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  • 1. Ekman, Anna
    et al.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Department of Fine Art.
    Les Archives Suédoises: The Opening, Öppnandet, La Réouverture2019Book (Other (popular science, discussion, etc.))
  • 2.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Department of Fine Art.
    Anna Ekman & Cecilia Järdemar + Freddy Tsimba: Les Archives Suédoises Del 1. Öppnandet2000In: Nya Småland / [ed] Jonathan Habib Enquist, Växjö: Arvinius + Orfeus, Linnéuniversitetet , 2000, p. 206--211Chapter in book (Other (popular science, discussion, etc.))
  • 3.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Institutionen för Konst (K).
    Les Archives Suédoises: a collaborative enquiry into a hidden colonial photographic archive2018In: Archives in Postcolonial conditions, Nicosia, 2018Conference paper (Other academic)
    Abstract [en]

    Les Archives Suédoises – a collaborative enquiry into a hidden colonial photographic archive

    The presentation will explore how the art project Les Archives Suédoises has explored a neglected part of both Swedish and Congolese history by re-contextualising and reworking a hidden and dispersed photographic archive, consisting of historical glass-plate negatives photographed by Swedish missionaries in the Congo 1890 – 1930.

    During the second half on the 19th century, an evangelical revival spread in Sweden. The new parishes that emerged had a deep concern for missions, and any member of the congregation could be called. Inspired by Stanley’s travels in the Congo, the church started sending missionaries to the area in the 1880’s, and Sweden was soon one of the major active nations.

    The missionaries brought camera equipment, and the resulting photographs were used as a medium for enticing the home parishes to donate funds. It is clear that the missionary-photographers consciously arranged the images to fit into a predestined narrative about their role as saviour, and depicted the local people as ’other’, alienating and exoticising them in the process.  Back home missionary lantern-lectures visited chapels, schools and churches up until the sixties. For many Swedes this was their first encounter with Africa, and the images have thus had a profound influence of how Africa was imagined in Sweden.

    In the Congo DR on the other hand, not many photographs from the historical period remain, since the colonizers controlled the technology, and the tropical climate and political turbulence has destroyed what was left. The missionaries were also very much part of a process whereby they documented the existing culture in the places where they settled down – then set out to do their very best to change, or even destroy it, as part of the Christianisation.

    How can we confront these types of images today, from a Swedish perspective, where there is great reluctance to look at this part of our history? And from a Congolese perspectives, where the images both bear witness to the suffering of the people living through the brutal colonization, and depict old village life and traditions? Gaining access to glass-plate negatives through the heirs of the missionary-photographers, we embarked on a collaborative enquiry with Congolese sculptor Freddy Tsimba, whose father went to a Swedish missionary school. A series of site-specific installations in Sweden and in the Congo were created in response to the archive, attempting to look beyond our own context-specific histories and addressing the traumatic memory left in both nations.

  • 4.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Institutionen för Konst (K).
    Les Archives Suédoises: a collaborative enquiry into a hidden colonial photographic archive2018In: Practicing the archive: exhibitions and research / [ed] Teresa Flores, Lisbon, 2018Conference paper (Refereed)
    Abstract [en]

    The paper will present the art project Les Archives Suédoises, exploring a neglected part of history by re-contextualising and reworking a hidden and dispersed archive consisting of historical glassplate negatives photographed by Swedish missionaries in the Congo 1890-1930. During the second half on the 19th century, an evangelical revival spread in Sweden. The new parishes that emerged had a deep concern for missions, and inspired by Stanley’s travels in the Congo, the church soon started sending missionaries. They brought camera equipment, and the resulting photographs were used for enticing home parishes to donate funds. Missionary lantern lectures visited chapels, schools and churches up until the sixties. For many Swedes this was their first encounter with Africa, and the images have thus had a profound influence of how Africa was imagined in Sweden. In the Congo DR on the other hand, not many photographs from the historical period remain; the colonizers controlled the technology, and the tropical climate and political turbulence has destroyed what was left. The missionaries were also very much part of a process whereby they documented the existing culture in the places where they settled – then set out to do their best to change, or even destroy it. How can we confront these types of images today, from a Swedish perspective, where there is great reluctance to look at this part of our history? And from a Congolese perspective, where the images both bear witness to the suffering of the people living through colonization, and depict old village life and traditions? We embarked on a collaborative artistic enquiry with Congolese sculptor FreddyTsimba, and created a series of site-specific installations in response to the archive, in Sweden and in the Congo, looking beyond our own context-specific histories and addressing the traumatic memory left in both nations.

  • 5.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Department of Fine Art.
    Les Archives Suédoises: An Intercultural Collaboration Around a Colonial Pile of Glass-plate Negatives2020In: Cinergie : Il Cinema e le altre arti, ISSN 2280-9481, no 17, p. 109-122, article id 10634Article in journal (Refereed)
    Abstract [en]

    This article will discuss the intercultural, collaborative art project Les Archives Suédoises, which brings a repressed part of colonial history into the open by re-contextualizing and reworking a hidden trove of historical glass-plate negatives photographed by Swedish missionaries in the Congo DR between 1890 -1930. Through a practice of inter-cultural artistic interventions, the material remains of the missionary project are investigated and reformulated; questioning Sweden’s colonial history, and simultaneously giving Congolese communities access to parts of their history lost in the process of colonization. The project explores the possibilities of intercultural artistic interventions – is it possible to redress and reformulate our difficult shared history through a shared practice? How can we bring the past into the present in ways that consider the different needs in the Congo and Sweden? Is it possible to find new ways of conceiving of the narrative potentials of the photographic archive – beyond digital repatriation projects that strip images of their context and echo the exclusionary mechanics of earlier versions of the archive?

    Download full text (pdf)
    fulltext
  • 6.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Department of Fine Art.
    Les Archives Suédoises: from a suppressed colonial photographic archive to a collaborative decolonial counter-archive”2019Conference paper (Refereed)
    Abstract [en]

    The paper will discuss the art project Les Archives Suédoises, which explores a repressed part of Swedish colonial history by re-contextualising and reworking a hidden and dispersed archive consisting of historical glass-plate negatives photographed by Swedish missionaries in the Congo 1890 – 1930.

     

    During the second half on the 19th century, an evangelical revival spread in Sweden. The new parishes had a deep concern for missions, and inspired by Stanley’s travels in the Congo the church started sending missionaries, making Sweden one of the main actors in the area. The missionaries brought camera equipment, and the resulting photographs were used for enticing home parishes to donate funds. Missionary lantern-lectures visited chapels, schools and churches up until the sixties. For many Swedes this was their first encounter with Africa, and the images have thus had a profound influence of how Africa was imagined in Sweden. In the Congo DR on the other hand, not many photographs from the historical period remain; the colonizers controlled the technology, and the tropical climate and political turbulence has destroyed what was left. The missionaries were also very much part of a process whereby they documented the existing culture in the places where they settled – then set out to do their best to change, or even destroy it.

     

    How can we confront these types of images today, from a Swedish perspective, where there is great reluctance to look at this part of our history, and where heirs of the missionaries tend to control the narrative? And from a Congolese perspective, where the images both bear witness to the suffering of the people living through colonization, and depict village life and traditions? A collaborative artistic enquiry with Congolese artist Freddy Tsimba resulted in a new counter-archive, and a series of site-specific installations in Sweden and the Congo, looking beyond our own context-specific histories and addressing the traumatic memory left in both nations.

  • 7.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Department of Fine Art.
    Recording the invisible in Matt Smith's photographic re-enactments2020In: Losing Venus, Oxford: Pitt Rivers Museum , 2020, p. 31-33Chapter in book (Other (popular science, discussion, etc.))
  • 8.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Department of Fine Art.
    Reframing the encounter2022In: Curiouser & Curiouser: Programme for Konstfack Research Week 2022 / [ed] Jonatan Habib Engqvist, Stockholm: Konstfack , 2022Conference paper (Other academic)
  • 9.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Department of Fine Art.
    Reframing the encounter: From repressed colonial pile to a collaborative decolonial counter-archive2021In: Photography and history: program & abstracts / [ed] Margarida Medeiros, Funchal, Madeira, 2021, p. 67-68Conference paper (Other academic)
  • 10.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Department of Fine Art.
    Revisioning Congo DR-Sweden: From a suppressed colonial photographic heap to acollaborative decolonial counter-archive2019Conference paper (Refereed)
    Abstract [en]

    This talk will discuss how the art project Les Archives Suédoises brings a repressed part of colonialhistory into the open by re-contextualising and reworking a hidden trove of historical glass-platenegatives photographed by Swedish missionaries in the Congo 1890 – 1930. How we narrateand organize memories has a bearing on how we orient ourselves within our globalized world –and a discourse of innocence has allowed Sweden to claim a neutral position as an objectiveobserver, building a narrative and self-image of a humanitarian superpower. Using the term´colonialism without colonies´ as a way of framing a discussion around how colonialism hasaffected societies that do not acknowledge a colonial complicity, we unbox and unfold piles ofdecaying photographic materials stored in private attics by heirs of missionaries.Swedish missionaries were in fact one of the main actors in the Congo, and missionary lanternlecturesvisited chapels, schools and libraries in Sweden up until the sixties. For many Swedesthis was their first encounter with Africa, and the images have thus had a profound influence onof how Africa was imagined in Sweden. In the Congo DR on the other hand, not manyphotographs from the historical period remain. The missionaries were also part of a processwhereby they documented the existing culture – then set out to do their best to change, ordestroy it. How can we confront these images today, from a Swedish perspective, where thereis great reluctance to remember this part of our history? And from a Congolese perspective,where the photographs both bear witness to the suffering of the people living throughcolonization, and depict village life and traditions? A intercultural collaboration betweenCongolese artist Freddy Tsimba, Swedish artists Anna Ekman and myself resulted in a series ofsite-specific installations in Sweden and the Congo, looking beyond our own context-specifichistories and addressing the traumatic memory left in both nations.

    Download (pdf)
    Techniques of Memory
  • 11.
    Järdemar, Cecilia
    University of Arts, Crafts and Design, Department of Fine Art.
    Revisioning Congo-Sweden: From a Supressed Colonial Photographic Trove to a Collaborative Decolonial Counter-Archive2020Conference paper (Refereed)
  • 12.
    Järdemar, Cecilia
    et al.
    University of Arts, Crafts and Design, Department of Fine Art.
    Ekman, Anna
    Tsimba, Freddy
    Les Archives Suédoises: Del 2. Fragment2020In: Nya Småland / [ed] Jonathan Habib Enquist, Växjö: Arvinius + Orfeus, Linnéuniversitetet , 2020, 2000, p. 250-255Chapter in book (Other (popular science, discussion, etc.))
  • 13.
    Järdemar, Cecilia
    et al.
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy
    Bokundoli: Re-Framing the Colonial Archive2023Conference paper (Refereed)
  • 14.
    Järdemar, Cecilia
    et al.
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy
    Comber, Robert
    KTH Royal Institute of Technology, Sweden.
    Maye ma leka: Reframing Congolese-Swedish Entanglements2023In: RE imagining : Art of research 2023: Book of abstracts / [ed] Harri Laakso, Sofia Pantouvaki, Julia Valle-Noronha, Karin Krokfors, Susanna Helke, Priska Falin, Espoo: Aalto University , 2023, p. 146-147Conference paper (Refereed)
  • 15. Mendes Flores, Teresa
    et al.
    Järdemar, CeciliaUniversity of Arts, Crafts and Design, Department of Fine Art.
    Imperial Views: colonial visualities and processes of visual decolonization2019Collection (editor) (Refereed)
    Abstract [en]

    In recent years, there has been an increased access and interest in the archives produced by the European colonizing countries and those provided from the archives of the countries that have become independent. This interest is partly due to the end of the legal barriers that prevented access to or dissemination to these archives. Moreover, after several decades of decolonization processes, which caused traumas and misunderstandings between the actors of both factions, a new generation of academics and non-academics aims to better understand these stories. On the other hand, the work of digitizing some of these assets has made it possible to reveal the very existence of the archives, facilitating their visibility and contributing to their reception outside the restricted group of political and social historians. Thus, in literature, journalism, cinema, anthropology, the history of science, photography and the arts, between theorists, as well as between artists and other protagonists of the world of culture, a critical work is being produced concerning these objects of the contemporary history of the twentieth century, whose effects are still felt.

    The number 5 of the journal VISTA uses the notion of "sight", in its diversity of meanings, to propose a debate on the colonial and postcolonial regimes of visuality and their contemporary relevance.

    The idea of "Imperial Views" is based on the famous article by W. J. T. Mitchell entitled “Imperial Landscapes”, published originally in the Landscape and Power (Chicago: Chicago University Press, 2002). In this article, the American researcher disputed the interpretation that the landscape genre was specifically a genre of painting, as well as a modern and Western genre (Clark, 1979). To dethrone the two arguments, the author pointed out to the Chinese painting and to the earlier Greco-Roman mural paintings, to come up with another interpretation: landscape genre flourishes in imperial regimes and uses all available media. In these contexts, images of the whole, which characterize the idea of landscape - a wide, distant view of a large part of a terrain or geography (the general shot in cinema) - become a means to affirm identity, a policy of identity between self and others, both located in space and time. Mitchell contested, therefore, that landscape genre was a mere affirmation of the aesthetics (Gombrich, 1950) to defend the alternative version that landscape (both the representation and the object represented, site and sight) is a (more or less) powerful form of political struggle, which always conceals a "dark side" (Barrell,1983), which is always a "social formation" (Cosgrove, 1984 ) and which has its field forces, its distributions of subjects and powers: "landscape circulates as a medium of exchange, a site of visual appropriation, a focus for the formation of identity “(Mitchell, 1994: 2).

    In this edition of VISTA, we use the motto of "landscape" to interrogate the production of images that can directly reflect on these imperial regimes, but we are not limited exclusively to landscapes, in their strictest sense, or exclusively to images. Although, it is a requirement for the acceptance of paper proposals, their relation to the themes and approaches of Visual Culture.

    In the field of Visual Culture, we are interested in turning the images deposited in colonial archives into the central objects of reflection and interpretation, as performative media that were constructed and construct the stories they also testify. In this edition, we intend to highlight the visual production, hidden in the archives (photographs, films, engravings and drawings, maps, paintings, videos, objects, etc) and their various modes of use related to the colonial topic - whether the archives are institutional or personal, public or private, national or international. We are also interested in bringing to this issue of VISTA, reflections about the invisible, what was left out of the field, the interdicts, the codes of visuality that transcend the practice of images but organize it, the ethics of the visible and of the invisible. We also call for propositions on the role played by Digital Humanities within the contemporary framework of network communication, not only concerning online archives and museums, but also on the dissemination of these " imperial sights” in the internet, and of their eventual images of resistance.

  • 16. Ekman, Anna (Artist, Creator)
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Móto2023Artistic output (Refereed)
  • 17.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Songa Kinkulu #12022Artistic output (Unrefereed)
  • 18.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Songa Kinkulu #22022Artistic output (Unrefereed)
  • 19.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Songa Kinkulu #32022Artistic output (Unrefereed)
  • 20.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Songa Kinkulu #52022Artistic output (Unrefereed)
  • 21.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Songa Kinkulu projection #7 avec Imaye Kaboya Mansoni Lui2022Artistic output (Unrefereed)
  • 22.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Songa Kinkulu projection #8 avec Paul Tekasala Mawa en Eglise Baobab2022Artistic output (Unrefereed)
  • 23.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy Mavambu
    Songa Kinkulu: Reconstructing history together2021Artistic output (Unrefereed)
    Abstract [sv]

    En serie workshops och publika film och fotografi visningar av ett nydigitaliserat material, glasplåtsnegativ och 35 mm´s film som spelades in och fotograferades mellan 1907-1928 i Congo Centrale av missionärer utskickade av Svenska Missionskyrkan.

    Filmerna och fotografierna visades i de byar där de en gång skapades, och i workshops tillsammans med äldre människor boende i byarna samlades minnen in och kopplades till bildmaterialet. Under 5 kvällar hölls sedan visningar där workshopdeltagarna kunde dela med sig av sina minnen och kunskaper till resten av publiken. Språk var Kikongo.

  • 24.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Une Recontre reformulée2022Artistic output (Unrefereed)
  • 25.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Une Recontre reformulée2022Artistic output (Unrefereed)
  • 26.
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Une Rencontre Reformulée: Sukali na mungua2023Artistic output (Refereed)
  • 27. Ekman, Anna (Artist, Creator)
    Järdemar, Cecilia (Artist, Creator)
    University of Arts, Crafts and Design, Department of Fine Art.
    Tsimba, Freddy (Artist, Creator)
    Öppnandet2019Artistic output (Unrefereed)
1 - 27 of 27
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