Today: Andrew Norman Wilson, Movement Materials and What We Can Do, browser-based performance, 2013.

Space is Tensta konsthall's curatorial platform online curated by Laurel Ptak.

Today: Andrew Norman Wilson, Movement Materials and What We Can Do, browser-based performance, 2013.

Space is Tensta konsthall's curatorial platform online curated by Laurel Ptak.

Bag is Tensta konsthall's document-sharing hub. Ever expanding and downloadable.
Autonomy Project Newspaper #1 Positioning

Autonomy is a quality. Autonomy is an approach. Autonomy is a structure. Autonomy is a tool. Autonomy is a method.

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Autonomy Project Newspaper #1 Positioning

"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.

Download: Autonomy Project Newspaper #1 Positioning
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The Artist's Reserved Rights Transfer and Sale Agreement

From 1971. 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.

 

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The Artist's Reserved Rights Transfer and Sale Agreement

"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/.

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Shadowboxing #1 What Is an Apparatus?

Artist Marysia Lewandowska’s annotations reflect her reading of the text "What Is an Apparatus."

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Shadowboxing #1 What Is an Apparatus?

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.

 

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Bidoun Library—English Handout

Guide to accompany the exhibition Bidoun Library.

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Bidoun Library—English Handout

To accompany the exhibition Bidoun Library, a mobile library consisting of books, magazines and other printed matter from and about the Middle East.

Download: Bidoun Library (English)
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Abstract Possible: The Stockholm Synergies—English Handout

Tensta konsthall

Guide to accompany the exhibition Abstract Possible: The Stockholm Synergies.

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Abstract Possible: The Stockholm Synergies—English Handout

To accompany the exhibition Abstract Possible: The Stockholm Synergies featuring work by Doug Ashford, Claire Barclay, José León Cerrillo, Yto Barrada, Matias Faldbakken, Priscila Fernandes, Zachary Formwalt, Liam Gillick/Anton Vidokle, Goldin+Senneby, Wade Guyton, Iman Issa, Gunilla Klingberg, Dorit Margreiter, Åsa Norberg/Jennie Sundén, Mai-Thu Perret, Falke Pisano, Walid Raad, Emily Roysdon, Tommy Støckel, Mika Tajima, Haegue Yang.

Download: Abstract Possible (English)
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Ecstatic Resistance

A project, practice, partial philosophy and set of strategies. Ecstatic Resistance is about the limits of representation and legibility—the limits of the intelligible, and strategies that undermine hegemonic oppositions.

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Ecstatic Resistance

"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.

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Autonomy Project Newspaper #2 Frameworks

We are living in remarkable times. Our globalised neo-liberal economy has nearly bankrupted itself and we are all now footing the bill. 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.

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Autonomy Project Newspaper #2 Frameworks

"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.

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Contemporary Art and its Commercial Markets—Preface

An attempt to map and analyze recent changes in the production and distribution of contemporary art, the state of the commercial art market; to put things on the table which have not been openly debated.

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Contemporary Art and its Commercial Markets—Preface

"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.

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European Cultural Policies 2015: A Report with Scenarios on the Future of Public Funding for Contemporary Art in Europe

It is 2015. Art is almost completely instrumentalised—regardless of whether its financing is private or public.

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European Cultural Policies 2015: A Report with Scenarios on the Future of Public Funding for Contemporary Art in Europe

"It is 2015. Art is almost completely instrumentalised—regardless of whether its financing is private or public. Art services either national or European interests, where it is especially useful in the construction or reinforcement of specific identities. At the same time, art is a desirable commercial product. It is ideal for collecting and it contributes to regional development whilst providing society with new creative employment opportunities. Visiting art museums and centres is a popular, easily digested leisure activity. In 2015 art is also used to stave off undesirable fascistic and nationalistic tendencies in society." Published by IASPIS and EIPCP, 2005. Creative Commons Attribution-NonCommercial-NoDerivs 2.5 & Attribution-NonCommercial- ShareAlike 2.5.

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Art and Contemporary Critical Practice: Reinventing Institutional Critique

Interrogating the shifting relations between ‘institutions’ and ‘critique’ these essays elaborate the conditions for politicized critical practice in the twenty-first century.

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Art and Contemporary Critical Practice: Reinventing Institutional Critique

"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.

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Imagine There Is No Copyright And No Cultural Conglomorates Too

If we recognize that copyright is unfeasible, and unjustifiable, what should our response be? It distorts cultural markets and pushes a wide variety of cultural expressions out of sight. Let us imagine what abolishing copyright would accomplish.

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Imagine There Is No Copyright And No Cultural Conglomorates Too

"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.

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(Extended) Footnotes On Education

"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."

 

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(Extended) Footnotes On Education

"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.

Download: (Extended) Footnotes On Education
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Bidoun Library—Swedish Handout

Guide to accompany the exhibition Bidoun Library.

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Bidoun Library—Swedish Handout

To accompany the exhibition Bidoun Library, a mobile library consisting of books, magazines and other printed matter from and about the Middle East.

Download: Bidoun Library (Swedish)
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Abstract Possible: The Stockholm Synergies—Swedish Handout

Guide to accompany the exhibition Abstract Possible: The Stockholm Synergies.

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Abstract Possible: The Stockholm Synergies—Swedish Handout

To accompany the exhibition Abstract Possible: The Stockholm Synergies featuring work by Doug Ashford, Claire Barclay, José León Cerrillo, Yto Barrada, Matias Faldbakken, Priscila Fernandes, Zachary Formwalt, Liam Gillick/Anton Vidokle, Goldin+Senneby, Wade Guyton, Iman Issa, Gunilla Klingberg, Dorit Margreiter, Åsa Norberg/Jennie Sundén, Mai-Thu Perret, Falke Pisano, Walid Raad, Emily Roysdon, Tommy Støckel, Mika Tajima, Haegue Yang.

Download: Abstract Possible (Swedish)
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Microhistorias Y Macromundos #3

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.

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Microhistorias Y Macromundos #3

"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.

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Noise & Capitalism

A tool for understanding the way our practices and subjectivities are determined by capitalism. Explores contemporary alienation in order to discover whether improvisation and noise contain or can produce emancipatory moments.

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Noise & Capitalism

"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.

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Speak, Memory: on archives and other strategies of (re)activation of cultural memory

Recovering a vanishing history of the Middle East’s neglected 20th-century cultural and artistic movements, exploration into questions raised during the “Speak, Memory” symposium in Cairo, 2010.

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Speak, Memory: on archives and other strategies of (re)activation of cultural memory

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.

Download: Speak, Memory
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Art Work: A National Conversation About Art, Labor and Economics

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.

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Art Work: A National Conversation About Art, Labor and Economics

"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.

Download: Art Work: A National Conversation About Art, Labor and Economics
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A Wikipedia Reader: Critical Point of View

What values are embedded in Wikipedia’s software? On what basis are Wikipedia’s claims to neutrality made? Insights on radical artistic interventions, hidden trajectories of encyclopedic knowledge and the politics of agency and exclusion.

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A Wikipedia Reader: Critical Point of View

"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.

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Hours
Wednesday 11–21
Thursday–Friday 11–18
Saturday–Sunday 12–17

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 T can offer light meals and snacks at good prices.

For reservations and more information about tours contact Emily Fahlén at emily@tenstakonsthall.se or 08-36 07 63.

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.

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café

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.

For reservations for groups and catering, call 08-360763 or email emily@tenstakonsthall.se

Hours:
Monday–Tuesday 11-17
Wednesday 11–21
Thursday–Friday 11–18
Saturday–Sunday 12–17

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Contact
Tensta konsthall
Taxingegränd 10
Box 4001
163 04 SPÅNGA
SWEDEN

T: +46 8 36 07 63
F: +46 8 36 25 60
E: info@tenstakonsthall.se
W: www.tenstakonsthall.se

Tensta konsthall is a private foundation organization with number: 802409-6110.

Staff

Emily Fahlén, mediator
emily (at) tenstakonsthall.se

Ulrika Flink, assistant curator + press
ulrika (at) tenstakonsthall.se
click here to visit mynewsdesk for high resolution press images

Maria Lind, director
maria (at) tenstakonsthall.se

Laurel Ptak, curator
laurel (at) tenstakonsthall.se

Hedvig Wiezell, mediator
hedvig (at) tenstakonsthall.se

Giorgiana Zachia, producer
giorgiana (at) tenstakonsthall.se

Fahyma Alnablsi
Hans Carlsson
Jan Ekman
Safiya Guleed
Sofia Hultin
Sanna Lampainen

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: Or What is Cultural Heritage? is 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 of the Culture Programme of the European Union. With support from 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, 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, 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 Contemporary Art? is realized in collaboration with Botkyrka konsthall, Konsthall C, Marabouparken and Mossutställningar

 

Program
It is Tensta konsthall’s ambition to be an institution with a given place in the local community. At the same time Tensta konsthall aims to offer a program of the highest international quality, to be an ongoing and self-evident destination for people interested in art. Central to the konsthall is its particular focus on both various kinds of collaborations and on the intensive mediation of new ideas.

Art mediation, generally and even internationally, has lagged behind other aspects of art and therefore it is important to provide equal possibilities for its development. Essential to Tensta konsthall’s work with art mediation is a grounding in contemporary art and a development that retains the integrity of and respect for both the art itself as well as the public. This means, amongst other things, that each aspect of mediation must be tailor-made in relation to the art in question and to the individuals and groups involved in the interchange, demanding a great deal of time and energy.

In addition to investigative exhibitions and commissioned art projects, Tensta konsthall will include a program focusing on archives, collections and libraries. Three main thematic lines will be followed and developed within the program: questions concerning artistic formulation, interpretation and organization; art and economy; and artists’ conditions of work and production.

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What does an art institution do? Thursday 3.5, 18:30 at Tensta konsthall

Community Matters: Sofia Victorino on the Whitechapel Art Gallery in London and Abdellah Karroum on L’appartement 22 in Rabat. Local referent: Diana Baldon, Index – The Swedish Contemporary Art Foundation. On institutional work which relates directly to communities in the immediate vicinity of the institution.

The Complex Object (Affecting Abstraction 3) Saturday 14.4 at Tensta konsthall

Performance by and with artist Falke Pisano as part of Abstract Possible: The Stockholm Synergies.

What does an art institution do? Thursday 29.3, 18:30 at Tensta konsthall

All Over the Place: On the mobile institution which works with various partners and sites. Sofía Hernández Chong Cuy on the Patricia Phelps de Cisneros Foundation and Kate Fowle on Independent Curators International. Local referent: Lena From, Stockholm konst.

Marina Vishmidt on Production Wednesday 11.4, 18:30 at Tensta konsthall

Third in a series of four seminars, part of Publishing in Process: Ownership in Question. As the distribution between what is privately owned and publicly shared in society is being fundamentally questioned and protested in many parts of the world, what do notions of production, property, ownership, exchange, surplus and value mean to us right now?

Mai-Thu Perret Thursday 15.3, 18:30 at Tensta konsthall

Perret’s work combines radical feminist politics with utopian literary texts, homemade crafts and 20th century avant-garde aesthetics. Her wallpaper covers parts of both Tensta konsthall’s exhibition space and a seminar room at Center for Fashion Studies, Stockholm University and harks back to the origin of abstract art, to the textiles with abstract patterns made by constructivist Varvara Stepanova in Moscow in the 1920s. Talk as part of Abstract Possible: The Stockholm Synergies at Tensta konsthall, in collaboration with the Royal University College of Fine Art.

A Guiding Light by Liam Gillick/Anton Vidokle Sunday 26.2, 13:00 at Cinema Zita, Birger Jarlsgatan 37

This film by Liam Gillick/Anton Vidokle, takes as its starting point a manifesto written by Gao Shiming, the Executive Curator of the latest Shanghai Biennial. The manifesto is an attack on the art system and its limiting monoculture and artists Gillick and Vidokle have responded by inviting a handful of emerging artists, curators and critics to interpret and extrapolate from the text itself. The 22-minute long film hovers between cultural criticism and soap, borrowing its title from the longest running soap opera on American television.

Maria Lind: Formal & Economic Abstraction in Contemporary Art Wednesday 18.4, 18:30 at Tensta konsthall

The final of four lectures in the series Abstract Art Now and Then, Here and There on the topic of abstract art. In collaboration with ABF.

Maria Lind: Latin American Challenges Wednesday 21.3, 18:30 at Tensta konsthall

The third of four lectures in the series Abstract Art Now and Then, Here and There on the topic of abstract art. In collaboration with ABF.

The New Model Sunday 11.3, 12:00-17:00 at Tensta konsthall

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).

Antonia Hirsch on Exchange Thursday 22.3, 18:30 at Tensta konsthall

Second in a series of four seminars, part of Publishing in Process: Ownership in Question. As the distribution between what is privately owned and publicly shared in society is being fundamentally questioned and protested in many parts of the world, what do notions of production, property, ownership, exchange, surplus and value mean to us right now?

The Cut Saturday 11.2, 12-17 at Tensta konsthall One-day discussion forum as hair salon. Platform of unmoderated conversation and instantaneous change to test and investigate alternative sites of learning. With artists Emanuel Almborg, Jens Strandberg, The Hair Cut Before The Party (Richard Houguez and Lewis Bassett) and others.

Florian Schneider on Property Wednesday 29.2, 18:30 at Tensta konsthall

First in a series of four seminars, part of Publishing in Process: Ownership in Question. As the distribution between what is privately owned and publicly shared in society is being fundamentally questioned and protested in many parts of the world, what do notions of production, property, ownership, exchange, surplus and value mean to us right now?

Jan Hjärpe Tuesday 21.2, 18:30 at Tensta konsthall

On abstraction in traditional Muslim art and architecture. The second of four lectures in the series Abstract Art Now and Then, Here and There. In collaboration with ABF.

What Lies in the Future for Contemporary Art? Debate on the forms of financing for art–today and 10 years hence 23.2, 18:30 at Tensta konsthall

Six representatives, public and private actors, have been invited to give short presentations: Cilene Andréhn, Ann Larsson, Ingrid Lomfors, Mika Romanus, Michael Storåkers, Måns Wrange. In collaboration with Konsthall C.

What does an art institution do? Thursday 2.2, 18:30 at Tensta konsthall

How Size Matters: Chris Dercon on Tate Modern in 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-scale institutional work.

Sven Lütticken Thursday 12.4, 18:30 at Tensta konsthall

Talk as part of Abstract Possible: The Stockholm Synergies at Tensta konsthall, in collaboration with the Royal University College of Fine Art.

Walid Raad Saturday 24.3, 14:00 at Tensta konsthall

Artist talk as part of Abstract Possible: The Stockholm Synergies at Tensta konsthall, in collaboration with the Royal University College of Fine Art.

Mai-Thu Perret Thursday 15.3, 18:30 at Tensta konsthall

Artist talk as part of Abstract Possible: The Stockholm Synergies at Tensta konsthall, in collaboration with the Royal University College of Fine Art.

Wade Guyton Thursday 9.2, 18:30 at Tensta konsthall

Artist talk as part of Abstract Possible: The Stockholm Synergies at Tensta konsthall, in collaboration with the Royal University College of Fine Art.

A Guiding Light by Liam Gillick/Anton Vidokle Sunday 29.1, 13:00 at Cinema Zita, Birger Jarlsgatan 37

This film by Liam Gillick/Anton Vidokle, takes as its starting point a manifesto written by Gao Shiming, the Executive Curator of the latest Shanghai Biennial. The manifesto is an attack on the art system and its limiting monoculture and artists Gillick and Vidokle have responded by inviting a handful of emerging artists, curators and critics to interpret and extrapolate from the text itself. The 22-minute long film hovers between cultural criticism and soap, borrowing its title from the longest running soap opera on American television.

Contemporary Art and its Commercial Markets: A Report on Current Conditions and Future Scenarios Saturday 28.1, 14:00 at Tensta Träff, Hagstråket 13, Tensta

Noah Horowitz, Andrea Phillips, Olav Velthuis and Thea Westreich. A symposium on the occasion of a report with the same title, exploring a number of interrelated institutional developments in the last decades which have had a significant impact on the way art is marketed and perceived by its audiences. The rise of the art fair, the internet and the increased competition of auction houses on the contemporary market both reflect and further propel the globalization and commercialization of the art world; the latter much to the dismay of numerous artists and critics who claim that commerce has an uneasy relationship with art production and perception.

Abstraction and the Classical Avant Garde by Maria Lind Wednesday 25.1, 18:30 at Tensta konsthall

The first of four lectures in the series Abstract Art Now and Then, Here and There on the topic of abstract art. In collaboration with ABF. Lecture by Maria Lind, director of Tensta konsthall and curator of the current exhibition Abstract Possible The Stockholm Synergies.

Black Transparency One (The Letters) by Metahaven Sunday 22.1, 14:00 at Tensta konsthall

A reading accompanied by images of Amsterdam-based design duo Metahaven's recent design work that explores how transparency, once a high modernist ideal perfectly suited to design objects and institutions, has more recently become a loose set of strategies and tactics to scrutinize and expose the existing order. From the revelations of WikiLeaks to the actions of Anonymous, this new “black transparency” is more insurgent than institutional, and more civic than corporate.

The Wittgenstein Suite by José León Cerrillo & Sara Lundén Saturday 14.1, 16:00 at Tensta konsthall

Thirteen pop songs in honor of philosopher Ludwig Wittgenstein make up the core of artists Cerrillo and Lundén’s collaborative musical performance The Wittgenstein Suite. Lyrics based on elements of Wittgenstein's book Bemerkungen über die Farben (Remarks on Color).

Doug Ashford Thursday 19.1, 18:30 at Tensta konsthall

Talk by teacher, artist and writer Doug Ashford. Ashford is Associate Professor at Cooper Union in New York where he has taught design, sculpture and theory since 1989. His principle art practice from 1982-96 was as a member of Group Material and since that time he has gone on to make paintings, write and produce independent public projects. As part of Abstract Possible: The Stockholm Synergies at Tensta konsthall, in collaboration with the Royal University College of Fine Art.

Abstract Possible: The Stockholm Synergies
12 January-22 April 2012
Doug Ashford, Claire Barclay, José León Cerrillo, Yto Barrada, Matias Faldbakken, Priscila Fernandes, Zachary Formwalt, Liam Gillick/Anton Vidokle, Goldin+Senneby, Wade Guyton, Iman Issa, Gunilla Klingberg, Dorit Margreiter, Åsa Norberg/Jennie Sundén, Mai-Thu Perret, Falke Pisano, Walid Raad, Emily Roysdon, Tommy Stöckel, Mika Tajima, Haegue Yang

Bidoun Library
12 January-May 2012
The Bidoun Library, founded in 2009 by Bidoun Projects, is a mobile library consisting of books, magazines and other printed matter.