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Från Roslin till Bernstrup. Identitet, kropp och kostym ur ett multisensoriskt perspektiv.

Kapitel i bok
Författare Viveka Kjellmer
Publicerad i Gränslöst. 1700-tal speglat i nuet / Unbounded. The Eighteenth Century Mirrored by the Present. Redaktör/Editor Kristoffer Arvidsson
Sidor 150-187
ISBN 978-91-87968-96-9
ISSN 2001-872X
Förlag Göteborgs Konstmuseum/Gothenburg Museum of Art
Förlagsort Göteborg
Publiceringsår 2016
Publicerad vid Institutionen för kulturvetenskaper
Sidor 150-187
Språk sv
Länkar goteborg.se/wps/wcm/connect/e754197...
Ämnesord identity, body, costume, Alexander Roslin, Tobias Bernstrup, multisensory
Ämneskategorier Konstvetenskap


The point of departure for this study is the Eighteenth Century Gallery at the Gothenburg Museum of Art, where a self-portrait of Swedish artist Tobias Bernstrup (b. 1970) dressed in a red latex corset hangs among the dour eighteenth-century portraits. The juxtaposition is fascinating—an odd kinship emerges between Bernstrup’s Re-Animate Me (2002-05) and a portrait by another Swedish artist, Alexander Roslin’s (1718-93) Double Portrait of 1754. There is something about the stiff, corseted bodies, the white-powdered faces, and the artificial poses that creates a clear line of connection through time and space. The study aims to explore whether using haptic visuality and a multi-sensory perspective could give back to the object under observation something of its materiality in order to broaden the viewer’s experience of a picture to become a bodily experience rather than a merely visual one. Clothing’s effect on posture and figure, posing, and the perception of a body in space all come through with a visual analysis of these works and create a kind of echo in the physical body of the viewer. The author argues that a multisensory approach to viewing has contributed to give a new reading of an eighteenth-century portrait through one from our own time. A dialogue has been established between past and present that sheds light on how identity and gender expression are not fixed, but rather that we are governed by the taste, fashion, and conventions of the day in how we judge identity.

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