Filmform (est. 1950) is dedicated to preservation, promotion and worldwide distribution of experimental film and video art. Constantly expanding, the distribution catalogue spans from 1924 to the present, including works by Sweden’s most prominent artists and filmmakers, available to rent for public screenings and exhibitions as well as for educational purposes.
Cecilia Parsberg lives and works in Stockholm, Sweden. She is a visual artist who works with relational art works. She is educated (painting) at Valand Academy of Fine Arts, Göteborg University, with a post grad Diploma from Dundee University in Electronic Imaging. Back home 1993 she was recruited as developer of the educational programme in digital media for artists at Valand Academy of Fine Arts, Göteborg University. Where she also then taught for several years.
1999-2002 she was Professor at the Academy of Fine Arts, Umeå University, Sweden. For two periods between 2000-2002 she was guest professor at Fine Arts Dep Witwatersrand University, Johannesburg, South Africa. She has frequently, for a number of years, been conducting workshops at Art Academies throughout Sweden, Norway and USA, initiating processes dealing with art and activism as well as relational art practice. In January 2007 she certified as a trainer in Radical collaboration. Currently she is also on the continuation of the film: “A heart from Jenin” for The Museum of World Culture 2008. The first version together with an installation was shown iat BildMuseet i Umeå.
She continues researching ways of collaborating and developing strategies for art and civic entrepreneurship. During the autumn 2006, she exhibited “Postcards from South Africa” at Bonniers Konsthall, Stockholm, a permanent installation in Rinkeby; the film “The holy land” with Maj Wechselman, which had it’s premiere at Gothenburg International Film Festival in January 2006, She was further more in the travelling exhibition “Konstfeminism” ; Since three years, she is connected to the network Bwanaclub / Clandestino.
Throughout the nineties her work dealt with power and sexuality, how power structures permeate our daily lives. Her gaze changed from the outsider to the participating: the image exist between us, the task of the artist is to “activate the image”. The theoretical concept The Action was articulated through five art works in South Africa, during three years. Images are created in the encounter with the other, the relationships create the society, the art works are created in societal processes. Cecilia argues that the artist in this way acts in a political sphere.