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Porträttbild Eva Aggeklint

Eva Aggeklint

FD, Forskare

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Works at Department of Asian, Middle Eastern and Turkish Studies
Email eva.aggeklint@su.se
Visiting address Kräftriket hus 4 B, Roslagsvägen 101
Postal address Kinesiska 106 91 Stockholm

About me

Eva Aggeklint is postdocoral research fellow, funded by Anna Ahlström’s and Ellen Terserus’ scholarship research grant (2015–2016), in Chinese studies at the Department of Asian, Middle Eastern and Turkish Studies.

Education

  • 2014  Ph.D Asian Languages and Cultures, Stockholm University
  • 2004  MA with Major in Chinese, Stockholm University
  • 2000  MA with Major in the History of Arts, Stockholm University
  • 1997 BA with Majors in Chinese and the History of Arts, Stockholm University
  • 1991–1993 Chinese and the Chinese History of Arts, Nanjing Normal University

Teaching

During my time as Ph.D student I mainly taught Chinese language beginner courses at the Department of Asian, Middle Eastern and Turkish Studies and the Stockholm Confucius Institute. After having received my Ph.D in 2014 I taught and supervised students writing their B-level project work at the Art History Department at Stockholm University. In 2015 I have taught a course on China’s Ancient History at the Department of Asian, Middle Eastern and Turkish Studies and one class on China’s Art from the Shang-dynasty until today at the Forum for China Studies at Uppsala University.

Apart from teaching at Stockholm University I have over the years had a continuous and close collaboration with the Museum of Far Eastern Antiquities and more recently the Royal Coin Cabinet in Stockholm. At the Museum of Far Eastern Antiquities I have held a large number of workshops for our students and others related to: archaeology, traditional and contemporary painting/photography, silk, the Silk Road, Buddhism, the East Indian Company trade routes, porcelain, the art of Manga, etc. At the Royal Coin Cabinet the topics rather relate to: economy, economic history, monetary systems, coins and early bank notes, inflation, also related to China’s specific economic development from making use of pre-monetary means of payment, i.e. kauri shells via bronze coins and the earliest banknotes in the world, via planned economy to a market economy with Chinese characteristics.

Research

My research is positioned in the field of the visual culture of modern China especially focusing on photography and arts. I received my Ph.D at Stockholm University in 2014 with the dissertation ”Bridal Couples: On Hybridity in Conceptual Chinese Photography, 1995–2009”. The study employs Homi K. Bhabha’s conceps to try out a method in which eight conceptual photographs are located in the dynamic process of culture, that is the Third Space. This method opens up these cross-cultural paradoxes as sites for interpretation: thus the focus of the study lies in unlocking the images to interpret them in their hybrid condition. There are many conceivable reasons why artists in China should have adopted foreign symbols as form of expression; a context is outlined so that this type of art can be discussed from the point of view of the history of photography, marriage customs, bridal portraiture and the art market.

My interest in photography led to developing my new (post doctoral) research project on the Swedish left-wing artist/photographer/writer Gun Kessle’s (1927–2007) photographs of China 1962–1982. In the 1960s China travellers had a great influence in Swedish media and their stories and photographs were important for how the image of revolutionary China was constructed in Sweden. Gun Kessle’s photographs were published in Jan Myrdal’s report books and were therefore widely spread both in Sweden and on the international arena. Kessle’s photographs were recently incorporated in the collection of the Museum of Far Eastern Antiquities. This for the first time allows research on a rich visual material. Preserved photographs of ordinary people in China during the above mentioned period are today rare. However, many of Kessle’s photographs prove to follow the official Chinese line of Maoist propaganda expression. My study will therefore problematize a limited number of Kessle’s photographs proposing that one of her aims was to vibrantly oppose the Swedish feminist debate, especially represented by ‘Grupp 8’ in Sweden. My postdoctoral research project will result in two different articles that aim to give voice to Kessle’s artistry and her feminist left-wing engagement as separated from that of her famous husband, the marxist-leninist writer Jan Myrdal, for the first time.

Another line of interest that I am currently working on represents an entirely different area of research which is concerned with museum construction in Hong Kong. This is a joint project together with my colleague Dr. Hang Kei Ho at the Department of Social and Economic Geography at Uppsala University. Our project aims to pinpoint and reflect upon some of the main challenges the ‘M+ Museum of Art and Visual Culture’, under construction, at the West Kowloon Cultural District (WKCD) has been projected to in its colonial and postcolonial cultural contexts since 2006 when it was first commissioned for construction by the Hong Kong SAR government.

Last updated: June 26, 2018

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