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Glas Är Massa I Rörelse Glas Är Konstfrämjandet Massa I Rörelse Konstfrämjandet

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Glas Är Massa I Rörelse Glas Är Konstfrämjandet Massa I Rörelse Konstfrämjandet Eva Arnqvist, Johanna Gustafsson Fürst, Ingela Johansson, Åsa Jungnelius, Caroline Mårtensson, Malin Pettersson Öberg. Axel Andersson (red.) KONSTFRÄMJANDET GLAS ÄR MASSA I RÖRELSE GLAS ÄR KONSTFRÄMJANDET MASSA I RÖRELSE KONSTFRÄMJANDET GLASS IS MOVING MASS Innehållsförteckning 11 Förord: Glas är en aldrig stillastående massa 97 – 192 Massa i rörelse – det är massa i rörelse Eva Arnqvist, Johanna Gustafsson Fürst, Ingela Johansson, Åsa Jungnelius, Caroline Mårtensson, Malin Pettersson Öberg 15 Inledning: Mellan handling och ting Axel Andersson A B 1 25 Eva Arnqvist 1 195 Förebyggande Positionsförflyttningar – en studie i rött Catharina Gabrielsson 2 37 Johanna Gustafsson Fürst 2 203 Konstnärligt arbete i en somatisk Veckan har åtta dagar och abstrakt tideräkning Josefine Wikström 3 49 Ingela Johansson 3 211 Återupprepa, repetition, repetera I ljuset och skuggan av ornamenten – en repetition Rebecka Thor 4 61 Åsa Jungnelius 4 217 En vara som kan tala? Om historie produktion En vara som kan tala och postindustriellt glasbruk Johanna Rosenqvist 5 73 Caroline Mårtensson 5 227 Jorden vi ärvde. En betraktelse över människan Efterklang och naturen inspirerad av verket Efterklang Tomas Bannerhed 6 85 Malin Pettersson Öberg 6 233 Reading Glass: An Extended Commentary Att läsa glaset Ola Ståhl B Translations/Översättningar 293 Foreword: Glass is Never Still 324 The Earth We Inherited. — it is Moving Mass A Reflection on the Human and 7 243 Att gestalta samhälls förändring Eva Arnqvist, Johanna Gustafsson Nature Inspired by the Artwork – en konferens utifrån projektet Massa i Rörelse Fürst, Ingela Johansson, Åsa Reverberation Jungnelius, Caroline Mårtensson, Tomas Bannerhed Lisa Rosendahl Malin Pettersson Öberg 327 Att läsa glas: en utökad kommentar 295 Introduction: Between Act and Thing Ola Ståhl 8 249 Conversation between Lisa Rosendahl Axel Andersson and Annette Bhagwati 331 Art and the Manifestation of Social 298 Eva Arnqvist Change — A Conference Based on Shifting Positions — a Study in Red the Moving Mass Project 9 255 Konversation mellan Lisa Rosendahl Lisa Rosendahl 299 Johanna Gustafsson Fürst och Cornelius Holtoft The Week has Eight Days 334 Konversation mellan Lisa Rosendahl och Annette Bhagwati 300 Ingela Johansson 10 259 Konversation mellan Lisa Rosendahl In the Light and Shade of the 337 Conversation between Lisa och Helene Larsson Pousette Ornaments — a Rehearsal Rosendahl and Cornelius Holtoft 304 Åsa Jungnelius 339 Conversation between Lisa Look, a Commodity That Can Speak! Rosendahl and Helene Larsson 11 265 Konversation mellan Lisa Rosendahl Pousette och Peter Aronsson 305 Caroline Mårtensson Reverberation 342 Conversation between Lisa Rosendahl and Peter Aronsson 12 269 Paradigmskifte inom svenskt glas: 306 Malin Pettersson Öberg Reading Glass 344 Paradigm Shift in Swedish Glass: experiment, granskning och omdefinering Experimentation, Examination i en tid av glasindustrins förändring 308 Preventive and Redefinition in a Time of Catharina Gabrielsson Change in the Glass Industry Maja Heuer Maja Heuer 312 Artistic Labour in a Somatic and Abstract Chronology 347 The Art Institution as 13 275 Konstinstitutionen som medproducent Josefine Wikström Co-Producer Bengt Olof Johansson Bengt Olof Johansson 316 Reiteration, Rehearsal, Repetition Rebecka Thor 349 Moving Mass 281 Medverkande 319 A Commodity that Speaks? Contributors, see page 281 About Historiography and Post-Industrial Glassmaking Johanna Rosenqvist Förord Glas är en aldrig stillastående massa – det är massa i rörelse Eva Arnqvist, Johanna Gustafsson Fürst, Ingela Johansson, Åsa Jungnelius, Caroline Mårtensson, Malin Pettersson Öberg Massa i rörelse är en konstnärlig undersökning av en plats i förändring. Närmare bestämt av ett område i östra Småland känt som Glasriket. Projektet initierades av konstnären Ingela Johansson, född och uppvuxen i Boda i en familj med gene- rationer av glasarbetare. Johansson bjöd in sina kollegor Eva Arnqvist, Johanna Gustafsson Fürst, Åsa Jungnelius, Caroline Mårtensson och Malin Pettersson Öberg att till sammans med henne undersöka och gestalta intryck och erfarenheter av platsen och den förändringsprocess i vilken den befinner sig. Vad innebär det att gå från industrisamhälle till postindustriell kunskapsekonomi, från levande landsbygd till glesbygd? Vilken roll har glaset – som bruksvara, konst verk, industri, teknologi, hantverk, objekt, idé och gemenskap – spelat historiskt och var befinner det sig i dag? I projektet skildras dessa frågor ur sex olika konstnärers perspektiv. Eva Arnqvist har i Positionsförflyttningar – en studie i rött undersökt hur Kosta samhälle har påverkats socialt, symbo- liskt och materiellt i omställningen från industri till upplevelse- ekonomi. Johanna Gustafsson Fürst har efter en längre praktik på ett glasbruk reflekterat över den arbetande kroppen och 11 drömmen om Den perfekta produkten, vilket blivit temat för en lingen. Den bok som ni nu håller i er hand, formgiven av Jonas film liksom för en serie samtal och skulpturer. Ingela Johansson Williamsson och med Axel Andersson som redaktör, är pro- rekonstruerar i sitt verk I ljuset och skuggan av ornamenten – en jektets sammanfattande del och genomförs i samarbete med repetition historien om den sudettyska arbetskraftsinvandring- Konstfrämjandet. en och kunskapsöverföringen av gravyrtekniker från Böhmen, Vi vill tacka alla som på olika sätt bidragit till projektet som bidrog till den svenska glasindustrins framgång och till Massa i rörelse. Samarbetspartners och bidragsgivare, boende byggandet av folkhemmet. Åsa Jungnelius, boende och verksam och verksamma i Glasriket, publik, besökare och deltagare, i Glasriket, reflekterar i sitt självbiografiska verk Titta en vara kollegor, vänner och familj. Vi vill särskilt tacka Kalmar konst- som kan tala! över hur det är att leva på platsen och att uppleva museum och Bengt Olof Johansson som initialt trodde på vårt övergången från representation till självorganiserad praktik. projekt, The Glass Factory och Maja Heuer, Lisa Rosendahl Caroline Mårtensson har i sin undersökning Efterklang låtit för sitt arbete med konferensen, Axel Andersson för arbetet laborato rieanalyser av växter från Smålands mest förorenade med boken, Kulturrådet och Konstnärsnämnden för avgörande glasbruk vittna om de saneringsproblem som regionens kom- ekonomiskt stöd liksom Regionförbundet i Kalmar län, Nybro muner och invånare står inför. Slutligen genomför Malin Pet- Kommun och Konstfrämjandet. Slutligen vill vi önska er god tersson Öberg i sin film Att läsa glaset en kulturhistorisk läsning läsning. av glasets betydelse för Sverige och för konstruktionen av ett modernt samhälle, som även reflekterar de sprickor och löften som inte infriades i detta samhällsbygge. Under de tre år som samarbetet pågått har olika nedslag gjorts på platser runt om i Småland. Projektet inleddes un- der våren 2014 med en gemensam arbetsvistelse i Glasriket och introducerades offentligt med en egen tolkning av den traditionsenliga hyttsillen, genomförd på The Glass Factory i Boda i april 2015. Samma höst öppnade utställningen Massa i rörelse, curerad i samarbete med dåvarande museichef Bengt Olof Johansson. Utställningen följdes av programpunkter och avslutades i februari 2016 med konferensen Att gestalta sam- hällsförändring – om konstnärens roll som kunskapsproducent och konstinstitutionen som plats för tvärdisciplinära samtal, ut- vecklad av curator Lisa Rosendahl. Följande höst genom fördes åter en serie programpunkter på The Glass Factory i samband med en utställning där konstnärernas verk integrerades i sam- 12 13 Inledning Mellan handling och ting Axel Andersson Låt oss för ett ögonblick skjuta frågan om hur det hela började åt sidan, behandla den som lika fiktiv som den om hur allt kom- mer att sluta. Efter början finns ett längre uppvaknande. Här börjar jag använda materialet, formar det till tinget som föränd- rar mig. Som när obsidian, svartare än natten, slogs till flisor och förvandlades till pilspetsar. Naturens glas, resultatet av ett berg rikt på kiseloxid som smälts av lava och sedan stelnat, förvandlat till ett vapen och ett redskap vilket hjälpte till att föda ett samhälle. Ju bättre jägare individer blev, desto lättare hade de att jaga efter födan som i sin tur gjorde att deras hjär- nor utvecklades. Och det är någonstans här som vi börjar bli ett kollektivt vara i vår delade kunskap om hur vi ska tillvarata naturen på nya sätt. Vuxna sätt. I allt större utsträckning skapar vi en värld när två eller fler material kombineras av våra händer. För fem tusen år sedan gjordes så det första tinget och varan av glas tillverkat av människor; ytbeläggningen fajans. Detta skedde i ett Mesopotamien som också gett upphov till de första metallerna: koppar och brons. I begynnelsen applicerades den glaslika glasyren på lergods för att göra det starkt och vackert. Glas är massa i rörelse är en bok som tar sitt avstamp 15 i konstprojektet Massa i rörelse av Eva Arnqvist, Johanna beståndsdelarna för att uppnå en tillfällig helhet som kan leda Gustafsson Fürst, Ingela Johansson, Åsa Jungnelius, Caroline fram till nya perceptioner och nya användanden. Och på så Mårtensson och Malin Petterson Öberg. Men mellan dessa sätt tangerar konsten samhället, och glaset, i hela dess konst- pärmar finns mer än ett bokslut. Tanken är att denna bok ska gjordhet. Vi talar om material som med andra material bildar fungera som en öppning. Ett ting och en vara som omfamnar massa, vars tillstånd kan förstås som ett varande i färd från sin pluralitet, men som också understryker vikten av
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