Sunday 29.5, 12:00–15:00
Fridays and Sundays, 14:00–17:00
Viet Nam Discourse by Marion von Osten with Peter Spillmann
Artist and researcher Marion von Osten and Peter Spillmann (Berlin) will use Peter Weiss’s renowned play Viet Nam Discourse (1968) to reflect the relationships between the “Third World Solidarity” within the Anti-Vietnam war movement, political art, and the emergence of radical aesthetics. A temporary archive, film screenings, lectures, and a summer course in collaboration with the choreographer Stina Nyberg and School of Dance and Circus (DOCH) will be organized to discuss the transnational meeting between art and solidarity. The goal is to put on parts of Viet Nam Diskurs in Sweden for the first time ever. Set designer Gunilla Palmstierna-Weiss and filmmaker Staffan Lamm will also contribute to the project.
Very few international solidarity movements have been as influential as the Vietnam movement. It involved an entire generation and formed the breeding ground for future political activities regarding the Third World. Beyond worldwide protests and demonstrations, the struggle was highly supported by artists, cultural workers, and intellectuals. In 1967, the philosophers Bertrand Russell and Jean-Paul Sartre organized the Russell-Sartre Tribunal at Folkets hus in Stockholm, aiming to investigate the US war crimes in Vietnam. The Tribunal members included some of the most prominent thinkers of that time, such as the writers Simone de Beauvoir, James Baldwin, Sara Lidman, and Peter Weiss.
As a consequence of cultural workers taking an active part in the political movement, the most urgent social issues were also raised within the context of art. One of the most interesting examples is Peter Weiss’s Viet nam Diskurs, from which the exhibition borrows its name. The play formed the starting point for Weiss’s new genre “documentary theatre,” in which the stage functioned as a platform for education and political mobilization. The 1968 premiere at the Schauspielhaus in Frankfurt caused a big scandal. Viet Nam Diskurs opened its political agenda, aiming to educate Western society about Vietnam’s history and pointing towards anti-colonial and non-imperialistic alternatives.
In 2016, Peter Weiss will celebrate his 100th birthday. The exhibition thus serves as an apt opportunity to highlight Weiss’s fascinating and cross-genre artistic practice. Through plays, novels, and paintings, Weiss portrayed the contemporary with a sharpness that scarcely faded in relevance. Viet Nam Discourse, The Aesthetics of Resistance, and other works contain analyses that are also highly relevant in our time. For this exhibition, von Osten and Spillman will collaborate with Gunilla Palmstierna-Weiss, who, as set and costume designer, played a central role in producing Viet Nam Diskurs. The exhibition will return to the play’s innovative form, choreography, and public reception. A contemporary reader will be confronted with the extent to which the Vietnam movement affected the emergence of the New Left in Europe and the United States. The temporal archive includes interviews, historical documents, photographs, testimonies, and a meeting place for studies and activations of the exhibited material.
Future Flourish by Ingela Ihrman
Ihrman describes her perspective as ethno-biological, which means that the focus is not on nature itself but rather on how humans use and perceive it. The limits of norms and the action spaces of larger bodies are examined. Out of this, a loving relationship with clumsy existences and overgrown habitats develops. In the exhibition Future Flourish, we meet the hairy sculpture The Giant Hogweed and the sculptural costume Bjuvstegocefalen. At the opening and finissage, we take part in the performance Giant Otter Giving Birth.
Ingela Ihrman is based in Malmö. Her practice moves freely between performance art, installations, and writing and is characterized by humoristic and tactile handicrafts. In the video The Giant Knotweed Panflute Ensemble (2015), Ihrman has made pan flutes from last year’s giant knotweed stems. The composition is determined by the plant itself, and, in the unusual flute meditation, the viewer is invited to listen to the giant knotweed instead of trying to eradicate it. In the performance Giant Water Lily Victoria Amazonica BLOOMS (2012), which, for example, was performed when Tensta konsthall curated Stockholm Music & Arts in 2013, Ihrman is enrobed in a self-made water lily costume of cloth, plastic, and golf tees. She stages the water lily’s spectacular flowering, which only occurs two nights per year. Costumes and directed situations reoccur in Ihrman’s art practice. In the video Obstacle (2013), a toad tries to get itself through the different stations of an obstacle course in a gymnasium, and when Ihrman performs with the music and art project The Botanical Garden of Hägerstens, otters and flowers enter the stage. The Botanical Garden of Hägerstens, which, besides Ihrman, also consists of the artist Sofia Hultin and the musician Johan Eriksson, has toured all over Sweden. Unlike many other botanical gardens, The Botanical Garden of Hägerstens is not so interested in naming, classification, and origin. Instead, they are keen to keep the collection unsorted. Over the years, the garden has arranged everything from a gala in support of the Baltic Sea to a radio show for broken gardener hearts.
Space: Flaka Haliti
In the video I Miss You, I Miss You, 'Till I Do Not Miss You Anymore, we follow the phases of distance relationships from hopeful love to aching pain. On the three screens, love is displayed in its most lonely state. Time differences, misunderstandings, and digital kisses. In Haliti’s video, the individual experiences form a collective voice of longing and frustration. The narrator for the video is an automated translator, who, through an impersonal Google translate-tone, gives each phrase a sense of monotony and the babel of tongues. “Dein means yours in German,” someone writes. “My text messages do not arrive,” writes another. Expressing feelings is a difficult task even without Skype and email conversations, but in Haliti’s red, yellow, and grey screens, people keep trying to make themselves understood and, at best, to keep the love alive.
Flaka Haliti is a performance and video artist who divides her time between Pristina, Frankfurt, and Vienna. Her work has been exhibited in solo and group exhibitions around the world, including in the Kosovo Pavilion at the Venice Biennale in 2015; MUSAC, Museum of Contemporary Art of Castile, Leon; Kosovo National Gallery, BRUSSELS Biennial 1; Prishtina; Stacion - Center for Contemporary Art Prishtina; Sculpture Museum Gliptoteka HAZU, Zagreb; Artist-run Sweden Art Fair, Stockholm; Sparwasser. HQ. Berlin; Museum of Contemporary Art of Vojvodina, Napon, Novi Sad; SPAPORT Biennial, Sarajevo; and Haus der Kulturen der Welt, Berlin. In 2016, Flaka Haliti will receive the ars viva Fine Arts Prize.
Space is Tensta konsthall's curatorial platform online. Push main to the right to watch.
During school breaks
Tensta konsthall arranges art camps for children and teenagers, 10-19 years old. We offer participants a one-week daytime camp under the guidance of a professional artist. The art camp may revolve around specific mediums, themes, or the artist’s own practice. On the final day the public is invited to see and experience the works made during the week.
To register and for more info, contact firstname.lastname@example.org or 08-36 07 63.
With Stefan Petersson (KTH School of Architecture)
Age: 10-13 years
Tensta konsthall in collaboration with KTH School of Architecture and the Architect Stefan Petersson will for the fifth year in a row arrange a hut building camp in Järvafältet. Behind the allotments and across the meadow, one finds the clearing that will be the workspace of the week. The participants are guided in how to best design and construct their huts. The materials used are all things that can be found in nature, such as undergrowth, twigs, and leaves. The last day of camp friends and family are invited to visit the village of huts that has emerged during the week.
Painting and Portraits
With Filippa Arrias (The Royal Institute of Arts)
Age: 15–22 years
In past years portrait-painting camp was such a success that Filippa Arrias is once again invited to Tensta konsthall. Focusing on technique such as color mixing, brush techniques and composition, the participants are trained in the fundamental questions and possibilities of painting – from sketch to finished picture. Each day a new task is presented and newfound knowledge and skills are practiced through portraits, dreams, and fictional as well as real stories. The week ends with an miniexhibition for family, friends and acquaintances. No experience required. In collaboration with the Royal Institute of Art.
Art Camp: Landscape Drawing
With Ylva Westerlund
Age: 12-16 years
Together with the artist Ylva Westerlund, the participants will dedicate four days to landscapes. They will paint, draw, and think about what a landscape can be—how it could include classic scenes of nature and industrial environments as well as urban spaces and suburban squares. They will experiment with graphite, ink, and charcoal and sketch out their own surroundings. One of the days will be spent at the scenic Prince Eugen’s Waldemarsudde on Djurgården. For registration and info: email@example.com
Art Camp: Tensta design studio with
Sergio Montero Bravo (Konstfack)
Age: 10-14 years
The winter holiday’s art camp welcomes young people between 10 and 14 years old who are interested in design and construction. During the week, we will create a collective design studio to develop proposals for public venues in the suburbs. Sergio Montero Bravo, together with a group of students from the Interior Architecture and Furniture Design at Konstfack, will lead the design studio. Participants will try to design ideas through sketching, drawing, painting, and building. One of the days is spent at Konstfack.
Age: 14–19 years
During the week the participants will experience what it is like to go to an art school, with focus on drawing and painting by model. Based on a classic model lineup, the participants study colour, form, perspective, light and shadow.
Painting and Portraits
With Filippa Arrias (The Royal Institute of Arts)
Age: 15–22 years
In past years portrait-painting camp was such a success that Filippa Arrias is once again invited to Tensta konsthall. Focusing on technique such as color mixing, brush techniques and composition, the participants are trained in the fundamental questions and possibilities of painting – from sketch to finished picture. Each day a new task is presented and newfound knowledge and skills are practiced through portraits, dreams, and fictional as well as real stories. The week ends with an exhibition for family, friends and acquaintances. No experience required. In collaboration with the Royal Institute of Art.
With Stefan Petersson (KTH School of Architecture)
Age: 10-13 years
Tensta konsthall in collaboration with KTH School of Architecture and the Architect Stefan Petersson will for the forth year in a row arrange a hut building camp in Järvafältet. Behind the allotments and across the meadow, one finds the clearing that will be the workspace of the week. The participants are guided in how to best design and construct their huts. The materials used are all things that can be found in nature, such as undergrowth, twigs, and leaves. The last day of camp friends and family are invited to visit the village of huts that has emerged during the week.
To register and for more info, contact firstname.lastname@example.org or 08-36 07 63.
With Maryam Fanni
Age 14–22 years
During the Easter holiday’s art camp, participants of the camp will be able to explore the process of creating books, newspapers, magazines, brochures, posters, flyers, and fanzines as well as learning more about these media. The art camp is led by graphic designer Maryam Fanni. During the week, the participants will learn about the various functions of printed matter and about what sort of tools and resources are necessary to produce it. They will try different methods of creating printed matter and will go on a visit to a printing company. This art camp is a part of Nyhetsbyrån.
Nyhetsbyrån is a long-term project for youths from ages 18 to 25 who are interested in journalism and story-telling. The course is financially supported by Allmänna Arvsfonden and is done in collaboration with Konstfack, JMK Stockholms university and StreetGäris.
To register and for more info, contact email@example.com or 08-36 07 63.
With Sergio Montero Bravo (Interior Architecture & Furniture Design, Konstfack)
This winter holiday’s art camp is led by the architect and designer Sergio Montero Bravo. During the week, the participants will build models in wood, cardboard, and plaster. The mission is to create the school of the future; how does it look in our dreams? What color and shape are the rooms? The results from the art camp will be displayed in an exhibition at Konstfack. For ages 10–13.
4.12 2014–11.1 2015 The results of this year's art camps are presented at Stockholm City Museum and include Comics and Superheroes from New Sweden, Housing for Wild Bees, Figure Drawing, and Utopia Camp. Art Camp is held at Tensta konsthall over school holidays. It is led by professional artists, designers, and architects, often in collaboration with art schools in Stockholm.
During school breaks Tensta konsthall arranges art camps for children and teenagers, 10–19 years old under the guidance of a professional artist. The art camp may revolve around specific mediums, themes, or the artist’s own practice.more →
Women's Café is a intimate venue free of constraints, costs, and commercial interests. To participate: firstname.lastname@example.org. In cooperation with Hemslöjden, The Women's Center in Tensta- Hjulsta, Spånga-Tensta municipal district administration, and Civila rådet.
As part of Den generösa spetsen.
Tensta Talks: Symposium: The Eros Effect: Sound records
Sound records Symposium: The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice, was held Saturday 17.10, 10:00–18:00.
The symposium is the starting point of a multi-year inquiry into the relationship between art and solidarity movements, performed in a series of commissions, exhibitions, workshops, presentations, and film screenings. Faced with fascist parties gaining ground in Europe and an increasingly tough social climate, we see the necessity to return to the notion of solidarity in order to try its validity today. Will solidarity still be relevant in the future, or is it a historical concept? Do we need to find new ways to describe the political movements of today and their struggles, sympathies, and commitments? What does recognizing the urgency of a situation imply, and how do we act upon it?
The invited speakers were Mathieu Kleyebe Abonnenc (Metz), Filipa César (Berlin), Kodwo Eshun (London), Peo Hansen (Norrköping), Ingela Johansson (Stockholm), Stefan Jonsson (Norrköping), Kristine Khouri (Beirut), Doreen Mende (Berlin), Bojana Piškur (Ljubljana), Natascha Sadr Haghighian (Berlin/Tehran), Rasha Salti (Beirut), Rojda Sekersöz (Stockholm), Gulf Labor/Natascha Sadr Haghighian (Ashok Sukumaran (Mumbai)), Dmitry Vilensky (S:t Petersburg), Marion von Osten (Berlin), Mathias Wåg (Stockholm) and Aleksandra Ålund (Norrköping).
The symposium is a collaboration with REMESO: The Institute for Research on Migration, Ethnicity and Society at Linköping University.
Introduction by Maria Lind and Stefan Jonsson
Notes on Luta Ca Caba Inda (The struggle is not over yet)
In collaboration with the Guinean filmmakers Sana Na N’Hada, Flora Gomes, and Suleimane Biai and with the institutional support of the Arsenal – Institute for Film and Video Art, Berlin, artist Filipa César and curator Tobias Hering embarked in 2012 on an ambitious project which included the digitization of the remains of a very fragmentary audio-visual archive stored in Bissau and, subsequently, an ongoing series of discursive events and screenings dedicated to this material. They named the project Luta Ca Caba Inda after the title of an unfinished film in this collection.
Filipa César (Berlin) is an artist and filmmaker interested in the porous boundaries between the moving image and its public reception, the fictional aspects of the documentary, and the politics and poetics inherent to the production of audiovisual matter. Since 2011, César has been researching the origins of cinema in Guinea-Bissau, exploring its geopolitical radiancies, uprising promises, and poetic potencies today, and developing that research into the collaborative project Luta Ca Caba Inda. She is a participant of the project Visionary Archive, 2013–15 by the Arsenal-Institute for Film and Video Art, Berlin. Selected film festivals include Kurzfilmtage Oberhausen, 2013; Forum Expanded – Berlinale, 2013; IFFR, Rotterdam, 2010, 2013 och 2015; Indie Lisboa, 2010; DocLisboa, 2011. Selected exhibitions and screenings include Istanbul Biennial, 2003; Tate Modern, London, 2007; SFMOMA, 2009; São Paulo Biennial, 2010; Manifesta 8, Cartagena, 2010, Haus der Kulturen der Welt, Berlin, 2011; Festival Meeting Points 7, 2013–14; NBK, Berlin, 2014, and SAAVY Contemporary, Berlin 2015.
Contemporary, Berlin 2015.
Marion von Osten
Tricontinentale Net – Prospects and Projects
The online platform and journal jtricontnentale.net aims to revisit the historical prospect of the Tricontinental Movement created by activists, theorists, musicians, filmmakers, and artists as a major references point for non-aligned transnational solidarity projects until today. Constituted as African, Asian, and Latin-American anti- colonial and non-aligned resistance, from the mid-1960s onwards, the Tricontinental Movement had immense effects on the constitution of the New Left and various Third World solidarity initiatives in the Northern hemisphere. The Action Committee of tricontinentale.net consists of Marion von Osten (Berlin), Mathieu Kleyebe Abonnenc (Metz), Olivier Hadouchi (Paris), Serhat Karakayali, (Berlin) Kenza Sefrioui (Casablanca), Peter Spillmann (Zurich/Berlin), and Daniel Weiss (Zurich).
Marion von Osten (Berlin) is a visual artist, writer, and exhibition maker. She is a founding member of Labor k3000 Zurich (1999–), together with Peter Spillmann; of kpD – kleines post- fordistisches Drama (2003–) and of the Center for Post-colonial Knowledge and Culture (CPKC, Berlin) (2010–). Research and exhibition projects include Aesthetics of De-colonization, Institute for Theory; ZHDK Zurich/ Center for Post-colonial Knowledge and Culture (CPKC, Berlin); Model House— Mapping Trans-cultural Modernisms, Academy of Fine Arts Vienna, 2010–2013; Action! painting/publishing, Les Laboratoires d’Aubervilliers, Paris, 2011–2012; In the Desert of Modernity— Colonial Planning and After, Les Abattoirs de Casablanca, 2009 and Haus der Kulturen der Welt, Berlin, 2008. Since 2013, is doing a PHD in Fine Arts Candidate at Lund University/Malmö Art Academy.
Mathieu Kleyebe Abonnenc
A Continental Drift
During this intervention, Mathieu Kleyebe Abonnenc will look briefly at the history of the creation of the Tricontinental magazine in order to determine the originality of its political and aesthetic contributions. He will specifically focus on the French translation of the magazine published by François Maspero between 1968 and 1971. Abonnenc will try to put these translations in the French political and editorial context of the 1960s and also to explore the gaps and differences between the Cuban and the French magazine as so many productive adaptations of the political and aesthetic project of the Tricontinental. Finally, he will also try to locate traces of the dissemination of these magazines by the copying and/or reusing of articles or images in publications in Mozambique or French Guiana.
Artist Mathieu Kleyebe Abonnenc (Metz) devotes his focus to the cultural hegemonies upon which the evolution of contemporary societies is based. Through video, photography, installations, drawing, or exhibition projects, Abonnenc explores the principles behind the dominant presence of pre-existent elements and events—notably those linked to imperial history and the colonies of so-called developed countries. Recent group exhibitions include All World’s Futures, 56th Venice Biennale and Personne et les autres, Belgian Pavilion. He was part of the Berlin Biennale 2014, Giving Contours to Shadow. He has recently presented his work in solo shows in such venues as Kunsthalle Basel; Fondation Serralves, Porto; Pavilion, Leeds; La Ferme du Buisson, Noisiel; Marcelle Alix, Paris, and Gasworks, London.
The Great Miners’ Strike 1969–70 in Sweden and its solidarity actions
This talk will elaborate on how art has reflected the historical event of the strike in Northen Sweden 1969–70. The strike in the state-owned mining companies has been described as the first major cracks in the facade of the welfare state. The outstanding and broad social engagement and activism for the strikers’ cause included different fields of culture workers who mirrored the situation in various works. During the talk, Johansson will give examples of how solidarity was manifested.
Since 2010 artist Ingela Johansson (Stockholm) has been working on her investigation What happened with the art of the strike? in which she examines the great miners’ strike and how it relates to the general radicalization of the artistic and cultural landscape in the wake of the 1968 uprising. The project has taken various forms, each of which makes use of archival materials from the time of the strike.
The Museum of Solidarity in Santiago 1971
The focus for this talk will be various emancipatory practices within culture, specifically at the Museum of Solidarity in Santiago, Chile. In 1972, an important event was organized under the auspices of UNESCO, a seminar in Santiago—capital of a socialist and non-aligned Chile—debating a new type of museum, one that would link cultural rehabilitation with political emancipation. This museum would follow social and cultural changes closely and be socially progressive without being ideologically restricted by any political representation. An example would be, if observed retrospectively, the Museum of Solidarity in Santiago, Chile. The concept of this museum was the common idea of two people: president Salvador Allende and Maria Pedrosa, a Brazilian art critic in exile in Chile. After an open letter by President Allende to the artists of the world in 1971, donations from all over the world started to arrive in Santiago. There were 600 works alone in the first year of the museum’s existence, representing a heterogeneous mixture of styles. The act of donation was a political action in itself and considered as a concept of political and cultural solidarity with Chilean socialist project. This museological experiment ended abruptly with the military coup in September 1973.
Bojana Piškur (Ljubljana) graduated in art history from the University of Ljubljana and received her Ph.D. at the Institute for Art History at the Charles University in Prague, the Czech Republic. She is a senior curator at the Moderna Galerija in Ljubljana. She has researched topics including post avant- gardes in former Yugoslavia, absent archives, relationships between art forms and politics of resistance, etc., always in relation to the wider social and political environment.
Forms of Discontent in Handsworth Songs by Black Audio Film Collective
Godard’s Kino-Eye section in Loin de Vietnam (1967) initiates the institutional critique of cinema as a means for building political solidarity. The kinds of Left-pathos yielded by the cinematic auto-critiques of solidarity is elaborated in Nightcleaners Part 1 (1975) by Berwick Steet Collective and reaches its zenith with Ici et Ailleurs (1976) by Godard and Kean-Pierre Gorin. Handsworth Songs (1986) by Black Audio Film Collective announces the end, not of cinematic solidarity as such, but of the tradition of Left cinematic critiques of solidarity.
Kodwo Eshun (London) is an artist and theorist. In 2002, he co-founded the Otolith Group, whose works have been recently presented in solo exhibitions at Serralves, Porto and Bergen Kunsthall and in group exhibitions such as The Anthropocene Project: A Report, Haus der Kulturen der Welt and Cut to Swipe, Museum of Modern Art, New York. In 2010, the Otolith Group was nominated for the Turner Prize. Eshun has co- curated exhibitions on Black Audio Film Collective, Harun Farocki, and Anand Patwardhan. He is the author of Dan Graham: Rock My Religion (2012) and More Brilliant than the Sun: Adventures in Sonic Fiction (1998) and co-editor of World 3 (2014), The Militant Image: A Cine-Geography: Third Text 108 (2011), Harun Farocki: Against What? Against Whom? (2009), and The Ghosts of Songs: The Film Art of the Black Audio Film Collective (2007). Eshun lectures in Aural and Visual Cultures at the Department of Visual Cultures, Goldsmiths, University of London.
Kristine Khouri och Rasha Salti
In the Labyrinths of Exhibition Histories: The International Art Exhibition for Palestine, Beirut 1978
For five years, Kristine Khouri and Rasha Salti have conducted research about and around an exhibition of an exceptional scale and scope that took place in Beirut in the midst of the civil war and whose archival and documentary traces have been almost entirely lost. The International Art Exhibition for Palestine opened at the Beirut Arab University in March 1978. It was comprised of some two hundred artworks donated by artists hailing from thirty countries, including Matta, Tàpias and Miró. The exhibition was intended as the seed collection for a museum in exile, taking the form of an itinerant exhibition that was meant to tour worldwide until it could be repatriated to a free and de-mocratic Palestine. The size and scope of the exhibition was unprecedented in the region.
Kristine Khouri (Beriut) is an independent researcher and writer. Her research interests focus on the history of arts circulation and infrastructure in the Arab world. She curated The Founding Years (1969–1973): A Selection of Works from the Sultan Gallery Archives (2012) at the Sultan Gallery, Kuwait. Rasha Salti (Beirut) is a writer, researcher, and curator and an international programmer for the Toronto International Film Festival.
Together, Khouri and Salti are co-founders of the History of Arab Modernities in the Visual Arts Study Group, a research platform focused around the social history of art in the Arab world. Their current work is focused on the history of that was opened in Beirut in 1978. The research of the International Art Exhibition in Solidarity with Palestine was transformed into an exhibition, Past Disquiet: Narratives and Ghosts of the International Art Exhibition for Palestine, 1978, which opened at the Museu d’Art Contemporani de Barcelona (MACBA) in 2015.
The Question of Solidarity
The presentation will provide some thoughts on the September 2015 surge of refugee solidarity in Sweden and around Europe. Why now? What does it say about the future? Is this an example of the Eros Effect? If so, who is the object of desire here? To continue, he will look at the history of racism and the history of solidarity in post-World War II Sweden. Theories of Swedish exceptionalism, that is, of Sweden’s unique status as the internationalist nation—are they in any way plausible? Theories of Sweden as the run-of- the-mill racist European nation—are they plausible too? Jonsson will then elaborate on the Swedish manifestations of solidarity with the anti-colonial struggles and the third world in the 1960s and 1970s, after which he will move on to the debate about structural discrimination and multiculturalism of the 1990s and 2000s. In which ways can these two tendencies elucidate one another? Are they successive of or concurrent with one another?
Stefan Jonsson (Norrköping) is professor of ethnic studies at the Institute for Research on Migration, Ethnicity, and Society (REMESO), Linköping University and a critic at Sweden’s major newspaper Dagens Nyheter. He has written widely on European modernism and modernity, focusing especially on representations and fantasies of crowds and collectivities, as well as on racism and on colonial and postcolonial cultures and aesthetics. Among his recent books are A Brief History of the Masses and Crowds and Democracy (2013) and, co-authored with Peo Hansen, Eurafrica: The Untold History of European Integration and Colonialism (2014).
Solidarity Knows Only Borders: Reflections on the Current Refugee Crisis in the European Union
In response to the current refugee crisis in and around the European Union, calls for solidarity have been abundant. Many EU leaders, intellectuals, and others been eager to invoke “European solidarity” and “European values” as remedies for the crisis and for nationalist resurgence. Yet, since EU cooperation on asylum and refugee matters has always claimed European solidarity and European values as its guiding principles, this talk seeks to understand why this same EU cooperation has proven so utterly detrimental to refugees and so ill-equipped to deal with the global refugees crisis.
Peo Hansen (Norrköping) is Professor of Political Science at the Institute for Research on Migration, Ethnicity, and Society, REMESO, Linköping University. His main research interests revolve around European integration, EU migration policy, postwar European geopolitics, and the history of colonialism and decolonization. His most recent publications include The Politics of European Citizenship: Deepening Contradictions in Social Rights and Migration Policy (2012) and Eurafrica: The Untold History of European Integration and Colonialism (co-authored with Stefan Jonsson, 2014).
Natascha Sadr Haghighian
Left To Our Own Devices
This talk will recount two incidences of violence whose investigation and prosecution seems unfinished. The first case addresses an incident that occurred in Stockholm’s Husby neighborhood
in May 2013. Lenine Relvas-Martins, a 69 year old resident of Husby, was killed by the Piketen police in his own apartment. The presentation will try to connect the incidence to questions about the militarization of police, systemic racism, and the hegemony over violence. Why do certain violent acts stay legally unaccounted for? Often we find ourselves left to our own devices, as there seems no legal instrument to charge police, secret service, or other government entities. Natascha Sadr Haghighian’s upcoming project Fuel to the Fire at Tensta konsthall recounts and contextualizes Relvas-Martins’s killing. The other case addresses the many inconsistencies and unsolved questions around the terror acts committed by the rightwing underground group NSU (The National Socialist Underground). The group killed 10 people in Germany and injured many more over the course of 13 years. Allegedly, they had support not only from different rightwing groups but also from within the Federal Intelligence Service, the Federal Office for the Pro- tection of the Constitution, the Military Counterintelligence Service, and the police.
Natascha Sadr Haghighian’s (Berlin/ Tehran) research-based practice encompasses a variety of forms and formats, among them video, performance and installations and is primarily concerned with the socio- political implications of contemporary modes of world-making, especially in the field of vision. Her project Fuel to the Fire will take place at Tensta konsthall in 2016. Rather than offering highlights from a CV, Haghighian asks readers to go to www.bioswop.net, a CV-exchange platform where artists and other cultural practitioners can borrow and lend CVs.
The Politics of Self-organization
Over the last ten years, a new kind of district organization has emerged in the suburbs of Stockholm. The organizations are not only working for the conversions of their own neighborhoods, but also using their structures to work practically and in solidarity to help EU migrants. They support transit refugees, and arrange anti-racist manifestations, and provide help during, for example, fire disasters. But despite the positive experiences, these local initiatives are met with skepticism by the authorities and seen as a “noisy minority” trying to undermine the legitimacy and interests of the authorities. A paradoxical situation has arisen where grassroots organizations are labeled as extremists and conflict-creators and actively thwarted by the new authority, the National Coordinator Against Violent Extremism, even while these organizations are filling in where the authorities have failed and are, thereby, preventing catastrophic situations.
Mathias Wåg is the publisher of the anarchist magazine Brand. Wåg began his activist years during the struggles to save the Hansta forest in the Järva field in the late 80s and in the resistance to the building of highway constructions around Stockholm in the 90s. He has published the anthology I stundens hetta (In the Heat of the Moment) (2011), which summarizes ten years of international mass mobilizations from globalization movements to crisis protests. During the 00s, Wåg has lived intermittently in Italy and been active in the movement for the autonomous social center. He is currently contributing to the anthology Nutida politiska teoretiker (Contemporary Political Theorists) (2015), with a chapter on the Italian autonomous thinker Antonio Negri. Wåg won the Guldspaden (Golden Shovel) Journalist Award in 2014 for his investigations with the journalist collective the Research Group into anonymous racist hatred on the internet.
Swedish Urban Justice Movements— Options Ahead?
This presentation will summarize an ongoing research project on Urban Justice Movements (UJM) following the youth uprising in Swedish cities in 2009 and 2013. The project investigates how UJM relate to the established Swedish civil society organizations, what social imaginaries are produced, and how UJM constitute themselves as public voices in mass media, cultural politics, popular culture, etc.
Aleksandra Ålund (Norrköping) is professor at REMESO, The Institute for Research on Migration, Ethnicity, and Society at Linköping University. She has published widely in Swedish, English, and other languages on international migration and ethnicity, identity, culture, gender, youth and social movements.
Ashok Sukumaran/Gulf Labor (replaced by Natascha Sadr Haghighian)
The Museum and the Camp
Since 2011, Ashok Sukumaran has been part of the Gulf Labor Coalition, whose struggle to ensure workers’ rights has led to concrete results, with the private institutions and businesses involved in Saadiyat Island agreeing to a minimum set of commitments, including the right to change jobs, an end to passport confiscation, and the refunding of recruiting fees. Sukumaran has been to Saadiyat Island and its construction sites and worker camps many times as an artist-researcher and translator. In March this year, for reasons described only as “security,” he was thrice denied a visa to enter the UAE.
Ashok Sukumaran (Bombay) is co-founder of the collective studio CAMP and the footage archive Pad. ma. His artistic interest has been in aspects of contemporary existence that recede from our senses and from cognition. CAMP’s collective artistic projects since 2007 include films, exhibitions, and books nestled in electrical systems, surveillance systems, archives, and maritime worlds among others. A six-year project on the Indian Ocean recently resulted in the film From Gulf to Gulf to Gulf and two publications, Wharfage (2009) and M.S.V. (forthcoming, 2016).
Rosa’s House of Culture
In this talk, Dmtry Vilensky will focus on Rosa’s House of Culture, a recent initiative of the St. Petersburg-based collective Chto Delat. It is the space and process in which art is building its new engaged public. At this moment, art exists under pressure from state structures, new laws, and aggression from the general public and, at the same time, risks all forms of instrumentalization from the side of neo-liberalism. Rosas's House of Culture questions the legacy of the Soviet tradition of Houses of Culture, which was a well-spread, state-supported infrastructure for leisure and educational activities of people in Soviet Union. What can we learn from that experience, and how can we imagine a new model of the House of Culture in composing a counter-public sphere?
Dmitry Vilensky (St. Petersburg) is an artist and educator who works mostly in collective practices and focuses on developing large-scale architecture constructions, learning plays and films. Не is a founding member of Chto Delat (What is to be done?), a platform initiated in 2003 by a collective of artists, critics, philosophers, and writers with the goal of merging political theory, art, and activism. Vilensky is also an editor of the Chto Delat newspaper and main facilitator of a School of Engaged Art in St. Petersburg. He has participated with Chto Delat in their recent exhibitions and performances, including the San Paulo Biennale 2014; Haus der Kulturen der Welt, Berlin, 2013; Gwangju Biennale, Gwangju, 2012; Chto Delat Perestroika: Twenty Years After: 2011–1991, Kölnischer Kunstverein, Cologne, 2011; Ostalgia, New Museum, New York, 2011; Study, Study and Act Again, Moderna Galerija, Ljubljana, 2011; and The Urgent Need to Struggle, Institute of Contemporary Art, London, 2010.
The Story in Focus
As part of the so-called “second generation of immigrants” from Bakur (the Kurdish part of Turkey), Sekersöz makes work that revolves around political events in Kurdistan and Sweden and experiences from her own childhood in the northern suburbs of Stockholm and the village of Älvdalen in Dalarna. The presentation will focus on stories that link together artistic work and political pressures, including meetings with activists from Rojava (the Kurdish part of Syria) and the work to collect 170 000 SEK for medicine for the region. In the newly started project the Bakur Committees, Sekersöz wants to draw attention to the critical political situation in the region through digital campaigns and tangible solidarity actions.
Rojda Sekersöz (Stockholm) studied film directing at the Stockholm Academy of Dramatic Arts. She is also a poet in the poetry network Revolutionary Poetry. She is currently developing her first film with the working title "Dream on", about a girl who dreams of a different life, but constantly forced into in the existing system. Sekersöz is also working on the short film Carnita in the Making about Carlos and his drag persona Carnita Molida.
Solidarity in Struggle
This talk will depart from an image that was taken in a room in the Hotel Beau Rivage in Beirut in 1980 while the East-German photographer Horst Sturm and his Palestinian-Lebanese bodyguard took a rest. It was taken in a political moment when, for the people, the Palestinian struggle changed from armed resistance against Israel’s occupation to the continuation of the militant struggle by the means of photography. It is a moment when the revolutionary image that portrayed the strength of the people’s struggle changed to a humanitarian image that exposed the people’s defeat as an economy of suffering. The talk will put “solidarity” in question by unpacking the social-collective necessity for image production to move below official solidarity declarations, while being situated exactly inside those structures.
Doreen Mende (Berlin) is a curator and theorist. Recent exhibitions include KP Brehmer Real Capital – Production, Raven Row, London 2014; Travelling Communiqué, 2014–13, Museum of Yugoslav History in Belgrade, Haus der Kulturen der Welt in Berlin. Mende is co-editor of eflux journal 59 Harun Farocki (2014), resident writer of the blog for Manifesta Journal (2013–14), and editor-in-chief of the publication series Displayer at University of Arts and Design/ZKM Karlsruhe (2006–09). Since 2015 Mende has been the responsible professor for a research- based program on the practice and theory of curatorial questions in geopolitics at HEAD Genève.
The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice
The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice.
The symposium forms the starting point of a multi-year inquiry into the relationship between art and solidarity movements, performed in a series of commissions, exhibitions, workshops, presentations, and film screenings. Faced with fascist parties gaining ground in Europe and an increasingly tough social climate, we see the necessity to return to the notion of solidarity in order to try its validity today. Will solidarity still be relevant in the future, or is it a historical concept? Do we need to find new ways to describe the political movements of today and their struggles, sympathies, and commitments? What does recognizing the urgency of a situation imply, and how do we act upon it?
Saturday 17.10, 10:00–18:00 Symposium The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice. Listen to the presentations here.
The invited speakers are Mathieu Kleyebe Abonnenc (Metz), Filipa César (Berlin), Kodwo Eshun (London), Peo Hansen (Norrköping), Ingela Johansson (Stockholm), Stefan Jonsson (Norrköping), Kristine Khouri (Beirut), Doreen Mende (Berlin), Bojana Piškur (Ljubljana), Natascha Sadr Haghighian (Berlin/Tehran), Rasha Salti (Beirut), Rojda Sekersöz (Stockholm), Gulf Labor/Ashok Sukumaran (Mumbai), Håkan Thörn (Göteborg), Dmitry Vilensky (S:t Petersburg), Marion von Osten (Berlin), Mathias Wåg (Stockholm) and Aleksandra Ålund (Norrköping).
The Eros Effect project borrows its title from the researcher and activist George N. Katsiaficas's essay by the same name from 1989. We will continue to build on the analytical tool “Eros Effect,”which is an attempt to acknowledge the emotional aspects of social movements. The concept thus aims to turn away from earlier theories that considered “mass movements” as primitive and impulsive, as emotional outbursts, or as exclusively rational efforts in order to change the norms and institutions of a society. With his notion the Eros Effect, Katsiaficas suggests that social movements always constitute both and that the struggle for liberation is equally an “erotic” act and a rational desire to break free from structural and psychological barriers. Franz Fanon made similar observations when he stated that resistance towards colonialism causes positive effects on the emotional life of individuals.
The symposium is a collaboration with REMESO: The Institute for Research on Migration, Ethnicity and Society at Linköping University. The opening for Filipa César's project Transmission From the Liberated Zones will be from 19:00 to 21:00. This is the first presentation within the project The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice.
RSVP to email@example.com no later than Thursday, 15 October.
Program (changes might appear)
10:00 Introduction by Maria Lind, Stefan Jonsson, and Peo Hansen
10:30 Filipa César: Notes on Luta Ca Caba Inda (The struggle is not over yet)
10:50 Marion von Osten: The Tricontinentale Net – Prospects and Projects
11:10 Mathieu Kleyebe Abonnenc: A Continental Drift
11:50 Håkan Thörn: The Meaning of Solidarity: The Case of the Global Anti-Apartheid Movement
12:10 Ingela Johansson:
The Great Miners’ Strike 1969–70 in Sweden and its solidarity actions
12:30 Bojana Piškur: The Museum of Solidarity in Santiago 1971
12:50 Kodwo Eshun: Forms of Discontent in Handsworth Songs
by Black Audio Film Collective
13:10 Kristine Khouri and Rasha Salti: In the Labyrinths of Exhibition Histories:
The International Art Exhibition for Palestine, Beirut 1978
14:30 Stefan Jonsson: The Question of Solidarity
14:45 Peo Hansen: Solidarity Knows Only Borders:
Reflections on the Current Refugee Crisis in the European Union
15:10 Natascha Sadr Haghighian: Left To Our Own Devices
15:30 Mathias Wåg: The Politics of Self Organization
16:10 Aleksandra Ålund: Swedish Urban Justice Movements – Options Ahead?
16:30 Ashok Sukumaran/Gulf Labor: The Museum and the Camp
16:50 Dmitry Vilensky: Rosa’s House of Culture
17:10 Rojda Sekersöz: The Story in Focus
17:30 Doreen Mende: Solidarity in Struggle
The symposium is free of charge.
A film program that includes some of the symposium's guests took place Sunday 18.10, 13:00–16:00.
Ca va, ça va, on continue (2013) by Mathieu Abonnenc
The Lesson on Dis-Consent (2011) by Chto Delat
In the Year of the Quiet Sun (2013) by Otolith Group
The Poetry of Anger (1978) by Lennart Malmer
Tensta Museum Continues
In the small exhibition space, the museum takes the form of a classroom. Here, Tensta konsthall’s Swedish Arabic language cafe will take place. The classroom tables, previously used in the exhibition The Paths to the Common(s) Are Infinite by Ayreen Anastas and Rene Gabri, are designed by the artists and made exclusively from organic materials, entirely without nails and screws. From the bulletin board, visitors are invited to take materials including maps of Tensta, photo documentation from Helga Henschen’s subway art (which this year celebrates its 40th anniversary), on-going projects by participants of Tensta konsthall’s new project Nyhetsbyrån, and the artist Lawrence Abu Hamdan’s work Conflicted Phonemes. The reading corner accommodates the Silent University’s reference library, and at the Tensta Library, the author Mekonen Tekeste’s self-illustrated stories about Eritrea, written during his exile in Stockholm and Tensta, are on view.
The artist Laura Oldfield Ford’s drawings of a Tensta in transformation is also on view in The Classroom. The local shop in the gallery’s entrance offers jewelry, jams, and marmalades made by the Women’s Center in Tensta-Hjulsta. A traditional Christmas market with textile work, handmade jewelry, and pastries for sale will also be organized by the Woman’s Center in Tensta-Hjulsta.
Tensta museum: Reports from New Sweden also traveled to Stockholm County Museum in Sickla, where a condensed version of the exhibition was on view as part of Situation hembygd, a project on the concept of a community in the past, present, and future. The exhibition examined the state of the homestead in collaboration with the local homestead movement, the public, and invited artists, institutions, and cultural workers.
In collaboration with ABF Stockholm.
Text Price 2016
Send your contributions by Monday 8.2, 2016.
First prize is 5,000 SEK, second prize 2000 SEK, and third prize 1,000 SEK.
The competition is held in association with Tensta Library, and the winner will be announced in March 2016.
The jury is composed of writer Lena Andersson, poet Meron Mangasha, publisher Björn Linnell, journalist Rouzbeh Djalaie, Tal Lewinsky from Tensta Library and Emily Fahlén from Tensta konsthall.
The deadline to send in texts is Monday 8.2 2016 to firstname.lastname@example.org. Enter your name, birth date, address, and telephone number in the email.
2.1–3.1 2016 Text workshop with Arazo Arif. A drop-in session for those who wish to be guided in their writing and want to make a contribution to Tensta konsthall Text Prize 2016. Bring your ideas, your first drafts, or your finished works and exchange ideas, read other people’s texts, and learn tips and tools for writing more.
Arazo Arif is a poet, journalist, project manager and editor for the platform Kultwatch, and the third prize winner of Tensta konsthall Text Price 2015.
Tensta konsthall text prize in 2015:
First Prize winner: Marianne Al-Ghorabi with I am a Tensta-katt
Second prize winner: Evyn Shipowner with tPlatsen där jag bor/ Vår historia
Third Prize Winner: Arazo Arif with Om platsen där jag bor är världen vem är jag då
Honorable Mention: Lema Shansab
Tensta konsthall text prize in 2014:
First Prize Winner: Evin Ahmad with the collection of poems Blog, svett och pipas.
Second prize winner: Nebay Araya with Gråa Väggar Hårda Skal
Third Prize Winner: Sofia Pappa with Låt stå!
The Art Detectives
Based on the school's art and the public places in Tensta, the students themselves design the task of mapping and discussing what is already available on site. They will also suggest what new artwork at school could look like based on urban design, architecture, and public art. During the project, field trips to various locations in the city will be made, including Prince Eugen's Waldemarsudde, the College of Arts, KTH School of Architecture, and Siri Derkert metro station in Östermalm.
The project will be the basis for the development of a new public artwork in Tensta by Pia Sandström in 2017.
Art Detectives is a collaboration between Tensta Konsthall, the artist Pia Sandström, architect Stefan Petersson (KTH, Tensta), Stockholm kunst, and the Tensta Schools Enbacksskolan, Elinsborgsskolan, and Gullingeskolan.
Pia Sandström is an artist active both in Sweden and internationally. She participates in solo and group exhibitions and public commissions. Sandström was educated at the Royal Art Academy in Stockholm and at the Academy in Helsinki and has been exhibited at Bonniers Konsthall, Botkyrka Konsthall, Kiasma, Helsinki, and ARTES, Porto, among other places. www.piasandstrom.com
Stefan Petersson is an active architect in Stockholm who has operated the firm Spad since 2003. His main work is in the borderland between citizen participation in planning processes, user perspective, teaching, lectures and design in business development, urban planning and architecture. Since 2008, he has been director and teacher at KTH, Tensta (Tensta Architecture School).
KTH, Tensta is a preparatory school in Architecture and Urban Planning for those who are curious about the area. The school, which has existed since 2008 and is based in Ross Tensta Gymnasium, functions as a natural link to higher education through its presence and activities in Tensta. The course spans over two semesters.
Stockholm konst works with public art according to the one percent rule in Stockholm, i.e. the rule which states that when the city is building new structures, a percentage of each construction project cost should be allocated to artistic creation. Stockholm konst works with art for streets, parks, neighborhoods, and squares, as well as with the purchase of art for workplaces, kindergartens, schools, retirement homes, and the urban environment.
The News Agency
Nyhetsbyrån is taught by teachers from JMK and Konstfack together with invited guest teachers. Some educational moments will take place in the school's workshops and studios, but most of the work will be done at Nyhetsbyrån's facilities in Tensta. Study visits and internships at workplaces are important components of the course.
The course poses questions regarding the possibilities for developing new routes into prestigious university programs for journalism and art. How can the entire city of Stockholm be represented at schools for art and journalism and in the editorial offices of newspapers and TV and radio stations? A long-term goal is to make these programs, which are currently dominated by very homogeneous student groups, available to more people.
In the same way as TT News Agency, Nyhetsbyrån intends to operate under the slogan "we make other better." The production of text, images, graphics, and video material, with an emphasis on documentary storytelling from the suburbs, is a way to act as a national news agency aimed towards a more representative journalism. Nyhetsbyrån's web page will hopefully play an important role as a body of knowledge to be used by established media in their research.
Nyhetsbyrån will also arrange separate courses, public conversations, open lectures, and screenings of video work.
With support from Allmänna arvsfonden.
What do a fishy offshore company, secret artists, a ghost writer and French philosophy have in common? No connections are inconceivable in the recently published thriller Headless. The novel is published by Tensta konsthall, Triple Canopy (New York) and Sternberg Press (Berlin) and forms the final phase in a nine year-long performance on state sovereignty, surveillance and strategies for withdrawal, initiated by the artist duo Goldin+Senneby.
Headless captures the reader with a delirious flight through the slippery corridors of offshore business, seen through the eyes of the British ghost writer, John Barlow. He goes out to find an elitist, Bataille-inspired secret society in the Bahamas/…/, obsessed with sacrifices. The society seems capable of anything in order to retain its power and position.
Clandestine money transfers to exotic islands is a highly debated phenomenon. Terms like "tax havens" and "offshore" are also widely known, both connoting faraway dreamy places in tropical settings. A utopia for savvy swindlers. But what if this model of thought is instead applied to a different kind of island life, picturing withdrawal as a strategy. This is something the philosopher and writer Georges Bataille suggested already in the 1930s.
The Swedish release of Headless took place at a secret location in Stockholm on the 20th of May. The release included a conversation between Mara Lee, author of e g. the novel, Future Perfect and the thesis, När andra skriver (2014) and Rasmus Fleischer, historian and researcher (Stockholm University), appearing as one of the characters in Headless. The conversation was moderated by Maria Lind, director of Tensta konsthall.
Headless is a sneak peak of Goldin+Senneby's retrospective at Tensta konsthall, scheduled for February–May 2016.
Past Headless releases:
4.9, Salt Beyoğlu, Istanbul.
Respondents: Ismail Ertürk (cultural econimist), Övül Durmusoglu (curator), and Kaya Genç (writer). Moderator: Maria Lind.
14.7, Manchester Business School, Manchester.
Respondents: Nikolai Ssorin-Chaikov (social anthropologist), Liz McFall (sociologist), Ed Granter (organisational studies), Peter Folkman (venture capitalist)
Moderator: Ismail Ertürk (cultural economist)
27.6, Miss Read Art Book Fair, Berlin.
Respondents: Hito Steyerl (artist) a.o. Moderator: Caleb Waldorf.
28.5, Librairie Le Monte-en-l'air, Paris.
Respondents: Dominique Gonzalez-Foerster (artist), Emilie Notéris (writer), Christian Chavagneux (economist). Moderator: Sandra Terdjman.
26.5, Open School East, London.
Respondents: Ned Beauman (writer), Angus Cameron (economic geographer), Nicky Marsh (literary scholar). Moderator: Andrea Phillips.
13.5, Triple Canopy, New York.
Respondents: Katie Kitamura (writer), Jill Magid (artist), Joseph O’Neill (writer), Mary Poovey (Professor of English). Moderator Alexander Provan.
2.4, Tranzit, Prague.
Respondent: Fedor Blaščák (philosopher/curator/activist)
1.2, LA Art Book Fair, Los Angeles.
Respondent: Bill Maruer (anthropologist) a.o.
More to be confirmed.
The core of Tarek Atoui’s work is an ongoing reflection on the instrument as an idea and of the performative act as a complex, open, and dynamic process. He builds new instruments and invites groups of professional musicians to take on music that is unknown to them and then create new music based on it; he has for example worked with deaf children and observed Arabic music’s unwritten history. Atoui is an artist, composer, and musician from Beirut who prefers a collective approach and testing restrictive practice opportunities in performance, composition, and improvisation. He has extensive experience in initiating and managing artistic innovation and workable common processes, among others at the art exhibition Documenta in Kassel in the summer of 2012 and at the biennial in Sharjah the next year.
The music presented in Stockholm is the result of a process where a group of twenty people associated with the Järva area create the basis for a new piece of music through constant change and refinement of already existing music of their choice. The project started in April when posters were put up in the Järva area inviting musicians to an open meeting at Tensta Konsthall.
After the audition process a new group of musicians was created, playing everything from jazz, hip hop, and afrobeat to reggae, folk, and soul. All of the musicians carry a curiosity and willingness to test their limits in a project whose foundation is in improvisation and experimental music. In May they started recording new material in the EMS studio 2. The newly recorded music is shared among the group's members for reinterpretations and remixes. The final step in the creative process is that all the new versions of the music are collected. From this Atoui creates a new whole in which improvisation has a natural role to play, and together they perform the piece of music on stage.
de:tune Järva: Abdugani Abdukerim, AfroDiivas, Afrodistance, James Barrett, Simon Bwomono, Taha Elneshily, Flimpoman, Bruno Hibombo, Örjan Hultén, Guljahon Hurramova, Fiedavs Kakimov, Jonas Kronman, Jan Liljekvist, Victor Lisinski, Tassos Spiliotopoulos, Zahir Tahir and Malin Thurén.
1.8–3.8 Tarek Atoui and de:tune Järva at Stockholm Music & Arts
7.9 Tarek Atoui and de:tune Järva at Tensta Market
Playlist at Tensta konstall’s café, 2015
The playlist was made by Jonas Kronman, 39, who grew up in Tensta. Jonas works with music in geriatric care. He joined de:tune Järva because of his desire to challenge himself and his broad interest in music, something that is clearly demonstrated in his playlist. “My playlist consists of African American music, Romani, Balkan, reggae, Finnish tango, Swedish ballads, Latin, etc. I love music partly because it creates the possibility of meetings.”
Jonas Kronman is an active member of the music project detune: Järva, a project where musicians linked to the Järva area explore the district’s musical identity. Led by the artist and musician Tarek Atoui.
1. Arja Saijonmaa - Jag vill tacka livet
2. Bob Marley - Three Little Birds
3. Mikael Wiehe - Ska nya röster sjunga
4. Dire Straits - Brothers in Arms
5. Cyndi Lauper - True Colors
6. John Coltrane - Favourite Things
7. Louis Armstrong - What a wonderful world
8. Mary J. Blige - No More Drama
9. 2pac - Life Goes On
10. Mary Gauthier - Mercy Now
11. Karin Krog & Dexter Gordon - How Insensitive
12. Yasmin Levy - Naci En Alamo (Vengo)
Taha Elneshily and Malin Thurén
Playlist in Tensta konsthall Café, 2015
1. Nina Simone – Feeling Good
2. Ana Carolina – Voce nao sabe
3. Ferran Savall – Paris
4. Samir Soror – Alf Lela we Lela
5. Mohamed Abdel Wehab – El naher el kaled - piano and violin
6. Amal Maher - Hob eh – song by Om Kolthom
7. Gahad Akl – Gabar played by violin
8. Shaima el Shaybe – Mahma tachoudni kadoudni el modone
9. Samo Zen – Helemt biki
10. Sherine – Ana kolli milkak 2014
11. Jihad Akl – Shiraz
12. Mehrezyia – El taouile fat el maedt - song by Om Kolthom
14. 13. George Assad – Songs in memory of Mohamed Abd el Wehab - violin
15. Karem Mahmoud – Enaby played with oud
16. Purcell – Dido & Aeneas - When I am laid in earth (Dido's lament) Elin Manahan Thomas
17. Hosno – Ana bahebec - turkish music
18. Laleh – Snö
19. Ray Lamontagne – A Falling Through
20. Philip Glass – The Hours (2002) soundtrack_ 01. The Poet Acts
21. Tingsek ft. Ane Brun – Easier
22. Nat King Cole – Unforgettable (HQ)
23. Saian Supa Crew – Abecedaire des cons (KLR)
24. Bo Sundström och Frida Öhrn – Det är vackrast när det skymmer
25. Mohammed Ali – Sista Resan (Officiell Musikvideo)
26. Halo by Ane Brun feat. Linnea Olsson – (If I Stay MV)
27. Ane Brun – Big in Japan
28. Avishai Cohen – Halah
29. Marin Marais – Le Badinage - Jordi Savall
30. First Aid Kit – Emmylou
31. Michael Kiwanuka – Home Again
32. Fatoumata Diawara – Makoun Oumou
33. Stina Nordenstam – Fireworks
34. Lisa Ekdahl – Nature Boy
35. Lisa Ekdahl – Vem vet
36. Françoise Hardy – Soleil
37. Laleh – dar yek gooshe
38. Laleh – Vårens Första Dag
Playlist in Tensta konsthall Café, 2014
Diamanda Galás –supplica a mia madre
Fiona Apple – Red Red Red
Tori Amos – Time
Pj Harvey – The Darker Days of Me & Him
Kate bush – Houdini
Laurie Anderson – walking and falling
Cibo Matto – Artichoke
Deerhoof – Whither the Invisible Birds?
Joni Mitchell – Hejira
Portishead – Threads
Charles Ives (Piano: Gilbert Kalish) – Piano Sonata
No. 2, “Concord. Mass., 1840–60”: Third Movement, “The Alcotts”
Philip Glass/Philip Glass Enesmeble – Closing
Jocelyn Pook – Masked Ball
Tricky – Makes Me Wanna Die
Lokua Kanza – Liteya
Moloko – It’s Nothing
Papa Wemba – Awa Y’ Okeyi (Emotion Version)
Peggy lee – Is That All There Is?
Olivier Messiaen – O Sacrum Convivium!
Henryk Gorecki – 3 pieces in old style: I.
Michael Nyman (Harpsichord: Elisabeth Chojnacka) – Concerto for Harpsichord and Strings: Part 3
Henry Cowell – The Tides of Manaunaun
Bruno Hibombo is a musician and participant in de:tune Järva.
Playlist in Tensta Konsthall café, 2014
Archangel Thunderbird - Amon Duul II
Black Fella White Fella - Warumpi Band
Born into Magic - Stag Hare
Boss Tabla - Transglobal Underground
Death to Everyone – ’Bonnie’ Prince Billy
Deer Head Apparition - Pelt
Dread at the Controls - Mikey Dread
Ephemeral Lakes - Gondwanaland
Final Enclosure (Featuring Hakim Bey) –
Flowering of the Crown - 6majik9
From the Side of Man and Womankind -
Tony Conrad and Faust
Good Morning, Captain - Slint
Heaven - Talking Heads
Immigrants on Course - DJ Mutamassik
Kailash Kokopelli - Kokopelli Dreaming
Little Fluffy Clouds - The Orb
Lysergic Sound Of Dub - High Tone
Monday Morning in Lagos - Fela
Kuti and Afrika 70
Money - P.A.I.N.
(Propaganda and Information Network)
One Way - The Levellers
Place de Abbessess - Birdy Nam Nam
Pêche de nuit - Henri Chopin
Raga Bhimpalasi - Mallikarjun Mansur
Raga Yaman - Villyat Kahn
Red Skin Girl - A Tribe Called Red
Theme de Yoyo - Art Ensemble of Chicago
The Water Wheel - Hamza El Din
Well-Heeled Man - Josephine Foster
and The Supposed
You Used to Think - Erica Pomerance
Zombie - Fela Kuti and Afrika 7
James Barrett is an Australian sound artist, poet, academic and writer living in Stockholm, Sweden. He is completing a PhD in digitally mediated narrative in the Department of Language Studies at Umeå University. James plays didgeridoo, sitar, different hand drums, jaw harp, mouthorgan, guitar and various flutes. He has released CDs and individual sound pieces on labels in Australia, the United States and in Ukraine. More of his story and downloads of his music can be accessed from here: http://about.me/James.G.Barrett
For larger groups email email@example.com
Sunday 3.4, 12:00–15:00
Sunday 24.4, 12:00–15:00
Sunday 29.5, 12:00–15:00
Sunday 3.7, 12:00–15:00
Tensta konsthall Text Prize
For the second year in a row Tensta konsthall is presenting a text prize for young people, year 15–25, in Tensta. The prize aims to encourage creative writing and to contribute new stories from the area to the area itself. The jury is comprised of the August Prize winner Lena Andersson, poet Meron Mangasha, publisher Björn Linnell, journalist Rouzbeh Djalaie, Tal Lewinsky from Tensta Library, and Emily Fahlén from Tensta konsthall.
The 2015 winners are Marianne Al-Ghorabi with the text I am a Tensta-cat; Evyn Redar with The place where I live / Our history; and Arazo Arif with If the place where I live is the world than who am I.
The winners will receive 3000, 2000, and 1000 Swedish krona.
This year Lema Shansab is awarded an honorable mention for her honest story about the absurdity of religious oppression and the experience of being delimited by gender and faith.
To read the texts, visit the bag section on this web page. Click bag in the top right corner, check the box, and click "save bag" in order to download.
The jury’s motivation:
First Prize: Marianne Al-Ghorabi
I am a Tensta-cat
In a wayward and imaginative view of Tensta as seen through the eyes of a familiar stranger, Marianne Al-Ghorabi allows the reader to access different spaces in the city and the borough through the unsentimental and nonjudgmental eyes of a cat. This exceptional and scrutinizing story is guided by humor and precision.
Second prize: Evyn Redar
The place where I live/Our History
This story offers delicately observed situations and substantial snapshots of young people's lives in a particular location, all depicted with both warm sincerity and cold aloofness. A rhythmic language allows the reader to enter into Evyn Redar's fictional world for a moment, where powerful images of friendship and betrayal, joy and boredom, and hope and hopelessness are evoked.
Third prize: Arazo Arif
If the place where I live is the world then who am I
With strong, formal poetry and profound reflections, Arazo Arif takes the reader into a world of language where nothing really exists outside of its wording. Here, well-pitched metaphors reveal a complex reality that becomes obvious only when it is spoken.
Honorable mention: Lema Shansab
An honest and naked story about the absurdity of religious oppression and what it's like to be defined by your gender and faith. With minor stylistic actions, Lema Shansab conveys the homelessness that intolerance entails. She evokes a painful desperation through a child's inquiry, which is softened only by the relationship with a beloved grandfather.
Thursday 13.3, 14.00 Award Ceremony Tensta konsthall text price. The jury as well as the winners are present during the ceremony. Readings and refreshments. (The jury: Lena Andersson, Rouzbeh Djalaie, Emily Fahlén, Tal Lewinsky and Björn Linnell).less ←
Art and the F Word: Reflections on the Browning of Europe
The exhibitions presented in the book, including Tensta Museum: Reports from New Sweden, examine the potential of the aesthetic experience to question reality. Art and The F Word: Reflections on the Browning of Europe is compiled by Maria Lind, Director of Tensta konsthall and the collective What, How & for Whom / WHW (Zagreb). Design: Metahaven.
Sunday 16.11, 13:30 Book Release Art and the F Word: Reflections on the Browning of Europe.
The Silent University: Language Café
The Language Café is a part of The Silent University, an autonomous knowledge platform for asylum seekers, refugees and undocumented immigrants, initiated by the artist Ahmet Ögüt. www.thesilentuniversity.org
We do custom tours for elementary school to high school aged groups. Pre-booked tours during the day for schools are free. The tour takes about 50 minutes.
Tensta konthall offers guided tours of current exhibitions for large groups such as arts organizations, businesses or private groups. Tours are offered in Swedish and English. Cost is 2000 SEK + voluntary entrance donation. Length is about 50 minutes and maximum number of participants is 30.
In conjunction with tours our Café can offer light meals and snacks at good prices.
For reservations and more information about tours contact Emily Fahlén firstname.lastname@example.org or 08-36 07 63.
Klister report: Inga undantag (No Exceptions)
Löfgren writes: "In order to correctly evaluate contemporary art galleries, an understanding of the interactions that take place between business, contemporary art and society are required."
Löfgren also argues that what primarily characterizes the work of smaller art galleries is their ability to establish effective networks locally, regionally, nationally and globally. But networking is not just a geographical phenomenon. Galleries connected to the network Klister also act as links between the public and cultural life, between school and research, between the personal and the political.
Among the report's conclusions are:
• Smaller contemporary galleres are more likely to invest in new artists. Ultimately this means that they provide established institutions with new talent, and thus serve as important distributors.
• Smaller venues for contemporary art develop innovative approaches and new teaching methods from which the entire art world benefits.
• Schools, public education, civil society, and working life could better take advantage of and utilize the competence displayed by contemporary art center's staffs.
• Bureaucratization and the increasing conditionality of cultural subsidies are wasteful because it steals time and resources away from actual operations.
• Unreasonable market rents (often communal) given to housing corporations steal a disproportionate part of small art centers’ budgets that could otherwise be invested in the galleries’ activities.
• Support for contemporary art galleries is an optimal way to support quality content in the arts and culture.
The full report can be downloaded at bag on this website.
Press the bag on the top right, mark the box, and click "save bag" to download.
The report has been commissioned by Klister, a nationwide network of small and medium-sized contemporary art institutions in Sweden founded in 2012, in collaboration with Swedish Exhibition Agency (Riksutställningar). The network wants to highlight contemporary art institutions’ function in the community.
 Klister’s members are Alingsås konsthall, Bildmuseet i Umeå, Borås Museum of Modern Art, Botkyrka Konsthall, Gävle Konstcentrum, Göteborgs konsthall, Kalmar konstmuseum, Konsthall C in Hökarängen, Konsthallen Bohusläns museum, Konsthallen i Haninge kulturhus, Kulturens Hus in Luleå, Lunds konsthall, MAN-Museum Anna Nordlander in Skellefteå, Marabouparken konsthall in Sundbyberg, Röda sten konsthall in Göteborg, Signal in Malmö, Skövde kulturhus, Tensta konsthall and Örebro konsthall.less ←
Homework assistance Individuell människohjälp
The Silent University
Thursday 26.6, 16:00 Rêbwar Fexrî lectures on the 1951 Convention on the Legal Status of Refugees. The lecture will be about the criteria and procedures for obtaining refugee status under the 1951 Convention and 1967 Protocol. In English.
Sunday 9.3, 14:00 2014 Art and asylum rights activism. Seminar with Christina Zetterlund, Trifa Shakely, and Emily Fahlén.
Freedom of movement is a privilege for a few citizens in the world, and does not include those who are fleeing from their countries. EU migration policy in recent years has led to increasingly closed borders and resulted in the inevitable fact that refugees are criminalized. In this way, one creates a class of people in society who are forced to live hidden—to head to a new place to seek asylum, or to go underground after a rejection, in a lawless existence. As a basis for political struggle, the situation for the undocumented is complicated: for the individual who is threatened by, for example, deportation, the state of invisibility is something to strive for—a safety. At the same time, the situation for the undocumented needs to be given visibility, in order to rouse public opinion in support of a structural change. In this vulnerable state in which the undocumented are situated, there is a need for allies.
The Silent University is an autonomous knowledge platform for asylum seekers, refugees, and migrants, initiated by the artist Ahmet Ögüt (Istanbul). As a part of the project, a seminar that discusses the encounter between art and asylum rights activism is arranged. All over Europe we see today more and more examples of how cultural workers are getting involved in projects relating to asylum seekers and people who lack official documents. The Silent University is one of these projects; in Amsterdam there is a self-organized group of undocumented people called We Are Here, in Vienna there is The Refugee Protest Camp supported by several NGOs, activists, and students, most of whom study art at the Academy of Fine Arts, and in Malmo we have No Border Musical, which is a collaboration between asylum groups in Malmö and Interact Theatre, to mention a few. By counteracting the silence that surrounds the asylum processes, these alliances between cultural life,and the refugee movement, demonstrate how art is used as a method of political action and active visualization of a social problem.
The seminar presents and discusses examples of the interaction between art and asylum activism. Which solidarity movements exist today? How does the alliance between art and activism work? How can we work creatively around new forms of protest? In short: What needs to be done?
Christina Zetterlund is a researcher in art handicraft history and theory at Konstfack in Stockholm. She also works as a freelance curator and writer.
Trifa Shakely is a social worker, lecturer and writer. She is currently working on domestic violence in Gothenburg. Trifa Shakely is the initiator of the campaign "Ain't I a Woman," for undocumented women's rights to protection, and the former editor of the feminist magazine Bang.
Monday 28.10, 18:00–20:00 2013 The Silent University Lectures "Abdullah Al Soud: Methods to learn a new language from scratch" and X.A "East Turkestan's education systems," with an introduction by Ahmet Ögüt. At ABF.
Tuesday 29.10, 18:00–20:00 2013 The Silent University Lectures series: Fahyma Alnablsi, "A comparison between Sharia and the Swedish political system" and Sherko Jahani, "Herodotus and the civilization of Medes." With an introduction by Ahmet Ögüt. At ABF.
Thursday 31.10, 18:00–20:00 2013 The Silent University Lectures Series: Rebwar Fakhry "1951 Convention on the Legal Status of Refugees" and Ahmad Alharahsheh, "LAN and WAN." With an introduction by Ahmet Ögüt. At ABF.
In conjunction with The Silent University's opening in Stockholm, a publication is released with contributions by project mentors Ricardo-Osvaldo Alvarado, Baharan Kazemi, Shahram Khosravi, Lawen Mohtadi, Babak Parham, Trifa Shakely and Christina Zetterlund.
Parents group with Rädda Barnen
Tuesday 9.12less ←
Cluster was initiated in June 2011 in order to facilitate internal and public exchange of knowledge about how these types of institutions function and also to establish further collaborations between them. In addition to this, the long term goal is to collaborate within the network and to increase the awareness of the institutions' and organizations' work and the importance of this outcome. Cluster is the first network of this kind.
Cluster members include Casco — Office for Art, Design and Theory, Utrecht, The Netherlands; CAC Brétigny, Brétigny-sur-Orge, France; Les Laboratoires D’Aubervillers, Aubervilliers, France; Tensta konsthall, Stockholm, Sweden; The Showroom, London, UK; CA2M Centro Dos De Mayo, Madrid, Spain; The Israeli Center for Digital Art, Holon, Israel; and P.A.R.A.S.I.T.E. Museum of Contemporary Art, Ljubljana, Slovenia.
13–14.9 2012 A new international network of art institutions gather in Tensta, September 13th–14th. Cluster meeting, How Can Small Be Strong?, is open to the public on Friday 14 September 2012 at Tensta konsthall.
12:00–14:30 presentations by partaking institutions, with focus on financing: Binna Choi of Casco, Utrecht; Pierre Bal-Blanc of CAC, Bretigny; Natasa Petresin of Les Laboratoires d’Aubervillier, Paris; Emily Pethick of The Showroom, London; Ferran Barrenblit of CA2M Centro Dos De Mayo, Madrid; Tadej Pogacar of Parasite Museum of Contemporary Art, Ljuljana and Eyal Danon of Israeli Center for Digital Art, Tel Aviv
15:00–16:00 lecture by Georg Schöllhammer, curator and critic based in Vienna, currently director of tranzit.at, on the changed means of funding in the art world, with specific regard to Central European perspectives
The members of the network are all:
—Located in residential areas on the peripheries of major cities
—Small to medium size operations
—Focused on commissioning and producing contemporary art; the type of art that is produced is often, experimental, process driven and involves research; the collaborations are carried out with local, as well as international artists
—Producers of works that are anchored in the local context; the members of the staff of the various institutions and organizations actively pursue an enhancement of the relations between the local community and the organization
Through the establishment of this network the means to close connections between the institutions and organizations are created. This contributes to the sharing of knowledge regarding the specific experiences of each member, particularly on locally-based participation and how to raise interest in the institutions' and organizations' activities and operations. Furthermore, the network is a platform that enables exchange between the members regarding new projects. Each member will host one meeting. The host and its intermediary group will give a detailed presentation of its methods with a specific focus on the local context, participation, public projects and other types of local interaction. The closed workshop will transform into a public forum, that at each single occasion involves one, or several members of the Cluster network, as well as invited agents that deal in questions regarding the collective research. The results will be documented on the Cluster website.
In addition to establishing collaborative research work, the long term goal is to strengthen the position of the kind of work carried out by small scale institutions and organizations located on the outskirts of major cities. It's a type of work that with a resumed respect towards the contemporary art scene, contributes to the self-esteem of the particular neighborhood and that also pays regard to and utilizes the specific resources present in the area.
Meeting #1 Utrecht, February 22-23, 2012
Meeting #2 Paris, May 4-6, 2012
Meeting #3 Stockholm, September 13-14, 2012
Meeting #4 Madrid, November 9-11, 2012
Meeting #5 Holon, April 2013
Meeting #6 London, May 2013
Meeting #7 Ljubljana, September 2013
With support from the European Cultural Foundation, EUs Culture 2007 and the Swedish Arts Council.less ←
Ongoing Cluster is a network of eight internationally operating contemporary visual art organisations situated in residential areas on the peripheries of major European cities (plus one in Holon, an industrial zone outside of Tel Aviv). Each of these organisations are actively involved in their local contexts, fostering their embeddedness within their surroundings.more →
The network seeks to highlight the role of smaller contemporary art institutions in society. Today, contemporary art constitutes a free zone for experiments and discussions of increasing importance. Central are issues about economy, democracy, the audience and the ”ecosystem” of art itself. The smaller, often under-financed institutions willingly invest in younger, less established artists and new ways of working. They are therefore an important link in the production and distribution for big institutions and the art market. They are also important for the forthcoming generations of artists and audiences nationwide.
The members of Klister include Bildmuseet in Umeå, Kulturens Hus in Luleå, Gävle Konstcentrum, Tensta konsthall in Stockholm, Marabouparken in Sundbyberg, Konsthall C in Stockholm, Botkyrka Konsthall, Borås konstmuseum, Skövde kulturhus, Göteborgs konsthall, Röda sten in Gothenburg, Lunds konsthall and Malmö konstmuseum. On the initiative of Tensta konsthall and Konsthall C, a first gathering took place in Tensta in September 2011.
Inga undantag (No Exceptions) is the name of a new report authored by Mikael Löfgren and developed by klister, a nationwide network of small and medium-sized contemporary art centers in Sweden. In the report, Löfgren argues that the demand for measurability and immediate statistics that characterizes contemporary cultural discourse is not suitable for evaluating the work of the country's smaller art institutions. Such a pragmatic and economically-driven model of analysis is taken from New Public Manegement (NPM) and only works if the primary goal of a business is to generate profit. But as cultural institutions in general, and smaller art galleries in particular, work towards other objectives, evaluations must also adapt to their language and methods.
The full report can be downloaded at bag on this website.
Press the bag on the top right, mark the box, and click "save bag" to download.
In 2013, Klister, together with Riksutställningar, arranged a series of “relay discussions” entitled what function does art have in society? The discussions aim was highlighting contemporary art and the importance and value of smaller contemporary art institutions in a democratic, economic and societal perspective. Discussions was arranged in Skövde and Gävle, Stockholm, Gothenburg, Malmö and Luleå. David Karlsson was moderator for the discussions involving officials and politicians from the different locations where they are set.
Klister is concerned with questions like: What role does art play in society? In order to be a resource for a place, a city or a community, art needs a scope for action. The importance of art is greater than the singular gallery, museum, or any other venue for art. The role of culture in the development of society is today widely discussed, but these discussions are often of a quite general nature. Furthermore they are more about art’s social and economic utility function. What do these connections actually look like? How can politics, cultural life and artists, big and small institutions, municipalities, state and the regions cooperate to create processes, allowing the potential of art to flourish?less ←
Ongoing from September 2012 The network Klister is a nationwide network for small and medium-sized contemporary art institutions in Sweden. Klister seeks to highlight the role of smaller contemporary art institutions in society.more →
The Sibling Art Centers
COHAB investigates meaningful ways in which artists and organisations can be deeply invested within their local contexts and at the same time form close dialogues in an international arena. Drawing on areas of commonality—such as our ‘situated’ ways of working—COHAB will link our work together more closely to explore themes that are relevant to each of us: questions of locality, community and ‘the commons’ in relation to forms of social and economic organisation, and more broadly, questions of cohabitation both on a local and European level, and aim to develop fresh models of how to work together as arts organisations. The project is comprised of a series of four ‘keynote’ artists’ productions; local ‘action research’ projects led by each organisation involving artists projects that will be developed with the participation of communities who share the concerns of the project.
COHAB also connects with the activities of Cluster, a wider network of eight visual arts organisations, each located in residential areas peripheral to large cities in Europe and its edges, which also involves CAC Brétigny, Brétigny s/Orge, France; CA2M Centro Dos De Mayo, Madrid, Spain; Les Laboratoires d'Aubervilliers, Aubervilliers, France; The Israeli Center for Digital Art, Holon, Israel; Zavod P.A.R.A.S.I.T.E., Ljubljana, Slovenia. Each of these organisations are actively involved in their local contexts, fostering their embeddedness within their surroundings. Cluster has the goal of facilitating knowledge exchange in relation to how our organisations operate within our local contexts, which will take place during 2012-2013 through a series of meetings hosted by each organisation in the network.
Activities to date:
Keynote production: Publishing in Process: Ownership in Question, Marysia Lewandowska and Laurel Ptak, Tensta Konsthall, May 2012
Publishing in Process: Ownership in Question was a series of public seminars at Tensta konsthall inviting artists and writers to present projects and perspectives around the intersection of art, intellectual property, political economy and the public realm from February–May 2012. The project asked, at a moment when the distribution between what is privately owned and publicly shared in society is being fundamentally scrutinized, questioned and protested in many parts of the world, what do notions of production, property, ownership and exchange mean to us right now? With seminars by Florian Schneider, Antonia Hirsch, Marina Vishmidt and Matthew Stadler. A collaborative project by artist Marysia Lewandowska and curator Laurel Ptak, whose next iteration will result in a book published by Sternberg Press to be released in the spring of 2013.
Action Research: I Can’t Work Like This, Casco, 1 May–23 June 2012
‘I Can’t Work Like This’ creates a platform for examining working conditions in the permanent crisis of the neo-liberal economic regime, and for learning how workers from variant sectors can get effectively organized, through a collaborative and transdisciplinary approach involving art, design, action and theory. Taking the forms of an exhibition and public events, the project presented different relations between art and labour-related struggles, suggested through documentations of actions, contemporary and historical artworks, designs and other artifacts. The exhibition includeded works by artist Charlotte Posenenske, Argentinean art collective Tucumán Arde (Archivo Graciela Carnevale) and British film collectives from the 60s and 70s. It also documents cases where the struggle for better working conditions merge with aesthetic practices, such as in the work of the Carrotworkers’ Collective, Jinsuk Kim & Hope Bus movement, as well as contemporary organising models used in campaigns by Justice for Janitors, workers of Silicon Valley and the Dutch Cleaners Union.
Action Research: Communal Knowledge: Andrea Francke, Invisible Spaces of Parenthood, The Showroom, 26 June–28 July 2012
Andrea Francke’s Invisible spaces of parenthood: A collection of pragmatic propositions for a better future explores issues surrounding childcare in collaboration with The Showroom’s local nurseries, childminders, children's centres and parent groups, seeking new models and possibilities. This included the setting up of a workshop in The Showroom’s gallery for visitors and workshop participants to test out DIY designs for furniture and play and a series of discussions on issues around parenting from the perspectives of locals as well as of cultural workers. These will feed into a Manual, published in October 2012.
Action Research: The Grand Domestic Revolution GOES ON, 12 September–27 October 2012
The Grand Domestic Revolution (GDR) is an ongoing ‘living research’ project initiated by Casco – Office for Art, Design and Theory, Utrecht as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common. Inspired by US late nineteenth-century ‘material feminist’ movements that experimented with communal solutions to isolated domestic life and work, GDR involved artists, designers, domestic workers, architects, gardeners, activists and others to collaboratively experiment with and re-articulate the domestic sphere challenging traditional and contemporary divisions of private and public.
Now GDR goes on, evolving in different scales and extensions, taken up and transformed in different cities, sites and neighbourhoods by those who desire to carry on the GDR from their own home base or by those already engaged with it in their local languages and practices. At The Showroom an exhibition of contemporary and historical artworks and a diverse and growing reference library form a base for workshops and events that will develop the GDR further, while they will forge connections and affinities with The Showroom’s ongoing programme of neighbourhood-based commissions, Communal Knowledge.
Keynote production: Beatrice Gibson: The Tiger’s Mind, The Showroom, 13 November 2012–12 January 2013
The Tiger's Mind is based on an experimental narrative score of the same name, written in 1967 by the radical British composer Cornelius Cardew. Departing from the character based and improvizatory nature of the score and working with a fixed group of artists for over a year long period (Alex Waterman as the Tree, Jesse Ash as the Wind, John Tilbury as the Mind, Celine Condorelli as the Tiger, Will Holder as Amy and Gibson as the Circle) the film deployed the score as a production structure inviting the participants to develop its varying components: soundtrack, set, special effects, music and text. The resulting piece documents its own making in fictional form, extending narrative and character to the production process itself, dramatising and re-staging it for film: Tiger's sets, Mind's music, Wind's effects, Tree's sounds, Amy's narration and Circle's direction all knock up against each other in a battle for primacy.
The Tiger’s Mind was developed as part of a longer-term publishing project initiated by Will Holder and Beatrice Gibson in 2010 and realised through a series of week long discussions hosted by Kunsthlerhaus Stuttgart, CAC Brétigny and Kunstverein, Amsterdam. These conversations fed into a publication, edited and produced by Holder, and will be published by Sternberg Press, on the occasion of the exhibition.
COHAB is supported by a Cooperation Measures grant from the European Commission Culture Programme (2007-2013). Cluster is also supported by a grant from the European Cultural Foundation and by the Arts Council of Sweden. The title COHAB is borrowed from a project by Can Altay at Casco in 2011, developed in the framework of Circular Facts (2009-2011).less ←
2012–2014 Casco, Office for Art, Design and Theory, Utrecht, Tensta konsthall, Stockholm, and The Showroom, London are pleased to announce the launch of the two-year project COHAB that investigates meaningful ways in which artists and organisations can be deeply invested within their local contexts and at the same time form close dialogues in an international arena.more →
The New Model
Started in 2011 at Tensta konsthall, over a period of two years, The New Model will investigate the heritage from The Model: A model for a qualitative society in a number of projects, seminars, workshops and exhibitions. Participants will include Lars Bang Larsen, Magnus Bärtås, Ane Hjorth Guttu, Dave Hullfish Bailey and Hito Steyerl.
The point of departure for The New Model is Palle Nielsen’s legendary project from 1968, Modellen. En modell för ett kvalitativt samhälle (The Model. A model for a qualitative society). By transforming Moderna Museet into an adventure playground Nielsen wanted to give children a chance to ”be themselves” and express their own reality. The children would be able to play in an environment that was free and separate from the adult world in general and from the urban milieu in particular, and in an environment adapted to their own energetic activities. In contrast, nowadays, more or less every aspect of our lives is capitalized and culture is dominated by entertainment. Our lives in 2011 do not share much in common with the social and cultural upheavals of 1968. Today, not even play is an unspoiled, intact freedom; it is in part a function of the creative industries. How can we re-articulate and renew the questions Nielsen posed with his Model? How can we create a qualitative society out of a totally other reality? During the course of two years, The New Model, will be investigating the heritage of the Model in a number of projects involving seminars, workshops and exhibitions.
The first seminar featuring lectures by the participants, took place at Blå huset in Tensta on Saturday, 8.10 featuring presentations by critic Lars Bang Larsen and artists Magnus Bärtås, Dave Hullfish Bailey and Hito Steyerl.
The second seminar took place on 11.3, 12:00-17:00. The Model and the City: A Seminar on Palle Nielsen’s project The Model (Moderna Museet 1968) and Tensta. With Palle Nielsen, Gunilla Lundahl, Erik Stenberg.
The exhibition The Society Without Qualities will take place from February-May 2013 with works by Søren Andreasen (Copenhagen), Archizoom (Milan), Ane Hjort Guttu (Oslo), Jakob Jakobsen (Copenhagen), Sture and Ann Charlotte Johannesson (Malmö), Learning Site (Copenhagen/Malmö), Sharon Lockhart (Los Angeles), Joanna Lombard (Stockholm), Palle Nielsen (Copenhagen). Curated by Lars Bang Larsen as part of The New Model.
The Society Without Qualities revisits some of the concerns of the 1960s, such as education, militancy, experimental urban planning, the child as an active historical subject, and the critical use of the art institution. The exhibition also deals with the representation of children in art and society. The Society Without Qualities is in part a historical exhibition that takes its point of departure around the time of the youth revolt in 1968, and works its way through positions in art and architecture of the 1970s and 1980s up till the present day. Unlike Palle Nielsen’s legendary Modellen at Moderna Museet in 1968, however, The Society Without Qualities asks what it would mean to proceed without a model or an image of the society to come; what it would mean to not project any figurative qualities onto the future. The notion of play—in so far as it is present at all—is here less of a promise to the future, but closer to the way that Roger Caillois defined it in terms of rupture and break: “a kind of spasm, seizure or shock which destroys reality with sovereign brusqueness” (Man, Play and Games, 1958).
Lars Bang Larsen is an art historian, curator and writer based in Kassel and Copenhagen. He has co-curated exhibitions such as Pyramids of Mars (2000—2001), Populism (2005) and A History of Irritated Material (2010). His books include the monograph Sture Johannesson (2002) and The Model. A Model for a Qualitative Society, 1968 (2010), about Palle Nielsen’s mass utopian adventure playgrounds for children. In Danish have appeared the booklets Kunst er Norm, Organisationsformer and Spredt væren (Art is Norm, Forms of Organisation and Dissipated being, 2008-2010), an attempt at writing a poetics against the experience economy. Lars wrote his PhD at the University of Copenhagen about psychedelic concepts in neo-avant-garde art. This autumn will appear the book The Critical Mass of Mediation, written with the artist Søren Andreasen.
Magnus Bärtås is an artist and writer. In his work he often usesconstructed narratives related to places and buildings. By employing literary modes and methods his works privilege the meaning of the local, the situated and the neglected detail. Fundamental to the works are meetings, conversations and storytelling—activities that are closely linked to the biographical genre, but also to the oral dissemination of artworks. His dissertation in artistic research You Told Me—work stories and video essays (2010) is an observation and analysis of certain functions and meanings of narration and narratives in contemporary art. You Told Me is also about the making of video essays—about listening and talking to images, and making transferences between the working instances of narrative video. Since 2008 Magnus Bärtås is professor of fine art at Konstfack in Stockholm. He has participated in Void of Memory/Platform—98, Seoul; Modernautställningen, Moderna Museet 2006 and 2010, Stockholm; the 4th Bucharest Biennial 2010; and Swedish Conceptual Art, Kalmar Konstmuseum 2010; among other group exhibitions. Gävle Konstcentrum made a solo presentation of his work in 2010. His video essay Madame & Little Boy won the first prize at Oberhausen International Film Festival 2010 and has since been screened at a number of film festivals. Together with Fredrik Ekman he has published three books of essays.
Ane Hjort Guttu. An artist and curator born in 1971, based in Oslo. Her artistic work investigates representation strategies and power structures—particularly within architecture and pedagogy—through analytical essays, image collections, video and photography. She has also created several projects where she examines specific historical works of art. Recent shows include Looking is political (Bergen Kunsthall 2009), Making is Thinking (Witte de With, Rotterdam 2011) and Genius without Knowledge (de Appel, Amsterdam 2011). Forthcoming shows and projects are, among others, Sunlight on the Upper Part of a House (Kunsthall Oslo 2012), Don´t Tell Me (Sic! Raum für Kunst, Luzern) and Learning for Life, Henie Onstad kunstsenter, Oslo. Guttu is currently a research fellow at the National Academy of the Arts, Oslo.
Dave Hullfish Bailey. Born 1963 in Denver; lives in Los Angeles. Bailey’s practice is research-based and takes form as site-based interventions, exhibitions, publications, expeditions and workshops. Recent presentations include For the blind man in the dark room looking for the black cat that isn’t there (Contemporary Art Museum St. Louis, ICA London, De Appel, and other venues, 2009—10); Surrounded by Squares: Dave Hullfish Bailey and Nils Norman, Raven Row, London (2009); Biennale de Lyon (2007); What’s Left to its own Devices (On reclamation), Casco Office for Art, Design and Theory, Utrecht (2007); and CityCat Project, Brisbane (2006/ongoing). Published books include Elevator (Secession, Vienna: 2006), What’s Left (Casco/Sternberg Press, Utrecht/Berlin: 2009), and Union Pacific (Künstlerhaus Bethanien, Berlin: 1999). Reviews of his work have appeared in Artforum, Frieze, Springerin, artext, Untitled, Nu: The Nordic Art Review, and other journals. Bailey is currently Adjunct Associate Professor in the Fine Art department at Art Center College of Design, Pasadena, and has guest-taught widely. He studied science, philosophy and theology at Carleton College and Harvard Divinity School, and received an MFA from Art Center College of Design. Grants include Durfee Foundation, California Community Foundation and Philip Morris Kunstförderung.
Gunilla Lundahl. Cultural journalist and author. Lundahl began her career at the daily newspaper, Arbetaren (The Worker) in 1955 and has since then been employed by Form at different times from 1965 to 1985. She was the editor for Arkitekttidningen for six years in the 1970s, guest editor and employee of the journal Arkitektur during the 1980s and columnist in Hemslöjden in the beginning of the 2000s. As a freelance writer she has written about design, art and architecture and contributed to more than 100 books, anthologies, catalogues and reports, working as writer, co-writer or editor. Gunilla Lundahl has been in charge of exhibitions such as Modellen (The Model) and Ararat at Moderna Museet; Den naturliga staden (The Natural City) and Kvinnorum (Women’s Space) at the Architecture Museum; Himla skönt (So terribly lovely) for Riksutställningar (the Swedish Travelling Exhibitions). Her research includes projects around collective living and arts and crafts. In the beginning of the 1970’s she was a teacher at the Royal Institute of Technology. Books include: Hus och rum för små barn (House and Space for Small Children), 1995; Karaktär och känsla (Character and Feeling), 1999; Kontinuitet och förändring (Continuity and Change), 2011.
Palle Nielsen was born in 1942 in Copenhagen. He studied painting at the Royal Danish Academy of Fine Arts in Copenhagen from 1963 to 1967 and participated in several exhibitions while still a student. He concluded his education with employment with the municipal architects in a large suburb of Copenhagen where he designed and supervised the building of several playgrounds.
Nielsen participated in a series of urban actions in Copenhagen in the beginning of 1968 and later went to Stockholm to take part in the planning of Aktion Samtal (Action Talk). In July 1968 he received a grant from the Royal School of Architecture in Copenhagen to do research on the subject of “children and urban space” under the auspices of Professor Sven Ingvar Andersson in the department of Landscape Planning. This meant that, together with a group of friends in Stockholm, Nielsen could realize the exhibition Modellen. En modell for ett kvalitativt samhälle (The Model. A Model for a Qualitative Society) at Moderna Museet in Stockholm, October 1968.
In the beginning of 1969, ideas from the exhibition at Modern Museet were tested in a residential area in Västerås. The project was called Ballongen (The Balloon). Nielsen has done research on children’s play in urban space; he has studied pedagogy at the University of Copenhagen and taught the subject. He has been an architecture critic and has built playgrounds as an architect and designed ornamentation for public buildings. He has also worked for a long time as a supervisor for unemployed people in conjunction with large creative projects.
In 1998, Lars Bang Larsen brought to light documentation material from The Model (1968) which had been buried for 30 years in Nielsen’s home. Since then, this material has been shown in exhibitions in Europe and distributed through magazines and journals. In 2009 Nielsen donated the material to MACBA (Barcelona Contemporary Art Museum), where it was recreated visually and with sound; MACBA also published a book on The Model. The work was subsequently exhibited at the Biennial in Sao Paulo and in Paris. In 2009 Nielsen presented the piece, The Children’s Peace Square in Utrecht.
Erik Stenberg. Head of the Department of Architecture at KTH, has been engaged in the practice and politics of restructuring the large scale modernist housing areas in Sweden for the last decade. He has redesigned apartments, organized a housing fair, and started an introductory architecture school in Tensta—one of Stockholm’s largest modernist housing areas. Further, he has lectured extensively, led design studios, organized lecture series and held seminars focusing on interventions and strategies for repurposing the housing stock. He is currently in the early stages of planning an exhibit at the Swedish Museum of Architecture concerning the fourfold set of forces pressuring the Swedish post war housing areas: maintenance/renovation, integration/segregation, energy/sustainability and preservation/history.
Hito Steyerl. Filmmaker and writer. Written and visual essays about traveling images and their relation to spectacle, history and violence. Teaches New Media at University of Arts Berlin. Shows include dOKUMENTA 12, biennials in Shanghai, Gwangju, Taipeh, Berlin, Manifesta 5 and many other places. Steyerl has had solo shows at nbk Berlin and Henie Onstad Art Centre, Norway among many others. One of her favorite works is the thorough dismantling of the facade of the Linz Art School, a large Nazi building (2009) sitting on the city’s main square. Recent books include The Color of Truth 2008, Beyond Representation (forthcoming) and The Wretched of the Screen (forthcoming).
11.3, 12:00-17:00 Second Seminar
In 1968 artist and architect Palle Nielsen initiated The Model: A model for a qualitative society which was a playground for children installed at Moderna Museet as part of Action Talk, a series of urban events in Stockholm. Despite the fact that The Model became a legendary event at one of Sweden’s most prestigious museums, it has taken a long time for the project to find its way into the history books. The reasons for this delay is undoubtedly due to the project’s dual nature—a mix of artistic research and activism—as well as its collective character and deep roots inside Nielsen’s activist network.
With pivotal agents from The Model and Action Talk present, this seminar at Tensta konsthall will take up the project from the perspective of art and cultural history—looking at how as it was perceived at the time and in its historical context of 1968. The seminar also explores the question of how contemporary experience and theory can inform historical events, which are still important and timely for us today.
11.3 2012 Participants and program
12:00-12:30 Introduction by Maria Lind and Lars Bang Larsen
12:30-13:30 Palle Nielsen, initiator of The Model: A model for a qualitative society at Moderna Museet 1968. On The Model in his own words.
13:30-13:45 Coffee break
13:45-14:30 Gunilla Lundahl, co-organizer of The Model. On Action Talk and city activism in Stockholm.
14:30-15:15 Erik Stenberg, Dean of The Royal Institute of Technology in Stockholm and resident of Tensta from 1999-2011. On Tensta, the “Million Dwelling Programme” and the new satellite towns.
15:15-15:30 Coffee break
16:30-17:00 Visit to the “museum apartment” of Stockholm Stadsmuseum (The City Museum of Stockholm) furnished like when the first family lived here in 1969.
The Model and the City: A Seminar on Palle Nielsen’s project The Model (Moderna Museet, 1968) and Tensta is a collaboration between Tensta konsthall and The Royal Institute of Technology in Stockholm. It is part of The New Model and The Million Program c/o The Royal Institute of Technology.
With its starting point in this seminar, the project The Million Program c/o The Royal Institute of Technology will explore The Million Dwelling Programme from an architectural and historical as well as its current and future status.
2011– Lars Bang Larsen, Magnus Bärtås, Ane Hjorth Guttu, Dave Hullfish Bailey, Hito Steyerl. Started in 2011 at Tensta konsthall, over a period of two years, The New Model will investigate the heritage from The Model: A model for a qualitative society in a number of projects, seminars, workshops and exhibitions. Participants will include Lars Bang Larsen, Magnus Bärtås, Ane Hjorth Guttu, Dave Hullfish Bailey and Hito Steyerl.more →
The Fashion Project
14-24 June 2012 The Fashion Project with teenage girls exhibited at Kulturhuset. Location: Lava, Kulturhuset. Sergelstorg, entrance from Plattan. Opening Thursday 14 June 16:30–18:00.
Through screen prints, photography and written narratives a group of girls from Tensta employ and analyze the phenomenon of fashion. As a group they have used fashion as a means to explore collective identity and public space. With pastel colored flags and black masks the girls use these props to highlight their solidarity. They resemble an army, people demonstrating or a group on a mission.
From March 2012 In this project fashion is placed into a wider context, focused on identity and networking for women.more →
Our café serves food and sweets with inspiration from all over the world. We have free wifi for guests, toys for the children, and Swedish and international art magazines to read.
The café is run by XpandiaVision, a non-profit social company. All proceeds will be used to create new jobs and career development for people who stand outside of the labor market.
Dish of the day: 70 kr, salad and coffee included.
Monday- Tuesday 11-14
Ongoing Our café serves food and sweets with inspiration from all over the world. We have free wifi for guests, toys for the children, and Swedish and international art magazines to read.more →
In the spring of 2011 Konsthallsklubben (Gallery Club) was initiated by a group of 11 year-old girls from a nearby school. The club is aimed at children, 10-13 years old, who meet every Tuesday to discuss and make art together with invited artists and staff. Club activities are based in the konsthall but can also take place at other locations in Tensta. The Gallery Club also makes excursions to other parts of Stockholm for projects and activities. The participants themselves discuss and decide these activities and projects, which range from visits to exhibitions, film projects to building volcanoes.
Ongoing In the spring of 2011 Konsthallsklubben (Gallery Club) was initiated by a group of 11 year-old girls from a nearby school. The club is aimed at children, 10-13 years old, who meet once a week to discuss and make art together with invited artists and staff.more →
Gunilla Klingberg: Brand New View—Tensta
The work is part of Abstract Possible: The Stockholm Synergies that was exhibited at Tensta konsthall 12.1–22.4 2012. Brand New View—Tensta will be up as long as Abstract Possible is shown somewhere in the world, until 2014 www.abstractpossible.org.
Supported by FastPartner.
Ongoing Gunilla Klingberg’s work on the two front windows of Tensta Centrum, Brand New View—Tensta, is a new work in a series of installations with cut-out foil on windows. For Abstract Possible: The Stockholm Synergies she has made a new version of Brand New View, this time relying on logos found in Tensta Centrum, for example, the grocery store Matvärlden and the kebab restaurant Tasty Fried Chicken.more →
Wade Guyton: Untitled
The work is part of Abstract Possible: The Stockholm Synergies that was exhibited at Tensta konsthall 12.1–22.4 2012. www.abstractpossible.org.
Ongoing The floor in Tensta konsthall's exhibition space is a work by New York based artist Wade Guyton. The very means of artistic production—particularly painting—are the focus of many of his works. Untitled (2010) is a remake of the floor in Guyton’s former studio space.more →
Tommy Støckel: Workshop with Ross Tensta Gymnasium and KTH Tensta
In Tommy Støckels (Copenhagen/Berlin) artistry, crafts and science, speculation and optical phenomenons are joint together. Most of the materials he use can be purchased from shops where you can by stationary supplies or material for various crafts. Paper, cardboard, foam and glue are put together in industrious production processes carried out by hand. The same materials and methods were put to use in the workshop with its young participants. Their assignment was to create an exhibition that was adapted to the specific sight. All aspects should be considered carefully, nothing should be left to chance or be temporary. The theme of the exhibiton is abstraction and the students chose to make an abstraction of the world.
The workshop was carried out during Abstract Possible: The Stockholm Synergies, where Tommy Støckel partook with the piece In My Mind This Goes On Forever (2012).
Ongoing The results from the workshop that the artist Tommy Støckel held in December 2011, together with students from Ross Tensta gymnasium and KTH Tensta in conjunction with Tensta konsthall are exhibited in Ross Tensta Gymnasium’s conservatory. The workshop was carried out during Abstract Possible: The Stockholm Synergies, where Tommy Støckel partook with the piece In My Mind This Goes On Forever (2012).more →
Space is Tensta konsthall’s curatorial platform online. Since 2012 it has featured works by The Haircut Before The Party, Priscila Fernandes, Lawrence Abu Hamdan, Liz Magic Laser and Andrew Norman Wilson. Space is curated by Laurel Ptak.
Bag is tenstakonsthall.se's file sharing hub-as-journal. Browse content, place files into your bag and download to your desktop.
Infra is a visual account of the changing infrastructures that underpin the art world in general and Tensta konsthall in particular, designed by Metahaven.
Spatial Concept: Nikolaus Hirsch
Ongoing The spatial concept for the new Tensta konsthall has been developed by architect Nikolaus Hirsch. Architect Filippa Stålhane has developed the details.more →
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Title: Selected Maria Lind Writing
Price: 150 kr
Editor: Maria Lind
Writers: Beatrice von Bismarck, Ana Paula Cohen, Liam Gillick,
Publisher: Sternberg Press
Title: Contemporary Art and its Commercial Markets: A Report on Current Conditions and Future Scenarios
Price: 200 kr
Editors: Maria Lind, Olav Velthuis
Writers: Stefano Baia Curioni, Karen van den berg/ursula pasero, Isabelle Graw,
Goldin+Senneby, Noah Horowitz, Suhail Malik/Andrea Philips, Alain Quemin, Olav Velthuis
Publisher: Tensta Konsthall, Sternberg Press
Title: No is Not an Answer: On the Work of Marie–Louise Ekman
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Editors: Tone Hansen, Maria Lind
Writers: Silvia Eiblmayr, Maria Lind, Kalliopi Minioudaki, Katarina Wadstein Macleod
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Title: Undoing Property?
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Editors: Laurel Ptak, Marysia Lewandowska
Writers: Agency, David Berry, Nils Bohlin, Sean Dockray, Rasmus Fleischer, Antonia Hirch,
David Horvitz, Marysia Lewandowska, Mattin, Open Music Archive, Matteo Pasqyinelli, Clair Pentecost, Laurel Ptak, Florian Schneider, Matthew Stadler, Marilyn Strathern, Kuba Szreder, Marina Vishmidt
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Title: Cluster: Dialectionary
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Editors: Binna Choi, Maria Lind, Emily Pethick, Nataša Petrešin-Bachelez
Writers: Can Altay, Ayreen Anastas, Rene Gabri, Ricardo Basbaum, Céline Condorelli, Mark Fisher, Nina Möntmann, Rebecca Gordon-Nesbitt, Elain W.HO, Annette Krauss, Mattin, Marion Von Osten, Andrea Phillips, Dimitriana Sevova, Simon Sheikh and Steven ten Thije
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Title: Art and the F Word: Reflections on the Browning of Europe
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Editors: Maria Lind, What How & for whom/WHM
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Writers: Lawrence Abu Hamdan, Petra Bauer, Sofia Wiberg, Barnabás Bencik, Boris Buden,
Maria Lind och Tensta konsthall, Jelena Vesic´, What How & for Whom/WHM
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Writer: Alexander Provan
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Title: Standard Length of a Miracle
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Writer: Jonas Hassen Khemiri
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Title: No Exceptions
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Writer: Mikael Löfgren
Publisher: Nätverkstan Skriftseerie 008
Tensta konsthall’s cafe is situated in the entrance hall and, since 2016, has been managed by Auel Coffee –a local, family-owned business with three brothers in the lead. Auel is Tigrinja for the day’s first cup of coffee, and it’s this very coffee that has become Auel’s speciality. The aromatic coffee beans are roasted according to Ethiopian traditions, and the hot beverage is served in clay cups. The beans, directly imported from Ethiopia, are fair trade and organic.
The konsthall cafe serves tasty salads, soups, and East African dishes, and there are always vegetarian and vegan options. The cafe area, with free Internet service, also functions as a meeting place for individuals, groups, and organizations and as a workplace.
On the last Sunday of every month, Auel hosts the konsthall’s vegan brunch. For more info and reservations please contact Samuel Berhane at 076-597 39 09 or firstname.lastname@example.org
Cafe opening hours:
163 04 SPÅNGA
Tensta konsthall is a private foundation organization with number: 802409-6110.
Free entrance. Voluntary donation.
We do custom tours for elementary school to high school aged groups. Pre-booked tours during the day for schools are free. The tour takes about 50 minutes.
Tensta konthall offers guided tours of current exhibitions for large groups such as arts organizations, businesses or private groups. Tours are offered in Swedish and English. Cost is 2000 SEK + voluntary entrance donation. Length is about 50 minutes and maximum number of participants is 30.
In conjunction with tours our Café can offer light meals and snacks at good prices.
For reservations and more information about tours contact Emily Fahlén email@example.com or 08-36 07 63.
Take the blue line metro towards Hjulsta (line 10) and get off at Tensta. The ride takes about twenty minutes from Stockholm's Central Station (T-Centralen). At the metro station in Tensta, take the rear exit called ”Spånga kyrka / Tensta Centrum / Tenstastråket”. Once you have left the station through the ticket barrier, there are two possibilities to get to Tensta konsthall: Use the lift on your right hand side down to Taxingeplan. Tensta konsthall is located about 20 metres on your right. Or leave the metro station on your left hand side, take the first left again (immediately in front of the public toilet). Go down the wooden stairs. Tensta konsthall is located directly on your right.
Fahyma Alnablsi, host
fahyma (at) tenstakonsthall.se
Emily Fahlén, mediator
emily (at) tenstakonsthall.se
Ulrika Flink, assistant curator + press
ulrika (at) tenstakonsthall.se
Asrin Haidari, communication + press
asrin (at) tenstakonsthall.se
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Maria Lind, director
maria (at) tenstakonsthall.se
Hedvig Wiezell, producer
hedvig (at) tenstakonsthall.se
Qaisar Mahmood (head of board)
Tensta konsthall is supported by Stockholm City, Swedish Arts Council, Stockholm County Council
Abstract Possible: The Stockholm Synergies Artist Lectures
19.1, 18:30 Doug Ashford
Talk by teacher, artist and writer Doug Ashford. Ashford is Associate Professor at The Cooper Union for the Advancement of Science and Art in New York City where he has taught design, sculpture and theory since 1989. His principle art practice from 1982 to 96 was as a member of Group Material and since that time he has gone on to make paintings, write and produce independent public projects.
9.2, 18:30 Wade Guyton
Wade Guyton’s black painted wooden floor functions as an abstract pedestal for many of the works in the exhibition Abstract Possible: The Stockholm Synergies. At the same time, the floor becomes an enormous monochrome painting, partaking in a somewhat daunting tradition. The very means of artistic production, particularly painting, are the focus of many of Wade Guyton’s works. Standardized procedures such as printing with basic commercial printers have been appropriated in order to generate paintings where the mechanical meets the incidental with wrinkles, blurbs and other “errors”, not unlike in any office environment. Guyton also collaborates with Kelley Walker as Guyton/Walker, whose work has been shown at the Venice Biennale in 2009. He is also a member of the publishing and performance collective Continuous Project. Next year Whitney Museum of American Art in New York will present a solo exhibition with Guyton.
15.3, 18:30 Mai-Thu Perret
Mai-Thu Perret’s work combines radical feminist politics with utopian literary texts, homemade crafts and 20th century avant-garde aesthetics. Her striking wallpaper is covering parts of both Tensta konsthall’s exhibition space and a seminar room at the Center for Fashion Studies, Stockholm University. Forming an important part of Abstract Possible: The Stockholm Synergies the wallpaper harks back to the origin of abstract art, to the textiles with abstract patterns that the constructivist Varvara Stepanova made in Moscow in the 1920s. Geneva-based Perretʼs most recent solo exhibitions have been at Mamco, Geneva; Aargauer Kunsthaus, Aarau; and Le Magasin, Grenoble.
24.3, 14:00 Walid Raad
As a part of Abstract Possible: The Stockholm Synergies, artist Walid Raad (Beirut/New York) speaks about his practice. Lebanon’s recent history is at the core of Raad’s multi-layered and now classic work, The Atlas Group Archive (1989–2004). As in other works, he uses facts as a starting point—historical, sociological, economic, emotional and aesthetic facts—claiming that some facts can only be experienced in fiction. Raad is Associate Professor of art at Cooper Union in New York, is 2011 recipient of the Hasselblad Award, with recent solo exhibitions at the Whitechapel Gallery in London and Kunsthalle Zurich.
12.4, 18:30 Sven Lütticken (critic and theorist)
What are the tangible symptoms of abstraction in today's economic and social life—and in artistic production? Building on Lütticken’s text "Living With Abstraction" this talk will draw on lessons from the ongoing European and global crisis for the aesthetic economy in which we labor. Lütticken teaches art history at VU University Amsterdam. He regularly publishes critical essays in various journals, magazines and catalogues, and is the author of Secret Publicity: Essays on Contemporary Art (2006) and Idols of the Market: Modern Iconoclasm and the Fundamentalist Spectacle (2009). Currently he is in the process of completing his new book, History in Motion. He is the curator of the exhibitions Life, Once More: forms of reenactment in contemporary art (Witte de With, Rotterdam, 2005) and The Art of Iconoclasm (BAK, Utrecht, 2009). Currently he is doing a public research project on Louise Lawler's A Movie Will Be Shown Without the Picture for If I Can't Dance (Amsterdam).
Readings in Arabic
Wednesday 2.3, 14:12
Wednesday 23.3, 14:12
Thursday 14.4, 14:12
Thursday 21.4, 14:12
Standard Length of a Miracle is a mutating retrospective by Goldin+Senneby. Over the past ten years, the Stockholm-based artist duo has explored virtual worlds, offshore companies, withdrawal strategies, and subversive speculation. In a unique and subtle way, they combine artistic practice, financial theory, and performative methods, which are sometimes borrowed from the world of magic. The retrospective will be presented as installations and performances at Tensta konsthall as well as at other places not primarily associated with contemporary art. Stockholm School of Economics, the Third Swedish National Pension Fund, the Financial Supervisory Authority, the clothing store A Day's March, Cirkus Cirkör, and the historical art museum Prince Eugen’s Waldemarsudde all serve as stages for reactivations of Goldin+Senneby’s oeuvre from the past ten years.
On view at Tensta konsthall is a new work developed in collaboration with the writer Jonas Hassen Khemiri. Khemiri’s meta-fictional response to Goldin+Senneby’s ten-year practice will be read out loud at the konsthall every day at 14:12. In the short story The Standard Length of a Miracle, the narrator changes his name to Anders Reuterswärd, hoping to increase his chances of getting hired at a konsthall. At a brisk pace without punctures or breathing space, the reader gets thrown into a stream of consciousness where all associations are equally important. The short story’s monologue is connected to the installation of an oak in the gallery space. Khemiri’s short story was published 10.1 in Dagens Nyheter. Link to the novel.
Lecture: Futures Lag: The Material Political Economy of High-Frequency Trading by Donald MacKenzie
presentation will cast doubt on those assumptions by delving into the material underpinnings of the financial system: underground cables, microwave towers, computer data centres, and the like. The main example he will give is the single historically most important technique of prediction, known to those involved as ‘futures lag’, and his central argument will be that to understand today’s financial system we need a ‘material political economy’ that gives equal weight to all three words. Donald MacKenzie is a Professor of Sociology at the University of Edinburgh. His current research is on the sociology of financial markets, and he is focusing in particular on research on automated high-frequency trading. As part of the exhibition Standard Length of a Miracle by Goldin+Senneby.
Laura Oldfield Ford
In a large number of paintings, drawings, and collages, she shows us that the suburbs are self- medicating. Saccharine clouds of hot pink hover over motorways and living rooms at the edges of the city—a testament both to the quiet desperation of Austerity-England and to the new ideologies emerging at the liminal zones of the commuter belt. Oldfield Ford’s practice is broadly based in psychogeography, a mode of thinking, mapping, and activating the city with roots in the Marxist situationism of the 1950s and Baudelaire’s notion of the flaneur, to dérive, to drift through urban landscapes and discover by subconscious impulses. However, the London that emerges through Oldfield Ford’s works is not arbitrary or lacking in focus. From 2005-2009, she published Savage Messiah, a series of writings and collages each inspired by a different London postcode. Thinking through the notion of hauntology, she refutes the pervasive narratives of gentrification in order to emphasize the histories that still remain, that are uncooperative and resistant to erasure. Late modern housing complexes, decaying shopping arcades, and underground passes are collaged onto one another and paired with found texts or Oldfield Ford’s own writing to reveal an alternative city of specters beneath the surface.
If contemporary times demand clarity, orderliness, transparency, and intelligibility, then New Vision calls for other possibilities. The abstract image and the state of vagueness suggest viewpoints and speculations that are seldom given room in the public debate. Reflections, refractions, and opacities are brought to the foreground, as the penetrating light that creates clarity and, often, a sense of control fades into the background. New effects and meanings arise in the in-between spaces. What and how we see is not a given law of nature but rather a continuing mediation. Since the age of the Enlightenment, light has stood as a metaphor for the rational and the disambiguating society, for pure reason. However, with colonial schemes in hindsight, a necessity develops to examine these metaphors anew. To distrust the gaze. To adjust the lens. In New Visions, appearances are of a vacillating nature: challenging, ambiguous, but visually visionary.
Participating: Rana Begum (Sylhet/London), Nadia Belerique (Toronto), Monir Farmanfarmaian (Teheran), David Maljkovic (Zagreb), Philippe Parreno (Paris), Adam Pendleton (New York), Yelena Popova (Moscow/Nottingham)
Goldin+Senneby - Standard Length of a Miracle
On view at Tensta konsthall is a new work developed in collaboration with the writer Jonas Hassen Khemiri. Khemiri’s meta-fictional response to Goldin+Senneby’s ten-year practice will be read out loud at the konsthall every day at 14:12. In the short story The Standard Length of a Miracle, the narrator changes his name to Anders Reuterswärd, hoping to increase his chances of getting hired at a konsthall. At a brisk pace without punctures or breathing space, the reader gets thrown into a stream of consciousness where all associations are equally important. The short story’s monologue is connected to the installation of an oak in the gallery space. The oak will function as a meeting place for discussions and seminars during the exhibition period, and, as the carpenter Moa Ott takes on the tree, new furniture will be produced around it. The tree refers to an oak that occurs in Khemiri’s text and also to the surrealist George Bataille’s secret society Acépahle, which is said to have gathered around an oak tree in the late 1930s. Acéphale—Greek for headless—has long been of interest to the artist duo and figures in their multi-year project Headless. Khemiri’s short story was published 10.1 in Dagens Nyheter. Link to the novel.
The clothing line Anders Reuterswärd, developed in collaboration with Behnaz Aram, fashion and costume designer, will be on view in the entrance. The materials for the clothes originally come from garments left behind at dry cleaners around Stockholm. The clothing line will be worn by the konsthall’s staff during the exhibition as a new conceptual uniform. It will also be available for sale in the clothing store A Day’s March, located at Kungsgatan 3 in Stockholm. The clothes are inspired by Reuterswärd’s quest to leave his job at the dry cleaner in order to focus on an artistic career. The artists have registered Anders Reuterswärd as a trademark at the Swedish Patent and Registration Office. The clothes will be accompanied by a new soundtrack composed by the musician Zhala, using sound recordings from dry cleaners.
Economic and financial structures govern our lives increasingly. But, for most people, terms such as repo rates, tax havens, and derivatives are abstract and difficult to grasp. The artistic practice of Goldin+Senneby masters economic strategies and thus punctures the idea that this kind of knowledge is too complex to acquire. Instead of rejecting the financial sector, the artist duo borrows market-inspired methods in order to infiltrate and illuminate the consequences of our late capitalist system and its neoliberal approach. The retrospective highlights the precarious labor market of our time, the increased commercialization of the art world, and the new all-time highs and stock market crashes within financial economics.
Standard Length of a Miracle is a mutating retrospective, meaning it will appear in different forms in different cities. The first, in Stockholm, activates Goldin+Senneby’s history thorough connections between their works and various institutions and activities in the city. Additional mutations are scheduled for Brisbane, Paris, and New York.
Part of the exhibition is Goldin+Senneby’s research project at the Royal Institute of Art in Stockholm, which is presented through the magic show On a Long Enough Time Line The Survival Rate for Everyone Drops to Zero (2015) and the magic box Zero Magic (2016).
New Visions, a group show of wall-based works, is shown collaterally at Tensta konsthall. It features work by the artists Rana Begum, Nadia Belerique, Monir Farmanfarmaian, David Maljkovic, Philippe Parreno, Adam Pendleton, and Yelena Popova. The exhibition is curated by Maria Lind in accordance with Goldin + Senneby’s desire to create a dialogue with their new works at Tensta konsthall.
This exhibition is part of the joint project (whw (Zagreb), LCCA (Riga) This Is Tomorrow. Back to Basics: Forms and Actions in the Future, realized with support from the European Union Programme Creative Europe.
With support from ABF Stockholm. Thanks to Michael Storåkers Collection, Kadist Art Foundation, Brödernas Snabbtvätt, Lars Torvaldsson, Matilda Kästel, Pontus Stråhle, and Nathalie Gabrielsson.
With organizational funding from the Swedish Art Council, the Stockholm County Council, and the Stockholm Municipality.
The Third AP Fund
Opening hours: Monday-Friday, 09:00-17:00
Money Will Be Like Dross (2012)
An alchemist’s oven from the Nordic Museum’s collections is one of few remaining artifacts from the alchemist and mineralogist August Nordenskiöld’s secret laboratory at Drottningholm Palace from the 1780s. Gustav III established the laboratory in the greatest secrecy and hired Nordenskiöld to produce gold in order to finance Sweden’s expanded military and war against Russia. However, Nordenskiöld was driven by a different, utopian agenda. He wanted to produce enough gold for it to completely lose its fictitious value. This would stop the “monetary tyranny” and thus make mankind more receptive to the spiritual world. As devotee supporter of the scientist and theologian Emanuel Swedenborg, Nordenskiöld believed that the true jewels of life were God’s message of love and a society shouldering its social responsibilities.
Money Will Be Like Dross (2012), Manual
With Kunstgiesserei (material research), Daniel McClean (legal adviser), Johan Hjerpe (designer)
This manual provides the owner with a license to reproduce an unlimited number of alchemical ovens similar to the one that belonged to August Nordenskiöld. The manual is available in a numbered but unlimited edition. For each sold manual, the price of the edition will increase, and hence it will be significantly more expensive to contribute to a decrease of the unique work’s value. It is precisely the notion of the unique art object that is the gold mine of today’s increasingly commercialized art world. Money Will Be Like Dross plays with the mechanics that govern how value is created and changes over time.
Stockholm School of Economics
Opening hours: Monday-Friday 09:00-17:00
Zero Magic (2016)
Malin Nilsson (magician), Théo Bourgeron (finance sociologist), Kevin Keener (patent attorney), Johan Hjerpe (designer), Moa Ott (carpenter). A magician creates illusions, making us see things that don’t exist, that are not really happening. The word magic originates from magush (Persian), meaning “to be able” or “to have power.” In Zero Magic, the magic trick takes place at the financial market. Goldin+Senneby have infiltrated a secretive hedge fund in the US and recreated its short selling practices, i.e. financial maneuvers used to sell shares that you don’t own. They have, in collaboration with the magician Malin Nilsson and finance sociologist Théo Bourgeron, developed a magic trick for the financial market that has the capacity to influence the estimation of a company’s value and to profit from this. The magic box contains the props and equipment needed to perform these financial manipulations and also historical references to other controversial magic tricks performed offstage, in real life.
Banca Rotta (I Dispense Divide Assign Keep Hold) (2012)
With Anna Heymowska (set designer). Banca Rotta is a money changer’s table from the 1600s that the artists have had sawn in half. The word bank derives from the Old Italian word for these tables, “banca” (comparable to bench in English). When a money changer in Florence went bankrupt, his trading table was destroyed—“banca” became “banca rotta,” broken bench.
Financial Supervisory Authority
Opening hours: Monday-Friday 09:00-17:00
The Decapitation of Money (2010)
Angus Cameron (Human Geographer), Anna Heymowska (set designer), KD (fictional author), Kerwin Rolland (sound designer), John Hjerpe (graphic designer), Alexandre Guirkinger (photographer). In The Decapitation of Money (2010), we find ourselves in a spatial installation in two parts. One is a reconstruction of the lobby at the Russian-owned bank BCEN (EUROBANK), also known as VTB Bank. Behind a physical table and two comfortable leather armchairs is a backdrop with an extension of the room, including more furniture and an unmanned reception desk. During the first years of the Cold War, Soviet banks started to deposit US dollars in BCEN, with its headquarter in Paris. The Soviet State was concerned that the US would freeze their dollar reserves, but, through BCEN and a loophole in French law, the Soviets managed to create a new currency: the “Eurodollar,” named after the telex address of the bank “eurobank.” Eurodollars are dollars outside the control of the Federal Reserve. They thus break the historical connection between money and the sovereign state, something Goldin+Senneby’s spokesperson Angus Cameron refers to as a “decapitation of money.” Money is beginning to flow beyond the control of states and territorial boundaries. Money creates its own territory: the “offshore.”
The back of the backdrop displays the second part of the installation: a map of the Marly Forest outside Paris where the surrealist George Bataille’s secret society Acéphale met in 1937 to commemorate the murder of Louis XVI. Acéphale appropriated the form of a fascist cell but with the aim of creating an anti-fascist mythology. Some years after the meetings in Marly Forest, George Bataille published La Part Maudite (The Damned Part) (1949) in which he argues that all human societies are characterized by waste. When an economic structure is no longer able to use its accumulation for growth, the surplus has to be used in a non-productive way, otherwise the entire system will collapse. However, for Bataille, the waste is not necessarily a bad thing, as a fascination with man’s self amusement often occurs in his writings. It’s only when you sacrifice a piece of yourself and indulge in others, taking part in movements like Acéphale, religious rituals, or erotic pleasures, that glimpses of true ecstasy can be perceived.
The Decapitation of Money connects Acéphale’s mysterious meeting in the Marly Forest with the introduction of the euro dollar. Goldin+Senneby suggest that Bataille’s secret society might have something in common with strategies for withdrawal employed by offshore companies. Is the void into which offshore companies’ money “disappears” part of the excessive luxury consumption that Bataille predicted in La Part Maudite?
A Day’s March
Mon–Fri 11–18:30, Sat 11:00-17:00, Sun 12:00–16:00
Anders Reuterswärd (2016)
With Jonas Hassen Khemiri (writer), Behnaz Aram (costume designer), Purple Rose (tailoring), Mehrdad Arta (designer), Zhala (musician). The collection Anders Reuterswärd will be on sale in the clothing store A Day’s March at Kungsgatan 3 in Stockholm. The collection is developed in collaboration with fashion and costume designer Behnaz Aram and is based on Jonas Hassen Khemiri’s short story The Standard Length of a Miracle, which will be read out loud at Tensta konsthall every day at 14:12. The short story throws the reader into a voluble stream of consciousness in which the narrator changes his name to Anders Reuterswärd, hoping to leave his job at the dry cleaner and make an artistic career. Aram let herself be inspired by this striving motion and Reuterswärd’s desire to re-create himself. The material in the collection originally came from forgotten garments gathered at dry cleaners around Stockholm. Aram designed a new conceptual uniform by deconstructing and re-sewing the clothes.
Prince Eugen's Waldemarsudde
Prins Eugens väg 6
Opening hours: Tuesday-Sunday 11:00-17:00, Thursdays until 20:00
A3 The plot (2015)
Pamela Carter (playwright), Johan Hjerpe (designer), Moa Ott (carpenter), Natali Hallberg (scenic artist)
A3 The Plot is a 1:10 scale stage model visualizing a tiny piece of real estate in Kent that Goldin+Senneby acquired. Accompanying the model are the artists’ title deed and a screenplay written by Pamela Carter. Carters text is a dramatization of the land area’s changing ownership from Roman times to today. If the work of art is sold, the ownership of the real estate will be assigned to the buyer, which adds an extra scene to the drama. Commissioned by StoreyG2, Lancaster. An open collation of the script will be held at 18:00 on 14.4 with the actor Hamadi Khemiri.
Not Approved (2011)
With the County Administrative Board of Skåne, Stockholm, and Värmland. These landscape photographs were taken by different Swedish bureaucrats. The work departs from a reform implemented by the EU in 2003. The reform released agricultural subsidies from production, which changed the farmer’s role from someone who produces food to someone who offers an open agricultural landscape. The images in the series were taken in order to make an aesthetic assessment of the quality of the landscapes provided by the farmers. The photographs show a selection of landscapes that fail to meet the aesthetic standards of EU funding.
After Microsoft (2007)
After Microsoft revisits the site of Windows XP’s default computer wallpaper Bliss, a green hill with blue sky and clouds that is the most distributed image ever. The original photo was taken by the National Geographic photographer Charles O’Rear, who sold it to the picture agency Corbis. From there it was picked up by Microsoft, which was attracted to the image’s bright green and blue colors. O’Rear claims that the photo was never digitally manipulated. The intense green color was due to the fact that the vines which usually cover the hill had been temporarily replaced by grass because of a phylloxera invasion. When Goldin+Senneby returned to the hill in Sonoma Valley, California, the vineyards were back, and a gray cloud covered the drab vines. The production of After Microsoft coincided with Bliss being phased out as the default image of Windows XP. The work is presented in the form of a still image with a 3-minute-long voice-over.
11.5, 12.5, 19:00
On a Long Enough Time Line the Survival Rate for Everyone Drops to Zero (2015)
With Malin Nilsson (magician) and Théo Bourgeron (sociologist of finance). The magician Malin Nilsson will perform a magic show at Circus Cirkör in dialogue with the work Authority Zero Magic, on view in the library at Stockholm School of Economics. On a Long Enough Time Line the Survival Rate for Everyone Drops to Zero (2015) invites the audience to participate in a financial magic trick. The payment of the ticket also functions as an investment in a “short sale campaign,” i.e., the selling of borrowed shares against a listed company. The show will make the audience aware of the implications of the financial position they have bought in to. The speculation/trick will also be placed in a historical context, among other illusionists who used their practices for political purposes outside the scene, so-called “conspiracy magic.”
The Royal Institute of Art
The Royal Institute of Art creates conditions for artistic investigations with experimental methods. Since 2010, Goldin+Senneby holds a practice-based PhD position at the Department of Fine Arts—the first doctoral service of its kind at the school. In their work, Goldin+Senneby consistently use artistic methods in order to renegotiate academic protocols. One example is the requirement of singular authorship, a solid subject, which is something completely absent for Goldin+Senneby. For their 25% seminar, they hired the management consultancy Aliceson Robinson (former McKinzey & Co.) to compile an interim report based on interviews with fifteen persons that the duo worked with the previous year (but not the artists themselves).
Nor is the dissertation a dissertation in the traditional meaning of the term. The artistic research of Goldin+Senneby will instead be presented through the magic show, On a Long Enough Time Line the Survival Rate of Everyone Drops to Zero (2015). The show will be performed at Cirkus Cirkör 11.5 and 12.5. Research will also be presented through the magic box Zero Magic (2016) on view at the library of Stockholm School of Economics.
The disputation will take place 12.5 in Muralen at the Royal Institute of Art. Manuel Borja-Villel, director of Museo Reina Sofía, Madrid will act as opponent.
Magic Show: Goldin+Senneby
The audience is invited to participate in a financial magic trick. The tickets for the show offer an opportunity to invest in a “short selling campaign” against a publicly traded company. ”Short selling” is a way of profiting from loss: Making money if and when the target company looses in value. The show will make the audience aware of the implications of the financial position they have bought in to. The financial magic trick Zero Magic (patent pending) has been developed together with sociologist of finance Théo Bourgeron.
On a Long Enough Timeline the Survival Rate for Everyone Drops to Zero was initially produced for Checkpoint Helsinki (2015) and is now presented for the first time in Sweden as part of the retrospective exhibition Goldin+Senneby: Standard Length of a Miracle organized by Tensta konsthall
The magic show also constitutes one part of the artistic dissertation ”Zero Magic: Shifting the Valuation Convention” at the Royal Institute of Art in Stockholm. Simon Goldin (as part of Goldin+Senneby) defends the PhD on 12.5 at 1-4pm in “Muralen” at the Royal Institute of Art. Manuel Borja-Villel, director of Museo Reina Sofía, Madrid will act as opponent.
Malin Nilsson is a magician based at the Skillinge Theatre in Sweden. She has been touring in Spain, Portugal, Germany, Great Britain and Australia and given more than hundred shows at the world famous Magic Castle in Hollywood. Malin is fequently operating as a magic consultant and she has collaborated with Goldin+Senneby since 2011.
“Goldin+Senneby define themselves as a ‘collaborative framework exploring juridical, financial, and spatial constructs.’ The elusiveness of this description is somehow apt. Since 2004, when Simon Goldin and Jakob Senneby started working as a duo, they have speculated around the layering of contemporary economics, analyzing and employing different dimensions of financial markets. Their collaborative strategies have shaped a withdrawn approach wherein the artists are akin to puppeteers; their productions mostly comprises choreographing the labour of others.”
— João Laia, Frieze, 2013
Lecture: Council: Our institutional experimentations
Since its beginning, Council has developed their methods through three research-based projects: Tacet or the Infinite Ear (Sharjah/New York/Bergen, 2013–2016), The Manufacturing of Rights (Beirut, 2014–2015), On Becoming Earthlings (Paris, 2015), all of which take on fundamental questions about what it means to be human. The projects have explored respectively the modern concept of hearing, the construction of "nature" in law, and the measures of the anthropocene, the geological age in which man have had the highest impact on the Earth and its climate.
A council practices the art of assembling people in order to decide how to act for themselves and for those they represent. Councils are common to different cultures around the world, and are practiced at different levels of society - the family, trade unions, states, militant groups, businesses, and religious communities. Shared by all, council is an activity from which new forms of political representation may emerge.
Just as Goldin+Senneby infiltrate and imitate financial structures, the art institution Council borrows the form of the framework that they are investigating. In this lecture, Castera and Terdjman will reflect on their work with Council using specific questions and concepts that are also present in Goldin+Senneby’s artistic practice. As part of the exhibition Standard Length of a Miracle by Goldin+Senneby.
For more info: www.formsofcouncil.org
In collaboration with Royal Institute of Art.
Art and Literature walk
As part of Tensta Museum Continues.