School of Photography 2011 by University of Gothenburg

School of Photography University of Gothenburg 2011

Copyright © 2012 for the photographs: the photographers for the book: School of Photography at University of Gothenburg Editors, BFA & MFA : Jasmin Daryani and Simon Berg Editors, Research: Hans Hedberg, Christina Dege, Peter Larsson and Julia Tedroff Design: Johanna Kallin and Magnus Engström / OCH studio Paper: Arctic Volume Ivory 150gsm Print: TMG Sthlm, Stockholm This book is the third in a series First edition, 600 copies ISBN 978-91-978476-5-0

Contents Introduction �� 5 Bachelor of Photography

Introduction to Bachelor of Photography �� 9 Una Margrét Árnadóttir �� 10 Lars Dyrendom �� 16 Christofer Näsholm �� 24 Ida Lehtonen �� 30 Charlotte Oscarsson �� 37 Viktor Rahmqvist �� 40 Joachim Fleinert

�� 50

Agnes Holmström �� 56 Anders Engström

�� 62

Marcus Stenberg �� 68 Mandi Gavois �� 74 Casia Bromberg �� 80 Jonas Andersson �� 87 Master of Photography

Introduction to Master of Photography �� 97 Thomas Bergh �� 98 Daniel Josefsson �� 108 Kirsti Taylor Bye �� 114 Gustavo Perillo Nogueira �� 122 Mattias Wallin �� 130 Greta Voćar �� 138 Linda Cordius �� 146 Sven Drobnitza �� 154

Research

Introduction to Research �� 164 Cecilia Grönberg �� 166 Annica Karlsson-Rixon �� 168 David McCallum �� 170 Marco Muñoz Tepez �� 172 Niclas Östlind �� 174 Hans Hedberg �� 176 Mette Sandbye �� 178 Hans Hedberg �� 194 Liz Wells �� 196 Rebecca Solnit �� 214 Lars Wallsten �� 216 Mika Hannula �� 224

Chronicle

Tutors, PhD Students and Staff �� 228 Visiting Tutors

�� 229

Courses �� 230 Exhibitions �� 231 Books by Tutors and Students �� 232 Students �� 236

Introduction Lasse Lindkvist Head of School

The students at the School of Photography recently produced an exhibition entitled, Photography is dead. Long live photography. A current claim that relates to a dated discussion. Many spoke of the death of photography with the coming of the digital age. This was possibly true from a purely technical point of view. But the photographic image culture has never been more vibrant than it is today. The conventions for production and reading of photographs that our culture has built up have never been so significant. The photographic format and the photographic image culture play an increasingly prominent role, in our daily lives, in relation to uniting families and like-minded people, in terms of markets, nations and particularly to perceive reality and the world. And art has followed suit. Photographic works are now the subject of major investments. Perhaps it is this development that the students are focusing on with their title. The traditional photograph, an effect of light and silver, is, as we thought, dead, but the photographic image culture is increasingly characterising our perception of the world. This leaves a particular responsibility in the hands of the School of Photography, which was established almost thirty years ago by the Swedish Parliament, not without a bit of a struggle with Stockholm. The School of Photography is still the only one of its kind in Sweden that offers a comprehensive environment, with programmes at bachelors, masters and PhD level. The schoolâ&#x20AC;&#x2122;s mission was, and is, to train photographers to take a critical view of the mass media image culture that surrounds us; to provide an artistic basis for image creation, as well as to bring new knowledge to the field of photography. This responsibility, as the students have illustrated in their title, has not lost any of its importance.

introductionâ&#x20AC;&#x192;5

Bachelor of Photography

Una Margrét Árnadóttir Lars Dyrendom Christofer Näsholm Ida Lehtonen Charlotte Oscarsson Viktor Rahmqvist Joachim Fleinert Agnes Holmström Anders Engström Marcus Stenberg Mandi Gavois Casia Bromberg Jonas Andersson

Introduction to Bachelor of Photography Hans Ekelund Director of Studies

It’s difficult to place those students who are now taking their Bachelor’s degrees into any kind of joint category. And the fact is that if it were possible, it would be concerning for an institution like the School of Photography. Teaching at the school aims to produce the exact opposite; independent and opinionated photographers with sound artistic skills. Yet some features can be distinguished in the students’ approach and pieces of work. There are those who are fascinated by how human relationships are formed and maintained. Or those who use the medium of extended perception to pose questions about their lives. And those who dismantle photographic conventions and try to breathe new life into them. The crossing of the dividing line between the photographer’s subject and the world around us is a frequently recurring theme. Lars Dyrendom has summarised it in two questions that many in this year’s Bachelor class can make their own; “Who am I in these times? And how did I become this person?“

Introduction to bachelor of photogr aphy 9

A Repeated Attempt to Approach a Rhubarb Una Margrét Árnadóttir

I mostly work with photography and video as a medium. The works are usually performative, but not necessarily in a sense that they are a documentation of performances but rather they include some sort of an action. The viewer is presented with a situation, which he / she is not completely able to grasp. There is a feeling of entrapment and an urge to escape. I like this feeling of both being entrapped and escaping at the same time. This duality is important and plays a big role in my work.

10 bachelor of photogr aphy

Una Margr ét Árnadóttir 11

12â&#x20AC;&#x192; bachelor of photogr aphy

Una Margr ét Árnadóttir 13

14â&#x20AC;&#x192; bachelor of photogr aphy

Una Margr ét Árnadóttir 15

The Photographic Eye Lars Dyrendom

My ideas often take the form of responding to an insoluble question, and are more redolent of philosophy or literature in art, or photographic history. In recent years it has been the same few questions I have attempted to answer in innovative ways in order to be better able to understand the condition of things and time. And among the more crucial of these are the following: Who am I in these times? And how did I become this person?; How does a social economy operate?; How or what is an experience and how does it establish itself in humanity?

16â&#x20AC;&#x192; bachelor of photogr aphy

l ars dyr endomâ&#x20AC;&#x192; 17

18â&#x20AC;&#x192; bachelor of photogr aphy

The project The Photographic Eye started when I gave an Instamatic camera with an unexposed film (with an expiry date of 1988) to 15 different photographers in summer and autumn 2010. When I got the films back from them, I mixed them all up so that you couldnâ&#x20AC;&#x2122;t tell who had photographed what. I then gave the contact sheets from the developed films to an artist to select some of the images. I made analogue copies in the dark room of the photographs selected by the artist. After that, a different photographer then selected the images for the exhibition. This process enabled me to bring about controlled coincidences and instead of one person being responsible for all the critical choices in the process, a number of different people contributed to the visual expression.

l ars dyr endomâ&#x20AC;&#x192; 19

20â&#x20AC;&#x192; bachelor of photogr aphy

l ars dyr endomâ&#x20AC;&#x192; 21

22â&#x20AC;&#x192; bachelor of photogr aphy

l ars dyr endomâ&#x20AC;&#x192; 23

City Life Christofer Näsholm

My starting point is that I work with photography as a photographer in an artistic context. I exhibited photographs of jackdaws in a street setting. The reason I chose jackdaws in particular was because of their expressiveness (in pictures). I wanted to create something that was both easy to interpret, yet obscure. And I also thought it was interesting that these images could be linked to two photographic genres: animal / bird photography and street photography.

24 bachelor of photogr aphy

Christofer Näsholm 25

26â&#x20AC;&#x192; bachelor of photogr aphy

Christofer Näsholm 27

28â&#x20AC;&#x192; bachelor of photogr aphy

Christofer Näsholm 29

Dreamware Ida Lehtonen

I always sketch and chew on my ideas for some time and if the ideas still feel good after that process, then they are usually worth working with. I think “the knowing” is just something that comes through experience, but sometimes you just simply trust your gut feeling. The good ideas usually come when you least expect them, on sleepless nights, in dreams, on dance floors, surfing the internet. When I use the computer, I always collect things. I collect words, texts, screen caps, music, images, YouTube clips. Everything that I experience, and it often leads to ideas about new pieces. But I never sit down and think: what am I going to make next? It is a far more abstract and irregular process than that. Meditation helps to formulate ideas and turn the abstract into something more concrete. I get rid of computers, pens, papers, TV, music and focus on not doing anything. The brain works best in a relaxed and clear state, not doing anything. Maybe if I had a studio and was more settled in one place, instead of constantly travelling and moving around, my working process would be different, but I have yet to experience that so I can’t really say. Now my work is very much defined by my nomadic lifestyle, which is interesting and challenging at the same time. I’m a firm believer in deadlines though, otherwise I would probably procrastinate for the rest of my life.

30 bachelor of photogr aphy

ida lehtonenâ&#x20AC;&#x192; 31

36â&#x20AC;&#x192; bachelor of photogr aphy

From Elsewhere to Here Charlotte Oscarsson

The production came about after I read an ethnological dissertation on the history of light in peopleâ&#x20AC;&#x2122;s everyday life. I thought it was touching in many different ways, particular in reference to social phenomenon and patterns of behaviour regarding light. I want my production to be simple and focus on the essential, both in choice of subject and as photography.

Charlotte Oscarssonâ&#x20AC;&#x192; 37

38â&#x20AC;&#x192; bachelor of photogr aphy

Charlotte Oscarssonâ&#x20AC;&#x192; 39

c/1995 o1 Viktor Rahmqvist

All ideas are good and have the potential for development, depending on your approach and your motivation. It’s about being persistent, exhausting all the thoughts you have that are connected with the idea and turning it inside out. I ask myself why I found something interesting in the first place, and I believe it’s because there could be something in it that interests other people. I have increasingly moved away from photography in my own practice because I think it’s too arbitrary. A photograph can say so much that in the end it doesn’t say anything and excludes everything. Text is more interesting as a medium; it can condense problems and ideas in a way that I find is more specific, which allows the reader greater opportunities for interpretation. The observer is the most important person. I try to have great confidence in them so that I can do what I want without thinking about what a possible audience might want to see. Pieces of work that are adapted to suit an audience are the absolute worst.

40 bachelor of photogr aphy

viktor r ahmqvistâ&#x20AC;&#x192; 41

0.1 On the night of 22 July and in the early hours of 23 July 1995, Thomas Bopp and Alan Hale observed the same stellar cluster, just over 640 km away from, and independently of each other, in the constellation Sagittarius. Bopp was the first to discern a dot of light that according to him had not been there previously. His suspicions were confirmed an hour later, when the dot moved. The light was a comet that was given the name Hale Bopp after the two men who discovered it. The comet was visible to the naked eye for 18 months over the following two years. My grandfather harboured a great interest in astronomy in general, and comets in particular. He waited a long time to see the comet Hale Bopp and according to his notes he caught sight of it for the first time on 8 January 1997, at 5.30 pm: “Low on the western horizon in the constellation Aquila”. When I visited a medium two years ago to try and contact my grandparents, the result was weak to say the least. I had hoped, while at the same time being afraid, that some kind of meeting was possible, but it turned out to be difficult. The séance resulted in yet another of the fruitless searches in which I am constantly involved. Hale Bopp became a natural reference point in my continuing hunt for my grandfather. During my investigations into the comet, an event that was shared by an entire world manifested itself. We made it more than just a comet with a set orbit around the sun of 2.500 years. We created its stories.

1.1 Bonnie Nettles was born in Houston, Texas in 1927. Her parents were Baptists, which laid the foundation for her entire belief system. In time Nettles became a nurse and worked at Houston Texas Hospital for many years. At the age of 22 she married a businessman, with whom she had four children. The marriage was turbulent and eventually, 23 years later, the relationship fell apart.

42 bachelor of photogr aphy

Nettles is said to have been a troubled soul who claimed to hear the voice of a 19th century monk, whom she called Brother Francis, in her head. She even held regular séances in her sitting room every Wednesday to try and make contact with other deceased spirits. Her belief in the supernatural and her interest in astrology made her feel like an outsider. In an interview, her daughter Terrie explains: Mom and I didn’t seem to fit in with everyone else (…) We’d go out and stare into the sky, and we’d swear we had seen a flying saucer. We thought, “Wouldn’t it be fun if it’d just pick us up and take us away?” Her numerous visits to seers resulted in the discovery that she would soon meet a tall, mysterious man with fair skin.

1.2 Marshall Herff Applewhite was four years younger than Bonnie Nettles and was born in Spur, Texas in 1931. His father of the same name was a priest in the Presbyterian Church. He founded many of the Presbyterian churches in Texas, which meant that the family had to move every three years or so. Applewhite wanted to be a priest in the church, just like his father, but he was advised against it by both his father and his sister. Instead they encouraged him to focus his energy on his other great interest, music. As a 19-year-old he enrolled at the Presbyterian school Austin College, where he graduated with a music degree. After completing his military service, Applewhite began working as a music teacher in 1956 and later had a musical career as a singer in various operas and musicals around the country. He married Ann Frances Pearce, with whom he had two children. In 1970, he was fired from his position as professor at St. Thomas University. The reason given was: “health problems of an emotional nature”.1 1

Marshall Applewhite had a sexual relationship with one of his male

students. This was to affect his entire life from this point, since his sexuality was the most likely reason that he went on to lead a life of celibacy.

viktor r ahmqvist 43

2.1 Accounts differ as to how they met, but the most likely version is that they met during Applewhite’s stay at Houston Psychiatric Hospital in 1972. He was admitted voluntarily, suffering from severe depression. According to his friend Hayes Parker, a few months before the hospital visit Applewhite had a vision: He said a presence had given him all the knowledge of where the human race had come from and where it was going. (…) It made you laugh to hear it, but Herff was serious. And he didn’t seem crazy.2 Applewhite’s notes reveal that when Bonnie Nettles came into the room their eyes locked and in that moment they exchanged a world of esoteric secrets. Nettles carried out an astrological reading of them and found a close connection between their stars. It was the start of an extremely intense relationship.3 Nettles wasn’t only very familiar with the esoteric world, she was also well-read in general; she was smart and knew the Bible back to front. This suited Applewhite well, as he needed greater coherence to his conviction and argument. On New Year’s Day 1973, they set off on a spiritual tour of the United States. After a year travelling across America, Nettles sent a letter to her daughter Terrie. The letter stated that they had been tasked by God to fulfil the work of Jesus. Terrie had difficulty understanding what she meant, but she thought it sounded like her mother was serious. Their year-long tour had its ups and downs. They ended up in major financial difficulty, which resulted in a six-month prison sentence for Applewhite after they attempted to steal a rental car in Kansas. 2

This is where conviction comes in. Applewhite was convinced, he

believed in himself. It’s an effective way of extricating yourself from a cycle of depression. 3

Was their meeting inevitable? Hardly, just a series of coincidences

that radically altered their lives.

44 bachelor of photogr aphy

Despite the prison sentence they had attracted a considerable number of followers en route, or rather people who were interested in what they had to say. Perhaps it was because their faith was physical right from the start? They didn’t believe that you had to die to get to the kingdom of heaven, but rather that it existed as a physical place. One of the first members, Michael Conyers (member 1975–88), says: The message that Marshall Applewhite and Bonnie Nettles had was one that was talking to my Christian inheritance, yet in a modern updated way. Like Mary was impregnated by… being taken up on a spacecraft. Now as unbelievable as that sounds, that was an answer that was better than just plain virgin birth. It was technical, it had physicality to it.4 In 1976, Nettles and Applewhite felt that pressure from the media and surveillance of the group had become too much. Media scrutiny led to a decision to take the movement underground.

2.2 Contact with family members ceased; the group had to erase its human history. A long, complicated and detailed set of rules was drawn up to achieve these goals in the simplest possible way. Conyers says that the rules were designed to ensure that the members did not have to think for themselves; they became a part of a larger context. Lee Ann Wolfe (member 1975–91) says that they used to joke about 4

This is what captures my interest. The way he says it, there’s a certain

degree of frustration in his voice that makes me trust it. He begins speaking 4 minutes into the clip http://www.youtube.com / watch?v=fmTq19ii2KA. It’s natural to be interested in someone who tries to explain all the inexplicable coincidences that pepper the Christian story. There were, for example, detailed theories about what people experience when they claim to have had a vision or seen a UFO. It’s angels who for some reason or other have been thrown out of heaven and who are abusing their powers; it’s not really contact with God, but rather a mistake.

viktor r ahmqvist 45

being the sect of all sects and that they almost begged to be brainwashed. Rules were created regarding such things as how to fry your pancakes and how to pour the syrup. And you weren’t allowed to shave upwards, you had to shave downwards. Sex was a human phenomenon that was not permitted; you were not allowed to have your hair longer than over the ears and clothes were anonymous. The aim was to achieve complete unisexuality and a life of celibacy. The members were given new names, Nettles and Applewhite included, who initially referred to themselves as “the two”, but changed their names to Bo and Peep,5 which eventually became Ti and Do.6 After a long period underground, Bonnie Nettles fell seriously ill in 1985. Applewhite tried to ignore the problem for as long as possible, but after a few months, Nettles died of brain cancer at a hospital where she was admitted under a false name. The hospital was just an hour away from Nettles’ daughter Terrie, but no one informed her of her mother’s illness or her death until several months later.7 Applewhite was forced to reassess his faith and said that Nettles had moved on earlier than the others in another body, or vehicle, as they called their bodies. He claimed to be able to communicate with Nettles after her death via advanced code messages in the stars.8

The names come from a traditional English nursery rhyme entitled

“Little Bo Peep has lost her sheep”. The choice of names was a reference to the 23rd Psalm, The Lord is my shepherd. 6

Ti and Do are the last and first points in a classic solfège (Do – Re

– Mi – Fa – Sol – La – Ti), where Do is the lowest and Ti the highest. 7

Terrie was no longer a member of her mother’s family; the group’s

conviction was total. 8

Once again this is an interesting aspect of their desire to believe.

Modification of their conviction when technically it contradicts them. Bonnie Nettles’ death is completely contrary to their belief system: why should she have to die if they believed that they would ascend physically to the kingdom of heaven? The fact that they adapted their belief system indicates that the desire to believe in something higher than themselves was far stronger than the belief in physical evidence, which is certainly not unique but it’s interesting in light of their desire to provide a physical explanation for everything.

46 bachelor of photogr aphy

2.3 Applewhite descended into a deep depression following the death of his ally. The event must have shattered his entire belief system. Following this episode he once again brought the sect out into the public eye in 1993 to recruit new members ahead of their departure from earth, which according to him would soon be recycled like an empty bottle, everything would start again from the beginning. They had set up a website that would function as their shop-window to the rest of the world.9 They published several articles on the website that were written by both Applewhite himself and by his pupils. You could even order free videos with recordings of lectures by Applewhite. They attracted a few new members from 1993–97, but not many. On 19 Mars 1997, the group recorded a 90-minute video in which Applewhite briefly explains their belief system and that what they are planning to do is based on a rational decision. In addition to this film, his pupils made 19 of their own films in which they, on their own, in twos or threes talk about their personal decisions and about why they want to do what they have decided to do. The films were like personal greetings and explanations to their former families. According to Applewhite, Nettles was trying to communicate with him to say that the time had come for them to leave earth and join her. She sent out the space craft they would travel up to, trailing Hale Bopp, thus using the comet as a sign that it was time. On 26 March 1997, the members of Heaven’s Gate committed suicide using a toxic mixture that was made up of phenobarbital and ethanol. After they had emptied their glasses they lay down in their beds in a ritual manner, each with a plastic bag over their heads and a purple, square-shaped shroud over their bodies. In a suicide letter, Applewhite gave ex-member Richard Ford the job of travelling to the house, where a door would 9

http://www.heavensgate.com/

viktor r ahmqvist 47

be left open for him. He was to check that everyone had succeeded in taking their lives. These are his own words about the scene that met him: The smell was really strong, so I walked a little bit further in and was starting to see the bodies on their beds and mattresses around the house. I would call out, to see if anybody was still alive, and there was no answer. So I walked around the house videotaping things, because I wanted to make sure that this was portrayed accurately.

0.2 My grandfather died three days before the Heaven’s Gate collective suicide. I saw a clip on YouTube, where a man calling himself ProfessorTom49 captures what happens with the comet a few hours after my grandfather dies. I can relate to Tom’s desire to portray the comet and show it for posterity, to tell others about it. It’s a great video clip and it’s about as close as even I can get in my account of Hale Bopp.10 Since my grandfather waited a long time to see the comet and did so in the comet’s final days, a family legend emerged that he followed it along its orbit around the sun. As though he was waiting for something else, not just to see the comet. But what could that be? Nothing, of course. As far as I can see, my attempt to get to know him and pierce the barriers between us is hopeless. But it’s by taking the time, even though you are aware that it’s pointless, that an endeavour bears fruit. To try and believe in something, despite the fact that there’s precious little to believe in. There are common denominators in all stories. It’s about finding the point at which these stories meet, finding the point where meaning is created. Comparing two ostensibly unrelated things, making bold claims about there being some sort of similarity – maybe that’s how things happen. 10

http://www.youtube.com / watch?v=CEC5Fu1IcD8

48 bachelor of photogr aphy

Because Hale Bopp is nothing more than a common denominator for all these peoples’ stories. It is merely a guise for the real similarities. A comet is not beautiful or mysterious until the sun’s rays reach its unstable body of ice, dust and particles of rock, and even that doesn’t have any meaning until the rays are perceived by someone.

viktor r ahmqvist 49

Reflective Memories Joachim Fleinert

I am a collector with an interest in our cultural and historical understanding of our ancestors. My collection consists of photographs found at flea markets, antique stores and charity shops. They all portray anonymous people and are taken by unknown photographers. I experiment with these fragile objects in various formats, with a particular focus on glass negatives from the early 20th century. In attempting to understand their values, the people who are portrayed in the pictures and their stories, I conclude by asking the question; “do we really know what we are looking at, and why?”

50 bachelor of photogr aphy

Joachim fleinertâ&#x20AC;&#x192; 51

52â&#x20AC;&#x192; bachelor of photogr aphy

Joachim fleinertâ&#x20AC;&#x192; 53

54â&#x20AC;&#x192; bachelor of photogr aphy

Joachim fleinertâ&#x20AC;&#x192; 55

Hollow Space, Dagbok; sommaren 2010, Skådespelet i naturen Agnes Holmström

My projects are about distance, space and time, the futility, climax and death. I photograph situations and build installations in which the recurring themes are the human psyche and our relationship to nature. I have portrayed death in various ways in almost all my works; the romanticised image of death as the climax of life. I’m interested in mental states. The feeling of being in vacuum. Maybe identifying with futility can function as space between other mental states. I therefore regard my work as if I’m portraying a meaningful meaninglessness. I am also interested in how we look at nature. The fact that in modern time people rarely or perhaps never find themselves “in” nature, but instead standing beyond, regarding nature from a distance.

56 bachelor of photogr aphy

agnes holmström 57

60â&#x20AC;&#x192; bachelor of photogr aphy

agnes holmström 61

Anders Engström

I try to put my own perspective on reality. I look for the kind of situations that in some way demonstrate how bizarre / comical the world can be. I like to immerse myself in phenomena. For some years now I’ve been involved in a photography project about people’s hobbies. It’s a major piece of work and I feel compelled to complete it. I’m a collector myself and the kind of person who gets easily absorbed in certain kinds of interests. At the same time I’m fascinated by the sort of parallel reality that practising a hobby can also mean. A world that you can enter, where you can just be yourself and do what you want. I’ve found interests that I didn’t even know existed, interests that I really feel I should experience and document. You could say that really I’m a fairly typical documentary photographer. But with quite a quirky take on life.

62 bachelor of photogr aphy

Anders Engström 63

64â&#x20AC;&#x192; bachelor of photogr aphy

Anders Engström 65

66â&#x20AC;&#x192; bachelor of photogr aphy

Anders Engström 67

Guns and Make Up Marcus Stenberg

My photography is heavily inspired by advertising images of luxury and glamour. A life of travel, beautiful things and a completely carefree existence. What kind of lives do we dream of living? What kind of people do we dream of becoming in the places we travel to, or when we put on the clothes we buy? I wanted to tell my own personal story, about who I am and what I dream of, by acknowledging the feelings I get when I see advertising campaigns in the glossy magazines. All the places I have photographed mean a great deal to me personally. My photographs are my own view of myself.

68â&#x20AC;&#x192; bachelor of photogr aphy

Marcus Stenbergâ&#x20AC;&#x192; 69

70â&#x20AC;&#x192; bachelor of photogr aphy

Marcus Stenbergâ&#x20AC;&#x192; 71

72â&#x20AC;&#x192; bachelor of photogr aphy

Marcus Stenbergâ&#x20AC;&#x192; 73

Backworlds Mandi Gavois

I wonder who I am, who they are and who we are, and what the place that I, they and we are in; is. I have always felt rootless, like I don’t really belong anywhere. I try to understand this feeling and I’m searching for the place that makes me feel whole and where I belong. I don’t believe in a definitive answer, I think everything’s much simpler and more complex than that. I want my work to function in the same way. Nature, natural, artificial, ownership, control, alienation, territory, contrast, demarcation. Backworlds: a series of five photographs. On the side where we see the houses there are no, or very few, windows, and high hedges. On the other side, that we cannot see, there are stunning gardens.

74 bachelor of photogr aphy

Mandi Gavoisâ&#x20AC;&#x192; 75

76â&#x20AC;&#x192; bachelor of photogr aphy

Mandi Gavoisâ&#x20AC;&#x192; 77

78â&#x20AC;&#x192; bachelor of photogr aphy

Mandi Gavoisâ&#x20AC;&#x192; 79

Come Closer, Bonding Casia Bromberg

My main interest is human relationships. How we establish our relationships and the role of relationships in our lives, as well as how we view ourselves in relation to other people. Iâ&#x20AC;&#x2122;m fascinated by how vulnerable we are to those closest to us; how we influence and need one another. I find group psychology interesting; norms and notions, the stuff that we create in order to have something to cling to, to stop everything caving in.

80â&#x20AC;&#x192; bachelor of photogr aphy

Casia Brombergâ&#x20AC;&#x192; 81

82â&#x20AC;&#x192; bachelor of photogr aphy

Casia Brombergâ&#x20AC;&#x192; 83

86â&#x20AC;&#x192; bachelor of photogr aphy

We’re trapped in the belly of this horrible machine, and the machine is bleeding to death Jonas Andersson

I explore various subjects for each project, but there are certain points of contact between the works that I produce. The choice of subject can be vague at first before I start work on a project; it’s more about a feeling or atmosphere that inspires my image creation. The content subsequently emerges during the process and is intrinsic in my methodology. The end result usually differs slightly from my original idea, but I’m careful to retain the “feeling” that was the initial source of inspiration. Discovery is an important element of my approach.

Jonas Andersson 87

88â&#x20AC;&#x192; bachelor of photogr aphy

Jonas Anderssonâ&#x20AC;&#x192; 89

90â&#x20AC;&#x192; bachelor of photogr aphy

Jonas Anderssonâ&#x20AC;&#x192; 91

92â&#x20AC;&#x192; bachelor of photogr aphy

Jonas Anderssonâ&#x20AC;&#x192; 93

Master of Photography

Thomas Bergh Daniel Josefsson Kirsti Taylor Bye Gustavo Perillo Nogueira Mattias Wallin Greta VoÄ&#x2021;ar Linda Cordius Sven Drobnitza

Introduction to Master of Photography Hans Hedberg Head of Artistic Research

Many of the Master’s students relate to issues concerning the mysteries of everyday life, its normal, invisible perception and imperceptible – but crucial – customs. Photography is in its very nature focused on the past, on something that no longer exists, on the memory and a disbanded order. At the same time the photograph often announces its presence in a new time. It steals in where conditions have changed since the photograph was produced, as though taking the place of a casual, uninvited guest at the table and relativising, changing and participating in the present.

Introduction to Master of Photogr aphy 97

Blank Thomas Bergh

I’m interested in the contexts that we accept and within which we move, mostly spontaneously. These experiences that define a person’s perceptions, their role and journey through everyday life can perhaps be understood as a part of my artistic material. It seems as though we are shaped by the conditions that we are given; impressions are processed in a constant stream, most pass us by seemingly without any real meaning or significance for us. At the same time it is precisely this stream of impressions that becomes the definition of ourselves. But to be able to create some form of identity or role, we have to distance ourselves in some way from this stream, almost freeze time. And perhaps it’s there that the artistic creative process begins.

98 master of photogr aphy

Thomas Berghâ&#x20AC;&#x192; 99

We encounter codes all the time; a steady stream of signals that wash over us with barely a thought. Developments are moving at a pace that makes it difficult to find time to reflect, while at the same time there appear to be forms that are leading us in a particular direction. If we turn our surroundings and these codes around, maybe we can find new paths in our otherwise predictable daily lives; find a way of trying to understand the forms within which we live our lives, forms that are easily taken for granted. Taking the land of the mundane as its starting point, Blank becomes a border world; a place that has no clearly defined role or function. A vessel in the city, with signals of emptiness, waiting to be filled with content and meaning. A place that can be recognised, and yet not.

100â&#x20AC;&#x192;master of photogr aphy

Thomas Berghâ&#x20AC;&#x192; 101

102â&#x20AC;&#x192;master of photogr aphy

Thomas Berghâ&#x20AC;&#x192; 103

106â&#x20AC;&#x192;master of photogr aphy

Thomas Berghâ&#x20AC;&#x192; 107

Studies of an Impact Daniel Josefsson

My work is focused on portraying the self, in both a personal and a collective sense. I use images, text and objects to formulate the movements of the self through the city. For three years Iâ&#x20AC;&#x2122;ve been working on projects that are based on a specific event. A traumatic experience that Iâ&#x20AC;&#x2122;ve processed and reworked with the intention to portray the rift between the emotional and the linguistic.

108â&#x20AC;&#x192;master of photogr aphy

110â&#x20AC;&#x192;master of photogr aphy

112â&#x20AC;&#x192;master of photogr aphy

A Body of Work Kirsti Taylor Bye

As a photographer, as an artist or as a human being I am interested in whatever surrounds me at all time. I do not limit myself to any specific themes or issues, but I have a soft spot towards scientific matters and photography in itself. For me, life death, time, love, reproduction, all of it is really just about photography. As such, I do not limit myself to any one way of working, but rather let my methods, techniques and forms be shaped by what I am currently working with. When I get to the idea, the important part is to perform it, and not to value it. It is important to do.

114â&#x20AC;&#x192;master of photogr aphy

Kirsti Taylor Byeâ&#x20AC;&#x192; 115

On the properties of Silver

116â&#x20AC;&#x192;master of photogr aphy

Kirsti Taylor Byeâ&#x20AC;&#x192; 117

118â&#x20AC;&#x192;master of photogr aphy

– What’s your favourit season? she asked. – Inside, I answered. – All year around? – Whenever.

120 master of photogr aphy

Kirsti Taylor Byeâ&#x20AC;&#x192; 121

Colonial Heritage Gustavo Perillo Nogueira

The Braganza Tiara provides a relevant picture of my artistry and my approach. The starting point for the work was a diptych, where I reproduced and revised a page in the book Queen Silvia’s Gowns and the Royal Jewels. I felt the information about the tiara was insufficient. I wanted to offer a new perspective on the book’s presentation. I travelled to Brazil and allowed the idea to grow from there. Contact with the people there inspired me to think about colonial heritage, allocation of resources, the writing of history and people’s lack of solidarity. On my return I added yet another perspective to the project, this time based on my experiences in Sweden.

122 master of photogr aphy

In February 2010, before Crown Princess Victoria’s wedding, I was reading the paper and I came across a picture of the Braganza Tiara, which was to be worn by Queen Silvia during the festivities. I was curious about the piece of jewellery. How had this Brazilian tiara ended up in Sweden? I did some searching online and found out that it was inherited and that it came to Sweden when Empress Amélie of Brazil (reign 1829–1831) gave it to her sister Josefina, who was Queen of Sweden 1844–1859. But I wanted to know more. What was the history behind the tiara? I found a book in the library entitled, Queen Silvia’s Gowns and the Royal Jewels, by Cay Bond. But the book only gave the same facts that I had found online. The lack of further information led me to start speculating about the history of the tiara and the context in which it may have been made. Brazil was a Portuguese colony that used slave labour from 1500 to 1822. From the 18th century onwards, many of these slaves worked in diamond mines. Most precious stones came from the state that is now called Minas Gerais – where I come from – and most diamonds were extracted in a town called Diamantina. I flicked through the book again. I felt disappointed that the description of the tiara’s history was so superficial, with no mention of the colonial context. Its origins were of less interest than the number of diamonds in the tiara, and the occasions on which the Queen had worn it. I wanted to do something to highlight this history. I decided to amend the page in Queen Silvia’s Gowns and the Royal Jewels that described the tiara, in an attempt to write my own history of the tiara. The diptych that follows is the piece that launched the process in the ongoing project The Braganza Tiara.

Gustavo Perillo Nogueir a 123

124â&#x20AC;&#x192;master of photogr aphy

Gustavo Perillo Nogueir aâ&#x20AC;&#x192; 125

Mattias Wallin

My work handles questions about the construction of identity around family and personal narrative history in relation with place, time and romantic ideals. The work is essentially about processing life experiences and how ones family connects with collective memory. I use the trop of a biographical documentary investigate key events in different ways that had an impact on my life, as a method to uncover my own self-identity. The images stands in relation to the need or wish to formulate the role as an artist. The work is about seeing oneself from an outside perspective and essentially problematizing and raising questions about identity. My work is about going back and evaluating events again. The images deal with feelings of how things were, how they turned out to be or how they could have been.

130â&#x20AC;&#x192;master of photogr aphy

Mattias Wallinâ&#x20AC;&#x192; 131

134â&#x20AC;&#x192;master of photogr aphy

Mattias Wallinâ&#x20AC;&#x192; 135

136â&#x20AC;&#x192;master of photogr aphy

Mattias Wallinâ&#x20AC;&#x192; 137

The Defining Standard Greta Voćar

My works are autobiographical and revolve around issues of norms and belongingness. It’s often quite simple, everyday objects, phenomena or conventions that capture my attention and that I subject to closer examination. I identify my “subject”, often something seemingly unassuming that we take for granted, but that in my mind accommodates a whole set of political and existential subtexts. The Defining Standard – part one, is on one level about our measurements and units and their historical origins. On another level it’s about how measurements have become the standard and the power and significance they possess today. The project is also based on a personal story to do with biopolitics. The title, The Defining Standard, refers to the International Prototype Kilogram, which is in Paris.

138 master of photogr aphy

A fathom deep, an inch wide, a foot long, a hand high.

gr eta voÄ&#x2021;arâ&#x20AC;&#x192;139

It began as a discovery of something that had been so obvious that I just accepted it without much thought. Then once I’d made that initial discovery I saw the pattern everywhere; that our entire presence and set of values is based on, and constructed from measurements. The room we are occupying, how we are perceived, how we perceive others. When we are born, we are defined by our length, weight and gender. And so it continues throughout childhood, school, working life, finding a partner, family life, healthcare, right up until death. We are monitored by growth curves, grades and norms. We are evaluated based on how much we cost and take out of society, or by how much we contribute to it. We are exposed to measurements, and at the same time we are dependent upon them; it is measurements that regulate our lives. What is it that arouses this feeling of wonder in me; why do I think it’s so bizarre? Maybe it’s because the kilogram, like the metre, is such a natural concept to us that it’s almost become a kind of intuitive knowledge that we all possess. It’s not difficult for us to estimate the length of a metre or say roughly how much a kilo weighs, and we move comfortably around our own ”language sphere” created by the metre / kilogram system. However, we find other systems of measurement completely baffling. I can quite happily process the piece of information that someone is 167 cm tall, while the same information expressed in another system of measurement, e.g. 5 feet and 6 inches, confuses me totally and I don’t feel secure again until I can translate it back into ”my language”. How has this situation come about, our internalisation of measurements and units? Who is it that has control over measurements, and ultimately over me too? When these ideas started to emerge I didn’t really know where to start looking. The first step was to search online, which led me to the website of SP Technical Research Institute of Sweden in Borås. The website explains that SP has been tasked by the Swedish government to be in charge of our measurements and of something called the “rikskilogram” (national kilogram), which is in itself a breathtaking concept. Is it possible to own a kilogram? Can a country own a

140 master of photogr aphy

One cold December evening, I boarded the plane to Paris.

gr eta voÄ&#x2021;arâ&#x20AC;&#x192;141

kilogram? How does it happen, and why? The national kilogram belongs to the whole of Sweden and is kept under something that can best be described as a cheese-dish cover in a safe at SP in Borås. The conditions under which it is kept, such as humidity, are carefully controlled and measured, since the tiniest external effect could cause damage to the kilogram, which would alter its weight. The national kilogram is used to calibrate all of Sweden’s scales and when I think about it, I can remember that during my year working as a delicatessen assistant, I weighed cheese and meat on a set of scales that displayed a sticker stating that the scales were “SP approved”. The kilogram, which has two back-up kilograms, is taken out every 6 years or so to be checked and weighed. I imagine a sight similar to that of the intro scene from Stanley Kubrick’s film 2001: A Space Odyssey; a dark room, a safe door that opens and behind the door, a strong light and mist. When the mist clears, the kilogram is revealed. What is interesting in this context is that all measurements, apart from the kilogram, are now based on what are known as natural constants, i.e. calculable in a scientific, controlled and correct manner. One metre is no longer based on a physical measurement or object but is instead the length of the distance that light travels in an absolute vacuum in 1/299 792 458 of a second. So in principle anyone can produce a metre, under controlled conditions. The kilogram on the other hand is the only one of our measurements that is based on a physical object. They’ve quite simply taken one litre of water and decided that its mass, at a certain temperature and density, corresponds to one kilogram. A prototype was then produced from this mass, which serves as the world’s kilogram and is stored in a safe at BIPM, Bureau International des Poids et Mesures i Sévrès outside Paris. So it is this very kilogram, locked away in a vault in an old chateau outside Paris, which is the mother of all the kilograms in the world, and all kilograms throughout the world can be traced back to the kilogram in Paris. It sounded so logical and yet at the same time, so illogical. Clearly the kilo cannot move freely but must be kept under

142 master of photogr aphy

One of the first things I did on arrival in Paris was to seek out the only remaining example of the metres that were set up as a guide in various public places around the city, following the adoption of the metre convention. According to my tape measure, which happens to have been made in India, the metre proved to be 101cm long.

gr eta voÄ&#x2021;arâ&#x20AC;&#x192;143

controlled conditions, it’s just that it hadn’t occurred to me that this was how it was done. And in all honesty I thought it seemed rather unsophisticated and slightly absurd. Putting a kilo on the scales for checkweighing raises the age-old question, “which came first, the chicken or the egg?”, because how can you really weigh a kilogram when it is the kilogram itself that is the regulator in relation to weight. Having found out about the kilogram and its inherent problems, I realised that it was important to visit BIPM, to see the environment in which the kilogram is stored and to talk to those who are responsible for it. Anything else felt like settling for second best. However, paying a visit wasn’t going to be the easiest thing to organise. Through recommendations from an extremely helpful contact at SP I managed to arrange a meeting with Dr Richard Davis, Head of the BIPM Mass Section. In our e-mail correspondence I informed him that the purpose of my visit was to obtain further information about the kilogram and if at all possible, get the chance to see the actual ”artefact” (i.e. the kilogram). What confused me was that in his correspondence, Dr Richard Davis constantly referred to the kilogram as the ”prototype”, which in my eyes is not a finished object, but rather a master copy, or test model. Was the kilogram a finished object then, or a prototype? And if it was a prototype that they were keeping down in the vault in Paris, where was the real kilogram?

144 master of photogr aphy

The waiting room in the pavilion at BIPM, where Dr Richard Davis works. The image in the middle of the longer wall shows two kilograms; one in stainless steel and one in platinum / iridium. The image on the shorter wall shows the three keys that are required to gain access to the kilogram. They are kept by three different individuals, all of whom must be present to be able to open the door. The kilogram is usually checked every year to ensure that it is still in the same position and that nothing unexpected has happened to it.

gr eta voćar 145

Phantom Linda Cordius

The beholder is the central communicator in the interplay between image and text – I am the director – the image forms the backdrop – but it is in the beholder that a visual context is to be created. On an opening day I can position myself to behold the beholder. Observe reactions and eavesdrop on private conversations along the walls. Perhaps the beholder picks up my intentions, or perhaps I hear stories I am able to build on further, in my work. In this work I have retained the staging of the beholder while establishing distance from the reference framework by employing a more universal imagery.

146 master of photogr aphy

Sand in my shoes

Linda Cordiusâ&#x20AC;&#x192; 147

148â&#x20AC;&#x192;master of photogr aphy

Shooting Rubber Bands at the Stars

Linda Cordiusâ&#x20AC;&#x192; 149

150â&#x20AC;&#x192;master of photogr aphy

Into the Castle

Linda Cordiusâ&#x20AC;&#x192; 151

152â&#x20AC;&#x192;master of photogr aphy

Below Bella Sky

Linda Cordiusâ&#x20AC;&#x192; 153

Sven Drobnitza

I work with very different matters. The last few years for example I’ve been very interested in ordinary and everyday phenomena and their random aesthetics and logic. Things that are shaped and highlighted by chance but can relate to human behaviour or values. In my last exhibition I chose to work with stuff that I liked visually and which had a more or less allegorical potential. I had some of the ideas in mind for a long period of time but didn’t know what to do with them. I brought them into the gallery and arranged them in a way that made sense to me. It was fun to do.

154 master of photogr aphy

Sven Drobnitz aâ&#x20AC;&#x192; 155

156â&#x20AC;&#x192;master of photogr aphy

Sven Drobnitz aâ&#x20AC;&#x192; 157

158â&#x20AC;&#x192;master of photogr aphy

Sven Drobnitz aâ&#x20AC;&#x192; 159

Research

Hans Hedberg Cecilia Grönberg Annica Karlsson-Rixon David McCallum Marco Muñoz Tepez Niclas Östlind Mette Sandbye Liz Wells Rebecca Solnit Lars Wallsten Mika Hannula

Introduction to Research Hans Hedberg Head of Artistic Research

Research is producing new knowledge, or original contributions to the knowledge field, both to the field as a whole and to vitalise undergraduate courses. For a long period, artistic production has not been accepted as knowledge-forming in the same way as other scientific disciplines. Over recent decades this has gradually changed, nationally and internationally. Artistic research has been established across a broad front within the academies and intensive efforts are underway to define this field of knowledge’s particular conditions and issues, the latter also being slightly different within different artistic disciplines. At the School of Photography we are working with three different approaches to produce new knowledge for the field of photography. Our doctoral candidates are being trained to produce artistic works, while reflecting on their theories and methods. In their degree projects they are also putting their works into a historical and contemporary context. This coherent study gives them a refined and more in-depth set of tools for their future work. The combination of artistic production and reflection is not really a unique approach for the doctoral candidates. It is possible to discern it in many pioneering art forms. But time, the dialogue with supervisors and other doctoral candidates and being part of a critical mass are some of the factors that lay the ground for successful studies at this level. Lars Wallsten defended his thesis in spring 2011 and became the School of Photography’s first doctor. The researcher Tyrone Martinsson PhD initiated the planning of a rephotography project of Danskön on Svalbard; a project that is supported by the Swedish and Norwegian Polar Institutes, as well as by the Swedish Research Council. Another approach that we work with is bringing together practitioners of photographic art and theorists, which produces new knowledge as part of a joint project or seminar. In autumn 2011, we arranged two such seminars with Liz Wells and Joan Fontcuberta, as well as with Mette Sandbye and Lovisa Ringborg, Anna Strand, Pernilla Zetterman. 164 R esearch

In the same spirit we have also carried out an internally funded research project on Svalbard during autumn 2011. The project consists of meetings between various artists and scientists to interpret the concept of Svalbard, its history and contemporary conditions, from their respective starting points. The project will be shown during 2012. A third approach is for artistic researchers to become involved in research that is already established. Professor Annika von Hausswolff exhibited the photography element of such a project in 2011 at the Andrehn-Schiptjenko gallery in Stockholm; a project where she participated in docent Jan Jörnmark’s research into the effects of late capitalism in the United States and Sweden.

Introduction to R esearch 165

MO-LA-CO (montage, layer, copying) Cecilia Grönberg PhD Student

What are the implications of photographic images becoming available for processing using algorithmic operations? What is the significance of new methods of editing, compiling, searching, distributing and reproducing photographic images that have been introduced by the digital format? What new forms for knowledge acquisition and knowledge processing are being created? How do these operation possibilities differ in relation to the (historical) conditions and practices of analogue photography? These questions are at the core of the artistic degree project MO-LA-CO (montage, layer, copying), which aims to use the book and photography as tools to examine the aesthetic potential and effects of the altered technological devices connected with photography. Publications produced within the framework of the degree project (all together with Jonas (J) Magnusson): Reconnections: Transcripts, Lists, Documents, Archives (with particular reference to Midsommarkransen – Telefonplan) (Glänta produktion 2006) Witz-bomber och foto-sken. Aron Jonason: wit, Photographer, journalist, poet (Glänta produktion 2009) OEI # 48–49–50/2010: ludOEI play, games, toys OEI # 53–54/2011: Documents, Optional, Description, Discourse

166 R esearch

mo-l a-coâ&#x20AC;&#x192;167

Chasing Identity Annica Karlsson-Rixon PhD Student

My doctoral project is a practical and theoretical examination of how lens-based media can be used to reflect on collective identity, representation and history writing. The art installation, State of Mind, followed by a series of exhibitions in six countries, workshops, essays and lectures has emerged from my artistic research. The installation explores the everyday lives of lesbian and bisexual women, and highlights fluent boundaries between ethics, legislation, prejudice and civic expectations in the LGBTQ life of Saint Petersburg, Russia. Portraiture and personal stories are central. As for the overall narrative, the focus is on the topics of how and why groups construct networks and communities to achieve a sense of belonging. The artwork functions as a platform for discussions on identity politics and social / political change in the different venues where it is being shown. A workshop format travels with the exhibition tour in order to actualize the subject matter locally. Documentation and stories on the making of State of Mind, as well as the work connected with the art installation tour, are being turned into a book. Notions such as queer, translation and performativity are used as theoretical tools to reflect on different aspects of the art installation. The project and sections of the book have been produced in collaboration with Anna Viola Hallberg.

168 R esearch

Documentation of the artistic research project State of Mind exhibited at Gogolfest in Kiev, Ukraine, 2009.

Documentation of Lezzie Think Tank at Ygallery of Contemporary Art in Minsk, Belarus, 2010. Lezzie Think Tank is a workshop format that travells with the exhibition tour.

Chased Identit y 169

Intersections of Craft and Computation David McCallum PhD Student

My work explores the unseen intersections between crafts and computation. Although they occupy vastly different cultural spaces, I believe that they are far more strongly connected than is readily apparent. Both are dialects of the same language. They reflect the human need to systematize and organize in order to understand the world. What are the deep connections between crafts and computation, and what do they mean? Houndstooth Modifying the parameters of the famous houndstooth-check algorithm to explore the family of possible patterns. Hand-woven linen. 20 × 60 cm. Satin, rope and silk Exploring the qualities of the standard satin weave pattern at different scales. Rope: Hand-woven satin in 10mm cotton rope. 2 × 3 m. Silk: Hand-woven satin in silk. 20 × 10 cm.

170 R esearch

Houndstooth

Satin, rope and silk

Intersections of Cr aft and Computationâ&#x20AC;&#x192; 171

Infrafaces – Interfacing reality Marco Muñoz Tepez PhD Student

Techniques like art bring paradoxes. The paradoxes are not only evident within the technique, but also in all cultural processes that need an interface. An interface is not restricted by the design of devices to manage information within or using technology, rather an interface exists in all cultural phenomena, even in the language itself. An interface can both unite and separate us from our surroundings. These paradoxes can still be used beneficially in art or literature, something that Deleuze or Borges points out in the work of Lewis Carroll. This concept can also be used in the design of interfaces in interactive art. Repetitions, “ad infinitum”, endlessly create labyrinths that invite us to explore them again and again. While an interface is aimed at a usable logical connection, an “Infraface”, on the other hand, focuses on that moment and enlarges or delays it to open a new space. The idea of expanding a room or a moment in time to insert new narratives or actions is the basis of neologism, which is presented here: Infrafaces. Infrafaces suggests a new place for artistic production. An art form that refuses to be explained using logical or functional processes and that has to find its own methods. It is therefore difficult to reach an understanding of the art form via traditional rational processes.

172 R esearch

Infr afaces – Interfacing r ealit y 173

From Reality to “Reality” A Study of Swedish Photography 1970–1995 Niclas Östlind PhD Student

From reality to “reality” – a study of Swedish photography 1970–1995 is the working title of my degree project. It is an eventful period in Swedish photographic history, including profound aesthetic and ideological contrasts. The major tendencies can be described in terms of documentary, artistic and photo-based contemporary art. These have dominated the photography scene at various points in time and when the field has changed, the differences in both ideals and structures have been illustrated. The aim is to describe and analyse the various forms and contexts in which photography has appeared, but also how photography’s distinctive character and role are defined and how views on its relationship to other media and art forms have changed. The material consists of photography that was intentionally shown in a public context, where exhibitions, publications and texts comprise a central communicative aspect. I am carrying out the degree project in my capacity as curator and the project is to consist of two complementary parts; a thesis and an exhibition and catalogue.

174 R esearch

From R ealit y to “R ealit y” 175

Staged Photography Hans Hedberg Head of Artistic Research Staged photography came to be the dominant form of expression in contemporary art during the 1980s and 90s. Although this category has enjoyed a constant presence since the very beginnings of photography, it was particularly common during this period. Many photographic artists chose to move away from the traditional depiction of reality; away from documentary photography, from narration, from the subjective narrative, to depict directed fiction in tableaus instead. The portrayal of social patterns and structures became more important than realistic narratives about individual or collective destinies. Cindy Sherman’s breakthrough work, Film Stills, is a typical example, which also demonstrates the genre’s closeness to the medium of film. It is a work that portrays the gender power regime that dominated – still dominates? – American Hollywood production. The breakthrough of staged photography coincided with cultural doubts about photography’s claims to truth, emphasising instead the representation’s subjectivity. A crisis arose, which called into question and re-evaluated photography that told a realistic narrative. Photography’s starting points, perspectives, possible prejudices and limitations came under scrutiny. Who is representing whom? How do those who are being portrayed speak? Can they speak? Some of this criticism became irrelevant as photographic artists chose to work with fiction instead. Staged photography became an instrument where existential as well as social dilemmas could still be portrayed, with similar claims to truth as in literature. In Sweden from the 1990s onwards, many artists and professors worked successfully with staged photography, including some who were connected to the School of Photography; Lotta A ntonsson, Annika von Hausswolff and Annica Karlsson-Rixon. Often with an element of identity issues and problematising of gender power regimes. They developed a practice that allowed for a combination of depicted personal experiences and social criticism. At least one new generation of female photographic artists has since established itself, and they have at times worked with staged photography. What issues does this new generation identify? How do they view the concept of staged photography? How do they view their work? Have the issues been displaced, altered, replaced by others? How do they relate to their predecessors? 176 R esearch

On Thursday 27 October a forum was arranged within the framework of The School of Photography’s Higher Seminar and as a cause of the Schools research strategy. The arrangement was done in collaboration with the Hasselblad Foundation. Lectures by PhD Mette Sandbye, the artists Lovisa Ringborg, Anna Strand and Pernilla Zetterman were performed.

Anna Strand, Teaterviskning / Stage Whisper, 2010

Staged Photogr aphyâ&#x20AC;&#x192; 177

“Staged Photography” Revisited Mette Sandbye PhD

In the attic of an old estate in Mexico, someone recently found three old, dusty boxes containing all of the Hungarian-American photographer Robert Capa’s negatives from his reportage coverage of the Spanish Civil War in the 1930s. Capa was a founding member of the legendary group of humanistic documentary photographers Magnum. His most famous photograph is the picture from 1936 of the falling civil war soldier – hit by gunshot and captured by the photographer at the moment just before he strikes the ground. Capa’s photograph was long regarded as the most masterful shot in the tradition of snapshot journalism. In recent years, however, several have cast doubt on the image’s level of staging, as it turns out that several other Capa-photographs have surfaced, depicting what appears to be the same man – in different “falling situations”. This theory, however, could not be verified by the negatives, as Capa himself figured that the negatives had been lost. In the history of photography, the missing negatives have carried a mythical aura, akin to the Holy Grail. So when the negatives were discovered, they attracted international media attention. Finally, the debate on the degree of staging could be settled. The story of Capa’s famous photograph illustrates to the duality of magical reality, emanation and fictitious construction that has always haunted the medium of photography. A duality popularly named miroirs qui souviennent – mirrors with a memory – immediately following the official launch of photography in Paris in 1839. Photography Has Always Been Staged Capa’s photograph is from 1936, but the history of photography is full of examples of more or less staged photographs. One of the most famous staged photographs was created by the French photographer Hippolyte Bayard, who in 1840 staged himself halfnaked as a drowned man. He took part – along with many other inventors – in the “race” to go down in history as the first official

178 R esearch

In this essay I will introduce the term “Staged Photography” from a historiographical perspective, including its introduction in a Scandinavian context. What did the term “Staged Photography” mean in the 1980s and is it still a relevant term to use today? Who are today’s “directorial photographers”?

inventor of the photograph. His French colleague Daguerre won this race, as we all know, and is today considered the official inventor of photography. Bayard knew that his fate was then sealed. He could never achieve the reputation that Daguerre gained on that day in 1839, when he presented the new invention to the French Academy of Sciences. With tragic irony and a fine sense of media manipulation, Bayard created this self-portrait, which at least secured him a small place in history. In the first decades following the invention of photography, all photographs actually carried a staged, posed, stiff and unnatural feeling, because the technique – or rather the lack thereof – demanded an exposure time of up to several minutes, requiring the subject to be completely still. It was simply not possible to capture a horse in the midst of a gallop, as Muybridge later did it, or a falling man in the moment of death as in Capa’s photograph. In 1859 the French writer Charles Baudelaire penned his now famous article The Modern Public and Photography – a curse against the new medium’s slightest ambition to approach art’s hallowed halls. The photograph could be used as an auxiliary tool for the real artists, said Baudelaire, but because of its mechanical genesis and its objective referentiality it could never aspire to becoming recognized as art. Yet among the contemporary Pre-Raphaelite painters and poets in England in the middle of the 1800s, photography was regarded an accepted form of artistic expression, on an equal footing with poetry and painting. These painters tried to return to a figurative language from “before Raphael”, ie. they sought to portray a world which they experienced as a mysterious, complex and Gothic fairytale, including means of allegory and high detail accuracy – and for this purpose photography was a superb tool. In the circle of the Pre-Raphaelite painters, photographers such as Oscar Rejlander, Henry Peach Robinson and Julia Margaret C ameron worked with theatrical, quaint, staged photographs “from the imagination,” as Robinson described it. Cameron most often used friends and servants as models, whom she dressed up and staged according to Greek myths and medieval legends of King Arthur’s court in front of the camera. We find similar motifs with painters like Millais and Dante Gabriel Rossetti. The Modernist Historiography of Photography But why did it take up to the late 1970s and 1980s before the term “staged photography” became a specific concept, and even a widespread and trendsetting phenomenon in the art world? To find an explanation, we must return to the years around Capa’s famous “Staged Photogr aphy” R evisited 179

falling soldier. While Capa was struggling with his camera, side by side with the Spanish insurgents, the American photo historian Beaumont Newhall sat in an office at the Museum of Modern Art in New York, composing a big photo-historical exhibition to be shown the following year under the title The History of Photography. The exhibition catalog became the most widely used photo-historical standard reference work, and has appeared in revised editions in 1938, 1949, 1964 and 1982. Newhall’s The History of Photography was the work that really wrote the history of photography. The book appeared at the moment when modernism cemented its position, just as American modernism’s most trendsetting analytical proponent Clement Greenberg wrote some of his early texts, positioning abstract painting as the leading – indeed the only possible – contemporary expression within painting. In Greenberg’s modernism, it was decisive that each art form developed, explored and improved precisely what was the essential characteristic of that particular art form and did not try to imitate other art forms. Since photographers like Rejlander and Robinson, and not least with the English and American pictorialists around 1900, photographers had tried to get photography accepted as fine art on an equal footing with painting. In particular, the technologybased starting point had always been regarded as a key obstacle to photography’s equal entry into the art scene. Newhall and his contemporary photographers realized, however, that within modernism this technological impetus could be turned into an advantage. Photographers should not mimic painting, but instead find their way to “the specifically photographic”. One would create graphical, super sharp “photos that look like photographs,” as the great American Modernist Edward Weston said. Newhall based his “history” on the formalistic qualities of photography, and about Julia Margaret Cameron’s staged photographs, he wrote with thinly veiled negative charge: “Her dynamic portraits are among the finest and most breathtaking ever made with a camera, but her costume pieces lie rather in the Pre-Raphaelite painters’ idiom” (Newhall 1982 : 78). Newhall built his story around two central tracks, both characterized by the pure, unmanipulated, non-staged: the formalist, “straight” or “pure photography” and the documentary – two central tracks that came to define photography for many decades to come. The Directorial Mode It was only towards the end of the 1970s that these two main photographic conventions and the notions of authenticity and objectivity attached to them, were subjected to massive criticism and 180 R esearch

were really overthrown. It happened with the flow of American photography, which critic A.D. Coleman – in an article in 1976 – named The Directorial Mode, and which has since been termed “Staged Photography”. The term was cemented by two comprehensive books in 1987: Andy Grundberg and Kathleen McCarthy Gauss’ Photography and Art. Interactions since 1946 and Anne H. Hoy’s Fabrications. Staged, Altered, and Appropriated Photographs. Under the influence of the media blends and the mixtures of high and low culture, which artistic currents such as pop, happenings and conceptual art stood for, and influenced by various postmodern theoretical approaches such as feminism and poststructuralism, a growing number of artists started using photography in a way that deviated radically from “the specifically photographic”, as promoted by historians such as Newhall and later John Szarkowski, the photography director at Museum of Modern Art. As the pioneer of American staged photography, Duane Michals expressed it: “The thing about working as a photographer by walking down the street with a camera looking for something to take a picture of – I did not have to do that because it was already in my head” (Sandbye 1992: 55). Michals did everything that had been banned among the modernists: he made cinematic, narrative sequences, he worked exclusively in his studio with staged models, he wrote stories under or directly at the pictures and he did not care about the technical aspect of photography at all. Likewise in the 70s and early 80s Les Krims created allegorical photo tableaus to be decoded as a riddle, not unlike the Baroque and Pre-Raphaelite

Anna Strand, Liv kan uppstå / Life Can Appear, 2010

“Staged Photogr aphy” R evisited 181

Lovisa Ringborg, Mirror Stage – An Attempt to Regain Consciousness, 2012

paintings, and the most famous artist within “staged photography” Cindy Sherman staged herself as characters from mass culture in order to problematize the production of gender and other typologies. Already in the 1960s, French structuralist Roland Barthes had criticized what he called “the naturalization effect of photography”, which worked to mask the ideological manipulation behind every apparently realistic image. It was not until the late 1970s and the appearance of “staged photography”, however, that artists seriously began to question the reality effect of photography. As is so often seen in art history these artists’ works developed – more or less unconsciously – in parallel with a similar theoretical development. Cindy Sherman was, for example, widely used as an example in feminist theoretical articles on how gender identity is not an essential, stable and biologically determined size, but is developed in close interaction with various social discourses. By staging herself as “types” taken from Hollywood films, commercials, fashion photography and adventure, Sherman showed how gender is a conventional construction, but also how this condition can be turned into something positive, playful and challenging. Sherman: “I think of myself as an artist, not a real photographer […] In a way I am a performance artist. I was influenced more by performance art than photography or painting. The image is my own performance, and I am documenting myself “ (Sandbye 1992: 158). Joel-Peter Witkin, Lucas Samaras, Arthur Tress, Sandy Skoglund, Louise Lawler, Laurie Simmons, Canadian Jeff Wall, British Boyd Webb and many other artists were all part of this refreshing expansion of the means of photography in the 1980s. 182 R esearch

Criticism of the Documentary While a wide range of artists from the late 1970s onwards thus represented a wave of conscious and overtly staged photography in order to challenge and destroy “the mythology” of photographic realism, theorists also started a frontal attack on Beaumont Newhall, on realism and on modernism within photography, and the criticism was especially addressing the documentary genre: that is, the most “realist” of photographic genres. Theorists such as John Tagg, Abigail Solomon-Godeau, Allan Sekula and Martha Rosler demonstrated how documentary photography was based on a powerful and deeply ideological discourse associated with the emergence of modern, bureaucratic society, but that this discourse had been hidden under allegation of photography as a truthful, unmanipulated image. One can thus speak of a general paradigm shift in the perception of photography in modern culture in the 1980s, a move that was also linked to the advent of digital photography. The new digital affordances made it possible for artists to manipulate images and “tease” the audience in relation to the “reality expectations”, we always meet the photograph with. An academic discourse thus developed around photography in the 1980s, highlighting the photographic image as a cultural construction, whose meaning is guided by context, rather than by a privileged relation with reality. In large color formats artists such as Sherman, Samaras, Skoglund, Simmons and Wall and many others worked to deconstruct rather than construct meaning, and to clarify or to play ironically with such conventions. Scandinavian Picture-makers “Staged photography” hit Scandinavia in the years around 1990 with Sweden as the most “advanced” frontrunner (see also Sandbye 1992, Gade 2004, Lien 2007, Rossi 1998). This was mainly due to the possibilities for photographic education in Sweden – especially in Gothenburg and Stockholm – and to the fact that lecturers and curators such as Jan-Erik Lundström, Irene Berggren and Hans Hedberg oriented themselves towards both American art and French post-structuralism, introducing some of these mindsets and theoretical currents in Sweden. Berggren curated the exhibition Lika Med / Equals at Moderna Museet in Stockholm, shown in spring 1991, around four themes: Value, identity, desire and transformation. The exhibition caused some controversy, also because it included non-art images from the commercial sphere. Later that year, the exhibition Index toured Scandinavia showing a brand new, radical, postmodern generation of artists that appropriated, “Staged Photogr aphy” R evisited 183

Lovisa Ringborg, Asylum, 2010

184窶コ esearch

“Staged Photogr aphy” R evisited 185

staged and criticized the language and ideology of photography. The exhibition, Stranger than Paradise: Contemporary Scandinavian Photography, which in addition to Scandinavia was also shown at the International Center of Photography in New York in 1994, stood out with its strong focus on postmodern themes and strategies such as staged photography. Among the artists participating were Danish Tune Andersen, Ane Mette Ruge and Erik Steffensen, Finnish Jan Kaila and Kapa, Swedish Annica Karlsson-Rixon, Leif Lindberg and Maria Miesenberger. In Denmark, the exhibitions Tendenser. Ny dansk fotografi at Fotografisk Center 1992 and Ud af Øjet – 90’ernes fotografiske billede at Kunstforeningen 1993 presented the new postmodern currents, and they included staged or appropriated photography by Agneta Werner, Grete Dalum, Ane Mette Ruge, Johnny Jensen and Lisa Rosenmeier. In the Index catalog essay, one of the curators Jan-Erik Lundström summed up the new mindset of photography: ”The photograph as instrument and the instrumentality of photography in social and political developments have come under scrutiny” (Lundström 1991, 18). “The meaning is the use of language and pictures. No a priori meaning exists; and nothing exists o utside

Lovisa Ringborg, La belle Indifférence, 2011

186 R esearch

history” […] “The contemporary visual arts have also entered into close combat with the output of symbols and production of signs”[…] “Culture is not reflected in images; culture is produced in images” (Lundström 1991, 19–20). Lundström calls the artists in the exhibition – with names such as Annica Karlsson-Rixon, Lotta Antonsson, Mathias Givell, Sven Westerlund, Cecilia Bergman, and Martin Sjöberg – “… picture-makers who are interested in the visual culture in which we live” (21). Especially the women stood out. Lotta Antonsson showed a series of appropriated porn images of women with the text “This girl has inner beauty” texted on the very image, together with “Sky is blue” and “Skin is tan”: enlarged news images supplemented by text that created an antithesis to the dramatic news photograph. The text came from the description that accompanies the photo when it is sent via telex to make sure the colors are understood. Karlsson-Rixon showed her posed amateur tourist cliché photos. Another strong representative of Swedish staged photography was Annika von Hausswolff, who imitated slightly uncanny Hollywood imagery. All three later became associated as professors at the School of Photography University of Gothenburg. In Finland Heli Rekula’s “abject”, surreal and sometimes rather violent staging of female nudity stood out,1 and in Norway, Vibeke Tandberg staged herself as her own family members, as various brides in her own bridal advertisements in a number of Scandinavian newspapers, as a celebrity social aid worker in Africa, and even as her own imaginary twin sister. In 1994, she graduated from the Institute of Photography, a photography programme started in 1990 at The School of Art and Design in Bergen, Norway, which emerged as the central hub of Norwegian staged photography. The black-and-white, existential subjectivism of former Scandinavian photography was blown away in favor of images that questioned and discussed subjectivity as an issue, together with gender, family, nature and sexuality. Also Thorbjørn Rødland and Mikkel McAlinden (see Lien 2007), who stand out as central Norwegian representatives of staged photography, graduated from the Bergen school in the 1990’s. Staged Photography Today The development of photography as an art form and the theoretical discussion which took place in the first half of the 1980s, have 1 But also Henrik Duncker, Merja Puustinen, Kapa, Ulla Jokisalo, Tone Arstila, Jan Kaila and Nina Korhonen must be mentioned as strong representatives of Finnish staged photography in the 1990s. See the catalogue Frames. Viewing Finnish Contemporary Photography, 1998, where they are all represented. “Staged Photogr aphy” R evisited 187

been crucial to the far more nuanced use of and understanding of media that we see today, where most artists as well as audiences are aware of the fact that every photograph represents some degree of staging, and where most museums and galleries have accepted the medium of photography on equal terms with painting, installation art, video and sculpture. Today allegorical, filmic, painterly, conceptual and staging strategies are among the vast tools in the photographic artist’s toolbox, and photography plays a central role on the general art scene, internationally as well as in Scandinavia. “Staged photography” might therefore be considered an obsolete term, and it is certainly not a commonly used term anymore, neither among artists nor art critics and theoreticians. Among the broader audiences a certain hesitation nevertheless still exists towards accepting photography as an art form on equal terms with painting and sculpture, and in that sense the term “staged photography” is still very adequate to clarify the differences between documentary and art photography and to discuss and criticize the “window” metaphor that still adheres to photography. Nevertheless it is possible to identify at least two very clear tendencies within contemporary Scandinavian staged photography: a new “literary” and poetical kind of photography, often with surreal, rather uncanny undertones, related to existential states of mind, psychology and emotion, not the least associated with the universe of the child. These artists work in large, color “painterly” formats, they do not shun the highly allegorical, and their works are shown and sold at museum and galleries of contemporary art in general. Swedish Lovisa Ringborg, Pernilla Zetterman and Anna Strand are strong Scandinavian representatives of this current (and Danish Astrid Kruse Jensen could also be mentioned in this context). They have all studied photography in the 1990s or early 2000s when the new postmodernism peaked, and they are standing on the shoulders of this tradition. But they do not find it that necessary to criticize photography as construction and ideology as the former generation found it imperative to do. Lovisa Ringborg (b. 1979) actually started her artistic career as a painter. She stages her highly allegorical subjects in a studio, most often with a black background which makes the subjects stand out even more, referencing both the baroque painting tradition and Rembrandt’s “clair obscur”-lighting. She structures her works in series with titles such as Wonderland, The Chimera Carnival and Limbo, pointing at the same time to something magical related to childhood (Wonderland), to something which is not what it seems to be (Chimera Carnival) and a more somber universe, related to fear and death (Limbo). In the image Inversion of the Realm from the Limbo-series, we see a child or a young woman, sitting, turning 188 R esearch

her back to the camera, strangely caught in a sea of paper confetti. This is something that might refer to a child’s birthday part, but at the same time the whole setting and the deeply troublesome posture of the child / young woman is both deeply surreal and very uncanny. As in all her images, this one is fused with an ambiguous rebus-like symbolism, impossible to fully decipher. The series Alice alludes directly to Alice in Wonderland, depicting the transition from child to woman as magical, mysterious and deeply disquieting. Single images carry titles such as Sleepwalker, Haunted and Disguised and The End of Reason. We are surely “beyond reason” in Ringborg’s universe, but where we are, is not quite so easy to tell. Ringborg’s complex images are filled with symbols and theatrical effects; they seem to depict scenes from dreams and the unconscious, but they never let the viewer get away with a simple Freudian translation. At the same time her images are extremely beautiful, which is also something that initially confused part of the art world after a long period where a major part of photography had been dominated by snapshot aesthetics and a much more raw documentary style. Pernilla Zetterman’s (b. 1970) photographic universe is also very “painterly”, allegorical and aesthetically beautiful. In several

Pernilla Zetterman, Plaques and Medals (Behave 25), C-print / diasec, 60 × 60 cm, 2005.

“Staged Photogr aphy” R evisited 189

Pernilla Zetterman, Conduct No.2, C-print / diasec, 120 × 120 cm, 2006.

190 R esearch

series she seems to – more or less indirectly – draw on a more directly personally experienced universe than Ringborg. In the series Ground Rules she uses her own background as an athlete to present highly staged athletic bodily postures together with details from athletic playing fields, such as running tracks. Through these apparently simple and very “clean” motifs, she examines the selfcontrol and the rigors of physical training. In When she presents isolated everyday objects or body parts from three generations: herself, her mother and her mother’s mother. Her grandmother is clearly from a generation where values such as order, cleanliness and properness were important to identify a “real woman”, whereas her own mother clearly has opposed these values in her own, much more “sloppy” daily life. Interestingly enough, the daughter’s life has apparently again been dominated by control and order in the form of the bodily control related to a life as a medal-winning, elite sport practitioner. The work is at the same time deeply personal and a more symbolical feminist depiction of cultural, behavioral development over generations. She is explicitly inspired by the formerly mentioned “first generation” of “directorial photographers”, and when she took her BA degree at the School of Photography in Gothenburg in the late 1990’s she was taught and tutored by Swedish photographers such as Lotta Antonsson, Annica Karlsson-Rixon and Annika von Hausswolff. But she has found her own distinct form of photography, combining personal memories with more abstract and general investigations into issues such as gender, discipline, power and anger; all closely related to the body. Anna Strand (b. 1979) studied at the School of Photography in Gothenburg from 2002 to 2008, and has her roots in a performative and conceptual tradition that links her to the universes of artists such as Sigurdur Gudmundsson, Bruce Nauman (his early photographic work), Joseph Kosuth and Fischli / Weiss – to name just a few. In her staged and very playful images, Strand carries out a conceptual and very humorous meta-reflection on the photographic realism and on the relationship between language, reality, experience and photography. For instance an image can be entitled Där finns inget där där (There is no there there). Apparently the image does not depict “anything”; it is a “boring” house estate backyard with some trees in the front. But reading the title the viewer starts to look for clues or rather is made aware that we always look for clues and traces of something more than “nothing” in a photographic image and that we use titles to tell us what to look for in an image. In the image Making a point, we identify a rocky seashore landscape that can be recognized from the tradition of romantic landscape painting. But the almost transcendent, “Staged Photogr aphy” R evisited 191

sublime feeling of the landscape is punctuated by a small figure on top of the cliff; a woman sitting down to have a pee – literally Making a point as the title tells us. Often Anna Strand literally translates ordinary, everyday sayings or expressions such as In your face (a man carrying a plastic moustache) or On my mind (a woman carrying a book on her head). With humor as a central part of her work she most often examines how language at the same time extends and limits the meaning of the image. Compared to the more explicitly “postmodern” generation of artists preceding Ringborg, Zetterman and Strand, for the “2000-generation” it is not that important to stress the dominance of photography in the construction of modern identity, power and politics nor to fight for its acceptance as an art form on equal terms with painting. For Ringborg, Zetterman, Strand and Danish Kruse Jensen – and from Finland one could mention Elina Brotherus and Aino Kannisto as poignant examples – photography is just a tool in the artistic process of articulating ideas, thoughts, dreams, fantasies and concepts that they share with many other artists. Another less exposed but steadily growing current is a mixture between a documentary purpose and a “directorial”, more artistic strategy. An example is Danish Charlotte Haslund-Christensen’s project Natives: The Danes, where the artist performs dressed as an explorer from the early 20th Century, but instead of going on an expedition to “the third world” she travels to Danish cities and documents “the natives” in the form that was used by explorers and anthropologists more than hundred years ago, at the same time as she interviews them about their relationship with and feeling towards their neighbors. In this project Haslund-Christensen at the same time performs a critical analysis of earlier strategies of representation of “otherness” and of the current political climate and Denmark’s often rather problematic relationship with foreigners and towards otherness. In Swedish photographer Kent Klich’s project Picture Imperfect he likewise cooperates in a performative way with former prostitute Beth in order to tell the story of her life, as well as carrying out a critical political analysis of the Danish welfare society from the 1960s till today. The project consists of various forms of photography: old family photographs, documentary black-and-white images, new staged large-format color photographs, and video footage filmed by Beth herself. This variety is not used to state that everything is constructed and that nothing is true, but rather to underline that a combination of many forms of photography comes closer to some kind of a truth about the life of a human being. Iranian photographer Gohar Dashti’s photo series Life and War Today (2008) is a recent example of how a combination of staged photography and a preoccupation with the current p olitical 192 R esearch

s ituation can be fruitful. In absurdly staged photographs, Dashti is showing an Iranian couple and their everyday life in the midst of war and devastation, surrounded by tanks, weapons and barbed wire, documenting the traumatic, emotionally fraught living conditions of the younger Iranian generation that grew up during and after the Iranian revolution in 1979 with the legacy of war, violence and terror. This is not a Scandinavian example, but I bring it up in a Scandinavian context, because we have not seen that many examples of this kind of strategy yet. It is specifically in this strategy of what I would call “staged documentary” that I see a renewal of the political and discourse-critical aspects of what we could call the “first generation” of “directorial” photographers from the 1980s, Scandinavian as well as American, and also – until now not that common – a way of rearticulating an interest in analyzing the actual “state” of the Scandinavian welfare model. As A.D. Coleman said in a 1989-revision of his original text about staged photography from 1976: “When neutrality always favors the status quo, and when the illusion of transparency is in service of power rather than the powerless, staged photography has pronounced political and cultural implications” (Coleman 1989). This insight does certainly not seem obsolete today.

“Staged Photogr aphy” R evisited 193

Photography as Deception Hans Hedberg Head of Artistic Research

When digital technology was established during the 1980s and 1990s, one of the dominant critical questions was whether we, in the future, would be able to rely on photographs as evidence and a witness to the truth. An animated discussion ensued, and some news media felt compelled to declare that they would only ever publish “real” unmanipulated photographs. Many photo graphers and intellectuals regarded the question as a trifle dated and exaggerated. Had we ever really been able to trust a photograph? There was no doubt that digital technology offered more advanced and refined instruments for manipulating images, but photographic editing of reality was something that had been happening on a large scale ever since photography was first invented. As early as 1855, Queen Victoria’s commission for British photo grapher Roger Fenton to portray the Crimean War was somewhat subjective. Similarly, the image of Lenin at the hustings, standing beside the forgotten shoes of figures apparently edited out of the photograph is classic example of a clumsier attempt at altering the truth. It was, however, subjective portrayal that dominated photographic editing techniques. That is, what is perceived as being worth photographing and what is disregarded. It may be a matter of simple messages about who is winning a war, or the perception of beauty. But it also involves a more complex self-understanding, in which the values of the dominant middle-class are what determine the field of vision, so that people feel comfortable and at home. Ideals are produced that are conveyed unconsciously and invisibly in everything from travel books and articles about the home and interior décor, to portraits and photographs of special occasions. These are values that are also reflected in the conventions that were established to inform about more “objective” news within social development, science and culture. In contrast to many who wanted to defend the supposed claims of truth about photography, Spanish photographer and artist Joan Fontcuberta appears instead during the course of a long artistic career to have welcomed the potential offered by 194 R esearch

On Thursday 24 November a forum was arranged within the framework of The School of Photography’s Higher Seminar and as a cause of the research strategy. The arrangement was done in collaboration with the Hasselblad Foundation. Lectures by professor Liz Wells and the artist Joan Fontcuberta were performed.

digital technology for skilled deception. In the tales constructed by Joan Fontcuberta – where he often plays the part of co-actor under an alias created by an anagram of his name and which is documented in the form of photographs that become “evidence” – he plays with the various conventions that our culture has established around different ways of conveying information. Like an experienced fraudster, Joan Fontcuberta often keeps as close to a reasonable version of the truth as possible. On a few occasions, his stories have also been taken completely seriously by individuals and state representatives, which shows that they have at times gained a foothold in the collective consciousness as though they were true. This is a development that Fontcuberta has welcomed. Through his humorous deconstruction of these conventions, Fontcuberta’s hoaxes touch on more universal questions. To what extent do language systems and structures affect our perception and our world view? Is reality a mirror in which we mainly see ourselves? What do we want to believe? What can we know?

Photogr aphy as Deception 195

Folding and Faulting: on photography and contemporary currencies of the sublime Liz Wells Professor

I am interested in land, landscape and environment, people and place. As a curator and writer it follows that I work primarily with landscape photography. I am currently involved with a number of exhibitions; these have variously returned me to thinking about the sublime in art. Given a focus on land and landscape, it is not surprising to find a certain persistence of Enlightenment notions and debates relating to the immensity and incomprehensibility of our environment. Several artist-photographers with whom I’ve had discussions recently have commented that they have been considering how to think about the sublime differently, in ways that resist romanticized notions or the religious references so often associated. This forms one strand of this paper. I also want to reflect on the proposition that the gap between representation and actuality can be characterized as a sublime rupture. I was invited to give a talk at a symposium linked with the exhibition, Beyond, which opened the Tallinn Photography Festival in October 2011. The curator, Adam Budek, took G iorgio Agamben’s essay, Judgment Day, which is short and currently fashionable, as a point of inspiration. Agamben refers to “a sublime breach” between that which touches the senses and the intelligible, between copy and reality, between memory and hope.1 He clearly sees this as ontologically fundamental to photography. This led me to reflect on the epistemological utility of Agamben’s discussion of the sublime in terms of the “gap” between representation and reality. Fontcuberta’s repeated return to questioning the relation between image and source offers an opportunity to reflect on whether the notion of “sublime” is philosophically useful in trying to grasp the momentousness of the distinction between referent and (photographic) copy. Personally I am not convinced that Agamben’s use of “sublime” is helpful, as it seems to be a r hetorical over-statement. However, his essay does serve as a reminder that the photographic – which we take for granted in its 1 Giorgio Agamben (2006) Profanations Paris: Payot & Rivage, edition de poche. Translated from Italian, 2005, by Martin Rueff. p 26. 196 R esearch

This essay was written specifically as a preamble to a presentation of his work by Catalan conceptual artist, Joan Fontcuberta. Given the investigative nature of his work, in particular his repeated questioning of notions of photographic meaning, it offered an opportunity to extend some recent reflections on the contemporary sublime in photography. In his short essay, Judgment Day Giorgio Agamben identifies gaps, “a sublime breach”, between copy and reality, memory and desire, expression and representation. He posits a different, but not irreconcilable, notion of the sublime than that associated with Enlightenment Philosophy and with romanticism in landscape art. Referencing examples from photography concerned with people, place and landscape, this talk reflects on current currencies of the sublime.

everyday ubiquity – should actually be treated as very puzzling. This is of course exactly what Fontcuberta does. This paper returns to considering legacies of more traditional notions of sublime in landscape and questions links and discontinuities with newer propositions relating to the sublime in photography. My title, Folding and Faulting, references the definition of Orogenesis as “the process of mountain formation, especially by a folding and faulting of the earth’s crust’ with which F ontcuberta opens his publication, Landscapes without Memory.2 It is also intended to suggest the “gap” or fault line between gentle credibility and momentous incredulity. I am currently curator for a number of two person or group shows that have prompted reflections on the legacy of the romantic sublime. They include: Chrystel Lebas and Sofija Silvia, Conversations on Nature, which explores managed national park areas in Croatia, specifically the Brijuni Islands (off the north-west coast of Croatia, where Tito used to have his private residence) and Risnjak national park (which is a mountainous area, inland north-east of the city of Rijeka, frequented by itinerant wildlife including bears).3 (fig. 1) The Brijuni Islands in particular led me to think about landscaping in terms of gardening and the construction of idealized, ostensibly natural, environments. During the Roman era the islands had been a place for luxury villas, later abandoned. In the late 19th century, the period of the Austro-Hungarian Empire in this part of Europe, the islands were reclaimed and landscaped by the Austrian Paul Kupelweiser, importing animals (such as deer), trees and exotic plants in order to mould it in accordance with Austro-Hungarian ideals including emphasis on visual harmony. Risnjak national park is now also a managed area, one with a main road routed through it, with bridges over allowing animals to cross the road (which they don’t always use as they prefer established routes). Whilst organized as a leisure area there are still bears and other wild animals that, unless you are a hunter, you might prefer not to actually meet. Lebas’ photography includes animal tracks. The contrast between the island and the mountains is at one level a contrast between a man-made, landscaped environment and a wild forest; between a place of beauty and an area that is more sublime. Two other shows that have returned me to notions of the sublime in landscape are Futureland Now, reflections on the p ost-modern sublime, opening in Newcastle, UK , in October 2012, which will 2 Joan Fontcuberta (2005) Landscapes without Memory. New York: Aperture, p.1. 3 Exhibition dates and venue, June – August 2011, Museum of Modern and Contemporary Art, Rijeka, Croatia. Folding and Faulting 197

fig. 1 Chrystal Lebas, Untitled n.30, from Presence. Risnjak, Kupa, Croatia, 2010. C-type, 84 × 200 cm. Courtesy Chrystal Lebas.

198 R esearch

Folding and Faultingâ&#x20AC;&#x192; 199

include new work as well as a retrospective of photography by John Kippin and Chris Wainwright, both of whom contributed significantly within the critical lineage that has come to be discussed in terms of technological sublime, and Landscapes of Exploration, art from Antarctica which opens in Plymouth, UK , in February 2012. This includes work by eleven artists commissioned between 2002/9 by the British Antarctic Survey to undertake residencies there. Given the scale of the Antarctic, still a relatively unknown continent, not to mention the challenges that artists face when living and working there, I have returned to Burke as a starting point for re-thinking notions of sublime. Sublime as Concept4 (fig. 2) In considering the sublime in contemporary photography it is useful to look back on the origins of the notion of the sublime, which refers to the momentous. In A philosophical enquiry into the origin of our ideas of the sublime and the beautiful (1759) Edmund Burke reflected on the sublime by distinguishing between pleasure and pain (a binary familiar from Plato). He asserted that pain is the stronger emotion. His summary exposition remains useful: The passions which belong to self-preservation, turn on pain and danger; they are simply painful when their causes immediately affect us; they are delightful when we have an idea of pain and danger, without being actually in such circumstances; this delight I have not called pleasure, because it turns on pain, and because it is different enough from any idea of positive pleasure. Whatever excites this delight, I call “sublime”. The passions belonging to self-preservation are the strongest of all the passions.5 Given our instinct for self-preservation he suggests that death is the one thing worse than pain. However, what is of interest in an arts context is the notion that we enjoy “vicarious” experiences of pain or danger. Art may be deeply enjoyable precisely because we are drawn into contemplation of scary or incomprehensible phenomena without actually experiencing them. 4 The following section directly draws upon a paper first given at the 2011 summer symposium run by the research group for Land / Water and the Visual Arts, Plymouth University, for which the theme was No Man’s Land. See www.landwater-research.co.uk 5 Edmund Burke (1759) from A philosophical enquiry into the origin of our ideas of the sublime and beautiful in Andrew Ashfield and Peter de Bolla (eds) (1996) The Sublime, a reader in British eighteenth-century aesthetic theory. Cambridge CUP. Section xv111. 200 R esearch

fig. 2 Keith Grant, Iceberg off Rothera Point, 2006. Oil on canvas, C-type, 60 × 100 cm. Courtesy Keith Grant and Chris Beetles Gallery, London

The sublime in landscape art has been particularly associated with imagery of threat or danger. Burke suggests that: The passion caused by the great and sublime in nature, when those causes operate most powerfully, is Astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror … Astonishment … is the effect of the sublime in its highest degree; the inferior effects are admiration, reverence and respect.6 In the Enlightenment era man was romantically posited as existing in harmony with nature yet, as thinking beings, superior within the order of things. In Burke’s formulation we are so overcome by an object or experience that we lose our reasoning abilities, hence we experience the sublime as “irresistible force”. He clearly states that nothing “so effectively robs the mind of all its powers of acting and reasoning as fear”. We experience Turner’s seas as over-whelming, as indeed they would be were we sailing. We tend to associate the sublime with scale. But fear is not necessarily induced by the size of an object. Rather, maybe, we are concerned with our sense of threat. For instance, we may fear insects, small mammals, or reptiles. Knowledge of the power to inflict pain (or death) is a key aspect of the romantic sublime. The sublime incorporates both the momentousness of the scale of nature and the unfamiliarity of certain species. There is, of course, a link with the Freudian notion of sublimation: the unconscious repression of that which is difficult to reconcile with our conscious sense of self. There is also a link with the biblical. Whilst always referred to in terms of the era of Enlightenment, 6 op cit, Part Two, Section 1. Folding and Faulting 201

hilosophic discovery – especially in Catholic countries such as Irep land (Burke’s homeland) – remained deeply seated within Christian traditions. Fear of snakes at one level indexes fear of the consequences of falling for temptation. Indeed, arguably Agamben’s essay, whilst conceptualizing the sublime slightly differently, is imbued with Italian Catholicism as he talks of photographs in terms of angelic powers “to summon and sum up” through the recording of gesture, and, rhetorically refers to photography as the “new angel of the apocalypse”.7 Burkes’ formulation is distinct from that of the 18th century German philosopher, Immanuel Kant. Kant distinguished between evidence based on sensual experience – sight, hearing, etc – and conclusions reached through philosophic reasoning deriving as much from particular system or philosophic method as from actual experience. For Kant mind, and human power of analytic reasoning, was more important than experience. As Philip Shaw comments: With Kant and his followers in the German Idealist tradition of philosophy, the emphasis shifts decisively away from empiricist or naturalistic theories of the sublime and towards the analysis of sublimity as a mode of consciousness.8 In the Kantian model the sublime relates to incomprehensibility, that which cannot be understood through rational measurement or debate. In referencing a “sublime breach” Agamben draws more on Kant than Burke as he interrogates photography ontologically. Kant remains central within aesthetic theory. This is perhaps in part because the idealist model synthesizes with the work of Rene Descartes, familiar in art history for his distinction between the act of seeing, and what we see. Preceding Kant, Descartes insisted upon the separation of mind and senses, arguing existentially that the relationship between thinking and being is fundamental: “I think therefore I am”. More particularly, Cartesian dualism posits a binary distinction between mind and matter which, by extension, positions humankind egocentrically within the order of things. Core to the experience of the sublime is that imagery alludes to something that cannot be shown. French thinker, Jean-Francois Lyotard’s interest in the sublime stems from distinguishing between the role of art, and what he refers to as the culture industry (in which he includes teaching). He comments that artists have to respond to the question, what is it to make art?9 If we take it that 7 Agamben, op cit, p 27. 8 Philip Shaw (2006) The Sublime. Abingdon, Oxon: Routledge. p 6. 9 Jean-Francois Lyotard (1993) The Inhuman. Cambridge: Polity Press. p135–143. First published in French, 1988. Translation (1991), Polity Press. 202 R esearch

art involves form and matter (perhaps, but not necessarily, explicit subject-matter), then we can interrogate contemporary art in terms of modes of investigation and expression – what is it that has been explored, reflected upon and is now being communicated and how is it being mediated? For Lyotard, art is about approaching matter, and about timbre and nuance; implicitly referencing Jacques Derrida’s analysis of the fluidity of meaning, he suggests that sounds “differ” and “defer” between modes of expression (for example, the difference between the same note on a piano or a flute). He suggests that form, a regime of the mind, may limit openness to timbre and nuance. He doesn’t use the term regimentation but there is an underlying implication that form may be restrictive; his point is that we need to explore new means of expression. He comments that art “turns towards a thing which does not turn towards the mind, that it [art] wants a thing…which wants nothing of it”.10 He asks, “How can the mind situate itself, get in touch with something that withdraws from every relationship?” noting that matter may be “unpresentable to the mind, always withdrawn from its grasp. It does not offer itself to dialogue and dialectic”.11 Late Twentieth Century Currencies of the Sublime In the latter part of the twentieth century romantic notions of the sublime extended to incorporate notions such as industrial sublime reflecting a concern with the environmental impact of legacies of modernity. Work by Gursky or by Burtynsky springs to mind, or the high profile exhibition, Wasteland, held in Rotterdam in 1992. Typically this imagery details derelict warehouses and factories, abandoned machinery or rubbish tips, or residues of mining marked within the landscape. Wasteland references an unused area of land that is not fit for agriculture or building development. Metaphorically it suggests intellectual and spiritual bleakness. In romantic vein, albeit often documentary in modes, there is often also a lyricism indicating awe at the legacies from human activities. Derelict industrial sites may seem paradoxically beautiful; nuclear mushroom clouds, or the abandoned woodlands surrounding places such as Chernobyl, monstrously so. Concern with the resonance of nostalgia for an industrial past formed one line of enquiry within John Kippin and Chris Wainwright’s 1989 project Futureland, to which they are currently returning. (fig. 3) Both artists were among the pioneers of new British Colour Documentary, and both then lived and worked in 10 op cit, p 142. 11 loc cit. Folding and Faulting 203

Newcastle upon Tyne (Kippin still does). At that time, the large scale of production of colour prints for art gallery exhibition was unusual, indeed, controversial, as it broke with the then taken for granted, association of monochrome social documentary photography as the appropriate vehicle to convey seriousness of subject and purpose. For artists such as Kippin and Wainwright, photography is always an ideological as well as an aesthetic project. In his introduction to the catalogue for Futureland, Mike Collier (exhibitions officer, Laing Art Gallery, Newcastle) commented that the images: … question and challenge social and political issues which are vital to an understanding of the present situation. These images include unemployment, state control, regional stereotypes, militarism, consumerism and the exploration and distortion of our heritage.12 He adds: Although located largely in the North East, where the artists live and work, these striking images give a national dimension to such major issues.13 This was the era of Margaret Thatcher’s radical Conservative government in Britain, which, rather like now, was marked by high unemployment levels, reductions in public sector spending, strikes and social upheaval as the economy shifted from an industrial to a service sector basis. Many formerly cohesive communities, especially in Welsh and Northern mining and factory regions, were socially and financially devastated. There was a nostalgia for the socio-economic relations of earlier eras that seemed somewhat paradoxical, given the hardships of Victorian dockyard or factory labour. Through parody and through symbolism Kippin and Wainwright used text and image to draw attention to such tensions. The exhibition included a series of work by each photographer, two separate bodies of work that were thematically and methodologically linked; both challenged external perceptions of the Northeast, and interrogated ways in which past, present and future are inter-woven. Coal collieries were closing, and barges were no longer needed for fuel transportation. Their challenge emanated not only from subject matter but also from the aesthetic strategies deployed by each of them, 12 John Kippin & Chris Wainwright (1989) Futureland. Newcastle: Laing Art Gallery. n.p. 13 loc cit. 204 R esearch

fig. 3 John Kippin, Markham Main Colliery, Doncaster, from Nostalgia for the Future, 1993. C-type, 40.5 × 58.5 cm with screen-printed text. Courtesy John Kippin.

Folding and Faulting 205

both of whom work large-scale. In The Navigation Series (1989), ainwright posed individual shipyard workers, holding tools of W their trade, as red silhouettes, echoes from the past (and possibly of socialism), looking out over a work environment fallen into disuse. (fig. 4) Teesside, Sunderland, Tyne and Wear form part of a chain of former major ports on the north-east coast of England, now reformed as industrial development zones incorporating dockland marina-style housing developments. The imagery simultaneously celebrated and questioned industrial edifices and legacies, implicitly interrogating political power and explicitly symbolizing something of the physical scale of sites and artifacts pictured. “Industrial sublime” was new, and the impact of their work was extensive, in part because we were reminded of the import of what was being abandoned and amazed by the buildings and other artifacts now lingering abandoned or subject to transformation, in part because their work fed into post-modernist philosophical debates of the time, and in part because the photographs were aesthetically experimental. John Kippin was exploring image-text montage and Chris Wainwright experimented in computer controlled inkjet spray printing – a then new technology that is now defunct. (It is only just over 20 years later, but we are unable to replicate the quality of the original prints.) They remain experimental in their approach as artist-researchers always testing the aesthetic and semiotic effects of new means of image-construction, and will be returning to various of the sites originally pictured to re-photograph, not simply to echo what they previously achieved but to identify new questions

fig. 4 Chris Wainwright, Teeside, from The Navigation Series, 1989. Original scanachrome, 196 × 294 cm. Courtesy Chris Wainwright.

206 R esearch

and explore new means of imaging. My catalogue essay, which will focus on the new work in the light of their various previous projects, is provisionally titled Points of Departure to acknowledge both their concern with former dockland areas (points of departure and arrival for shipping) but also their intellectual quest for new starting points in terms of research questions and methods. Their refusal to stop asking fundamental questions has much in common with Fontcuberta’s seemingly endless ability to surprise us and make us think again about the basis of photography. Industrial sublime is no longer radical; indeed, arguably it has become a new landscape stylisation. The poetics of beauty in natural decay that so obsessed the Romantics has been extended to encompass industrial residue. That extensive mineshafts or huge factory edifices should have been constructed, and later abandoned, in rural or coastal areas no longer astonishes us. Conversely, we continue to revere technology. The technological sublime might be characterized not in terms of the romantic so much as in terms of neo-Futurist awe at what technology, including digital systems, facilitates, for example, satellite navigation and imaging systems, or the Internet as a global phenomenon. Whilst we might not “know” a place remote from us, technological developments lend a sense of the possibility of knowledge, of being able to gauge and explain physical phenomena with increasing physical and mathematical accuracy. That there are telescopes at the South Pole looking into space astounds me. The technological sublime is perhaps particularly paradoxical. On the one hand, scientific achievements and technological developments have impacted on knowledge, most particularly, on our sense of the potential for analysis and discovery. On the other hand, it is now generally accepted that our presence and actions impact on the constitution of the physical world; scientific exploration is not without consequences. For Spoolhenge the New Zealand artist, Anne Noble, photographed industrial-scale empty cable spools piled at the South Pole awaiting removal.14 (fig. 5) When I first saw this photograph I imagined that, like the ancient site, Stonehenge, in Southern England, the spools would remain frozen in place forever. Also, whilst we might be able to measure and anticipate eruptions such as earthquakes and tsunami, or the speed of glacier melt that is an indicator of climate change, there remains a sense, somewhere between awe and fear, that momentous earth movements are not only unstoppable but also defy our ability to express and respond, for example, photographically. There remains a gap between the hugeness of phenomena and our ability to grasp the 14 Anne Noble (2011) Spoolhenge. Plymouth: University of Plymouth Press. Folding and Faulting 207

fig. 5 Anne Noble, Spoolhenge #3, South Pole, Antarctica, 2008. Digital Print: Pigment on Paper, size variable, from 79.5 × 100 cm up to 145 × 180 cm. Courtesy Anne Noble.

implications. That noted, new technologies also facilitate investigation. For example, as can be seen in prints by environmental artist, Chris Drury, information generated through new recording means can be represented graphically to detail that which can be charted but is not otherwise manifest visually. In a series of prints resulting from his Antarctic residency (2006/7) he incorporated data from various sources, for example, a recording of the heartbeat of a pilot at work, or a graph charting the flight path of an albatross. For Above and Below Cararra Nuntac glaciological echo soundings are used as “echograms” visualising the texture and density of ice below the surface.15 (fig. 6) Contemporary Debates: Photography and the Sublime As we know, photography has long been associated with the type of reportage typical of serious journalism or documentary, namely, the recording of everyday occurrence and circumstances. But photography also operates conceptually; photographers explore through image making and seek out new ways of seeing. Indeed, photography, like painting, may be seen as a mode of research that reflects upon the world of experience, but unlike painting, photography 15 See exhibition catalogues: Chris Drury (2008) London: Beaux Arts; Liz Wells ed. (2012) Landscapes of Exploration. Plymouth: University of Plymouth Press. 208 R esearch

– or at any rate, analogue photography – is characterized by a transcriptive mode of depiction. However, as Agamben points out, when photography takes reality as source there is a gap between actuality, and the photograph as copy. The photograph is necessarily a selective and time-specific extraction that reflects a particular photographer’s interests and interpretation of an event or p henomenon. Indeed, he talks of a “demand for redemption” that animates photographs as grasping at “the real that is always in the process of being lost, in order to render it possible once again”.16 In his essay, the “sublime breach” that so fascinates us is founded in the complex semiotic articulation of the iconic, the indexical and the symbolic – discussed so extensively by Roland Barthes and by C.S. Peirce. Agamben’s concern is not with the making of photographs but with meaning and interpretation. In common with Kant, for him the sublime points to a distinction between intellectual comprehension and more tactile or emotional sensibilities. (There is a mistake in translation; the English version refers to a gap between the “sensible” and the intelligent whereas the French version, which is clearly accurate, refers to the “sensible”, that is, matters associated with the senses, in other words, a gap between sensibilities and the intelligible.) Yet, echoing Burke’s implicit response to phenomena in theological terms, Agamben is explicitly concerned with ways in which such notions of the sublime rest in relation to Christian theology. For Agamben, as for Barthes or Proust, the photograph grasps at a real that is in process of being lost, in the hope of bringing it back, of animating memories. Agamben specifically reminds us of Proust’s obsession with collecting photos of friends and family as a means of holding on to memories. Within his extensive novel, In Search of Lost Time, which might be likened to an extensive family album, Proust references a number of uses of photographs, including: repositories of detailed information, tokens exchanged between friends, symbols of past events and relationships, images invoking recollection. For Proust, photographs are not merely sources of information, reminders of details, later so scrupulously woven within his novels. Photographs for Proust are simultaneously literal, emblematic in that they may represent a particular relationship, evocative, and erotic. In the guise of his character, Marcel, he comments on the power of the photograph to transcend the experience of actual encounters, to open space for fantasy: Pleasures are like photographs: those taken in the beloved’s presence no more than negatives, to be developed later, once 16 Agamben, op cit, p 27. Folding and Faulting 209

fig. 6-1 Chris Drury, Above Cararra Nunatac, Sky Blu, Antarctica, 2007. Inkjet print, 73.3 × 88.8 cm. Courtesy Chris Drury.

210 R esearch

fig. 6-2 Chris Drury, Below Cararra Nunatac, Sky Blu, Antarctica, 2007. Inkjet print, 73.3 × 88.8 cm. Courtesy Chris Drury.

Folding and Faulting 211

you are at home, having regained the use of that interior darkroom, access to which is “condemned” as long as you are seeing other people.17 Photographs provoke reverie through the invocation of a particular (personal) scenario, and fantasy as the invocation allows the viewer to enjoy imagining not only what had occurred but that which might have transpired, in other words, allowing for the transcendence of the gap between memory and hope or desire. Similarly, as is well known, Part Two of Camera Lucida, Barthes’ final book on photography, centres on his quest to find an image that summed up the essence of his mother. Paradoxically, he finds this in the early Winter Garden photograph of her as a child, taken at a time before he was born and in that sense, beyond memory, although evidently not beyond idealization. An interesting gap between actual memory and what he would have desired in his mother that, by definition, because he was not yet alive, he could not have known! Jean-Paul Sartre takes the enquiry into image, object and memory a step further, suggesting that images may operate through association to conjure up a broader spectrum of memories. In his 1940 publication, L’Imaginaire, he uses the example of a portrait of a friend whom he calls “Peter” to reflect upon the relation between past and present, image, information and recollection.18 He notes the ability of the image of “Peter” depicted in the photograph, taken in Paris two years ago, to reference the Peter he knows to be in Berlin now. Sartre asks both how the image conjures up the person he knows and whether what is conjured is Peter now or Peter then. He adds that photographs reference that which is no longer present thereby, paradoxically, emphasizing the “unreality“ of that which, through depiction, seems to be made present. In this respect, Agamben’s use of the term “copy” is not sufficient, as it does not address historical time. There seems to be a desire within contemporary art to hold on to notions of the sublime, especially in relation to natural phenomena, but also to take an investigative stance. But there remains a disjunction between the affects of gallery viewing or book reproduction and the actual phenomenon of being there – wherever this “there” is, between, to echo Agamben, colluding in the “copy” 17 Significantly Brassai uses this passage as frontispiece. Brassai, (2001) Proust in the Power of Photography. Trans. Richard Howard. Chicago & London: University of Chicago Press. original publication, 1997. Paris: Editions Gallimard. The passage appears in slightly different translation in Proust, op cit, Vol. 2, Part 2, p 239. 18 Jean-Paul Sartre (1972) The Psychology of Imagination London: Methuen & Co, p 16, first published in French in 1940, Eng trans 1948, NY: Philosophical Library Inc. 212 R esearch

rather than sharing the experience of the artist actually engaging with our environment on site. Photography chronicles natural phenomena descriptively, indicating specificities of place, but leaving it up to audiences to imagine what it might be to actually spend time at a particular location. This is a representation, a copy, of something that in nature is forceful. On the other hand, is it useful to describe this as sublime, especially given the taken for granted ubiquity of the medium now? Of course, the possibility of photography continues to pose an intellectual conundrum: photographs act as aide-memoires but do not substitute for actual memory or actual experience. Yet, at the same time, memories unfold and then refold enriched through photographs reminding us of details of a landscape or an occasion that we have forgotten or, indeed, never noticed at the time. Memory is selective, and often faulty. Equally when looking at photographs taken by others we know that this is a reference, or a trace, not a substitute but an indication, one that is selectively framed. But this is a different order of imaginative challenge than the experience of imagery that points to sublime environments, places that we find awesome, where we might expect to feel fearful. Astonishment at natural phenomena, or, indeed, extraordinary constructions consequent on human action differs in kind from the puzzlement that we might associate with photography in itself, imagery contained within a frame. Indeed, what might strike us as ontologically sublime nowadays is not the gap between reality and representation which we simultaneously acknowledge and elide, but the online and offline flow of photographic imagery that appears genuinely unstoppable, inexplicable, and not under any control. But that is not what Agamben was discussing, at any rate in this particular essay; his concern is with the ontology of the photographic image not with information flow. By contrast, in unfolding notions of the sublime in relation to environment we note legacies of Enlightenment era concepts attesting to that beyond human control which also stretched human imagination. In the Eighteenth century, experience of the momentous, whether vicarious (through art) or actual, retained theological resonance, whilst also echoing Descartes insistence on the centrality of ecological humans and thinking as well as sentient beings. Refolding in late twentieth century terms, notions of sublime in landscape have become associated with effects of human action, industrial decay and technological advance. Regions such as the Antarctic continue to astonish, as do some of the technological developments facilitating scientific enquiry. In such respects concepts of the sublime retain a linkage to earlier responses to environment that, despite shifts in knowledge paradigms, remind us of the relative insignificance of human time in relation to natural ecologies. Folding and Faultingâ&#x20AC;&#x192; 213

Cyclopedia of an Expedition Around Svalbard, for Mike D Rebecca Solnit Author

FAR.

That first morning, there was out the porthole of my cabin a little blue iceberg. We were in Magdalenafjord, the bay at the end of the earth, the northwest corner of Svalbard in the high arctic, more than a dozen degrees north of the Arctic circle. Beyond it were stony gray hills with glaciers curving down the valleys inbetween most of them. The idea of being so far north was exciting enough, and then there were all those things I always wanted to see to see: icebergs, reindeer, polar bears, along with all the things I’m always happy to see: water, sky, spaciousness, land forms, light, scale. More than any place I’ve ever been, this one imposed a dependency: there was no way out except by this boat, and no way to communicate with the outside world except by this boat. Which was also an independency, from the rest of the world. Times when the view went all the way to the horizon and no land was visible on that side of the boat, when the sea was a delicate blue-gray and the sky was the same color, the sea smooth billowing ripples that did not break into waves, the sky smooth, and only seabirds coasting along the surface of the sea, coming close to their own reflections, bending but not breaking the smoothness and vastness. The far edge of the world, at the back of the North Wind, east of the sun and west of the moon, as far as far, at the back of beyond, out of reach, out of touch, out of the ordinary, beyond the arctic circle, beyond so many things. Far.

214 R esearch

Art, Science and the Research Journey: Expedition Svalbard 2011 September 8–18 with M / S Stockholm, North, North West Svalbard The University of Gothenburg, Faculty of Fine and Applied Arts, School of Photography in collaboration with PolarQuest gathered 12 participants from 6 different countries on an expedition for the purpose of field collaborations between art and science. The results from the expedition is planned to be published in the fall of 2012. This is an extract from the coming publication

Svalbard; east side of Fuglefiorden and Four images of S vitjodbreen, Fuglefiorden, Tyrone Martinsson, 2011. West side of Fuglefiorden (Foul Bay), Axel Envall, 1872.

Cyclopedia of an Expedition 215

Notes on Traces Lars Wallsten PhD

Anteckningar om Spår (Notes on Traces) is a self-critical and selfreflective practice-based PhD project. It endeavours to make visible how artistic practice can create its content and context in relation to experience, reinterpretation and further progression. The project is an inquiry into photography’s capacity to prove evidence. It is structured around photographic representation and written text. The dissertation consists of four photographic works together with an introduction, a list of contents, and a main text presented as an essay with numbered passages. The research effort is guided by a broad, selective inquiry. Contextualisation and conceptualisation have been identified through a process of “bricolage”, whereby creative use has been made of different discourses such as photography, film, art, philosophy, psychology, education, law, criminalistics, literature and cognitive science. Artistic strategies and practices that use forensic aesthetics are also discussed. The method has the character of tracing a trail that leads the project forward. This creates a dialogue between the content and the form of the dissertation. Trace together with condensation and pattern are presented as productive concepts; these concepts, which in some respects have their roots in photography, not only provide others with the leads to understand a photograph as evidential proof but are also characterised by a suggestive quality, which is a recurring feature in the photographic projects. * All contact leaves traces, so they say. * Traces have an incompleteness about them. They invite interpretation and reinterpretation; are both themselves and demonstrate something else, i.e. human characteristics. Traces and tracing are to wonder at, follow, participate in and leave one’s own traces. The photograph is sometimes described as a paradox in the same way as a trace; it implies both presence and absence at the same time. 216 R esearch

On Friday 27 May 2011 at 1.00 p.m., Lars Wallsten began the defence of his thesis, Notes on Traces, subtitled Photography. Evidence. Image. The disputation took place in Hall 10 in Vasaparken, in the University of Gothenburg’s main building, and his opponent was Per-Magnus Johansson, psychoanalyst and docent in History of Ideas and Science. A few hours later, an unanimous grading committee comprising photographer Kent Klich, docent Lars O Ericsson and Professor Peter Ullmark decided to approve Lars Wallsten’s thesis and he became the schools first PhD. This is an extract from his dissertation.

* Släpljus

Notes on tr aces 217

* I understood early on, almost as a sudden realisation, that I could use condensing in lots of different ways in my investigation. The first impression comes with the sound of the word in Swedish, “förtätning”, which is drawn out, suggestive and poetic. I immediately associate condensing with photography, where we talk about condensed negatives, images that have a surplus of black from exposure and the development process. Condensing indicates a high density. It is a richer, more complex and exciting concept than others with similar meanings. Concentration is sometimes used as a synonym, as is condensation, which can have other definitions. A gas transforms into a liquid via condensation against a surface that has a lower temperature, according to the laws of physics. Misting up. Condensation can separate liquid, thus creating a greater concentration of a substance. There are many voices from different places that talk about photography. It can be understood in a number of different ways, which has been clearly illustrated by representatives from the fields of semiotics, media, history of art, ethnology etc. The most common approach is to take one at a time, but several can be active simultaneously. Pluralism is a way of relating, perhaps as an ideal. It can be difficult to master in the midst of the practical work. When I started thinking about photography as a condensing of a number of approaches and horizons, it was like a realisation: of course, it’s both a manageable core and a dynamic collection. When I’ve been asked whether I have a personal style in my photographs, I’ve usually rather vaguely and sometimes a little forced talked about loaded images. The images from Släpljus are perhaps an example of this. Now I’ve started talking about the images as condensed instead. It encourages a more constructive discussion. My contact with my own works is improved and I get an altered view of patterns. What is the relationship between condensing and patterns? Can a pattern be a form of condensing, where important but not entirely matching parts still build a framework? I am aware of the danger of becoming too hooked on an expression or concept; as though it were valid or appropriate for all situations. Reductionism. The condensing of life. A condensed person. * It is difficult to counteract the habit of seeing things in a normal way. Evidence images can remind us of other, similar things and easily get lost in the crowd. Acknowledgement and completion of patterns come before the conscious interpretations and decisions. In older criminal cases, you could intentionally turn glass plates to get 218 R esearch

a mirror image, and so enable new observations. Habit is a form of behaviour “that has been conditioned through constant repetition”. * Measurability has been, and remains an important factor for instrumental scientific photography. The practice of incorporating a reference scale is so well established that such images are associated with a greater degree of accuracy, truth, source reliability etc. than images without. The scale can be a credibility attribute, regardless of its real function. […] It also attracted me with an artistic approach that included staging and restoration. I decided to base the work on three different ways of marking traces in images, namely using the scale, figures and arrow. The equipment is forensic and is included as visual elements in photographs, to reinforce, explain and as data for analysis. * False evidence. Fabricated evidence. Manipulated evidence. Semi evidence. Evidence. Solid evidence. Exhibit A. Primary evidence. Counter-evidence. Conclusive evidence. New evidence. * a) The photograph is a condensed trace. b) The trace is a condition for the photograph’s ability to function as evidence. c) The photographic evidence is a pattern. * The results clearly indicate that… The results strongly indicate that… The results indicate that… The results indicate to some degree that… The issue remains open… The results indicate to some degree that… not… The results indicate that… not… The results strongly indicate that… not… The results clearly indicate that… not (Statement scale in expert cases)

Notes on tr aces 219

* Fﾃ､lt 100

220窶コ esearch

Notes on tr acesâ&#x20AC;&#x192; 221

222窶コ esearch

Notes on tr acesâ&#x20AC;&#x192; 223

Tell it Like it is – Contemporary Photography and the Lure of the Real Mika Hannula Professor

During 2011 a new book was published; Tell it like it is – Contem porary Photography and the Lure of the Real, focusing on the central discourses of the practices of contemporary photography. The book was written by Mika Hannula, professor for artistic research at The School of Photography. The book brings together a number of discourses of the changing same, through the specificities of contemporary philosophical argument (common sense vs. deniers of the worth of the concept of truth) and argument in contemporary photography and art (inherent truth claim vs. cultural contextualization of an image). It does this not only by flying high on the effects of abstract theory, but by seeking dialogue with the practice. This is conducted with the engaged participation of all the four artists involved: Mads Gamdrup, Annika von Hausswolff, Esko Männikkö and Vibeke Tandberg, who all possess a long-term position and back catalogue of works and visions into these matters that matter.

224 R esearch

Professor Mika Hannula

Tell it like it isâ&#x20AC;&#x192; 225

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 Hans Ekelund – Lecturer, Director of Studies BA Julia Tedroff – Lecturer, Director of Studies MA Hans Hedberg – Head of Research Sven Andersson – Professor Lotta Antonsson – Professor Mika Hannula – Professor Annika von Hausswolff – Professor Tyrone Martinsson – Senior Lecturer Per LB Nilsson – Senior Lecturer Peter Boström – Lecturer Maja Hammarén – Lecturer Pelle Kronestedt – Lecturer Ann Eringstam – Lecturer Cecilia Grönberg – PhD student Annica Karlsson-Rixon – PhD student David McCallum – PhD student Marco Muñoz Tepez – PhD student Arne Kjell Vikhagen – PhD student Niclas Östlind – PhD student and Lecturer Petter Baggeryd – Technician Magnus Bernvik – Coordinator Göran Danielsson – Technician Christina Dege – Head of Administration Jens Tore Holst – 1st Luthier Katarina Högström – Human Resources Officer Peter Larsson – Communications Officer Mia Lockman-Lundgren – Administrator Åsa Nord – Financial Coordinator Thomas Schön – Technician Elisabeth Welander – Human Resources Officer Agneta Åström – Financial Coordinator

228 chronicle

Visiting Tutors

Lars-Erik Hjertström Lappalainen Lars-Olof Gustavsson Lars Kristensen

Agnes Thor

Leif Wigh

Andreas Kittel

Linn Hansén

Ann Eringstam

Lis Sveningsson

Anna Fridén

Lisa Nyberg

Anna Strand

Lisa Tan

Anna Tarschys

Magnus Eriksson

Annica Eriksson

Maria Hedlund

Annica Karlsson-Rixon

Maria Steen

Annica Lundén

Michell Marie Roy

Annika Eriksson

Mija Renström

Athena Farrokhzad

Oscar Laufersweiler

Björn Rantil

Oskar Ponnert

Cecilia Gelin

Olof Essvik

Christian Wideberg

Patricia Lorenzoni

Dragana Vujanovic

Patrik Elgström

Edi Muka

Pernilla Zetterman

Ekaterina Rogatchevskaya

Robert Eklund

Eric M Nilsson

Sara Arnald

Frans-Josef Pettersson

Sinzianas Ravini

Gustav Granström

Stefan Hjalmarsson

Greta Voćar

Stina Östberg

Habib-Engqvist, Jonathan

Thomas Bergh

Hannes Anderzén

Thomas Hämén

Helga Härenstam

Thomas Oldrell

Hendrik Zeitler

Thorbjörn Magnusson

Henrik Andersson

Trinidad Carrillo

Henrik Andersson

Ulrika Wänström-Lindh

Ida Borg

Veronica Rosén

Ingrid Karlsson

Vibeke Tandberg

Irene Berggren Jens P Kolhoj Jenny Morelli Jerker Andersson Johanna Gustafsson Johannes Samuelsson Julia Peirone Karin Wagner Kalle Brolin Karl Larsson Karl-Johan Cottman Kerstin Hamilton Kim Cramer chronicle 229

Courses

Photographic Silkscreen Workinglife Knowledge for Photographers Artistic Education

Bachelor Degree Courses, First Cycle

Experimental Cinema

Critical Studies

History of Photography and Video Art

Topic: Hff

Photographic Summer Project

Topic: Object, Image, Desire and Communication

Digital Photography – Introduction

Topic: Photography, Narration and Archives

Analogue photography – Introduction

Topic: Conceptual Photography

The Creative Documentary

Topic: Privat / Public

Photography, Representation and the Creative Process

Topic: Feminist Strategies in Photograhy and Fine Arts

Photographic Exhibition Design

Topic: Photograhy and Object

Self Presentation

Documenta

Topic: Home / Homelessness Topic: War and Photography Topic: Post-media Aesthetics

Master Degree Courses, Second Cycle

Topic: Intersectionality in Art Practice

Critical Studies

Topic: Microfictions and Narratology

Topic: Hff MA

Topic: Photography and Data Visualization

Art and Culture Theory A

Topic: Nature Photography

Art and Culture Theory B

Topic; Techno-Fantasy and Sci-Fi Images

Artistic Pedagogy A

Topic; Photography in Social Media

Artistic Pedagogy B

Topic; Clothes, Space and Representation

Art and Text

Independent studies

Advanced Photography in Graphic Design

Indepth Theory

The Histories of the Photographic Image –

Art and Culture Theory A Art and Culture Theory B Photography and Communicaiton A Photography and Communicaiton B History of Photography The Camera Photography Lighting

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

Digital Image Preparation

Academic Writing

Digital Colour Management

Photographic Summer Project MA

Digital Retouch

Independent studies

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 230 chronicle

Degree Exhibitions

Exhibitions

The Winter Sighed to the Spring. BFA 2011 group

Tell it Like it is – Contemporary Photography and the Lure

exhibition. Curator: Jason E. Bowman. Röda Sten Art

of the Real. Annika von Hausswolff, Esko Männikkö,

Centre, Gothenburg

Vibeke Tandberg, Mads Gamdrup. curator: Mika

När det händer. MFA 2011 group exhibition. Curator: Niclas Östlind. Göteborgs Konsthall, Gothenburg Mysteries, Memories and Habits of the Everyday. MFA 2011 group exhibition. Curator: Hans Hedberg. House of Photography, Stockholm Blank. Thomas Bergh. MFA 2011 solo exhibition. Gallery Monitor, Gothenburg Phantom. Linda Cordius. MFA 2011 solo exhibition. Gallery Monitor, Gothenburg Walking. Sven Drobnitza. MFA 2011 solo exhibition. Gallery Lala-land, Gothenburg Left inside. Daniel Josefsson. MFA 2011 solo exhibition. Gallery Lala-land, Gothenburg The Big Brazilian Tiara – Part 1: Voyage to Diamantina. Gustavo Perillo. MFA 2011 solo exhibition. Gallery Monitor, Gothenburg An inventory of something that never happened. Kirsti

Hannula. Gallery Monitor, Gothenburg North River Runs South. Students from North South and River Run. Gallery Oro, Gothenburg, in collaboration with the Gothenburg International Biennal for Contemporary Art 2011 Spring Exhibition 2011. Students from BFA - and MFA programmes, Gallery Monitor and Storgatan 43, Gothenburg (Själv)biografi. Students from Digital Photography – Introduction. Gallery Lala-land, Gothenburg 15 fotografiska projektarbeten. Students from Photographic Summer Project. Gallery Monitor, Gothenburg, in collaboration with Göteborg Kulturkalas Monday Projects. Students from the BFA -programme. Project Gallery, Gothenburg Fotografiet är dött – länge leve fotografiet. Curator: Greta Voćar. A selection of portfolio work from students

Taylor Bye. MFA 2011 solo exhibition. Gallery Lala-

admitted to BFA -programme 2011. Storgatan 43,

land, Gothenburg

Gothenburg

The Defining Standard – part one. Greta Voćar. MFA 2011 solo exhibition. Gallery Lala-land, Gothenburg Konstnären – en utställning om Mattias Wallin. Mattias Wallin. MFA 2011 solo exhibition. Gallery Monitor, Gothenburg

Doldrums. Hannes Love Anderzén. Gallery Monitor, Gothenburg Anna Classon / Peter Stenkvist. Anna Classon and Peter Stenkvist. Gallery Monitor, Gothenburg New Waves. Petter Dahlström. Gallery Monitor, Gothenburg Drawings by Ken Wood. Petter Dahlström. Gallery Monitor, Gothenburg

Exhibitions PhD

Alexander Kirkhoff. Alexander Kirkhoff. Gallery Monitor, Gothenburg Broken Heart Syndrome. Tobias Lauesen. Galleri Monitor, Gothenburg

In Mind of Memory. Annica Karsson Rixon, Galleri Fotohof, Saltzburg, Austria In Mind of Memory. Annica Karsson Rixon, Ryder Art Gallery, Berkeley, California Lika med (återuppförd). Niclas Östlind, Hasselblad Center, Gothenburg

Ljuset i rummet. Alexander A. Peitersen. Gallery Monitor, Gothenburg Overhaul. Annika von Hausswolff. solo exhibition, Andrén-Schiptjenko, Stockholm Learning by doing. Annika von Hausswolff. solo exhibition, Invaliden 1, Berlin, Germany Storyteller – The Journalist who wanted to be a bear. Maja Hammarén. solo exhibition, Stenasalen, Gothenburg Art Museum, Gothenburg chronicle 231

Books by Tutors and Students

An Urban Anatomy, David Molander, 2010. Välkommen, förbipasserande: dagboksanteckningar och

2011 Landet, Lotte Fløe Christensen, Lopp Publikationer, Aarhus, 2011. En liten bok om, Simon Berg, Lotte Fløe Christensen, Jennie Rosberg, eget förlag, Gothenburg, 2011. Förbisett : när vardagen glimrar till, Niklas Ingmarsson,

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.

Robert Willim; Photography: Magnus Magntorn,

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

Brutus Östlings bokförlag Symposion, 2010.

The Limbo Pictures, Lovisa Ringborg, Bokförlaget Arena,

Avgrunden, Jan Jörnmark; Photography: Jan Jörnmark och Annika von Hausswolff, Tangent förlag, 2011. Förstaplatsen, Nicola Bergström Hansen, eget förlag, 2011. Un Langage En Soi, Mårten Lange, Je Suis Une Bande Des Jeunes, Paris, 2011. The Reader, North / South, River Run, av Kerstin Hamilton, Gothenburg, 2011. Wikiland, KK+TF, Klara Källström & Thobias Fäldt och

Malmö, 2010. Om grönska: gröna växter för vackrare trädgård, Gabriella Dahlman, Ica Bokförlag, Västerås, 2010. Pure architecture / Åke E:son Lindman, essay by Niclas Östlind; interview by Julia Tedroff, Bokförlaget Arena, Malmö, 2010. Bländande bilder (återuppförd) / Dazzling Pictures (reenactment), Niclas Östlind, Gothenburg, 2010.

1:2:3, B-B-B-Books, Stockholm, 2011. Blackdrop Island, Klara Källström fotografi, Viktor Johansson poesi, B-B-B-Books, Stockholm 2011. Quand les yeux sont remplis, Klara Källström, JSBJ, Paris 2011.

2009 Stationshus: järnvägsarkitektur i Sverige, Gunilla Linde Bjur;

Europe, Greece, Athens, Acropolis, KK+TF, Klara Källström &

Krister Engström, Balkong förlag, Stockholm, 2009.

Thobias Fäldt och 1:2:3, B-B-B-Books, Stockholm 2011.

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

A Place of One’s Own, Hendrik Zeitler, Journal, 2011.

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

Asphalt telegraph, Christer Ehrling, Journal, 2011.

Apan är rädd, Simon Berg, Blackbook Publications,

Södrakull Frösakull, Mikael Olsson, text by Beatriz Colomina, Hans Irrek and Helena Mattson, Steidl Publishing, Göttingen, 2011. OEI #53–54/2011 Dokument, Dispositiv, Deskription, Diskurs,

Cecilia Grönberg and Jonas J Magnusson, 2011.

Gothenburg, 2009. Sprinten, Kalle Sanner, Blackbook Publications, Gothenburg, 2009. Anomalies, Mårten Lange, Farwell Books, Gothenburg, 2009. The looking glass photos, Helga Härenstam; Ylva Smedberg, Helga Härenstam, Gothenburg, 2009.

2010

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

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. 232 chronicle

2008 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; Photography: Jerker Andersson, Carlsson, Stockholm, 2008. Bygga skorsten (Building chimneys), Jan Svenungsson, Atlantis and Stiftelsen Wanås utställningar, Stockholm, 2008. 80 millioner bilder: norsk kulturhistorisk fotografi 1855–2005, Jonas Ekeberg og Harald Østgaard Lund, Forl. Press, Oslo, 2008. Den galne danskens kokbok: en matresa, Claus Leger; photo: Anders Roos & Michael Tegnér, Roos & Tegnér, Malmö, 2008.

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. I hjärtat av Mellanöstern, en inre resa av yttersta betydelse, Nina Palm, Anders Roos och Mikael Dahl, Bilda, Stockholm, 2007. Screen Tests, Ola Kjelbye; Mikael Olsson, Filmkonst #106– 107, Gothenburg International Film Festival, 2007.

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 K ällström; 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.

2006 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: Annica Karlsson-Rixon: S elected Works 1991–2006, Norrköping Museum of Art,

2007 Ich bin die Ecke aller Räume, Annika von Hausswolff ; essays: David Neumann; John Ajvide Lindqvist; Malin Hedlin Hayden, Magasin 3 Stockholm Konsthall, Stockholm, 2007. Machina, Mårten Lange, Farwell Books, Gothenburg, 2007. Woodland, Mårten Lange, Farwell Books, Gothenburg, 2007. ABC mer, John S. Webb, LL -förlaget, Stockholm, 2007.

Norrköping, 2006. Min plats i Skåne: skånska profiler om sina favoritplatser, 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. Haunts, J. H. Engström, Steidl Publishing, Göttingen, 2006.

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.

2005 Om fotografi, Jonas E keberg, Journal for Preus Museum #1–2, Horten, 2005. chronicle 233

Demokrati pågår: 13 reportage från Göteborg, essay: Johan Bergsten; photo: Johan Wingborg, Enheten för Mång kulturell Utveckling; Göteborgs stad, Frölunda, 2005.

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.

2004 Konstnärer i samtal, essay: Lo Caidahl; photo: Johan Hedenström, Västra Götalandsregionen, Uddevalla, 2004. Utflykter kring Öresund, essay: Sören Sommelius; photo: John S. Webb, LL -förlag, Stockholm, 2004. Kallbadhus, essay: Helena Lind; photo: Bert Leandersson, Byggförlaget, Stockholm, 2004. Café Lehmitz, Anders Petersen; essay: Roger Anderson,

2001 Den Röda Stadens Ljus, Magnus Denker; essay: Per Engström, Malmö Konstmuseum, Malmö, 2001. Into thin air, Annette Sletnes, Glänta produktion, Gothenburg, 2001. Berusad kyckling: mat & dryck från Kuba, René Vázquez Díaz; Merja Vázquez Díaz, Bonnier, Stockholm, 2001.

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, AnnCharlotte Glasberg, Acta Universitatis Gothoburgensis,

2000 Gröna platser: fotografier 1991–1996, John S. Webb, Nya vyer, Enskede, 2000. Nobelfesten, Pawel Flato; photo; Niklas Lindblad, Prisma, Stockholm, 2000.

Gothenburg, 2004. 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.

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

2003 Skolexempel: exempel och bilder från Gothenburgs skolor 2003, essay: Pernilla Lorentzson; photo: Johan Wingborg, Skolutvecklingsenheten; Stadskansliet,

1996 Kokbok för enastående, Peter Boström, Norstedt, Stockholm, 1996.

Gothenburg, 2003. 1995 2002 Du mich auch, Anders Petersen, Journal, Stockholm 2002. Skolexempel: bilder från Gothenburgs förskolor och skolor våren 2002, essays: Helen Carlbom;

Ingen har sett allt, essay: Göran Odbratt; photo: Anders Petersen, Legus, Stockholm, 1995. Tänk om allting var underbart: Hammarkullen 20 år senare, Jens S Jensen, Tre böcker, Gothenburg, 1995.

Pernilla Lorentzson; photo: Johan Wingborg, Skolutvecklingsenheten, Stadskansliet, Gothenburg, 2002. Leviatan från Gothenburg: paracetologiska digressioner: Malmska valen, Gothenburgsvitsen, Jona-komplexet och Moby Dick, Cecilia Grönberg; Jonas (J) Magnusson, Glänta produktion, Gothenburg, 2002. 234 chronicle

1994 Mor är rar, Monika Gottfridsson, Personalförvaltningen, Malmö, 1994.

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

rotogravyr, Stockholm, 1956.

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. 1977 Bilder för miljoner: pressfotografier och bildreportage under 100 år, Rune Hassner, Malmö konsthall, Malmö, 1977. Still movements, John S. Webb, John S. Webb, Helsingborg, 1977. 1957 Det nya Kina, Rune Hassner, Nordisk fotogravyr: Seelig, Stockholm, 1957. chronicle 235

Students

Bartholdsson, Peter Bartos, Veine Bech, Torben

Aas, Marte

Belfiore, Maya

Adamsson Öberg, Jennie

Bencivenni, Nora

Ahlin, Eva

Bengtsen, Ina

Ahne, Michael

Bengtsson, Sara

Ahnfeldt, Magnus

Bensafiddine, Mona

Albansson, Stig

Benthede, Pauline

Algin, Ellinor

Berg, Simon

Alimardani Daryani, Shabnam

Bergh, Thomas

Alm, Mattias

Berglin, Erik

Almestål, Gustav

Berglund, Frederik

Almgren, Helena

Bergman Fröberg, Cecilia

Amnéus, Hans

Bergman, Helena

Ander, Camilla

Bergmark Jimenez, Emilia

Andersen Holm, Pernille

Bergsten, Anna

Andersen, Evy

Bergström Hansen, Nicola

Andersson, Eva

Bergström, Johan

Andersson, Henrik

Bernath, Alexander

Andersson, Ida

Bertmar, Mikael

Andersson, Jeanette

Betshammar, Erik

Andersson, Jerker

Bexell, Daniel

Andersson, Jonas

Birgersson, Anders

Andersson, Katja

Birgersson, Louise

Andersson, Mikaela

Bjärenstam, Linda-Marie

Andersson, Olle

Björk Ermanbriks, Andreas

Andersson, Peter

Björk, Katarina

Andersson, Sandra

Björklund, Cainer

Anderzén, Hannes

Björling, Ingemar

Andrade Pihl, Fredrik

Björne, Dag

Andreasson, Dan

Blank, Simon

Appelgren, Jan

Blomqvist, Helena

Aramideh, Shahla

Bodin, Jessica

Ardarve, Lars

Bohlin, Stefan

Arén, Jäger

Bolander, Josefine

Árnadóttir, Una Margrét

Borg, Ida

Asboe, Bo

Boström, Peter

Asp, Ari

Bovbjerg Grip, Hampus

Asplund, Björn

Brandt, Eva Maria

Auken, Ellen

Bredberg, Per

Ax, Anastasia

Bremell, Pierre

Axkull, Martin

Bringfors, Magnus

Backman, Olof Axel

Brolund Fernandes De Carv, Sara

Bacos, Nina

Brolund, Anna-Mia

236 chronicle

Jerker Andersson, Vårt dagliga rum, 1993.

Anastasia Ax, Pissed child, 2005.

Johan Bergström, Pagan Postcards (Mayhem Excerpt #04), 2011.

Christel Brost, And it´s a burden all the way, 2011.

Trinidad Carrillo, Elisa Salamandra, 2009.

Gabriella Dahlman, Väntan, 2010.

J-H Engström, Trying to Dance, 2004.

Ann Eringstam, Before the Storm, 2007.

Bromberg, Caroline

Dyrendom, Lars

Brost, Christel

Edén, Elisabeth

Bryngelsson, Lena

Ehrling, Christer

Burèn, Dennis

Ekeberg, Jonas

Burga, Estella

Ekelund, Hans

Bye, Kirsti Taylor

Eklund, Robert

Bylund, Michael

Ekqvist, Torkel

Bylund, Mårten

Elblaus, Markus

Bäck, Christer

Elgeholm, Debora

Bäcklund, Eva

Elgström, Patrik

Caidahl, Lo

Ellefsen, Gro

Capelo, Celia Maria

Elvén, Katarina

Carlsson, Anna

Engberg, John

Carlsson, Dieter

Engh, Håkan

Carrillo, Trinidad

Englund, Lars

Catton, Kim William

Engman, Andreas

Cederkvist, Emanuel

Engman, Petter

Celander, Ulf

Engström, Anders

Christensen, Lotte

Engström, J-H

Christensen, Rolf

Engström, Krister

Christenson, Jenny

Enholm, Cecilia

Cimmerbeck, Magnus

Eriksen, Laura

Classon, Anna

Eriksson, Anna

Cojocariu, Ioanamaria

Eriksson, August

Collin, Krister

Eriksson, Carl-Johan

Cordic, Azmir

Eriksson, Ola

Cordius-Hansen, Linda

Eringstam, Ann

Cronestrand, Nils

Ermanbriks, Per

Dahl, Hampus

Ernholm, Lars

Dahlgren, Joakim

Eskilsson, Rebecca

Dahlman, Gabriella

Estay Madera, Suany

Dahlström Persson, Petter

Eurenius, Benkt

Damstedt, Eva

Ewald, Johanna

Danielson, Max

Eyjolfsson Örn, Petur

Danielsson, Anna

Faeröy Lund, Elisabeth

Davidsson, Håkan

Fagéus, Simon

Denker, Magnus

Falk, Ola

Devik, Ina

Fallah Moghaddam, Asghar

Diaz, Merja

Fallgren, Stefan

Dokka, Ole Gunnar

Fantenberg, Fredrik

Drobnitza, Sven

Fernström, Jonatan

Duhm, Boris

Fjellstad, Frank

Dunker, Dennis

Flato, Pawel

Durlind, Susanne

Fleinert, Joachim

Dybwad Brandrud, Marius

Forsberg, Paul chronicle 237

Forssberg, Minna

Hammar, Charlotta

Frank, Jeanette

Hammar, Robert

Fransson, Helene

Hammarstedt, Stig

Franzén, Sebastian

Hansen Rosenberg, Rasmus

Fredrikson, Erik

Hansen, Jan

Fredriksson, Emma

Hansson, Joakim

Fredriksson, Ulrika

Hansson, Marcus

Freij, Sandra

Hanstorp, Per

Fridén, Pär

Harrysson, Carolin

From, Kristian

Hartung Kirkegaard, Mette

Frænde, Brian

Hedenström, Johan

Fröberg, Dan

Hedlund, Maria

Ganslandt, Anna

Hedman, Erika

Ganslandt, Stefan

Heen, Gorm

Garnold, Lena

Helander, Espen

Gavois, Mandi

Hellström, Johan

Giske, Johanna

Hesslegård, Anders

Gjol Olsdotter, Guro

Hildén Smith, Eva

Godske, Birgitta

Hilding Berggren, David

Gorga, Ciprian

Hillebrand Tabea, Anna Cora

Gottfridsson, Monika

Hofvander, Linda

Gramer, Anders

Hollan, Barbora

Granath, Elin

Holmér, Annika

Graube, Andreas

Holmström, Agnes

Grenmarker, Michael

Holtskog, Ellen

Griffiths, Malin

Hribova, Wiera

Grizelj Domagoj, Marco

Hultén, Martin

Grizelj, Daniel

Hultgren, Mikael

Grönberg, Cecilia

Humleback, Joakim

Grönne, Christian

Håkansson, John

Gullmark, Anna

Håkansson, Sofi

Gunnarsson, Kenneth

Hägg, Rasmus

Gustavsson, Camilla

Häggblom, John

Gustavsson, Evelina

Hällqvist, Frans

Göransson Skoog, John

Härenstam, Helga

Hagberg, Matilda

Högberg Hedborg, Johanna

Hagen, Vemund

Högberg Liljeblad, Maria

Hagman, Per-Erik

Hörnestam, Johan

Hagren, Ivar Torsten

Idheman, Per

Hagström, Andreas

Isfält, Jonas

Hald Jörgensen, Sören

Jacobson, Martin

Halilovic, Azra

Jakobsen, Marit

Hallin, Cecilia

Janns, Sören

Hallin, Rolf

Jansson, Claes

Hamilton, Kerstin

Jansson, Pia

Kerstin Hamilton, Air Traffic System Chart, 2011.

Linda Hofvander, Green, 2011.

Ellen Holtskog, Between, 2001.

Jonas Isfält, Herman, 2006.

Ola Kjelbye, Poulet aux Prunes , Draken 120131 20.00, 2012.

Mårten Lange, 2011.

Anna Linderstam, Exaggerated Blindness, 2007.

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

Jantzen, Kari

Kramer, Kristin

Jarl, Jonathan

Kreutzmann, Nanna

Jensen Nygaard, Bodil

Kristensson, Anders

Johansen, Martin

Kristensson, Karolina

Johansen, Mette

Kristiansson, Anja

Johansson Goldmann, Pia

Kristoffersson Hartley, Karin

Johansson, Karin

Krogh Lauritsen, Nanna

Johansson, Magnus

Kronestedt, Per

Johansson, Petter

Krän, Kristian

Johansson, Pontus

Kröger, Joakim

Johansson, Thomas

Kuva, Juho

Johnson, Andrea

Kvist, Sanna

Jokela, Leena

Kyrö, Elin

Jonasson, Pierina

Källman, Jenny

Josefsson, Daniel

Källström, Klara

Juul, Torkil Reimar

Lagerström, Bertil

Jägetoft, Josefina

Laine, Erkki

Järeslätt, Christer

Lamberg, Anna

Jönsson Thomasson, Evelyn

Landberg, Lisa

Jönsson, Jan-Håkan

Lange, Mårten

Jörgensen, Henrik

Langfos, Peter

Jörgensen, Jakob

Lanhed, Lars

Jörneberg, Jonas

Lantz, Maria

Karaveli, Susan

Larsen, Sem

Karlbrand, Håkan

Larsson, Anna

Karlen, Anders

Larsson, Björn

Karlsson, Jonas

Larsson, Eskil

Karlsson, Lars

Larsson, Stefan

Karlsson, Liselotte

Lassila, Nina

Karlsson, Morgan

Lauesen, Tobias

Karlsson, Tina Catharina

Leandersson, Bert

Karlström, Stefan

Lehtonen, Ida

Kenne, Ingvar

Lesch, Sara

Kindblad, Erika

Lidholm, Cecilia

Kinnbo, Victor

Liljeblad, Elin

Kirkhoff, Alexander

Lindberg, Jonas

Kjelbye, Ola

Lindekrantz, Valdemar

Klingberg, Frida

Lindén, Torbjörn

Klysnner, Johnny

Linder, Ilona

Kolehmainen, Tuomo

Linderstam, Anna

Kopij, Krzysztof

Lindgren, Hanna

Korhonen, Mika

Lindgren, Markus

Kosheshi, Nilofar

Lindh, Anna Carina

Kovalieva, Anna

Lindhe, Jenny

Kowalski, Jerzy

Lindkvist, Cecili chronicle 239

Lindquist, Lars

Nagel, Hillevi

Lindström, Oskar

Namazi, Mehdi

Lindvall, Henrik

Nilsson Landin, Christopher

Litens, Martin

Nilsson, Anders

Littorin, Anna

Nilsson, Anna

Ljung, Hans

Nilsson, Elina

Ljunggren, Ulrika

Nilsson, Erik

Ljungkvist, Jan-Åke

Nilsson, Helene

Ljungström, Johan

Nilsson, Malin

Lockman-Lundgren, Anna-Maria

Nilsson, Robert

Lukianska, Dorota

Noda, Wakaba

Lundberg, Agneta

Nohlberg, Ann-Christine

Lundén, Marc

Nordström, Martin

Lundh Von Leithner, Peter

Norin, Johanna

Lundin, Jim

Norling, Olle

Lundin, Ulf

Norman Carlsson, Liza

Lundqvist, Anna-Lena

Norman Norman, Maria

Luostarinen, Ari

Normark, Karl

Lyckaro, Johan

Nyhlén, Åsa

Löfgren, Niclas

Nylén, Conny

Löfgren, Ola

Nylén, Svante

Løkken, Line

Näsholm, Christofer

Madsen, Torben

Oja, Sarah

Magntorn, Martin

Olebring, Anki

Magnusson, Maria

Olebring, William

Magnusson, Petter

Olesen Tofte, Ulrik

Magnusson, Thorbjörn

Olofgörs, Anja

Malmberg, Anders

Olofsson, Anders

Markusson, Johan

Olsson, Martin

Martinat Mendoza, José Luis

Olsson, Mikael

Mauzy, Marie

Olsson, Per-Otto

Mejia Rugeles, Martin

Olsson, Rebecca

Melander, Johan

Orre, Timo

Mentzer, Johan

Oskarsson, Charlotte

Metsähuone, Sarianna

Palm, Johan

Midboe, Lars

Palm, Martin

Miettinen, Sinikka

Palm, Peter

Milea, Adriana

Parling, Mariette

Millholm, Åsa

Paulsson Bertmar, Marie

Mirzajanzadeh, Sara

Pedersen Rohde, Mads

Moberg, Bengt

Pedersen, Anders

Molander, David

Peirone Udriot, Julia

Molinder, Ann

Peitersen, Alexander Arnild

Moritz, Susann

Perdawidi, Amanda

Mosken, Raymond

Perillo Nogueira, Gustavo

240 chronicle

Wakaba Noda, 2011.

Mikael Olsson, FK01.2001, 2001.

Martin Palm, Utan titel, 2001.

Julia Peirone, Hidden, 2006.

Johannes Samuelsson, Bild från ett roligt helvete, 2011.

Kalle Sanner, New Topographics #2, 2011.

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

Anna Strand, Objekt för en ny dröm, 2008.

Persson, Bo

Schön, Thomas

Persson, Gunilla

Sederowsky, Dana

Persson, Niklas

Segerlund Biverud, Jessica

Petersen, Annette

Sehnert Mathiesen, Vibeke

Petersen, Mia-Maria

Sehnert, Lars

Petters, Anna

Siikanen, Jyrki

Pilgaard, Jan

Sikström, Christina

Porsmyr, Anna

Siltberg, Lars

Pozar, Mateusz

Sinkkonen, Nina

Pålsson, Lotten

Sjöberg Brack, Ashleah

Pålsson, Orri

Sjöberg, Christine

Rahmqvist, Viktor

Sjöberg, Julia

Rantil, Björn

Sjöberg, Lennart

Rasmusson, Rebecka

Sjödin, Tobias

Raukola, Johanna

Sjöstedt, Jakob

Rautio, Maija Liisa

Sjöstrand, Jenny

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 chronicle 241

Syversen, Solveig

Wirdenäs, Ingela

Szabo, Robert

Ylikoski, Maria

Szakacs, Adel

Yngvesson, Erik

Söder, Madeleine

Zacharias, Jesper

Söderlund, Annika

Zdunek, Laura Amelia

Söderström, Gustav

Zeitler, Hendrik

Tak, Helen

Zennström, Per Arthur

Tandberg, Vibeke

Zetterman, Pernilla

Tedenborg, Tomas

Zsiga, Istvan

Teesalu, Kaido

Zych, Mikael

Thomsen, Sebastian

Åberg, Anette

Thor, Agnes

Åkesson, Kalle

Toresson, Hanna

Åling, Nina

Torgeby, Frida

Ängermark, Sven

Torgnesskar, Per-Olav

Änghede, Sofia

Törnroth, Charlotta

Ærsøe, Simone Alexandra

Uhlin, Maria

Öhlander, Peter

Ulvelius, Jesper

Öhman, Mats

Ulvås, Christer

Ölund, Jakob

Vad, Signe

Österstål, Laila

Vainio, Erja

Österstål, Thomas

Vallin, Johanna

Östling, Matti

Vallin, Mattias

Östlund, Andrea

Vibeke Tandberg, Untitled#11, 2008.

Agnes Thor, Mad Rush, 2011.

Vedin, Mats Vesterlund, Andreas Vikhagen, Arne Kjell Vilks, Sören Villar, Rene Vincent, Richard Vintback, Madeleine

Lars Wallsten, Bilder av brott, 1995.

Voćar, Greta Von Bahr, Nadja Välitalo, Jari Västrik, Linda Wahlström, Fredrik Waller, Magnus Wallsten, Lars Walström, Susanne Wegner, Leila Wennerstrand, Karin Wernlid Renting, Eva Wester, Jocke Westerström, Kim Wiking, Albert Wingborg, Johan 242 chronicle

Susanne Walström.