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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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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Öppettider
Onsdag 11–21
Torsdag–fredag 11–18
Lördag–söndag 12–17

Visningar
Vi gör anpassade visningar för grundskola-gymnasium. För skolor är förbokade visningar på dagtid gratis. Visningen tar ca 50 minuter.

För större grupper såsom företag, konstföreningar och privata sällskap, erbjuder konsthallen visningar av pågående utställningar. Visningarna görs på svenska och engelska. Kostnad: 2000 kr + frivillig entrédonation. Längd: ca 50 minuter. Maxantal deltagare: 30 personer.

I samband med visningen erbjuder vårt kafé lättare måltider och fika till bra priser.

För bokning och mer information kontakta Emily Fahlén emily@tenstakonsthall.se eller 08-36 07 63.

Hitta hit
Blå linje mot Hjulsta till Tensta. Det tar ungefär tjugo minuter från T-Centralen. Konsthallen ligger under Tensta Centrum och det finns två trappor från Tensta Allé ner till konsthallen. Tunnelbanestationens hiss leder även till Taxingeplan framför konsthallen.

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café

Caféet utgör entrén till Tensta konsthall. Här kan man fika och äta lättare måltider. Öppettiderna följer konsthallens schema. Tensta konsthall och caféet, med gratis internet, fungerar också som mötesplats för individer, arbetsplatser, föreningar och andra organisationer. Menyn varierar från dag till dag: här erbjuds rätter i form av matiga sallader, soppor och grillade smörgåsar. Espresso, en stor variation av téer och bakverk i form av baklava, morotskaka och kanelbullar serveras också. Vid bokningar för större grupper och catering: 08-360763, emily@tenstakonsthall.se

Öppettider café:
Onsdag 11–21
Torsdag–fredag 11–18
Lördag–söndag 12–17

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Kontakt
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

Stiftelsen Tensta konsthall Org Nr. 802409-6110.

Personal

Emily Fahlén, förmedlare
emily (at) tenstakonsthall.se

Ulrika Flink, assisterande curator + press
ulrika (at) tenstakonsthall.se
för högupplösta pressbilder gå in på mynewsdesk

Maria Lind, chef
maria (at) tenstakonsthall.se

Laurel Ptak, curator
laurel (at) tenstakonsthall.se

Hedvig Wiezell, förmedlare
hedvig (at) tenstakonsthall.se

Giorgiana Zachia, producent
giorgiana (at) tenstakonsthall.se

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

Styrelsen för Stiftelsen Tensta konsthall
Calle Nathansson (ordf)
Christina Jerlin
Anna Kettner
Sven Lorentzi
Birgitta Rydell
Katarina Sjögren

Stöds av
Tensta konsthall stöds av Stockholms stad, Kulturrådet och Stockholms läns landsting.

Abstract Possible: The Stockholm Synergies har genomförts med stöd av Danish Arts Council, FastPartner, Foundation for Arts Initiative, Malmö konsthall, Mondrian Foundation, Office for Contemporary Art Norway, Österrikes Ambassad; Delar av Abstract Possible: The Stockholm Synergies har genomförts i samarbete med ABF, Centrum för modevetenskap, Stockholms universitet, Konsthall C, Kungliga konsthögskolan, Ross Tensta gymnasium, Sternberg Press, Tensta Bibliotek; Särskilt tack till Iaspis. En del av projektet ägde rum som ett konsultuppdrag på Bukowskis

Bidoun Library har genomförts i samarbete med Bagdad Café

Cluster har genomförts med stöd av European Cultural Foundation, Kulturrådet

Curatorial Summer Workshop har genomförts i samarbete med Kungl. Konsthögskolan, initierat av Maria Lind och Nina Möntmann

Den nya modellen har genomförts med stöd av European Cultural Foundation, Goethe Institut, Kulturkontakt Nord; Delar av Den nya modellen har genomförts i samarbete med KTHs Arkitekturskola. Inom ramen för COHAB, ett två-årigt projekt initierat av The Showroom, Casco - Office for Art, Design and Theory, Utrecht och Tensta Konsthall, Stockholm med stöd från Europeiska Unionens kulturprogram

Göra som man vill: Marie-Louise Ekman i sällskap med Sister Corita Kent, Mladen Stilinovic och Martha Wilson har genomförts i samarbete med Henie Onstad Kunstsenter i Oslo. Seminarieserien Dröm och verklighet har genomförts i samarbete med Institutionen för kultur och kommunikation, Södertörns högskola och ABF

Hinrich Sachs Kami, Khoka, Bert and Ernie (Världsarv) har genomförts med stöd av Schweiziska ambassaden i Stockholm, Pro Helvetia, Baselland, Basel-Stadt, Kungliga konsthögskolan; Delar av Hinrich Sachs Kami, Khoka, Bert och Ernie (Världsarv) har genomförts i samarbete med Askebyskolan Rinkeby, Livstycket

Katitzis resa genom Sverige har genomförts i samarbete med Angelica Ström. Seminarieserien har genomförts i samarbete med ABF, förlaget Natur och Kultur och biblioteken i Rinkeby och Tensta

Klippet har genomförts med stöd av Kulturbryggan

Konsthallsklubben har genomförts i samarbete med TioTretton Kulturhuset, Cinema Africa, Blå Huset

Konstkollo har genomförts i samarbete med Gerlesborgsskolan, Göteborgs konstskola, Konstfack, Lava Kulturhuset, Kungliga Konsthögskolan, Nyckelviksskolan, Unga Dramaten

Modeprojektet har genomförts i samarbete med Centrum för modevetenskap, Stockholms universitet

Publishing In Process Ownership In Question har genomförts med stöd av Iaspis, Konstfack och inom ramen för COHAB, ett två-årigt projekt initierat av The Showroom, Casco - Office for Art, Design and Theory, Utrecht och Tensta Konsthall, Stockholm med stöd från Europeiska Unionens kulturprogram

Samhället utan egenskaper har genomförts som en del av Den nya modellen som har genomförts med stöd av European Cultural Foundation, Goethe Institut, Kulturkontakt Nord och inom ramen för COHAB, ett två-årigt projekt initierat av The Showroom, Casco - Office for Art, Design and Theory, Utrecht och Tensta konsthall med stöd från Europeiska Unionens kulturprogram. Tack till Galleri Nicolai Wallner och Kulturkontakt Nord. Sharon Lockhart tackar neugerriemschneider, Berlin, Gladstone Gallery, New York och Bryssel samt Blum & Poe, Los Angeles. Learning Site tackar Konstnärsnämnden, Sverige och Konstnärsnämnden, Danmark.

T.451 av Dominique Gonzalez-Foerster och Ari Benjamin Meyers har genomförts i samarbete med Stockholm konst, som producerar projektet, och med stöd av Stockholms stadsbibliotek och Tensta bibliotek; Tack till Storstockholms brandförsvar, Kamratföreningen Röda Hanen, Kurdiska föreningen Spånga, Stockholms Stadsmuseum

Vad gör en konstinstitution? har genomförts i samarbete med Konstfacks masterprogram Art in the Public Realm och Curatorlab, och delar har genomförts med stöd av Iaspis

Tensta museum: eller vad är kulturarv? har genomförts som en del av Beginning as Well as We Can: How Much Fascism Can We Take, ett samarbete mellan WHW, Zagreb, och Grazer Kunstverein, Graz. Med stöd från Europeiska Unionens kulturprogram. Projektet har genomförts med ekonomiskt stöd från Europeiska kommissionen

Vad gör den sociala praktiken? har genomförts av Tensta konsthall, KTH i Tensta, KTH Arkitekturskolan och Stockholms Stadsbyggnadskontor. I samarbete med CuratorLab, Konstfack. Med stöd av FCT (Fundação para a Ciência e Tecnologia); IASPIS; Instituto Camões Stockholm; TAP airlines; Portugals ambassad i Stockholm

Vem ska finansiera samtidskonsten? har genomförts i samarbete med Botkyrka konsthall, Konsthall C, Marabouparken och Mossutställningar

 

Program

Tensta konsthalls ambition är att vara en institution med en given plats i lokalsamhället. Samtidigt vill Tensta konsthall vara en institution med ett konstprogram på internationell toppnivå, en självklar destination för konstpubliken. Här ligger konsthallens särskilda fokus å ena sidan på samarbeten av skilda slag och å andra sidan på intensifierad och nytänkande konstförmedling.

Konstförmedling har generellt sett, även internationellt, hamnat lite i bakvattnet och det är viktigt att den ges möjlighet till utveckling i samma utsträckning som konsten. En central aspekt i konsthallens förmedlingsarbete är att det utgår från samtidskonsten, och att det utvecklas med bibehållen respekt och integritet för såväl konsten som publiken. Det innebär t ex att varje förmedlingsdel måste skräddarsys i förhållande till konsten och till de individer och grupper som man vill ha ett utbyte med, vilket kräver mycket tid och energi.

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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.