Since 2003, graffiti artists worldwide have been leaving their marks on the Palestinian side of the demarcation wall being built between Palestinian and Israeli territory. Swedish artist Cecilia Parsberg's photographs record what she calls "an international multitude, a writing-carpet". "I am primarily interested in the phenomena of people coming from other countries to paint on the wall, and that they paint on one side of it," she says. "The core of this type of network is the connection between the place and activity, the clash of different aesthetic expressions, that there is no typical graffiti-aesthetic." Are Parsberg's photographs evidence of a larger movement of aesthetic resistance to the changing value systems of globalization in art and society?
About the artistCecilia Parsberg lives and works in Stockholm, Sweden. She is a visual artist who works with relational concepts, and was educated at Valand Academy of Fine Arts, Gothenburg University, Sweden, with a post-grad Diploma from Dundee University, UK.
The Eurozine Gallery features visual artists from all over Europe with series of photographs, paintings or other types of art works.
Stories without borders
Three chapters for a future of the unplanned
Stolen history (and other projects)
Art comes from labour
[Autumn 2005-Spring 2006]
At the moment, she is showing in Sweden: the installation "A heart from Jenin" at BildMuseet, Umeå; a permanent installation in Rinkeby; the film "The holy land" with Maj Wechselman, which had its premiere at the Gothenburg International Film Festival in January 2006; and photos in the exhibition "Konstfeminism" at Liljevalchs Konsthall, Stockholm, Sweden, June 15 to August 27.
She is also exhibiting "Wrestling" in the show Human Games, organized by Fransesco Bonami at Fondazione Pitti Discovery, Florence, Italy, June 21 to July 23.
An account of her work and earlier exhibitions can be found at http://this.is/Parsberg.
Throughout the 1990s, her work dealt with power and sexuality, how power structures permeate our daily lives. Her gaze changed from the outsider to the participant: the image exists between us, the task of the artist is to "activate the image". The theoretical concept "The Action" was articulated through five artworks in South Africa over a period of three years. For the past five years, she has been articulating her art projects as real political postures. Cecilia argues that this sphere is a possible place for artists' work.
The question of how art participates in social processes is also about the role of the artist; since February, she has been connected to the network DIRECT, with its emphasis on strategies for art and civic entrepreneurship; for three years, she has also worked with the network Bwana Club.
Original in English
© Cecilia Parsberg