Cecilia Sjöholm

Swedish artists Mats Bigert and Lars Bergström first began their creative partnership in 1986, and have since become internationally recognized for a wide range of art projects ranging from large-scale sculptures and installations to performance and film. The duo are known for their analysis of current societal and environmental issues, often using humour as a tool. They tend to focus on scientific, climate-related and social issues, and the intersection between them. This detailed monograph covers their entire artistic oeuvre, from its very beginnings to the present moment a wealth of material that allows for an in-depth examination of their practice and its continuing relevance.

En bok om och till Aris Fioretos. Redaktör Cecilia SjöholmRedaktörsassistent Astrid GrelzOmslag Håkan LiljemärkerBegränsad upplaga: 250 exemplar Medverkande:Paul Auster Anna Bengtsson Magnus Bergh Bigert & Bergström Daniel Birnbaum Mirces Cartarescu Love Derwinger Kjell Espmark Magnus Florin Jörgen Gassilewski Durs Grünbein Gunnar D. Hansson Gabriel Itkes-SznapElfriede Jelinek Stefan Jonsson Mara Lee Claudia Lindén Arne Melberg Lothar Müller Ernst Osterkamp Daniel Pedersen Håkan Rehnberg Mikael van Reis Monika Rinck Hans Ruin Cecilia Sjöholm Sophie Tottie Jan Wagner Sven-Olov Wallenstein Ola Wallin Magnus William-Olsson

Aisthesis: Estetikens historia del 1 samlar centrala texter i det estetiska fältet från 1700-talet till 1940. För första gången föreligger en antologi på svenska som presenterar estetiken som en egen disciplin, representerad av filosofer och författare som Lessing, Kant, de Gouges, Baudelaire, Proust, Key, Duncan, Eisenstein, Simmel, Woolf med flera. Texterna föregås av inledningar, flertalet skrivna av antologins redaktörer Sara Danius, Cecilia Sjöholm och Sven-Olov Wallenstein.

Dette er andre bok i serien: BarndomspedagogikkBokserien henvender seg først og fremst til masterstudenter og forskere innen pedagogikkfaget, gjennom sine forsøk på å identifisere, aktualisere og diskutere pedagogiske grunnfenomener. Dette kan ha relevans også for andre fagfelt som, i profesjon og forskning, arbeider med mennesker i alle aldre.Dette gjelder ikke minst denne bokens tematikk: Röstens närvaro.Pedagogikk handler ikke bare om læring. Pedagogikk er også en estetisk og eksistensiell virksomhet hvor røsten spiller en sentral rolle: Røsten er kanskje pedagogens fremste instrument.Men røstens er mer enn instrument: Den bidrar til å skape en stemning og fellesskap, og bidrar til å skape en sanselig forbindelse i de rom der læring foregår: mellom elever og pedagoger, mellom barn og voksne, mellom barn, og mellom voksne. En undersøkelse om røsten vil utvide perspektivet på pedagogikk, vektlegge at det handler om intersubjektive forbindelser, og om å utvikles som menneske.I denne teksten undersøker forfatteren røstens relasjon til pedagogikken gjennom kognitive perspektiver, men framfor alt er dette en fenomenologisk undersøkelse. Er røsten, for pedagogikken, noe som skaper intersubjektive forbindelser? Kan den bidra til å forstå pedagogikkens rolle for menneskelig utvikling? Og hvordan kan den, når vi er alene, hjelpe oss til å tenke selv? Cecilia Sjöholm er professor i estetikk ved Södertörns högskola i Stockholm, og professor II ved Høgskolen i Innlandet, Lillehammer. Hun har publisert bredt rundt estetiske spørsmål, filosofisk estetikk og kritisk teori.

Den franske filosofen René Descartes (1596--1650) är känd för den dualism där kropp och själ ses som varandras motsatser. Idag anser många att Descartes bidragit till den övertro på det västerländska förnuftet som lagt grunden för exempelvis naturens exploatering och kolonialismen. Ska Descartes därmed hållas medansvarig för samtidens globala kriser; är hans filosofi ett historiskt misslyckande? I själva verket försökte Descartes på olika sätt lösa de problem han såg i sin egen tes, och reflekterade över känslor, liv, begär, drifter och minnen på ett sätt som tveklöst bildar ett förstadium till psykoanalysen. Bortom det rationella subjektet fann han ett nytt psykiskt universum. Riksbankens Jubileumsfond publicerar under 2024 en samling essäer på temat Misslyckat? Estetikforskaren Cecilia Sjöholm skriver om Descartes dualism och visar hur en kompromisslös nyfikenhet alltid vinner i längden. Cecilia Sjöholm är professor i estetik vid Södertörns högskola. Hon har publicerat sig brett kring frågor om estetiken och dess historia, psykoanalys och kritisk teori. Hennes senaste böcker är Utan samvete? Hur vi förlorade vår inre röst (2023), Aisthesis II (medredaktör, 2023) samt Through the Eyes of Descartes: Seeing, Thinking, Writing (medförfattare, 2024). Stiftelsen Riksbankens Jubileumsfond (RJ) publicerar årligen en samling texter på ett aktuellt tema. Ambitionen är att ge en bild av kvaliteten och bredden i dagens forskning inom humaniora och samhällsvetenskap. År 2024 bidrar sex forskare med texter på temat Misslyckat? i form av häften som samlas i en box.

"I shall here present my life," writes Descartes in Discourse on Method, "as in a painting" and my method "as a fable." Through the Eyes of Descartes demonstrates how a Cartesian aesthetics is interwoven in his thought. It brings together a variety of materials: his metaphysical writings and essays in natural philosophy, through to his letters, drawings, and printed images. Cecilia Sjöholm and Marcia Sá Cavalcante Schuback seek to bring Descartes into dialogue with contemporary phenomenology as well as contemporary psychoanalytic thought. They focus on how perception interacts with emotions and thought, and the way in which our gaze is directed toward limit-phenomena of beauty and fascination. In Through the Eyes of Descartes, Cecilia Sjöholm and Marcia Sá Cavalcante Schuback counter the traditional picture of Descartes by presenting his work in an entirely different light: a Descartes of the arts, of sensibility, of inner images, and of imagination.

"I shall here present my life," writes Descartes in Discourse on Method, "as in a painting" and my method "as a fable." Through the Eyes of Descartes demonstrates how a Cartesian aesthetics is interwoven in his thought. It brings together a variety of materials: his metaphysical writings and essays in natural philosophy, through to his letters, drawings, and printed images. Cecilia Sjöholm and Marcia Sá Cavalcante Schuback seek to bring Descartes into dialogue with contemporary phenomenology as well as contemporary psychoanalytic thought. They focus on how perception interacts with emotions and thought, and the way in which our gaze is directed toward limit-phenomena of beauty and fascination. In Through the Eyes of Descartes, Cecilia Sjöholm and Marcia Sá Cavalcante Schuback counter the traditional picture of Descartes by presenting his work in an entirely different light: a Descartes of the arts, of sensibility, of inner images, and of imagination.

Samvetet, skrev 1500-talsförfattaren Michel de Montaigne, har en fantastisk kraft! Det kan få oss att anklaga och strida mot oss själva — och det ser oss när ingen annan gör det. Men det kan också göra oss starka. I samma anda har författare och tänkare som Shakespeare, Luther, Hegel, de Gouges och många andra lyft fram samvetet: det ger upphov till inre konflikter och är samtidigt en kompass som vi inte kan vara utan. Men samvetet är inget vi hyllar idag. Istället söker vi harmoni och inre frid. Det är åtminstone vad den stora självhjälpsindustrin lär ut åt oss. Och det går utmärkt väl ihop med en tidsanda som tycks allt mer brutal och samvetslös; i olika medier, i politiken och ekonomin. Det gäller att vara tvärsäker, enhetlig och övertygad, inte ha ”secondthoughts”. Samvetet verkar på många sätt hopplöst förlegat. Så hur mår det idag? Har det förlorat sin kraft?Det är den fråga Cecilia Sjöholm ställer i den här boken. Genom att söka efter samvetets plats i filosofin och konsten genom historien hamnar hon här och nu. Finns samvetet i oss själva som individer, i den samhälleliga gemenskapen, eller någonstans mitt emellan?

Hannah Arendt är en av nittonhundratalets mest framträdande politiska filosofer. Hennes tankar om ondska och totalitarism och om hur människan i grunden är en politisk varelse har nått breda läsekretsar i årtionden. Idag är hon mer aktuell än någonsin. Cecilia Sjöholms bok fyller en lucka i den stora forskning som finns kring Arendt. Vilken roll spelar konsten i hennes tänkande? Arendts dagböcker och anteckningar vittnar om en estetik som aldrig fullbordades. Sjöholm spårar dessa tankar, och visar att Arendts politiska idéer ofta är sammantvinnade med frågor om estetik och konst. Boken belyser bland annat Arendts syn på konstverket som en oförytterlig del av det offentliga rummet, hur frihet och mångfald hör samman, liksom politiskt och estetiskt omdöme, samt vilka effekter varufieringen av konsten kan få. Litteratur, film och visuell konst, men också musik, får oss att se en värld, och bidrar till att skapa den verklighet vi delar med andra. Boken diskuterar också Arendts sätt att förhålla sig till specifika konstverk, som Rembrandts porträtt, Sofokles "Oidipus i Kolonos" och Charlie Chaplins filmer. Cecilia Sjöholm är professor i estetik vid Södertörns högskola.

Kunsten som Forum på tryk taler ind i en tid, hvor mennesket verden over har lært isolationens kølige favntag at kende og hvor det kun er blevet endnu mere væsentligt at samarbejde og at undersøge kunstens evne til at skabe mangfoldige fællesskaber. De tre første udgivelser i serien behandler på forskellig vis de præmisser og strukturer i hvilke mennesket i dag lever i en politisk virkelighed og det er tekster, hvor skabelsen af fællesskaber står centralt.I sit essay Virkelighedssans: Hannah Arendt om Kant og æstetik genaktualiserer professor i æstetik, Cecilia Sjöholm, Arendts begreb om virkelighedssansen som en fælles sans, der yder modstand imod autoritære grupperinger, som forsøger at så tvivl om verdens realitet ved at fabrikere fiktive virkeligheder. I den forbindelse fremhæves kunstens særlige evne til at artikulere og højne sansen for det liv og fællesskab, vi alle er del af.

Cecilia Sjoholm reads Hannah Arendt as a philosopher of the senses, grappling with questions of vision, hearing, and touch even in her political work. Constructing an Arendtian theory of aesthetics from the philosopher's fragmentary writings on art and perception, Sjoholm begins a vibrant new chapter in Arendt scholarship that expands her relevance for contemporary philosophers. Arendt wrote thoughtfully about the role of sensibility and aesthetic judgment in political life and on the power of art to enrich human experience. Sjoholm draws a clear line from Arendt's consideration of these subjects to her reflections on aesthetic encounters and works of art mentioned in her published writings and stored among her memorabilia. This delicate effort allows Sjoholm to revisit Arendt's political concepts of freedom, plurality, and judgment from an aesthetic point of view and incorporate Arendt's insight into current discussions of literature, music, theater, and visual art. Though Arendt did not explicitly outline an aesthetics, Sjoholm's work substantively incorporates her perspective into contemporary reckonings with radical politics and their relationship to art.

The earliest of the series presented in the book is Livingrooms. Helene Schmitz photographed her childhood home after a fire. It struck her how the familiar and well-known had been transformed into something else, for- eign and shocking in its contradictory beauty. Helene Schmitz has spent many years exploring man s relationship with nature and natural forces. In Western art the garden has often been used as a metaphor for paradise and plants are often seen as peaceful. The Kudzu, however, is quite the opposite: it is an invasive plant species from Asia which has grown completely out of control and suffocated all other vegetation in its progress through parts of the US South. In Kudzu Project she depicts how the vegetation has created some sort of twisted and mysterious landscape and how new sorts of spaces have emerged. The series Sunken Gardens was photographed in Surinam. Helene Schmitz traveled to the former Dutch colony.and this farm came to represent a miniature colonizing project. The construction of the farm was like a maze of fragile net enclosures surrounded by intrusive nature. In these spaces one loses all sense of who has the power. The series Earthworks was photographed in Namibia and in the early twentieth century, diamonds were discovered along the rugged coast of this former German colony. Those controlling the diamond trade became extremely rich and had a small settlement built with all the necessary conveniences. In the 1950s the houses were deserted and the strong ocean wind slowly drowns the buildings in sand. The elements have left their mark over the years. The book is a co-publication between Art and Theory and Dunkers Kulturhus.

The title of this anthology, Regionality/Mondiality: Perspectives on Art, Aesthetics and Globalization, signals the regional dimension inherent in the globalization of the arts. Rejecting a comprehensive theory of globalization, the texts in this anthology instead circumscribe a situated understanding of the production and interpretation of the arts, which serves to condition cultural translatability. The texts of the anthology argue that cultural translatability should be considered through the concept of regionality, that is, the quality of being both territorially and relationally situated. Bypassing the abstract and politically charged category of “nationality,” regionality addresses human relations in and through the more tangible physical environment in and by which they are configured. As seen in the work on archipelagic thinking by the Martinican writer and philosopher Édouard Glissant, both the cultural and physical aspects of one’s immediate environment are used to articulate a form of self-understanding in the face of cultural and economic expansion, the particular character of which is indicated by the term mondiality. This concept derives from the French word for “world” or “people,” and thus affirms the fundamentally social and cultural character of experiences thought of as global. Each of the eleven contributions in this volume brings its own perspective on arts and aesthetics, producing world-views that still share a keen awareness of their partialness. The contributors are: Charlotte Bydler, J. Michael Dash, John Drabinski, Martin Svensson Ekström, Anthony Gardner and Charles Green, Christina Kullberg, Lisette Lagnado, André Lepecki, Patricia Lorenzoni, Cecilia Sjöholm, and Terry Smith.

Julia Kristeva is one of the most influential French thinkers of the twentieth century and is best known for her work in linguistics. Even though her work has been very influential, the political implications of her writings have so far been neglected. Kristeva and the Political is the first book to explore the relation of Kristeva's work to the political and casts new light on her work, connecting her to recent developments in literary theory, political theory, and cultural studies. In particular it shows how Kristeva's account of the unconscious and psychoanalysis generally, widens the notion of the political.Each chapter introduces a fundamental theme in Kristeva's work, highlighting a specific period of development in her thought and drawing on texts from the 1960s through to the 1990s. Themes addressed include Kristeva's theory of discourse, the theory of the subject, the notion of alterity, feminism and marginality and her theory known as the 'politics of meaning'. Kristeva and the Political also shows how Kristeva's notions of the political draw on a rich array of thinkers and writers, from Freud, Melanie Klein and Lacan, to Proust and Marguerite Duras.

Julia Kristeva is one of the most influential French thinkers of the twentieth century and is best known for her work in linguistics. Even though her work has been very influential, the political implications of her writings have so far been neglected. Kristeva and the Political is the first book to explore the relation of Kristeva's work to the political and casts new light on her work, connecting her to recent developments in literary theory, political theory, and cultural studies. In particular it shows how Kristeva's account of the unconscious and psychoanalysis generally, widens the notion of the political.Each chapter introduces a fundamental theme in Kristeva's work, highlighting a specific period of development in her thought and drawing on texts from the 1960s through to the 1990s. Themes addressed include Kristeva's theory of discourse, the theory of the subject, the notion of alterity, feminism and marginality and her theory known as the 'politics of meaning'. Kristeva and the Political also shows how Kristeva's notions of the political draw on a rich array of thinkers and writers, from Freud, Melanie Klein and Lacan, to Proust and Marguerite Duras.

What if psychoanalysis had chosen Antigone rather than Oedipus? This book traces the relation between ethics and desire in important philosophical texts that focus on femininity and use Antigone as their model. It shows that the notion of feminine desire is conditioned by a view of women as being prone to excesses and deficiencies in relation to ethical norms and rules. Sjöholm explains Mary Wollstonecraft's work, as well as readings of Antigone by G.W.F. Hegel, Martin Heidegger, Luce Irigaray, Jacques Lacan, and Judith Butler. This book introduces the concept of the "Antigone complex" in order to illuminate the obscure and multifaceted question of feminine desire, which has given rise to the fascination of generations of philosophers and other theoreticians, as well as readers and spectators. At the same time the book argues for a notion of desire that is intrinsically related to ethics. The ethical question posed by Antigone, and explored in the book, is: what determines those actions that one must do, as opposed to those that one ought to do?