner bilder: norsk kulturhistorisk fotografi 1855–2005,

Nina Palm, Anders Roos och Mikael Dahl, Bilda,

Jonas Ekeberg og Harald Østgaard Lund, Forl. Press, Oslo, 2008.

Den galne danskens kokbok: en matresa, Claus Leger;

Stockholm, 2007.

Screen Tests, Ola Kjelbye; Mikael Olsson, Filmkonst #106– 107, Gothenburg International Film Festival, 2007.

photo: Anders Roos & Michael Tegnér, Roos & Tegnér, Malmö, 2008.

2006

Making a map, Wakaba Noda, Farewell Books, ­Gothenburg, 2008.

Frenchkiss, Anders Petersen, Dewi Lewis Publishing, ­Stockport, 2008.

The total eclipse of the moon, Gustav Almestål, Gondol Publishing, Gothenburg, 2008.

Gingerbread monument, Klara ­Källström; poems by Viktor Johansson, Klara Källström, ­Gothenburg, 2008.

When the sun sets it’s all red, then it disappears, Lina Selander, Nordin Gallery Exhibition No 8, 2008.

Bakgrunn, Background, editors: Jonas Ekeberg; Susanne Saether, Horten, Preus museum, 2008.

CDG / JHE, J.H. Engström / Ulf Greger Nilsson, Steidl

Publishing, Göttingen, 2008.

198 chronicle

Om fotografi, Jonas E ­ keberg, Journal for Preus Museum #1, Horten, 2006.

In the midst of nature, Björn Larsson; essay: Magnus Bärtås, Journal, Stockholm, 2006.

Gabriellas trädgård: stora möjligheter med små medel, ­Gabriella Dahlman, Natur och kultur, Stockholm, 2006.

Guide till Göteborgs arkitektur, Claes Caldenby; Gunilla Linde Bjur; Sven-Olof Ohlsson; photo: Krister Engström, Arkitektur in collaboration with Göteborgs stadsbyggnadskontor and Formas, Stockholm, 2006.

Today Tomorrow Forever: Annika Karlsson Rixon: S­ elected Works 1991–2006, Norrköping Museum of Art, ­Norrköping, 2006.

Min plats i Skåne: skånska profiler om sina favoritplatser,

2002

Anders Roos; Michael Tegnér, Roos & Tegnér fotografer, Bjärred, 2006.

Om sorg & omsorg: bilder och röster från hospice, Hillevi Nagel, Hammar, Alingsås, 2006.

Omkopplingar, Cecilia Grönberg, Jonas (J) Magnusson, Glänta produktion, Gothenburg, 2006.

Du mich auch, Anders Petersen, Journal, Stockholm 2002.

Skolexempel: bilder från Gothenburgs förskolor och skolor våren 2002, essays: Helen Carlbom; Pernilla Lorentzson; photo: Johan Wingborg, Skolutvecklingsenheten, Stadskansliet, Gothenburg, 2002.

Haunts, J. H. Engström, Steidl Publishing, Göttingen, 2006. Leviatan från Gothenburg: paracetologiska digressioner: Malmska valen, Gothenburgsvitsen, Jona-komplexet och 2005

Moby Dick, Cecilia Grönberg; Jonas (J) Magnusson, Glänta produktion, Gothenburg, 2002.

Om fotografi, Jonas ­Ekeberg, Journal for Preus Museum #1–2, Horten, 2005.

Demokrati pågår: 13 reportage från Göteborg, essay: Johan Bergsten; photo: Johan Wingborg, Enheten för Mång­

Trädgårdens möbler, Anna Lena Einarson; photo: Eva S Andersson, Byggförlaget, Stockholm, 2002.

Bilder & ord, Rune Hassner, Department of Cultural Sciences, University of Gothenburg, Gothenburg, 2002.

kulturell Utveckling; Göteborgs stad, Frölunda, 2005.

2001 2004 Den Röda Stadens Ljus, Magnus Denker; essay: Per Konstnärer i samtal, essay: Lo Caidahl; photo: Johan

Engström, Malmö Konstmuseum, Malmö, 2001.

Hedenström, Västra Götalandsregionen, Uddevalla, 2004. Into thin air, Annette Sletnes, Glänta produktion, Utflykter kring Öresund, essay: Sören Sommelius; photo: John S. Webb, LL -förlag, Stockholm, 2004.

Kallbadhus, essay: Helena Lind; photo: Bert Leandersson,

­Gothenburg, 2001.

Berusad kyckling: mat & dryck från Kuba, René Vázquez Díaz; Merja Vázquez Díaz, Bonnier, Stockholm, 2001.

Byggförlaget, Stockholm, 2004.

Café Lehmitz, Anders Petersen; essay: Roger Anderson,

2000

Schirmer-Mosel, Munchen, 2004.

Det finns inte ord, Hillevi Nagel, Starfalk, Gothenburg, 2004.

Faces and surfaces, Jäger Arén, Arctic Paper, Gothenburg, 2004.

Women photographers: European experience, editors: Lena Johannesson, Gunilla Knape; essays: Julia Tedroff, Ann-

Gröna platser: fotografier 1991–1996, John S. Webb, Nya vyer, Enskede, 2000.

Nobelfesten, Pawel Flato; photo; Niklas Lindblad, Prisma, Stockholm, 2000.

Charlotte Glasberg, Acta Universitatis ­Gothoburgensis, Gothenburg, 2004.

1999

Chasing summer: journal from a global motorcycle journey, Ingvar Kenne; essay: Paul Theroux, N.S.W., Bird Press, Bondi Beach, 2004.

1416 Anholt, Jäger Arén, Journal, Stockholm, 2004.

2003

Kerala: alternativ väg till välfärd: rapport från en sydindisk delstat, essay: Mats Wingborg; photo: Johan Wingborg, Manifest kulturproduktion, Stockholm, 1999.

1996

Skolexempel: exempel och bilder från Gothenburgs skolor 2003, Kokbok för enastående, Peter Boström, Norstedt, essay: Pernilla Lorentzson; photo: Johan Wingborg,

­Stockholm, 1996.

Skolutvecklingsenheten; Stadskansliet, G ­ othenburg, 2003.

chronicle 199

1995

1977

Ingen har sett allt, essay: Göran Odbratt; photo: Anders

Bilder för miljoner: pressfotografier och bildreportage under

Petersen, Legus, Stockholm, 1995.

100 år, Rune Hassner, Malmö konsthall, Malmö, 1977.

Tänk om allting var underbart: Hammarkullen 20 år senare, Still movements, John S. Webb, John S. Webb, Jens S Jensen, Tre böcker, Gothenburg, 1995.

­Helsingborg, 1977.

1994

1957

Mor är rar, Monika Gottfridsson, Personalförvaltningen,

Det nya Kina, Rune Hassner, Nordisk fotogravyr: Seelig,

Malmö, 1994.

Stockholm, 1957.

1993

1956

Woodland, John S. Webb, Bild i bok, Näsviken, 1993.

Natur, Text: Bo Rosén; Bild: Pål-Nils Nilsson, Nordisk

Bilder från Frostviken, Kenneth Gunnarsson; Peter Mosskin, Jämtlands läns museum, Östersund, 1993.

1992 Vid sidan av, Ingvar Kenne, Tiden, Stockholm, 1992.

1990 Departure, John S. Webb, Bild i bok, Uppsala, 1990.

“Näset”: nutidsarkeologiska promenader längs en skånekust 1977, 1988, 1999, Åke Hedström, Lunds konsthall, Lund, 1990.

1989 Den idérike fotografen, Hans Alenius; John S Webb, Aktuell fotografi, Helsingborg, 1989.

1988 Spår, photo: John S. Webb; essay: Sören Sommelius, Fyra förläggare in collaboration with Arbetsgruppen för lättlästa böcker, Helsingborg, 1988.

1986 Images from western Scania, John S. Webb, Helsingborg, 1986.

200 chronicle

­rotogravyr, Stockholm, 1956.

Students

Bech, Torben Belfiore, Maya Bencivenni, Nora

Marte Aas, No Title #3, Collage, 2009.

Jerker Andersson, Vårt dagliga rum, 1993.

Anastasia Ax, Pissed child, 2005.

Thomas Bergh, No fun and games, 2009.

Helena Blomqvist, Down by the river II, 2009.

Aas, Marte

Bengtsen, Ina

Adamsson Öberg, Jennie

Bengtsson, Sara

Ahlin, Eva

Bensafiddine, Mona

Ahne, Michael

Benthede, Pauline

Ahnfeldt, Magnus

Berg, Simon

Albansson, Stig

Bergh, Thomas

Alimardani Daryani, Shabnam

Berglin, Erik

Algin, Ellinor

Berglund, Frederik

Alm, Mattias

Bergman Fröberg, Cecilia

Almestål, Gustav

Bergman, Helena

Almgren, Helena

Bergmark Jimenez, Emilia

Amnéus, Hans

Bergsten, Anna

Ander, Camilla

Bergström Hansen, Nicola

Andersen, Evy

Bergström, Johan

Andersen Holm, Pernille

Bernath, Alexander

Andersson, Eva

Bertmar, Mikael

Andersson, Henrik

Betshammar, Erik

Andersson, Ida

Bexell, Daniel

Andersson, Jeanette

Birgersson, Anders

Andersson, Jerker

Birgersson, Louise

Andersson, Jonas

Bjärenstam, Linda-Marie

Andersson, Katja

Björk Ermanbriks, Andreas

Andersson, Mikaela

Björk, Katarina

Andersson, Olle

Björklund, Cainer

Andersson, Peter

Björling, Ingemar

Andersson, Sandra

Björne, Dag

Anderzén, Hannes

Blank, Simon

Andrade Pihl, Fredrik

Blomqvist, Helena

Andreasson, Dan

Bodin, Jessica

Appelgren, Jan

Bohlin, Stefan

Aramideh, Shahla

Bolander, Josefine

Ardarve, Lars

Borg, Ida

Arén, Jäger

Boström, Peter

Asboe, Bo

Brandt, Eva Maria

Asp, Ari

Bredberg, Per

Asplund, Björn

Bremell, Pierre

Auken, Ellen

Bringfors, Magnus

Ax, Anastasia

Brolund, Anna-Mia

Axkull, Martin

Brolund Fernandes De Carv, Sara

Bacos, Nina

Bromberg, Caroline

Bartholdsson, Peter

Brost, Christel

Bartos, Veine

Bryngelsson, Lena chronicle 201

Burga, Estella

Ekqvist, Torkel

Bye, Kirsti Taylor

Elblaus, Markus

Bylund, Michael

Elgeholm, Debora

Bylund, Mårten

Elgström, Patrik

Bäck, Christer

Ellefsen, Gro

Bäcklund, Eva

Elvén, Katarina

Caidahl, Lo

Engberg, John

Capelo, Celia Maria

Engh, Håkan

Carlsson, Anna

Englund, Lars

Carlsson, Dieter

Engman, Petter

Carrillo, Trinidad

Engström, Anders

Cederkvist, Emanuel

Engström, J-H

Celander, Ulf

Engström, Krister

Christensen, Lotte

Enholm, Cecilia

Christensen, Rolf

Eriksen, Laura

Christenson, Jenny

Eriksson, Anna

Cimmerbeck, Magnus

Eriksson, August

Classon, Anna

Eriksson, Carl-Johan

Collin, Krister

Eriksson, Ola

Cordius-Hansen, Linda

Eringstam, Ann

Cojocariu, Ioanamaria

Ermanbriks, Per

Cronestrand, Nils

Ernholm, Lars

Dahl, Hampus

Estay Madera, Suany

Dahlgren, Carl Hans Joakim

Eurenius, Benkt

Dahlman, Gabriella

Ewald, Johanna

Dahlström Persson, Petter

Eyjolfsson Örn, Petur

Damstedt, Eva

Faeröy Lund, Elisabeth

Danielson, Max

Fagéus, Simon

Danielsson, Anna

Falk, Ola

Davidsson, Håkan

Fallah Moghaddam, Asghar

Denker, Magnus

Fallgren, Stefan

Devik, Ina

Fantenberg, Fredrik

Diaz, Merja

Fernström, Jonatan

Dokka, Ole Gunnar

Fjellstad, Frank

Drobnitza, Sven

Flato, Pawel

Duhm, Boris

Fleinert, Joachim

Dunker, Dennis

Forsberg, Paul

Durlind, Susanne

Forssberg, Minna

Dybwad Brandrud, Marius

Frank, Jeanette

Dyrendom, Lars

Fransson, Helene

Edén, Elisabeth

Franzén, Sebastian

Ehrling, Christer

Fredrikson, Erik

Ekeberg, Jonas

Fredriksson, Emma

Ekelund, Hans

Fredriksson, Ulrika

Eklund, Robert

Freij, Sandra

202 chronicle

Trinidad Carrillo, Elisa Salamandra, 2009.

Katarina Elvén, All about the new, 2008.

J-H Engström, Trying to Dance, 2004.

Ann Eringstam, Before the Storm, 2007.

Dan Fröberg, Installation at Konst­ epidemin, 2009.

Annika Holmér, Röd sittpaviljong, Installation in Marabouparken 2006.

Ellen Holtskog, Between, 2001.

Jonas Isfält, Herman, 2006.

Fridén, Pär

Hedlund, Maria

From, Kristian

Hedman, Erika

Fröberg, Dan

Heen, Gorm

Ganslandt, Anna

Helander, Espen

Ganslandt, Stefan

Hellström, Johan

Garnold, Lena

Hesslegård, Anders

Gavois, Mandi

Hildén Smith, Eva

Giske, Johanna

Hillebrand Tabea, Anna Cora

Gjol Olsdotter, Guro

Hofvander, Linda

Godske, Birgitta

Hollan, Barbora

Gorga, Ciprian

Holmström, Agnes

Gottfridsson, Monika

Holmér, Annika

Gramer, Anders

Holtskog, Ellen

Granath, Elin

Hribova, Wiera

Graube, Andreas

Hultgren, Mikael

Grenmarker, Michael

Hultén, Martin

Grizelj, Daniel

Humleback, Joakim

Grizelj Domagoj, Marco

Hägg, Rasmus

Grönberg, Cecilia

Hällqvist, Frans

Grönne, Christian

Härenstam, Helga

Gullmark, Anna

Håkansson, John

Gunnarsson, Kenneth

Håkansson, Sofi

Gustavsson, Camilla

Häggblom, John

Gustavsson, Evelina

Högberg Hedborg, Johanna

Göransson Skoog, John

Högberg Liljeblad, Maria

Hagberg, Matilda

Hörnestam, Johan

Hagen, Vemund

Idheman, Per

Hagman, Per-Erik

Isfält, Jonas

Hagren, Ivar Torsten

Jacobson, Martin

Hagström, Andreas

Jakobsen, Marit

Hald Jörgensen, Sören

Janns, Sören

Halilovic, Azra

Jansson, Claes

Hallin, Cecilia

Jansson, Pia

Hallin, Rolf

Jantzen, Kari

Hamilton, Kerstin

Jarl, Jonathan

Hammar, Charlotta

Jensen Nygaard, Bodil

Hammar, Robert

Johansen, Martin

Hammarstedt, Stig

Johansen, Mette

Hansen, Jan

Johansson, Karin

Hansen Rosenberg, Rasmus

Johansson, Magnus

Hansson, Joakim

Johansson, Petter

Hansson, Marcus

Johansson, Pontus

Hanstorp, Per

Johansson, Thomas

Harrysson, Carolin

Johnson, Andrea

Hedenström, Johan

Jokela, Leena chronicle 203

Jonasson, Pierina

Lagerström, Bertil

Josefsson, Daniel

Laine, Erkki

Juul, Torkil Reimar

Lamberg, Anna

Jägetoft, Josefina

Landberg, Lisa

Järeslätt, Christer

Lange, Mårten

Jönsson, Jan-Håkan

Langfos, Peter

Jönsson Thomasson, Evelyn

Lanhed, Lars

Jörgensen, Henrik

Lantz, Maria

Jörgensen, Jakob

Larsen, Sem

Jörneberg, Jonas

Larsson, Anna

Karaveli, Susan

Larsson, Björn

Karlbrand, Håkan

Larsson, Eskil

Karlen, Anders

Larsson, Stefan

Karlsson, Jonas

Lassila, Nina

Karlsson, Lars

Lauesen, Tobias

Karlsson, Liselotte

Leandersson, Bert

Karlsson, Morgan

Lehtonen, Ida

Karlsson, Tina Catharina

Lesch, Sara

Karlström, Stefan

Lidholm, Cecilia

Kenne, Ingvar

Liljeblad, Elin

Kindblad, Erika

Lindberg, Jonas

Kinnbo, Victor

Lindekrantz, Valdemar

Kirkhoff, Alexander

Linder, Ilona

Kjelbye, Ola

Linderstam, Anna

Klingberg, Frida

Lindgren, Hanna

Klysnner, Johnny

Lindgren, Markus

Kolehmainen, Tuomo

Lindh, Anna Carina

Kopij, Krzysztof

Lindhe, Jenny

Korhonen, Mika

Lindkvist, Cecili

Kosheshi, Nilofar

Lindquist, Lars

Kovalieva, Anna

Lindström, Oskar

Kowalski, Jerzy

Lindvall, Henrik

Kramer, Kristin

Lindén, Torbjörn

Kreutzmann, Nanna

Litens, Martin

Kristensson, Anders

Littorin, Anna

Kristensson, Karolina

Ljung, Hans

Kristoffersson Hartley, Karin

Ljunggren, Ulrika

Kronestedt, Per

Ljungkvist, Jan-Åke

Krän, Kristian

Ljungström, Johan

Kröger, Joakim

Lockman-Lundgren, Anna-Maria

Kuva, Juho

Lukianska, Dorota

Kvist, Sanna

Lundberg, Agneta

Kyrö, Elin

Lundh Von Leithner, Peter

Källman, Jenny

Lundin, Jim

Källström, Klara

Lundin, Ulf

204 chronicle

Ingvar Kenne, Picle Bottle, 2007.

Anna Linderstam, Exaggerated Blindness, 2007.

Dorota Lukianska, Nine days during three months, 2009.

Ulf Lundin, Ur mörker (Frans-Lukas), 2002.

Sarianna Metsähuone, 13th Attempt, 2008.

Mikael Olsson, FK01.2001, 2001.

Martin Palm, Utan titel, 2001.

Julia Peirone, Hidden, 2006.

Lundqvist, Anna-Lena

Norman Carlsson, Liza

Lundén, Marc

Norman Norman, Maria

Luostarinen, Ari

Normark, Karl

Lyckaro, Johan

Nyhlén, Åsa

Löfgren, Niclas

Nylén, Conny

Löfgren, Ola

Nylén, Svante

Lökken, Line

Näsholm, Christofer

Madsen, Torben

Olebring, Anki

Magntorn, Martin

Olebring, William

Magnusson, Maria

Olesen Tofte, Ulrik

Magnusson, Petter

Olofgörs, Anja

Magnusson, Thorbjörn

Olofsson, Anders

Malmberg, Anders

Olsson, Martin

Markusson, Johan

Olsson, Mikael

Martinat Mendoza, José Luis

Olsson, Per-Otto

Mauzy, Marie

Olsson, Rebecca

Mejia Rugeles, Martin

Orre, Timo

Melander, Johan

Oskarsson, Charlotte

Mentzer, Johan

Palm, Johan

Metsähuone, Sarianna

Palm, Martin

Midboe, Lars

Palm, Peter

Miettinen, Sinikka

Parling, Mariette

Milea, Adriana

Paulsson Bertmar, Marie

Millholm, Åsa

Pedersen, Anders

Mirzajanzadeh, Sara

Pedersen Rohde, Mads

Moberg, Bengt

Peirone Udriot, Julia

Molander, David

Peitersen, Alexander Arnild

Molinder, Ann

Perdawidi, Amanda

Moritz, Susann

Perillo Nogueira, Gustavo

Mosken, Raymond

Persson, Bo

Nagel, Hillevi

Persson, Gunilla

Namazi, Mehdi

Persson, Niklas

Nilsson, Anders

Petersen, Annette

Nilsson, Anna

Petersen, Mia-Maria

Nilsson Landin, Christopher

Petters, Anna

Nilsson, Elina

Pilgaard, Jan

Nilsson, Erik

Porsmyr, Anna

Nilsson, Helene

Pozar, Mateusz

Nilsson, Malin

Pålsson, Lotten

Nilsson, Robert

Pålsson, Orri

Noda, Wakaba

Rahmqvist, Viktor

Nohlberg, Ann-Christine

Rantil, Björn

Nordström, Martin

Rasmusson, Rebecka

Norin, Johanna

Raukola, Johanna

Norling, Olle

Rautio, Maija Liisa chronicle 205

Reichenberg, Maja

Sjöström, Diana

Reizovic, Sandi

Skjulsvik, Tommy

Rejgård, Lovisa

Skotnes, Börge

Renström, Maria

Skute, Anna

Resare Sorri, Ester

Skuteli, Simon

Reustle, Gertrud

Sletnes, Annette

Reynolds, Marie

Smith, Kathleen

Rindal, Ola

Solberg, Merethe

Ringborg, Lovisa

Sommar Sandström, Lisa

Roizman, Lina

Sorlie, Thale Elisabeth

Roos, Anders

Stenberg, Marcus

Rosberg, Jennie

Stenkvist, Peter

Rosenberg, Anna

Stenström, Johan

Rosling Rönnlund, Anna

Stigmark, Karl-Johan

Roxhage, Ann-Sofie

Stopp, Peter

Rudin Lundell, Tova

Strand, Anna

Rundberg, Kenneth

Strid, Peter

Rylander, Henrik

Ström, Johan

Rytel, Joanna

Strömberg, Lennart

Sahlander, Maria

Strömberg, Mia

Samuelsson, Johannes

Sundblad, Henrik

Sandblom, Cecilia

Sundelin, Jesper

Sandin, Carl Edgar

Sundestrand, Lars

Sandlund, Fia

Sundqvist, Dit-Cilinn

Sandström, Patrik

Svenberg, Kristoffer

Sanner, Kalle

Svensson, Cecilia

Schmidt, Sarah

Svensson, Hans

Schmitz Magassa, Melanie

Svensson, Margareta

Schwartz Melby, Anne

Sylvén, Peter

Schön, Thomas

Syversen, Solveig

Sederowsky, Dana

Szabo, Robert

Segerlund Biverud, Jessica

Szakacs, Adel

Sehnert, Lars

Söder, Madeleine

Sehnert Mathiesen, Vibeke

Söderlund, Annika

Siikanen, Jyrki

Söderström, Gustav

Sikström, Christina

Tak, Helen

Siltberg, Lars

Tandberg, Vibeke

Sinkkonen, Nina

Tedenborg, Tomas

Sjöberg Brack, Ashleah

Teesalu, Kaido

Sjöberg, Christine

Thor, Agnes

Sjöberg, Julia

Toresson, Hanna

Sjöberg, Lennart

Torgeby, Frida

Sjödin, Tobias

Torgnesskar, Per-Olav

Sjöstedt, Jakob

Törnroth, Charlotta

Sjöstrand, Jenny

Uhlin, Maria

206 chronicle

Lovisa Ringborg, Unleached, 2007.

Dana Sederowsky, I am all for, Video still, 2005.

Lars Siltberg, Single Head, Video still, 2006.

Anna Strand, Objekt för en ny dröm, 2008.

Ulvelius, Jesper

Österstål, Laila

Ulvås, Christer

Österstål, Thomas

Vad, Signe

Östling, Matti

Vainio, Erja

Östlund, Andrea

Vallin, Mattias Vedin, Mats Vesterlund, Andreas Vikhagen, Arne Kjell Vilks, Sören Villar, Rene Vincent, Richard Vibeke Tandberg, Untitled#11, 2008.

Vintback, Madeleine Vocar, Greta Von Bahr, Nadja Välitalo, Jari Västrik, Linda Wahlström, Fredrik Waller, Magnus Wallsten, Lars Walström, Susanne Wennerstrand, Karin Wernlid Renting, Eva

Lars Wallsten, Bilder av brott, 1995.

Wester, Jocke Westerström, Kim Wiking, Albert Wingborg, Johan Wirdenäs, Ingela Ylikoski, Maria Yngvesson, Erik Zacharias, Jesper Zeitler, Hendrik Zennström, Per Arthur Zetterman, Pernilla Zsiga, Istvan

Susanne Walström.

Zych, Mikael Árnadóttir, Una Margrét Ängermark, Sven Änghede, Sofia Åberg, Anette Åkesson, Kalle Åling, Nina Ærsøe, Simone Alexandra Öhlander, Peter Öhman, Mats Ölund, Jakob chronicle 207

Copyright © 2011 for the photographs: the photographers for the book: School of Photography at University of Gothenburg Editors, BFA & MFA : Thomas Bergh, Malin Bernalt, Agnes Holmström, Valdemar Lindekrantz, David Molander, Charlotta Törnroth, Jesper Ulvelius, Kalle Sanner, Maja Hammarén Editors, Research: Hans Hedberg and Christina Dege Design: Johanna Kallin and Magnus Engström / OCH studio Paper: Arctic Volume Ivory 150gsm and Colorit 120gsm Print: Alfaprint AB, Stockholm This book is the second in a series First edition, 600 copies ISBN 978-91-978476-2-9