A visual account of the changing infrastructures that underpin the art world in general and Tensta konsthall in particular. Created by Metahaven. Today: acne
Today: Meron Mangasha & Senay Berhe. Blått blod (Blue blood), 2013. Space is Tensta konsthall's curatorial platform online.
File sharing hub-as-journal. Browse content and place files into your bag. Check boxes and click save to download. Content suggestions welcome at laurel [at] tenstakonsthall.se.
On View Tensta Museum: Reports from New Sweden
Thursday 24.4, 14:00 and
Saturday 26.4, 14:00
Tour by mediator Emily Fahlén and
host Masha Taavoniku Tensta Museum: Reports from New Sweden
18.1–18.5 2014 Tensta Museum: This Spring´s Program
Lördag 26.4, 15:00 Tensta Museum: Architect Erik Stenberg shows apartments in Tensta
Sunday 27.4, 14:00–17:00 Tensta Museum: Kurdish Sunday Poetry
with Kurdish Association Spånga
Sunday 27.4, 14:00–18:00 Tensta Museum: Aktion Arkiv 2 at Glömmingegränd
26.2–18.5 Tensta Museum: Artoteket
Borrow art at the Library
26.4–27.4, 12:00–17:00 Vegan brunch
What does art mediation do? A series of seminars
Tensta museum: Tour Stockholm City Museum Museum apartment in Tensta
2.12 2013–18.5 2014 Branch of Tensta Museum at the Museum of Medieval Stockholm with Bernd Krauss and Nina Svensson
15.11 2013–18.5 2014 Branch of Tensta Museum at the Stockholm City Museum with Katarina Kundgren
Branch of Tensta Museum at the Museum of Medieval Stockholm
2.12 2013–18.5 2014 Branch of Tensta Museum: Reports from New Sweden at the Museum of Medieval Stockholm with Tensta Travsällskap, an art project by Bernd Krauss and Nina Svensson. Tensta Travsällskap was founded in 2013 to draw attention to and develop the relationship between the residential area of Tensta and the Swedish Trotting Association, historically and today.
Historically, before the mass housing reforms of the late 1960s, the farms of Tensta served as pasture for the horses of Solvalla during the summers. Tensta Travsällskap today seeks to reconnect Solvalla and the Swedish Trotting Association in all the ways that the members of the association wish.
So far, Tensta Travsällskap has done guided walks and visits on the racing track of Solvalla, given courses that include contact with horses, a day of competitions at Taxingeplan in front of Tensta konsthall, field trips to Bergsåker with students from the Skvadern gymnasium and the twin town of Sundsvall, a trip to Jakobsstad in Finland with a local trotting tour, and a visit to the stables of horse owner Kjell Svarvar. The society is open for everyone and welcomes all forms of collaboration that support the interests and goals of Tensta Travsällskap.
Saturday 12.4, 14:00 2014 The artists Bernd Krauss & Nina Svensson present their project Tensta Horse Racing Society. At the Museum of Medieval Stockholm.
2.12 2013–18.5 2014 Branch of Tensta Museum: Reports from New Sweden at the Museum of Medieval Stockholm with Tensta Travsällskap, an art project by Bernd Krauss and Nina Svensson. Tensta Travsällskap was founded in 2013 to draw attention to and develop the relationship between the residential area of Tensta and the Swedish Trotting Association, historically and today.more →
Spring Department Tensta Museum
18.1–18.5 2014 Tensta Museum: Reports from New Sweden is about history and memory in Tensta, both in relation to the place and to the people who live and work there. Some forty artists, architects, local associations, performers, sociologists, cultural geographers, philosophers, and other practitioners address the past in artworks, research projects, seminars, and guided walks. And it is through this that they simultaneously report on the condition of Tensta today as a concrete image of what can be described as the New Sweden — a Sweden that must be understood very differently from how it was several decades ago. This is a Sweden containing people of vastly different backgrounds, where economic and social divides are intensifying. According to a new report by the Organisation for Economic Cooperation and Development, of all of the 34 member states of the OECD, income gaps in Sweden are increasing the most rapidly. In their contributions to Tensta Museum, some of the invited participants will also be looking forward and proposing future scenarios.
Tensta is an unusually multi-faceted and complex place. Its most tangible feature is a large, late modernist housing area built in 1967–72 as part of the Million Programme. Nearly six thousand dwellings share space with iron-age graves, rune stones, one of the Stockholm region’s oldest churches from the 12th century, a famous baroque chapel, and a former military training area from the early 20th century which is now a protected nature reserve. Around 19,000 people live in Tensta today, and roughly 90% have a trans- local background, many from the Middle East and North Africa. This means that the collective memory of Tensta splits at numerous angles; it also means that tensions and conflicts erupt around questions of “whose history?” and “whose heritage?” Tensta Museum: Reports from New Sweden also touches upon the concept of cultural heritage and the complicated matter of how it is used in Sweden and elsewhere in Europe today.
Just as the struggle for collective memory can be liberating, it can also exclude certain people and even lead to war. A preoccupation with the past is fundamentally ambivalent. And yet it is impossible to deny the close bonds between a new “respect” for history – both real and imaginary – and the sense of belonging, collective consciousness, memory, and identity promised by shared memory. With the concept of “cultural heritage” as a thematic point of departure, Tensta Museum: Reports from New Sweden examines what it actually means when the public debate concerning memory and history is replaced by a preoccupation with memory and “heritage.” This is also a question of what happens when parties in general – and the extreme right-wing in particular – claim rights of interpretation over the idea of national heritage. The symposium, Cultural Heritage: a treasure in search of a value, addressed this question and took place at Tensta konsthall March the 7th, 2013, in cooperation with Stockholm City Museum, as a part of Tensta Museum: Reports from New Sweden. The symposium was curated by the philosopher, Boris Buden from Zagreb and included Francoise Vergès, professor at the Center for Cultural Studies, Goldsmiths College, who talked about the purpose of cultural heritage from a post-colonial perspective; Owe Ronström, professor of ethnology at the University College of Gotland, who discussed the cultural heritage situation in Sweden; and Eszter Babarczy, associate professor at Moholy-Nagy University of Art, Budapest, who discussed the cultural strategies of the right wing in Hungary.
Tensta Museum: Reports from New Sweden offers a richly contrasting patchwork stretching across seven months in which manifold interests and expressions together form a narrative of a new Sweden – its past, present and a possible future. For this reason, Tensta konsthall is “playing museum” in order to lend authority to a discussion of history, and also to underline the need for stability and continuity in the Tensta Konsthall Foundation. Since the gallery was founded in 1998 it has been run more as a project than as an institution. Tensta Museum: Reports from New Sweden contains a model of a 1969 brutalist pavilion in Newcastle which has been remixed by Thomas Elovsson and Peter Geschwind into something between a spacecraft and a ruin, and moved to Tensta. A long- term collaboration on the politics of listening between the artist Petra Bauer and the political scientist, Sofia Wiberg, in collaboration with, among others, the Tensta-Hjulsta Women’s Centre, is presented in the form of a room and a series of acts. Here questions concerning housing and housing conditions are central; they comprise a red thread running through several of the exhibition’s projects.
During the autumn 2013, The Silent University, initiated by artist Ahmet Ögüt, was established in Stockholm. It is an alternative knowledge platform run by and for asylum-seekers, refugees and migrants without documents who have degrees from their home countries but no opportunity to apply their knowledge in Sweden. The project aims at reactivating this silenced knowledge, thereby exposing a systematic failure to take advantage of valuable knowledge and experience. The art collective Järva Project will present an aquarium and a video using documentary film methods to investigate the relationship between fauna and sub- urbs, nature and the built environment. The work concerns a rare and protected fish, the Stone Loach, which lives in the overgrown stream running through the nature reserve Järvafältet on the edge of Tensta. Researchers at the Swedish Museum of Natural History have given the Stone Loach a decisive role in city planning, and even inputting a stop to the exploitation of the Järva fields during the 1990’s building boom. In cooperation with the Spånga Local Heritage Society and the Local History Society, a selection of photographs of Tensta from their collection will be presented. The photos were taken prior to the start of the so-called Million Dwelling Programme.
A mini-exhibition with art that reflects late modern housing areas confirms the great interest artists have shown in the subject since the 1990s. On Wednesdays, open tours will be given of the “model apartment” in Tensta, a museum situated in the middle of an ordinary block of flats. A visit there entails time-travelling back to late 1960’s Tensta: the apartment is a reconstruction of the Artursson family’s dwelling as it was when they moved there in 1969 as one of the first families to live in the newly-built district.
Meron Mangasha and Senhay Berhe’s Blue Blood, a tribute to an underground train in words and moving images, will be shown at www.tenstakonsthall.se/ space. Other projects will take place at, for example, the library in Tensta, where during the spring it will be possible for library card holders to borrow art. In conjunction with Ross Tensta Gymnasium’s 30th anniversary in 2014, four works from their historical art collection will be shown as part of Tensta Museum: Reports from New Sweden. Among the works is a sketch by Carl Larsson for a wall painting in Norra Latin, one of Tensta gymnasium’s predecessors in Stockholm. During the exhibition period, Tensta Library will have a branch with children’s literature and books on local history in the gallery. Tensta Museum hosts a full programme that includes historical walks, seminars with people who experienced early Tensta and on the large international – but now forgotten – housing conference that book place in Tensta in 1989. There will also be a lecture by the cultural geographer Irene Molina on the increasing ethnic and socioeconomic segregation visible in Tensta and in other Million Programme areas.
Branches of Tensta Museum can be found at the Stockholm City Museum, where the artist Katarina Lundgren presents a new work based on Granholmstoppen on the Järva Field, and at the Museum of Medieval Stockholm where the artists Bernd Krauss and Nine Svensson show Tensta Horse Racing Society. During the period 16.12. 2013–6.2. 2014 Tensta Museum: Reports from New Sweden will take parts of the exhibition to Galerija Nova in Zagreb, where they will be included in Beginning as Well as We Can: How Much Fascism Can We Take, a collaboration between Tensta konsthall, WHW Zagreb, and Grazer Kustverein, Graz. Participants in Tensta Museum on the Move include Petra Bauer, Thomas Elovsson & Peter Geschwind, Järva Project, Livstycket, Meron Mangash & Senay Berhe and Adam Taal.
Four texts specially written for Tensta Museum, which may be found at www. tenstakonsthall.se/bag, Historien om Tensta konsthall (The Story of Tensta konsthall) by Jan Ekman; Tensta – en plats som ständigt ska bli batter (Tensta – A place that is constantly going to be better) by Emma Holmqvist; Mamsell Josabeth Sjöberg by Lawen Mohtadi and Kulturarv (Cultural Heritage) by Boris Buden. Tours of Stockholm City Museum’s model apartment at Kämpingebacken, on Wednesdays at 14.00 (meet at Tensta konsthall). Introduction to Tensta Museum, Reports from New Sweden, on Thursdays and Saturdays, 14.00.
In cooperation with: ABF (Workers’ Educational Association), Tensta Library, Ross Tensta Gymnasium (upper secondary school), Stockholm City Museum, the Museum of Medieval Stockholm, Eggeby Farm, Friends of Helga Henschen, The Royal Institute of Technology, Architecture in Tensta, The Institution of Contemporary History, Södertorn University and the Stockholm Association of Architects.
18.1–18.5 2014 Participants: Lawrence Abu Hamdan, John Akomfrah, Marwa Arsanios, Tarek Atoui, Petra Bauer & Sofia Wiberg i samarbete med Kvinnocenter i Tensta-Hjulsta & Filippa Ståhlhane, Sabine Bitter & Helmut Weber, Hans Carlsson, Thomas Elovsson & Peter Geschwind, Fernando Garcia Dory & Erik Sjödin, Barakat Ghebrehawariat med Revolution Poetry: Yodit Girmay-Abraha, Grand Domestic Revolution med Åsa Norberg & Jennie Sundén, Dominique Gonzalez-Foerster, Heidrun Holzfeind, Järvaprojektet, Kurdiska föreningen Spånga, Lisa Kings, KTH arkitektur Ross Tensta Gymnasium, Behzad Khosravi Noori & René León Rosales, Konsthallsklubben med Anisa Omar & Bilan Rage, Brita Landoff, Katarina Lundgren, Helena Mattsson & Meike Schalk, Irene Molina, Marion von Osten, Viktor Rosdahl, Ross Tensta Gymnasium med Axel Fahlcrantz, Carl Larsson, Veronica Nygren, Torsten Renqvist, Solmaz Shahbazi & Tirdad Zolghadr, Spånga Fornminnes och, Hembygdsgille, STEALTH.unlimited & Peter Lang, Adam Tensta, Florian Zeyfang, Lisa Schmidt-Colinet & Alexander Schmoeger, Ahmet Ögüt.
Tensta Museum: Reports from New Sweden is about history and memory in Tensta, both in relation to the place and to the people who live and work there. Some forty artists, architects, local associations, performers, sociologists, cultural geographers, philosophers, and other practitioners address the past in artworks, research projects, seminars, and guided walks. And it is through this that they simultaneously report on the condition of Tensta today as a concrete image of what can be described as the New Sweden — a Sweden that must be understood very differently from how it was several decades ago. This is a Sweden containing people of vastly different backgrounds, where economic and social divides are intensifying. According to a new report by the Organisation for Economic Cooperation and Development, of all of the 34 member states of the OECD, income gaps in Sweden are increasing the most rapidly. In their contributions to Tensta Museum, some of the invited participants will also be looking forward and proposing future scenarios.more →
This Spring´s Program
18.1–18.5 2014. Program for Tensta Museum: Reports from New Sweden. Tensta Museum: Reports from New Sweden is about the history and memories of Tensta, both in relation to the place and to the people who live and work there. Over forty artists, architects, local associations, performers, sociologists, cultural geographers, philosophers, and others address the past in, for example, art works, research projects, seminars, and guided walks. At the same time they will be reporting on the condition of things in Tensta today, on what can be described as the “new Sweden.”
Thursdays and Saturdays, 14:00 introduction to the exhibition. Wednesdays, 14:00 Visit the Stockholm City Museum’s museum apartment, from 1969, at Kämpingebacken 13, in one of the Million Program houses in Tensta. Meet at Tensta konsthall.
In collaboration with ABF.
Saturday 18.1 14:00 Opening – Maria Lind, director, welcome speech. – Speech by the democracy advocate Barakat Ghebrehawariat with Revolution Poetry: Yodit Girmay-Abraha. – The artist Katarina Lundgren introduces her project, Artificiella höjder. – High school students and members of Konsthallsklubben Anisa Omar and Bilan Rage present the video Vårt Tensta. – Binna Choi, director at Casco in Utrecht, presents on the Grand Domestic Revolution Library. – Zozan Bozarslan tells about growing up in Tensta and what the Kurdish context in Tensta have meant – The filmmaker Brita Landoff remembers Tensta gymnasium during the 1980s, when her film Bland svartskallar och blekfisar was made. – The architects and researchers Helena Mattsson, Meike Schalk, and Sara Brolund Carvalho introduce Aktion Arkiv, a documentation initiative about regeneration projects in for example Samverkansprojektet Tensta 1989–1995 by Loggia arkiteter AB / architect Ylva Larsson. – The architects STEALTH.Unlimited & Peter Lang along with participants in the Royal Institute of Art’s course Urban Re-mix talk about Haunted by the Shadows of the Future: ARTEFACTS and about the presentation in Stockholm City Museum’s museum apartment in Tensta. – Visit to the museum apartment. – Open café with hot dishes, sandwiches, and pastries.
Sunday 19.1 12:00 Tour of the Stockholm City Museum’s museum apartment by guides from the museum. Meeting point at Kämpingebacken 13, tickets 100 kr. 2 pm: The artists Lawrence Abu Hamdan, Fernando Garcia Dory, and Erik Sjödin present their work in Tensta Museum. Binna Choi, director at Casco in Utrecht and artist Åsa Norberg presents The Grand Domestic Revolution Library.
Wednesday 22.1 18:30 Students from KTH in Tensta present a project based on The Traffic Administration Office’s photographs from Tensta, 1966–77. In collaboration with KTH in Tensta.
Thursday 23.1 13:00 Tour of Spånga kyrka, one of the oldest stone buildings in the Stockholm area. In collaboration with Spånga församling.
Sunday 26.1 12:00 Tour of the Stockholm City Museum’s museum apartment by guides from the museum. Meeting point at Kämpingebacken 13, tickets 100 kr. 12:00–17:00 Vegan brunch in the café. 14:00 Students from KTH in Tensta present a project based on The Traffic Administration Office photographs from Tensta, 1966–77. In collaboration with KTH in Tensta.
Thursday 30.1 10:00–14:00 Act 3 of Rehersals, a project by Petra Bauer & Sofia Wiberg in cooperation with Kvinnocenter in Tensta-Hjulsta: The language of movements with the choreographer Stina Nyberg.
Saturday 1.2 15:00 Artist Peter Geschwind presents the installation Time Space Shuttle (Apollo Pavilion), which is a part of Tensta museum.
Sunday 2.2 14:00 Architect Ylva Larsson lectures under the title “Tensta united action–a united action that turned into popular education that turned into a popular movement–until it came to a sudden stop and the work was put on ice–in “hibernation” it turns out–maybe”.
Wednesday 5.2 18:30 The urban historian Håkan Forsell presents a lecture entitled “From city life to lifestyle—housing and urbanity during one century.”
Sunday 9.2 14:00 Peter Lang, professor in architectural theory at the Royal Institute of Art, with participants from the course Haunted by the Shadows of the Future– Tensta Apartment Workshop, organizes a “listening and watching session” based on audio from the time period around the creation of the residential area of Tensta. The audio is played on a reel tape recorder and slides are shown on an old projector. Followed by a discussion. In cooperation with the Royal Institute of Art.
Wednesday 12.2 18:30 Tom Avermaete, professor at the Faculty of Architecture of Delft University of Technology, gives a lecture on “Norms and Forms of the Public Spaces in Late Modern Housing Estates.” The lecture addresses norms and forms in late modernist housing projects’ public spaces, with examples from France and other countries. Is it possible to create radically new public spaces and common spaces? In cooperation with Swedish Association of Architects.
Saturday 15.2 15:00 Helga/Rebella, a program about Helga Henschen, the artist behind Tensta’s subway station, in words, images, and in music followed by a tour of the Tensta subway station with Kent Malte Malmström as cicerone. The tour takes about 45 minutes. In copperation with Helga Henschens Vänner.
Tuesday 18.2 10:00–14:00 Act 4 of Rehersals, a project by artist Petra Bauer & political scientist Sofia Wiberg in cooperation with Kvinnocenter in Tensta- Hjulsta: The politics of emotions, Petra Bauer and Sofia Wiberg. 18:00 Lecture by The Silent University at ABF-huset. TBC.
Wednesday 19.2 18:30 Conversation between the documentary filmmaker Brita Landoff and headmaster Sofie Nyström about Ross Tensta gymnasium over the past 30 years. In cooperation with Ross Tensta gymnasium.
Thursday 20.2 18:00 Artist Katarina Lundgren talks about the project Stockholms tippar och toppar, which in November 2013 inaugurated Tensta Museum’s branch at Stockholm City Museum. At Stockholm City Museum.
Saturday 22.2 15:00 Helena Mattsson, Meike Schalk, and Sara Brolund de Carvalho present Aktion Arkiv in Tensta.
Sunday 23.2 12:00–17:00 Vegan brunch in the café. Lecture with Rohat Alakom: “When Sweden became the land of the Kurds– An afternoon about Kurdiska Föreningen Spånga’s history.” In collaboration with Kurdish Association Spånga.
Wednesday 26.2 16:30–19:00 Opening of Artoteket, the lending system for newly created artworks with Hans Carlsson. About the art and the welfare state at Tensta bibliotek.
Sunday 2.3 14:00 Artist Behzad Khoosravi Noori present the video Incandescence, a portrait of Megafonen.
Wednesday 5.3 17.30–19:30 Aktion Arkiv arranges a witness seminar about an international housing conference held in Tensta in 1989. Participating, among others, will be architect Rod Hackney and organizer Erol Sayin who were both participating in workshops in Tensta in 1989. The moderators are Helena Mattson and Meike Schalk. In collaboration with The Institute of Contemporary History, Södertörn University, Stockholms Arkitekter and KTH School of Architecture.
Sunday 9.3 14:00 Art and asylum rights activism, a seminar connected to The Silent University, an autonomous knowledge platform for undocumented migrants, refugees, and asylum seekers initiated by the artist Ahmet Ögüt.
Tuesday 11.3 18:00 Lecture by The Silent University at ABF-huset. TBC.
Wednesday 12.3 18:00–19:00 Study group with Hans Carlsson: The art and the welfare state at Tensta bibliotek. A part of Artoteket, lending system of newly created artworks.
Sunday 16.3 14:00 Under the title “The city now and then: Planning and ideology in Stockholm and Leningrad/St. Petersburg,” sociologists Lisa Kings and Zhanna Kravchenko lecture on similarities between two cities operating under different societal systems.
Tuesday 18.3 10:00–14:00 Act 5 of Rehersals, a project by artist Petra Bauer & political scientist Sofia Wiberg in cooperation with Kvinnocenter in Tensta- Hjulsta: Everyday community, KITH.
Wednesday 19.3 18:00–19:00 Study group with Hans Carlsson: The art and the welfare state at Tensta bibliotek. Part of Artoteket, a lending system of newly created artworks.
Thursday 20.3 13:00–17:00 Tea and coffee Salon with Women´s Center in Tensta-Hjulsta at Stockhom City Museum. 18:30 Screening of The Stuart Hall Project, John Akomfrah. In collaboration with Cinemafrica.
Sunday 23.3 14:00 Celebration of Newroz (new year’s) with Kurdish Association Spånga at Tensta konsthall.
Wednesday 26.3 18:30 Spånga Fornminnes- och Hembygdsgille presents and discusses “Tensta before the million program,” based on their archive of photographs.
Saturday 29.3 15:00 Artist Marion von Osten presents In the Desert of Modernity—Colonial Planning and After.
Sunday 30.3 12:00–17:00 Vegan brunch in the café. 14:00 Architects STEALTH.Unlimited & professor of architectural theory Peter Lang lead a seminar about future scenarios in Tensta.
Sunday 6.4 14:00 Author Johanna Langhorst talks with the art center’s mediator Emily Fahlén about her book Förortshat (2013). In cooperation with Tensta bibliotek.
Tuesday 8.4 18:00 Lecture by The Silent University at ABF-huset. More information coming soon.
Wednesday 9.4 18:00–19:00 Study group with the artist Malin Holgersson. The group is part of Artoteket, a lending system of newly created artworks. For more info, and to sign up: firstname.lastname@example.org.
Wednesday 9.4 18:30 Professor of Social and Economic Geography, Irene Molina; “What happens when welfare is replaced by oppression?– The role of politics in processes of segregation in Sweden,” part 2.
Thursday 10.4 15:00 Tour of Spånga kyrka, one of the oldest stone buildings in the Stockholm area. In cooperation with Spånga församling.
Saturday 12.4 14:00 Artists Bernd Krauss & Nina Svensson present their project Tensta Travsällskap, which in December 2013 opened Tensta Museum’s branch at the Museum of Medieval Stockholm.
Wednesday 16.4 18:30 Lecture by artist Heidrun Holzfeind, participant in Tensta Museum with three films and a lecture performance called “Have you ever killed a bear? Or Becoming Jamila" by artist Marwa Arsanios. In collaboration with the Royal Institute of Art.
Saturday 26.4 15:00 Architect Erik Stenberg shows apartments in Tensta that were built according to his blueprints. In collaboration with KTH School of Architecture. Meet at Tensta konsthall.
Sunday 27.4 14:00–16:00 Tour at Glömmingegränd, where Ylva Karlsson talks about and displays collaborative projects at Glömmingegränd (1989–1995). 16:00–18:00 Screening and coffee and pastries at Glömmingegränd’s community room “Familjeboet,” with Ylva Larsson of Loggia arkitekter AB, Helena Mattson, Meike Schalk & Sara Brolund Carvalho from Aktion Arkiv, and other guests. 12:00–17:00 Vegan brunch in the Tensta konsthall café.
Tuesday 29.4 17:00–19:30 Open house at Ross Tensta gymnasium. Screening of Brita Landoff’s film, Bland svartskallar och blekfisar, in the auditorium. 10:00–14:00 Act 6 of Rehersals, a project by the artist Petra Bauer & political scientist Sofia Wiberg in collaboration with Kvinnocenter in Tensta- Hjulsta: Earthly explorations, Hong-Kai Wang. 18:00 Lecture by The Silent University at ABF-huset. TBC.
Thursday 8.5 18:00 Aktion Arkiv arranges the debate, “The Struggle of the space at ABF-huset.” From the 1990s, a series of important new projects were created through the suburban project. But at the same time several free meeting places disappeared or were commercialized. The debate invites representatives from different citizen initiatives that were active then and today, as well as from the ’60s and ’70s, to discuss the struggle of the space.
Friday 9.5 15:00 Walk in Tensta, focusing on older history. With archeologist Barbro Århem. Meet at Tensta konsthall. In collaboration with Stockholm City Museum.
Saturday 10.5 13:00 Tea and coffee salon with spring market. In collaboration with Women ́s Center in Tensta-Hjulsta.
Sunday 11.5 14:00 Walk in Tensta, with a focus on the million program’s exteriors. With architect Erik Stenberg. Meet at Tensta konsthall. In collaboration with KTH School of Architecture.
Tuesday 13.5 18:00 Lecture by The Silent University at ABF-huset. TBC.
Friday 16.5 15:00 Art and literature walk in Tensta. Meet at Tensta konsthall. In collaboration with Tensta bibliotek.
18.1–18.5 2014. Program for Tensta Museum: Reports from New Sweden. Tensta Museum: Reports from New Sweden is about the history and memories of Tensta, both in relation to the place and to the people who live and work there. Over forty artists, architects, local associations, performers, sociologists, cultural geographers, philosophers, and others address the past in, for example, art works, research projects, seminars, and guided walks. At the same time they will be reporting on the condition of things in Tensta today, on what can be described as the “new Sweden.”more →
Guided tours every Thursday and Saturday at 14:00.
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.less ←
Guided tours every Thursday and Saturday at 14:00.more →
26.2–18.5 Artoteket, the lending system for newly created artworks with Hans Carlsson. About the art and the welfare state at Tensta Library.
Konstfrämjandet (the Promotion of Art) took the first step towards spreading out via libraries and gradually the Artotek 73 model was developed. Forty graphics were the made available for borrowing at some fifty libraries in Sweden, amongst others, the library in Tensta.
Tensta Museum presents Artotek, a contemporary platform for borrowing art and public meetings. During February-May 2014 it is possible to borrow art at Tensta Library for everyone with a library card from Stockholm Municipal Library. Ten artists (Sarah Degerhammar, Ingrid Furre, Torsten Jurell, Lise Haurum, Malin Holmberg, Anna-Lena Jaktlund, Sofia Kråka, Sanna Marander, Carl-Johan Rosén and Claes Tellvid) have contributed work that in diverse ways relates to the concept of the library.
There is even an opportunity for those interested to join a study circle, “Art and the People’s Home”, which will meet at Tensta Library during the Artotek period. Artotek will follow up the concept of outreach art and problematise the bio- polical ambitions of the library and the people’s home. The project will also look at what conversations and encounters can arise in the borderland between different cultural spheres and in the intersection between art and mediation. In collaboration with Konstfrämjandet.
Sarah Degerhammar & Mira Eklund Without title, soundtrack on mp3 player.
Sarah Degerhammar and Mira Eklund present a table conversation between an unknown number of participants. The conversation can be experienced at the loan taker’s kitchen table. The thematic is the memory process as a strategy for resistance and a way to change the past. The work evokes questions around “private history writing” and how we write and establish our own history. This sound play/meeting/conversation is made for a normal sized kitchen table, which is also the setting of the original recording. Consequently, the listener becomes a natural participant in the meeting.
Sarah Degerhammar has a perfomance-based practice. She has in different works questioned who has access to the public realm, often in relation to the power structures emerging from a capitalistic society. Degerhammar was in 2008 one of the founders of the artist collective TIR, a group dealing with and mediating collective experiences of violence. Degerhammar initiated Jordbro stadsteater – en manifestation för det gemensamma (Jordbro city theater – a manifestation for the common), a demonstration that, among other things, thematized and discussed the selling-out of the public sphere.
Mira Eklund is educated at Dramatiska Institutet (Stockholm academy of Dramatic Arts) and Kungliga konsthögskolan (The Royal Institute of Art). She works with questions around sound and how it affects memory, perception, the body, and the consciousness. Eklund makes music under the pseudonym Lux Lumen. She is also working as an actor, and is part of the artist collective TIR.
Ingrid Furre Without title, sculptures in different materials.
Ingrid Furre's sculptures are made in conversation with bugs. The work takes domestics things, and the creatures in your home, as a point of departure. Furre's artistic practice exists on the border between the visible and the things we recognize from our everyday life. Furre has most recently exhibited at Skissernas Museum in Lund, the art program at the Stockholm Music and Arts festival (operated by Tensta Konsthall), and at gallery Dan Gunn in Berlin. Furre is currently working and living in Malmö and Stavanger.
Torsten Jurell 14 stationer på Hjulstalinjen (14 stations on the Hjulsta line), potato prints.
In the 1830s, the Japanese artist Ando Hiroshige created the wood print series Tokaido Gojusana Tsugi-no Uchi (53 Stations on the Tokaido Road). Torsten Jurell has with his potato print series 14 stationer på Hjulstalinjen (14 Stations on the Hjulsta line), depicted 14 metro stations on the blue metro line, leading from central Stockholm to the northern suburbs, including Tensta. The blue line goes from Stockholm's administrative and representative center to the housing project area of the '70s (the million program). It was, when it opened, the result of a huge urban investment. The establishment of the public libraries, however, was in fact there prior to the metro system.
Jurell's practice covers a broad artistic field. His work, which often has a historical dimension, deals with contemporary political issues. Jurell has made sculptures in different materials, reliefs, paintings, embroideries, graphical prints, photographs, installations and video works. Since 1976, Jurell has exhibited frequently. His works are included in private as well as public collections in Europe, China, and The United states.
Lise Haurum Mörk materia (Dark matter), box with objects, text and image material.
To draw on paper. She is as in the text. Black on White. She lives in the rain forest. A forest that is the spadework to the paper where She is now. The tapir is there on the paper. In a world of paper a grey sky is drawn with graphite. The rain is drawn with ink. Blue ink. Cobalt-blue. A deep sea where an octopus is swimming around with rain substance in a sack close to the stomach. The ink is the substance of the octopus. The ink is the text's substance. Both of them can serve as a defense. Both of them can emerge in unexpected shapes. In the sea the ink becomes a elusive history, against blue back ground. On the paper the ink becomes a permanent story.
Primarily, Lise Haurum works with the sea, text, and nature. Her work is influenced by natural science and she uses its methods in her work. By interfering with different mediums and techniques, she creates narratives that together constitutes a larger whole.
Anna-Lena Jaktlund Wind situation (Stockholm County, Monday June 3rd 2013 at 3 pm), sound installation, box with CD, 2014.
“A 7-second tone is followed by a 14-second pause, then a new tone, new pause, a pattern repeated during two minutes. After a longer break (approximately 90 seconds) one can hear the 30-second ‘danger over’ signal.”
The alarm, once signalizing war and disaster, is now captured by a public armed with smart phones. The warning system, spread out all around Stockholm, is shown in Anna-Lena Jaktlund's project by topological as well as audio-visual information. A sound piece made with 50 individual smart phone recordings.The recordings are made simultaneously with the recurring test of the Swedish public warning and information system VMA, “important message to the public.” The sound image in Jaklund's piece has got its spatial form from the positions of each individual recorder.
North, south, east, west. Wind situation can be borrowed from the library in a wood box made by matches. “Tutet på min gata” (The nozzle on my street), the book that comes with the match box, presents photographs of the VMA system, operated by Stockholm county's fire force. The pictures are taken from computer screens, showing graphical maps of the VMA system.
Anna-Lena Jaktlund lives and works in Stockholm. In her pracitce she investigates how energy and information intervenes and how mediated information could be experienced intuitively. Jaktlund has exhibited in Sweden and Norway, at art venues such as Konsthall C, Pannrummet, Spanska Institutet (The Spanish institute) in Stockholm, Botkyrka konsthall in Tumba, Tensta Träff in Tensta, Edsvik Konsthall Öst in Sollentuna, and at Galleri Fisk in Bergen.
Sofia Kråka Säg det igen: återskapad manifestation ursprungligen gjord av Biblans Hjältar (Say it again reenactment of a manifestation made by the organization Biblans Hjältar (The library heroes)), notebook, 2014.
The Art library Artoteket at Tensta public library is situated in a library space. It is today one of the few remaining sites where we can spend time without being forced to consume. It is also a place for gatherings, for many lives, stories, and cultures.
The libraries in Nacka outside of Stockholm have gone through great changes: they have become privatized, as contracted by tender or staff cooperatives. The privatization has been discussed as a threat. It is said that the libraries should not be profiled and adapted to the loan statistics. In 2011, on May 23, at 5.30 pm, a group of several organizations gathered outside the city council in Nacka. In the spirit of literature, they carried out a manifestation together, reading out loud from a novel of choice. The politicians passed this library poetry on their way to a meeting where the future of the public library should be discussed. During the opening of Artoteket in Tensta, the manifestation will be re-enacted. The occasion will be photographed and later included in Artoteket. The photo will be put in a notebook where everyone can share their toughts on the library.
Sofia Kråka lives and works in Stockholm. She works with space, and our place and movements in rooms. Kråka is a student at the Masters program, Art in the Public Realm at Konstfack (University College of Arts, Crafts and Design) in Stockholm.
Sanna Marander Walking in a title, walking shoes, 2014.
the support system provides optimal shock absorption strategically placed units enable specific functions and positions the system lends stability throughout enhances comfort reduces weight decreases characteristics retaining the structural integrity provides a drier environment discrete, independently placed tension naturally rolls towards the inside
Sanna Marander uses writing as a way to explore artistic methods and practices. During the last year she has through a number of works colaborated with Niklas Tafra. She has also worked with other artists. Marander has presented her work at venues including Monderna Museet in Stockholm, Gallery Invalien! In Berlin, and Gavle konstcentrum and at Ex3 in Florence.
Malin Holmberg Tillfälligt boende (Temporary living), Installation with boxes, 2013.
The piece Tillfälligt boende (Temporary living) is a spatial installation made out of seven boxes, placed inside each other, and a transport cart. The boxes should be treated with care and be put inside a dry domestic environment. It could be useful to have two people while loading, transporting, and unpacking. The procedure can be perceived as heavy. When unloading, the boxes should be carefully opened and placed on the floor. The inside of the boxes is a kind of painting, and together the boxes create a larger whole. The innermost box should and can not be opened, instead you have to press the button to listen. A piece of advice is to listen to the whole story, as a kind of performance. If one likes the work, it can remain standing on the floor during the rest of the time of the loan period, as a kind of scenography.
Grandeur, precense, movement, limits, and slowness are important aspects of Malin Holmberg's art. She often works with space, and her paintings move between the canvas and the room, but also between the abstract and the depicting. Sometimes her works contain texts. Holmberg has shown her work at Skissernas museum in Lund, Plattform 79 in Berlin, Wij trädgårdar in Ockelbo, Grafikens hus in Mariefred. In Wanås sculpture park she has carried out the permanent work Jag ska aldrig sluta älska dig (I will never stop loving you) as a permanent installation.
Carl-Johan Rosén I speak myself into an object, computer program as book, 2013.
The book I speak myself into an object is also a computer program by the same name. They contain each other. The book contains the computer program as text spread over its pages. The computer program contains the book as the potential result of its process: when the program is run it lays out its own code as a book.
Apart from giving form to and presenting the code/text, the program creates all paratext including the list of contents, pagination, cover, and references. The references are code libraries written by others that I speak myself into an object builds on. The book contains six such reference libraries presented in binary form (as columns of black and white pixels) in the final part of the book.
Carl-Johan Rosén works with digital units. He explores what it can mean to exist as a digital body and as a software process, perceiving the world through electronic cycles and binary computer flux.
Claes Tellvid All that Kierkegaard really wanted, book object, Søren Kierkegaard's collected woks in 15 volumes and a lashing strap with a screen printed text, 20,8 × 57 × 14 cm, 10,95 kg. The text on the lashing strap is a quote from Boris Groys: ”All that Kierkegaard really wanted was to sleep with Regina Olsen, and thereby be happy,” 2013.
This is possibly a conceptual work. It is not, however, an attempt to assault the book or literature as such. In the work there is nothing of the eager for destruction, so often occurring in the conceptual art of the '60s and '70s. As for example when John Latham distilled and bottled a collection of essays by the art historian Clement Greenberg. Or as when the Swiss Dieter Roth made sausages out of the collected works of Hegel. How the loan taker chooses to engage with the Kierkegaard work is his or her own buisness: it can be used both for aesthetic contemplation as well as for reading as usual. Some modest philosophical questions could be asked: what makes the artist create? Is the art work a defeat, turned to its opposite by the artist? Is it only unhappy people who can make art? If this work carries with it a touch of irony, the irony is not directed towards Søren Kierkegaard but Boris Groys, and his aggravated, categorical statement.
Claes Tellvid was primarily working as an illustrator, closely tied to Sune Nordgren and the publishing house Kalejdoskop. Together with, among others, Mats B. and Begnt af Klintberg he has performed classical fluxus work, most recently in 1980 at Göteborgs konsthall. Tellvid is since 2011 active in Salong Material, an initiative by Johanna Gustafsson Fürst and Liv Strand, with participating poets, visual artists, and others. 2012 Tellvid showed his art in the exhibition Nya böcker och bilder (New books and pictures) at OEI Colour Project.
26.2–18.5 Artoteket, the lending system for newly created artworks with Hans Carlsson. About the art and the welfare state at Tensta Library.more →
Branch of Tensta museum at Stockholm City Museum
15.11 2013–18.5 2014 Branch of Tensta Museum: Reports from New Sweden at Stockholm City Museum, Katarina Lundgrens project Stockholm’s Tips and Tops. Lundgren’s work concerns alternative narratives, in the present case, Stockholm’s tips/tops, which were the results of the modern city planning programme in the city centre and suburbs during the spring 1950 -80.
Hökarängs top is one of the three Högdals tops, which consist of demolition remains after the massive transformation of central Stockholm and the Klara quarter. Järva Field contains Granholmstop which was constructed from material left over from the building of Tensta and the Tensta Underground. Together with other constructed tops runs an alternative and parallel narrative on the city’s growth and what has become of what there was before. Today these compose a borderland between nature and culture, overgrown parks, neat frisbee golf courses and potential skiing facilities.
15.11 2013–18.5 2014 Branch of Tensta Museum: Reports from New Sweden at Stockholm City Museum, Katarina Lundgrens project Stockholm’s Tips and Tops. Lundgren’s work concerns alternative narratives, in the present case, Stockholm’s tips/tops, which were the results of the modern city planning programme in the city centre and suburbs during the spring 1950 -80.more →
Stockholm City Museum museum apartment in Tensta
Wednesdays, 14:00 Tour of the Stockholm City Museum museum apartment in Tensta. What did people's homes in Tensta look like in 1969? Every Wednesday, a guided tour of the Stockholm City Museum museum apartment in Tensta will be held. It's a reconstruction of the Artursson family's apartment as it looked then in the newly built neighbourhood. Meet outside Tensta konsthall for the tour.
The City Museum’s model apartment in Tensta is located in one of Svenska bostäder’s properties on Kämpingebacken 13, just north of Tensta Centre. The apartment, consisting of three rooms and kitchen, is a period document from the 1960s, illustrating what it looked like during the time that the Artursson family, with three children, lived there. Assisted by the mother, Irene Artursson, the apartment has been re-created as it was, with the old kitchen cupboards, wallpaper and interior decoration. Even the stairway has beenreconstructed in its original form, with period spatter- paint decoration.
The Tensta apartment is one of a series of model apartments in Stockholm that show us how people in Stockholm lived during different periods of time. The apartment in Tensta was opened in conjunction with the Housing Fair in 2006. The apartment is typical for the Million Dwelling Programme – well- planned and adapted to modern ways of living. The apartment functions as both a museum and a meeting place.
Wednesdays, 14:00 Tour of the Stockholm City Museum museum apartment in Tensta. What did people's homes in Tensta look like in 1969? Every Wednesday, a guided tour of the Stockholm City Museum museum apartment in Tensta will be held. It's a reconstruction of the Artursson family's apartment as it looked then in the newly built neighbourhood. Meet outside Tensta konsthall for the tour.more →
Tour by Erik Stenberg
Lördag 26.4, 15:00 Architect Erik Stenberg shows apartments in Tensta that were built according to his blueprints. In collaboration with KTH School of Architecture. Meet at Tensta Konsthall.
Tensta was planned and built over a ten year period, during the same years as the Million Dwelling Programme was being carried out. The general plan for the district was adopted in 1965 and the underground train was opened in 1975. Between these years, 5600 flats with accompanying social facilities were completed. More than 20 building companies were involved in building Tensta. In 1969, at Uppingegränd, Ohlsson and Skarne built a number of flats using their pre-fabricated building system, S66.
Together with Thomas Sandell, erik stenberg re-designed one of these flats and in 1999 Stenberg himself moved into it. This is when it was discovered that from the start, the flats were designed to be re-built and adapted to a future society. The floor plans of S66 are flexible in that, for example, the bearing unit is a pillar and the dividing walls, piping are grouped towards the stairwell and the inside walls are moveable.
Erik Stenberg, architect and 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 lived in Tensta for twelve years.less ←
Lördag 26.4, 15:00 Architect Erik Stenberg shows apartments in Tensta that were built according to his blueprints. In collaboration with KTH School of Architecture. Meet at Tensta Konsthall.more →
Kurdish Sunday Poetry
Sunday 27.4, 14:00–17:00 Kurdish Sunday Poetry with Kurdish Association Spånga. Historical background and readings.
One of Tensta’s most active groups is the Kurdish Association. About 1500 Kurds live in Tensta and the association provides a meeting place for many of them, as well as for others. In cooperation with Tensta Konsthall, the association will present and discuss their history. Materials such as films, photography and publications from various projects and activities is shown as a part of Tensta Museum’s spring department (18 January – 18 May). The history of the Kurdish Association Spånga is not only about their own activities, but also about the history of Kurdish migration to Sweden. This history, in turn, reflects both Swedish post-war migration policy and political events around the world.less ←
Sunday 27.4, 14:00–17:00 Kurdish Sunday Poetry with Kurdish Association Spånga. Historical background and readings.more →
Aktion Arkiv 2
Sunday 27.4, 14:00–18:00 Aktion Arkiv. Tour and screening with stories surrounding the planning and living at Glömmingegränd in the past and today. With the architect Ylva Larsson and Helena Mattsson, Meike Schalk & Sara Brolund Carvalho from Aktion Arkiv.
14:00–16:00 Tour at Glömmingegränd, where Ylva Karlsson talks about and displays collaborative projects at Glömmingegränd (1989–1995). Meet outside Tensta konsthall. 16:00–18:00 Screening of the film "TENSTA samverkan och förändring" and coffee and pastries at Glömmingegränd’s community room “Familjeboet,” with Ylva Larsson of Loggia arkitekter AB, Helena Mattson, Meike Schalk & Sara Brolund Carvalho from Aktion Arkiv. Contact firstname.lastname@example.org to participate.
In 1989, Stockholms fastighetsnämnd organized a large international housing conference in Tensta, which gathered together experts from important renewal projects in, eg France, Turkey, England and the US. The conference became the starting point for a new era of citizen participation and several housing renewal projects, carried out together with the residents, were initiated in Tensta. Most of the material from the conference has been lost, possibly because of reorganization within the local authority, possibly because of lack of interest. However, Mattsson, Schalk and Brolund de Carvalho contend that both the conference and the subsequent renewal projects are central to Swedish history and important bits of the picture in order to understand both the development of architecture and the urban history of Tensta.
Aktion Arkiv is an association led by Helena Mattsson, Meike Schalk and Sara Brolund de Carvalho. Aktion Arkiv develops a participatory historical record through actions that bring together various actors and the public around urban cultural, historical and political issues. The archive collects material and functions as a generator for discussion, like a round table, which contributes to the collection and documentation of narratives and material.
Sunday 27.4, 14:00–18:00 Aktion Arkiv. Tour and screening with stories surrounding the planning and living at Glömmingegränd in the past and today. With the architect Ylva Larsson and Helena Mattsson, Meike Schalk & Sara Brolund Carvalho from Aktion Arkiv.more →
What does art mediation do?
What does art mediation do? A series of seminars at Tensta Konsthall during the spring of 2014. In collaboration with the Department of Visual Arts Education and Curatorlab, Konstfack. In english.
One of the biggest issues in contemporary art is how art is mediated—in what way the audience can meet art and take part of it. How art goes public. Hence, mediation includes presentation and communication about and based on art in a wider sense. As curating education is becoming more common, the focus on how art is presented increases both in the exhibition context, but also outside of established art spaces. Participatory projects demand other ways of communication than the conventional ones. At many museums and art centers, much effort is put into what is called pedagogy, education, and learning, but this is often done with a type of lecturing and neither the art nor the audience’s integrity is maintained. At the same time, the school subject, art education, of which art is an important part, gets less and less space in school, and sometimes it completely falls away.
Given this background, it is important to observe what art mediation specifically does today. Through five case studies from different parts of the world, possibilities and pitfalls regarding art mediation are discussed. Is there too little art mediation in today's art institutions, or maybe too much? What consequences follow an art-focused approach compared to methods focused on the individual? What happens with mediation when it is put in the context of activism? How can art be mediated to make it possible for the individual to critically reflect upon herself and her being in the surrounding society?
Wednesday 29.1, 6:30 pm Curator Sofía Hernández Chong Cuy lectures under the title “Contemplation”.
Wednesday 19.3, 6:30 pm Professor Helene Illeris lectues under the title “Gallery education, social criticism and change”.
Wednesday 2.4, 6:30 pm Mediator Emily Fahlén lectures under the title “Mediating art at Tensta Konsthall”.
Wednesday 7.5, 6:30 pm Professor Professor Beatrice von Bismarck lectures under the title “Curatorial Encounters”.
Thusday 13.5, 6:30 pm Mediator Janna Graham lectures under the title “Art Mediation: Target Practice vs Para-siting”.
Sofia Hernandez Chong Cuy Wednesday 29.1, 6:30 pm Contemplations
Perhaps the appearance of the ventriloquist in the present day exhibitionary complex is due to the place—privileged, to be accurate—that narrative has had in much of contemporary art. By ventriloquist I mean a figure who performs a voice in place of another; that speaks of, and in doing so, that makes literal, a story from where the artwork before us has emerged from or, maybe, how it could likely unfold, or be valued, before us. This presentation will look at a seminar model, two art performances, and a sound work to address modes of mediation in and through art, which precede and simultaneously complement, aesthetic and pedagogical pursuits in contemporary art.
This voice, which at best complements an artwork, at worst makes its visual language or permormative nature irrelevant, is commonly expressed by an arts curator, educator, or mediator in a belated way, mostly didactically and un-sensually, and thus far from what differentiates the visual arts from other kinds of cultural production. I consider that much of this happens because of failing to critically address in a curatorial process the place of narrative, including the sources and research which precede it, in an exhibitionary complex, as well as the public’s own presumed will and skill in the exercise of contemplating the forces shaping art, its discourses and its institutions. I consider, too, that this is why mediation seems to begin at the moment of raising these basic curatorial questions in the process of organizing an exhibition, whether with an artist, institution or potential audiences, prior to making public a given artwork, in its display or through an event.
Since 2011, Sofía Hernández Chong Cuy is the curator of contemporary art for Colección Patricia Phelps de Cisneros. And, most recently, She was the artistic director and chief curator of the 9a Bienal do Mercosul | Porto Alegre in Brazil. Much of her curatorial work has consisted in working closely with visual artists in conceptualizing meetings points for audiences to experience art in unconventional ways; these so-called points have been in the form and space of exhibitions, events or printed matter. She takes much pleasure in, and is experienced with, commissioning art, as well as in the history of commissioning arts program initiatives developed since the 1960s to date characterized for collaboration and experimentation. A constant traveler, Sofía Hernández Chong Cuy also spends much of her time conducting field-research on emerging artists and incipient art scenes, visiting studios, exhibitions, events, and sometimes schools, too. What is left of a day’s time, wherever that may be, she reads novels, art histories, and nonfiction (in that order); takes good-café-coffee-breaks to meet friends, colleagues and potential collaborators; and checks Twitter feeds to get World news, among other things. Her blog is: www.sideshows.org.
Helene Illeris Wednesday 19.3, 6:30 pm Gallery education, social criticism and change
How can gallery education take up the challenge posed by contemporary participatory art to work artistically with and through political issues such as sustainability and social justice? How can we propose alternatives to the individualization of today’s “designer-capitalism”? The lecture will present four contemporary conceptions of gallery education with an emphasis on their collaborative and transformative potentials. It will also provide and discuss examples of educational projects both from the field of contemporary art and from the field of gallery education. Finally, it will use the concept of “social criticism and change” to reflect on what I believe should be the basic elements in the art educational encounter: ethics, aesthetics, and politics.
Helene Illeris is PhD and Professor of Art Education at the University of Agder and the Telemark University College (both in Norway). Her research interests include art education in schools and galleries with a special focus on visual culture, contemporary art forms, aesthetic learning processes, social inclusion, and sustainability. In 2009 she published two books together with other researchers: Visuel kultur – viden, liv ,politik and Konsten som läranderesurs. She has also published several articles in English, Danish, Swedish, and Italian e.g. “Employability or empowerment? Lifelong learning in art galleries from a critical curriculum-theoretical perspective” (2011) and “Interrogations: Art, art education and environmental sustainability” (2012). Helene Illeris is a coordinator of the Nordic research network CAVIC (Contemporary Art and Visual Culture in Education) and a former member of the Arts Council Norway.
Emily Fahlén Wednesday 2.4, 6:30 pm Mediating art at Tensta Konsthall
There is no longer a bank in Tensta. A local association needs a bigger space but can't afford the rent, and the private landlord does not want to collaborate. A reporter comes to write about the "gang violence" but hasn't perhaps been to Tensta before—even so he has his story set. On the steps outside Tensta Konsthall there are only young men hanging out, just as in the rest of the suburban center. Reflections on specific factors like these are often the basis on which new projects are initiated at Tensta Konsthall: the history and future of the Million Program, the collaboration with a local organization, a writing award for youth living in the area, a separatist fashion project for young girls from Ross Tensta gymnasium. The mediation work is a constant research process where on one hand art and on one hand Tensta as a site are in focus. In examples based on actual situations, the image of a new Sweden is characterized, in which a local organization often has to continue where society falls short with its absence. In the lecture, Emily Fahlén, mediator at Tensta Konsthall, presents and discusses the art center's mediation work and how it takes shape. With the collaboration as a core and method, and with art and Tensta as bases, the meeting of international and local art projects are discussed, in the borderland between the organizational, curatorial and pedagogical.
Emily Fahlén (1983) has since 2011 worked as a mediator at Tensta Konsthall. She has led the project The Silent University, a knowledge platform for asylum seekers, undocumented migrants and refugees, the collaboration with Kvinnocenter in Tensta Hjulsta and 13 different art camps for kids and youth in Stockholm. Emily Fahlén was educated at the Department of Visual Arts Education at Konstfack and at the Department of Art History at Stockholm University.
Beatrice von Bismarck Wednesday 7.5, 6:30 pm Curatorial Encounters
If we assume that the basic activity of curating implies making connections then the encounter between hitherto unconnected people, but also things, spaces and information marks the core of any curatorial situation. This implies the necessity to shape and articulate this encounter, adjust and modify it in accordance to changing contexts, define and redefine its aesthetic, social, economic and political meanings. The encounter becomes the zone of mediation. Taking the the exhibition “When Attitudes Become Form—Bern 1969 / Venice 2013” at the Fondazione Prada, Venice, in 2013 as an exemplary case study—an exhibition that invoked the now legendary exhibition “When Attitudes Become Form: Works—Concepts—Processes—Situations—Information”, at the Kunsthalle Bern in 1969 the talk will trace some of the potentials and conditions of curatorial encounters, their effects and the changes they undergo in the process of spatial, temporal, material, social and symbolic shifts of context.
Beatrice von Bismarck (Leipzig/Berlin) teaches art history, visual culture and cultures of the curatorial at the Academy of Visual Arts Leipzig. From 1989 - 1993 she worked as a curator of the department of 20th Century art Städelschen Kunstinstitut, Frankfurt/Main and until 1999 she taught at Lüneburg University. There she was co-founder and -director of the project-space „Kunstraum der Universität Lüneburg“. In Leipzig she is also co-founder of the project-space „/D/O/C/K-Projektbereich“ and initiator of the M.A. Program “Cultures of the Curatorial” which started in autumn 2009. Current research areas: Modes of cultural production connecting theory and practice; curatorial practice; effects of neo-liberalism and globalization on the cultural field; postmodern concepts of the „artist“. Publications include: - Games Fights Collaborations. Art and Cultural Studies in the 90s, Ostfildern-Ruit 1996. (ed. with Diethelm Stoller, Ulf Wuggenig); - Christian Philipp Müller. Branding the Campus. Art, Architecture, Design, Identity Politics, Düsseldorf 2001. (ed. with Diethelm Stoller, Astrid Wege, Ulf Wuggenig); -Interarchive. Archival Practices and Sites in the Contemporary Art Field, Cologne 2002. (ed. with Hans-Peter Feldmann, Hans Ulrich Obrist, Diethelm Stoller, Ulf Wuggenig); - Grenzbespielungen. Visuelle Politik in der Übergangszone (Performing the Border. Visual Politics in Zones of Transgression), (ed.), Cologne 2005; - Globalisierung/Hierarchisierung. Kulturelle Dominanzen in Kunst und Kunstgeschichte (Globalization/ Hierarchization. Cultural Dominances in Art and Art History), Marburg 2005 (ed. with Irene Below); - Nach Bourdieu: Visualität, Kunst, Politik (After Bourdieu. Visuality, Art, Politics), Vienna 2008 (ed. with Therese Kaufmann, Ulf Wuggenig); - Auftritt als Künstler (Performance as Artist), Cologne 2010; - Cultures of the Curatorial (ed. With Jörn Schaffaf and Thomas Weski), Berlin 2012.
Janna Graham Thusday 13.5, 6:30 pm Art Mediation: Target Practice vs Para-siting
The presentation will name a key conflict in the practices of mediation: that between targeting audiences—that is cultivating access to, inclusion of, and increasing audiences for cultural objects and institutions as they stand and para-siting, making, and presenting culture that is useful to and in solidarity with projects of decolonization and social justice. The difference between these concepts is both directional and ethical. This presentation will argue strongly against the former, making use of theories of de-colonization such as Brazilian pedagogue Paulo Freire’s critique of the “banking concept” of education in which in which the flow of cultural information begins with the institutions of culture and is imparted to its others. Arguing for para-sitic practices, I will share historical examples and experiences from five years of collective research on the Edgware Road and other London neighborhoods, in which cultural workers have attempted to develop projects in solidarity with the struggles of migrants, sex workers, high school students, homeless people, and the elderly, while attached to a mainstream cultural institution. The contradictions born of such an experience are characteristic of those that often face mediators today, torn between a neoliberal cultural sphere with its eyes set on expansion, drawn into the project of “integrating” newcomers and unruly social elements and the possibilities of committed social and transversal practices.
Originally trained as a Geographer, Janna Graham has initiated and collaborated on a number of pedagogical, artistic and research projects in and outside of the arts. She is currently Projects Curator at the Serpentine Gallery, where she works with others to create The Centre for Possible Studies, an artistic residency, research space and popular education program in the Edgware Road neighborhood of London where artists and local people develop ‘studies of the possible’ in response to social inequalities of urban space. At Serpentine she has also developed the project Skills Exchange: Urban Transformation and the Politics of Care, a three year program of artists working in the context of elderly care culminating in the recently published Art+Care: a Future. She has been an educator, researcher and curator at institutions such as the Art Gallery of Ontario (Toronto), the Whitechapel Gallery (London), Vanabbemuseum (Eindehoven), Plymouth Art Centre (Plymouth). Graham is a member of 10 person international sound and political collective Ultra-red, works with the Precarious Workers Brigade in London and is part of the band and neo-liberalism study group Chicago Boys: while we were singing they were dreaming.
What does art mediation do? A series of seminars at Tensta Konsthall during the spring of 2014. In collaboration with the Department of Visual Arts Education and Curatorlab, Konstfack. In english.more →
Writing workshop – Stories from New Sweden
Writing workshop with the writer Maja Andreasson. What does literature have to do with memory? What does exile have to do with poetry? Is it possible to write in order to create space in the world and in what world do we want to write?
This course is intended for those who want to explore the possibilities and impossibilities of literature. The course is connected to the ongoing exhibition at Tensta Konsthall, Tensta Museum: Reports from New Sweden, and every meeting revolves around themes that the exhibition raises, for example place, memory, language, the body and borders.
Writing workshop with the writer Maja Andreasson. What does literature have to do with memory? What does exile have to do with poetry? Is it possible to write in order to create space in the world and in what world do we want to write?more →
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 sign up contact Emily Fahlén at email@example.com or 08-36 07 63.
14.4–17.4 Easter Holidays Utopia Camp with Tina Carlsson and students from the Department of Visual Arts Education (Konstfack) Age: 12–15 years
Can we build new worlds by making art? During the week, we talk about the word utopia: what could it mean and how can it be framed? The ideas are put into practice in a workshop, and the group tests, researches, and dreams together. With all sorts of materials such as cardboard, audio, paper, pens, and candy, students build models, stories, and pictures. Every day, new assignments are handed out. Only imagination sets the limit. No experience required.
24.2–28.2 2014 Comics and superheroes - with cartoonist Hanna Gustavsson and animator Karin Ahlin (Konstfack) Age: 13–19 years
This is an opportunity to draw and learn more about comics. Through workshops and tutorials you will learn how to create your own draft and stories. You also get acquainted with some of the most-read series creators from around the world. The workshop is led by animator and children's book author Karin Ahlin and Hanna Gustavsson who just published her first comic book, "Nattbarn" (Night kids), a story about what it's like to be young. We visit art school Konstfack where we meet cartoonists and illustrators. We also visit Galago, the largest series publisher of alternative comics.
28.10–1.11 2013 Comics and superheroes from New Sweden With Joanna Rubin Dranger, cartoonist and professor of illustration (Konstfack) Age: 13–19 years
This is an opportunity to draw and learn more about comics. Through workshops and tutorials you will learn how to create your own draft and stories. You also get acquainted with some of the most-read series creators from around the world like Art Spiegelman, Marjane Satrapi and Joe Sacco. We visit Konstfack and meet cartoonists, like Hanna Gustavsson who just published her first comic book, "Nattbarn" (Night kids), a story about what it's like to be young. We also visit Galago, the largest series publisher of alternative comics. You do not have to know how to draw to participate.
5.8–9.8 2013 Painting and Portraits With Filippa Arrias (The Royal Institute of Arts) Age: 10-16 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.
24.6–28.6 2013 Hut building 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 second 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.
17.6–20.6 2013 Racing trot and art With Nina Svensson and Bernd Krauss Age: 10-13 years
During four summer days, the unexpected combination of art and racing trot will be examined by a group of young participants. Along with the artists Nina Svensson and Bernd Krauss they will go to Solvalla racing stadium to try out horse racing and to get to know the world of racing trot. The participants account for their experience through photography, notes, and pictures. No previous knowledge of art or racing trot is required to participate, though a certain level of experience with handling horses is an asset.
Past–2–5.4 Lava Dance Age: 14-19 years
For four days during Easter break, Tensta konsthall arranges the art camp Lava Dance. The participants dance house, hip-hop, popping, improvisation/freestyle, watch movies, talk about art and dance, create rhythms, and learn how to dj. Leaders of the art camp are Pablo Acosta Gomez, Tove Rådmark, Daniel Mpawenimana, and Jorge Chacin El Pilas, proffesional dancers and pedagogues from Lava, Kulturhuset. Price: 50 kr. To sign up contact firstname.lastname@example.org
Past–25.2–1.3 Tensta Photo Club With Katarina Lundgren For girls age: 14–18 years
Tensta Photo Club is for girls interested in creating images and photography. During the winter break, participants will work with photography, both technically and artistically. The group will learn how photos can tell stories and how a story can be depicted in widely different ways. Tensta as a place is the starting point for the week’s expeditions and investigations.
Katarina Lundgren is an artist based in Stockholm. Her work revolves around story-telling and creating myths, and representation and presentation. In recent years, the point of departure of many of her works has been some form of contemporary phenomenon–a question or an occurrence, something unexamined or taken for granted. The process begins in exhaustive research and the piece takes shape through various techniques such as video, photography, or text. Lundgren is interested in the construction of narrative in relation to concepts such as facts, fiction, time, and history. In her video and photo-based work, a subjective narrative is mixed with a documentary eye. Often a small change in an otherwise general situation is what distinguishes the motif. Lundgren’s previous works have dealt with, for example, research on happiness, subjective well-being and our notions of happiness, or ethnic and social identity investigated through the way in which third- or fourth-generation Swedish-Americans express and relate to their Swedish heritage.
Past—2.1–4.1 2013 Book Art With Hans Carlsson Age: 14–19 years
Do you like books? Do you want to get to know authors and artists who have experimented with text at different times and in different places? During our holiday art camp you will have the opportunity to create a book. We will read poetry and look at art to discover how letters can be images and vice versa. We will search, find and borrow from the library, newspapers and the internet. We will cut and paste and learn simple book binding techniques. By the end of the art camp everyone will have made their own publication. Maybe your book will be about you and your family? Or about a politician or an idol? Or about Tensta? You decide.
Past—29.10–2.11 2012 Alter Ego With Catti Brandelius (Gerlesborgsskolan) Age: 13–16 years
“Alter ego” means a second self. This is your opportunity to create an alternative self who can do what you don’t dare to do. Many artists have one—for example, David Bowie and his Ziggy Stardust, Eminem with his Slim Shady. During the week we will develop our new selves and test out what they can do. Maybe you’ve always wanted to drill things, then you can create a fix-it person; if you’ve yearned to be a decision-maker, then you can be a director; if you’ve always wanted to sing, you can become Rihanna. Everything is possible this week—take a break from your usual you and create a new one. We’ll be carving out our new egos through writing, drawing, styling clothes for them and carrying out performances and actions.
Past—6.8–10.8 2012 Painting and Portraits With Filippa Arrias (The Royal Institute of Arts) Age: 13–16 years
We will make portraits with brushes and paint. How do you mix paint and how can the brush be used? We will train ourselves to make choices about what to keep in our images, but also what to take away. Each day we begin with a new portrait—it can represent someone you know, someone important, a family member or a place. All together they tell a story about ourselves.
Past—25.6-29.6 2012 Hut building With Stefan Petersson (KTH School of Architecture) Age: 10-12 years
Let us go to Järvafältet and build little houses! In the middle of nature, we will use the material that we find there: branches, twigs and foliage. We will get to know the field and use it as our workplace and that’s where we’ll talk about architecture, nature and freedom to roam/everyman’s right. We will measure, sketch and design, make clever knots and become experts in hut construction.
Past—25.6-29.6 2012 Parkour and Gardening With Elin Wikström and colleagues (Göteborgs konstskola) Age: 10–100 years
Throughout the week we will discover and explore Tensta’s public spaces. We will examine how to activate different locations, often very literally with the body through Parkour, but also with gardening. This art camp is intergenerational, anyone 10 years or older is welcome.
Past—10.4-13.4 2012 Theater With Ruben Lopez (Unga Dramaten) Age: 15-18 years
Do you like theater and drama? For one week we will occupy the small theater space at Blå huset in Tensta. This will be a place for experiments, improvisations and vocal exercises. Our bodies and voices are our most important tools. We will improvise plays with the guidance of a professional actor based on our own experiences, stories and imagination. We will learn how to produce a theater play and visit backstage at Dramaten. At the end of the week we will perform together, in front of an audience.
Past—27.2-2.3 2012 Sports + Art With Victoria Brännström (BI, Konstfack) For: Girls 11-14 years
For a week we will explore how to combine art with sports. Can we make a dance out of boxing, a song out of swimming or an image out of acrobatics? Sports can create team spirit and sisterhood and art can give us freedom to break the rules. It doesn’t matter if you are interested in sports or not, bring comfortable clothes and join us as we rethink sports in our very own way!
Past—2.1-5.1 2012 The Noise Machine With Ola Nilsson (Nyckelviksskolan) Age: 10-12 years
Let’s build noise. What sounds are we able to produce? Rumbles of thunder, cannons and whistles. A choppy sound, a flipping sound, and bowling sound. Together we will construct machines of noise using timber, cardboard, strings, metal and various materials. We will challenge the very idea of what constitutes sound and what constitutes noise. The final day of the art camp will be celebrated with a spectacular concert of noise! Assistant: Alladin Babeker.
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. Easter Holiday14.4–17.4 Utopia Camp, age: 12–15 years
Spring 2014 Stockholmsskolan (Stockholm school) at Konstfrämjandet runs during the spring at Botkyrka konsthall, Konsthall C, Marabouparken, and Tensta konsthall.
Stockholmsskolan is an education initiative particularly intended for young people who are curious about how to proceed towards an education in art and design. The aim is to understand the art world and the path towards it, get an opportunity to examine and formulate your own opinion in relation to the themes of the exhibition, and also to develop your own artistry in various workshops. The idea is to carry out joint projects with other participants within the framework of the Stockholm school.
Each meeting includes the display of art, discussion, and a hands-on workshop where everyone can explore the art gallery exhibition's current theme. This also gives each student a chance to see how their own creativity can evolve towards future studies and future jobs.
Contact: Erik Annerborn email@example.com ←
Spring 2014 Stockholmsskolan (Stockholm school) at Konstfrämjandet runs during the spring at Botkyrka konsthall, Konsthall C, Marabouparken, and Tensta konsthall.more →
Drawing Tuesday is an art club for children between the age of 10 and 13. Under the direction of mediators at Tensta konsthall the children meet every Tuesday between 15:00 and 16:00 for a drawing workshop with different themes. Participants get the chance to draw and work artistically. Drop-in for interested children. In collaboration with Enbacksskolan.
Drawing Tuesday is an art club for children between the age of 10 and 13. Under the direction of mediators at Tensta konsthall the children meet every Tuesday between 15:00 and 16:00 for a drawing workshop with different themes. Participants get the chance to draw and work artistically. Drop-in for interested children. In collaboration with Enbacksskolan.more →
Tensta konsthall Text Prize
Tensta konsthall is instituting a text prize for young people 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.
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).
Tensta konsthall is instituting a text prize for young people in Tensta. The prize aims to encourage creative writing and to contribute new stories from the area to the area itself. A first (3000 sek), second (2000 sek) and third prize (1000 sek) will be awarded. 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 text can for example be a literary text, an essay, a poem, a rap, an article, or an interview. Send contributions to the Text Prize by email, no later than Monday, February 3, to firstname.lastname@example.org.
In the email, the applicant should state their name, birth date, address and telephone number.
Tensta konsthall is instituting a text prize for young people 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.more →
Saturday and sunday 26.4–27.4, 12:00–17:00Vegan brunch served all spring on the last weekend every month. From the menu: waffles, tofu scramble, couscous salad, dips, beetroot beef, virgin bellini, lemonade, and more.
Saturday and sunday 26.4–27.4, 12:00–17:00 Vegan brunch served all spring on the last weekend every month. From the menu: waffles, tofu scramble, couscous salad, dips, beetroot beef, virgin bellini, lemonade, and more. Email email@example.com for booking.more →
Space, Blått blod
25.6 2013 –12.1 2014 Blått blod (Blue Blood), Meron Mangasha & Senay Berhe. Blått blod is an everyday portrait of the the blue line in the Stockholm subway system, told visually and fuelled by words. It is an attempt to mirror and immortalize the time and place where we presently live. Blått was filmed along the blue line in two recording sessions. The places and settings shown belong to everyone. So as not to put a specific face or tie a certain group of people to them, the film was shot during the night and in spaces that were empty. During the day, these spaces are filled with people from different backgrounds and cultures but they are now being stripped down and de-identified. Inspired by a quote from the poet Arthur Lundquist displayed on the Näckrosen subway station, Mangasha, active in poetry and spoken word, wrote the poem, which was then interpreted visually by Berhe, who works with film both commercially and artistically. Blått blod is a celebration of the blue line, and at the same time expresses mixed emotions in regard to the places along it.
Space is Tensta konsthall's curatorial platform online. Push main on the top right-hand side to see the video.
25.6 2013 –12.1 2014 Blått blod (Blue Blood), Meron Mangasha & Senay Berhe. Blått blod is an everyday portrait of the the blue line in the Stockholm subway system, told visually and fuelled by words. It is an attempt to mirror and immortalize the time and place where we presently live. Blått was filmed along the blue line in two recording sessions.
Wednesdays 10:30–11:30 Every Wednesday ”Swedish with baby” (Svenska med baby) gets together in the Tensta konsthall cafeteria, as a part of the non-profit work of ”International Acquaintances” (Internationella bekantskaper). The aim is to create a social meeting place for parents to exchange experiences and at the same practice speaking Swedish. Meetings have been taking place since September of this year.
Wednesdays 10:30–11:30 Every Wednesday ”Swedish with baby” (Svenska med baby) gets together in the Tensta konsthall cafeteria, as a part of the non-profit work of ”International Acquaintances” (Internationella bekantskaper). The aim is to create a social meeting place for parents to exchange experiences and at the same practice speaking Swedish. Meetings have been taking place since September of this year.more →
Ongoing Cluster (www.clusternetwork.eu) 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.
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.
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.
Peculiar graphics by Marie-Louise Ekman at Grafikens Hus this summer
6.7-3.11 The exhibition Förförelsens och motståndets tryck (Prints of seduction and resistance) is produced by Tensta konsthall in collaboration with Grafikens hus. It includes, amon'g other, graphic work from Marie-Louise Ekmans private collation. Some of the work are from the 21st century and has never before been shown to the public. Many of the work are from the appreciated exhibition at Tensta konsthall from 2012, Doing What You Want: Marie-Louise Ekman accompanied by Sister Corita Kent, Mladen Stilinovic and Martha Wilson.
Marie-Louise Ekman often portrays everyday environments, in pastel colors, but at the same time she brings in the absurd and the surrealistic into her pictures. She freely moves across the lines and she often use art history references and mix it with pop cultural elements.
Ekman is accompanied by Sister Corita Kent (1918-1986) at Grafikens Hus during the period 6 july- 3 november. Corita Kent became a nun 1938 and used a modern art expression. She was a modern rebellion nun that took inspiration from Los Angeles street culture. Her idiom include strong colors, often in combination with text and image. She is famous for her spiritual, poetic and politic message.
Grafikens Hus provides free busses that leaves every Saturday and Sunday 6 July- 30 September. They depart from Klarabergsviadukten, Vasagatan at Centralstationen in Stockholm. The buss leaves at 11 am to Mariefred and comes back to Stockholm 4 pm. The ride takes about an hour. www.grafikenshus.se
6.7-3.11The exhibition Förförelsens och motståndets tryck (Prints of seduction and resistance) is produced by Tensta konsthall in collaboration with Grafikens hus. It includes, amon'g other, graphic work from Marie-Louise Ekmans private collation. Some of the work are from the 21st century and has never before been shown to the public. Many of thework are from the appreciated exhibition at Tensta konsthall from 2012, Doing What You Want: Marie-Louise Ekman accompanied by Sister Corita Kent, Mladen Stilinovic and Martha Wilson. more →
Ongoing from September 2012 The network Klister is a nationwide network for small and medium-sized contemporary art institutions in Sweden.
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.
In 2013, Klister, together with Riksutställningar, has arranged a series of “relay discussions” entitled what function does art have in society? The discussions aim at highlighting contemporary art and the importance and value of smaller contemporary art institutions in a democratic, economic and societal perspective. Discussions have been arranged in Skövde and Gävle, and during the year additional discussions will take place in Stockholm, Gothenburg, Malmö and Luleå. David Karlsson is 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.
25.5, 14:00–16:00 Tea and Coffee Salon: Bread salon. The Tea and Coffee Salons began in spring 2012 and are an ongoing collaboration with Women's Center Tensta Hjulsta and the Lebanese Family Association. The associations present themselves and their members at Tensta konsthall through the different themes of the salons.
Past—23.3 2013 Cultural Sites: Tea and Coffee Salon at Tensta konsthall in collaboration with the Women's Center Tensta Hjulsta and the Lebanese Family Association. Members from the two associations present historic cultural sites, pictures and cookies from Lebanon, Libya, Syria, Iraq, India, Turkey, Morocco and Afghanistan among other countries.
Past—26.1 2013 Home cures and spices: Tea and Coffee Salon at Tensta konsthall in collaboration with the Women's Center Tensta Hjulsta and the Lebanese Family Association. This salon focuses on the diversity within natural medicine and home cures. Herbs and spices can be alternative sources for medicines and provide salutary treatments. Members of the Women's Center Tensta Hjulsta and the Lebanese Family Association share their tips on teas and herbs with healing qualities from Afghanistan, Lebanon, Syria, Greece, Bolivia, Iran, Iraq, Turkey, Iraq-Kurdistan and India. Come and taste fantastic pastries and take advantage of worldwide knowledge about these healing traditions.
Past–12.5 and 26.5 2012 Members from the Women's Center Tensta Hjulsta invite the public for a cup of tea or coffee prepared according to their own traditions, such as coffee made on a charcoal grill. An assortment of cakes and pastries are served. The Women’s Center also offers their own handmade products from recycled textiles for sale. In conjunction with the exhibition Hinrich Sachs: Kami, Khokha, Ernie and Bert (World Heritage) children are welcome to a free face painting.
25.5, 14:00–16:00 Tea and Coffee Salon: Bread salon. The Tea and Coffee Salons began in spring 2012 and are an ongoing collaboration with Women's Center Tensta Hjulsta and the Lebanese Family Association. The associations present themselves and their members at Tensta konsthall through the different themes of the salons.
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.
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.
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.
‘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.
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.
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.
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.
2011-2013 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.
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 Araratat 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 15:30-16:30 Discussion 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 Programc/o The Royal Institute of Technology.
With its starting point in this seminar, the project The Million Programc/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.
2011-2013 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.
From March 2012 The Fashion Project, a collaboration between Ross Tensta Gymnasium and Tensta konsthall, was initiated in March 2012. The group meets every Monday afternoon at the konsthall to work both theoretically and hands-on with questions that involve fashion, identity and networking for women. Together with mediator Emily Fahlén and Safiya Guleed, workshops and projects are developed that often take collective exercises as their starting point. In collaboration with The Centre for Fashion Studies at Stockholm University and Lava, Kulturhuset.
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.
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 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.
Ongoing Brand New View is a series of installations with cut-out foil on windows. Employing mandala-like abstract patterns based on logos from cheap brands more likely to appear on the sink at home, rather than more prestigious brands from luxury goods, Gunilla Klingberg evokes Eastern and New Age types of abstraction. However, “the spiritual in art” here has more to do with consumption than with ideas such as Vassily Kandinsky’s about transcendence through art. 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. In Klingberg’s installation we are surrounded by seductively beautiful and commercially-driven manifestations of abstraction with the potential to quite literally make us lose orientation.
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.
Ongoing The floor in Tensta konsthall´s exhibition space is a work by the artist Wade Guyton (New York). The very means of artistic production, particularly painting, are the focus of many of Wade Guyton’s works. The work Untitled (2010) is a remake of the floor in Guyton’s former studio. Cheap plywood was painted glossy black, thereby creating a large sculpture, or pedestal, as the very support of all work taking place in the studio. At the same time, the floor becomes an enormous monochrome painting, partaking in a somewhat daunting tradition. At Tensta konsthallthe floor has been released from this context, taking on a different existence.
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.
Tommy Støckel: Workshop with Ross Tensta Gymnasium and KTH Tensta
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.
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.
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).
Ongoing Amsterdam-based design studio Metahaven, programmer Henrik van Leeuwen and Tensta konsthall curator Laurel Ptak have developed a new website and a communication strategy specific for the art space and its program.
Ongoing The spatial concept for the new Tensta konsthall has been developed by architect Nikolaus Hirsch who was responsible for strategic changes such as painting the black ceiling white, installing strip lights and taking down a wall to the old office providing more presentational space. Architect Filippa Stålhane has developed the details, including the interiors of the office and the cafe.less ←
Ongoing The spatial concept for the new Tensta konsthall has been developed by architect Nikolaus Hirsch. Architect Filippa Stålhane has developed the details.
Tours 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.
Directions Take the blue line metro towards Hjulsta and get off at Tensta. The ride takes about twenty minutes from Stockholm's Central Station (T-Centralen). Tensta konsthall is located directly under the Tensta Centrum shopping mall and there is a flight of stairs from Tensta Allé leading down to Taxingeplan, the square just in front of the konsthall.
The café is the entrance to Tensta konsthall. The café offers coffee and light meals, and its opening times are the same as the gallery’s. Tensta konsthall and its café, with free Internet service, also functions as a meeting place for individuals, groups and organizations, and as a workplace. The menu varies from day to day, and can include substantial salads, soups and grilled sandwiches. The café also offers espresso, a large selection of teas, which can be accompanied by, for example, baklava, carrot cake, cinnamon rolls.
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.
Nora Chaker Lars Hedelin Evelina Hedin Bruno Hilbombo Carl-Oskar Linné Masha Taavoniku
Board: Calle Nathansson (head of board) Christina Jerlin Anna Kettner Sven Lorentzi Birgitta Rydell Katarina Sjögren
Funders Tensta konsthall is supported by Stockholm City, Swedish Arts Council, Stockholm County Council
Abstract Possible: The Stockholm Synergies is supported by Danish Arts Council, FastPartner, Foundation for Arts Initiative, Malmö konsthall, Mondrian Foundation, The Office for Contemporary Art Norway, Austrian Embassy; Parts of Abstract Possible: The Stockholm Synergies are realized in collaboration with ABF, Center for Fashion Studies, Stockholm University, Konsthall C, The Royal Institute of Art, Ross Tensta Gymnasium, Sternberg Press, Tensta Library; Special thanks to Iaspis; Part of the project was realized as a consultancy commission at Bukowskis
Art Camps are realized in collaboration with Gerlesborgsskolan, Göteborgs konstskola, Konstfack, Lava Kulturhuset, The Royal Institute of Art, Nyckelviksskolan, Unga Dramaten
Bidoun Library is realized in collaboration with Bagdad Café
Cluster is realized with support by European Cultural Foundation, Swedish Arts Council
Curatorial Summer Workshop is realized in collaboration with Kungl. Konsthögskolan, initiated by Maria Lind and Nina Möntmann
Doing what you want: Marie-Louise Ekman accompanied by Sister Corita Kent, Mladen Stilinovic and Martha Wilson is realized in collaboration with Henie Onstad Kunstsenter in Oslo. The seminar series Dream and Reality is realized in collaboration with the Institution for Culture and Communication at Södertörn University and ABF
Gallery club is realized in collaboration with TioTretton Kulturhuset, Cinema Africa, Blå Huset
Hinrich Sachs Kami, Khoka, Bert and Ernie (World Heritage) is realized with support from Baselland, Basel-Stadt, Pro Helvetia, Royal Institute of Art; The Embassy of Switzerland in Stockholm, Parts of Hinrich Sachs Kami, Khoka, Bert and Ernie (World Heritage) are realized in collaboration with Askebyskolan Rinkeby, Livstycket
Katitzi: A Literary Character Rooted in Reality is realized in collaboration with Angelica Ström. The seminar series is realized in collaboration with ABF and the publishers, Natur och Kultur
Publishing In Process: Ownership In Question is realized with support by Iaspis, Konstfack. It is realised in the framework of COHAB, a two-year project initiated by The Showroom, Casco - Office for Art, Design and Theory, Utrecht and Tensta Konsthall, Stockholm, realized with the support of the Culture Programme of the European Union
T.451 by Dominique Gonzalez-Foerster and Ari Benjamin Meyers is realized in collaboration with Stockholm konst, who produced the project, and with support by Stockholm Library and Tensta Library; Thanks to Greater Stockholm Fire Department, The Organization Röda Hanen, The Kurdish Association Spånga, Stockholm City Museum
Tensta museum: Reports from New Sweden is funded with support from Svenska Postkodlotteriet and is also a part of Beginning as Well as We Can: How Much Fascism Can We Take, a collaboration between WHW, Zagreb, and Grazer Kunstverein, Graz. With the support from the Culture Programme of the European Union and the European Commission.
The Cut is realized with support by Kulturbryggan
The Fashion Project is realized in collaboration with the Center for Fashion Studies, Stockholm University
The New Model is realized with support by European Cultural Foundation, Goethe Institut, Office for Contemporary Art Norway, Kulturkontakt Nord; Parts of the New Model are realized in collaboration with The School of Architecture at The Royal Institute of Technology. It is realised in the framework of COHAB, a two-year project initiated by The Showroom, Casco - Office for Art, Design and Theory, Utrecht and Tensta Konsthall, Stockholm, realized with the support of the Culture Programme of the European Union
The Society Without Qualities is realized as part of The New Model which is realized with support by European Cultural Foundation, Goethe Institut, Office for Contemporary Art Norway, Kulturkontakt Nord and is realised in the framework of COHAB, a two-year project initiated by The Showroom, Casco - Office for Art, Design and Theory, Utrecht and Tensta Konsthall, realized with the support of the Culture Programme of the European Union. Thanks to Gallery Nicolai Wallner and Kulturkontakt Nord. Sharon Lockhart would like to thank neugerriemschneider, Berlin, Gladstone Gallery, New York and Brussels, and Blum & Poe, Los Angeles. Learning Site would like to thank The Swedish Arts Grants Committee and Danish Art Agency.
What does an art institution do? is realized in collaboration with Konstfack’s Master program Art in the Public Realm and Curatorlab; The project is supported by Iaspis
What Does Social Practice Do? is realized in collaboration with the KTH School of Architecture, KTH in Tensta and the Stockholm City Planning Office. In Collaboration with CuratorLab, Konstfack. Supported by FCT (Fundação para a Ciência e Tecnologia); IASPIS; Instituto Camões Stockholm; TAP airlines; Portuguese Embassy in Stockholm
Who Will Fund Conteporary Art? is realized in collaboration with Botkyrka konsthall, Konsthall C, Marabouparken och Mossutstllningar
Undoing Property? book release at Tensta konsthall. Editors: Marysia Lewandowska and Laurel Ptak, supported by the Polish Institute Stockholm.
11.6-28.9 2014 Archive exhibition. Meta and regina: Two Feminist Magazines. Meta and regina are two magazines that were started by women in the beginning of the 1990s. Meta was a curatorial platform where questions concerning the “public” and the “anti-public” were discussed. Regina “mimicked” ladies’ and fashion magazines in order to question gender identities and everyday life. The curator, Ute Meta Bauer, initiated Meta, which with its four issues in 1992-94 functioned as the information department of Kϋnstlerhaus Stuttgart, where Bauer was artistic director. The first issue of artist Regina Möller’s project, regina, appeared in 1994 and was produced by Kϋnstlerhaus Stuttgart.
The exhibition includes all the issues of both Meta and regina. In addition, art work and other elements that were part of various issues are presented, for example “Embodiment,” Möller’s own clothing designs. Eight issues of regina have been published since 1994, all of them containing famililar features from ladies and fashion magazines, such as “home and garden,” “work,” “relationships,” and “fashion,” but not as they would normally be defined in such magazines. Each issue of regina has a theme—for instance, “children and work,” “her-stories,” and “surfing,” and features contributions from art institutions such as Tate Liverpool, Moderna Museet, and Office for Contemporary Art Norway. The artist herself is on every cover, styled but without saleable clothes or accessories and visibly older for each issue. A sort of character appears – a mix of fact and fiction – winking playfully at magazines such as Marie-Claire, Brigitte and Amelia.
Like regina, Meta is a cross-disciplinary publication, but with an emphasis on art. Older artists like Gordon Matta-Clark and Stephen Willats are presented side by side with the editor’s generation, for example, Absalon and Mathias Poledna. “Radical Chic” and “A New Spirit in Curating?” are examples of themes that are discussed and also document events taking place at Kϋnstlerhaus Stuttgart. The curator, Hans-Ulrich Obrist, contributed to several of the thick issues, all of them square with pastel covers which only contain the publication’s name, Meta. In retrospect, it is evident that early on, Meta addressed subjects that cropped up elsewhere in the art world much later – one of them being “atlases and archives.”
To produce an exhibition with Meta and regina in 2014 involves looking back at recent feminist history. It also involves revisiting a publishing tradition where layout and other features were done by hand, and distribution was limited to personal networks, art institutions, and art book shops.
11.6-28.9 2014 Archive exhibition. Meta and regina: Two Feminist Magazines. Meta and regina are two magazines that were started by women in the beginning of the 1990s. Meta was a curatorial platform where questions concerning the “public” and the “anti-public” were discussed. Regina “mimicked” ladies’ and fashion magazines in order to question gender identities and everyday life. The curator, Ute Meta Bauer, initiated Meta, which with its four issues in 1992-94 functioned as the information department of Kϋnstlerhaus Stuttgart, where Bauer was artistic director. The first issue of artist Regina Möller’s project, regina, appeared in 1994 and was produced by Kϋnstlerhaus Stuttgart.more →
11.6-28.9 2014 The title, Commoning Times by Ayreen Anastas & Rene Gabri, refers more to a horizon than to an exhibition. Even though many deny it and wish to restrict it, this horizon may be seen everywhere today. Together with friends and colleagues, in Commoning Times, the New York-based artists continue their wandering through forests, along the seaside, over mountains and borders, and via different languages, into our contemporary shadows where a struggle over “the commons” is taking place.
The commons, which is what we share in society in general, is at present under threat, but at the same time it provides a powerful basis for understanding and working against the social, political, and ecological breakdown that characterizes our time.
Commoning Times has been going on since 2010 and will continue in Tensta as well as in New York, Detroit, London, Utrecht, and Vienna. In Stockholm the artists hope to be able to use – as they did in Documenta 13 in Kassel in 2012 – both the exhibition context of Tensta Konsthall and their studio period in IASPIS to propose, share, and stimulate debates and actions around contemporary living conditions. Investigations of the public space and the commons will be central elements. Illustrations, notes, diagrams, videos, performance, situations, conversations, courses, and (un)workshops will also be part of Commoning Times.
Anastas and Gabri have been running the influential 16 Beaver Group in New York’s financial district since 1999. 16 Beaver Group is a platform for the production, presentation, and discussion of art, politics and economy. Because they own the contract for the building, they can rent out studios at reasonable rates and commercial space at higher rates. This finances the premises where, for fifteen years, 16 Beaver Group has organized their Reading Group, whose lectures, film viewings, workshops, etc. involve participants from near and far. It was here that some of the discussions that led to Occupy Wall Street took place.
11.6-28.9 2014 The title, Commoning Times by Ayreen Anastas & Rene Gabri, refers more to a horizon than to an exhibition. Even though many deny it and wish to restrict it, this horizon may be seen everywhere today. Together with friends and colleagues, in Commoning Times, the New York-based artists continue their wandering through forests, along the seaside, over mountains and borders, and via different languages, into our contemporary shadows where a struggle over “the commons” is taking place.more →
The Mircale in Tensta (Theoria)
12.6-28.9 2014 Magnus Bärtås' new film, The Miracle in Tensta (Theoria) is a wayward depiction of how the Virgin Mary appeared in Tensta in the summer of 2012, based on testimonies on the internet. With the help of Tensta residents, the testimonies have been visualized and shot in the same room in the gallery where the film will be shown. A part of The New Model
Theoria is the Greek word for talking about something witnessed. If, during ancient times, someone experienced an extraordinary event, like the Olympics or a religious ritual, a theoria was performed when they returned home. Theoria consisted of a journey, a witnessing, and of the social situation when the person shared her experiences. In ancient times philosophers talked in terms of "ritualized visuality" that received a political significance where the person lived.
The theoria that is dealt with in the work is based on the events that took place in Tensta in August 2012. On August 22, people in Tensta witnessed that that they had seen the Virgin Mary appearing in the sky. Dagens Nyheter's UFO expert Claes Svahn wrote about the event, and the following evening thousands of people gathered in the Syriac Orthodox church (Sankta Maria Kyrka) in Tensta. Again the miracle was witnessed, both in the condensation in the windows and in the trees outside the church.
Theoria is a part of the research-based project The New Model: An Enquiry, initiated by Maria Lind and Lars Bang Larsen in 2011. The participants in The New Model, Magnus Bärtås, Ane Hjort Guttu, Dave Hullfish Bailey and Hito Steyerl, have been invited to produce new works for the project.
The film has been partly financed with funds from the research project Mikrohistorier, which is operated at Konstfack and financed by the Swedish Research Council.
12.6-28.9 2014 Magnus Bärtås' new film, The Miracle in Tensta (Theoria) is a wayward depiction of how the Virgin Mary appeared in Tensta in the summer of 2012, based on testimonies on the internet. With the help of Tensta residents, the testimonies have been visualized and shot in the same room in the gallery where the film will be shown. A part of The New Modelmore →
Heidrun Holzfeind and Marwa Arsanios
Wednesday 16.4, 18:30 2014 Tensta Museum: Lecture by artist Heidrun Holzfeind, participant in Tensta Museum with films, among others one about the housing complex Corviale on he edge of Rome. The artist Marwa Arsanios will hold a lecture performance called “Have you ever killed a bear? Or Becoming Jamila" which takes its starting point from a portrait of the Algerian freedom fighter, Jamila Bouhired. In collaboration with the Royal Institute of Art.
Heidrun Holzfeind participates in Tensta Museum: Reports from New Sweden with the films Corviale, Il serpentone (The Snake), Za Zelazna Brama (Behind the Iron Gates) and Colonnade Park. Marwa Arsanios participates with the sculpture After Doxiadis Social Housing Project.
The housing complex Corviale on he edge of Rome is portrayed in Holzfeinds film Corviale. In 1972 a group of architects designed the complex according to Le Corbusier’s ideas about social housing – for instance that all the necessary infrastructure in a city should be contained within the housing complex. The tenants discuss prejudice against the houses and the film concerns this example of failed modernist utopian architecture that has been a social mishap.
Za Zelazna Brama (Behind the Iron Gates) depicts everyday life in a housing area in central Warsaw that was built during the communist era. In the 1970s, the area was a symbol of technical progress and Polish socialist prosperity. Today many see the housing district as inferior with its small flats, an unwelcome reminder of the communist era.
In Colonnade Park the architect Mies van der Rohes residential buildings Colonnade and Pavilions in Newark, New Jersey, are pictured. Together they form three large complexes in glass and steel, and in the middle of them, Christopher Columbus Homes, a social housing project.
The artist Marwa Arsanios participates in Tensta Musuem with the sculpture After Doxiadis Social Housing Project that is based on the architect Constantinos Doxiadis’ (1914–75) plan from 1958 for social housing in Lebanon, a national housing project that never was executed. During the evening Arsanios will hold a lecture performance called “Have you ever killed a bear? Or Becoming Jamila".
Have you ever killed a bear? Or becoming Jamila, is a lecture-performance that uses the Cairo-based magazine, Al-Hilal ́s issues from the 1950s and 1960s as the starting point for a portrait of the Algerian freedom fighter, Jamila Bouhired. From the different representations of Jamila in the cinema and in the magazine, Arsanios discovers the history of socialist projects (Egypt), anti-colonial wars (Algeria) and how feminist projects were portrayed and marginalized. What does it mean to play the role of the freedom fighter? What does it mean to become an icon?
Wednesday 16.4, 18:30 2014 Tensta Museum: Lecture by artist Heidrun Holzfeind, participant in Tensta Museum with films, among others one about the housing complex Corviale on he edge of Rome. The artist Marwa Arsanios will hold a lecture performance called “Have you ever killed a bear? Or Becoming Jamila" which takes its starting point from a portrait of the Algerian freedom fighter, Jamila Bouhired. In collaboration with the Royal Institute of Art.more →
Tour of Spånga church
Thursday 10.4, 15:00 2014 Guided tour Spånga church. Spånga church is one of the oldest churches in the Stockholm area, containing original remnants from the 12th century and colourful medieval limestone paintings. The church has been rebuilt and enlarged over the centuries; for example, a burial chapel was added during the late 1600s by the powerful family Bonde.
During the same period, the reputable sculptor, Burchard Precht finished the famous altar consisting of a crucifix and two figures representing the Virgin Mary and the Apostle John. The church also contains a large collection of escutcheons. A visit to the steeple, which presumably also once functioned as a defense, gives a fine overview of the landscape. Meet at Tensta Konsthall.
Thursday 10.4, 15:00 2014 Guided tour Spånga church. Spånga church is one of the oldest churches in the Stockholm area, containing original remnants from the 12th century and colourful medieval limestone paintings. The church has been rebuilt and enlarged over the centuries; for example, a burial chapel was added during the late 1600s by the powerful family Bonde.more →
How will it be when welfare is exchanged for oppression? Irene Molina
Wednesday 9.4, 18:30 2014 Lecture by professor of Cultural Geography Irene Molina "How will it be when welfare is exchanged for oppression? The role of politics in segregation processes in Sweden (part 2)
For more than twenty years, housing areas from the Million Dwelling Programme (1965–74) in Sweden have been stigmatized and discriminated against politically. Despite all the official rhetoric about investing national and municipal means to counter segregation, ethnic and socio-economic segregation has been constantly increasing in Sweden.
Swedish cities are reckoned amongst the most segregated today according to international comparisons. There are a number of factors explaining why segregation arises and is reinforced. In stigmatized housing areas, job opportunities, social services and gathering places have disappeared, being replaced by the increasingly heavy-handed presence of police and guards. Molina will discuss the actors and mechanisms that have created segregation in Sweden, consider urban violence.less ←
Wednesday 9.4, 18:30 2014 Lecture by professor of Cultural Geography Irene Molina "How will it be when welfare is exchanged for oppression? The role of politics in segregation processes in Sweden (part 2)more →
Talk on the book Förortshat
Sunday 6.4, 14:00 2014 On Förortshat and the following debate: a conversation between Johanna Langhorst and Ülkü Holago.
In Förortshat, the journalist Johanna Langhorst tries to answer the question on how the suburb became so hated and how Sweden became so segregated, through interviews, personal experiences, and media analyses. The book made a big impact in media and also provoked great debate. Ülkü Holago and Johanna Langhorst meet one year after the release in a conversation about the book, the subsequent criticism and debate, and how the suburban is portrayed. Johanna Langhorst is a writer and radio producer. She does everything from children’s radio to investigative journalism, and is co-creator of the radio series Heliga Familjen (The Holy Family). Ülkü Holago is a journalist at Swedish radio. The talk is a collaboration between Tensta konsthall and Tensta Library.
Sunday 6.4, 14:00 2014 On Förortshat and the following debate: a conversation between Johanna Langhorst and Ülkü Holago.more →
Future jam: HORIZONS
Sunday 30.3, 14:00 2014 Haunted by Shadows of the Future - HORIZONS, a jam session on future scenarios for Tensta. Starring: Adam Tensta, Dougald Hine, Gunilla Lundahl and Tor Lindstrand. Featuring: STEALTH.unlimited (Ana Džokić + Marc Neelen) and Peter Lang.
Haunted by the Shadows of the Future: HORIZONS is an attempt to re-set Tensta into probable, speculative, or perhaps rather unseemly futures in the year 2030. Will this, yet unknown Tensta be an autonomous zone, where the residents of this disregarded part of Stockholm have successfully taken their destiny into their own hands? Or will its multi-facetted society prove so vital that this “new Sweden” comes to dominate the entire country by 2030? Or will Tensta’s original but unfulfilled mission – of creating an environment that acknowledges and gives space to a fully liberated and democratic model citizen - ultimately be re-created? And what would such a citizens’ liberation and equality mean if we could live it today?
Four people from different walks of life and with different relationships with the area take us along four different (im)possible futures for Tensta in 2030 – a milepost according to authorities in Stockholm’s “Vision 2030 – a world class Stockholm”.
With: Adam Tensta (hip-hop artist, challenger of vested cultural norms and laborious creator of one’s own realities, born and based in Tensta), Dougald Hine (social thinker, writer, kickstarter of projects and organizations, recent in-wanderer to Sweden from the UK), Gunilla Lundahl (cultural journalist, writer, and editor with a long-standing commitment to urban culture and discourse since her start at newspaper The Worker in 1955), and Tor Lindstrand (architect, assistant professor at the Royal Institute of Technology (KTH-A), and a cross-disciplinary performer, editor and thinker).
Haunted by the Shadows of the Future: HORIZONS is a collaboration in the context of Tensta Museum: Reports from New Sweden at Tensta Konsthall and the Urban Re-Mix course at the Royal Institute of Art (KKH) in Stockholm. It has been conceived by STEALTH.unlimited (Ana Dzokic + Marc Neelen, spanning spatial practices in the fields of architecture, culture and activism) and Peter Lang (curator, writer and professor in Architecture Theory and History, Mejan Arc KKH).
Sunday 30.3, 14:00 2014 Haunted by Shadows of the Future - HORIZONS, a jam session on future scenarios for Tensta. Starring: Adam Tensta, Dougald Hine, Gunilla Lundahl and Tor Lindstrand. Featuring: STEALTH.unlimited (Ana Džokić + Marc Neelen) and Peter Lang.more →
Presentation Marion von Osten
Saturday 29.3, 15:00 2014 Marion von Osten will present In the Desert of Modernity – Colonial Planning and After, an exhibition and research project on architectural and urban projects developed in North Africa and Western Europe during the 1950s and 1960s in the context of colonial governance. In English.
The installation in Tensta Museum is a condensed version of the exhibition which originally took place in 2010 at Haus der Kulturen der Welt in Berlin. It tells the story of residents of a large-scale, late-modern housing area in the French colonies, architects, colonial administrators, and scholars involved in the debates on modernity and modernization at that time. The project examines the contradictions of colonial modernity and the forms of resistance that developed against it—all within a process of negotiation and appropriation that continues to this very day. Scrutinizing a range of exemplary architectural and urban projects, it reveals how post-war modernism was put into practice under colonial rule. The large urban planning schemes developed for North Africa by architects working for offices like ATBAT Afrique played a key role in colonial modernization.
Indeed, mass housing projects designed for North African cities soon migrated to the outskirts of European capitals, resulting in suburbs that became home to hundreds of thousands of immigrants from the colonies. Colonial housing and settlement policies radically changed cities, modes of living, and architectural discourse in North Africa and Europe alike. At the same time, the projects in North Africa led to a postmodern critique of architecture in Western Europe and the United States, where the argument prevailed that technocratic planning, pursued by modernist European architects was only negative. In The Desert of Modernity – Colonial Planning and After is one of many examples of artist and curator Marion von Osten’s “project exhibitions”, research-based and cross-disciplinary exhibitions based on various forms of collaboration.
Saturday 29.3, 15:00 2014 Marion von Osten will present In the Desert of Modernity – Colonial Planning and After, an exhibition and research project on architectural and urban projects developed in North Africa and Western Europe during the 1950s and 1960s in the context of colonial governance. In English.more →
Spånga Local Heritage Society
Wednesday 26.3, 18:30 2014 “Tensta before the Million Dwelling Programme”, presentation of old photographs by the Spånga Local Heritage Society. In cooperation with the Spånga Local Heritage Society.
The Spånga Local Heritage Society documents the history of Spånga parish. Tensta is also part of the parish and its oldest mention is in 1292. The area has a wealth of Iron Age and Viking settlements and graves, but has most likely been occupied since the end of the ice age. The name “Tensta” comes from the word “tena”, a sort of fishing implement, and “sta”, a sort of enclosure. “Spånga” has to do with water and a passage over water. Spånga church, which is located in the middle of Tensta, is one of the oldest in the Stockholm area, parts of which date back to the 12th century. Two rune stones in the church yard attest to the fact that long before E 18 and the ring road around Stockholm, people went through Tensta – rune stones were primarily raised at crossroads and on bridges. Where the housing area is situated today there were three farms: Hjulsta, Lilla Tensta and Stora Tensta, which were torn down to make room for the new blocks of flats. Erikslund, where the Kurdish Association Spånga have their premises, is an old shoemaker dwelling, one of the few remaining older buildings.
The heritage society have had premises since 1986 in Nälsta Farm, which was built in the beginning of the 19th century. The society regularly organises an open house at Nälsta Farm and the municipal Culture School uses it for piano lessons. Spånga Local Heritage Society, which was founded in 1932, also publishes books: in 1972, Spånga före Tensta (Spånga before Tensta) was published and more recently the minutes of parish meetings between 1600 and 1862 were published. Life in Spånga during the first half of the 20th century has been documented and copies of old maps of Spånga have been made.
Wednesday 26.3, 18:30 2014 “Tensta before the Million Dwelling Programme”, presentation of old photographs by the Spånga Local Heritage Society. In cooperation with the Spånga Local Heritage Society.more →
Screening The Stuart Hall Project
Thursday 20.3, 18.30 2014 Screening of The Stuart Hall Project - a film about cultural theorist Stuart Hall by artist John Akomfrah.
Stuart Hall (1932-2014) figured in the global social debate for almost 60 years, and was a central voice in subjects ranging from the British New Left to feminist cultural analysis and post-colonial studies. John Akomfrah’s The Stuart Hall Project weaves a portrait of Stuart Hall using archive images and sound fragments, creating a personal as well as political dialogue around memory, identity, and the dramatic history of our time.
Karen Alexander, writer and film curator based in London; Ylva Habel, researcher and lecturer in Media and Communications Studies at Södertörn University; and Michael Barrett, curator and researcher in contemporary African and Afro-diaspora cultures discuss John Akomfrah’s film, The Stuart Hall Project.
Discussion moderator: Ulrika Flink, assistant curator at Tensta konsthall. In English.
Ylva Habel has a PhD in Film Studies and is a lecturer and researcher in Film, Media and Communication at the Institution for Culture and Communication at Södertörn University. She carries out research on representations of race and skin color within film and popular culture.
Michael Barrett is on the board of the film festival Cinemafrica, and conducts research on contemporary African and Afro-diaspora cultures and contextualizations. Barrett is the African curator at the Museum of Ethnography in Stockholm.
Karen Alexander is a lecturer at the Royal College of Art, London as well as a freelance film curator and writer. She has published articles in Sight & Sound and Vertigo, and has organized a large number of film programs, conferences, and exhibitions focusing on her special interests – representation, gender, identity, and independent films.
Thursday 20.3, 18.30 2014 Screening of The Stuart Hall Project - a film about cultural theorist Stuart Hall by artist John Akomfrah.more →
Tea and Coffee Salon at Stockholm City Musuem
Thursday 20.3, 14:00–17:00 2014 Women's Centre in Tensta Hjulsta is visiting the City Museum with Tea and Coffee Salon.
Women's Center's members offer tea and coffee according to their traditions. A great variety of pastries are served, baked according to the women´s traditions, from Lebanon, Bolivia, Syria, Iraq, Somalia, Iran, and Afghanistan. The Women's Center's will also sell handmade products like jewelry and re-cycled textiles. Tea and coffee Salon started in spring 2012 and is an ongoing collaboration with the Women's Center in Tensta-Hjulsta and Tensta Konsthall. Thourogh the Salon the association presents themselves their members and activities.
The Women’s Center in Tensta-Hjulsta (KTIH) was started in 1997 and is a voluntary women’s association. The association is multi-cultural, with members from some twenty countries, and contributes toward increasing women’s possibilities to engage themselves and influence society. The Center aims at breaking women’s isolation and segregation, reinforcing women’s self-confidence and identity, improving their language skills, and supporting women’s health. They arrange language courses and other educational activities. At present, the Women’s Center in Tensta-Hjulsta has about twohundred and fifty members. Address Glömmingegränd 31 in Tensta.
Thursday 20.3, 14:00–17:00 2014 Women's Centre in Tensta Hjulsta is visiting the City Museum with Tea and Coffee Salon.more →
Lecture Lisa Kings & Zhanna Kravchenko
Sunday 16.3, 14:00 2014 Under the title “The city now and then: Planning and ideology in Stockholm and Leningrad/St. Petersburg,” sociologists Lisa Kings and Zhanna Kravchenko lecture on similarities between two cities operating under different societal systems. In Swedish.
The lecture is based on the text Giving Up on Great Plans? Transforming Representations of Space in City Plans in Russia and Sweden, by Lisa Kings and Zhanna Kravchenko. They analyzes representations of urban space by exploring city planning during the last half century in Stockholm and Leningrad/Saint Petersburg.
City plans that constitute the empirical foundation of the article were enforced during the nodal points 1950s–1960s and early 2000s—of the historical development of both countries and reflect specificities of their ideological and sociopolitical heritage. The study explores how representations of space—crystallized as ideas about goals and possibilities for spatial planning—have changed over time and how they reflect larger political, economic, and ideological transformations in Sweden and Russia. Two overarching themes are identified in our analysis. First, the ideal of equality, which dominated both the socialist and social democratic ideologies in the 1950s–1960s and provided opportunities for extensive normative control and manipulation of social life by means of a planned physical environment. Second, the ideal of the “European/global” city is distinguished in the early 2000s as a means of promoting economic development by incorporating new actors and shifting the focus to a more market-oriented approach to planning.
Sunday 16.3, 14:00 2014 Under the title “The city now and then: Planning and ideology in Stockholm and Leningrad/St. Petersburg,” sociologists Lisa Kings and Zhanna Kravchenko lecture on similarities between two cities operating under different societal systems.more →
Våravdelningen Tensta museum: Rapporter från nya Sverige Tensta konsthall 18.1 2014–18.5 2014 Tensta museum: Rapporter från nya Sverige handlar om historia och minne ?i Tensta, både i förhållande till platsen och till de människor som bor och ?verkar här. Ett fyrtiotal konstnärer, arkitekter, lokala föreningar, artister, sociologer, kulturgeografer, filosofer och andra berör det förflutna i konstverk, forskningsprojekt, seminarier, vandringar mm. Samtidigt rapporterar de också? om sakernas tillstånd i Tensta idag, om det som på många sätt kan beskrivas?som det nya Sverige. Ett Sverige som visserligen inte är helt nytt men som det är nödvändigt att acceptera som annorlunda än för några decennier sedan. Ett land där människor har vitt skilda bakgrunder och där ekonomiska och sociala skillnader ökar påtagligt – enligt en ny rapport?från OECD växer inkomstklyftorna i Sverige snabbast bland de trettiofyra medlemsländerna. Några av de inbjudna deltagarna kommer också att peka framåt och föreslå framtida scenarier.more →
Spring Department Tensta Museum: Reports from New Sweden Tensta konsthall 18.1 2014–18.5 2014 Tensta Museum: Reports from New Sweden is about the history and memories of Tensta, both in relation to the place and to the people who live and work there. Some forty artists, architects, local associations, performers, sociologists, cultural geographers, philosophers, and others address the past in, for example, art works, research projects, seminars, and guided walks. At the same time they will be reporting on the condition of things in Tensta today, on what can be described as the “new Sweden.” This is a Sweden containing people of widely different backgrounds, where economic and social differences are palpably intensifying: according to a new OECD report, income gaps in Sweden are increasing the most rapidly of any of the 34 member states. In their contributions to Tensta Museum, some of the invited participants will also be looking forward and proposing future scenarios.more →
Haunted by Shadows of the Future: ARTEFACTS STEALTH.unlimited & Peter Lang Haunted by Shadows of the Future: ARTEFACTS identifierar föremål från slutet av 1960-talet till slutet av 1970-talet som har ett personligt eller familjärt samband med
människorna och samhället under denna tid, och som innefattar en särskild känsla av tillhörighet, en önskan att vara en del av det moderna svenska samhälle som tog form vid den tiden. Resultatet av detta kollektiva sökande är en samling artefakter, företeelser och föremål i hemmet, sammanflätade med rika personliga berättelser och upptäckter.
Haunted by Shadows of the Future: ARTEFACTS identifies objects from the late 1960’s to late 1970’s that have personal or familial relationship with the people and the communities who lived during this era, and that embody a specific sense of belonging, a desire of being part of the modern Swedish society taking shape at that time. The result of this collective search is an assembly of artefacts, customs and domestic tropes, intertwined with rich personal stories and discoveries.more →
English Grand Domestic Revolution Guide Casco – Office for Art, Design Theory The Grand Domestic Revolution (GDR) is an ongoing “living research” project initiated by Casco – Office for Art, Design and Theory, Utrecht, the Netherlands as a multi-faceted exploration of the domestic sphere to imagine new forms of living and working in common. It was set up through an apartment residency in Utrecht from October 2009 to October 2011, and manifest in a multi-venue exhibition from 2011 through 2012. Since then it continues on through the Casco’s program and the international tour GDR GOES ON, which has so far traveled to The Showroom, London, Center for Contemporary Arts Derry, Derry, and the City of Women Festival, Ljubljana, forming new alliances with different local communities along the way.more →
Swedish Grand Domestic Revolution Guide Casco – Office for Art, Design Theory The Grand Domestic Revolution (Hemmets stora revolution) (GDR) a?r ett pa?ga?ende “levande” forskningsprojekt startat av Casco – Office for Art, Design Theory i Utrecht. Projektet startade som ett la?genhets-residency i Utrecht som pa?gick fra?n oktober 2009 till oktober 2011, och fortsatte som utsta?llning pa? flera platser under 2011-2012. Projektet fortsa?tter nu genom Cascos program, den internationella turne?n GDR Goes On (GDR fortsa?tter), som hittills har rest fra?n The Showroom i London, Center for Contemporary Arts Derry i Derry, och till City of Women Festival i Ljubljana. Dessutom har olika samarbeten startat under projektets ga?ng.more →
Tensta konsthalls historia Jan Ekman Tensta Konsthall blev efter o?ppningen 1998 snabbt omtalad fo?r sitt dja?rva, na?stan framfusiga konstprogram. Grundarnas mod la?g inte enbart i deras ho?gkvalitativa utsta?llningsprogram som utmanade institutioner med la?ngt sto?rre ekonomiska resurser. De var ocksa? modiga nog att placera utsta?llningsrummet la?ngt bortom de etablerade konststra?ken. Konsthallen a?r inrymd i en outnyttjad lagerlokal under ett anspra?kslo?st ko?pcentrum i Stockholmsfo?rorten Tensta, ett omra?de vars befolkning idag na?rmar sig 20.000 personer varav ca 90% har translokal bakgrund.more →
Josabet Sjöberg Lawen Mohtadi Josabeth Sjöberg var självlärd. Hon saknade formell utbildning. Men hon hade en tydlig konstnärlig tanke. De målningar som idag finns bevarade - 59 stycken, varav 57 finns på Stockholms stadsmuseum - kan delas in i fyra kategorier. Hennes 12 bostäder på Södermalm. Gatulivet på Södermalm, ofta sett från fönstret i hennes bostad. Institutioner som hus för äldre och sjuka. Kyrkorum. I bostadsbilderna sitter hon ofta med handarbete vid fönstret, vänd mot ljuset och gatan. more →
Tensta -En plats som ständigt ska bli bättre Emma Holmqvist Utbyggnaden av bostadsomra?det Tensta 1967-71 ingick i det mest ambitio?sa bostadsbyggnadsprojekt som genomfo?rts i Sverige, det sa? kallade Miljonprogrammet. Pa? grund av den ra?dande bostadsbristen besta?mde staten att en miljon nya bosta?der skulle byggas under en tioa?rsperiod (Sax, 2000). En sa?dan stor volym har aldrig uppna?tts sedan dess i Sverige. more →
Tensta Museum: Reports from New Sweden Tensta konsthall Tensta Museum: Reports from New Sweden is about the history and memories of Tensta, both in relation to the place and to the people who live and work there. Some forty artists, architects, local associations, performers, sociologists, cultural geographers, philosophers, and others address the past in, for example, art works, research projects, seminars, and guided walks. At the same time they will be reporting on the condition of things in Tensta today, on what can be described as the “new Sweden.” This is a Sweden containing people of widely different backgrounds, where economic and social differences are palpably intensifying: according to a new OECD report, income gaps in Sweden are increasing the most rapidly of any of the 34 member states. In their contributions to Tensta Museum, some of the invited participants will also be looking forward and proposing future scenarios.more →
Tensta museum: Rapporter från nya Sverige Tensta konsthall Tensta museum: Rapporter från nya Sverige handlar om historia och minne i Tensta, både i förhållande till platsen och till de människor som bor och verkar där. Ett fyrtiotal konstnärer, arkitekter, lokala föreningar, artister, sociologer, kulturgeografer, filosofer och andra berör det förflutna i konstverk, forskningsprojekt, seminarier, vandringar mm. Samtidigt rapporterar de också om sakernas tillstånd i Tensta idag, om det som på många sätt kan beskrivas som det nya Sverige. Ett Sverige där människor har vitt skilda bakgrunder och där ekonomiska och sociala skillnader ökar påtagligt – enligt en ny rapport från OECD växer inkomstklyftorna i Sverige snabbast bland de 34 medlemsländerna. Några av de inbjudna deltagarna kommer också att peka framåt och föreslå framtida scenarier.
Choreography without dancers, a trademark where a world renowned tennis player disappeared out of the picture, and an installation that resembles an abandoned home. This year's visual arts program at the Stockholm Music & Arts is about human absence, about what is beyond her. This includes all things but even nature itself. It also results in large-scale paintings where nature's forces give shape to the images, and a spectacular performance, staging the pineapple-scented Giant Water Lily in full bloom in front of the audience's eyes. It blooms for two nights; the first night is the petals white, and the other pink. A film festival dedicated to the legendary naturtevemakaren Jan Lindblad is also part of the visual arts program.
For the second year in a row, Tensta konsthall curates the visual arts program at the Stockholm Music & Arts. Most types of musical performances are based on the precence of humans. The artists and musicians – their presence – is the key to every concert, and the audience's bodies also take part in the physical equation. Live music is in this sense extremely fixed on the human subject. Art and philosophy have in recent years become more focused on methods and theories in which people are less important than objects and their circumstances. Man is no longer seen as the most important existence. Instead, things, including everything from tools and radio waves to the EU, become central. These current streams of thought are alternately called speculative realism and object-related philosophy. Against this background, we ask: Where did she go?? more →
Koreografi utan dansare, ett varumärke där en världskänd tennisspelare försvunnit ur bilden och en installation som liknar ett övergivet hem. Årets bildkonstprogram på Stockholm Music & Arts handlar om människans frånvaro, om det som ligger bortom henne. Dit räknas alla ting men även naturen i sig. Det innebär också storskaligt måleri där naturens egna krafter ger form åt bilderna och den ananasdoftande jättenäckrosen i en spektakulär performance blommar inför publikens ögon. Den blommar under två nätter, den första natten är kronbladen vita, och den andra rosa. En filmfestival tillägnad den legendariske naturtevemakaren Jan Lindblad ingår också i bildkonstprogrammet.
??För andra året i rad curerar Tensta konsthall bildkonstprogrammet på Stockholm Music & Arts. De flesta typer av musikframträdanden bygger på att människor finns på plats. Artisterna och musikerna - deras närvaro - är det viktigaste på varje spelning där publikens kroppar också ingår i den fysiska ekvationen. Levande musik är i den bemärkelsen extremt människofixerad. Inom konsten och filosofin har man under de senaste åren intresserat sig alltmer för metoder och teorier där det inte är människorna som står i centrum utan objekten och deras omständigheter. Människan ses inte längre som den viktigaste existensen. Istället blir saker, dit allt från verktyg och radiovågor till EU och önskningar räknas, det centrala. De här tankeströmningarna går växelvis under namnet spekulativ realism och objektsrelaterad filosofi. Mot den bakgrunden frågar vi: Vart tog hon vägen?more →
Iman Issa 13.6—29.9 2013 Tensta konsthall Iman Issas (Kairo/New York) installationer talar till minnena och?vår förmåga att göra associationer. I Trettiotre berättelser om rimliga karaktärer på bekanta platser möter vi glimtar från en utflykt till en djurpark, en iakttagelse på ett universitet, ett fragment av en familjs semestertraditioner – relationer och vardagliga händelser beskrivna med några få adjektiv, namn och andra detaljer. I Vanliga inslag är det meningar ur arabiska intellektuellas självbiografier, bl a Nawal El Saadawis och Edward Saids, som kopplar ihop det personliga med det allmängiltiga. I verket Revolutionären är det istället runt det ordets många betydelser som berättelesen vävs. more →
Iman Issa 13.6—29.9 2013 Tensta Konsthall Iman Issa’s (Cairo/New York) installations speak to our memories and our ability to make associations. In Thirty-three Stories about Reasonable Characters in Familiar Places we get glimpses from a trip to the zoo, an observation from a campus, a fragment of a family’s vacation traditions – relationships and everyday events described with barely any adjective, names or other details. In Common Elements it is familiar text from several intellectuals’ autobiographies, like Nawal El Saadawi and Edward Said among others, that connects the personal with shared, lived experience. The audio piece The Revolutionary weaves a story around the multiple meanings of the word ”revolutionary”. more →
Bernd Krauss, Vi fortsätter BBDG 13.6—29.9 2013 Tensta konsthall En teatralisk och hemsnickrad tennis-boutique som bygger på boken Sanningen - Mina år med Björn Borg av Lars Skarke (1993) är inledningen till Bernd Krauss projekt Vi fortsätter BBDG. Här finns gott om begagnade Björn Borg-kläder men inga underkäder - bara de plagg som inte längre är i produktion får ingå. Installationen väcker till liv historien om hur den kända tennisspelarens namn under titeln Björn Borg Design Group blev till ett välkänt varumärke. more →
Bernd Krauss, We Are Continuing BBDG 13.6—29.9 2013 Tensta Konsthall A flamboyant and homemade tennis boutique, based on the book The Truth - My Years With Björn Borg by Lars Skarke (1993), functions as an introduction to Bernd Krauss’ project We Are Continuing BBDG. In the installation there are a range of used Björn Borg clothes, but no underwear—only the clothes that are no longer in production may be included in the show. The installation brings to life the story of how the famous tennis player’s name, under the title of Björn Borg Design Group, became a well-known brand. more →
Reverberation: A film portrait of Megafonen by Behzad Khosravi Noori and René León Rosales Tensta Konsthall 13.6–29.9 2013 In the 30 minute long documentary Reverberation (2012), the artist Behzad Khosravi Noori (Teheran/Stockholm) and the ethnologist René León Rosales (Stockholm) follow some of the members of Megafonen on a trip to Gothenburg. Megafonen is an organization that works for social justice and the rehabilitation of the Swedish suburbs. During the trip many questions are asked regarding the processes of segregation and integration in Sweden today. more →
Genklang: ett filmporträtt av Megafonen av Behzad Khosravi Noori och Rene León Rosales Tensta Konsthall 13.6–29.9 2013 I den trettio minuter långa dokumentären Genklang (2012) följer konstnären Behzad Khosravi Noori (Teheran/Stockholm) och etnologen Rene León Rosales (Stockholm) några av Megafonens medlemmar på en resa till Göteborg. Megafonen a?r en organisation som arbetar för social rättvisa och upprustning av Sveriges förorter. Under resan till Göteborg ställs många frågor om processer för segregation och integration i dagens Sverige. more →
Zak Kyes Working With... Tensta Konsthall 13.6–29.9 2013 Zak Kyes Working With..., brings together a range of works by graphic designer Zak Kyes, as well as works by several of his collaborators—including architects, artists, writers, curators, editors, and other graphic designers—commissioned specifically for the exhibition. The new works all have a special - structural - role in the making of the exhibition, such as the exhibition display, object captions, exhibition poster, audio guide, workshop, lecture, archive, and publication. This way Kyes and his collaborators explore how graphic design today is a practice that both mediates and is mediated by its allied disciplines.more →
Zak Kyes Working With... Tensta konsthall 13.6–29.9 2013 Zak Kyes Working With... fo?r samman en rad av den grafiska formgivaren Zak Kyes’ egna verk med arbeten av personer som han samarbetat med. Det handlar om arkitekter, konstna?rer, fo?rfatttare, curatorer, fo?rla?ggare och andra grafiska formgivare som har gjort nya verk specifikt fo?r utsta?llningen. De nya verken har alla haft en sa?rskild – strukturell
- funktion i arbetet info?r utsta?llningen: tex utsta?llningsarkitekturen, verkstexter, utsta?llningsaffisch, audioguide, workshop, fo?rela?sningar, arkiv och katalog. Pa? sa? vis underso?ker Kyes och hans samarbetspartners dagens grafiska formgivning som en praktik som ba?de fo?rmedlar och fo?rmedlas av besla?ktade discipliner.more →
Undoing Property? Edited by Marysia Lewandowska, Laurel Ptak With contributions by Agency, David Berry, Nils Bohlin, Sean Dockray, Rasmus Fleischer, Antonia Hirsch, David Horvitz, Mattin, Open Music Archive, Matteo Pasquinelli, Claire Pentecost, Florian Schneider, Matthew Stadler, Marilyn Strathern, Kuba Szreder and Marina Vishmidt. Preface by Binna Choi, Maria Lind, Emily Pethick. Design by Konst & Teknik.
Undoing Property? examines complex relationships inside art, culture, political economy, immaterial production, and the public realm today. In its pages artists and theorists address aspects of computing, curating, economy, ecology, gentrification, music, publishing, piracy, and much more.
Property shapes all social relations. Its invisible lines force separations and create power relations felt through the unequal distribution of what is otherwise collectively produced value. Over the last few years the precise question of what should be privately owned and publicly shared in society has animated intense political struggles and social movements around the world. In this shadow the publication’s critical texts, interviews and artistic interventions offer models of practice and interrogate diverse sites, from the body, to the courtroom, to the server, to the museum. The book asks why propertization itself has changed so fundamentally over the last few decades and what might be done to challenge it. The "undoing" of Undoing Property? begins with the recognition that something else is possible.
Published by Sternberg Press and Tensta konsthall, June 2013.more →
Art and Contemporary Critical Practice: Reinventing Institutional Critique Edited by Gerald Raunig & Gene Ray "Institutional critique' is best known through the critical practice that developed in the late 1960s and early 1970s by artists who presented radical challenges to the museum and gallery system. Since then it has been pushed in new directions by new generations of artists registering and responding to the global transformations of contemporary life. Interrogating the shifting relations between 'institutions' and 'critique' these essays reflect on the mutual enrichments between critical art practices and social movements and elaborate the conditions for politicized critical practice in the twenty-first century." Published by MayFlyBooks, 2009. Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported.more →
Art Work: A National Conversation About Art, Labor and Economics Edited by Temporary Services "Art Work is a newspaper that consists of writings and images from artists, activists, writers, critics, and others on the topic of working within depressed economies and how that impacts artistic process, compensation and artistic property. We can see how the collapse of the economy is affecting everyone. Something must be done. Let's talk. No, it can't wait. Things are bad. We have to work things out. We can only do it together. What do we know? What have others tried? What is possible? How do we talk about it? What are the wildest possibilities? What are the pragmatic steps? What can you do? What can we do?" Published by Half Letter Press, November 2009. FREE. Take a copy. Make an exhibition. Host a discussion in your town. www.artandwork.us.more →
Speak, Memory: on archives and other strategies of (re)activation of cultural memory Edited by Laura Carderera Exploring ways of recovering a vanishing history of the Middle East's neglected 20th-century cultural and artistic movements, this book is a synthesis and a further exploration into questions raised during the "Speak, Memory" symposium that took place at the Townhouse Gallery in Cairo on October 28-30, 2010. www.speakmemory.org. With contributions by Kaelen Wilson-Goldie, Hussein Omar, Rasha Salti and Kristine Khouri, Miguel A. López , Claire Hsu, the Editors of Bidoun, Adam Broomberg and Oliver Chanarin, Jesús Carrillo and Mai Elwakil.more →
The Critical Regionalism Map Susana Arellano, Kate Dewitt, Erin Sickler "Applied to artistic production, the idea of critical regionalism suggests that we could learn to identify, develop, and allocate resources within our immediate geographical locales to foster new creative microclimates. The Critical Regionalism map, designed by Susana Arellano, Kate Dewitt and Erin Sickler, utilizes a geographical framework to suggest this alternate type of art economy, one based around collective art spaces, hacker spaces, tool lending libraries, local currencies, and agricultural and energy cooperatives instead of museums, galleries, and art schools. Far from a complete taxonomy of groups or organizations that exhibit values of mutual aid--in the United States, much less worldwide--it is a temporary stand-in for a more complex atlas, that of an as-yet unrealized alternative art economy." www.criticalregionalism.orgmore →
Autonomy Project Newspaper #2 Frameworks Autonomy Project "We are living in remarkable times. Our globalised neo-liberal economy has nearly bankrupted itself and we are all now footing the bill. Europe is refragmenting. America's power is waning. Asia's power is waxing and the 'War on Terror' has turned into a pandemic of ideological attrition. It seems highly unlikely that anybody looking back at this moment from some time in the future will even begin to remember the art. That is, of course, unless we do something about it." With contributions by: John Byrne, Charles Esche, Emilio Moreno, Paul Sullivan, Sarah Pierce, Brian Holmes, Steven Ten Thije, Marijke Goeting, Jennifer Smailes, Joanne McClellan, Joana Ozorio de Almeida Meroz, Clare Butcher, Kerstin Niemann, Sean Harvey, Hannah Pierce. Published by Autonomy Project and Onomatopee, 2011. Creative Commons Attribution-Noncommercial-Share Alike 3.0 Dutch License. www.theautonomyproject.ning.com.more →
Amateurist Network Edited by Shama Khanna, Caroline Stevenson Amateurist Network (AN) operates through a series of public meetings with the stated aim of promoting open and critical discussion around the economics of creative practice and cultural production. By examining the position of the artist or cultural worker within precarious and informal working practices the AN aims to define self-organisation through its ability to produce a site of learning rather than by self-reliance. Sharing ideas and experience in this way, the AN hopes to validate self-organisational strategies and strengthen networks within the arts community. www.amateuristnetwork.wordpress.commore →
Konstprogrammet på Stockholm Music & Arts Tensta konsthall Tensta konsthall curerar konstprogrammet på Stockholm Music & Arts 3-5.8 2012 på Skeppsholmen, Stockholm. Övriga konstnärer är Lawrence Abu Hamdan (London), Meric Algün Ringborg (Istanbul/Stockholm), Ursula Biemann (Zürich), Marie-Louise Ekman (Stockholm), Giorgio Giusti (Stockholm), Tamara Henderson (Sackville/Stockholm), Hassan Khan (Kairo), Cecilia Nygren (Stockholm), Lisl Ponger (Wien), Public Movement (Tel Aviv), Emily Roysdon (New York/Stockholm), Disa Rytt (Stockholm), Hinrich Sachs (Osnabrück/Basel/Stockholm) och Marika Troili (Stockholm).more →
The Sadness of Post-Workerism David Graeber "On the 19th of January 2008, several of the heavyweights of Italian post-Workerist theory--Toni Negri, Bifo Berardi, Maurizio Lazzarato, and Judith Revel--appeared at the Tate Modern to talk about art. This is a review..."more →
To Have And To Need Manifesto Haben und Brauchen "Haben und Brauchen seek to be advocates in the field of art as well as in art's neighboring occupational fields with a platform for discussion and action. In our opinion, with regard to its social and economic structure, Berlin is still an exception among other cities worldwide. Within the city's historically determined heterogeneity and intermixture of social diversity lies a potential for the future, not a phased-out model from the past. With that said, it is imperative to establish a consciousness and self-concept concerning what distinguishes the forms of artistic production and articulation that have unfolded in Berlin during recent decades and how these forms can be preserved and further developed." Published by Haben und Brachen, Berlin, January 2012.more →
...ment #3 Frag...ment (On Authorship) Erica Baum, Gavin Brown, Federica Bueti, Federico Campagna, Övül Dormusoglu, Freee, Marc Garrett, Pedro Neves-Marques, Joseph Redwood-Martinez, Vanessa Place, Jan Verwoert, Caleb Waldorf "Issue 3 of ...ment investigates current debates and practices surrounding the concept of authorship and the possible modes of resistance attached to it. Looking at broad topics such as intellectual property, collectivity, knowledge production and technology, this issue is concerned with the re-articulation of such themes in a transforming political landscape. What is an author and how do we understand authorship and its politics?" Published by ...ment, spring/summer 2012.more →
A Declaration of Principles (for artists, cultural workers, & supporters thereof) Justin Langlois "By posting this page, we submit that we are an artist, cultural worker, or a supporter thereof and declare the following: we are no longer interested in participating in consultancies, asset maps, or activities that offer us "promotional opportunities" in absence of clear financial or strategic gain. We will not support the exploitation of artists or other cultural workers or their works for the sole purpose of further municipal or economic planning, fundraising, or marketing. We refuse to acknowledge the existence of the politically-invented term, creative economy, which lumps together practicing artists with video cassette duplication services..." Published by Justin Langlois, 2012.more →
Conceptualismo y Economía Sofía Hernández Chong Cuy, Lee Lozano, Seth Price, Mario García Torres & Aaron Schuster, Joe Scanlan "El título es puntual: Conceptualismo y Economía. La publicación reúne proyectos artísticos--en forma de ensayo, propuesta, guión y manifiesto--que tratan sobre la relación del arte conceptual y la economía. Esta pequeña publicación intenta introducir un puñado de obras que hacen una reflexión crítica y creativa de estos temas." Published by Murmur, 2009.more →
My Creativity Reader: A Critique of Creative Industries Edited by Geert Lovink & Ned Rossiter "Within policy and academic circles at least--creative industries operate as a meme that mobilises expectations. The term provokes an interesting range of human responses, from curiosity to outrage and disgust. Creative industries are not simply an empty signifier that grafts on to anything you please. There are contours and forces that guide the creative industries meme in some directions, and not others. We cannot take for granted what 'creative industries' means and consists of. Creative industries are a contested zone in the making. While policy draws on a set of presuppositions around the borderless nature of cultural and economic flows, situated creativity is anything but global. Concepts are always contextual." Published by Institute of Network Cultures, 2007. Creative Commons Attribution Noncommercial No Derivative Works 2.5 Netherlands License.more →
What does an art institution do?: Community Matters—English Handout Tensta konsthall To accompany the seminar What does an art institution do?: Community Matters, Thursday 3 May 2012 at Tensta konsthall. Abdellah Karroum on L'appartement 22 in Rabat; Sofia Victorino on the Whitechapel Art Gallery in London. Local respondent: Diana Baldon, Index, Stockholm. On institutional work which relates directly to communities in the immediate vicinity of the institution.more →
What does an art institution do?: Community Matters—Swedish Handout Tensta konsthall To accompany the seminar What does an art institution do?: Community Matters, Thursday 3 May 2012 at Tensta konsthall. Abdellah Karroum on L'appartement 22 in Rabat; Sofia Victorino on the Whitechapel Art Gallery in London. Local respondent: Diana Baldon, Index, Stockholm. On institutional work which relates directly to communities in the immediate vicinity of the institution.more →
What does an art institution do?: Size Matters—English Handout Tensta konsthall To accompany the seminar What does an art institution do?: Size Matters, Thursday 2 February 2012 at Tensta konsthall. Chris Dercon on Tate Modern, London and Gabi Ngcobo on Center for Historical Reenactments in Johannesburg. Local referent: Kim Einarsson, Konsthall C. On the potentials and problems of large and small scales.more →
What does an art institution do?: Size Matters—Swedish Handout Tensta konsthall To accompany the seminar What does an art institution do?: Size Matters, Thursday 2 February 2012 at Tensta konsthall. Chris Dercon on Tate Modern, London and Gabi Ngcobo on Center for Historical Reenactments in Johannesburg. Local referent: Kim Einarsson, Konsthall C. On the potentials and problems of large and small scales.more →
What does an art institution do?: All Over the Place—English Handout Tensta konsthall To accompany the seminar What does an art institution do?: All Over the Place, Thursday 29 March 2012 at Tensta konsthall. Sofía Hernández Chong Cuy on the Patricia Phelps de Cisneros Foundation and Kate Fowle on Independent Curators International. Local referent: Lena From, Stockholm Konst. On the mobile institution which works with various partners and sites.more →
What does an art institution do?: All Over the Place—Swedish Handout Tensta konsthall To accompany the seminar What does an art institution do?: All Over the Place, Thursday 29 March 2012 at Tensta konsthall. Sofía Hernández Chong Cuy on the Patricia Phelps de Cisneros Foundation and Kate Fowle on Independent Curators International. Local referent: Lena From, Stockholm Konst. On the mobile institution which works with various partners and sites.more →
The New Model: The Model and the City—English Handout Tensta konsthall Guide to accompany the seminar The New Model: The Model and the City a seminar on Palle Nielsen's project The Model (Moderna Museet 1968) and Tensta, Sunday 11 March 2012 at Tensta konsthall. With Palle Nielsen, Lars Bang Larsen, Gunilla Lundahl, Erik Stenberg. With pivotal agents from The Model and Action Talk present, this seminar took 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 explored the question of how contemporary experience and theory can inform historical events, which are still important and timely for us today.more →
The New Model: The Model and the City—Swedish Handout Tensta konsthall Guide to accompany the seminar The New Model: The Model and the City a seminar on Palle Nielsen's project The Model (Moderna Museet 1968) and Tensta, Sunday 11 March 2012 at Tensta konsthall. With Palle Nielsen, Lars Bang Larsen, Gunilla Lundahl, Erik Stenberg. With pivotal agents from The Model and Action Talk present, this seminar took 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 explored the question of how contemporary experience and theory can inform historical events, which are still important and timely for us today.more →
A Wikipedia Reader: Critical Point of View Edited by Geert Lovink & Nathaniel Tkacz "What values are embedded in Wikipedia's software? On what basis are Wikipedia's claims to neutrality made? How can Wikipedia give voice to those outside the Western tradition of Enlightenment, or even its own administrative hierarchies? Critical Point of View collects original insights on the next generation of wiki-related research, from radical artistic interventions and the significant role of bots to hidden trajectories of encyclopedic knowledge and the politics of agency and exclusion. " Published by Institute of Network Cultures, 2011. Creative Commons Attribution-ShareAlike 3.0 Unported.more →
Hinrich Sachs: Kami, Khokha, Bert and Ernie (World Heritage)—English Handout Tensta konsthall To accompany the exhibition Hinrich Sachs: Kami, Khokha, Bert and Ernie (World Heritage). Triggered by the children's program, Sesame Street, the project examines questions relating to children, popular culture and the licensing of artistic and intellectual material. What roles are played by imitation, interpretation, emancipation, and cultural translation from one context to another in the educationally highly valued sphere which surrounds children's play? What do these roles mean for popular culture?more →
Hinrich Sachs: Kami, Khokha, Bert och Ernie (världsarv)—Swedish Handout Tensta konsthall To accompany the exhibition Hinrich Sachs: Kami, Khokha, Bert and Ernie (World Heritage). Triggered by the children's program, Sesame Street the project examines questions relating to children, popular culture and the licensing of artistic and intellectual material. What roles are played by imitation, interpretation, emancipation, and cultural translation from one context to another in the educationally highly valued sphere which surrounds children's play? What do these roles mean for popular culture?more →
Autonomy Project Newspaper #1 Positioning Autonomy Project "Autonomy is a quality. Autonomy is an approach. Autonomy is a structure. Autonomy is a tool. Autonomy is a method. Autonomy is innate. Autonomy is taken. Autonomy is a 'line of flight'. Autonomy is a destination. Autonomy is a group. Autonomy is an individual. Autonomy is subtle. Autonomy is radical. Autonomy is knowledge. Autonomy is action...Autonomy is a word. A word with as many synonyms as it has antonyms. And it is this vast tagging cloud of possibilities which the Autonomy Project aims to map, investigate, work out and push through." With contributions by: Jeroen Boomgaard, Clare Butcher, John Byrne, Juan Cruz, Thomas Lange, Freek Lomme, Sven Lutticken, Becky Shaw, Steven Ten Thije. Published by Autonomy Project and Onomatopee, 2010. Creative Commons Attribution-Noncommercial-Share Alike 3.0 Dutch License. www.theautonomyproject.ning.com.more →
The Artist's Reserved Rights Transfer And Sale Agreement Seth Siegelaub "In 1971 drafted with Bob Projansky, a New York lawyer, after extensive discussions and correspondence with over 500 artists, dealers, collectors, museum people, critics and others involved in the day-to-day workings of the international art world. Designed to remedy some generally acknowledged inequities in the art world, particularly artists' lack of control over the use of their work and participation in its economics after they no longer own it. The Agreement form has been written with special awareness of the current ordinary practices and economic realities of the art world particularly its private, cash and informal nature, with careful regard for the interests and motives of all concerned." Published by Primary Information. www.primaryinformation.org/index.php?/projects/siegelaubartists-rights/.more →
Noise & Capitalism Edited by Mattin & Anthony Iles "A tool for understanding the situation we are living through, the way our practices and our subjectivities are determined by capitalism. It explores contemporary alienation in order to discover whether the practices of improvisation and noise contain or can produce emancipatory moments and how these practices point towards social relations which can extend these moments." Contributors: Ray Brassier, Emma Hedditch, Matthew Hyland, Anthony Iles, Sara Kaaman, Mattin, Nina Power, Edwin Prévost, Bruce Russell, Matthieu Saladin, Howard Slater, Csaba Toth, Ben Watson. Published by Arteleku Audiolab (Kritika saila), Donostia-S.Sebastiá, Spain. September 2009. Writers included in this book have different opinions regarding intellectual property. Consult each text to understand the authors' positions. www.arteleku.net/noise_capitalism.more →
Imagine There Is No Copyright And No Cultural Conglomorates Too Joost Smiers & Marieke van Schijndel "If we recognize that copyright is unfeasible, and unjustifiable, what should our response be? Copyright provides an investment protection to blockbusters, best sellers and stars. It distorts cultural markets and pushes a wide variety of cultural expressions out of sight. At the same time, cultural conglomerates controlling copyright dominate cultural markets by owning the means of production, distribution, marketing and reception of cultural expressions. From the perspective of democracy and fair competition this type of market control is not to be tolerated. Thus, let us imagine what abolishing copyright would accomplish, while we do not hesitate cutting cultural conglomerates into many pieces. The result is a level playing field in which many, and many more artists can make a decent living. And even more important effect would be the restoration of our public domain of creativity and knowledge." Theory on Demand #4, published by Institute of Network Cultures, Amsterdam, 2009. Creative Commons Attribution Noncommercial No Derivative Works 3.0 Netherlands License.more →
"Rather than simply lament the decline of public institutions, the ongoing privatization of knowledge, and the resulting precariousness of access to education, we should challenge ourselves to learn how to respond to the current situation without drowning in it. The discovery of possible points of resistance to these oncoming waves of privatization, appropriation, and commodification has become urgent. The system of public education is threatened by a crisis with multiple sources, a crisis that exceeds the limits of our imagination and is essentially beyond measure since what is put into question is the very idea of measurement and commensurability as such. It is a crisis of property, which has become increasingly "imaginary" in the sense that one can no longer be sure of whether or not it is real." From E-flux Journal #14, March 2010. www.e-flux.com/journals/?user=8398.
Contemporary Art and its Commercial Markets—Preface Maria Lind "An attempt to map and analyze one aspect of recent changes in the production and distribution of contemporary art, namely the state of the commercial art market; to put things on the table which have been sensed and guessed at for a while but for "fear of touching" have not been compiled and openly debated. As commerce and recent art are becoming an increasingly intimate and powerful pair, and as the criteria of economic efficiency invade art production as well as curating, it is necessary to scrutinize the mechanisms at play and what they generate. Because there is no denying that the entire world of art is influenced by these mechanisms, regardless of your proximity to or distance from the drama." From Contemporary Art and its Commercial Markets, a report published by Tensta konsthall and Sternberg Press.more →
Shadowboxing #1 What Is an Apparatus? Marysia Lewandowska & Giorgio Agamben Artist Marysia Lewandowska's annotations reflect her reading of the text "What Is an Apparatus" by Giorgio Agamben, in response to an invitation from the 2010 graduating students of the MA Curating Contemporary Art course at the Royal College of Art. Published by the Royal College of Art, London 2011. Licensed under Creative Commons Attribution. www.shadowboxing.rca.ac.uk.
Bidoun Library—English Handout Tensta konsthall To accompany the exhibition Bidoun Library, a mobile library consisting of books, magazines and other printed matter from and about the Middle East.more →
Microhistorias Y Macromundos #3 Edited by Maria Lind "Abstraction is an important visual strategy first used by the classical avant garde but it is also an aesthetic category. At the same time, abstraction can be described as the quintessential twentieth-century intellectual technique." Selected texts from a reader dealing with abstraction published in conjunction with the exhibition Abstract Possible: The Tamayo Take. Contributors: Maria Lind, Meyer Schapiro, Ina Blom, Sven Lütticken, Liam Gillick, Matias Faldbakken, Emily Roysdon, Irit Rogoff, Nina Möntmann, Anthony Davies, Stephan Dillemuth & Jakob Jakobsen, Gerald Raunig. Published by Museo Tamayo, 2011.more →
Bidoun Library—Swedish Handout Tensta konsthall To accompany the exhibition Bidoun Library, a mobile library consisting of books, magazines and other printed matter from and about the Middle East.more →
Ecstatic Resistance Emily Roysdon "Ecstatic Resistance is a project, practice, partial philosophy and set of strategies. It develops the positionality of the impossible alongside a call to re-articulate the imaginary. Ecstatic Resistance is about the limits of representation and legibility--the limits of the intelligible, and strategies that undermine hegemonic oppositions. It wants to talk about pleasure in the domain of resistance--sexualizing modern structures in order to centralize instability and plasticity in life, living, and the self. It is about waiting, and the temporality of change. Ecstatic Resistance wants to think about all that is unthinkable and unspeakable in the Eurocentric, phallocentric world order." Published by Grand Arts, 2009. www.emilyroysdon.com.more →