KONSTHANTVERK
I FÖRÄNDRING
Lokal: Folkuniversitetets aula, Nygatan 43, Umeå • Tid:
18:30 • Fritt inträde
• Keramik,
enligt konstens alla regler
2008-03-04
Föreläsare: Jakob Robertsson
• Bland Halmkrabbor, New Agestenar och Formpolitik. Konsthantverk
i det utvidgade fältet
2008-03-18
Föreläsare: Zandra Ahl
• Allt samtidigt - det mångförslagna konsthantverket
2008-04-01
Föreläsare: Love Jönsson
IT IS NOT
THE WAY IT WAS TO BE WALKING ALONG THE SHORELINE
NATURE AS MOTIF IN CONTEMPORARY SWEDEISH CRAFT
Röhsska
Museet,
Göteborg, Sweden / 13. 02. 2008—06.
04. 2008
Eskilstuna konstmuseum, Eskilstuna, Sweden / 01. 09. 2007—21.
10. 2007
Dalslands
konstmuseum, Upperud, Sweden / 02. 06. 2007—22.
06. 2007
In the exhibition “It is not the way it was to be walking along
the shoreline – nature as a motif in contemporary Swedish handicraft”
about a dozen Swedish artists show their work, in which they in different
ways use nature as a theme, or source of inspiration. Here nature is
used to raise questions revolving human identity and social interplay.
Another question being brought up is that of the contradictive relationship
between mankind and nature – at the same nature works as a symbolical
haven, its forces appear increasingly threatening to humanity.
Curator: Love Jönsson
Artists:
Frida Breife • Tabea Dürr • Frida Fjellman •
Agneta Flock • Renata Francescon • Mia E. Göransson
• Agnieszka Knap • Anders B. Liljefors • Sofia Björkman
• Jakob Robertsson • Aud Charlotte Ho Sook Sinding •
Uglycute
CV
Jakob Robertsson
Born 1971
Lives and works in Stockholm, Sweden
Mail: jakobrobertsson@bredband.net
http://jakob.woot.se
Studier
/ Education
1993-1997 M.F.A. Konstfack, University College of Fine Arts, Sweden
1998 Konstfack / Graphic Design & Illustration
1992 Nyckelviksskolan, School of art, craft and design
Arbeten
/ Professional experience
2008 Lecture at Folkuniversitetet, Umeå
2007 Jury member "Triennial 07" Ceramic/Glass, The National
Museum of Art & Design, Oslo, Norway
2007 Lecture at the Porcelain Biennale 07, Porsgrunn, Norway
2007 Lecture at Kunsthøjskolen, Holbæk, Denmark
2006 Lecture at HDK, (School of Design & Craft), Gothenburg
2003 Designer, Rörstrand, Lidköping, Sweden
Utställningar
i urval / Selected exhibitions
2008
"It is not the way it was..." Röhsska Museet,
Göteborg
2008 "Månsamåla_201"
(WWIAFM) Crystal
Palace, Stockholm
2007-2008
"Förfärligt
härligt", (Dreadful Delight), Nationalmuseum, Stockholm
2007 "Illuminations", Gustavsbergs Konsthall, Gustavsberg
2007 "It is not the way it was...", Eskilstuna konstmuseum
2007 Privat skulptur (Private sculpture), Studio44, Stockholm
2007 Place(s), Curator:ThinkTank, Contemporary applied arts, London,
UK
2007 Present 2007, Bomuldsfabriken, Arendal, Norway
2006 Kebaburnor, Nationalmuseum, Stockholm
2006 Galleri P, Kopenhagen, Denmark
2006 Place(s), Curator: ThinkTank, Gmunden, Austria, Lintz
2006 Før/Nu, Svaneke, Bornholm, Denmark
2006-2007 Stig Lindberg. Nationalmuseum, Stockholm
2006 Happy Campers, workshop, Curator: Brett Littman (PS1), New York,
USA
2006 "The State of Things", The National Museum of Art &
Design, Oslo, Norway
2005 FLICAM Scandinavian Ceramic Art Museum, Fuping, China
2005-2008 “This Burns!”, travelling exhibition, Svensk Form
2005 Contemporary Craft, Konsthantverksbiennal, Gothenburg
2005 Stockholm Artfair, Älvsjö
2005 Vårsalongen Formbart, Liljevalchs konsthall, Stockholm
Representerad
/ Represented
2006
The Swedish National Museum, Nationalmuseum, Stockholm
2005 FLICAM Scandinavian Ceramic Art Museum. Fuping, China
1999
Umeå länsresidens, Umeå
Stipendier
/ Grants
2006
Sleipnir, travelscholarship
2005 The Arts Grants Committee, Visual Art Fund, one year work grant
2005 IASPIS,
travelscholarship
2005 Estrid Ericsons Stiftelse
Publikationer
/ Publications
Books:
Craft in Dialogue: Six Views on a Practice in Change, 2005. / Re: Form-Contemporary
Swedish Art Crafts, 2005. / Zandra Ahl: Fult & Snyggt, 1998. /
Susanne
Helgeson: Svenska former, 2000.
Interviews: Sandra Nolgren: RUM (Design
magazine), 2005#3 / Pernilla
Åbrink: Form (Design magazine), 1999#4
TV: Bästa formen, 2006#2 &
2004#6
Övrigt
/ Other
Member
of the Swedish craft-based design group: "We
Work In A Fragile Material"
Studio at Gustavsberg
ceramic factory
Dreadful
Delight (Förfärligt
härligt)
Nationalmuseum,
Stockholm, Sweden / 26. 04. 2007—24.
02. 2008
19th century
delight Open the door to the world of the 1800s, rich in design
and ablaze in colour. The exhibition presents an abundance of ceramics
and porcelain, together with showpieces of glass and silver, furniture
and jewellery. The idea is to illustrate what was praised and considered
delightful at the time – and what is often considered dreadful
by today’s advocates of modern idiom. Throughout the 1900s, the
previous century’s ideal concerning style was harshly criticised
and judged.
A bold combination of colours,
shapes, materials and patterns Creative design in the 1800s
represented a bold and outspoken combination of colours, shapes, materials
and patterns, which at the time was seen as a sign of creativity and
artistic skill. Elements of contemporary applied art and design are
included in the exhibition to show that there is currently a growing
interest in the world of design and work methods from the late 1800s.
Exhibition curator:
Helena Kåberg
Now living artists:
Cindy Sherman • Jakob Robertsson • Hella Jungerius •
Per B. Sundberg • Paul Scott • Anna Berglund
ILLUMINATIONS
Gustavsbergs
konsthall, Gustavsberg, Sweden / 02. 06. 2007—16.
09. 2007
"The exhibition
Illuminations, with which the Gustavsberg Gallery opened its doors to
the public, shows sculptural ceramics by six craft artists. The title
of the exhibition reflects the narrative and illustrative approach of
the artists. The exhibitors make use of phenomena and events from their
immediate surroundings and present them in a new light. Entirely new
dimensions to everyday experiences are presented in their works of art."
www.gustavsbergskonsthall.se
www.DN.se
Artists:
Kristoffer Hoshino
• Susanne Larsson • Irene Nordli • Jakob Robertson
• August Sörenson • Kristine Thenman
PRIVATE
SCULPTURE (privat skulptur)
Studio 44, Stockholm, Sweden / 22. 02. 2007—11.
03. 2007
www.konsten.net
www.studio44.se
#01 The
Corner
#02 Days
with Micke
Artists:
Maria Boij • Hanna Beling • Ralf Borselius • Mona
Grivner • Emma Hammarén • Anders Jansson •
Margareta Johansson • Linnea Jörpeland • Johanna Karlsson
• Lena Karlsson • Klara Kristalova • Ylva Kullenberg
• Monika Masser • Jörgen Nilsson • Patrick Nilsson
• Elisabeth Persson • Jakob Robertsson • Steve Turner
• Annelie Wallin • Per Wennerstrand.
PRESENT
2007
Bomuldsfabriken Kunsthall,
Arendal, Norway / 03. 02. 2007—04.
03. 2007
Artists:
Monica Marcella
(N), Claydies (D), Før/Nu
(S, D, N), Frida Fjellman (S), defyra (S), Michael Geertsen (D),
Louise Hindsgavl (D), Helene Kortner (N), Anna Olivia Kristiansen (D),
Katrine Køster Holst (D), Anne-Helen Mydland (N), Gustaf Nordenskiöld
(S), Irene Nordli (N), Erik Pettersen (N), Anders Ruhwald (D), Kim Simonsson
(F), John Skognes (N), Caroline Slotte (F), Marianne Tolmunen (S), Anne
Thomassen (N), We
Work In A Fragile Material (S)
Place(s)
Contemporary applied arts, London. UK / 05. 02. 2007—24.
02. 2007
University of Art and Design, Halle Burg, Germany / 25. 04. 2007—20.
05. 2007
Landesmuseum Linz, Austria / 25. 11. 2006—31. 12. 2006
www.caa.org.uk /
www.thinktank
/ www.khib
Artists:
Agnesmaria • Franz Josef Altenburg • Clement Kofi Athey
• Aldo Bakker • Sigurd Bronger • Lydia Burak •
Marek Cecula • Curro Claret • Svenja John • Lagombra
(Anders Jakobsen) • Emma Linde • Carol McNicoll •
Itxaso Mezzacasa • Susanne Petzold • Camilla Prasch •
Jakob Robertsson • Anders Ruhwald • Marijke Schurink •
Hans Stofer
Kebaburnor
(Kebab
Urns)
Nationalmuseum, Stockholm, Sweden / 15. 11. 2006—11.
02. 2007
Kebaburnan är
ett resultat av två vitt skilda intryck, dels av mitt första
besök på Skokloster slott, dels av min fördjupning av
keramiska tekniker.
Bland alla de vackra och fantastiska föremål
som fanns på Skokloster slott såg jag i ögonvrån
det klassiska inredningsarrangemanget ”två orientaliska
urnor på en byrå”. De urnorna gjorde inte något
direkt intryck på mig just då, det fanns ju så mycket
annat ”bländverk” i salarna som främst fångade
mitt intresse. Det var inte förrän något senare då
jag kopplade ihop bilden av urnorna på byrån i slottet med
den beprövade ”keramiska” fasetteringstekniken som
idén föddes. Tekniken i fråga förekommer som
en form av beskickning av drejade föremål och är påfallande
lik det förfarande som nyttjas då man strimlar loss det nygrillade
ytskiktet på en kebab. Saken var biff, urnornas storlek, form
och symbolvärde ihop med ”kebabtekniken” resulterade
i verket som kort och gott heter "Kebaburna". Kebaburnan uppgraderar/ersätter
den sedvanliga japanska/kinesiska urnans plats och funktion som en symbol/fascination
för det exotiska och orientaliska.
 |
"Under
sina besök i Skoklosters slott har han slagits av dåtidens
fascination för det exotiska och orientaliska, bland annat
gestaltat i kinesiska och japanska urnor parvis placerade på
byråar och skåp, liksom i kryddorna på barockens
bord.
- Fascinationen går vidare men tar sig
andra uttryck i dag, säger Jakob och berättar om hur
kebabrullar kan bli keramikurnor och om hur främmande matkulturer,
för tillfället den libanesiska, alltid framstått
spännande. Kebabrullar som urnor kan på så vis
påminna oss om vår nyfikenhet på andra kulturer,
samtidigt som kebabens vanlighet är ett tecken på hur
det en gång främmande kan bli del av vår vardag."
/Maria
Perers
Texten
är ett utdrag från katalogen; WWIAFM at skoklosters
slott. |
Artist:
Jakob Robertsson
Før/Nu,
Factoty tales
Svanekegården,
Bornholm, Denmark 09. 09. 2006
Why
Past and Present?
Why reflect on times that have been? Why use the past as a framework
with anonymous items as a
reference to create ceramic works?
This group of ceramic practitioners have used
an old, closed down furniture factory in Nexø,Bornholm as the
catalyst for their ceramic works. The past clarifies itself through
these ceramicworks, and requires the full attention of the observer
to decipher and understand the referencesmade. If we use our collective
cultural consciousness and feel time flow through these works thenwe
meet with the past and the present.
What are the references and stories these
works illuminate from flotsam of the long abandoned space that was a
furniture factory?The ordinary is transformed to the extraordinary;
cabinetmakers shavings become everlasting evidence in a textural story
of time through form. Coffee cup and ashtray are left as if the workers
had just finished their shift. The pasts cultural inheritance is used
as a resource to link clay with narration.
In recent years the role of a clay practitioner
has changed from not only mastering the raw material but also using
the material to communicate some of the important issues that we face
today.New paths are opening up today for practitioners enabling them
to survive and for them to stand witness to the belief that narration
and cultural communication is important. Clay practitioners are obliged
to attach many different stories and meaning to the work that they make
otherwise there is just empty form. This group exhibition is anything
but empty form, these are forms influenced by the past with a flavour
of the future.
Artists:
Kristine Tillge Lund (Dk), Signe Schjøth (Dk), Christin Johansson
(Dk), Jakob Robertsson (S)
David Carlsson (S), Frøydis Lindén (N)
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Ceramic
wedge
- This wedge
is made of ceramics and created by hand.
- The wedge
falls under the concept of craft.
- It is
an object that can be wedged into smaller spaces.
- N.B, the
wedge drives in and occupies space
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High
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S.K.
/ Reviews
Note that S.K. test
reviews are evaluations of the tests, not the actual tests themselves.To
purchase the actual test materials, you will need to contact the test
publisher.
List
of startup pictures
S.K
"From
dry to moist - from soft to hard"
The
State of Things
The Art Hall at Tullinløkka/
29.04.2006—03.09.2006
"The
State of Things"
is rooted in contemporary international design and crafts that pose
questions about tradition, taste, and the expectations that are handed
down to us. What unites the participating artists is that they haven't
contented themselves with standing on the sidelines and complaining
about things they don't think are good, but rather have created their
own platforms, initiatives, style systems, notions of taste, and meeting
places. They are, in other words, actively involved, and create the
present in which they themselves want to live
The exhibition presents design and crafts that follow
their own paths, but which nonetheless are involved in and have an effect
on the general development of the design and crafts of today. Besides
designers and those working with crafts, the exhibition also includes
artists. For regardless of background, title, and education, they are
all engaged and influence and expand our notions of design and crafts.
Artists:
Revolutions on Request (FIN), Uglycute (S), 3rd Hand (N), We
work in a fragile material (S), Afke Golsteijn (NL), Anthony Kleinepier
og TTTVo (NL), Temp (N), Tsang Kin Wah (Hong Kong), Frida Bard (S),
Extrastruggle (Tyrkia), Lagombra (S), Torpedo (N), Å.B.Ä.K.E
(Jap, GBR, S) og Martino Gamper (It/Eng).
Kurator er Stina Högkvist
"The noblest clay, the most
costly marble, man, is here kneaded and cut, and to the chisel strokes
of the Dionysian world artist rings out the cry of the Eleusinian mysteries:
"Do you prostrate yourselves, millions? Do you sense your Maker,
world?"
FuLe
International Ceramic Art Museum, Fuping, China (FLICAM)
The
Grand Opening of the Scandinavian Museum (China)
13.
11. 2005—∞
Artists:
Renata
Francescon • Jakob Robertsson • Ulla Viotti • Gert
Germeraad • Jennifer Forsberg • Helene Kortner • Ole
Lislerud • Christina Peel • Marian Heyerdah
Links:
Gustavsbergs
Konsthall Window
107 Husransakan
defyra Flicam
WWIAFM
Slicker Christian
Sandell Aja
Agata
Frida
Fjellman Pontus
Lindval Designed
in Sweden Tradera
keraamikko
Nationalmusei
Vänner Arty
Superfido
Galleri
Inger Molin Crystal
Palace
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