Profiles

Vendela Grundell

Vendela Grundell

Universitetslektor

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Works at Department of Culture and Aesthetics
Telephone 08-16 21 65
Email vendela.grundell@arthistory.su.se
Visiting address Frescativägen 24B,
Room 237
Postal address Institutionen för kultur och estetik 106 91 Stockholm

About me

PhD in Art History at the Department of Culture and Aesthetics since May 2016. Currently employed at SU as lecturer and Master thesis supervisor.

Teaching

2016-2017
Danish Institute of Study (DIS): Nordic Contemporary Art; Impressionism in Paris
2012-2016
Lectures and seminars, Stockholm University
Art History I: Digital Image Practices; Net Art; Video Art; New Visual Technologies; Contemporary Art; Semiotics
Art History II: Interface Photography
Guest lectures
Södertörn University: The Unstable Photograph
Gothenburg University/Valand Academy: Interface Photography

Conference Papers
2016 Photomedia, Helsinki; Poetics of the Algorithm, Liège
2015 Nordik XI, Reykjavik
2014 Art Photography in Media Environments, ECREA, Lisbon
2012 Art and the Senses, Stockholm

Publications
2016 Revised and expanded edition of PhD thesis published with Art & Theory Publishing in September
Article in October issue of Verk
Article in Art Photography in Media Environments, Proceedings of the Ecrea conference, Lisbon (forthcoming)
2015 Essay for a book on the dance project “Me – every body” by Olof Persson

Research

Flow and Friction: On the Tactical Potential of Interfacing with Glitch Art
This thesis aims to analyze how interfacing affects viewer experiences and viewer positions, and how glitch art online makes that effect visible. Glitch art is concerned with disruptions in the systems that govern how for instance photography is produced, circulated and displayed in a digital image flow. The system’s usually undisrupted operation emerges through the friction created between the key components of the study: the viewer, the photo-based mediation, and the interface where the two meet. These components are encircled by the relation between individual and system, whose increased integration with one another requires a sharper eye: a tactical spectatorship in response to how the interface of the image flow can turn the individual into a part of the system. The unfolding of such a spectatorship is investigated through three questions: What can a viewer see and do by interfacing with the website, and with what means? How is the photo-based material on the website produced, displayed and conceptualized? How does the website and its photo-based material – glitched and not glitched – position the viewer haptically and epistemologically?
     With a cross disciplinary approach, three media phenomenological case studies present glitch artworks in an online environment. The case study on Phillip Stearns’s project Year of the Glitch concerns the website’s index and archive pages as well as still images with a focus on camera reconstruction, verbal conceptualization, and image materiality. The case study on Rosa Menkman’s website Sunshine in My Throat includes index and artwork pages, two artworks with still and moving images as well as a thematization of the entire online environment being glitched. The case study on Evan Meaney’s project Ceibas Cycle focuses on the index page and an interface-based artwork, two video works as well as a portfolio of photographs that are not glitched. The timeliness of the case study materials – created between 2004 and 2012 – is anchored in systems aesthetics, in which technical problems are explored as a cultural critique since the 1960s. The qualitative analysis both emphasizes and problematizes experience, as a complement to quantitative studies about images in relation to a digital flow.
     The study analyzes how glitch art shapes experiences both by following the interface and by disrupting it. The effect of the underlying system thus appears in a material that has not yet been given an in-depth art historical analysis with a particular focus on the individual viewer. With such a focus, glitch is conceptualized as systemic friction in this study, which clarifies how the artworks online produce knowledge about the interface by providing the individual with a possibility of creating tactical breaks into the image flow. The results of the study consist of the ways of seeing that develop such a possibility – and they gain relevance as they make visible how the flow usually operates in invisible ways. These results point out that the experience of the artworks – and by extension, other experiences of images online – can alert viewers to their own activity within the image flow. If the system sets boundaries for experiences of and through the interface, a tactical spectatorship becomes possible when a glitch gives the individual an opportunity to try different positions towards these boundaries.

Keywords: Glitch, Contemporary Art, Photography, Digital Media, Interface, Internet, Systems Aesthetics, Network Society, Tactics, Phenomenology, Spectatorship, Viewer, Experience, Rosa Menkman, Phillip Stearns, Evan Meaney.

Vendela Grundell (b. 1977) is an art professional in the fields of photography, writing and research. Areas of practical and theoretical expertise include fine art, editorial, academic and commercial production. Based in Stockholm, Sweden where she is currently pursuing independent art projects and a PhD in Art History at Stockholm University with the thesis “Flow and Friction: On the Tactical Potential of Interfacing with Glitch Art” – which was defended on May 27 2016. BA in Cultural Studies 2007 and MA in Aesthetical Disciplines 2011, both with a Major in Art History. CV and portfolio: www.vendelagrundell.com.

Last updated: January 31, 2017

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