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  • 1.
    Parsberg, Cecilia
    Umeå universitet, Institutionen Konsthögskolan.
    Giveriet i den fria rörlighetens Europa2014In: Global Mental Health, ISSN 1104-5205, E-ISSN 1769-7425, no 1Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Gatans informella fördelningspolitik synliggör den europeiska välfärdens systemfel. Samtidigt bidrar den till människors akuta överlevnad. Genom att genomföra en marknadsundersökning, fotografera, läsa rapporter och ställa frågor till folk på gatorna undersöker Cecilia Parsberg giveriets och tiggeriets europeiska koreografier.

  • 2.
    Parsberg, Cecilia
    Umeå universitet, Institutionen Konsthögskolan.
    Giving in free movement Europe2014In: Eurozine, ISSN 1684-4637, article id 2014-08-06Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    The informal politics of distribution on the streets, of begging and of giving, makes visible the faults inherent in European welfare systems, writes Cecilia Parsberg. And the rules and statutes that aim to prevent poverty-stricken EU citizens from enjoying free movement add insult to injury.

  • 3.
    Parsberg, Cecilia
    Umeå universitet, Institutionen Konsthögskolan.
    Hur blir du en framgångsrik tiggare i Sverige?: en undersökning av tiggandets och givandets bilder 2011 till 20162016Doctoral thesis, monograph (Other academic)
    Abstract [en]

    My first encounter with a begging person led me to spend five years investigating the new situation regarding begging and giving in Sweden. The premise is that every-day actions and reactions to another person can be made visible through aesthetics with ethical underpinnings. My investigation takes place mainly in the urban landscape and in the media. The images always constitute the point of departure for the reasoning and for the staged works. Images that separate as well as connect bodies. Which images are at play in the social choreography of begging and giving? In this context, how can images be activated in new ways? How can new images be generated? Begging is a call to social interaction, and regardless of whether the giver interacts socially with the begging person on the street, the giver is implicated in the asymmetrical value systems of the European Union. In my first staged work I hire a professional market researcher to find out how a beggar in Sweden should behave to be successful. This becomes a film that I then show opposite another film in which begging people talk about how givers give. This is followed by a number of staged works and an interdisciplinary theoretical discussion involving, among others, Judith Butler, Sara Ahmed, and Hannah Arendt, as well as a number of artistic works concerning how images – and bodily actions – are linked to the social image and the body politics. The arrangement of the choirs in the staged work The Chorus of Begging and The Chorus of Giving, indicates a space for social interaction and thus demonstrates a different order that demands different actions in terms of language, movement, and attitude toward each other. It’s a social choreography: when the choirs rehearsed and sung together a political form emerged. My hope is to make visible a space for action between the begging and the giving that can be used for continued ethical negotiations and new staged works. 

  • 4.
    Parsberg, Cecilia
    Umeå universitet, Institutionen Konsthögskolan.
    Konsten kan skapa ett nytt handlingsutrymme2014In: Sydsvenskan, ISSN 1652-814XArticle in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Konstnären Cecilia Parsberg menar att konsten kan skapa ett handlingsutrymme mellan den som ber om pengar på gatan och den som ger. 

  • 5.
    Parsberg, Cecilia
    Umeå universitet, Institutionen Konsthögskolan.
    Om att tigga – ett tidsdokument med komplikationer: 2015In: Feministiskt perspektiv, ISSN 2002-1542Article, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Stefan Gurts bok Ni inger dessa människor hopp får vi följa Sven Hovmöller, vice ordförande i HEM, föreningen för hemlösa EU-migranter och hur en verksamhet byggs upp som efter två år ger 4,5 miljoner kronor till de försäljare som förut var tiggare. Men det är inte utan komplikationer, konstaterar Cecilia Parsberg som rekommenderar boken. ”Den är skriven med undran, öppenhet och intresse att förstå mer”.

  • 6.
    Parsberg, Cecilia
    Umeå universitet, Institutionen Konsthögskolan.
    Om handlingsutrymme mellan givande och tiggande2015In: Socialmedicinsk Tidskrift, ISSN 0037-833X, Vol. 92, no 3, p. 335-342Article in journal (Refereed)
    Abstract [sv]

    Ett drama pågår på gatorna mellan de som tigger och de som ger eller inte ger. Hindren tycks vara både känslomässiga och språkliga. Det finns dessutom kulturella koder i spel. De bilder vi har av varandra behöver förhandlas, särskilt de som fördomar och okunskap genererar, eftersom de idag skapar ett våld mot människor. Det gör Givandets kör och Tiggandets kör. Här deltar människor som tigger på gatorna och givare. Det är en filminstallation för två filmdukar, där betraktaren står emellan.

             Processen att skapa ett körverk tillsammans dessa tre dagar filmades också och blev en produktionsfilm med en tillhörande text där bland annat etik, estetik och arbetsförhållanden beskrivs. Verket har visats på en rad offentliga platser och på seminarier. Det är en gestaltning av hur det är möjligt att skapa utrymme för handling. Det visar både metod och resultat.

             Det finns ett handlingsutrymme mellan oss. Konst är ett sätt att utnyttja detta utrymme för att uttrycka det sinnliga, det där också det politiska grundas: i affekter och reaktioner hos människor. Om konsten handlar om att synliggöra detta handlingsutrymme så handlar det politiska om hur det är möjligt att se vilka bilder som är relevanta i detta utrymme, och att aktivera det. 

  • 7.
    Parsberg, Cecilia
    Karlstad University.
    REAL PRESENCE2019In: REAL PRESENCE / [ed] Dobrila Denegri, Biljana Tomic, Belgrade: Publikum Printing Company , 2019, 500, p. 138-139Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    REAL PRESENCE was 10 years, 13 cities, 68 exhibitions in institutions and public locations, 1564 young artists and students from, 105 academies and universities from 37 countries, 150 statements of artists who took part and who are today active and established

    “Real Presence” was huge international event dedicated to

    young artists, organised for the first time in Belgrade in 2001, with intent to symbolically mark the

    beginning of new century and new democratic shift in Serbia, after 10 years of war, cultural

    embargo and deep political, economical and social crisis. More than just an artistic event, “Real

    Presence” represented a unique form of cultural activism. It stood for openness and

    inclusiveness, since it started as an ‘open call’ to young artists and art-students from various

    European countries to come to Belgrade, just ‘be present’, and through their presence create

    concrete and symbolic space of artistic expression, exchange, solidarity and mutual learning.

    First edition of “Real Presence” was inaugurated with Harald Szeemann, one of the most groundbreaking

    curators of our times, who commented his encounter with this event in following words:

    “What Biljana and Dobrila wanted and achieved wasn’t an addition to the already overloaded art

    agenda, it was a piece of given life to the capital of an impoverished nation.”

    For us as initiators, and for young generations of Belgrade artists, “Real Presence” became

    annual appointment, expected and organised with great enthusiasm, even if always with

    restrictions of low-budgets. Seemed vital to maintain and preserve this “free space” in which artist

    could just be. They could be together, learn from each other, collaborate and build networks for

    their future. In ten years of its existence, “Real Presence” became a unique cultural phenomena.

    There is nothing similar in scale, range, duration and spirit of openness. It is so because it was

    grounded in Biljana Tomic’s curatorial work which embodied the spirit of the 60s and the 70s, and

    it’s huge international manifestations which gathered in Belgrade some of most important artistic

    figures of Neo-Avantguardes. Starting with Joseph Beuys and other important protagonists of

    Fluxus, land and conceptual art, performance & body art, new media and video art, Biljana Tomic

    established contacts with art academies and art centres, laying grounds for upfront, experimental,

    and, most of all, open and international artistic environment in which were formed dozens of

    generations. With the cultural embargo of the 90s this cultural climate chased to exist. “Real

    Presence” was an attempt to re-establish artistic dialogue between Serbia and the world, and to

    provide an opportunity for generations raised during the war to overcome devastating effects of

    violent, nationalistic and xenophobic 90s. Out of this dynamic, pluralistic, inclusive artmanifestation

    emerged generations of artists which are now building (or trying to build) the most

    progressive artistic scene in Serbia, continuing to keep open all possible channels of cultural

    collaboration and exchange.

  • 8.
    Parsberg, Cecilia
    Umeå universitet, Institutionen Konsthögskolan.
    Sverige-Rumänien t/r2015In: Feministiskt perspektiv, ISSN 2002-1542, article id 2015-11-13Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Filmarna Tova Kurkiala Medbo och Caroline Kernen har under ett år följt tre kvinnor som reser mellan Stockholm och Rumänien för att tjäna pengar till sina familjer. De har fått många svar på sina frågor, men vilka var frågorna? Det undrar Feministiskt perspektivs recensent Cecilia Parsberg. Hon har sett dokumentären I jakt på ett bättre liv som har premiär ikväll på Stockholms filmfestival.

  • 9.
    Parsberg, Cecilia
    Karlstad University, Faculty of Arts and Social Sciences (starting 2013), Department of Artistic Studies (from 2013).
    Voices2017In: Can a person be illegal?: Refugees, Migrants and Citizenship in Europe / [ed] Alexander Stagnell, Louise Schou Therkildsen, Mats Rosengren, Uppsala: Uppsala universitet , 2017Chapter in book (Refereed)
    Abstract [en]

    On the street the obstacles seem both emotional and verbal. Of- ten both parties seem to want to communicate more but can’t. And of course there are cultural codes at play between those who beg and those who give or don’t give. To give and receive money is often a non-verbal transaction, which is why The Chorus of Begging and The Chorus of Giving are going to sing without words. Using their own individual voices as well as their collective chorus voice they are going to attempt to sing the feelings between these begging and giving people.

  • 10. Parsberg, Cecilia (Artist)
    Westerberg, Anna (Dancer)
    Pauser, Erik (Producer)
    Murad, Haval (Designer)
    Martinez Escobar, David (Designer)
    A Place in Europe2018Artistic output (Refereed)
    Abstract [en]

    The film-sculpture has the form of a house that appears to be sinking into the ground. The bottom side consists of an LED screen where short film A Place in Europeis shown. The film takes place in a forgotten corner of a big city, a place that has become the home of job-seeking migrants who have fallen through the net of European free movement. The narrator Thomas has for three years been sleeping under a loading bridge. Now he’s about to be evicted. He represents those who want to do the right thing: work, support their family, live a worthy life. Nowadays, old poverty is forcing many to become nomads in European cities. We want to set up the House in public places in the central parts of cities to make this situation visible and to include those who have hopes for a better life to become part of society.

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