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Malin Hedlin HaydenProfessor

Om mig

Malin Hedlin Hayden is Professor in Art History. My research has primarily concerned art from the 1960s to contemporary art, especially sculpture and video/moving image art. I have a particular interest in theoretical issues, historiography, and display practices.

I received my PhD in 2003 with the dissertation Out of Minimalism: The referential Cube. Contextualising sculptures by Antony Gormley, Anish Kapoor and Rachel Whiteread, Department of Art History, Uppsala University.

Since 1995 I have been teaching art and art theory at art schools as well as universities. I have developed courses on all levels, for example the master course Exhibition spaces in 2003; several versions of ground courses in contemporary art and theory, reading courses at PhD level; and as Senior Lecturer in Art History at The Royal Institute of Art, 2005-2009, Stockholm, I made various courses including e.g. Art as archive, documentation and memory, Academy and drawing, and “Homo surrealismus” as well as generative courses focusing academic writing and research application.

In 2009 I began working at the Department of Art History, Stockholm University, as Assistant Professor, before becoming Senior Lecturer/Associate Professor and then Professor. Amongst my previous assignments I have e.g. been Director of Studies in Art History as well as Head of Art History, both at the Department of Culture and Aesthetics.

 

https://su-se.academia.edu/MalinHedlinHayden

 

Forskning

Research projects

Rhetorical feminism: gendered artists and political beliefs
Funded by the Swedish Research Council, 2015-2017.

Video Art Historicized: traditions and negotiations, Ashgate Publishing Company, Studies in Art Historiography, Farnham, UK/Burlington, USA, 2015.

Out of Minimalism: The referential Cube. Contextualising sculptures by Antony Gormley, Anish Kapoor and Rachel Whiteread, Acta Universitatis Figura Nova, Uppsala University, 2003.

Publikationer

https://www.academia.edu/91584478/Utsatthetens_topografi

 

 

I urval från Stockholms universitets publikationsdatabas

  • Jag är kanon: om ORLANs performativa performance

    2017. Malin Hedlin Hayden. Performativitet, 80-100

    Kapitel

    Alltför ofta blandas de två begreppen performance och performativitet ihop med varandra, som om de vore synonymer och därmed betyder samma sak. Det gör de inte. Ett performance är inte per automatik performativt. Det förra är en konstform, medan det andra innebär en betydelsetvingande handling. När Judith Butler talar om ”performance” är det det engelska ordet för handling/utförande som avses. Jag använder här samma (engelska) ord, men som ett begrepp som på svenska refererar till konstformen. I relation till en serie verk av den franska konstnären ORLAN är det två olika aspekter som jag ska diskutera. Den första handlar om hur kvinnlighet och skönhet representeras som bild, men även hur dessa utförs som handlingar. Den andra aspekten gäller skillnaden mellan de två begreppen ett performance och det performativa, men också hur de kan samverka i ett och samma konstprojekt.

    Läs mer om Jag är kanon

  • Performativitet: Teoretiska tillämpningar i konstvetenskap: 1

    2017. .

    Bok (red)

    Vad betyder performativitet? Och vad innebär det att tala om något som performativt? Den här läroboken vill klargöra och kritiskt belysa ett viktigt men ibland svårfångat begrepp.

    Bokens bidrag tar upp konkreta tolkningssituationer och visar på direkta tillämpningar av begreppet. Genom att lyfta fram konstverk och andra bilder från olika historiska perioder och sammanhang visar vi hur performativitet är ett mångsidigt och användbart begrepp vid bildtolkning. Syftet är att förmedla den kritiska potential ett begrepp har när det aktiveras i relation till olika studieobjekt.

    Boken riktar sig i första hand till studenter i konstvetenskap och andra ämnen där frågor om visualitet och visuella praktiker är centrala. Utgångspunkten är att boken inte bara ska ge en teoretisk förståelse av begreppet utan framförallt peka ut vägar och möjligheter till praktisk tillämpning.

    Läs mer om Performativitet

  • Women artists@home: or Why are there still no equality-marked collections?

    2016. Malin Hedlin Hayden. Curating Differently, 115-127

    Kapitel
    Läs mer om Women artists@home

  • Video art historicized: Traditions and negotiations

    2015. Malin Hedlin Hayden.

    Bok

    Video art emerged as an art form that from the 1960s and onwards challenged the concept of art - hence, art historical practices. From the perspective of artists, critics, and scholars engaged with this new medium, art was seen as too limiting a notion. Important issues were to re-think art as a means for critical investigations and a demand for visual reconsiderations. Likewise, art history was argued to be in crisis and in need of adapting its theories and methods in order to produce interpretations and thereby establish historical sense for moving images as fine art. Yet, as this book argues, video art history has evolved into a discourse clinging to traditional concepts, ideologies, and narrative structures - manifested in an increasing body of texts. Video Art Historicized provides a novel, insightful and also challenging re-interpretation of this field by examining the discourse and its own premises. It takes a firm conceptual approach to the material, examining the conceptual, theoretical, and methodological implications that are simultaneously contested by both artists and authors, yet intertwined in both the legitimizing and the historicizing processes of video as art. By engaging art history's most debated concepts (canon, art, and history) this study provides an in-depth investigation of the mechanisms of the historiography of video art. Scrutinizing various narratives on video art, the book emphasizes the profound and widespread hesitations towards, but also the efforts to negotiate, traditional concepts and practices.By focusing on the politics of this discourse, theoretical issues of gender, nationality, and particular themes in video art, Malin Hedlin Hayden contests the presumptions that inform video art and its history.

    Läs mer om Video art historicized

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