Karin Sunvisson



		Hello friend! I am an illustrator, graphic designer and print maker with a Master’s degree from ENSAD, École Nationale Supérieure des Arts Décoratifs in Paris. I work mostly in editorial illustration and book design but also take on public commissions and commissioned artworks for exhibitions and such. From time to time I do voluntary illustration and graphic design work for political and cultural organizations I like and occasionally I hold workshops and lectures on political illustration. I am the happiest though when I get to spend all my time getting my hands dirty in the screen print studio. If you have any questions about my work and what I do please feel free to contact me at: k-a-r-i-n@k-a-r-i-n.biz Clients include... • Illustration / Graphic design: Arena magazine/Arenagruppen, Baltic Worlds Magazine/Södertörn University, De Morgen Newspaper and Magazine/De Persgroep, Folket i Bild/Kulturfront, Författaren/Svenska Författarförbundet (the Swedish Writers’ Union), Konstnärsnämnden (the Swedish Arts Grants Committee), Svenska Institutet (the Swedish Institute), Tecknaren magazine/Svenska Tecknare (the Association of Swedish Illustrators and Graphic Designers). • Animation: Musée de la Chasse et de la Nature/Fondation Sommer (the Museum of Hunt and Nature in Paris). • Workshop / Lecture / Debate: HDK/University of Gothenburg, Konstfack (University College of Arts, Crafts and Design in Stockholm), Svenska Författarförbundet (the Swedish Writers’ Union), Svenska Institutet (the Swedish Institute), Svenska Tecknare (the Association of Swedish Illustrators and Graphic Designers). • Comissioned art work: Svenska Institutet (the Swedish Institute), EWK-Muséet (the Swedish Center for Political Cartoons). • Public comission: Kulturförvaltningen Stockholm/NKS (the Culture Administration of Stockholm/NKS Hospital). Workshops and lectures include... • State Academy of Arts in Minsk, Belarus (lecture and workshop) • National Museum of Modern Arts in Minsk, Belarus (workshop) • Cultural Center KC Grad in Belgrade, Serbia (workshop) • National Art Academy in Riga, Latvia (lecture and workshop) • National Faculty of Fine Arts in Skopje, Macedonia (lecture and workshop) • HDK School of Design and Crafts, University of Gothenburg, Sweden (lecture) • Konstfack University College of Arts, Crafts and Design, Sweden (lectures) Debate/talks include... • Debate, On satire and Charlie Hebdo Författarförbundet, (the Swedish Writers’ Union), Författarnas hus, Stockholm • Debate article, Skapa debatt, inte hat (Debate not hate) Svenska Tecknare (the Association of Swedish Illustrators and Graphic Designers) • Debate/talk, Prata! On satire Svenska Tecknare (the Association of Swedish Illustrators and Graphic Designers), Kulturhuset, Stockholm Group exhibitions include... • UN Exhibition Space, UN Head Quarters, New York, USA • Buni Media/Alliance Française, Nairobi, Kenya • Alliance Francaise, Addis Abeba, Ethiopia • Austrian Cultural Forum, Bratislava, Slovakia • Haus der Natur, Salzburg, Austria • House of Sweden, Washington DC, USA • Fudan University, Shanghai, China • Jiatong University, Shanghai, China • Nordic Center, Shanghai, China • Europe House, Tbilisi, Georgia • National Library of Vietnam, Hanoi, Vietnam • House of Sweden, Vienna, Austria • Arts Printing House, Vilnius, Lithuania • Museum of Art and History, Olaine, Latvia • Ambiente Feira Internacional, Luanda, Angola • The Mill House of Culture, Adelaide, Australien • Alexandria Art Center, Alexandria, Egypten • Odessa Literature Museum, Ukraine • Oliewenhuis Museum, Bloemfontei, South Africa • Korcë Center of Culture, Albania • International Art Festival Gogol Fest, Kiev, Ukraine • Museum of Art, Novosibirsk, Russia • Michaelis Art Gallery, Cape Town, South Africa • EWK Center for Political Cartoons, Norrköping, Sweden • National Historical Museum, Tirana, Albania • Eugenides Foundation, Athens, Greece • Planetário, Rio de Janeiro, Brazil • Poltava Art Museum, Poltava, Ukraine • Arts on Main, Johannesburg, South Africa • Neurotitan Gallery, Berlin, Germany • Avis Tegnernes hus, Drøbak, Norway • Päivälehti museum, Helsingfors, Finland • Supermarket, Belgrade, Serbia • Arctic Museum, Arkhangelsk, Russia • Molbert Art Gallery, St Petersburg, Russia • Tetris Gallery, Pristina, Kosovo • Modern Art Museum, Skopje, Macedonia • Museum of Local Lore, Murmansk, Russia • State Museum of Modern Arts, Minsk, Belarus • COP 17, Durban, South Africa • Kaliningrad Center of Contemporary Arts, Russia • Norræna húsið, Reyjkjavik, Iceland • City Museum, Zenica, Bosnia • Kulturni Centar Grad, Belgrade, Serbia • Cultural Center of Damascus, Syria • Black Diamond Royal Library, Copenhagen, Denmark In writing... • Master’s dissertation BADLAND -The survival of Art and the art of surviving (A travelogue, reportage and analysis of the Arts, History and current situation of Karakalpakstan). Co-author Anne-Gaëlle Amiot. Ensad, 2009 BADLAND is a geological term used to describe a barren landscape such as the salt deserts around the Aral Sea in Karakalpakstan. Furthermore the title refers to the manner in which Karakalpakstan and Central Asia as a whole has been described in the occidental world throughout history, from the Greek myth about the barbars to modern islamophobia. In spite of its extreme geological conditions and disadvantageous reputation Karakalpakstan holds one of the world’s biggest art treasures in its desert; the Savitsky Museum. This dissertation; BADLAND –The survival of Art and the art of surviving (a travelogue reportage and analysis of the Arts History and current situation of Karakalpakstan), tries to nuance Karakalpakstans sharp contrasts as well as to distinguish and describe its subtleties lost in stigmatization. But foremost it tries to understand why Igor Savitsky was willing to devote his life to this remote land and its people. • Lecture Satire and the smoking gun of French colonialism, Konstfack, April and October 2016 With the attack on Charlie Hebdo satire was for a moment in the centre of media attention, but important perspectives were never brought to the public discourse. The lecture offers a deeper analysis of the attack and of the caricatures that preceded it by putting the events in a bigger and more complex context than the one presented in the mainstream media. The lecture also brings to the table other, hidden, threats to the satirical image as an art form: the racist imagery in satire, the lack of a sense of history among satirists, as well as the male dominance in the profession; and argues on how they deplete the satire and why the difference between self-criticism and self-censorship is crucial.