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Leder
(side 128-129)
av Øystein Sjåstad
Artikler
Vitenskapelig publikasjon
(side 129-142)
av Kerry Greaves
Engelsk sammendrag

Traditionally, modern Danish artists’ dynamic engagement with radical politics has been overshadowed by an emphasis on purely aesthetic issues. This estrangement is especially true for histories of artists’ society, Linien (1934–1939) and its eponymous journal, as well as the art journal Konkretion (1935–1936), both of which were the first vehicles through which French Surrealism was disseminated to Denmark. Yet the commitment to Communism by the founders of Linien, the artists Vilhelm Bjerke Petersen, Ejler Bille, and Richard Mortensen, was in fact a defining factor that shaped their prolific writings and interest in Surrealism.

Vitenskapelig publikasjon
(side 144-154)
av Samantha Leanne Smith
Engelsk sammendrag

‘Blinding the Viewer: Rembrandt’s 1628 Self-portrait’ explores how blindness and not seeing play a part in the looking at, and the creation of, art. With an analysis of an early self-portrait by the Dutch artist Rembrandt (1606–1669), ‘Blinding the Viewer’ argues that what cannot physically be seen is often inherent in our experience of painting, something which is very often presumed to be a purely visual medium.

Vitenskapelig publikasjon
(side 156-171)
av Truls Aslaksby
Engelsk sammendrag

In 1814, Norway was separated from Denmark to become a sovereign state. Because of a strained economy, most of the new national institutions had to be lodged in existing buildings in the new capital of Christiania (Oslo) until much later. Such was also the fate of the Norwegian Supreme Court, but there were several architectural projects produced for it. They were drawn by Hans D.F. Linstow, a dilettante architect already commissioned to design the Royal Palace. Between 1826 and 1841 he undertook four projects, all of which were refused by the National Assembly for economic reasons. Later in the 1840s the Supreme Court was given its own quarters specially designed by the architect E.H. Schirmer, but as a tenant of a private owner.

Vitenskapelig publikasjon
(side 173-182)
av Anne Beate Maurseth
Sammendrag

This article focuses upon Jacques Rancière’s conception of aesthetics as it is featured in Aisthesis (2011) and in The Emancipated Spectator (2008). The readings of two sculptures, namely Belvedere torso and Juno Ludovisi, display the extent to which art in the aesthetic regime, according to Rancière, is based on inclusiveness, indifference, inertia and constant change. The potential of art, both sensible and political, can be related to the dissensus resulting from this.

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