Positions and Practice: Oral Presentation

This oral presentation was handed in as assessment for the first module of my photography MA. The assignment was to: "...critically examine the motivations, objectives, themes and concerns that underpin your photographic practice to date. [...] You may also present your ideas for your research project and explain how these relate to the work you are making now or work you have made previously."

Originally published March 2021



References and illustrations

BARAD, Karen. 2003. ‘Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter’. Signs, 28(3), 801-831

BETTELHEIM, Bruno. 1991. The uses of enchantment: the meaning and importance of fairy tales. London: Penguin

CALLON, Michel. 2012. ‘Några element av en översättnings-sociologi: domesticeringen av pilgrimsmusslor och fiskare vid St. Brieucbukten’. In Cecilia ÅSBERG, Martin HULTMAN & Francis LEE (ed.). Posthumanistiska nyckeltexter. 1st edn. Lund: Studentlitteratur, 153-174

HARAWAY, Donna Jeanne. 2008. When species meet. Minneapolis: University of Minnesota Press

JOHNSTONE, Keith. 1981. Impro: improvisation and the theatre. [Corr. ed.] London: Methuen

ÅSBERG, Cecilia, Martin HULTMAN and Francis LEE (ed.) 2012. Posthumanistiska nyckeltexter. 1st edn. Lund: Studentlitteratur

  1. SHERMAN, Cindy. 1979. Untitled Film Still #30.

  2. BJÖRK, Carl-Mikael. 2021. Car Crash.

  3. SHERMAN, Cindy. 1994. For Comme des Garcons A/W 94.

  4. BJÖRK, Carl-Mikael. 2020. Otis.

  5. JOHANSSON, Erik. 2020. Våren som aldrig kom.

  6. BJÖRK, Carl-Mikael. 2021. Frozen Pond.

  7. STÅLENHAG, Simon. 2014. Ur varselklotet.

  8. BJÖRK, Carl-Mikael. 2020. Loading Dock.

  9. STÅLENHAG, Simon. 2016. Flodskörden.

  10. BJÖRK, Carl-Mikael. 2020. No title.

  11. MAPPLETHORPE, Robert. 1984. Ken Moody and Robert Sherman.

  12. BJÖRK, Carl-Mikael. 2020. Black and White Portraits.

  13. REIMER, Annett. 2010. Self-Portrait in Seascape.

  14. BJÖRK, Carl-Mikael. 2020. Forest Pond.

  15. MINKKINEN, Arno Rafael. 1999-2000. Frequent flyer panels.

  16. BJÖRK, Carl-Mikael. 2021. In Camera Diptych. 

  17. BROTHERUS, Elina. 2019. Artist as lamp.

  18. BJÖRK, Carl-Mikael. 2020. Serial Solitude.

  19. BJÖRK, Carl-Mikael. 2021. Bus Stop.

  20. BJÖRK, Carl-Mikael. 2020. Rapeseed Field.

  21. BJÖRK, Carl-Mikael. 2019. Cala Beltran.

  22. MINKKINEN, Arno Rafael. 1993. Ismo’s stick, Foster’s Pond.

  23. MINKKINEN, Arno Rafael. 1989. Fosters Pond II.

  24. MINKKINEN, Arno Rafael. 2010. 10.10.10, Fosters Pond.

  25. MINKKINEN, Arno Rafael. 2013. King of Fosters Pond.

  26. BROTHERUS, Elina. 2017. Carry a Person to Another Place.

  27. BROTHERUS, Elina. 2017. Becoming a tree.

  28. BROTHERUS, Elina. 2017. About being my model.

  29. BJÖRK, Carl-Mikael. 2020. Dude no 001, Theodorus.

  30. BJÖRK, Carl-Mikael. 2020. Dude no 003, Englebert.

  31. BJÖRK, Carl-Mikael. 2021. Dude no 007, Gamfield.

  32. BJÖRK, Carl-Mikael. 2021. Dude no 006, Burt.

  33. BJÖRK, Carl-Mikael. 2020. Road Block.

  34. BJÖRK, Carl-Mikael. 2020. Fallen Tree, Törringe.

  35. BJÖRK, Carl-Mikael. 2020. Birch Grove.

  36. BJÖRK, Carl-Mikael. 2020. Exposed Jetty, Böste.

Carl-Mikael Björk

My performative understanding of artistic practice does not come from standing at a distance.

Previous
Previous

Positions and Practice: Illustrated research proposal

Next
Next

From landscape photography to scale model building