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Konstfack University of Arts, Craft and Design. MA Degree Show 2019

Exhibition  /  SchoolsDegreeShow2019  /  16 May 2019  -  26 May 2019
Published: 16.05.2019
Konstfack University of Arts, Craft and Design. MA Degree Show 2019.
Konstfack University of Arts, Crafts and Design
Curator:
Emily Fahlén, Asrin Haidari
.

© By the author. Read Klimt02.net Copyright.

Intro
This year, the Degree Exhibition has been curated by Emily Fahlén and Asrin Haidari whose method is to dig where they stand and, through dialogue with the surrounding context, understand the site's specific relationships, historical connections, conflicts and opportunities.

Artist list

Linnea Bergman, Charlie Sophie Cremer, Sameeksha Mehra, Adelina Petcan
Since the founding of Konstfack in 1844, the school has not only educated tens of thousands of artists, teachers, designers, architects, craft artists and other creators, but has also been a place for social engagement, struggle and debate. Battles have been fought, lost and won. Internally and in dialogue with the outside world. 2019 is no exception: the constant questioning of what we are doing, for whom, how and why has led to new insights and, ultimately, to new ways of thinking, including new artistic expressions and methodologies. The 2019 Degree Exhibition can, therefore, be experienced both in the glow of 175 years of history and in a single flash: the intense commitment of students and teachers in both the material, the personal and also the political is channelled into a cavalcade of expressions. It gives us an important picture of both our present and future.
/ Maria Lantz, Vice-Chancellor

This year, the Degree Exhibition has been curated by Emily Fahlén and Asrin Haidari whose method is to dig where they stand and, through dialogue with the surrounding context, understand the site's specific relationships, historical connections, conflicts and opportunities:
In the works by 179 students, it is, of course, difficult to trace a common theme, but they include an interest in translation as an artistic practice, the language of emotions, the slow processes of craft and the role of design in the age of climate change. At the same time, we have actively chosen to look for where in the school the critical discourses take place, in which spaces and from which perspectives they occur. One such example is the POC student collective Brown Island. The cross-disciplinary group arranges exhibitions and has recently published a handbook with lessons on decolonising processes in educational environments, Brown Island in the White Sea: A Handbook for a Collective Practice. As part of the Degree Exhibition, we have, in dialogue with the group, allowed texts from the book to sneak into the exhibition's infrastructure. With this intervention, we as curators wish to highlight a greater issue about a school's historiography and how initiatives such as these can rub off on an institution's existing structure. What stories are hidden in the school’s architecture, systems and inhabitants?

The curatorial duo Emily Fahlén and Asrin Haidari work with a special interest for radical art production, intergenerational meetings and site-specific interventions. They recently inaugurated the new art space Mint in the Workers’ Educational Association in Stockholm and are currently curators of the Gunilla Palmstierna-Weiss retrospective, Vivid Scenes 1964-1984, at Moderna Museet in Stockholm. They were artistic directors for the 2018 Luleå Biennial and previously worked at Tensta konsthall with local and international art projects.

The visual concept for Konstfack's Degree Exhibition 2019, created by Jennifer Bergkvist and Moa Sundkvist, encourages visitors to problematise the economism of society which not only transforms relationships into a game of pounds and pennies, but also permeates the language: we spend time, we pay attention. The concept’s straight and expressive design is inspired by currency exchange offices around the world. The designers, both educated at Konstfack, are working together with, among other things, books, newspapers, illustrations and graphics. They also teach and lecture in design and theory.

The 179 graduating students represent the bachelor's and master's programmes in Graphic Design & Illustration, Industrial Design, Interior Architecture & Furniture Design, Ceramics & Glass, Fine Art, Textiles, Ädellab and the Teacher Education programme in Visual Arts.


>> Welcome to a preview on Thursday 16th at 11 am with a guided tour by the curators Emily Fahlén and Asrin Haidari.
The vernissage starts at 12 am, the inauguration at 4 pm.
Rsvp to press@konstfack.se by 15th of May.
 
Adelina Petcan. Brooch: In search of Privacy, 2019. Coated brass.. 6.8 x 6.8 x 1.2 cm. From series: In Search of Privacy. 
. Self-branding, an ever-growing concept within our society due to the development of social media, is leading to an increased need for and practice of sharing the private. I use jewellery as my method for discussing this aspect by creating a more private connection between the wearer and the piece in an investigation of intimacy on an abstract level.
. In my degree project, I am interested in reversing a function of jewellery, the creation of identity for the wearer, a position in society, by disrupting the dialogue between the wearer, the piece and the viewer in a material exploration of the private.. Adelina Petcan
Brooch: In search of Privacy, 2019
Coated brass.
6.8 x 6.8 x 1.2 cm
From series: In Search of Privacy

Self-branding, an ever-growing concept within our society due to the development of social media, is leading to an increased need for and practice of sharing the private. I use jewellery as my method for discussing this aspect by creating a more private connection between the wearer and the piece in an investigation of intimacy on an abstract level.
In my degree project, I am interested in reversing a function of jewellery, the creation of identity for the wearer, a position in society, by disrupting the dialogue between the wearer, the piece and the viewer in a material exploration of the private.

© By the author. Read Klimt02.net Copyright.
Sameeksha Mehra. Necklace: Manthan, 2018 - 2019. Glass, silver, bronze, pearls.. From series: Traditions and Transformation. 
. Traditions and values do not stay frozen in time and place–they undergo perpetual transformation through our encounters with other people in different places. We carry our respective cultures within us. Often when we move away to a distant place with a contrasting culture, our awareness of our own culture becomes much more acute. It is then that we come to appreciate ourselves as who we really are and where we truly belong.
. My degree project narrates my transformative journey from the rich tapestry of Indian traditions towards contemporary Western culture. I create a dialogue between traditional, ritualistic Indian jewellery and an irreverent choice of materials and methods that have been conceived from my experiences in the West. Through this dialogue, I explore the push and pull between traditional ethos and modern sensibilities, and the transformation it engenders.. Sameeksha Mehra
Necklace: Manthan, 2018 - 2019
Glass, silver, bronze, pearls.
From series: Traditions and Transformation

Traditions and values do not stay frozen in time and place–they undergo perpetual transformation through our encounters with other people in different places. We carry our respective cultures within us. Often when we move away to a distant place with a contrasting culture, our awareness of our own culture becomes much more acute. It is then that we come to appreciate ourselves as who we really are and where we truly belong.
My degree project narrates my transformative journey from the rich tapestry of Indian traditions towards contemporary Western culture. I create a dialogue between traditional, ritualistic Indian jewellery and an irreverent choice of materials and methods that have been conceived from my experiences in the West. Through this dialogue, I explore the push and pull between traditional ethos and modern sensibilities, and the transformation it engenders.

© By the author. Read Klimt02.net Copyright.
Linnea Bergman. Piece: Public towels, 2019. Iron, iron spring, rowan berries, polyester string.. 64 x 97 x 27 cm. Photo by: Viktor Särelind. From series: Public Towels. 
. My degree project started as a questioning of ideas and concepts regarding nature; terms such as authenticity, the reliable, the core. It developed into me finding methods of working, rethinking natural states, the normal, categorisations and characteristics, and how to relate to the border with the other.
. Domestication is a key-ring. In the room, I´m letting in humans and non-humans, like objects being placed in a household. I want to upset the expected rhythms of everyday life. Finding, minding gaps, is to mess with the world of images, objects and meaning.
. The towel- outside for the beach, inside for the bathroom. It´s about language, words and thoughts about words. Collecting, accumulating physical materials, fragments. To cover a stone. My investigation is a translation of scales and materials, showing a fascination, of what things could possibly be.. Linnea Bergman
Piece: Public towels, 2019
Iron, iron spring, rowan berries, polyester string.
64 x 97 x 27 cm
Photo by: Viktor Särelind
From series: Public Towels

My degree project started as a questioning of ideas and concepts regarding nature; terms such as authenticity, the reliable, the core. It developed into me finding methods of working, rethinking natural states, the normal, categorisations and characteristics, and how to relate to the border with the other.
Domestication is a key-ring. In the room, I´m letting in humans and non-humans, like objects being placed in a household. I want to upset the expected rhythms of everyday life. Finding, minding gaps, is to mess with the world of images, objects and meaning.
The towel- outside for the beach, inside for the bathroom. It´s about language, words and thoughts about words. Collecting, accumulating physical materials, fragments. To cover a stone. My investigation is a translation of scales and materials, showing a fascination, of what things could possibly be.

© By the author. Read Klimt02.net Copyright.
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