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Ieva Epnere: On water, wind and faces of stone
Ieva Epnere’s project for Tensta konsthall’s online platform Space, On Water, Wind and Faces of Stone, centers around the life of a group of children on Fogo Island off of Newfoundland in the North Atlantic. On this remote island, the artist attended a residency, meeting some of the approximately 2,000 inhabitants and learning about a community documentary film project made there in the late 1960s. Inspired by its focus on children, and based on the fact that the current population is aging, the Riga-based artist photographed a number of the children living there today. She asked them about their favorite place on the island and their future visions for the place and themselves. Their answers are combined with photographic portraits taken outdoors.
The exhibition On water, wind and faces of stone was commissioned by Fogo Island Arts and presented at the Fogo Island Gallery 22.6–25.11 2018.
Ieva Epnere
In September 2017 I was invited to spend some time and work in a very special place – Fogo Island, at Fogo Island Arts. In June of 2018 I was invited back to Fogo Island to work on an exhibition. I must say, I fell in love with the place from the very beginning. Situated in the Labrador Current along “Iceberg Alley,” the island is bounded by the rugged shores of the wild North Atlantic Ocean. There are a bit more than 2,300 people living in 11 distinct communities. The landscape of the irregularly shaped island is stunning – one can find fascinating contortions of rock formed by ice, fire and sea.
“Fogo Island is an outport community: a small, remote coastal settlement unique to the province of Newfoundland and Labrador. Fogo Islanders are people of the sea who have made their living by fishing the frigid and often unforgiving waters of the North Atlantic. A non-capital-accumulating society until the latter decades of the 20th century, Fogo Islanders sustained themselves for generations by fishing as families and relying on an unrelenting sense of resourcefulness fed by a profound love of place. This history of relative isolation and self-sufficiency has shaped Fogo Islanders and the Fogo Island of today, and continues to inform the Island’s economy and culture.”
Migratory European fishermen began fishing Fogo Island’s plentiful waters around the early sixteenth century. A 1529 map of Newfoundland identifies the Island as Y de Fogo, later anglicized to Fogo Island. Originally not permitted to settle, Europeans went back and forth to Fogo Island to fish during warmer months until official, permanent settlement began in the eighteenth century.
Fogo Island was the location of a now legendary community filmmaking project in the late 1960s known as The Fogo Process. As part of the national “Challenge for Change” program, the National Film Board of Canada (NFB) and Memorial University of Newfoundland Extension Service came to Fogo Island to give light and voice to a set of communities struggling with the loss of the inshore fishery that had sustained them for centuries, and the very real threat of forced resettlement to the main island of Newfoundland.
Filmmaker Colin Low and community worker Fred Earle worked from the vision of Donald Snowden, who was the head of MUN’s Extension Service. Low produced 27 short films on Fogo Island that catalogued daily life, challenges, and celebrations, and sparked a dialogue between Fogo Island’s distinct communities which had no previous history of collaboration. These films catalyzed much positive social change by helping Fogo Islanders see their similarities, celebrate their differences, and work together to forge a plan for the future.”
(quoted text is taken from Shorefast foundation website)
During my residence, I spent a lot of time discovering and exploring the landscape of Fogo Island. I went on some hikes with a geologist and was struck by the rugged landscape. The texture, color and shape of local stones became a source of material exploration in my work. I documented the landscape through photography and also transferred these images onto silk to make articles of clothing, or wearable landscapes.
During my stay on island I noticed that there are not many children on island, as the population is aging. I was also inspired by Colin Low’s film, The Children of Fogo Island from The Fogo Process project, and I invited local children from different communities to have their portraits taken – some with my landscape costumes – and reflect on their relationship to Fogo Island. I asked them a few questions about their favorite place on the island as well as how they see their future unfolding and their future visions of Fogo Island. It was very touching to discover how much the children love and are attached to their tiny fisherman island.
Ieva Epnere (b. 1977) lives and works in Riga. She creates photographs, video works and films where personal and private stories are the starting point for artistic reflections on identity, traditions and rituals. Recent solo exhibitions include On Water, Wind and Faces of Stone, Fogo Island Gallery, Fogo Island; Hybrid Identities, Galéria HIT, Bratislava (2018); Sea of Living Memories, kim? Contemporary Art Centre, Riga, and Art in General, New York (2016); Pyramiden and other stories, Zacheta Project Room, Warsaw (2015); A No-Man’s Land, An Everyman’s Land, kim? Contemporary Art Centre (2015); Waiting Room, Contretype, Brussels (2015). Recent group exhibitions of her work include PLACES: ONE AFTER ANOTHER, session IV of Viktor Misiano's “The Human Condition,” The Jewish Museum and Tolerance Center, Moscow; the Riga International Biennial of Contemporary Art (2018); Portable Landscapes. Exhibition of Latvian exile and émigré artists, Latvian National Museum of Art, Riga (2018); Belonging to a Place: An Exhibition by Fogo Island Arts, Art Gallery of the Embassy of Canada, Washington, DC (2018); Nordic-Baltic Contemporary Art Exhibition: (In)visible dreams and streams, Gallery Augusta, Suomenlinna B28, Helsinki (2017); Contemporary Landscape, Cēsis Art Festival, Latvia (2016); 61st and 62nd International Short Film Festival Oberhausen (2015, 2016); Identity: Behind the Curtain of Uncertainty, Ukrainian National Art Museum, Kiev (2016); and Something eerie (2016).
www.ievaepnere.com
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Opening hours
Thursdays and Saturdays, 14:00 Introduction to
current exhibitions
5.2–22.4 2019 Let the River Flow
5.2–22.4 Three Sisters:
Tanja Muravskaja
5.2–31.12 Practicing Politics: The Fogelstad Women's
Citizenship School 1925–1954:
Olivia Plender
Thursday 21.2, 14:00 Artist presentation:
Tanja Muravskaja on Three Sisters
9-10.2, 3.3, 13-14.4
13:00–17:00 The Guild – With Nina Svensson
Tuesday 26.2
18:00 Lecture: Katarina Pirak on
Julevädno – The Lule River
25.2-1.3 Art Camp –
Between two and three dimensions
Tisdag 12.3, 18:00–20:00 Workshop: Taboos and
self-censorship in literature
22.10 2018–29.4 2019 Space: Ieva Epnere
1.6 2018–4.3 2019 Art and Shops
Tuesdays and Thursdays 13:00–16:00
Saturdays 12:00 Women's café
Thursdays and Sundays, 14:00–17:00 The Silent University:
Language Café
Lithograph by Marie-Louise Ekman Fantasifullt möte (Fantasy Meeting) (2017)
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Workshop: Taboos and self-censorship in literature
Tisdag 12.3, 18:00–20:00
Sahar Mousa: Taboos and self-censorship in literature – workshop and lecture
The online magazine Dissidentbloggen (The Dissident Blog) dedicated an entire issue to the theme of ”A Room of One’s Own”, including texts about the conditions for female writers from all over the world. The inspiration was borrowed from Virginia Woolf’s timeless and today classical essay from 1929 of the same name, which begins with these words: “But, you may say, we asked you to speak about women and fiction—what, has that got to do with a room of one’s own?”
In the essay, Woolf writes about the room as a metaphor, but also a practical condition for women to be able to write. She shows why, through history, it has been so difficult for them to have the chance to write and achieve success as writers; the need for a physical space, but also a mental space to be able to write freely. Also, she emphasizes, that where the external conditions have actually existed for women to write, there have been internal structures within society that make it almost impossible for a writing woman to be treated the same way as writing men.
When it comes to women’s rights, a lot of things have changed since A Room of One’s Own was published, but the question posed in the essay is still horrifyingly acute. Still, today novels, poetry, essays, articles and features that could have been written or published, are lost just because women are prevented from or they don’t dare to write them. Even if the status of women everywhere has been radically changed since the essay, women’s voices are in many places silenced, censored, and women imprisoned solely due to their gender – so called ”gender censorship”. In some cases, women who speak out are even killed.
With the special issue in the Dissident Blog as a starting point, the formerly Gaza-based poet Sahar Mousa will lead a workshop-lecture about writing, taboos in literature and self-censorship.
The seminar is a collaboration between Tensta konsthall and Swedish PEN.
Self-Presentation
Sahar Mousa is a formerly Gaza-based poet and writer. During the Gaza war 2008 and 2012, she was given much attention for her series of articles, the War Diaries, that she published on Facebook. The article led to death threats from local IS-groups and threats and sexual harassments via social media. She was urged to stop writing and to return to Islam, or she would destroy her reputation as a woman. She was forced to flee and today she lives and works in Stockholm as a refugee writer. Her poem can be read at the Dissident Blog #27.
Sahar Mousa: Taboos and self-censorship in literature – workshop and lecture
The online magazine Dissidentbloggen (The Dissident Blog) dedicated an entire issue to the theme of ”A Room of One’s Own”, including texts about the conditions for female writers from all over the world. The inspiration was borrowed from Virginia Woolf’s timeless and today classical essay from 1929 of the same name, which begins with these words: “But, you may say, we asked you to speak about women and fiction—what, has that got to do with a room of one’s own?”
Artist presentation: Tanja Muravskaja on Three Sisters
Thursday 21.2, 14:00–15:00 Artist presentation: Tanja Muravskaja on Three Sisters Her film shows how the Euromaidan has managed to politicise family relations by revealing existing political divisions within the family – and in so doing, cementing the dimensions of the conflict. Muravskaja’s piece poses an eternal and deeply human question: For what reason does hostility arise among family members?
Tanja Muravskaja (b. 1978, Pärnu, Estonia) works and lives in Tallinn. She studied photography at the Estonian Academy of Arts (2002–2010) and the University of Westminster, London (2004–2005). She also studied journalism at Tallinn University. Muravskaja rose to prominence in the Estonian art world during the second half of the 2000s, with solo exhibitions presenting mainly photographic portraits dealing with (new) nationalism. Many of Muravskaja’s works focus on conflicts which to a significant degree were caused by nationalistic animosity and overkill situations fuelled by an inflated sense of patriotic pride in the recent history of the ‘new’ Estonia. The artist strives to analyse and understand the new Estonian identity vis-à-vis the country’s heterogeneous ethnic makeup. Her works are represented in the collections of the Kumu Art Museum and Tartu Art Museum. Muravskaja is a joint winner of the 2018 Köler Prize Grand Prix, also awarded to Anna Škodenko, which was presented at the Contemporary Art Museum of Estonia.
Thursday 21.2, 14:00–15:00 Artist presentation: Tanja Muravskaja on Three Sisters Her film shows how the Euromaidan has managed to politicise family relations by revealing existing political divisions within the family – and in so doing, cementing the dimensions of the conflict. Muravskaja’s piece poses an eternal and deeply human question: For what reason does hostility arise among family members?
Lecture: Katarina Pirak on Julevädno – The Lule River
Tuesday 26.2, 18:00 Katarina Pirak on Julevädno – The Lule River
15 power plants within 60 years. An electricity-producing giant. The faithful servant of the Vattenfall Company and a safe source of income. She will talk about success and resistance, refurbishment and disarmament, the visible and invisible. She grew up with Vattenfall. Although her father didn’t work for Vattenfall, in our cupboard they had a kitchen towel with the text Statens Vattenkraftverk. The streets were trafficked by blue Volvo cars with the shining white text and logo. By their kitchen table, they constantly discussed pros and cons about the dam. And sure, you could make some money by moving away since Vattenfall payed generously. Some people praised the money, while others cursed them. On weekends we went for study trips. My mom and dad’s friend Mr. Ericsson worked as a local manager, and they could walk alongside turbines and generators, in inflow and outflow tunnels, on dams and on new constructed roads. Sometimes her Auntie Siv took them for a party of Gabriel’s, whose mother worked as a chef at the construction sites. The parties took place in the canteens. Today there’s only brushwood left behind. Not to mention her friends in Messaure and Harsprånget; from their parent’s house, there’s only a street sign left telling about a long gone road.
Self-Presentation
Katarina Pirak Sikku lives and works in Jokkmokk. She returned to Jokkmokk after her graduation from The Umeå Academy of Fine Arts in 2005. In her studio in Jokkmokk over the years she has looked into landscapes, borders, and traces. She has garnered much attention for her engagement in the material from the State Institute for Racial Biology in Uppsala. With her insider perspective, she has investigated how it feels to be one of the examined victims. Her projects started with the question, ‘Can grief be inherited?’, a question she still carries and analyses. She uses her own body to sense, describe, and experience. In 2017 she received grants for research from the Swedish Research Council for a three year project. Lately, she has had a number of solo shows and her work has been shown at Moderna museet in Stockholm, among others. Katarina Pirak Sikku is an associate at the Centre for Gender Research at the University of Uppsala.
Tuesday 26.2, 18:00 Katarina Pirak on Julevädno – The Lule River
15 power plants within 60 years. An electricity-producing giant. The faithful servant of the Vattenfall Company and a safe source of income. She will talk about success and resistance, refurbishment and disarmament, the visible and invisible.
25.2-1.3 Art Camp – Between two and three dimensions
How do we explore several dimensions through the sketching, the painting, the drawing? Who is it that creates one dimension and what does it look like? From sketch to sculpture, from painting to objects.
The Art Camp, during the sports holiday week, will be hosted by Tensta konsthall in collaboration with Beckmans college of design. And is led by the two former Beckmans students Greta Colloca, graphic designer and Iza Andersson, designer. Recommended age is 15-22 years.
Free of charge. No previous knowledge is required.
Sign up with nawroz@tenstakonsthall.se or call 08-36 07 63.
25.2-1.3 Art Camp – Between two and three dimensions
How do we explore several dimensions through the sketching, the painting, the drawing? Who is it that creates one dimension and what does it look like? From sketch to sculpture, from painting to objects.
5.2–31.12 Practicing Politics: The Fogelstad Women's Citizenship School 1925–1954: Olivia Plender
Practicing Politics: The Fogelstad Women’s Citizenship School is a one-year research project initiated by London-based curator Hannah Zafiropoulos as part of The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice. A new installation commissioned from Stockholm-based artist Olivia Plender hosts a series of public seminars, screenings and performative workshops looking into the history and methods of the Fogelstad Women’s Citizenship School, a radical educational experiment founded after following women gained the right to vote in Sweden in 1921. From 1925 to 1954, the school – self-organised by a group of women, many of whom had been active as women’s liberationists and promoters for women’s right to vote – held courses designed to educate women about their new roles and responsibilities as citizens. Alongside lectures by invited speakers on history, politics and sexual health, the school’s pedagogical method foregrounded embodied knowledge and collective experience through role play, singing and eurythmics. The five founders were the liberal politicians Elisabeth Tamm (1880–1958) and Kerstin Hesselgren (1872–1962), the physician Ada Nilsson (1872–1964), the teacher Honorine Hermelin (1886–1977) (later the Rector of the school) and the writer Elin Wägner (1882–1949): among the many students, the famous writer Moa Martinson (1890–1964) and the artist Siri Derkert (1888–1973). Connecting the history of the school with contemporary feminist practices, activist groups and pedagogic experiments, the project attempts to understand what forms of knowledge such methods may produce and what political potential they had then – and have now.
During the year, a series of programs will take place:
Tuesday 5.2, 18:00–19:30
Introductory lecture by Ebba Johannesson and Anne-Marie Karlsson, Board Members of the Association Kulturföreningen Fogelstad on ‘Kvinnliga medborgarskolan vid Fogelstad / Fogelstad Women’s Citizenship School, 1925–1954”
Tisdag 12.3, 18:00–20:00
Sahar Mousa: Taboos and self-censorship in literature – workshop and lecture
The seminar is a collaboration between Tensta konsthall and Swedish PEN.
Tuesday 16.4, 18:00–19:30
The Pioneers of Fogelstad: A Seminar with Ulrika Knutson
Thursday 18.4 12:00–18:00
Workshop with Warja Ensjö: Workshop Democracy and Gender Equality
Tuesday 21.5, 18:00–19:30
Training for Citizenship: A Seminar with Lena Eskilsson
Tuesday 3.9 17:00–20:00
Screening and Workshop: Our Future Network (2016), by Alex Martinis Roe
Tuesday 15.10, 17:00–20:00
Screening and Seminar with Adelita Husni-Bey. Screening: Agency, 2014
Tuesday 26.11 17.00–19.00
Fallow: A Seminar with Åsa Elzén on the Fogelstad Group, with emphasis on her current engagement with its ecofeminist and ecological legacy
Wednesday 27.11, 16:00–18:00
Screening and Discussion: Olivia Plender in Conversation with Hannah Zafiropoulos
Many Maids Make Much Noise, Olivia Plender, Video, 2019
5.2–31.12 Practicing Politics: The Fogelstad Women's Citizenship School 1925–1954: Olivia Plender
Practicing Politics: The Fogelstad Women's Citizenship School 1925–1954, is a one year research project initiated by curator Hannah Zafiropoulos as part of The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice.
During the early spring, a sound and video installation by the artist Tanja Muravskaja (Tallinn, Estonia) will be shown in the art centre’s reception gallery. Two women are displayed – one on either screen – each facing the camera, with their gaze focused on the viewer. Both appear to be in their twenties, and they wear the same serious facial expression. Their facial features are quite alike, which, based on the title of the piece, leads the viewer to believe that they are sisters (in actual fact, they are cousins, but the Ukrainian language uses the same word for sister and cousin). On the screens, angled towards each other, the two women describe their respective understandings of the Ukrainian political situation, and the positions they have taken within it.
One of the women lives in Kiev and has taken part in the demonstrations held at Independence Square, in which protesters took a stand against Russian involvement in what many interpret as a repressive response to Ukraine’s fight for independence. The Kiev ‘sister’ tells of her involvement there and reflects upon the likelihood that her understanding of the opposition’s point of view is the result of propaganda.
In the other video, in parallel, the second woman voices her opinion on the political involvement of her ‘sister’, of which she is very critical. Similarly, however, she believes that the protest movement has been corrupted by skewed information and destructive forces. Neither of the ‘sisters’ is approached or interrupted, and each talks, undisturbed, for 15 to 20 minutes about their experience of the state of things.
The third ‘sister’ in this scenario is the artist herself, a neutral, listening actor. The title, Three Sisters, refers to Anton Chekov’s 1900 play of the same name.
In the Autumn of 2013, citizens of Kiev gathered in Independence Square to protest the dismissal of an agreement that would have granted Ukraine increased independence from Russia. The protests escalated swiftly into riots, and the ensuing clashes claimed several lives. For many generations, the country’s Ukrainian-speaking population has lived alongside its Russian-speaking one. In general, the people have lived harmoniously, albeit under conditions of slight segregation. This course of events, however, upset the state of relative calm, something that Tanja Muravskaja – herself a Russian-speaker – aims to demonstrate in the video installation through interviews with her own relatives. She uncovers the subtle cracks that appeared within families, showing how political events have the capacity to damage not only what had been a relative harmony between countries, but also what society considers to be the strongest type of bond – that of siblinghood.
Tanja Muravskaja explores how the conflict in Eastern Ukraine has affected relationships between relatives, using her own family as a point of departure, some of whom live in Ukraine, and others in Russia and Estonia, having moved there during the Soviet era. Her film shows how the Euromaidan has managed to politicise family relations by revealing existing political divisions within the family – and in so doing, cementing the dimensions of the conflict. Muravskaja’s piece poses an eternal and deeply human question: For what reason does hostility arise among family members?
During the early spring, a sound and video installation by the artist Tanja Muravskaja (Tallinn, Estonia) will be shown in the art centre’s reception gallery. Two women are displayed – one on either screen – each facing the camera, with their gaze focused on the viewer. Both appear to be in their twenties, and they wear the same serious facial expression. Their facial features are quite alike, which, based on the title of the piece, leads the viewer to believe that they are sisters (in actual fact, they are cousins, but the Ukrainian language uses the same word for sister and cousin). On the screens, angled towards each other, the two women describe their respective understandings of the Ukrainian political situation, and the positions they have taken within it.
5.2–22.4 2019 Let the River Flow. The sovereign will and the making of a new worldliness
Art and Sami artists played a prominent role in the dramatic Alta conflict that took place in northern Norway during the years 1978 – 1982. In the spirit of the war cry “Let the river flow!” (in Sami, ellos eatnu), protests assembled against the damming of the Alta river (Álttáeatnu), a construction that forecasted devastating effects on Sápmi land. The action evolved out of an unexpectedly broad solidarity movement that emerged from Sami civil society as well as Norway and around the world. The exhibition, produced by the Office for Contemporary Art in Oslo and shown for the first time there last year, showcases around forty artists who have created works that reflect upon the controversy.
The Alta action took place over forty years ago as a reaction against the pervasive consequences that a reconstruction of the Alta River would entail for Sami society – their living conditions, cultural heritage, and their role as a protector of the environment – and against the flooding of large areas of Sápmi. In regards to the history of social protests in Europe, this one was unique and the same can be said of its dramatic climax: the Sami hunger strike in Oslo in 1979. The strength of the movement was partly due to the environmental consciousness that arose in the 1970s, a period of time that also notably saw indigenous people worldwide stand up in order to make their voices heard.
Among the artists are Nils Aslak Valkepää (Áillohaš 1943 – 2001), who dedicated his life to heightening the status of Sami artistry through music and poetry. Iver Jåks’ work, also from an older generation, brings attention to duodji, a form of Sami handicraft that goes beyond the borders of functionality, as well as the significant artistic collective Mazejoavku (or Mázi collective),of which the greatly praised artist Britta Marakatt-Labba was a member. The exhibition also includes works by a number of younger artists who have now been passed the baton in order to continue fighting for the indigenous cause and against exploitation. In the work Don’t Fuck With Me, the artists Elle Marja and Mai-Lis Eiraskampen, who were born into the Mázi collective, tell stories through film and music from their parents’ generation, for example footage of the hunger strike of 1979 and the occupation of the Norwegian Prime Minister’s office in 1981.
Let the River Flow is the result of three years of discussions with artists, academics, and other cultural sources of knowledge from Sápmi, an area that stretches across four countries: Norway, Sweden, Finland, and Russia. The exhibition features rare historical artworks that otherwise fall outside of the Nordic art historical canon, as well as material from the Altasaken-archive and commissioned contemporary works that deal with the legacy of the Alta conflict. Simultaneously, Let the River flow Flow places Sami art in a context among new museal methods that aim to turn the art historical canon into something global and all-encompassing.
Collaborating artists: Jon Ole Andersen, Áillohaš/Nils-Aslak Valkeapää, Maria Thereza Alves, Jimmie Durham, Elle Márjá Eira, Mai-Lis Eira, Aage Gaup, Trygve Lund Guttormsen, Josef Halse, Geir Tore Holm och Søssa Jørgensen, Rose-Marie Huuva, Berit Marit Hætta, Susanne Hætta, Iver Jåks, Keviselie/Hans Ragnar Mathisen, Britta Marakatt-Labba, Joar Nango and Tanya Busse, Rannveig Persen, Synnøve Persen, Máret Ánne Sara, Arvid Sveen, Catarina Utsi, Elin Már Øyen Vister and more
Curated by Katya García-Antón in collaboration with Antonio Cataldo
Advisory Board: Prof. Harald Gaski and Dr. Gunvor Guttorm
Exhibition Design: A-lab (Káre R. Anti) and Torsteinsen Design
Dates
Tuesday 12.2, 18:00
Gunvor Guttorm will discuss the concept of duodji, Sami art and craft, and its effects on their everyday traditions, and how the duojarat (the artisans) use it in their creative processes and what kind of narratives they create. She will also present her own works as well as examples by other duodji.
Tuesday 26.2, 18:00
Katarina Pirak on Julevädno – The Lule River
Tuesday 26.3, 18:00
Søssa Jørgensen and Geir Tore Holm–Stream ripple – Our Inner River
Friday 5.4, 13:00
Walk along Igelbäcken with Søssa Jørgensen and Geir Tore Holm–Stream ripple
5.2–22.4 2019 Let the River Flow. The sovereign will and the making of a new worldliness
Art and Sami artists played a prominent role in the dramatic Alta conflict that took place in northern Norway during the years 1978 – 1982. In the spirit of the war cry “Let the river flow!” (in Sami, ellos eatnu), protests assembled against the damming of the Alta river (Álttáeatnu), a construction that forecasted devastating effects on Sápmi land. The action evolved out of an unexpectedly broad solidarity movement that emerged from Sami civil society as well as Norway and around the world. The exhibition, produced by the Office for Contemporary Art in Oslo and shown for the first time there last year, showcases around forty artists who have created works that reflect upon the controversy.
9-10.2, 3.3, 13-14.4, 13:00–17:00 The Guild– come and carve with us!
A wood carving guild for those of you who like hard handicraft and to socialize while working on wood, shaping forms, and sharpening knives. No registration is needed. We carve knobs, sculptures, scoops, and kofeses. At the guild, we share knowledge and stories about everything and nothing and get to know each other. For regulars as well as curious beginners. Children are welcome together with an accompanying parent. Participation is free and there are knives to borrow and carving material.
You don’t need any experience, but if you happen to have anything at home to work on – bring it! The guild is led by the artist Nina Svensson.
9-10.2, 3.3, 13-14.4, 13:00–17:00 The Guild– come and carve with us!
A wood carving guild for those of you who like hard handicraft and to socialize while working on wood, shaping forms, and sharpening knives. No registration is needed. We carve knobs, sculptures, scoops, and kofeses. At the guild, we share knowledge and stories about everything and nothing and get to know each other. For regulars as well as curious beginners. Children are welcome together with an accompanying parent. Participation is free and there are knives to borrow and carving material.
You don’t need any experience, but if you happen to have anything at home to work on – bring it! The guild is led by the artist Nina Svensson.
Tuesdays and Thursdays 13:00–16:00, Saturdays 12:00 Three times a week women from the Järva area meet at Tensta konsthall to work with different kinds of crafts. Through joint handiwork, a safe space is made possible where conversation and exchange of experience is at the center. The craftsmanship skills that women in the group already have is picked up and the teacher role alternates between the participants. This way, knowledge about techniques such as embroidery, jewelry making, knitting and crochet.
Participants also meet visiting artists and make monthly excursions to Stockholm’s various craft sites, museums, and organizations.
Women's Café is a intimate venue free of constraints, costs, and commercial interests. In collaboration with Hemslöjden, and The Women's Center in Tensta-Hjulsta.
Tuesdays and Thursdays 13:00–16:00, Saturdays 12:00 Three times a week women from the Järva area meet at Tensta konsthall to work with different kinds of crafts. Through joint handiwork, a safe space is made possible where conversation and exchange of experience is at the center. The craftsmanship skills that women in the group already have is picked up and the teacher role alternates between the participants. This way, knowledge about techniques such as embroidery, jewelry making, knitting and crochet.more →
Thursdays and Saturdays 14:00 Introduction to current exhibitionsmore →
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Conversation with the Tensta resident Ricardo-Osvaldo Alvarado about El Complejo and the current research to Chile – At ArkDes
Tuesday 18.12 18:00–19:00 Hanna Nordell, producer at Tensta konsthall, in conversation with Ricardo-Osvaldo Alvarado about El Complejo and Alvarado’s current research. The Tensta resident Ricardo-Osvaldo Alvarado worked at the Panguipulli Forestry Complex, which was Chile’s biggest and most ambitious forestry complex during the Salvador Allende period (1970–73). After the coup in 1973, the Complex was closed down. Many of the workers were either murdered by Pinochet’s military, imprisoned, or exiled. Ricardo-Osvaldo Alvarado is one of the few who survived and his story is part of the film El Complejo: Territorio liberado, by Claudia Del Fierro. Alvarado was detained for four years in prison after the coup in Chile and was deported to Sweden in 1977. He has since lived in Stockholm and worked for 30 years for the city of Stockholm. He has worked locally, nationally, and internationally on several projects aimed at creating conditions for a participatory democracy. In conversation with Hanna Nordell, he speaks about his work in the forestry industry and how he is currently conducting research about El Complejo, which includes finding and interviewing the few people who still can speak about what happened.
Tuesday 18.12 18:00–19:00 Hanna Nordell, producer at Tensta konsthall, in conversation with Ricardo-Osvaldo Alvarado about El Complejo and Alvarado’s current research. The Tensta resident Ricardo-Osvaldo Alvarado worked at the Panguipulli Forestry Complex, which was Chile’s biggest and most ambitious forestry complex during the Salvador Allende period (1970–73). After the coup in 1973, the Complex was closed down. Many of the workers were either murdered by Pinochet’s military, imprisoned, or exiled. Ricardo-Osvaldo Alvarado is one of the few who survived and his story is part of the film El Complejo: Territorio liberado, by Claudia Del Fierro. Alvarado was detained for four years in prison after the coup in Chile and was deported to Sweden in 1977. He has since lived in Stockholm and worked for 30 years for the city of Stockholm. He has worked locally, nationally, and internationally on several projects aimed at creating conditions for a participatory democracy. In conversation with Hanna Nordell, he speaks about his work in the forestry industry and how he is currently conducting research about El Complejo, which includes finding and interviewing the few people who still can speak about what happened.
22.10 2018–29.4 2019 Ieva Epnere: On water, wind and faces of stone
Ieva Epnere’s project for Tensta konsthall’s online platform Space, On Water, Wind and Faces of Stone, centers around the life of a group of children on Fogo Island off of Newfoundland in the North Atlantic. On this remote island, the artist attended a residency, meeting some of the approximately 2,000 inhabitants and learning about a community documentary film project made there in the late 1960s. Inspired by its focus on children, and based on the fact that the current population is aging, the Riga-based artist photographed a number of the children living there today. She asked them about their favorite place on the island and their future visions for the place and themselves. Their answers are combined with photographic portraits taken outdoors.
The exhibition On water, wind and faces of stone was commissioned by Fogo Island Arts and presented at the Fogo Island Gallery from June 22 to November 25, 2018
Ieva Epnere
In September 2017 I was invited to spend some time and work in a very special place – Fogo Island, at Fogo Island Arts. In June of 2018 I was invited back to Fogo Island to work on an exhibition. I must say, I fell in love with the place from the very beginning. Situated in the Labrador Current along “Iceberg Alley,” the island is bounded by the rugged shores of the wild North Atlantic Ocean. There are a bit more than 2,300 people living in 11 distinct communities. The landscape of the irregularly shaped island is stunning – one can find fascinating contortions of rock formed by ice, fire and sea.
“Fogo Island is an outport community: a small, remote coastal settlement unique to the province of Newfoundland and Labrador. Fogo Islanders are people of the sea who have made their living by fishing the frigid and often unforgiving waters of the North Atlantic. A non-capital-accumulating society until the latter decades of the 20th century, Fogo Islanders sustained themselves for generations by fishing as families and relying on an unrelenting sense of resourcefulness fed by a profound love of place. This history of relative isolation and self-sufficiency has shaped Fogo Islanders and the Fogo Island of today, and continues to inform the Island’s economy and culture.”
Migratory European fishermen began fishing Fogo Island’s plentiful waters around the early sixteenth century. A 1529 map of Newfoundland identifies the Island as Y de Fogo, later anglicized to Fogo Island. Originally not permitted to settle, Europeans went back and forth to Fogo Island to fish during warmer months until official, permanent settlement began in the eighteenth century.
Fogo Island was the location of a now legendary community filmmaking project in the late 1960s known as The Fogo Process. As part of the national “Challenge for Change” program, the National Film Board of Canada (NFB) and Memorial University of Newfoundland Extension Service came to Fogo Island to give light and voice to a set of communities struggling with the loss of the inshore fishery that had sustained them for centuries, and the very real threat of forced resettlement to the main island of Newfoundland.
Filmmaker Colin Low and community worker Fred Earle worked from the vision of Donald Snowden, who was the head of MUN’s Extension Service. Low produced 27 short films on Fogo Island that catalogued daily life, challenges, and celebrations, and sparked a dialogue between Fogo Island’s distinct communities which had no previous history of collaboration. These films catalyzed much positive social change by helping Fogo Islanders see their similarities, celebrate their differences, and work together to forge a plan for the future.”
(quoted text is taken from Shorefast foundation website)
During my residence, I spent a lot of time discovering and exploring the landscape of Fogo Island. I went on some hikes with a geologist and was struck by the rugged landscape. The texture, color and shape of local stones became a source of material exploration in my work. I documented the landscape through photography and also transferred these images onto silk to make articles of clothing, or wearable landscapes.
During my stay on island I noticed that there are not many children on island, as the population is aging. I was also inspired by Colin Low’s film, The Children of Fogo Island from The Fogo Process project, and I invited local children from different communities to have their portraits taken – some with my landscape costumes – and reflect on their relationship to Fogo Island. I asked them a few questions about their favorite place on the island as well as how they see their future unfolding and their future visions of Fogo Island. It was very touching to discover how much the children love and are attached to their tiny fisherman island.
Ieva Epnere (b. 1977) lives and works in Riga. She creates photographs, video works and films where personal and private stories are the starting point for artistic reflections on identity, traditions and rituals. Recent solo exhibitions include On Water, Wind and Faces of Stone, Fogo Island Gallery, Fogo Island; Hybrid Identities, Galéria HIT, Bratislava (2018); Sea of Living Memories, kim? Contemporary Art Centre, Riga, and Art in General, New York (2016); Pyramiden and other stories, Zacheta Project Room, Warsaw (2015); A No-Man’s Land, An Everyman’s Land, kim? Contemporary Art Centre (2015); Waiting Room, Contretype, Brussels (2015). Recent group exhibitions of her work include PLACES: ONE AFTER ANOTHER, session IV of Viktor Misiano's “The Human Condition,” The Jewish Museum and Tolerance Center, Moscow; the Riga International Biennial of Contemporary Art (2018); Portable Landscapes. Exhibition of Latvian exile and émigré artists, Latvian National Museum of Art, Riga (2018); Belonging to a Place: An Exhibition by Fogo Island Arts, Art Gallery of the Embassy of Canada, Washington, DC (2018); Nordic-Baltic Contemporary Art Exhibition: (In)visible dreams and streams, Gallery Augusta, Suomenlinna B28, Helsinki (2017); Contemporary Landscape, Cēsis Art Festival, Latvia (2016); 61st and 62nd International Short Film Festival Oberhausen (2015, 2016); Identity: Behind the Curtain of Uncertainty, Ukrainian National Art Museum, Kiev (2016); and Something eerie (2016).
www.ievaepnere.com
Space is Tensta konsthall's curatorial platform online. To access it, select ´main´ in the upper right corner.
22.10 2018–29.4 2019 Ieva Epnere: On water, wind and faces of stone
Ieva Epnere’s project for Tensta konsthall’s online platform Space, On Water, Wind and Faces of Stone, centers around the life of a group of children on Fogo Island off of Newfoundland in the North Atlantic. On this remote island, the artist attended a residency, meeting some of the approximately 2,000 inhabitants and learning about a community documentary film project made there in the late 1960s. Inspired by its focus on children, and based on the fact that the current population is aging, the Riga-based artist photographed a number of the children living there today. She asked them about their favorite place on the island and their future visions for the place and themselves. Their answers are combined with photographic portraits taken outdoors.
The exhibition On water, wind and faces of stone was commissioned by Fogo Island Arts and presented at the Fogo Island Gallery from June 22 to November 25, 2018
1.6 2018–4.3 2019 For the next year, Tensta konsthall’s operations will expand into new spaces with art projects presented in collaboration between artists and shop-owners, Tensta konsthall, and the shopping mall Tensta Centrum. In the project Art and Shops, art will move onto the shelves of stores, into shop windows, counters, and inside and outside the centre’s main building. In this way, art is presented in the most ordinary situations, when one buys groceries, goes shopping for lunch or visits a hair salon, therefore providing a way for other forms of contact and exchange.
Tensta Centrum’s opening ceremony was held in 1969 on the pedestrian street Tenstagången. A couple of years later, in 1975, the subway’s blue line was opened, whose two entrances still frame the main building. During the 1980’s, the shops were framed by glass in a postmodern style and the building assumed a church-like character, featuring tall glass window with orange frames and arched corridors. If the centre, during its younger days of the “million dwelling programme”, consisted mainly of different types of social services, such as employment agencies, banks, pharmacies and post offices, the centre of 2018 is now a different place entirely, with the dominating presence of fast food restaurants, gift shops, and stores selling household goods. The shops featured in the exhibition are primarily small local businesses.
Among the invited artists you will find Annika Eriksson, Bella Rune, Carin Ellberg, Carsten Höller, Dale Harding, Marie-Louise Ekman, Meriç Algün, Nina Svensson, Olivia Plender, Pinar Öğrenci, Salad Hilowle, Sorawit Songsatsaya and Thomas Elovsson.
Among the participanting shops are: Derman, IT Forum Tensta, Safi Shop Center, Tensta Krog, Tensta Modebutik, Tensta Blommor, Boutique Chinchilla, Apoteket Prinsen Medborgarkontoret, and Rawabi Phone.
Art and Shops is supported by Tensta Centrum/FastPartner, and is part of Många vägar hem.
1.6 2018–4.3 2019 For the next year, Tensta konsthall’s operations will expand into new spaces with art projects presented in collaboration between artists and shop-owners, Tensta konsthall, and the shopping mall Tensta Centrum. In the project Art and Shops, art will move onto the shelves of stores, into shop windows, counters, and inside and outside the centre’s main building. In this way, art is presented in the most ordinary situations, when one buys groceries, goes shopping for lunch or visits a hair salon, therefore providing a way for other forms of contact and exchange.more →
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Futures: Katharina Berndt Rasmussen and Moa Bursell
20.11 18:30 Futures:Katharina Berndt Rasmussen and Moa Bursell
Katharina Berndt Rasmussen Imagine Linda, a business woman with strong anti-racist values. Despite her explicit values, she employs only light-skinned people, with Swedish-sounding names. Can we explain the difference between her explicit values and actual behaviour? A similar situation exists on the social level: Sweden is a liberal democracy with strong, anti-discrimination laws that forbid ethnic discrimination. According to very recent investigations, racist attitudes are on the decline amongst Swedes and a clear majority declare positive attitudes towards multiplicity. However, despite this, statistics indicate a widespread ethnic segregation and discrimination. How can this discrepancy be explained on both the individual and social level?
During the last 10-15 years, social science researchers have identified correlations between discriminating behaviour and so-called implicit prejudices. They have shown that these prejudices can contradict an individual’s explicit values and that they exist in all of us. Research results can contribute to explaining observed ethnic discrimination on the individual level — as in Linda’s case — and on the societal level.
But what should we do, as individuals and in society in general, to counteract our implicit prejudices and their effects? One answer to this question requires a moral philosophical perspective, in addition to the social scientific one. I will talk about moral philosophical questions such as: can Linda really be held responsible for implicit prejudices that she is unaware of? Should we blame or censure her? And how far should we go in our attempts to counteract implicit prejudices?
Self-presentation: I am a researcher in practical philosophy at the Institute for Future Studies. My areas of philosophical interest include political philosophy, moral philosophy and feminist philosophy. I have previously carried out research on democracy, discrimination, sexism, racism, harm and justice. In my present research I examine the moral philosophical implications that accompany empirical research on implicit bias. I received my PhD in 2013 at Stockholm University, with the thesis Democracy and the Common Good: A Study of the Weighted Majority Rule. The thesis was awarded the Stockholm University Association’s prize for the best thesis in the Humanities at Stockholm University. I am a university instructor, teaching courses in critical thinking, feminist philosophy, modern political philosophy and normative ethics. I am also editorial assistant for Tidskrift för Politisk Filosofi (the journal of political philosophy), a member of SWIP-Sweden (the Society for Women in Philosophy Sweden) and engaged in the public debate concerning issues such as equality, justice and democracy.
Moa Bursell: Can We Counteract Prejudices That We Don’t Know We Have?
Ethnic discrimination creates an unequal access to resources and opportunities. This relates not least to encounters between citizens and authorities, when ethnic background can affect, for instance, a civil servant’s judgement of how social welfare should be distributed or to encounters between employers and job applicants, when the assessment of the applicant’s qualifications or merits can be influenced.
Discriminatory judgements can depend on implicit — that is, unconscious — values that influence individuals without their knowing it. However, there are studies showing that these implicit negative attitudes can be reduced — or alternatively, controlled — at least temporarily through various psychological exercises. But we still don’t know whether these changes are temporary or permanent. Neither do we know if a reduction of implicit negative attitudes or increased control over them has any significant effect on the real assessments and decisions that employers and civil servants make concerning employment or distribution of welfare. I will present existing research in this area and discuss the form in which efforts to counteract unconscious prejudices might take.
Self-presentation: I am a researcher in sociology at the Institute for Future Studies. In 2012 I defended my PhD thesis, Ethnic Discrimination, Name Change and Labour Market Inequality — Mixed Approaches to Ethnic Exclusion in Sweden. I have continued to research ethnic discrimination in the labour market, and on discrimination in encounters between citizens and public institutions.
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Futures is a series of seminars at Tensta konsthall in collaboration with the Institute for Future Studies, for presentation throughout 2018
Can we be optimistic about the future of the world and mankind? Seldom has this question been so contentious as it is now. On the one hand, infant mortality, poverty and the number of violent crimes and wars in the world have decreased radically, while longevity, literacy, access to education, health care and clean water have increased. On the other hand, we face a serious climate crisis at the same time as several bloody conflicts continue, with consequent untold numbers of people seeking refuge. We are also witnessing a rise in racist and anti-democratic attitudes and movements in many places, and national sovereignty is being challenged by, amongst other things, technological developments that have created new, difficult to decipher infrastructures and new governance structures and processes.
In this lecture series, some of the themes and phenomena that will influence future developments will be discussed. How can democracy survive in a globalised world, where the importance of nation states is declining and technique and communication corporations are gaining more and more influence? Within what time frame do we need to think about “futures”? Do studies of the future need a Copernican turn with less human-centrism and a different conception of intelligence? How are tomorrow’s values affected by the waves of immigrants and new social media? New ways to discriminate against people have been seen recently — how can efforts against such kinds of injustice be reinforced? Does the survival of humankind depend on possibilities to leave our planet and move elsewhere in cosmos?
The seminar series is part of Tensta konsthall’s 20th anniversary.
20.11 18:30 Futures:Katharina Berndt Rasmussen and Moa Bursell
Katharina Berndt Rasmussen Imagine Linda, a business woman with strong anti-racist values. Despite her explicit values, she employs only light-skinned people, with Swedish-sounding names. Can we explain the difference between her explicit values and actual behaviour? A similar situation exists on the social level: Sweden is a liberal democracy with strong, anti-discrimination laws that forbid ethnic discrimination. According to very recent investigations, racist attitudes are on the decline amongst Swedes and a clear majority declare positive attitudes towards multiplicity. However, despite this, statistics indicate a widespread ethnic segregation and discrimination. How can this discrepancy be explained on both the individual and social level?
During the last 10-15 years, social science researchers have identified correlations between discriminating behaviour and so-called implicit prejudices. They have shown that these prejudices can contradict an individual’s explicit values and that they exist in all of us. Research results can contribute to explaining observed ethnic discrimination on the individual level — as in Linda’s case — and on the societal level.
But what should we do, as individuals and in society in general, to counteract our implicit prejudices and their effects? One answer to this question requires a moral philosophical perspective, in addition to the social scientific one. I will talk about moral philosophical questions such as: can Linda really be held responsible for implicit prejudices that she is unaware of? Should we blame or censure her? And how far should we go in our attempts to counteract implicit prejudices?
Self-presentation: I am a researcher in practical philosophy at the Institute for Future Studies. My areas of philosophical interest include political philosophy, moral philosophy and feminist philosophy. I have previously carried out research on democracy, discrimination, sexism, racism, harm and justice. In my present research I examine the moral philosophical implications that accompany empirical research on implicit bias. I received my PhD in 2013 at Stockholm University, with the thesis Democracy and the Common Good: A Study of the Weighted Majority Rule. The thesis was awarded the Stockholm University Association’s prize for the best thesis in the Humanities at Stockholm University. I am a university instructor, teaching courses in critical thinking, feminist philosophy, modern political philosophy and normative ethics. I am also editorial assistant for Tidskrift för Politisk Filosofi (the journal of political philosophy), a member of SWIP-Sweden (the Society for Women in Philosophy Sweden) and engaged in the public debate concerning issues such as equality, justice and democracy.
Moa Bursell: Can We Counteract Prejudices That We Don’t Know We Have?
Ethnic discrimination creates an unequal access to resources and opportunities. This relates not least to encounters between citizens and authorities, when ethnic background can affect, for instance, a civil servant’s judgement of how social welfare should be distributed or to encounters between employers and job applicants, when the assessment of the applicant’s qualifications or merits can be influenced.
Discriminatory judgements can depend on implicit — that is, unconscious — values that influence individuals without their knowing it. However, there are studies showing that these implicit negative attitudes can be reduced — or alternatively, controlled — at least temporarily through various psychological exercises. But we still don’t know whether these changes are temporary or permanent. Neither do we know if a reduction of implicit negative attitudes or increased control over them has any significant effect on the real assessments and decisions that employers and civil servants make concerning employment or distribution of welfare. I will present existing research in this area and discuss the form in which efforts to counteract unconscious prejudices might take.
Self-presentation: I am a researcher in sociology at the Institute for Future Studies. In 2012 I defended my PhD thesis, Ethnic Discrimination, Name Change and Labour Market Inequality — Mixed Approaches to Ethnic Exclusion in Sweden. I have continued to research ethnic discrimination in the labour market, and on discrimination in encounters between citizens and public institutions.
2018 A series of seminars at Tensta konsthall in collaboration with the Institute for Future Studies, for presentation throughout 2018
Can we be optimistic about the future of the world and mankind? Seldom has this question been so contentious as it is now. On the one hand, infant mortality, poverty and the number of violent crimes and wars in the world have decreased radically, while longevity, literacy, access to education, health care and clean water have increased. On the other hand, we face a serious climate crisis at the same time as several bloody conflicts continue, with consequent untold numbers of people seeking refuge. We are also witnessing a rise in racist and anti-democratic attitudes and movements in many places, and national sovereignty is being challenged by, amongst other things, technological developments that have created new, difficult to decipher infrastructures and new governance structures and processes.
In this lecture series, some of the themes and phenomena that will influence future developments will be discussed. How can democracy survive in a globalised world, where the importance of nation states is declining and technique and communication corporations are gaining more and more influence? Within what time frame do we need to think about “futures”? Do studies of the future need a Copernican turn with less human-centrism and a different conception of intelligence? How are tomorrow’s values affected by the waves of immigrants and new social media? New ways to discriminate against people have been seen recently — how can efforts against such kinds of injustice be reinforced? Does the survival of humankind depend on possibilities to leave our planet and move elsewhere in cosmos?
The seminar series is part of Tensta konsthall’s 20th anniversary.
Tuesday 20 March, 18:30 Metahaven and Benjamin Bratton
Benjamin Bratton: Trump Win + Calif Legal Weed x Universal Secessionism/Withdrawal = Bullish on VR Stocks?
The rise of idiocratic ethno-nationalism in global politics puts many things in question, including the “future” in “design futures”. Design of what and for what? Tomorrowland or Mad Max? It does not, however, change the reality of our systems-scale design problems. While there are many reasons to be suspicious of those whose main entitlement is to stand earnestly against the real, we may do the same for those whose main alibi is simple “futurism”. Among the main reasons is the conventional definition of “the future” as a time ten to fifty years from now. The year 2050 CE is not the future. For systems design we are designing 2050 today, and doing poorly so for the most part. Additionally, the alternative alibi of presentism — that “the real world” requires only the most myopic forms of stakeholder utilitarianism without further abstraction — is precisely what makes the deferral into some future or past even possible in the first place. Presentism and futurism conspire to validate an intuitive sense of cause and effect bound within an autobiographical tempo of life and death. In contrast with the dumb heuristics of human-centered design, we should presume that subjective “user” experiences of cause and effect are flawed, and insufficient for modelling solutions directly, and so we must continue to look elsewhere.
A Copernican turn in design that I would champion focuses on how intelligence is imbued in accumulating layers of material technologies (grammar, the grave, the GPU, etc.) allow successive generations to build on or against them and to automate processes for escaping intuitive and arbitrary cognitive biases, not reinforcing their chauvinisms. The world is a model open to design and designation, not by human mastery and self-reflection over its sovereign domain, but because our planet uses humans to know itself and remake itself. We are the medium, not the message.
Self-presentation: Benjamin H. Bratton's work spans philosophy, art, design and computer science. He is Professor of Visual Arts and Director of the Center for Design and Geopolitics at the University of California, San Diego. He is Program Director of the Strelka Institute of Media, Architecture and Design in Moscow. He is also a Professor of Digital Design at The European Graduate School and Visiting Faculty at SCI_Arc (The Southern California Institute of Architecture). Twitter @bratton In The Stack: On Software and Sovereignty (MIT Press, 2016. 503 pages) Bratton outlines a new theory for the age of global computation and algorithmic governance. He proposes that different genres of planetary scale computation — smart grids, cloud platforms, mobile apps, smart cities, the Internet of Things, automation — can be seen not as so many species evolving on their own, but as forming a coherent whole: an accidental megastructure that is both a computational infrastructure and a new governing architecture. The book plots an expansive interdisciplinary design brief for The Stack-to-Come. See thestack.org
Metahaven: Skopje’s Megastructure
In 1963, the Macedonian capital of Skopje was hit by a massive earthquake. The Japanese architect and urbanist Kenzō Tange, figurehead of the metabolist movement, was commissioned to design a new master plan for Skopje. The plan was realised, yet never completed. Today, Tange’s megastructure for Skopje lies buried, part in memory, imagination, and possibility. Here and there, his spaceship surfaces as a post office or brutalist housing block.
Since 2014, the Macedonian government has brandished a wave of gold-painted sculptural interventions around the city. Known as the baroquization project, the endeavour was somehow meant to stimulate Skopje’s sense of grandeur and Macedonia’s sense of historical identity in the face of an uncertain future and a dicey geopolitical climate. Is Skopje’s baroquization a “mobile technology appropriation in a distant mirror?” Plastic-gold post-internet statues now sit on top of Tange’s hidden megastructure, literally. The white formica dictator chic upholsters the Chandigarh of South-eastern Europe, and this is not an end but just a beginning. Skopje tells us things about the politics of interface — as in the music video of Oneohtrix Point Never — Problem Areas — while during the 2016 US election, in the formerly thriving industrial town of Veles in Central Macedonia, bored teenagers earned tens of thousands of dollars by running pro-Trump fake news websites. There is nothing to worry about. There are only more interfaces than there are eyes. And there is more truth than there is reality. There is no planetary-scale plan for this.
Self-presentation: Founded by Vinca Kruk and Daniel van der Velden, Metahaven’s practice spans filmmaking, installation, writing and design to provoke new imaginaries that are equally bound to aesthetics, poetics, and politics. Recent solo presentations include Truth Futurism, Futura, Prague (2017) Information Skies, Auto Italia, London (2016), and Mumbai Art Room, Bombay (2016), The Sprawl, YBCA, San Francisco (2015), Black Transparency, Future Gallery, Berlin (2014), and Islands in the Cloud, MoMA PS1, New York (2013). Recent group exhibitions include the Sharjah Biennial 2017, Sharjah, UAE, Fear & Love, Design Museum, London (2016), Dream Out Loud, Stedelijk Museum Amsterdam (2016), The Eighth Climate (What Does Art Do?), the 11th Gwangju Biennale (2016), All of This Belongs to You, Victoria & Albert Museum, London (2015), Private Settings: Art After the Internet, Museum of Modern Art Warsaw (2014), and Frozen Lakes, Artists Space, New York (2013). Recent publications include Black Transparency (2015), Can Jokes Bring Down Governments? (2013), and Uncorporate Identity (2010). Music videos by Metahaven include Home (2014), and Interference (2015), both with musician, composer and artist Holly Herndon, as part of an ongoing collaboration. Metahaven are the designers of Tensta konsthall’s visual communication since 2011. Metahaven’s full-length documentary, The Sprawl (Propaganda about Propaganda), premiered at the International Film Festival Rotterdam in 2016. Its successor, a short film titled Information Skies, was shot and edited in 2016 and was nominated for the 2017 European Film Awards. Metahaven’s film Possessed (in collaboration with Rob Schröder) premiered at IFFR 2018 and was nominated for a Tiger Award and nominated for the New:Vision award at CPH:DOX 2018 in Copenhagen. Their latest film, Hometown, is yet to be released, it was shot in Beirut and Kyiv in 2017. Twitter: @mthvn. Instagram: @metahaven
Thursday 22 March, 18:30 Karim Jebari and Ahmet Ögut
Karim Jebari: Why Move into Space?
The last human being left the Moon in December 1972. That was 45 years ago, many people at the time thought that humankind was developing towards becoming a multi-planet species. But at that time, to leave our planet’s gravity wells was altogether too expensive for any government to contemplate doing it. Today, thanks to progress within robotics, we have totally new possibilities to establish ourselves on new celestial bodies. Should we try again - and in which case, why? To prevent the demise, the end of humanity? How shall we proceed? And what will be required of future Martians, Mercurians, Titans and Europeans?
Self-presentation: I am a researcher at the Institute for Future Studies, Stockholm. In December 2014, I received my PhD in Philosophy at the Royal Institute of Technology (KTH). My thesis was on applied ethics, and specifically, on how we should relate to the challenges and possibilities of technological development. I am interested in most matters related to politics, ethics and philosophy. My main interest at present is transhumanism and its existential risks.
Ahmet Ögut: What If the Mechatronic Engineers Are the Artists of Future?
What if mechatronic engineers become more creative and increasingly more productive in the future, or if artists were to develop technical skills to a level that they become mechatronic engineers. What if they create new devices for communication beyond current cell phone technology that emit radiofrequencies, or what if they transform the crime-prediction algorithms into crime-prevention algorithms and abolished all land, sea and sky-based armed forces. What if they develop a system that has equal representation for all of the different ethno-linguistic groups; or subvert the gender binary, or shut down corporations who inject liquid at high pressure into subterranean rocks, or invent a system that cleans particulates, biological molecules and other harmful substances from the atmosphere? I have a problem with utopia seen as something to come in the future which is better than present times. I believe utopia must be emancipated from the future. In order to avoid such dominating conception, I suggest that we find a way to look at the present time properly to establish a profound transformation despite current conflicts, with the question how do we activate our imagination right now and right here?
Tuesday 10 April, 18:30 Bi Puranen and Pontus Strimling
Bi Puranen: To Come to Sweden — Extreme but at the Same Time Moderate: How Can This Go Together?
Amongst the questions that are taken up in my presentation: how do you become accepted in a society which is both extreme and moderate? Why are values and social norms important? What do we know about how values change when people migrate? Who does what, when values conflict with Swedish law? How is confidence in democracy affected by populism and how does populism influence our view of immigration? Human rights as a target.
Self-presentation: Bi Puranen, is a researcher at the Institute for Future Studies, General Secretary for World Values Survey.
Pontus Strimling: Why Liberals are winning the culture war The culture war refers to the struggle between conservative and liberal values. In the US this struggle has focused on a set of moral issues surrounding sexuality, religion, race, gender and guns. Surveys show a dramatic movement on certain issues (e.g., gay rights), whereas public opinion has barely moved at all on other issues (e.g., abortion rights). If issue positions are categorised as liberal vs. conservative, we can see that the majority of the movement in public opinion has been toward the liberal positions. But why are the liberals winning the cultural war? And why does public opinion move more on some issues than on others? Self-presentation: My research deals with how cultural traits change over time, particularly how norms are created, sustained and transformed. Throughout my career, I have worked with a range of interdisciplinary collaborators across the field and I have published in anthropology, biology, psychology, mathematics, linguistics, and economy. My goal is to further the understanding of cultural change to the point where it can be used to predict real-world dynamics. To this end, I use formal models to understand and illustrate how macro cultural processes function. These models are informed by data gathered from experiments ensuring that the micro-processes from which the models aggregate their prediction are in line with reality. My work ranges from basic research on the rules surrounding punishment to applied research on why the changing norms of hygiene become stricter.
Thursday 19 April, 18:30: Massimiliano Mollona
Artcommons: On Commoning, Art and Radical Imagination
Art is a force that both freezes and abstracts the flow of life (a movement of enclosure) and puts life in motion (a movement of radical opening.) As we enter into a new era of primitive accumulation, how can art contribute to the double movement of anti-capitalist critique and epistemological and discursive construction of a new post-capitalist imaginary, including new forms of making and representation in which art and politics inform each other?
In this talk I propose the notion of ARTCOMMONS intended as a set of material skills, collaborative practices and prefigurative actions aimed at creating minor and everyday forms of resistance against the radical enclosures of late capitalism. Ultimately, the talk reflects on what does it mean to be human and to exist in commons at a time of extreme political repression and economic dispossession. In the first part of the talk, I discuss the relationships between art and politics since the global neoliberal turn in the 1980s; in the second part, I discuss the Institute of Radical Imagination, a hybrid between an art project, a travelling research centre, a refuge for intellectuals and artists at risk and a policy-making body generating ideas and applied knowledge that responds to specific urgent needs on the ground — an intellectual logistical infrastructure more than a structure, operating across existing arts, academic and activist networks. The aim of the Institute is to implement six steps towards a post-capitalist society also intended as five forms of commoning — of labour, money, space, personhood and knowledge.
Self-presentation: Massimiliano Mollona is a writer, filmmaker and anthropologist. He has a multidisciplinary background in economics and anthropology. His work focuses on the relationships between art and political economy and his practice is situated at the intersection of pedagogy, art and activism. He conducted extensive fieldworks in Italy, UK, Norway and Brazil, mainly in economic institutions, looking at the relationships between economic development and political identity through participatory and experimental film projects. One of Massimiliano’s main research interests is to look at the role of art institutions and cultural organisations in relation to the bio-politics and political economy of late capitalism. Mollona was Director of the Athens Biennale in 2015-17 and one of the artistic directors of the Bergen Assembly (2017). Mollona has written extensively on political and economic anthropology, especially the anthropology of labour and on visual art. He has made several film projects on labour.
This seminar is a collaboration with Alessandro Petti and The Royal Institute of Art.
Tuesday, 11 September, 18:30 Folke Tersman and Gustaf Arrhenius
Folke Tersman and Gustaf Arrhenius: Borderless democracy
There is increasing recognition that the global problems we confront (climate, migration, terrorism, resistance to antibiotics, etc.) demand stronger and better supranational political organs which will allow us to cooperate across nation state borders and together prioritise what is best for the whole of mankind. At the same time, there is a worry that such organs could move political power even further from citizens and thereby undermine democracy. How can we ensure that democracy survives in a system where nation states have less and less importance? This is one of the questions Gustaf Arrhenius and Folke Tersman address in their conversation.
Tuesday 20 November, 18:30 Katharina Bernd-Rasmussen and Moa Bursell
Katharina Berndt Rasmussen
Imagine Linda, a business woman with strong anti-racist values. Despite her explicit values, she employs only light-skinned people, with Swedish-sounding names. Can we explain the difference between her explicit values and actual behaviour? A similar situation exists on the social level: Sweden is a liberal democracy with strong, anti-discrimination laws that forbid ethnic discrimination. According to very recent investigations, racist attitudes are on the decline amongst Swedes and a clear majority declare positive attitudes towards multiplicity. However, despite this, statistics indicate a widespread ethnic segregation and discrimination. How can this discrepancy be explained on both the individual and social level?
During the last 10-15 years, social science researchers have identified correlations between discriminating behaviour and so-called implicit prejudices. They have shown that these prejudices can contradict an individual’s explicit values and that they exist in all of us. Research results can contribute to explaining observed ethnic discrimination on the individual level — as in Linda’s case — and on the societal level.
But what should we do, as individuals and in society in general, to counteract our implicit prejudices and their effects? One answer to this question requires a moral philosophical perspective, in addition to the social scientific one. I will talk about moral philosophical questions such as: can Linda really be held responsible for implicit prejudices that she is unaware of? Should we blame or censure her? And how far should we go in our attempts to counteract implicit prejudices?
Self-presentation: I am a researcher in practical philosophy at the Institute for Future Studies. My areas of philosophical interest include political philosophy, moral philosophy and feminist philosophy. I have previously carried out research on democracy, discrimination, sexism, racism, harm and justice. In my present research I examine the moral philosophical implications that accompany empirical research on implicit bias. I received my PhD in 2013 at Stockholm University, with the thesis Democracy and the Common Good: A Study of the Weighted Majority Rule. The thesis was awarded the Stockholm University Association’s prize for the best thesis in the Humanities at Stockholm University. I am a university instructor, teaching courses in critical thinking, feminist philosophy, modern political philosophy and normative ethics. I am also editorial assistant for Tidskrift för Politisk Filosofi (the journal of political philosophy), a member of SWIP-Sweden (the Society for Women in Philosophy Sweden) and engaged in the public debate concerning issues such as equality, justice and democracy.
Moa Bursell: Can We Counteract Prejudices That We Don’t Know We Have?
Ethnic discrimination creates an unequal access to resources and opportunities. This relates not least to encounters between citizens and authorities, when ethnic background can affect, for instance, a civil servant’s judgement of how social welfare should be distributed or to encounters between employers and job applicants, when the assessment of the applicant’s qualifications or merits can be influenced.
Discriminatory judgements can depend on implicit — that is, unconscious — values that influence individuals without their knowing it. However, there are studies showing that these implicit negative attitudes can be reduced — or alternatively, controlled — at least temporarily through various psychological exercises. But we still don’t know whether these changes are temporary or permanent. Neither do we know if a reduction of implicit negative attitudes or increased control over them has any significant effect on the real assessments and decisions that employers and civil servants make concerning employment or distribution of welfare. I will present existing research in this area and discuss the form in which efforts to counteract unconscious prejudices might take.
Self-presentation: I am a researcher in sociology at the Institute for Future Studies. In 2012 I defended my PhD thesis, Ethnic Discrimination, Name Change and Labour Market Inequality — Mixed Approaches to Ethnic Exclusion in Sweden. I have continued to research ethnic discrimination in the labour market, and on discrimination in encounters between citizens and public institutions.
2018 A series of seminars at Tensta konsthall in collaboration with the Institute for Future Studies, for presentation throughout 2018
Can we be optimistic about the future of the world and mankind? Seldom has this question been so contentious as it is now. On the one hand, infant mortality, poverty and the number of violent crimes and wars in the world have decreased radically, while longevity, literacy, access to education, health care and clean water have increased. On the other hand, we face a serious climate crisis at the same time as several bloody conflicts continue, with consequent untold numbers of people seeking refuge. We are also witnessing a rise in racist and anti-democratic attitudes and movements in many places, and national sovereignty is being challenged by, amongst other things, technological developments that have created new, difficult to decipher infrastructures and new governance structures and processes.
Thursdays 15:30–17:00 In the Autumn of 2017, a new art club was founded at Tensta konsthall through the initiative of a ten-year-old art enthusiast from Tensta. The club is for children ages 9–12, and gathers once a week to try out different artistic techniques and materials, meet artists, make excursions and talk about art, always stemming from the current exhibitions. In collaboration with Kulturskolan Järva, membership registration can be made with nina@tenstakonsthall.se
Thursdays 15:30–17:00 In the Autumn of 2017, a new art club was founded at Tensta konsthall through the initiative of a ten-year-old art enthusiast from Tensta. The club is for children ages 9–12, and gathers once a week to try out different artistic techniques and materials, meet artists, make excursions and talk about art, always stemming from the current exhibitions. In collaboration with Kulturskolan Järva, membership registration can be made with nina@tenstakonsthall.se more →
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Art Camp
During school breaks Tensta konsthall arranges art camps for children and teenagers, 10-19 years old. We offer participants a one-week daytime camp under the guidance of a professional artist. The art camp may revolve around specific mediums, themes, or the artist’s own practice. On the final day the public is invited to see and experience the works made during the week.
To register and for more info, contact hedvig@tenstakonsthall.se or 08-36 07 63
PREVIOUSLY
Monday–Friday 30.10–3.11, 10:00–15:00 Graphic design and symbols with Beckmans Collage of Design Age: 15–22
How is graphic design created? Over the course of a weeklong series of workshops, the participants will work with different methods for creating symbols and logos. It could be a symbol for an already-existing team or organization or a fictitious project to test different techniques for making symbols. The week culminates in a presenation of the participants’ work. The course is led by former Beckmans students Greta Colloca and Alf Arén.
7.8–11.8 Painting and Portraits With Filippa Arrias (The Royal Institute of Arts) Age: 15–22 years
In past years portrait-painting camp was such a success that Filippa Arrias is once again invited to Tensta konsthall. Focusing on technique such as color mixing, brush techniques and composition, the participants are trained in the fundamental questions and possibilities of painting – from sketch to finished picture. Each day a new task is presented and newfound knowledge and skills are practiced through portraits, dreams, and fictional as well as real stories. The week ends with an miniexhibition for family, friends and acquaintances. No experience required. In collaboration with the Royal Institute of Art.
19.6–21.6 Transform a site with KTH Tensta Age: 10–13 years
The participants learn to look at nature with brand new eyes. Spaces, walls, tunnels, a new stage, or a home for an animal will be built using materials from nature. The Art camp is at the Järva Field and is led by Elsa Uggla and Marie-Louise Richards from KTH Architecture School / KTH Tensta. To participate or for more information, please email emily@tenstakonsthall.se or call 08-36 07 63.
19.6–21.6 Transform a site with KTH Tensta Age: 10–13 years
The participants learn to look at nature with brand new eyes. Spaces, walls, tunnels, a new stage, or a home for an animal will be built using materials from nature. The Art camp is at the Järva Field and is led by Elsa Uggla and Marie-Louise Richards from KTH Architecture School / KTH Tensta. To participate or for more information, please email emily@tenstakonsthall.se or call 08-36 07 63.
8.8–12.8 Painting and Portraits With Filippa Arrias (The Royal Institute of Arts) Age: 15–22 years
In past years portrait-painting camp was such a success that Filippa Arrias is once again invited to Tensta konsthall. Focusing on technique such as color mixing, brush techniques and composition, the participants are trained in the fundamental questions and possibilities of painting – from sketch to finished picture. Each day a new task is presented and newfound knowledge and skills are practiced through portraits, dreams, and fictional as well as real stories. The week ends with an miniexhibition for family, friends and acquaintances. No experience required. In collaboration with the Royal Institute of Art.
29.3–1.4 Art Camp: Landscape Drawing With Ylva Westerlund Age: 12-16 years
Together with the artist Ylva Westerlund, the participants will dedicate four days to landscapes. They will paint, draw, and think about what a landscape can be—how it could include classic scenes of nature and industrial environments as well as urban spaces and suburban squares. They will experiment with graphite, ink, and charcoal and sketch out their own surroundings. One of the days will be spent at the scenic Prince Eugen’s Waldemarsudde on Djurgården. For registration and info: emily@tenstakonsthall.se
29.2–4.3 Art Camp: Tensta design studio with Sergio Montero Bravo (Konstfack) Age: 10-14 years
The winter holiday’s art camp welcomes young people between 10 and 14 years old who are interested in design and construction. During the week, we will create a collective design studio to develop proposals for public venues in the suburbs. Sergio Montero Bravo, together with a group of students from the Interior Architecture and Furniture Design at Konstfack, will lead the design studio. Participants will try to design ideas through sketching, drawing, painting, and building. One of the days is spent at Konstfack. 26.10–30.10 Figure Drawing with Gerleborgsskolan Age: 14–19 years
During the week the participants will experience what it is like to go to an art school, with focus on drawing and painting by model. Based on a classic model lineup, the participants study colour, form, perspective, light and shadow.
10.8–14.8 2015 Painting and Portraits With Filippa Arrias (The Royal Institute of Arts) Age: 15–22 years
In past years portrait-painting camp was such a success that Filippa Arrias is once again invited to Tensta konsthall. Focusing on technique such as color mixing, brush techniques and composition, the participants are trained in the fundamental questions and possibilities of painting – from sketch to finished picture. Each day a new task is presented and newfound knowledge and skills are practiced through portraits, dreams, and fictional as well as real stories. The week ends with an exhibition for family, friends and acquaintances. No experience required. In collaboration with the Royal Institute of Art.
15.6–17.6 2015 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 forth year in a row arrange a hut building camp in Järvafältet. Behind the allotments and across the meadow, one finds the clearing that will be the workspace of the week. The participants are guided in how to best design and construct their huts. The materials used are all things that can be found in nature, such as undergrowth, twigs, and leaves. The last day of camp friends and family are invited to visit the village of huts that has emerged during the week.
To register and for more info, contact emily@tenstakonsthall.se or 08-36 07 63.
7.4–10.4 2015 Fanzine workshop With Maryam Fanni Age 14–22 years
During the Easter holiday’s art camp, participants of the camp will be able to explore the process of creating books, newspapers, magazines, brochures, posters, flyers, and fanzines as well as learning more about these media. The art camp is led by graphic designer Maryam Fanni. During the week, the participants will learn about the various functions of printed matter and about what sort of tools and resources are necessary to produce it. They will try different methods of creating printed matter and will go on a visit to a printing company. This art camp is a part of Nyhetsbyrån.
Nyhetsbyrån is a long-term project for youths from ages 18 to 25 who are interested in journalism and story-telling. The course is financially supported by Allmänna Arvsfonden and is done in collaboration with Konstfack, JMK Stockholms university and StreetGäris.
To register and for more info, contact hedvig@tenstakonsthall.se or 08-36 07 63.
23.2–27.2 Fantacy School With Sergio Montero Bravo (Interior Architecture & Furniture Design, Konstfack)
This winter holiday’s art camp is led by the architect and designer Sergio Montero Bravo. During the week, the participants will build models in wood, cardboard, and plaster. The mission is to create the school of the future; how does it look in our dreams? What color and shape are the rooms? The results from the art camp will be displayed in an exhibition at Konstfack. For ages 10–13.
4.12 2014–11.1 2015 The results of this year's art camps are presented at Stockholm City Museum and include Comics and Superheroes from New Sweden, Housing for Wild Bees, Figure Drawing, and Utopia Camp. Art Camp is held at Tensta konsthall over school holidays. It is led by professional artists, designers, and architects, often in collaboration with art schools in Stockholm.
During school breaks Tensta konsthall arranges art camps for children and teenagers, 10–19 years old under the guidance of a professional artist. The art camp may revolve around specific mediums, themes, or the artist’s own practice.
New nordic network formed to investigate significance of art centers. What is the significance of a place of art? And can it be measured? In our polarized times the function of the small contemporary art institutions as places for critical reflection and exchange of experience is more relevant than ever. But in spite of their critical purpose, these institutions are often underfinanced and their experience ignored. Why?
More than 40 smaller visual arts institutions from the Nordic countries are now forming a network in order to address the question of art’s agency. A reception in Kassel on June 8 (in conjunction with the opening of Documenta 14) will mark the beginning of this working group, which will culminate in a large-scale symposium in Oslo on March 9–11, 2018. Leading experts within the cultural-economic field will take part in the symposium, among them: Andrea Phillips, art professor and Head of Research at Valand Academy, Univerity of Gothenburg; and Lars Strannegård, professor and president at The Stockholm School of Economics.
How can one fathom the significance of smaller art institutions within the greater arts’ ecosystem? One key aspect is their groundbreaking approach to relating art to society; contributing to the cultural literacy of their audiences. Another is their important role in local communities whilst maintaining a constant dialogue within the international arts context. But how can we create dialogue around the values that are being built – beyond visitation numbers and media coverage? How do we measure their value qualitatively as well as quantitatively? And how does qualitative data correspond with current funding models, as opposed to quantitative data?
What cooperative processes can be adopted so that artists and culture, small and large institutions, municipalities, regions, states, and federal politics all cooperate to encourage art’s potential? During the fall of 2017 a report will be produced focusing on the artistic, social, societal and economic worlds of the contemporary kunsthalles within a Nordic context. The authors of this report are freelance curator Jonatan Habib Engqvist and Nina Möntmann, professor of art theory and history of art at The Royal Institute of Art in Stockholm. The report will form the basis for the symposium in 2018.
The organisation of the new network will be based on three existing associations of kunsthalles: Foreningen af Kunsthaller i Danmark which has been active since 1992; Klister in Sverige and Kunsthallene i Norge, which both took shape in 2011. Each of these networks has arisen out of a need to organize in order to highlight and debate the function of small and medium sized contemporary art institutions, their significance as well as their existing terms of governance.
In Sweden and Denmark situational reports have been commissioned by the networks from their respective countries, whilst in Norway a public dialogue regarding arts policy and funding has taken place. The Danish report has the title The Kunsthalle: A crucial player in the contemporary arts and for the contemporary arts. The Swedish report No exceptions. Creation of value in small and medium-sized kunsthalles by Mikael Löfgren can be downloaded here (Swedish):
Jonatan Habib Engqvist is a freelance curator and writer. Currently he is a co-curator of Sinopale 6, Survival Kit 9, organizing Nya Småland and running Curatorial Residency in Stockholm (CRIS). He has previously functioned as co-curator for Momentum 8, 2015, project leader for Iaspis (2009-2014) and curator at Moderna Museet, Stockholm (2008-09).
Nina Möntmann is a Hamburg-based professor of art theory and history of ideas at The Royal Institute of Art in Stockholm, a curator and writer. In her research, Möntmann has been interested in the changing role of art institutions in relation to global events. Selected publications: Scandalous. A Reader on Art & Ethics (Berlin, Sternberg Press, 2013); New Communities (Toronto, Public Books/The Power Plant, 2009) and Art and its Institutions (London, Black Dog Publishing, 2006).
New nordic network formed to investigate significance of art centers. What is the significance of a place of art? And can it be measured? In our polarized times the function of the small contemporary art institutions as places for critical reflection and exchange of experience is more relevant than ever. But in spite of their critical purpose, these institutions are often underfinanced and their experience ignored. Why?more →
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k.ö.k (Women Desire Collectivity)
Ongoingk.ö.k (Kvinnor önskar kollektivitet – Women Desire Collectivity) experiments with ways to build a feminist institution from within the existing community of The Women’s Centre in Tensta Hjulsta. The centre is a self-organised meeting place for women with diverse backgrounds, a place for sharing skills, learning languages and forming friendships. Based on a process of exchange k.ö.k aims to highlight the politics within the daily routines of the centre and the acts of resistance (often overlooked) that continually challenge and re-shape the community. k.ö.k is a context responsive institution taking care of the many different experiences that make up The Women’s Centre in Tensta-Hjulsta. Artistic methodologies are used to share this knowledge with a broader audience as well as to connect experiences to broader political issues. k.ö.k is initiated by Petra Bauer and Jenny Richards in collaboration with The Women’s Centre in Tensta-Hjulsta.
k.ö.k builds a feminist activity programme that invites contributors and collaborators to collectively reflect upon and engage with women's experiences of migration and the politics of the The Women’s Centre in Tensta Hjulsta.
There will be meetings, workshops and seminars; to find out more please contact kvinnoronskarkollektivitet@gmail.com.
k.ö.k Autumn 2017
During the autumn k.ö.k takes different form through discussion workshops, open lectures, screenings and shared meals.
Fall dates 2017
Monday 6.11 9:30 k.ö.k everyday: Screening of Taikon (2015) by Lawen Mohtadi and Gellert Tamas Monday 20.11 9:30 k.ö.k everyday: Our Allies 1/3 - The Kurdish Women (2017) by Anders Hammer. Distributed by Field of Vision www.fieldofvision.org Tuesday 28.11 10:00 k.ö.k study group Sunday 3.12 14:00 k.ö.k Sunday Monday 11.12 k.ö.k everyday
Every other Monday k.ö.k everyday is held beginning with a breakfast conversation focused on issues women within k.ö.k wish to discuss and share and followed by lunch together. The afternoon includes k.ö.k office, a time women can visit the centre and receive help and support; from everyday administration to advice on women’s rights. The day finishes with k.ö.k cinema, a regular cinema focused on women’s political organising and struggle.
Over Autumn there will be three k.ö.k study groups held where material linked to struggles for women’s rights and how these can inform our everyday situations, will be discussed. Finally k.ö.k Sundays are arranged, a public presentation event in which key speakers on women’s organising and collectivity share their knowledge.
All k.ö.k events are free and welcome to all women.
Previous
Tuesday 21.3, 13:00–14:30 Inauguration of k.ö.k at The Women’s Centre in Tensta-Hjulsta. Opening speach, poetry reading Hatice Akalinli, choir Clair the Air, and performance by the poet and activist Mariama Jobe Monday 11.9, 9:30 k.ö.k everyday: Cinema: Red Shift (1984) by Gunvor Nelson Tuesday 19.9 10:00 k.ö.k study group starting from the Zapatista manifesto Sunday 24.9 14:00 k.ö.k Sunday Monday 25.9 9:30 k.ö.k everyday: Cinema: Taxi Sister (2011) by Theresa Traore Dahlberg Sunday 1.10 11:30–13:00 k.ö.k Sunday: Brunch with BIG - a feminist research gropu Monday 9.10, 9:30 k.ö.k everyday Tuesday 17.10 10:00 k.ö.k study group starting from the text 'Kitchen Stories' by Anna Puigjaners on The Collective Kitchen Monday 23.10 9:30 k.ö.k everyday: Cinema with Petra Hultman screening achival material from Husmors Filmer (1951–1976) as well as clips from her own work
k.ö.k is a part of Många vägar hem – a collaboration between Tensta konsthall, The Silent University, Tensta Library, The Women’s Centre in Tensta-Hjulsta, and Royal Insitute of Art. With support from Kreativa platser, Kulturrådet.
Ongoing k.ö.k (Kvinnor önskar kollektivitet – Women Desire Collectivity) experiments with ways to build a feminist institution from within the existing community of The Women’s Centre in Tensta-Hjulsta.more →
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Lithograph by Marie-Louise Ekman
Marie-Louise Ekman’s lithograph Fantasifullt möte (Fantasy Meeting) (2017) is being sold to benefit the Women's Center in Tensta-Hjulsta (KITH), a cross-ethnic association with about 250 members of over 30 different native languages. KITH was founded in 1997 and, among other things, hosts language and computer courses in an association premises in Tensta. It functions as an extended living room for women of all ages—a unique and safe meeting place that is shaped on the women's own terms.
Fantasifullt möte is available in 450 copies and will cost 4500 SEK each. While sales are handled by Tensta konsthall, the money goes directly to KITH. For purchase, please email didem@tenstakonsthall.se.
Since 2012, when Tensta konsthall showed the exhibition Doing What You Want Marie-Louise Ekman accompanied by Sister Corita Kent, Mladen Stilinovic, and Martha Wilson, KITH has had a dialogue with Ekman and her work. Besides special tours of the exhibition, KITH invited the artist to talk about her life and work as part of the series En kvinna nio liv (One woman nine lives). KITH has also made studio visits, participated in the release of Ekman's website, and seen the theater performance Försökskaninerna (The Guinea Pigs) at the Royal Dramatic Theater.
Marie-Louise Ekman’s lithograph Fantasifullt möte (Fantasy Meeting) (2017) is being sold to benefit the Women's Center in Tensta-Hjulsta (KITH), a cross-ethnic association with about 250 members of over 30 different native languages. KITH was founded in 1997 and, among other things, hosts language and computer courses in an association premises in Tensta. It functions as an extended living room for women of all ages—a unique and safe meeting place that is shaped on the women's own terms.more →
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Citizen to Citizen
Tuesdays 12:00–14:00 Citizens to Citizen wants to create a venue for newcomers who need support and knowledge of the community in Sweden. It is an advisory activity that can include everything from government contacts and language training to mediation between people with similar backgrounds. The members of the group also meet in a common conversation about art and social issues. Under the leadership of Fahyma Alnablsi. To participate and for further info, contact fahyma@tenstakonsthall.seless ←
Tuesdays 12:00–14:00 Citizens to Citizen wants to create a venue for newcomers who need support and knowledge of the community in Sweden. It is an advisory activity that can include everything from government contacts and language training to mediation between people with similar backgrounds. The members of the group also meet in a common conversation about art and social issues. Under the leadership of Fahyma Alnablsi. To participate and for further info, contact fahyma@tenstakonsthall.semore →
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Klister report: Inga undantag (No Exceptions)
Inga undantag (No Exceptions) is the name of a new report authored by Mikael Löfgren and developed by Klister, a nationwide network of small and medium-sized contemporary art centers in Sweden. In the report, Löfgren argues that the demand for measurability and immediate statistics that characterizes contemporary cultural discourse is not suitable for evaluating the work of the country's smaller art institutions. Such a pragmatic and economically-driven model of analysis is taken from New Public Manegement (NPM) and only works if the primary goal of a business is to generate profit. But as cultural institutions in general, and smaller art galleries in particular, work towards other objectives, evaluations must also adapt to their language and methods.
Löfgren writes: "In order to correctly evaluate contemporary art galleries, an understanding of the interactions that take place between business, contemporary art and society are required."
Löfgren also argues that what primarily characterizes the work of smaller art galleries is their ability to establish effective networks locally, regionally, nationally and globally. But networking is not just a geographical phenomenon. Galleries connected to the network Klister also act as links between the public and cultural life, between school and research, between the personal and the political.
Among the report's conclusions are:
• Smaller contemporary galleres are more likely to invest in new artists. Ultimately this means that they provide established institutions with new talent, and thus serve as important distributors.
• Smaller venues for contemporary art develop innovative approaches and new teaching methods from which the entire art world benefits.
• Schools, public education, civil society, and working life could better take advantage of and utilize the competence displayed by contemporary art center's staffs.
• Bureaucratization and the increasing conditionality of cultural subsidies are wasteful because it steals time and resources away from actual operations.
• Unreasonable market rents (often communal) given to housing corporations steal a disproportionate part of small art centers’ budgets that could otherwise be invested in the galleries’ activities.
• Support for contemporary art galleries is an optimal way to support quality content in the arts and culture.
The full report can be downloaded at bag on this website. Press the bag on the top right, mark the box, and click "save bag" to download.
The report has been commissioned by Klister, a nationwide network of small and medium-sized contemporary art institutions in Sweden founded in 2012[1], in collaboration with Swedish Exhibition Agency (Riksutställningar). The network wants to highlight contemporary art institutions’ function in the community.
[1] Klister’s members are Alingsås konsthall, Bildmuseet i Umeå, Borås Museum of Modern Art, Botkyrka Konsthall, Gävle Konstcentrum, Göteborgs konsthall, Kalmar konstmuseum, Konsthall C in Hökarängen, Konsthallen Bohusläns museum, Konsthallen i Haninge kulturhus, Kulturens Hus in Luleå, Lunds konsthall, MAN-Museum Anna Nordlander in Skellefteå, Marabouparken konsthall in Sundbyberg, Röda sten konsthall in Göteborg, Signal in Malmö, Skövde kulturhus, Tensta konsthall and Örebro konsthall.
Inga undantag (No Exceptions) is the name of a new report authored by Mikael Löfgren and developed by Klister, a nationwide network of small and medium-sized contemporary art centers in Sweden.more →
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Goldin+Senneby in art-agenda
Director Maria Lind in conversation with the artists Goldin+Senneby in art-agenda. Spring 2016 Maria Lind curated Standard Length of a Miracle, a retrospective of Goldin+Senneby's work staged in different locations across Stockholm. They meet at the lobby of the Financial Supervisory Authority for a talk about their practice, process and getting balls rolling.
Director Maria Lind in conversation with Goldin+Senneby in art-agenda.more →
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The Art Detectives
Ongoing Under the guidance of artist Pia Sandström and architect Stefan Petersson, students and teachers will become “art detectives” and set off in search of art works at their own schools—in the cafeteria, the corridors, the basement, the staff room, or the schoolyard. Have we seen these works of art before? How long have they been here? Who are the artists behind them? What is our relationship to them?
Based on the school's art and the public places in Tensta, the students themselves design the task of mapping and discussing what is already available on site. They will also suggest what new artwork at school could look like based on urban design, architecture, and public art. During the project, field trips to various locations in the city will be made, including Prince Eugen's Waldemarsudde, the College of Arts, KTH School of Architecture, and Siri Derkert metro station in Östermalm. The project will be the basis for the development of a new public artwork in Tensta by Pia Sandström in 2017.
Art Detectives is a collaboration between Tensta Konsthall, the artist Pia Sandström, architect Stefan Petersson (KTH, Tensta), Stockholm kunst, and the Tensta Schools Enbacksskolan, Elinsborgsskolan, and Gullingeskolan.
Pia Sandström is an artist active both in Sweden and internationally. She participates in solo and group exhibitions and public commissions. Sandström was educated at the Royal Art Academy in Stockholm and at the Academy in Helsinki and has been exhibited at Bonniers Konsthall, Botkyrka Konsthall, Kiasma, Helsinki, and ARTES, Porto, among other places. www.piasandstrom.com
Stefan Petersson is an active architect in Stockholm who has operated the firm Spad since 2003. His main work is in the borderland between citizen participation in planning processes, user perspective, teaching, lectures and design in business development, urban planning and architecture. Since 2008, he has been director and teacher at KTH, Tensta (Tensta Architecture School).
KTH, Tensta is a preparatory school in Architecture and Urban Planning for those who are curious about the area. The school, which has existed since 2008 and is based in Ross Tensta Gymnasium, functions as a natural link to higher education through its presence and activities in Tensta. The course spans over two semesters.
Stockholm konst works with public art according to the one percent rule in Stockholm, i.e. the rule which states that when the city is building new structures, a percentage of each construction project cost should be allocated to artistic creation. Stockholm konst works with art for streets, parks, neighborhoods, and squares, as well as with the purchase of art for workplaces, kindergartens, schools, retirement homes, and the urban environment.
Ongoing Under the guidance of artist Pia Sandström and architect Stefan Petersson, students and teachers will become “art detectives” and set off in search of art works at their own schools—in the cafeteria, the corridors, the basement, the staff room, or the schoolyard. Have we seen these works of art before? How long have they been here? Who are the artists behind them? What is our relationship to them?more →
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Headless
What do a fishy offshore company, secret artists, a ghost writer and French philosophy have in common? No connections are inconceivable in the recently published thriller Headless. The novel is published by Tensta konsthall, Triple Canopy (New York) and Sternberg Press (Berlin) and forms the final phase in a nine year-long performance on state sovereignty, surveillance and strategies for withdrawal, initiated by the artist duo Goldin+Senneby.
Headless captures the reader with a delirious flight through the slippery corridors of offshore business, seen through the eyes of the British ghost writer, John Barlow. He goes out to find an elitist, Bataille-inspired secret society in the Bahamas/…/, obsessed with sacrifices. The society seems capable of anything in order to retain its power and position.
Clandestine money transfers to exotic islands is a highly debated phenomenon. Terms like "tax havens" and "offshore" are also widely known, both connoting faraway dreamy places in tropical settings. A utopia for savvy swindlers. But what if this model of thought is instead applied to a different kind of island life, picturing withdrawal as a strategy. This is something the philosopher and writer Georges Bataille suggested already in the 1930s.
The Swedish release of Headless took place at a secret location in Stockholm on the 20th of May. The release included a conversation between Mara Lee, author of e g. the novel, Future Perfect and the thesis, När andra skriver (2014) and Rasmus Fleischer, historian and researcher (Stockholm University), appearing as one of the characters in Headless. The conversation was moderated by Maria Lind, director of Tensta konsthall.
Headless is a sneak peak of Goldin+Senneby's retrospective at Tensta konsthall, scheduled for February–May 2016.
Past Headless releases:
4.9, Salt Beyoğlu, Istanbul. Respondents: Ismail Ertürk (cultural econimist), Övül Durmusoglu (curator), and Kaya Genç (writer). Moderator: Maria Lind.
14.7, Manchester Business School, Manchester. Respondents: Nikolai Ssorin-Chaikov (social anthropologist), Liz McFall (sociologist), Ed Granter (organisational studies), Peter Folkman (venture capitalist) Moderator: Ismail Ertürk (cultural economist)
27.6, Miss Read Art Book Fair, Berlin. Respondents: Hito Steyerl (artist) a.o. Moderator: Caleb Waldorf.
28.5, Librairie Le Monte-en-l'air, Paris. Respondents: Dominique Gonzalez-Foerster (artist), Emilie Notéris (writer), Christian Chavagneux (economist). Moderator: Sandra Terdjman.
26.5, Open School East, London. Respondents: Ned Beauman (writer), Angus Cameron (economic geographer), Nicky Marsh (literary scholar). Moderator: Andrea Phillips.
13.5, Triple Canopy, New York. Respondents: Katie Kitamura (writer), Jill Magid (artist), Joseph O’Neill (writer), Mary Poovey (Professor of English). Moderator Alexander Provan.
What do a fishy offshore company, secret artists, a ghost writer and French philosophy have in common? No connections are inconceivable in the recently published thriller Headless. The novel is published by Tensta konsthall, Triple Canopy (New York) and Sternberg Press (Berlin) and forms the final phase in a nine year-long performance on state sovereignty, surveillance and strategies for withdrawal, initiated by the artist duo Goldin+Senneby.more →
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Tenstakonsthall.se
Ongoing Website by Amsterdam-based design studio Metahaven.
Space is Tensta konsthall’s curatorial platform online.
Bag is tenstakonsthall.se's file sharing hub-as-journal. Browse content, place files into your bag and download to your desktop.
Infra is a visual account of the changing infrastructures that underpin the art world in general and Tensta konsthall in particular, designed by Metahaven.
Ongoing Tensta konsthall's new website and a communication strategy is specific for the art space and its program. Design by Amsterdam-based design studio Metahaven.
Art and the F Word: Reflections on the Browning of Europe
Focusing on the alarming spread of fascism in Europe, the various contributions in the book Art and the F Word: Reflections on the Browning of Europe indicate the power of art to imagine futures beyond the present situation and what can be perceived as irrevocable. Contributions from the cultural critic Boris Buden, the curators Jelena Vesic and Barnabas Benczik, and the artists Lawrence Abu Hamdan and Petra Bauer create and formulate resilient and constructive possibilities for artistic and social work. The language of politics and philosophy are examined, but also populistic tendencies, social contexts, media, science, and aesthetics.
The exhibitions presented in the book, including Tensta Museum: Reports from New Sweden, examine the potential of the aesthetic experience to question reality. Art and The F Word: Reflections on the Browning of Europe is compiled by Maria Lind, Director of Tensta konsthall and the collective What, How & for Whom / WHW (Zagreb). Design: Metahaven.
Sunday 16.11, 13:30 Book Release Art and the F Word: Reflections on the Browning of Europe.
Focusing on the alarming spread of fascism in Europe, the various contributions in the book Art and the F Word: Reflections on the Browning of Europe indicate the power of art to imagine futures beyond the present situation and what can be perceived as irrevocable. Contributions from the cultural critic Boris Buden, the curators Jelena Vesic and Barnabas Benczik, and the artists Lawrence Abu Hamdan and Petra Bauer create and formulate resilient and constructive possibilities for artistic and social work. The language of politics and philosophy are examined, but also populistic tendencies, social contexts, media, science, and aesthetics.more →
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The Silent University: Swedish Language Café
Thursdays and Sundays 14:00–17:00 Every Friday and Sunday afternoon a Language Café led by Fahyma Alnablsi will be arranged. The Language Café welcomes those who wish to learn the basics of the Swedish and Arabic language, meet new friends and share experiences and ideas. Especially welcome are those students who are currently outside the Swedish education system while awaiting asylum. During the meetings we will practice grammar, socialize, read simple books and do conversational exercises. This fall we are looking for Swedish-speaking volunteers. If you are interested in participating, contact fahyma@tenstakonsthall.se.
The Language Café is a part of The Silent University, an autonomous knowledge platform for asylum seekers, refugees and undocumented immigrants, initiated by the artist Ahmet Ögüt. www.thesilentuniversity.org
Thursdays and Sundays 14:00–17:00 Every Friday and Sunday afternoon a Language Café led by Fahyma Alnablsi will be arranged. The Language Café welcomes those who wish to learn the basics of the Swedish and Arabic language, meet new friends and share experiences and ideas. Especially welcome are those students who are currently outside the Swedish education system while awaiting asylum. During the meetings we will practice grammar, socialize, read simple books and do conversational exercises. This fall we are looking for Swedish-speaking volunteers. If you are interested in participating, contact fahyma@tenstakonsthall.se.
Every Wednesday 16:30–18:30 Since the 1990s Individuell människohjälp (IM) has arranged Homework Assistance at Tensta Library. During the autumn the activities also take place at Tensta konsthall. Volunteers provide additional support for school work, primarily for children and youth in the area. From the start, the purpose of Homework Assistance has been to promote education on an equal basis, regardless of native language. Homework assistance is aimed at young people in the neighborhood aged 11–20 years and takes place in The Classroom in the art space.less ←
Every Wednesday 16:30–18:30 Since the 1990s Individuell människohjälp (IM) has arranged Homework Assistance at Tensta Library. During the autumn the activities also take place at Tensta konsthall. Volunteers provide additional support for school work, primarily for children and youth in the area. From the start, the purpose of Homework Assistance has been to promote education on an equal basis, regardless of native language. Homework assistance is aimed at young people in the neighborhood aged 11–20 years and takes place in The Classroom in the art space.more →
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The Silent University
The Silent University is initiated by artist Ahmet Ögüt and started in Stockholm as part of Tensta Musuem: Reports from new Sweden fall 2013. The Silent University is an autonomous knowledge exchange platform by and for refugees, asylum seekers, and migrants who have had a professional life and academic training in their home countries, but are unable to use their skills or professional training in Sweden due to a variety of reasons related to their status. The Silent University aims to address and reactivate the knowledge of the participants and attempt to make systemic failure apparent. www.thesilentuniversity.org
Past:
Thursday 26.6, 16:00 Rêbwar Fexrî lectures on the 1951 Convention on the Legal Status of Refugees. The lecture will be about the criteria and procedures for obtaining refugee status under the 1951 Convention and 1967 Protocol. In English.
Sunday 9.3, 14:00 2014 Art and asylum rights activism. Seminar with Christina Zetterlund, Trifa Shakely, and Emily Fahlén.
Freedom of movement is a privilege for a few citizens in the world, and does not include those who are fleeing from their countries. EU migration policy in recent years has led to increasingly closed borders and resulted in the inevitable fact that refugees are criminalized. In this way, one creates a class of people in society who are forced to live hidden—to head to a new place to seek asylum, or to go underground after a rejection, in a lawless existence. As a basis for political struggle, the situation for the undocumented is complicated: for the individual who is threatened by, for example, deportation, the state of invisibility is something to strive for—a safety. At the same time, the situation for the undocumented needs to be given visibility, in order to rouse public opinion in support of a structural change. In this vulnerable state in which the undocumented are situated, there is a need for allies.
The Silent University is an autonomous knowledge platform for asylum seekers, refugees, and migrants, initiated by the artist Ahmet Ögüt (Istanbul). As a part of the project, a seminar that discusses the encounter between art and asylum rights activism is arranged. All over Europe we see today more and more examples of how cultural workers are getting involved in projects relating to asylum seekers and people who lack official documents. The Silent University is one of these projects; in Amsterdam there is a self-organized group of undocumented people called We Are Here, in Vienna there is The Refugee Protest Camp supported by several NGOs, activists, and students, most of whom study art at the Academy of Fine Arts, and in Malmo we have No Border Musical, which is a collaboration between asylum groups in Malmö and Interact Theatre, to mention a few. By counteracting the silence that surrounds the asylum processes, these alliances between cultural life,and the refugee movement, demonstrate how art is used as a method of political action and active visualization of a social problem.
The seminar presents and discusses examples of the interaction between art and asylum activism. Which solidarity movements exist today? How does the alliance between art and activism work? How can we work creatively around new forms of protest? In short: What needs to be done?
Christina Zetterlund is a researcher in art handicraft history and theory at Konstfack in Stockholm. She also works as a freelance curator and writer.
Trifa Shakely is a social worker, lecturer and writer. She is currently working on domestic violence in Gothenburg. Trifa Shakely is the initiator of the campaign "Ain't I a Woman," for undocumented women's rights to protection, and the former editor of the feminist magazine Bang.
Monday 28.10, 18:00–20:00 2013 The Silent University Lectures "Abdullah Al Soud: Methods to learn a new language from scratch" and X.A "East Turkestan's education systems," with an introduction by Ahmet Ögüt. At ABF.
Tuesday 29.10, 18:00–20:00 2013 The Silent University Lectures series: Fahyma Alnablsi, "A comparison between Sharia and the Swedish political system" and Sherko Jahani, "Herodotus and the civilization of Medes." With an introduction by Ahmet Ögüt. At ABF.
Thursday 31.10, 18:00–20:00 2013 The Silent University Lectures Series: Rebwar Fakhry "1951 Convention on the Legal Status of Refugees" and Ahmad Alharahsheh, "LAN and WAN." With an introduction by Ahmet Ögüt. At ABF.
In conjunction with The Silent University's opening in Stockholm, a publication is released with contributions by project mentors Ricardo-Osvaldo Alvarado, Baharan Kazemi, Shahram Khosravi, Lawen Mohtadi, Babak Parham, Trifa Shakely and Christina Zetterlund.
The Silent University is initiated by artist Ahmet Ögüt and started in Stockholm as part of Tensta Musuem: Reports from new Sweden fall 2013. The Silent University is an autonomous knowledge exchange platform by and for refugees, asylum seekers, and migrants who have had a professional life and academic training in their home countries, but are unable to use their skills or professional training in Sweden due to a variety of reasons related to their status. The Silent University aims to address and reactivate the knowledge of the participants and attempt to make systemic failure apparent. www.thesilentuniversity.orgmore →
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Parents group with Rädda Barnen
One Tuesday a month 17:30–19:30 Parents group with Rädda Barnen. One Tuesday evening every month Rädda barnen (Save the Children) organizes Parenting Forum at Tensta Konsthall. The Rädda barnen parents group meets at Tensta konsthall, providing a place for parents to meet, have discussions, and gain new experiences and knowledge. The meetings are free with complimentary refreshments. Each session focuses on different themes, such as the housing situation in Järva, local politics, or parenting and gender equality, and invited guests offer expertise in the different subjects.
One Tuesday a month 17:30–19:30 Parents group with Rädda Barnen. One Tuesday evening every month Rädda barnen (Save the Children) organizes Parenting Forum at Tensta Konsthall. The Rädda barnen parents group meets at Tensta konsthall, providing a place for parents to meet, have discussions, and gain new experiences and knowledge. The meetings are free with complimentary refreshments. Each session focuses on different themes, such as the housing situation in Järva, local politics, or parenting and gender equality, and invited guests offer expertise in the different subjects.more →
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Cluster
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
16:00-17:00 discussion
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.
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.
Inga undantag (No Exceptions) is the name of a new report authored by Mikael Löfgren and developed by klister, a nationwide network of small and medium-sized contemporary art centers in Sweden. In the report, Löfgren argues that the demand for measurability and immediate statistics that characterizes contemporary cultural discourse is not suitable for evaluating the work of the country's smaller art institutions. Such a pragmatic and economically-driven model of analysis is taken from New Public Manegement (NPM) and only works if the primary goal of a business is to generate profit. But as cultural institutions in general, and smaller art galleries in particular, work towards other objectives, evaluations must also adapt to their language and methods.
The full report can be downloaded at bag on this website. Press the bag on the top right, mark the box, and click "save bag" to download.
In 2013, Klister, together with Riksutställningar, arranged a series of “relay discussions” entitled what function does art have in society? The discussions aim was highlighting contemporary art and the importance and value of smaller contemporary art institutions in a democratic, economic and societal perspective. Discussions was arranged in Skövde and Gävle, Stockholm, Gothenburg, Malmö and Luleå. David Karlsson was moderator for the discussions involving officials and politicians from the different locations where they are set.
Klister is concerned with questions like: What role does art play in society? In order to be a resource for a place, a city or a community, art needs a scope for action. The importance of art is greater than the singular gallery, museum, or any other venue for art. The role of culture in the development of society is today widely discussed, but these discussions are often of a quite general nature. Furthermore they are more about art’s social and economic utility function. What do these connections actually look like? How can politics, cultural life and artists, big and small institutions, municipalities, state and the regions cooperate to create processes, allowing the potential of art to flourish?less ←
Ongoing from September 2012 The network Klister is a nationwide network for small and medium-sized contemporary art institutions in Sweden. Klister seeks to highlight the role of smaller contemporary art institutions in society.
Ongoing The network of sibling art centers in Stockholm. The Sibling Art Centers form a network of smaller contemporary art centers in Stockholm and include Botkyrka konsthall, Konsthall C, Marabouparken and Tensta konsthall. The art centers meet regularly to exchange ideas and organize events that are pertinent to cultural policies. In 2012, the Sibling Art Centers arranged a series of hearings to highlight and discuss the prevailing cultural policies as well as art institutions and artists' access to financing. Questions about gentrification and "creative industries" continue to be hot topics when the Siblings Art Centers meet.less ←
Ongoing The network of sibling art centers in Stockholm. The Sibling Art Centers form a network of smaller contemporary art centers in Stockholm and include Botkyrka konsthall, Konsthall C, Marabouparken and Tensta konsthall. The art centers meet regularly to exchange ideas and organize events that are pertinent to cultural policies. In 2012, the Sibling Art Centers arranged a series of hearings to highlight and discuss the prevailing cultural policies as well as art institutions and artists' access to financing. Questions about gentrification and "creative industries" continue to be hot topics when the Siblings Art Centers meet.more →
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COHAB
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– 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– 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 Our café serves food and sweets with inspiration from all over the world. We have free wifi for guests, toys for the children, and Swedish and international art magazines to read.
The café is run by XpandiaVision, a non-profit social company. All proceeds will be used to create new jobs and career development for people who stand outside of the labor market.
Dish of the day: 70 kr, salad and coffee included.
Ongoing Our café serves food and sweets with inspiration from all over the world. We have free wifi for guests, toys for the children, and Swedish and international art magazines to read.
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.
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 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.
The book shop at Tensta konsthall offers a wide selection of art books and publications. In the web shop, you can find books Tensta konsthall has been involved in publishing.
To order: info@tenstakonsthall.se
Title: The Silent University: Towards a Transversal Pedagogy Language: English Price: 200 kr Editors: Florian Malzacher, Ahmet Öğüt, Pelin Tan Writers: Florian Malzacher, María do Mar Castro Varela, Chantal Mouffe, Ahmet Öğüt, Rubia Salgado, Pelin Tan, and the Silent Universities in Amman, Athens, Hamburg, London, Mülheim/Ruhr, and Stockholm Publisher: Sternberg Press Year: 2016 Pages: 140
Title: No Exceptions Language: Swedish Price: 180 kr Writer: Mikael Löfgren Publisher: Nätverkstan Skriftseerie 008 Year: 2014 Pages: 147
Title: Standard Length of a Miracle Language: Swedish, English, Arabic Price: 20 kr Writer: Jonas Hassen Khemiri Publisher: Tensta konsthall Year: 2016 Pages: 9
Title: Art and the F Word: Reflections on the Browning of Europe Language: English Price: 200 kr Editors: Maria Lind, What How & for whom/WHM Publisher: Sternberg Press Writers: Lawrence Abu Hamdan, Petra Bauer, Sofia Wiberg, Barnabás Bencik, Boris Buden, Maria Lind och Tensta konsthall, Jelena Vesic´, What How & for Whom/WHM Year: 2014 Pages: 329
Title: Cluster: Dialectionary Language: English Price: 150 kr Editors: Binna Choi, Maria Lind, Emily Pethick, Nataša Petrešin-Bachelez Writers: Can Altay, Ayreen Anastas, Rene Gabri, Ricardo Basbaum, Céline Condorelli, Mark Fisher, Nina Möntmann, Rebecca Gordon-Nesbitt, Elain W.HO, Annette Krauss, Mattin, Marion Von Osten, Andrea Phillips, Dimitriana Sevova, Simon Sheikh and Steven ten Thije Publisher: Sternberg Press Year: 2014 Pages: 30
Title: Undoing Property? Language: English Price: 120 kr Editors: Laurel Ptak, Marysia Lewandowska Writers: Agency, David Berry, Nils Bohlin, Sean Dockray, Rasmus Fleischer, Antonia Hirch, David Horvitz, Marysia Lewandowska, Mattin, Open Music Archive, Matteo Pasqyinelli, Clair Pentecost, Laurel Ptak, Florian Schneider, Matthew Stadler, Marilyn Strathern, Kuba Szreder, Marina Vishmidt Publisher: Sternberg Press Year: 2013 Pages: 249
Title: No is Not an Answer: On the Work of Marie–Louise Ekman Language: English Price: 350 kr Editors: Tone Hansen, Maria Lind Writers: Silvia Eiblmayr, Maria Lind, Kalliopi Minioudaki, Katarina Wadstein Macleod Publisher: Sternberg Press Year: 2013 Pages: 285
Title: Contemporary Art and its Commercial Markets: A Report on Current Conditions and Future Scenarios Language: English Price: 200 kr Editors: Maria Lind, Olav Velthuis Writers: Stefano Baia Curioni, Karen van den berg/ursula pasero, Isabelle Graw, Goldin+Senneby, Noah Horowitz, Suhail Malik/Andrea Philips, Alain Quemin, Olav Velthuis Publisher: Tensta Konsthall, Sternberg Press Year: 2012 Pages: 270
Title: Performing the Curatorial: Within and Beyond Art Language: English Price: 200 kr Editors: Maria Lind Writers: Johan Öberg, Doug Ashford, Beatrice von Bismarck, Boris Buden, Clémentine Deliss, Helmut Draxler, Eungie Joo and Marion von Osten Publisher: Sternberg Press Year: 2012 Pages: 162
Tensta konsthall’s cafe is situated in the entrance hall and, since 2016, has been managed by Auel Coffee –a local, family-owned business with three brothers in the lead. Auel is Tigrinja for the day’s first cup of coffee, and it’s this very coffee that has become Auel’s speciality. The aromatic coffee beans are roasted according to Ethiopian traditions, and the hot beverage is served in clay cups. The beans, directly imported from Ethiopia, are fair trade and organic.
The konsthall cafe serves tasty salads, soups, and East African dishes, and there are always vegetarian and vegan options. The cafe area, with free Internet service, also functions as a meeting place for individuals, groups, and organizations and as a workplace.
On the last Sunday of every month, Auel hosts the konsthall’s vegan brunch. For more info and reservations please contact Alex Berhane at 073–039 24 95 or email auelcoffee@hotmail.com
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.
For reservations and more information about tours contact Nawroz Zakholy nawroz@tenstakonsthall.se or 08-36 07 63.
Directions Take the blue line metro towards Hjulsta (line 10) and get off at Tensta. The ride takes about twenty minutes from Stockholm's Central Station (T-Centralen). At the metro station in Tensta, take the rear exit called ”Spånga kyrka / Tensta Centrum / Tenstastråket”. Once you have left the station through the ticket barrier, there are two possibilities to get to Tensta konsthall: Use the lift on your right hand side down to Taxingeplan. Tensta konsthall is located about 20 metres on your right. Or leave the metro station on your left hand side, take the first left again. Go down the wooden stairs. Tensta konsthall is located directly on your right.
Board: Qaisar Mahmood (head of board) Nabil Belkacem Anna Kettner Sven Lorentzi Birgitta Rydell Katarina Sjögren
Funders Tensta konsthall is supported by Stockholm City, Swedish Arts Council, Stockholm County Council
Privacy policy and processing of personal data
The new data protection regulation GDPR (General Data Protection Regulation) came into force 25.5 2018. With regards to the implementation of the new law we have updated our privacy policy considering the processing of personal data (for example names, addresses, telephone numbers, email addresses, audio and video recording and images).
The handling of certain personal data is necessary for Tensta konsthall in order to reach out with newsletter or press releases to interested parties. The data we collect so that you can receive our newsletter is your email address. We do not use your personal data for anything other than our legitimate interest to inform you about the activities at Tensta konsthall, through our official communication channels such as our website, newsletter and social media. Your personal data will not be transferred to any third party. We will store your personal data in our register until you opt out.
To process bookings of venues and of services, for example guided tours or workshops, some personal data need to be collected and stored until the service has been completed. The collection of your personal data is necessary in order for us to fulfil our engagements according to the service agreement. If the information cannot be provided we could not carry out the service and would then have to deny you the given service.
Apart from the data you yourself provide we may gather other personal data in connection to documentation of our activities and events. The personal data we then may come to gather are photographs and also audio and video recordings. Should this happen we will make this clear and careful to make sure there is consent from the involved parties concerning collection and distribution of material on our website and social media. We will not save our share material unless consent is not given.
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Contact us about data protection
At any point you can request that we change incorrect details or remove your personal data from our register. If you have any queries please contact info@tenstakonsthall.se
This privacy policy is a living document in which the content may change. The latest version will always be available on Tensta konsthall’s website. The privacy policy was last updated 9.8 2018
Screening and Discussion: Olivia Plender in Conversation with Hannah Zafiropoulos
Wednesday 27.11, 16:00–18:00
Screening and Discussion: Olivia Plender in Conversation with Hannah Zafiropoulos
Many Maids Make Much Noise, Olivia Plender, Video, 2019
Many Maids Make Much Noise is based on a play titled Liberty or Death, written by activist and artist Sylvia Pankhurst around the year 1913, about the work of the East London Federation of the Suffragettes. In collaboration with a variety of London-based women’s groups, the video explores the relevance of that history to contemporary feminist activists. In the video, a group of women involved with feminist activism today are invited to reconstruct an archival image of the People’s Army, a group within the East London Federation of the Suffragettes who would meet for military training in Victoria Park, Bethnal Green. They were essentially a women’s self-defense group, set up by ELFS in order to deal with the police violence to which they would be subjected whenever they held a public meeting. In exchange for their participation, the women received training in movement and self-defense skills, in front of a painted backdrop representing the public park. The image contrasts with the soundtrack, where voices describe the structural violence with which women live, both at the time of the play and now: a punitive benefits system, bad housing, low pay and unpaid care work which impacts on health and emotional wellbeing. The testimonies of women from 1913 overlap with the contemporary experiences of poor living and working conditions, as recorded at Crossroads Women’s Centre, and Focus E15, London – a consequence of the UK government policy of austerity that has been in place since the financial crisis of 2008, pushing a disproportionate number of women into poverty. The screening will be followed by a conversation between Olivia Plender and Hannah Zafiropoulos on the themes arising from the film and the wider Practicing Politics: The Fogelstad Women’s Citizenship School programme.
Screening and Seminar with Adelita Husni-Bey. Screening: Agency, 2014
Agency is a video installation shot during a role play that took place in April 2014 at Maxxi Museum in Rome. Inspired by a citizenship class exercise originally developed in the UK, thirty-five volunteer students from Manara High School in Rome were involved in thinking through relationships of power in contemporary Italy. The students were divided into five categories: journalists, politicians, workers, activists and bankers. The journalists were responsible for an hourly report on the advancement of the ‘society’, while the objective of the game was to climb to power. The simulation was interrupted by planned moments of abstraction from the game: moments of debate, both about the social conditions which were being created through the choices each of the different categories were making, and on the meaning and workings of power. The students were asked to style themselves and pose for the portraits in relation to how they thought their chosen category would pose. As part of the project, and in order to render the student’s views of their chosen category more complex, in the month preceding the workshop, a number of meetings were organised between the students and selected journalists, activists, economists, union leaders and editors.
Adelita Husni-Bey invites artists, pedagogues and teachers to think about the use of role play in pedagogy. How does role play complicate our relationships to one another? How does role play allow us to understand relations of power inherent in questions of race, gender and class somatically?
Self-Presentation
Adelita Husni-Bey is an artist and pedagogue interested in anarcho-collectivism, theatre, law and urban studies. She organises workshops and produces publications, radio broadcasts, archives and exhibition work focused on using noncompetitive pedagogical models through the framework of contemporary art. Working with activists, architects, jurists, schoolchildren, spoken-word poets, actors, urbanists, physical therapists, athletes, teachers and students across different backgrounds, the work focuses on unpacking the complexity of collectivity. To make good what can never be made good: what we owe each other. Recent solo exhibitions include: Chiron, New Museum, 2019; White Paper: On Land, Law and the Imaginary, Centro de Arte dos de Mayo, Mostoles, 2015; Movement Break, Kadist Foundation, 2016; Playing Truant, Gasworks, 2012. She has participated in Being: New Photography, MoMA, 2018; Dreamlands, Whitney Museum, 2016; The Eighth Climate, 11th Gwangju Biennale, 2015; Really Useful Knowledge, Reina Sofia Museum, 2014; she has held workshops and lectures at ESAD Grenoble, 2016; The New School, 2015; Sandberg Institute, 2015; Museo del 900, 2013; Temple University, 2013; and Birkbeck University, 2011, amongst other spaces. She is a 2012 Whitney Independent Study Program fellow, a 2016 Graham Foundation grantee and has represented Italy at the Venice Biennale of Art, 2017, with a video rooted in anti-extractivist struggles.
Screening and Seminar with Adelita Husni-Bey. Screening: Agency, 2014
Agency is a video installation shot during a role play that took place in April 2014 at Maxxi Museum in Rome. Inspired by a citizenship class exercise originally developed in the UK, thirty-five volunteer students from Manara High School in Rome were involved in thinking through relationships of power in contemporary Italy. The students were divided into five categories: journalists, politicians, workers, activists and bankers. The journalists were responsible for an hourly report on the advancement of the ‘society’, while the objective of the game was to climb to power. The simulation was interrupted by planned moments of abstraction from the game: moments of debate, both about the social conditions which were being created through the choices each of the different categories were making, and on the meaning and workings of power. The students were asked to style themselves and pose for the portraits in relation to how they thought their chosen category would pose. As part of the project, and in order to render the student’s views of their chosen category more complex, in the month preceding the workshop, a number of meetings were organised between the students and selected journalists, activists, economists, union leaders and editors.
The Pioneers of Fogelstad: A Seminar with Ulrika Knutson
Tuesday 16.4, 18:00–19:30
The Pioneers of Fogelstad: A Seminar with Ulrika Knutson
In 1921, Sweden became a true democracy, when women finally got the vote. A few years later, five courageous women started Kvinnliga Medborgarskolan vid Fogelstad (Fogelstad Women’s Citizenship School), a unique school for public education concerning women’s citizenship. Fogelstad welcomed women of all classes and educational backgrounds. The pupils were doctors and lawyers, teachers, social workers, journalists and writers, but also housewives and industrial workers.
Behind the school were ‘The Fogelstad Five’, a group of women including Elisabeth Tamm and Kerstin Hesselgren, two of the first five women members of parliament; Ada Nilsson, a doctor; Honorine Hermelin, the headmaste; and Elin Wägner, the famous author. Together, they created at Fogelstad a unique meeting place for radical intellectuals, with a tolerant and liberal atmosphere unusual in the Swedish context of the time. On one hand, the ‘Fogelstad Five’ were a part of the establishment, yet on the other, they represented a radical alternative to existing structures of Swedish political life. For them, to be ‘political’ went beyond party politics, rejecting the politics of which Elisabeth Tamm wrote in the 1920s, one which had ‘turned into a game, cut off from real life’.
This seminar will draw upon the personal histories of the five founders and their interrelations, traced through their writings and letters, to understand their politics and vision for society, and consider their ideas in relation to today’s party politics. In what ways can we get inspiration today from the Fogelstad Five? The event forms part of the year-long project Practicing Politics: The Fogelstad Women’s Citizenship School.
Self-Presentation
Ulrika Knutson is a Swedish author, critic and freelance journalist. She is a columnist at Swedish Public Radio and writes for several Swedish newspapers, specialising in women’s history and freedom of speech. Ulrika Knutson is the former chairman of the Swedish National Press Club. She has an honorary doctorate from the University of Gothenburg. Her publications include ‘Kvinnor på gränsen till genombrott – grupporträtt av tidevarvets kvinnor’ (2004). ‘Emilia Fogelklou Sökare, stigfinnare’. Texter i urval med introduktioner, U Knutson (2009).
The Pioneers of Fogelstad: A Seminar with Ulrika Knutson
In 1921, Sweden became a true democracy, when women finally got the vote. A few years later, five courageous women started Kvinnliga Medborgarskolan vid Fogelstad (Fogelstad Women’s Citizenship School), a unique school for public education concerning women’s citizenship. Fogelstad welcomed women of all classes and educational backgrounds. The pupils were doctors and lawyers, teachers, social workers, journalists and writers, but also housewives and industrial workers.
Training for Citizenship: A Seminar with Lena Eskilsson
Tuesday 21.5, 18:00 – 19:30
Training for Citizenship: A Seminar with Lena Eskilsson
The Women’s Citizenship School at Fogelstad started in 1925, a few years after women gained the right to vote in Sweden. The suffrage movement up to that point had a single aim: votes for women. Now, however, women were faced with the problem of how best to use their votes, in the name of democracy and equality, to bring about the myriad other changes which were needed in society. A group of radical liberal women started the school with the intention to prepare the new citizens for this. The training was both intellectual and practical. Participants had to learn how society worked in order to be able to make conscious and responsible choices as citizens. So they listened to the rector’s lectures in history and practical psychology, as well as her talks on civic rights and duties. They were trained in public speaking, how to discuss and argue – and how to listen to others. At ‘Komtemåtta’, an imagined municipality, they role-played and learned, through experience, how society was organised and run. Through singing in the choir, they learned the importance of bringing their own voice together with others. ‘Hembygdsaftnar’ were an important part of their self-confidence training. Everyone is unique, said the Rector, and has a story to tell – thus, she encouraged the participants to acknowledge the need for mature companionship and social gatherings. This seminar by Lena Eskilsson will reflect on the nature of citizenship training at the Women’s Citizenship School at Fogelstad, considering the central tenet of its activities that ‘hand, mind and heart’ should work together.
Self-Presentation
I grew up in the hinterland of Västerbottens with my parents, grandparents and two younger sisters. After elementary school, for one year, I spent one year on exchange in California. When I returned, my family had moved to Umeå, where I went to high school. I began my university studies in Umeå with the intention of becoming a psychologist. In my free time, I studied the history of ideas. After a few semesters I applied for an secretary job at the institution where I have stayed ever since. I attended a Postgraduate programme and defended my thesis about the The Fogelstad Women’s Citizenship School. I have worked here ever since, as a Lecturer, as Vice Principal and Head of Department at the institution in the History of Ideas department as well as at the The Graduate School for Gender Studies Research at the University of Umeå. Today, I am retired and spend my time writing essays and articles for the daily paper Västerbottens Kuriren and as a member of the Board of Norrländska Litteratursällskapet. My research interests are and have always been the history of women and the history of gender as well as the history of leisure.
Training for Citizenship: A Seminar with Lena Eskilsson
This seminar by Lena Eskilsson will reflect on the nature of citizenship training at the Women’s Citizenship School at Fogelstad, considering the central tenet of its activities that ‘hand, mind and heart’ should work together. more →
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Screening and Workshop: Our Future Network
Tuesday 3.9 17:00–20:00
Screening and Workshop: Our Future Network (2016), by Alex Martinis Roe
This feature-length film focuses upon the staging of a four-day meeting in a country house outside Berlin. This meeting of twenty-two contributors, who came from all over Europe, and with whom Alex Martinis Roe had worked throughout the development of the broader To Become Two video installation series, involved the enactment of twenty ‘propositions for feminist collective practice’, each of which was developed in collaboration between one of the contributors and Martinis Roe, in the months leading up to the meeting. The central questions addressed to this new network were: What can we learn from the political, theoretical and aesthetic practices developed within and among historical feminist collectives, and how can we adapt these practices to our own needs, desires and contexts?
The film acts as a toolbox to be used as a resource during workshops and performance events. Within this framework, participants in the workshop will undertake a series of exercises that start from their own knowledge, projects and desires; they will then expand on the proposals presented in Martinis Roe’s film Our Future Network (2016) to develop further propositions for feminist political practices.
Self-Presentation
My current projects focus on feminist genealogies and seek to foster specific and productive relations between different generations, as a way of participating in the construction of feminist histories and futures. This involves developing research and storytelling methodologies, which employ nonlinear understandings of time, respond to the specific practices of different communities, experiment with the dispositives of discursive encounter, and imagine how these entanglements can inform new political practices. In addition to my artistic research projects, most recently, To Become Two and Alliances, I am exploring these methodological concerns in collaboration with theorist Melanie Sehgal and a research group called FORMATIONS, which began within the framework of the Haus der Kulturen der Welt, Berlin.
Screening and Workshop: Our Future Network (2016), by Alex Martinis Roe
This feature-length film focuses upon the staging of a four-day meeting in a country house outside Berlin. This meeting of twenty-two contributors, who came from all over Europe, and with whom Alex Martinis Roe had worked throughout the development of the broader To Become Two video installation series, involved the enactment of twenty ‘propositions for feminist collective practice’, each of which was developed in collaboration between one of the contributors and Martinis Roe, in the months leading up to the meeting. The central questions addressed to this new network were: What can we learn from the political, theoretical and aesthetic practices developed within and among historical feminist collectives, and how can we adapt these practices to our own needs, desires and contexts?
Tuesday 26.11 17.00–19.00 Åsa Elzén will share her long-term work on the Fogelstad Group, with emphasis on her current engagement with its ecofeminist and ecological legacy. A carpet based on a fallow makes up a conceptual and concrete starting point for engaging in collective biography making and manifests in different site-specific ways. The carpet was commissioned by Elisabeth Tamm at Fogelstad in 1919, in line with her belief in what we now call organic farming, conceptualised and designed by Maja Fjaestad and woven by Amelie Fjaestad at the Rackstad Colony in Arvika in 1920. It was placed on the floor in the library at Fogelstad until the end of the 1960s, when, very brittle, the carpet was put up in the attic after being literally worn down by the first-wave feminist movement (and their dogs). ‘Fallow’ is a term used in agriculture and means uncultivated land, or ground harrowed to be left unseeded, to rest, as a way to avoid soil depletion. Conceptually, a fallow, in its ambiguity, problematises the teleological, linear perception of time, with its focus on progress and economical growth that makes up the foundation of normative history writing and leads to ecological devastation. A fallow offers a disruption of history, invites us to dwell in a different temporality and spurs the curiosity needed to attune to multi-species entanglements, complexity and shimmer.
Self-Presentation
Åsa Elzén is a visual artist who lives and works in Berlin and Näshulta, Sörmland. She studied at National College of Art and Design, Dublin, the Royal Institute of Art, Stockholm, and the Whitney Independent Study Program, NYC. Elzén’s practice is interdisciplinary and often manifests through installation, text, video, sound, performance and participatory situations. She engages in biography making and the notion of the fallow in relation to feminist history; lately her focus has been on the legacy of the Fogelstad Group. She is interested in the method of ‘transcribing’ somebody else’s work, in order to enter into an intimate, embodied, situated, durational relation. Åsa Elzén worked within YES! Association / Föreningen JA! from 2008 to 2018 and is currently collaborating with Malin Arnell on a public art commission, also related to Fogelstad, with the working title Forest Calling – A Never-Ending Contaminated Collaboration, or Dancing is a Form of Forest Knowledge, supported by Public Art Agency Sweden. Her work has been shown at Moderna Museet, Stockholm; Iaspis, Stockholm; The Power Plant, Toronto; uqbar, Berlin; HKW, Berlin; KV Leipzig; Artspace, New Haven, CT; Pratt Manhattan Gallery, NYC; Brooklyn Museum, NYC; CCS Bard Hessel Museum of Art, NY; Gwangju Biennale and Bie Biennal 2016 and 2018.
Tuesday 26.11 17.00–19.00 Åsa Elzén will share her long-term work on the Fogelstad Group, with emphasis on her current engagement with its ecofeminist and ecological legacy. A carpet based on a fallow makes up a conceptual and concrete starting point for engaging in collective biography making and manifests in different site-specific ways. The carpet was commissioned by Elisabeth Tamm at Fogelstad in 1919, in line with her belief in what we now call organic farming, conceptualised and designed by Maja Fjaestad and woven by Amelie Fjaestad at the Rackstad Colony in Arvika in 1920. It was placed on the floor in the library at Fogelstad until the end of the 1960s, when, very brittle, the carpet was put up in the attic after being literally worn down by the first-wave feminist movement (and their dogs). ‘Fallow’ is a term used in agriculture and means uncultivated land, or ground harrowed to be left unseeded, to rest, as a way to avoid soil depletion. Conceptually, a fallow, in its ambiguity, problematises the teleological, linear perception of time, with its focus on progress and economical growth that makes up the foundation of normative history writing and leads to ecological devastation. A fallow offers a disruption of history, invites us to dwell in a different temporality and spurs the curiosity needed to attune to multi-species entanglements, complexity and shimmer.
Workshop with Warja Ensjö: Workshop Democracy and Gender Equality
Thursday 18.4 12:00–18:00
Workshop with Warja Ensjö: Workshop Democracy and Gender Equality
The Fogelstad Women’s Citizenship School invited women of different cultural and social backgrounds to learn about Swedish society and politics. The curriculum included the study of democracy and equality, alongside singing, dancing, role play and training in public speaking. Through participation in these activities, women were encouraged to ‘take up space’ in public life. This workshop will be a day of information, reflection and movement on the subject of democracy and women’s rights. It will include a history of the Fogelstad Group and the Fogelstad Women’s Citizenship School, along with participatory exercises inspired by its methods, in addition to moments for conversation and reflection.
The event will be held in Swedish.
The history of the Fogelstad group 1925-1954. On the development of the Swedish society when women came in and participated. Circle dance and room for conversations and thoughts.
Male and female, as seen today.
Thoughts on democracy as a way of living and how to perform it. Circle dance and self-knowledge, conversations on what women need today to reach equality and what the socity should learn from women. The workshop will be held in Swedish.
Self-Presentation
I am a social worker with tutoring and therapy training. For 15 years I have worked as a therapist within adult education in Katrineholm and Vingåker. In my work I have a lot of contact with people from different backgrounds. My work includes giving personal support, therapy, building networks and helping people to make contact with the authorities. I also give lectures on equality and women’s rights and general information about Swedish society.. Since 2009, within the framework of SFI (Swedish for Foreigners), the school runs a two week citizenship course for immigrant women, which I am responsible for. The course is inspired by the Fogelstad School. Among the ideas of the school was to accept and learn from each other’s differences, to become good listeners, to understand democracy as a way of life , to become conscious and knowledgeable, and to dare to be visible as a way to influence the development of society.
Workshop with Warja Ensjö: Workshop Democracy and Gender Equality
The Fogelstad Women’s Citizenship School invited women of different cultural and social backgrounds to learn about Swedish society and politics. The curriculum included the study of democracy and equality, alongside singing, dancing, role play and training in public speaking. Through participation in these activities, women were encouraged to ‘take up space’ in public life. This workshop will be a day of information, reflection and movement on the subject of democracy and women’s rights. It will include a history of the Fogelstad Group and the Fogelstad Women’s Citizenship School, along with participatory exercises inspired by its methods, in addition to moments for conversation and reflection.
Walk along Igelbäcken with the artists Søssa Jørgensen and Geir Tore Holm
Friday 5.4, 13:00 Walk along Igelbäcken with the artists Søssa Jørgensen and Geir Tore Holm
When Let the River Flow was first shown at OCA, The artists Søssa Jørgensen and Geir Tore Holm made a public performative walk along the Holbekken creek, a creek that unites with Glomma, Norway’s biggest river. Together with the artists Ylva Westerlund and Mats Adelman, who live and work in Järvafältet in Tensta, they will perform a walk alongside the Igelbäcken, that has had deep impact on the landscape and the inhabitants for thousands of years, being a source to a multitude of stories. The walk will be in the form of a conversation in motion about the importance of the creek in the area throughout centuries.
Friday 5.4, 13:00 Walk along Igelbäcken with the artists Søssa Jørgensen and Geir Tore Holm
When Let the River Flow was first shown at OCA, The artists Søssa Jørgensen and Geir Tore Holm made a public performative walk along the Holbekken creek, a creek that unites with Glomma, Norway’s biggest river. Together with the artists Ylva Westerlund and Mats Adelman, who live and work in Järvafältet in Tensta, they will perform a walk alongside the Igelbäcken, that has had deep impact on the landscape and the inhabitants for thousands of years, being a source to a multitude of stories. The walk will be in the form of a conversation in motion about the importance of the creek in the area throughout centuries.
Artist Presentation Søssa Jørgensen and Geir Tore Holm – Stream ripple – Our Inner River
Tuesday 26.3 18:00 Artist Presentation Søssa Jørgensen and Geir Tore Holm – Stream ripple – Our Inner River
Presentation of three projects focusing on collaboration, natural environment, and traditions: Sørfinnset skole/ the nord land, an art project established in Gildeskål, Nordland in 2003. An investigation of the ways contemporary art can function locally, in between cultural heritage, land management, and innovative thinking. On working on the farm Øvre Ringstad, Skiptvet, Østfold where the speed and working hours are decided by the seasons: “The life at the farm is far from a pastoral idyllic place. At the farm the perspective is the opposite. We see the world through the farm. It’s a vessel, an instrument.” The art project Landbruksspørsmål is based on a collaboration between the artists and the Skiptvet farmers. The artists have a residency at Tensta konsthall during March.
Tuesday 26.3, 18:00 Artist Presentation Søssa Jørgensen and Geir Tore Holm – Stream ripple – Our Inner River
Presentation of three projects focusing on collaboration, natural environment, and traditions: Sørfinnset skole/ the nord land, an art project established in Gildeskål, Nordland in 2003. An investigation of the ways contemporary art can function locally, in between cultural heritage, land management, and innovative thinking. On working on the farm Øvre Ringstad, Skiptvet, Østfold where the speed and working hours are decided by the seasons: “The life at the farm is far from a pastoral idyllic place. At the farm the perspective is the opposite. We see the world through the farm. It’s a vessel, an instrument.” The art project Landbruksspørsmål is based on a collaboration between the artists and the Skiptvet farmers. The artists have a residency at Tensta konsthall during March.
27.1–15.5 2016 Standard Length of a Miracle is a mutating retrospective by Goldin+Senneby. Over the past ten years, the Stockholm-based artist duo has explored virtual worlds, offshore companies, withdrawal strategies, and subversive speculation. In a unique and subtle way, they combine artistic practice, financial theory, and performative methods, which are sometimes borrowed from the world of magic. The retrospective will be presented as installations and performances at Tensta konsthall as well as at other places not primarily associated with contemporary art. Stockholm School of Economics, the Third Swedish National Pension Fund, the Financial Supervisory Authority, the clothing store A Day's March, Cirkus Cirkör, and the historical art museum Prince Eugen’s Waldemarsudde all serve as stages for reactivations of Goldin+Senneby’s oeuvre from the past ten years. Introducing the artistic field to public institutions and commercial centers enables a shift of perspective about where art takes place and who the audience is.
On view at Tensta konsthall is a new work developed in collaboration with the writer Jonas Hassen Khemiri. Khemiri’s meta-fictional response to Goldin+Senneby’s ten-year practice will be read out loud at the konsthall every day at 14:12. In the short story The Standard Length of a Miracle, the narrator changes his name to Anders Reuterswärd, hoping to increase his chances of getting hired at a konsthall. At a brisk pace without punctures or breathing space, the reader gets thrown into a stream of consciousness where all associations are equally important. The short story’s monologue is connected to the installation of an oak in the gallery space. The oak will function as a meeting place for discussions and seminars during the exhibition period, and, as the carpenter Moa Ott takes on the tree, new furniture will be produced around it. The tree refers to an oak that occurs in Khemiri’s text and also to the surrealist George Bataille’s secret society Acépahle, which is said to have gathered around an oak tree in the late 1930s. Acéphale—Greek for headless—has long been of interest to the artist duo and figures in their multi-year project Headless. Khemiri’s short story was published 10.1 in Dagens Nyheter. Link to the novel.
The clothing line Anders Reuterswärd, developed in collaboration with Behnaz Aram, fashion and costume designer, will be on view in the entrance. The materials for the clothes originally come from garments left behind at dry cleaners around Stockholm. The clothing line will be worn by the konsthall’s staff during the exhibition as a new conceptual uniform. It will also be available for sale in the clothing store A Day’s March, located at Kungsgatan 3 in Stockholm. The clothes are inspired by Reuterswärd’s quest to leave his job at the dry cleaner in order to focus on an artistic career. The artists have registered Anders Reuterswärd as a trademark at the Swedish Patent and Registration Office. The clothes will be accompanied by a new soundtrack composed by the musician Zhala, using sound recordings from dry cleaners.
Economic and financial structures govern our lives increasingly. But, for most people, terms such as repo rates, tax havens, and derivatives are abstract and difficult to grasp. The artistic practice of Goldin+Senneby masters economic strategies and thus punctures the idea that this kind of knowledge is too complex to acquire. Instead of rejecting the financial sector, the artist duo borrows market-inspired methods in order to infiltrate and illuminate the consequences of our late capitalist system and its neoliberal approach. The retrospective highlights the precarious labor market of our time, the increased commercialization of the art world, and the new all-time highs and stock market crashes within financial economics.
Standard Length of a Miracle is a mutating retrospective, meaning it will appear in different forms in different cities. The first, in Stockholm, activates Goldin+Senneby’s history thorough connections between their works and various institutions and activities in the city. Additional mutations are scheduled for Brisbane, Paris, and New York.
Part of the exhibition is Goldin+Senneby’s research project at the Royal Institute of Art in Stockholm, which is presented through the magic show On a Long Enough Time Line The Survival Rate for Everyone Drops to Zero (2015) and the magic box Zero Magic (2016).
New Visions, a group show of wall-based works, is shown collaterally at Tensta konsthall. It features work by the artists Rana Begum, Nadia Belerique, Monir Farmanfarmaian, David Maljkovic, Philippe Parreno, Adam Pendleton, and Yelena Popova. The exhibition is curated by Maria Lind in accordance with Goldin + Senneby’s desire to create a dialogue with their new works at Tensta konsthall.
This exhibition is part of the joint project (whw (Zagreb), LCCA (Riga) This Is Tomorrow. Back to Basics: Forms and Actions in the Future, realized with the support of the European Union Programme Creative Europe. With support from ABF Stockholm. Thanks to Michael Storåkers Collection, Kadist Art Foundation, Brödernas Snabbtvätt, Lars Torvaldsson, Matilda Kästel, Pontus Stråhle, and Nathalie Gabrielsson. With organizational funding from the Swedish Art Council, the Stockholm County Council, and the Stockholm Municipality.
The Third AP Fund Vasagatan 7 Opening hours: Monday-Friday, 09:00-17:00
Money Will Be Like Dross (2012) An alchemist’s oven from the Nordic Museum’s collections is one of few remaining artifacts from the alchemist and mineralogist August Nordenskiöld’s secret laboratory at Drottningholm Palace from the 1780s. Gustav III established the laboratory in the greatest secrecy and hired Nordenskiöld to produce gold in order to finance Sweden’s expanded military and war against Russia. However, Nordenskiöld was driven by a different, utopian agenda. He wanted to produce enough gold for it to completely lose its fictitious value. This would stop the “monetary tyranny” and thus make mankind more receptive to the spiritual world. As devotee supporter of the scientist and theologian Emanuel Swedenborg, Nordenskiöld believed that the true jewels of life were God’s message of love and a society shouldering its social responsibilities.
Money Will Be Like Dross (2012), Manual With Kunstgiesserei (material research), Daniel McClean (legal adviser), Johan Hjerpe (designer) This manual provides the owner with a license to reproduce an unlimited number of alchemical ovens similar to the one that belonged to August Nordenskiöld. The manual is available in a numbered but unlimited edition. For each sold manual, the price of the edition will increase, and hence it will be significantly more expensive to contribute to a decrease of the unique work’s value. It is precisely the notion of the unique art object that is the gold mine of today’s increasingly commercialized art world. Money Will Be Like Dross plays with the mechanics that govern how value is created and changes over time.
Stockholm School of Economics 28.1–13.5 Sveavägen 65 Opening hours: Monday-Friday 09:00-17:00
Zero Magic (2016) Malin Nilsson (magician), Théo Bourgeron (finance sociologist), Kevin Keener (patent attorney), Johan Hjerpe (designer), Moa Ott (carpenter). A magician creates illusions, making us see things that don’t exist, that are not really happening. The word magic originates from magush (Persian), meaning “to be able” or “to have power.” In Zero Magic, the magic trick takes place at the financial market. Goldin+Senneby have infiltrated a secretive hedge fund in the US and recreated its short selling practices, i.e. financial maneuvers used to sell shares that you don’t own. They have, in collaboration with the magician Malin Nilsson and finance sociologist Théo Bourgeron, developed a magic trick for the financial market that has the capacity to influence the estimation of a company’s value and to profit from this. The magic box contains the props and equipment needed to perform these financial manipulations and also historical references to other controversial magic tricks performed offstage, in real life.
Banca Rotta (I Dispense Divide Assign Keep Hold) (2012) With Anna Heymowska (set designer). Banca Rotta is a money changer’s table from the 1600s that the artists have had sawn in half. The word bank derives from the Old Italian word for these tables, “banca” (comparable to bench in English). When a money changer in Florence went bankrupt, his trading table was destroyed—“banca” became “banca rotta,” broken bench.
The Decapitation of Money (2010) Angus Cameron (Human Geographer), Anna Heymowska (set designer), KD (fictional author), Kerwin Rolland (sound designer), John Hjerpe (graphic designer), Alexandre Guirkinger (photographer). In The Decapitation of Money (2010), we find ourselves in a spatial installation in two parts. One is a reconstruction of the lobby at the Russian-owned bank BCEN (EUROBANK), also known as VTB Bank. Behind a physical table and two comfortable leather armchairs is a backdrop with an extension of the room, including more furniture and an unmanned reception desk. During the first years of the Cold War, Soviet banks started to deposit US dollars in BCEN, with its headquarter in Paris. The Soviet State was concerned that the US would freeze their dollar reserves, but, through BCEN and a loophole in French law, the Soviets managed to create a new currency: the “Eurodollar,” named after the telex address of the bank “eurobank.” Eurodollars are dollars outside the control of the Federal Reserve. They thus break the historical connection between money and the sovereign state, something Goldin+Senneby’s spokesperson Angus Cameron refers to as a “decapitation of money.” Money is beginning to flow beyond the control of states and territorial boundaries. Money creates its own territory: the “offshore.”
The back of the backdrop displays the second part of the installation: a map of the Marly Forest outside Paris where the surrealist George Bataille’s secret society Acéphale met in 1937 to commemorate the murder of Louis XVI. Acéphale appropriated the form of a fascist cell but with the aim of creating an anti-fascist mythology. Some years after the meetings in Marly Forest, George Bataille published La Part Maudite (The Damned Part) (1949) in which he argues that all human societies are characterized by waste. When an economic structure is no longer able to use its accumulation for growth, the surplus has to be used in a non-productive way, otherwise the entire system will collapse. However, for Bataille, the waste is not necessarily a bad thing, as a fascination with man’s self amusement often occurs in his writings. It’s only when you sacrifice a piece of yourself and indulge in others, taking part in movements like Acéphale, religious rituals, or erotic pleasures, that glimpses of true ecstasy can be perceived.
The Decapitation of Money connects Acéphale’s mysterious meeting in the Marly Forest with the introduction of the euro dollar. Goldin+Senneby suggest that Bataille’s secret society might have something in common with strategies for withdrawal employed by offshore companies. Is the void into which offshore companies’ money “disappears” part of the excessive luxury consumption that Bataille predicted in La Part Maudite?
A Day’s March 29.1–15.5 Kungsgatan 3 Mon–Fri 11–18:30, Sat 11:00-17:00, Sun 12:00–16:00
Anders Reuterswärd (2016) With Jonas Hassen Khemiri (writer), Behnaz Aram (costume designer), Purple Rose (tailoring), Mehrdad Arta (designer), Zhala (musician). The collection Anders Reuterswärd will be on sale in the clothing store A Day’s March at Kungsgatan 3 in Stockholm. The collection is developed in collaboration with fashion and costume designer Behnaz Aram and is based on Jonas Hassen Khemiri’s short story The Standard Length of a Miracle, which will be read out loud at Tensta konsthall every day at 14:12. The short story throws the reader into a voluble stream of consciousness in which the narrator changes his name to Anders Reuterswärd, hoping to leave his job at the dry cleaner and make an artistic career. Aram let herself be inspired by this striving motion and Reuterswärd’s desire to re-create himself. The material in the collection originally came from forgotten garments gathered at dry cleaners around Stockholm. Aram designed a new conceptual uniform by deconstructing and re-sewing the clothes.
Prince Eugen's Waldemarsudde 30.1–15.5 Prins Eugens väg 6 Opening hours: Tuesday-Sunday 11:00-17:00, Thursdays until 20:00
A3 The plot (2015) Pamela Carter (playwright), Johan Hjerpe (designer), Moa Ott (carpenter), Natali Hallberg (scenic artist) A3 The Plot is a 1:10 scale stage model visualizing a tiny piece of real estate in Kent that Goldin+Senneby acquired. Accompanying the model are the artists’ title deed and a screenplay written by Pamela Carter. Carters text is a dramatization of the land area’s changing ownership from Roman times to today. If the work of art is sold, the ownership of the real estate will be assigned to the buyer, which adds an extra scene to the drama. Commissioned by StoreyG2, Lancaster. An open collation of the script will be held at 18:00 on 14.4 with the actor Hamadi Khemiri.
Not Approved (2011) With the County Administrative Board of Skåne, Stockholm, and Värmland. These landscape photographs were taken by different Swedish bureaucrats. The work departs from a reform implemented by the EU in 2003. The reform released agricultural subsidies from production, which changed the farmer’s role from someone who produces food to someone who offers an open agricultural landscape. The images in the series were taken in order to make an aesthetic assessment of the quality of the landscapes provided by the farmers. The photographs show a selection of landscapes that fail to meet the aesthetic standards of EU funding.
After Microsoft (2007) After Microsoft revisits the site of Windows XP’s default computer wallpaper Bliss, a green hill with blue sky and clouds that is the most distributed image ever. The original photo was taken by the National Geographic photographer Charles O’Rear, who sold it to the picture agency Corbis. From there it was picked up by Microsoft, which was attracted to the image’s bright green and blue colors. O’Rear claims that the photo was never digitally manipulated. The intense green color was due to the fact that the vines which usually cover the hill had been temporarily replaced by grass because of a phylloxera invasion. When Goldin+Senneby returned to the hill in Sonoma Valley, California, the vineyards were back, and a gray cloud covered the drab vines. The production of After Microsoft coincided with Bliss being phased out as the default image of Windows XP. The work is presented in the form of a still image with a 3-minute-long voice-over.
Cirkus Cirkör 11.5, 12.5, 19:00 Rotemannavägen 22
On a Long Enough Time Line the Survival Rate for Everyone Drops to Zero (2015) With Malin Nilsson (magician) and Théo Bourgeron (sociologist of finance). The magician Malin Nilsson will perform a magic show at Circus Cirkör in dialogue with the work Authority Zero Magic, on view in the library at Stockholm School of Economics. On a Long Enough Time Line the Survival Rate for Everyone Drops to Zero (2015) invites the audience to participate in a financial magic trick. The payment of the ticket also functions as an investment in a “short sale campaign,” i.e., the selling of borrowed shares against a listed company. The show will make the audience aware of the implications of the financial position they have bought in to. The speculation/trick will also be placed in a historical context, among other illusionists who used their practices for political purposes outside the scene, so-called “conspiracy magic.”
The Royal Institute of Art 12.5 Flaggmansvägen 1 PhD (2010–2016)
The Royal Institute of Art creates conditions for artistic investigations with experimental methods. Since 2010, Goldin+Senneby holds a practice-based PhD position at the Department of Fine Arts—the first doctoral service of its kind at the school. In their work, Goldin+Senneby consistently use artistic methods in order to renegotiate academic protocols. One example is the requirement of singular authorship, a solid subject, which is something completely absent for Goldin+Senneby. For their 25% seminar, they hired the management consultancy Aliceson Robinson (former McKinzey & Co.) to compile an interim report based on interviews with fifteen persons that the duo worked with the previous year (but not the artists themselves).
Nor is the dissertation a dissertation in the traditional meaning of the term. The artistic research of Goldin+Senneby will instead be presented through the magic show, On a Long Enough Time Line the Survival Rate of Everyone Drops to Zero (2015). The show will be performed at Cirkus Cirkör 11.5 and 12.5. Research will also be presented through the magic box Zero Magic (2016) on view at the library of Stockholm School of Economics.
The disputation will take place 12.5 in Muralen at the Royal Institute of Art. Manuel Borja-Villel, director of Museo Reina Sofía, Madrid will act as opponent.
27.1–15.5 2016 Standard Length of a Miracle is a mutating retrospective by Goldin+Senneby. Over the past ten years, the Stockholm-based artist duo has explored virtual worlds, offshore companies, withdrawal strategies, and subversive speculation. In a unique and subtle way, they combine artistic practice, financial theory, and performative methods, which are sometimes borrowed from the world of magic. The retrospective will be presented as installations and performances at Tensta konsthall as well as at other places not primarily associated with contemporary art. Stockholm School of Economics, the Third Swedish National Pension Fund, the Financial Supervisory Authority, the clothing store A Day's March, Cirkus Cirkör, and the historical art museum Prince Eugen’s Waldemarsudde all serve as stages for reactivations of Goldin+Senneby’s oeuvre from the past ten years. Introducing the artistic field to public institutions and commercial centers enables a shift of perspective about where art takes place and who the audience is.more →
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Lecture: Gunvor Guttorm on duodji
2018 Tuesday 12.2, 18:00 Gunvor Guttorm on duodji Gunvor Guttorm will discuss the concept of Temat duodji, Sami art and craft, and its effects on their everyday traditions, and how the duojarat (the artisans) use it in their creative processes and what kind of narratives they create. She will also present her own works as well as examples by other duodji.
Gunvor Guttorm was born in Karasjok, Norway. Gunvor Guttorm is Professor in duodji (Sámi arts and crafts, traditional art, applied art) at Sámi allaskuvla/Sámi University of Applied Sciences, Guovdageaidnu/Kautokeino in Norway. Currently, she is Rector at the same institution. Her research is interconnected with cultural expression in the Sámi and indigenous societies, especially duodji. The focus of her research deals with duodji in a contemporary setting and indigenous people’s context. She also has had the fortune to work with elderly duodji artisans and share their knowledge in traditional techniques. This has indeed benefited her theoretical work. She has tried in her approaches to understand duodji today, by discuissing what position and meaning it has had and has for Sámi societies.
She has taught both undergraduate and graduate courses in duodji both practically and theoretically. She has written several articles about how the traditional knowledge of Sámi art and craft is transformed to the modern lifestyle, both in Sámi language, Norwegian, and in English. In the indigenous world, she has participated as an invited speaker as well as presenter at indigenous research congresses. Guttorm has also participated in exhibitions in Sápmi and abroad.
2018 Tuesday 12.2, 18:00 Gunvor Guttorm on duodji Gunvor Guttorm will discuss the concept of Temat duodji, Sami art and craft, and its effects on their everyday traditions, and how the duojarat (the artisans) use it in their creative processes and what kind of narratives they create. She will also present her own works as well as examples by other duodji.more →
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Lecture: Ebba Johannesson and Anne-Marie Karlsson on Fogelstad Women’s Citizenship School
2019 Tuesday 5.2, 18:00–19:30
Introductory lecture by Ebba Johannesson and Anne-Marie Karlsson, Board Members of the Association Kulturföreningen Fogelstad on ‘Kvinnliga medborgarskolan vid Fogelstad / Fogelstad Women’s Citizenship School, 1925–1954”
In 1921, women in Sweden gained the right to vote. Five women were elected to the 1922 Riksdag, among them Kerstin Hesselgren and Elisabeth Tamm. Both belonged to the Liberal Party. In the spring of 1922, after a month’s parliamentary experience, they met with the doctor Ada Nilsson, the educator Honorine Hermelin and the journalist and author Elin Wägner at Fogelstad. ‘If it is to be noted that women have entered society, they must be many and knowledgeable,’ said Elisabeth Tamm. The idea was born to start a Women’s Citizenship School, behind which would stand these five women, the so-called ‘constellation’.
The school did not target women of any particular party affiliation. Instead, the ambition was to gather women from different social and cultural backgrounds, and to be open to all views. Medborgarskolan offered both long-term and shorter courses, covering subjects that included history, citizenship and practical psychology. In addition, current political and social issues were raised in lectures and discussions. Public speech, singing, music, art and rhythm were included in the schedule. In the imaginary municipality ‘Komtemåtta’, you learned meeting and argumentation techniques – a role play before such a thing was invented! This lecture by members of the Association Kulturföreningen Fogelstad acts as an introduction to the history of the Women’s Citizenship School at Fogelstad, and is part of the year-long project Practicing Politics: The Fogelstad Women’s Citizenship School.
Self-Presentation
The Association Kulturföreningen Fogelstad was founded in September 1995 in Katrineholm. It is politically and religiously independent, and wishes to draw attention to the unique cultural heritage of the Women’s Citizenship School at Fogelstad and to continuously develop Fogelstad-inspired activities.
In particular, the association also wants to create opportunities for women from different backgrounds to meet, discuss and exchange experiences concerning important human and social issues. The association focuses on the core subjects related to the all-female civic school in Fogelstad – equality / women’s rights, peace, environment and education. The association does this by organising seminars and lectures, by showing a summer exhibition about the school in Julita/Fogelstad and through courses in collaboration with the municipality of Katrineholm.
Introductory lecture by Ebba Johannesson and Anne-Marie Karlsson, Board Members of the Association Kulturföreningen Fogelstad on ‘Kvinnliga medborgarskolan vid Fogelstad / Fogelstad
2019 Tuesday 5.2, 15:00 Let the River Flow – artist presentations
Søssa Jørgensen, Geir Tore Holm and Berit Marit Hætta are some of the artists who participate in the exhibition Let the River Flow. The sovereign will and the making of a new worldliness. During the presentation they will show and talk about their artwork.
2019 Tuesday 5.2, 15:00 Let the River Flow – artist presentations
Søssa Jørgensen, Geir Tore Holm and Berit Marit Hætta are some of the artists who participate in the exhibition Let the River Flow. The sovereign will and the making of a new worldliness. During the presentation they will show and talk about their artwork.
ongoing The project They were, those people, a kind of solution is a long-term collaborative platform of What, How & for Whom/WHW from Zagreb, Tensta konsthall from Stockholm, eipcp - European Institute for Progressive Cultural Policies from Vienna, and Centre for Peace Studies (CMS) from Zagreb.
The title of the project They were, those people, a kind of solution comes from the poem Waiting for the Barbarians, written in 1898 by a Greek poet Constantine P. Cavafy.
The poem depicts a day in an imaginary city-state where everything is suspended in waiting for the arrival of "the barbarians". A poem's suggestion of an impasse in the face of the crisis, and its implicit argument about the political constitution of society by which it defines itself through the act of exclusion, speak to a present moment in which Europe is facing what media designates "the world’s biggest refugee crisis since the second world war".
The current refugee crisis has brought about xenophobic demonstrations and attacks on asylum-seeker shelters, fuelled by years of shift in public opinion that called for unified cultures and nations, but it also instigated impressive displays of solidarity and compassion. How this tension will develop depends on the outcome of the wide-ranging public debate about Europe's willingness, need and ability to deal with immigrants fleeing war and poverty.
The project starts from the position that focus on border controls as solution turns a blind eye to the fact that in itself Europe is traversed by fundamental conflicts and that immigrants are often used as scapegoats for economic crisis and declining living standards in Europe. It also looks into different waves of migrations to Europe as played out in the historical phenomenon of Gastarbeiters (guest-wrokers). The Gastarbeiter – and this hypothesis is the point of departure of this project – was in fact a symptom, a premature messenger of the inner contradictions of capitalist system, that have only recently developed into a full-fledged crisis, expanding beyond mere economics to incapacities in dealing with ever-deepening divides between "North" and "South".
Artists and cultural workers from various European countries and beyond take part in the project by addressing social transformations brought about by the migration of labour in various international contexts.
ongoing The project They were, those people, a kind of solution is a long-term collaborative platform of What, How & for Whom/WHW from Zagreb, Tensta konsthall from Stockholm, eipcp - European Institute for Progressive Cultural Policies from Vienna, and Centre for Peace Studies (CMS) from Zagreb.more →
Tensta konsthalls Introduktionskurs i samtidskonst med Makda Embaie
Årets sista tillfälle ägnas åt hur en söker till konstutbildningar. Nästa ansökningsperiod börjar efter årsskiftet och det är en perfekt tidpunkt att börja med sin portfolio nu för att ha gott om tid. Med konkreta verktyg och frågeställningar kring ansökningar ger vi goda råd och delar med oss av våra erfarenheter om vad som är bra att tänka på så att du blir nöjd med dina prover.
Makda Embaie, skribent, Konstfackstudent och assistent på Tensta konsthall, håller i kursen som riktar sig till unga som är nyfikna på samtidskonst men välkomnar alla.
För anmälan mejla: makda@tenstakonsthall.se
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Tensta Museum Branch at ArkDes
1.6 2018–13.1 2019 Tensta Museum is Tensta konsthall’s multiyear project about history and memory in the Stockholm suburb of Tensta, seen through people living and working there as well as the location itself with its many physical layers. Tensta Museum is the art centre “playing museum”, which has now opened a branch at ArkDes, as part of the exhibition Public Luxury, which will stay open until 13.1 2019. Born out of the exhibition Tensta Museum: Reports from New Sweden (2013/2014), Tensta Museum has since continued at the konsthall and beyond in the form of a programme focusing on local history and memory, while looking forward and proposing future scenarios for the suburb.
Tensta’s most tangible feature is a large, late-modernist housing area built between 1967–72 as part of the Million Dwelling Programme on old farmland. Homes share space with Iron Age graves, rune stones, one of the Stockholm region’s oldest churches (which dates from the 1120s), a famous baroque chapel, and a former military training area from the early 20th century which is now a protected nature reserve. Around 20,000 people live in Tensta today and roughly 90% have a trans-local background, many from the Middle East and East Africa. Here, the rapid population growth with consistent influx of newly arrived migrants is apparent, as is the high unemployment rate, low income demographics and the fragile state of community services.
Tensta konsthall is a private foundation, founded in 1998 as a grassroots initiative by a Tensta-based artist, working with planetary contemporary art inside and beyond a former storage space underneath the area’s shopping mall. At the same time, the konsthall is decisively embedded in the neighborhood, forming part of the fabric of life there. Funded by both public and private sources, the art centre currently employs seven people. Tensta konsthall likes to call itself “the generous peak”, or “den generösa spetsen” in Swedish.
Within the framework of Tensta Museum some fifty artists, architects, local associations, performers, sociologists, cultural geographers, philosophers, and other practitioners have so far contributed artworks, research projects, seminars, guided walks, workshops and much more. A thematic thread in the project are the artists from all over the world dealing with late modernist housing and suburbs in general. The various contributors simultaneously report on the past and the current condition of Tensta, 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. Tensta Museum is a richly contrasting patchwork stretching over the past five years, in which manifold interests and expressions together form a narrative. As Tensta is an unusually multi-faceted and complex place, the collective memory of Tensta is splitting at numerous angles; it also means that tensions and conflicts erupt around questions of “whose history?” and “whose heritage?”. Tensta Museum also touches upon the concept of cultural heritage and the complicated matter of how it is used in Sweden and elsewhere in Europe today.
Over the course of seven months, Tensta Museum will evolve as a mini-exhibition at ArkDes. The “summer department” is on view 1.6–23.9 and then the “winter department” takes over with new material on display 25.9 2018–13.1 2019.
The ArkDes Tensta Museum Branch follows up on the highly acclaimed exhibition Tensta Museum: Reports from New Sweden which was about the history and memory of Tensta 26.10 2013–13.1 2014 (the Fall Department) and 18.1–18.5 2014 (the Spring Department). During that period, the two branches of Tensta Museum opened at the Stockholm City Museum and Stockholm’s Medieval Museum respectively. The exhibition travelled in the form of Tensta Museum on the Move to WHW’s Galerija Nova in Zagreb (2014), to Survival K(n)it 7 in Riga (2015), and Stockholm County Museum (2015–2016). Tensta Museum is currently present at Tensta konsthall as Art Treasures: Grains of Gold from Tensta’s Public Schools, showcasing some thirty works from Swedish art history borrowed from the local schools.
Summer department with: Adam Tensta, Ahmet Ögut & Emily Fahlén, Erik Stenberg, Lili Reynaud-Dewar, Magnus Bärtås, Marie-Louise Ekman, Meron Mangasha & Senay Berhe, Sergio Montero Bravo, Spånga Local Heritage Association, Stockholm City Museum with works by Carl Larsson and Veronica Nygren from the Tensta gymnasium collection, StreetGäris, Tensta konsthall’s Women’s Café, Ylva Westerlund
Winter department with: With Adam Tensta, Aktion Arkiv with Sara Brolund de Carvalho, Meike Schalk and Helena Mattsson, Ane Hjort Guttu, Brita Landoff, Claudia del Fiero, Kvinnocenter i Tensta-Hjulsta, k.ö.k., Marie-Louise Ekman, Meron Mangasha and Senay Berhe, Nina Svensson and Bernd Krauss, Sergio Montero Bravo, StreetGäris, Tensta konsthall’s Text Prize, and works by Mona Johansson and Olle Nyman from public schools in Tensta.
During the exhibition period a series public introductions will be held:
1.6 2018–13.1 2019 Tensta Museum is Tensta konsthall’s multiyear project about history and memory in the Stockholm suburb of Tensta, seen through people living and working there as well as the location itself with its many physical layers. Tensta Museum is the art centre “playing museum”, which has now opened a branch at ArkDes, as part of the exhibition Public Luxury, which will stay open until 13.1 2019. Born out of the exhibition Tensta Museum: Reports from New Sweden(2013/2014), Tensta Museum has since continued at the konsthall and beyond in the form of a programme focusing on local history and memory, while looking forward and proposing future scenarios for the suburb.more →
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Art treasures: Grains of gold from Tensta’s public schools
7.2–13.1 2018 An exhibition that shines light on art in the public schools of Tensta. Around thirty works by artists such as Berta Hansson, Sven X:et Erixson, Carl Larsson, and Randi Fisher will be moved from their permanent location and hung salon style at Tensta konsthall. Meanwhile, the emptied spaces will be filled with works by Bernd Krauss (Nürnberg/Rotterdam), Mats Adelman (Stockholm), Nina Svensson (Timrå/Stockholm), Peter Geschwind (Stockholm), Thomas Elovsson (Stockholm), and Ylva Westerlund (Stockholm). As a part of Tensta museum: Continues
In collaboration with Stockholms City Museum, Elinsborg’s school, Enback’s school, Gullinge school, Hjulsta school, Spånga senior high school and Tensta senior high school.
7.2–13.1 2018 An exhibition that shines light on art in the public schools of Tensta. Around thirty works by artists such as Berta Hansson, Sven X:et Erixson, Carl Larsson, and Randi Fisher will be moved from their permanent location and hung salon style at Tensta konsthall. Meanwhile, the emptied spaces will be filled with works by Bernd Krauss (Nürnberg/Rotterdam), Mats Adelman (Stockholm), Nina Svensson (Timrå/Stockholm), Peter Geschwind (Stockholm), Thomas Elovsson (Stockholm), and Ylva Westerlund (Stockholm). As a part of Tensta museum: Continues
9.12 – 13.1 2019 My Room is Another Fishbowl: Philippe Parreno This December, Tensta konsthall will be populated by over four hundred metallic, glossy, free-floating exotic fish. This is Philippe Parreno’s My Room is Another Fishbowl, a free-standing component of the artist’s installation that was displayed in the Turbine Hall at Tate Modern two years ago. Uncontrollability, natural cycles, and im-pressions of wonder are the focus of this year’s final exhibition. The exhibition will also include the work Snow Dancing, in which all the door knobs at Tensta konsthall will be replaced by Christmas baubles.
The film Anywhen by Parreno will be shown Friday 28.12 at Tensta konsthall.
9.12 – 13.1 2019 My Room is Another Fishbowl: Philippe Parreno This December, Tensta konsthall will be populated by over four hundred metallic, glossy, free-floating exotic fish. This is Philippe Parreno’s My Room is Another Fishbowl, a free-standing component of the artist’s installation that was displayed in the Turbine Hall at Tate Modern two years ago. Uncontrollability, natural cycles, and im-pressions of wonder are the focus of this year’s final exhibition. The exhibition will also include the work Snow Dancing, in which all the door knobs at Tensta konsthall will be replaced by Christmas baubles.
The film Anywhen by Parreno will be shown Friday 28.12 at Tensta konsthall.more →
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The Final (Crime Weekly): housing piffle with Leif PG Tensta: Bernd Krauss
30.10 2018–13.1 2019 In the reception gallery, we display the result of this autumn’s collaboration between the artist Bernd Krauss and students from an elementary school in Tensta, Elinsborgsskolan. The title of the exhibition, The Final (Crime Weekly): housing piffle with Leif PG Tensta, focuses on the school building’s architectural history beginning in the 1960s, which is tightly intertwined with the history of Tensta. To give the viewer more in-depth access to the process, this retrospective work is presented through the eyes of a crime detective. And who could be a better suited for this role than Sweden’s most famous TV detective?
30.10 2018–20.1 2019 In the reception gallery, we display the result of this autumn’s collaboration between the artist Bernd Krauss and students from an elementary school in Tensta, Elinsborgsskolan. The title of the exhibition, The Final (Crime Weekly): housing piffle with Leif PG Tensta, focuses on the school building’s architectural history beginning in the 1960s, which is tightly intertwined with the history of Tensta. To give the viewer more in-depth access to the process, this retrospective work is presented through the eyes of a crime detective. And who could be a better suited for this role than Sweden’s most famous TV detective?
Art and Shops Tensta konsthall 1.6 2018–4.3 2019
Illustrations of fables behind the meat counter, fantastical sea animal water colours at the tailor’s and wall paintings using ancient aboriginal mouth painting techniques at the barber’s - these are examples of the art that can be seen just now in Tensta centrum. During this year Tensta konsthall will expand into new spaces with thirteen art projects resulting from collaboration between artists, shop owners, Tensta konsthall and Tensta centrum/Fastpartner. In the project, Art and Shops, art moves into the shelves, in the windows, on the counters of shops in and around Tensta centrum’s building. In this way, art is presented in ordinary, everyday situations - for instance, when people buy their lunch, cut their hair - which gives opportunities for other forms of contact and exchange.more →
Konst och affärer Tensta konsthall 1.6 2018–4.3 2019
Sagoteckningar bakom köttdisken, fantasieggande havsdjursakvareller hos skräddaren och väggmålning med uråldrig aboriginsk munmålningsteknik hos barberaren är något av det som just nu kan upplevas i Tensta Centrum. Under året expanderar Tensta konst-halls verksamhet in i nya rum med tretton konstprojekt som presenteras i samarbete mellan konstnärer, butiks-
ägare, Tensta konsthall och Tensta centrum / Fastpartner. I projektet Konst och affärer flyttar konsten in i butikshyllor, skyltfönster och affärsdiskar, i och kring centrumbyggnaden. På så vis presenteras konsten i de mest vardagliga situationer, när en handlar sin lunch eller klipper sitt hår, och ger därmed möjlighet till andra former av kontakt och utbyte. more →
Black Mat Oriole & Chi-Cha by Suki Seokyeong Kang Tensta konsthall 2018 22.9 – 4.11 Rågsved Nya Folkets Hus
The starting point for the project Black Mat Oriole by Seoul-based artist Suki Seokyeong Kang is Chunaengmu, a traditional Korean court dance. Chunaengmu partly creates a new context for her sculptures and paintings, partly opens an investigation into how people relate to the spaces we inhabit – physically speaking. Is it possible for individuals to expand the limits for the areas within which they move? Rågsved Nya Folkets Hus screen her new video work, titled Black Mat Oriole and made especially for the site in question.
2018 21.9-4.11 Hembygdsgården Lerkrogen
Contemporary art from Korea meets the cultural heritage of the Brännkyrka parish when Suki Seokyeong Kang (born 1977 in Seoul) shows sculpture and video at the homestead of Lerkrogen at Älvsjö station. There are skillfully handicraft items made of hand-painted threads and metal and wood in ancient techniques. The theme is, among other things, the meaning of the word cogwheel, chi-cha, about how something can only exist by constantly joining something else.more →
Black Mat Oriole & Chi-Cha av Suki Seokyeong Kang Tensta konsthall 2018 22.9 – 4.11 Rågsveds Nya Folkets Hus
Konstnären Suki Seokyeong Kang, baserad i Seoul, utgår från traditionell koreansk hovdans i projektet Black Mat Oriole, (Black Mat: svart matta, Oriole: gylling, fågelart). Hovdansen utgör dels ett nytt sammanhang för hennes skulpturer och målningar och dels en undersökning av hur vi människor - rent fysiskt - förhåller oss till våra utrymmen. Kan vi som individer utöka gränserna för ytorna vi rör oss på? På Rågsveds Nya Folkets Hus visas hennes nya film med titeln Black Mat Oriole, gjord särskilt för platsen.
2018 21.9-4.11 Hembygdsgården Lerkrogen
Samtida konst från Korea möter kulturarvet i Brännkyrka socken när Suki Seokyeong Kang (född 1977 i Seoul) visar skulptur och video på hembygdsgården Lerkrogen vid Älvsjö station. Det är hantverksskickligt utförda objekt av handfärgade trådar och metall och trä i ålderdomliga tekniker. Temat är bland annat innebörden av ordet kugghjul, chi-cha, om hur något bara kan existera genom att ständigt fogas in i något annat.more →
Tensta Museum Branch at ArkDes Winter department Tensta konsthall 1.6 2018–13.1 2019 Tensta Museum is Tensta konsthall’s multiyear project about history and memory in the Stockholm suburb of Tensta, seen through people living and working there as well as the location itself with its many physical layers. Tensta Museum is the art centre “playing museum”, which has now opened a branch at ArkDes, as part of the exhibition Public Luxury, which will stay open until 13.1 2019. Born out of the exhibition Tensta Museum: Reports from New Sweden (2013/2014), Tensta Museum has since continued at the konsthall and beyond in the form of a programme focusing on local history and memory, while looking forward and proposing future scenarios for the suburb.more →
Tensta museums filial på ArkDes vinteravdelningen Tensta konsthall 26.9 2018–13.1 2019 Tensta museums filial på ArkDes vinteravdelningen. Som en del av Public Luxury. Tensta museum är Tensta konsthalls fleråriga projekt med fokus på historia och minne i Tensta, sett genom de människor som bor och arbetar där, samt platsen i sig med sina många fysiska lager. Tensta museum är ett projekt där konsthallen ”leker museum”, nu med en filial på ArkDes, som en del av utställningen Public Luxury som pågår till 13.1 2019. Sedan utställningen Tensta museum: Rapporter från Nya Sverige ägde rum på konsthallen 2013/2014 har Tensta museum fortsatt i form av en ständigt pågående serie aktiviteter med inriktning på lokal historia, samtidigt som det är en samtidsrapport med inslag av scenarier för framtiden.more →
My Room is Another Fishbowl by Philippe Parreno Tensta konsthall 9.12 – 13.1 2019 My Room is Another Fishbowl: Philippe Parreno
December 2018, Tensta konsthall, populated by over four hundred metallic, glossy, free-floating exotic fish. This is Philippe Parreno’s My Room is Another Fishbowl, a free-standing component of the artist’s installation that was displayed in the Turbine Hall at Tate Modern two years ago. Uncontrollability, natural cycles, and im-pressions of wonder are the focus of this year’s final exhibition. The exhibition also includes the work Snow Dancing, in which all the door knobs at Tensta konsthall are replaced by Christmas baubles.more →
My Room is Another Fishbowl av Philippe Parreno Tensta konsthall 9.12–13.1 2019 Philippe Parreno: My Room is Another Fishbowl
December 2018 intas Tensta konsthall av över fyra hundra metallglänsande fritt svävande exotiska fiskar. Det är Philippe Parrenos My Room is Another Fishbowl som även var en fristående tematisering i den uppmärksammade installationen i turbinhallen på Tate Modern i London för två år tidigare. Det okontrollerbara, organiskt cykliska och upplevelsen av förundran står i fokus i årets sista utställningsöppning som även blir Maria Linds sista som chef för konsthallen. Utställningen på Tensta konsthall inkluderar även verket Snow Dancing, i vilken konsthallens samtliga dörrhandtag ersätts med julgranskulor.more →
The Final (Crime Weekly): housing piffle with Leif PG Tensta by Bernd Krauss Tensta konsthall 30.10 2018–20.1 2019 In the reception gallery, we display the result of this autumn’s collaboration between the artist Bernd Krauss and students from an elementary school in Tensta, Elinsborgsskolan. The title of the exhibition, The Final (Crime Weekly): housing piffle with Leif PG Tensta, focuses on the school building’s architectural history beginning in the 1960s, which is tightly intertwined with the history of Tensta. To give the viewer more in-depth access to the process, this retrospective work is presented through the eyes of a crime detective. And who could be a better suited for this role than Sweden’s most famous TV detective?
more →
Allra Sista Veckans Brott: bostads-trams med Leif PG Tensta av Bernd Krauss Tensta konsthall 30.10 2018–13.1 2019 I entrégalleriet visas resultatet av ett arbete som pågått under hösten mellan konstnären Bernd Krauss och elever från Elinsborgs-skolan i Tensta. Utställningen heter Allra Sista Veckans Brott: Bostads-Trams med Leif PGTensta och tar ett grepp om skolans arkitektoniska historia från sextiotalet, som är tätt sammantvinnad med bostads-områdets historia. I den här tillbakablicken används kriminologens glasögon och infallsvinklar för att nå djupare in i processen, så vem kan vara ett bättre bollplank än Sveriges mest kände TV-kriminolog?more →
Cosmism by Anton Vidokle, Arseny Zhilyaev Tensta konsthall 30.10 2018–13.1 2019 A Russian Orthodox nineteenth-century philosopher’s idea of a visionary resurrection of the dead; the flow of energy; capitalist and socialist historical eruptions; our modern-day obsessions with artificial intelligence and colonial dreams of dominating the universe: all of these things, and the bewildering connections between them, combine to form the starting point for our upcoming exhibition featuring artists Anton Vidokle and Arseny Zhilayev. more →
Kosmism av Anton Vidokle, Arseny Zhilyaev Tensta konsthall 30.10 2018–13.1 2019 De dödas återuppståndelse, energiflöden i rymden och drömmar om att dominera universum är viktiga delar i utställningen Kosmism. Konstnären Anton Vidokle iscensätter den svindlande kopplingen mellan en rysk-ortodox 1800-talsfilosofs visioner om de dödas återuppståndelse, rymdens energiflöden, kapitalistiska och socialistiska eruptioner i historien och samtidens besatthet av artificiell intelligens och koloniala drömmar om att dominera universum. more →
Ingen titel Clara Olausson Tredjepristagare i Tensta konsthalls textpris 2018.
I juryn: Lena Andersson, Rouzbeh Dialaie, Björn Linnell, Meron Mangasha, Nawroz Zakholy och Makda Embaie. more →
Jag Nicole Charro Tredjepristagare i Tensta konsthalls textpris 2018.
I juryn: Lena Andersson, Rouzbeh Dialaie, Björn Linnell, Meron Mangasha, Nawroz Zakholy och Makda Embaie. more →
Ingen bryr sig om du inte kommer till festen Fares Hamed Andrapristagare i Tensta konsthalls textpris 2018.
I juryn: Lena Andersson, Rouzbeh Dialaie, Björn Linnell, Meron Mangasha, Nawroz Zakholy och Makda Embaie. more →
Förenade Massor Viktor Boström Vinnande (förstapristagare) bidrag i Tensta konsthalls textpris 2018.
I juryn: Lena Andersson, Rouzbeh Dialaie, Björn Linnell, Meron Mangasha, Nawroz Zakholy och Makda Embaie. more →
Art and Shops Tensta konsthall 1.6 2018–6.1 2019
During 2018 Tensta konsthall will expand into new spaces with thirteen art projects resulting from collaboration between artists, shop owners, Tensta konsthall and Tensta centrum/Fastpartner. In the project, Art and Shops, art moves into the shelves, in the windows, on the counters of shops in and around Tensta centrum’s building. In this way, art is presented in ordinary, everyday situations - for instance, when people buy their lunch, cut their hair - which gives opportunities for other forms of contact and exchangmore →
Konst och affärer Tensta konsthall 1.6 2018–6.1 2019
Under 2018 expanderar Tensta konsthalls verksamhet in i nya rum med tretton konstprojekt som presenteras i samarbete mellan konstnärer, butiksägare, Tensta konsthall och Tensta centrum / Fastpartner. I projektet Konst och affärer flyttar konsten in i butikshyllor, skyltfönster och affärsdiskar, i och kring centrumbyggnaden. På så vis presenteras konsten i de mest vardagliga situationer, när en handlar sin lunch eller klipper sitt hår, och ger därmed möjlighet till andra former av kontakt och utbyte.more →
Sometimes It Was Beautiful by Christian Nyampeta Tensta konsthall Premiering Saturday 24.11 2018 16:00 at Folkets Hus in Hallstavik
Screening Wednesday 28.11 2018 17:30 at Stockholm’s Museum of Ethnography
The film relates to a meeting between improbable friends, gathered to review I fetischmannens spår (In the Footsteps of the Witch Doctor), the first of six films by the Swedish cinematographer Sven Nykvist (1922-2006) that he made in Congo between 1948 and 1952. Common to these unlikely friends is their past visit to Stockholm’s Museum of Ethnography, where an archive of Sven Nykvist’s parents is kept, docu-menting their life in Congo as Swedish missionaries, alongside the artefacts they brought back to Sweden.
Nyampeta’s film is part of Sites of the Future.more →
Det var vackert ibland av Christian Nyampeta Tensta konsthall Premiär: Lördag 24.11 2018, 16.00 på Folkets Hus i Hallstavik
Filmvisning: Onsdag 28.11 2018, 17.30 på Etnografiska Museet i Stockholm
Filmen skildrar ett möte mellan ett osannolikt sällskap som har samlats för att recensera I fetischmannens spår – den första av sex filmer som den svenska filmfotografen Sven Nykvist (1922-2006) producerade i Kongo mellan 1948 och 1952. Gemensamt för de här osannolika vännerna är att de tidigare har besökt Etnografiska Museet i Stockholm, där det finns ett arkiv över Sven Nykvists föräldrar. Arkivet är en sammanställning över deras liv i Kongo som svenska missionärer, tillsammans med de artefakter de förde med sig tillbaka till Sverige.
Nyampetas film är en del av projektet Den futuristiska orten.more →
Art Treasures: Grains of Gold from Tensta’s Public Schools Tensta konsthall 7.2–31.12 2018 An exhibition that shines light on art in the public schools of Tensta. Around thirty works by artists such as Berta Hansson, Sven X:et Erixson, Carl Larsson, and Randi Fisher will be moved from their permanent location and hung salon style at Tensta konsthall. Meanwhile, the emptied spaces will be filled with works by Bernd Krauss (Nürnberg/Rotterdam), Mats Adelman (Stockholm), Nina Svensson (Timrå/Stockholm), Peter Geschwind (Stockholm), Thomas Elovsson (Stockholm), and Ylva Westerlund (Stockholm). As a part of Tensta museum: Continuesmore →
Konstskatten: Guldkorn från Tenstas kommunala skolor Tensta konsthall 7.2–31.12 2018 En utställning som uppmärksammar den offentliga konsten i Tenstas kommunala skolor. Ett trettiotal verk av Berta Hansson, Sven X:et Erixson, Carl Larsson, Randi Fisher med flera, lånas in och visas på konsthallen i en salongshängning. Tenstas alla skolklasser bjuds under året in till visningar och workshops. Den utlånade konsten ersätts tillfälligt på skolorna med samtidskonst av Bernd Krauss (Nürnberg/Rotterdam), Mats Adelman (Stockholm), Nina Svensson (Timrå/Stockholm), Peter Geschwind (Stockholm), Thomas Elovsson (Stockholm), och Ylva Westerlund (Stockholm). Som en del av Tensta museum: Fortsättningmore →
Tensta Museum Branch at ArkDes, The Summer Department Tensta konsthall 16.–23.9 2018 With Adam Tensta, Ahmet Ögüt, Emily Fahlén, Erik Stenberg, Lili Reynaud- Dewar, Magnus Bärtås, Marie-Louise Ekman, Meron Mangasha, Senay Berhe, Sergio Montero Bravo, Spånga Local Heritage Association, Stockholm City Museum with works by Carl Larsson and Veronica Nygren from the Tensta gymnasium collection, StreetGäris, Tensta konsthall’s Women’s Café, Ylva Westerlund
Tensta Museum is Tensta konsthall’s multiyear project about history and memory in the Stockholm suburb of Tensta, seen through people living and working there as well as the location itself with its many physical layers. Tensta Museum is the art centre “playing museum”, which here has opened a branch at ArkDes, as part of the exhibition Public Luxury, which will stay open until 13.1 2019. more →
Tensta museums filial på ArkDes, sommaravdelningen Tensta konsthall 1.6–23.9 2018 Med Adam Tensta, Ahmet Ögüt och Emily Fahlén, Erik Stenberg, Lili Reynaud Dewar, Magnus Bärtås, Marie- Louise Ekman, Meron Mangasha och Senay Berhe, Sergio Montero Bravo, Spånga fornminnes- och hembygdsgille, Stockholms stadsmuseum med verk av Carl Larsson och Veronica Nygren från Tensta gymnasium, StreetGäris, Tensta konsthalls Kvinnocafé? och Ylva Westerlund.
Tensta museum är Tensta konsthalls fleråriga projekt med fokus på historia och minne i Tensta, sett genom de människor som bor och arbetar där, samt platsen i sig med sina många fysiska lager. Tensta museum är ett projekt där konsthallen ”leker museum”, här med en filial på ArkDes, som en del av utställningen Public Luxury som pågår till 13.1 2019.more →
Agencies of Art Jonatan Habib Engqvist, Nina Möntmann 23.8 2018 Rapportrelease på Tensta konsthall.
Initiativtagare till rapporten är ett nystartat nordiskt nätverk för små och medelstora konsthallar där de drivande varit Tensta konsthall och Marabouparken i Stockholm, Fotografisk Center och Nikolaj Konsthall i Köpenhamn samt Oslo Kunstforening. Rapporten bygger på enkäter och intervjuer med ett trettiotal institutioner i de tre länderna. Den är skriven av Nina Möntmann, kritiker och professor i konstteori och Jonatan Habib Engqvist, curator och skribent. more →
Red Love by Dora García Tensta konsthall 16.5–7.10 2018 Dora García’s new work Red Love is inspired by the Russian author, feminist, activist, political refugee and diplomat Alexandra Kollontai (1872–1952) who propagated for radically transformed relationships between women and men. Free love and camaraderie were at the core of her thinking, as expressed in her novels and essays. As an influential figure in the Bolshevik party and commissar for social welfare in their first government, she not only set up free childcare centres and maternity houses, but also pushed through the rights for women including divorce, abortion, and full rights for children born out of wedlock. At the time these were unique measures which were soon overhauled by Stalin, who did not appreciate this attempt at ending “the universal servitude of woman” by challenging both economic and psychological conditions. more →
Röd kärlek av Dora García Tensta konsthall 16.5–7.10 2018 Varför är kärlek så mycket på tapeten just nu? Har det att göra med att samhällsstrukturer vittrar sönder och att kärleken då blir en välbehövd stödmekanism? Eller hänger det ihop med att vi lever i en orolig värld där varma, nära relationer blir allt viktigare? Dora Garcías utställning Röd kärlek tar avstamp i den ryska författaren, aktivisten, feministen, politiska flyktingen och diplomaten Aleksandra Kollontajs (1872-1952) liv och gärning. Hennes roman Röd kärlek från 1923 handlar om kärlek under åren runt den ryska revolutionen. Hon förespråkar både fri kärlek, och kamratskap, något som hon hävdar endast kan ske bortom borgerliga kärleks- och familjerelationer och deras inbyggda föreställningar om ägande. Själv levde hon som hon lärde och hade ett flertal kärleksrelationer och blev under åren som Sovjetunionens ambassadör i Stockholm nära vän med flera av kvinnosakskvinnorna i Fogelstadgruppen.more →
En vägg blir ett bord med ljusstakeben av Anne Low Tensta konsthall 19.6–7.10 2018 Anne Lows installation är ett möte med sekelgamla textila hantverk och samtidskonstens metoder. Arbetskläder från förra sekelskiftet, handtryckta tapeter och bord som lånat sin form från väggarna i författaren Moa Martinsons torp i Ösmo ingår i installationen. Low kombinerar alla delarna i en fängslande installation, med titeln En vägg blir ett bord med ljusstakeben, som knyter samman dåtid, samtid och framtid.more →
A Wall Becomes A Table With Candlestick Legs by Anne Low Tensta konsthall 19.6–7.10 2018 Anne Low’s installation is an encounter between craft traditions, which are centuries old, and methods of contemporary art. Her contribution includes hundred year-old worker’s clothes, hand-printed wall paper, and a table that has been modelled on a wall of the author Moa Martinsson’s cottage in Ösmo, creating a captivating installation entitled A Wall Becomes A Table With Candlestick Legs that links together the past, the present and the future.more →
Art Treasures: Grains of Gold from Tensta’s Public Schools Tensta konsthall 7.2–31.12 2018 An exhibition that shines light on art in the public schools of Tensta. Around thirty works by artists such as Berta Hansson, Sven X:et Erixson, Carl Larsson, and Randi Fisher will be moved from their permanent location and hung salon style at Tensta konsthall. Meanwhile, the emptied spaces will be filled with works by Bernd Krauss (Nürnberg/Rotterdam), Mats Adelman (Stockholm), Nina Svensson (Timrå/Stockholm), Peter Geschwind (Stockholm), Thomas Elovsson (Stockholm), and Ylva Westerlund (Stockholm). As a part of Tensta museum: Continuesmore →
Snart nog: Konst och handling Tensta konsthall 7.2–29.4 2018 Snart nog: konst och handling handlar om framtider. Den är inspirerad av vår tids mest akuta frågor, och en övertygelse om att konstnärliga praktiker kan kommunicera komplexa problem och samordna handling. Vissa konstverk i utställningen riktar sig direkt till framtiden, andra pekar på fenomen, ämnen, färdigheter eller attityder som kommer att bli viktigare i framtiden. Självorganisering, hantverk och manuell kompetens, spelar alla en roll i utställningen. Likaså gör samarbetsmetoder, forskningsbaserade metoder, landsbygden och rymden. I utställningen ingår måleri, skulptur, video, fotografi, installation, performance, föreläsningar m m.more →
Soon Enough: Art in Action Tensta konsthall 7.2–29.4 2018 Soon enough: art in action is an exhibition about futures. It is inspired by the urgencies of our time, and a conviction that artistic practice can communicate complex problems and coordinate resistance. Some art works in the exhibition address the future directly, others point to phenomena, topics, skills or attitudes which will be more important in days to come. Self-organisation, craft and manual skills, play a certain role in the exhibition. So do collaborative methods, research-based practices, the rural, and cosmos. Media such as painting, sculpture, video, photography, performance and installation will be featured.more →
Magisk byråkrati av Måns Wrange Tensta konsthall 11.10 2017–14.1 2018 Den Stockholmsbaserade konstnären Måns Wrange har sedan 1980-talet på ett unikt sätt korsbefruktat konstnärligt arbete med curating som social praktik. Utställningen Magisk byråkrati är en mindre curatorisk retrospektiv som lyfter fram Wranges curerade projekt under perioden 1983–1998. Den byggs upp utifrån skilda fenomen som utopisk byråkrati, magisk realism och immaterialitet och involverar projekten The Aerial Kit och The Stockholm Syndrome. Wranges initiativkraft, självorganisering och roll som introduktör av både konstnärskap och curatoriska metoder är viktiga aspekter. Utställningen är gestaltad i samarbete med arkitekten och formgivaren Igor Isaksson (Stockholm) och är curerad av Nina Möntmann (Hamburg).more →
Magic Bureaucracy by Måns Wrange? Tensta konsthall 11.10 2017–14.1 2018 Since the 1980s, the Stockholm-based artist Måns Wrange has cross-fertilized his artistic work with curating as a social practice. The exhibition at Tensta konsthall is a smaller “curatorial retrospective” which highlights Wrange’s curated projects during the period 1983–1998. The exhibition is based on issues regarding utopian bureaucracy, magical realism, and immateriality and includes the projects The Aerial Kit and The Stockholm Syndrome. Wrange’s initiative, self-organization, and contribution to the development to both artistry and curatorial methods are important aspects of the exhibition. This presentation is designed in collaboration with the architect and designer Igor Isaksson and is curated by Nina Möntmann (Hamburg). more →
New Eelam av Christopher Kulendran Thomas Tensta konsthall 11.10 2017–14.1 2018 New Eelam: Tensta är ett långsiktigt verk som handlar om framtidens boende och medborgarskap utformat som ett teknikföretag i fastighetsbranschen, skapat av konstnären Christopher Kulendran Thomas i samarbete med Annika Kuhlmann. Syftet med företaget är att ta fram ett flexibelt, globalt bostadsabonnemang som ska göra hemmen lika strömningsbara som musik och film. Det här post-kapitalistiska startup-företaget bygger på kollektiv tillgänglighet i stället för enskilt ägande och planerar att omformulera äganderelationer genom att låta en slags lyx-kommunalism ersätta den privata egendomen. more →
New Eelam by Christopher Kulendran Thomas Tensta konsthall 11.10 2017–14.1 2018 New Eelam: Tensta is an exploration into the future of housing and citizenship. Conceived by the artist Christopher Kulendran Thomas, in collaboration with Annika Kuhlmann, the long-term artwork takes the form of a real-estate technology company that intends to develop a flexible, global housing subscription that aims to make homes as streamable as music or movies. Based on collective access rather than individual owner-ship, the post-capitalist startup plans to rewire property relations through the luxury of communalism rather than of private property. more →
The Annotated Friends of Interpretable Objects by Mariana Silva Tensta konsthall ?1.6–3.9 2017 In Space, Tensta konsthall’s?platform online, the artist Mariana Silva (Lisbon/New York) examines the second wave of digitalization?that is sweeping through western museums. Silva filters them through both fact and fiction and poses?timely questions about digitalization in a time when we are being confronted by the destructive consequences of climate change?and war. Crucial are questions concerning how digitalization?distorts ideas about ownership in relation to the acquisition of main attractions in museum collections which are coloured by circumstances now viewed in terms of colonial encroachment. Critics mean that such objects are stolen goods and should be returned to their country of origin. more →
The New Hird by Ylva Westerlund Tensta konsthall 1.6–24.9 2017 Borderlands, the future, and the relationship between the countryside and the suburb are the focus of artist Ylva Westerlund’s watercolors and pen-and-ink drawings in the Tensta gallery entrance. The images depict depopulated environments in and around a paper mill community in western Norrland, and a well-known suburb and surrounding green areas of the Järva Field (Järvafältet). Every day, Westerlund walks through the forest between her home in Tensta and her studio at Eggeby Farm. The landscape of her commute forms the background for some of her drawings, and others depict creatures that form a new kind of troop ready to make contact with a changed landscape. more →
Discrepancies with G.G. by Leonor Antunes Tensta konsthall 1.6–24.9 2017 The minimalist and yet sensual installations of Leonor Antunes reveal traces of twentieth-century modernist architecture as well as how materials move across the world. Antunes’ works often allude to figures that for many different reasons have been neglected within the context of art history or architecture, while also re-creating shapes and patterns from specific sites. In her research-based installations, furniture designed by for instance Eileen Moray Gray (1878–1976) and buildings by the architect Lina Bo Bardi (1914–1992) function as points of reference for new work. The atmospheric installations are also inspired by the specific context in which they are staged, the characteristics of the space itself. Another recurring feature is how techniques and materials which travel long distances and thus become?part of global trading appear in the work, for example hemp, cork and wood. At one and the same time, the installations activate the space and act as tactile and evocative en- counters between the architectural memory and craft history of certain places, and patterns of movement. more →
Den nya hjorden av Ylva Westerlund Tensta konsthall 1.6–24.9 2017 Gränsområden, framtid och förhållandet mellan landsbygd och förort står i fokus när konstnären Ylva Westerlunds akvareller och tuschteckningar presenteras i konsthallens entré. Bilderna skildrar avbefolkade miljöer i och omkring?ett pappersbruk i Västernorrland samt en välbekant förort med det närliggande grönområdet Järvafältet som mittpunkt. Varje dag promenerar Westerlund från Tensta genom skogen till ateljén på Eggeby gård. Det omgivande landskapet bildar fonden för en del av teckningarna, i andra finns varelser som skulle kunna vara början till en annorlunda trupp som vill etablera kontakt med en förändrad natur. more →
Discrepancies with G.G. av Leonor Antunes Tensta konsthall 1.6–24.9 2017 Leonor Antunes minimalistiska men sinnliga installationer bär spår av modernistisk 1900-talsarkitektur och vittnar om hur material fraktas världen runt. Antunes verk refererar ofta till gestalter som av många olika skäl har försummats i konst- och arkitekturhistoriska sammanhang, samtidigt som de återskapar former och mönster från specifika platser. I hennes installationer, som grundar sig på noggrann research, fungerar exempelvis möbler designade av Eileen Moray Gray (1878–1976)? och byggnader ritade av arkitekten Lina Bo Bardi (1914–1992) som referenspunkter för nya verk. De stämningsmättade installationerna är även inspirerade av den särskilda kontext i vilken de iscensätts, av själva rummets egenskaper. Ytterligare ett återkommande inslag är hur material – och tekniker – som färdats lång väg och därmed kommit att ingå i den globala handeln sedan framträder i konsten, exempelvis hampa, kork och trä. Installationerna aktiverar rummet och fungerar?på samma gång som taktila och associationsväckande förbindelseled där platsernas hantverkshistoria och arkitektoniska minne möter olika rörelsemönster. more →
Autonomy Cube av Trevor Paglen Tensta konsthall 1.2–7.5 2017 Idag vet alla att varje klick, kommentar, like och delning som go?rs online ocksa? o?vervakas och registreras av vad som liknar ett allseende o?ga, i form av fo?retag, myndigheter eller na?got annat. Autonomy Cube (2014) a?r ett verk av Trevor Paglen (San Francisco/ Berlin) som a?r framtaget i sam- arbete med civilra?ttsaktivisten, datasa?kerhets-forskaren och konstna?ren Jacob Appelbaum fo?r att motverka den situationen. Tanken a?r att kuben placeras i konstinstitutioner, gallerier eller offentliga platser och da?r erbjuder beso?karna ett sa?kert wifi-na?tverk. Pa? sa? sa?tt a?r kuben en skulptur som kan la?sas ba?de estetiskt och konceptuellt och dessutom anva?ndas praktiskt.more →
Autonomy Cube by Trevor Paglen Tensta konsthall 1.2–7.5 2017 Today, it is common knowledge that any activity online is being tracked. Every click, comment, like, share that we do is noticed by what seems to be an all-seeing gaze, be it an authority or marketer. Autonomy Cube (2014) is a work by Trevor Paglen (San Francisco/Berlin)made in collaboration with digital civil liberties activist, computer secrity researcher, and artist Jacob Appelbaum, which subverts that situation. The cube is intended to be placed in art institutions, galleries, and other public spaces, and provides a secure Wi-Fi network to visitors. In this way, it is a sculpture which can be both aesthetically and conceptually appreciated, and practically used. more →
It is Not Necessary to Understand Everything av Naeem Mohaiemen Tensta konsthall 1.2–7.5 2017 Konstna?ren Naeem Mohaiemen (Dhaka/New York) tar sig an den globala va?nsterns fo?rha?llande till visioner och misslyckanden genom essa?er, fotografier och film. Utsta?llningen It is Not Necessary to Understand Everything kretsar kring United Red Army (2011), en film som tar sin utga?ngspunkt i 1977 a?rs kapning av Japan Airlines flygning 472, da? planet omdirigerades till Dhaka, Bangladesh. En tidsaxel och en bangladeshisk tidning fra?n tiden som bera?ttar om ha?ndelsen och ackompanjerar filmen i Tensta konsthalls stora utsta?llningsrum.Som en del av Eros-effekten: Konst, solidaritetsro?relser och kampen fo?r social ra?ttvisamore →
It is Not Necessary to Understand Everything by Naeem Mohaiemen Tensta konsthall 1.2–7.5 2017 Naeem Mohaiemen (Dhaka and New York) takes on the global left’s relationship to visions and failures through essays, photographs, and films. The exhibition It is Not Necessary to Understand Everything centers around United Red Army (2011), a film essay which departs from the 1977 hijacking of Japan Airlines flight 472, in which the plane was forcefully redirected to Dhaka, Bangladesh. An annotated Bangla- deshi magazine that covered the event at the time, and a timeline accompany the film in Tensta konsthall’s main exhibition space. As part of The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice.more →
Guide to Standard Length of a Miracle Goldin+Senneby Standard Length of a Miracle was a mutating retrospective by Goldin+Senneby. Over the past ten years, the Stockholm-based artist duo has explored virtual worlds, offshore companies, withdrawal strategies, and subversive speculation. In a unique and subtle way, they combine artistic practice, financial theory, and performative methods, which are sometimes borrowed from the world of magic. The retrospective was presented as installations and performances at Tensta konsthall as well as at other places not primarily associated with contemporary art. Stockholm School of Economics, the Third Swedish National Pension Fund, the Financial Supervisory Authority, the clothing store A Day's March, Cirkus Cirkör, and the historical art museum Prince Eugen’s Waldemarsudde all serve as stages for reactivations of Goldin+Senneby’s oeuvre from the past ten years. Introducing the artistic field to public institutions and commercial centers enables a shift of perspective about where art takes place and who the audience is. more →
Fuel to the Fire med Natascha Sadr Haghighian Tensta konsthall 20.10 2016–15.1 2017 I Natascha Sadr Haghighians nya installation Fuel to the Fire (Bränslet på elden) lyfts aktuella ämnen som militarisering av förorten, fotografier som vittnesmål och institutionalisering av rasism och våld. Centralt i utställningsrummet är screentryckta filtar med bilder på polisvåld som alla orsakat stora protester i olika delar av världen. I installationen ingår även delar av en balkong från ett hus i ett miljonprogramsområde, ett ljudverk med läckande hörlurar och tidningsurklipp som återger både mediastereotyper och alternativa berättelser. En nyproducerad tidning innehåller historiskt material kring piketpolisens historia och om hur ögonvittnens videoinspelningar skapar en legitimitetskris för polisen.more →
Fuel to the Fire with Natascha Sadr Haghighian Tensta konsthall 20.10 2016–15.1 2016 Natascha Sadr Haghighian’s new installation Fuel to the Fire raises topical issues like the militarization?of the police, images as testimonies, and institutionalized racism and violence. In one area, the blankets carry screen-printed images of incidents of police violence that have evoked significant protests. The installation also includes parts of a balcony from a million program housing unit, a sound piece with leaking headphones, and newspaper clippings echoing media stereotypes and alternative narratives. A newly produced newspaper contains material on the history of SWAT police and on the role of eyewitness video that creates a legitimacy crisis for the police. more →
Viet Nam Diskurs Stockholm av Marion von Osten med Peter Spillmann Tensta konsthall 10.6–25.9 2016 Viet Nam Diskurs Stockholm. Marion von Osten i samarbete med Peter Spillmann, Center for Post-Colonial Knowledge and Culture, som en del av Eros-effekten: Konst, solidaritetsrörelser och kampen för social rättvisa. I utställningen Viet Nam Diskurs Stockholm återvänder konstnärerna och forskarna Marion von Osten och Peter Spillmann till Peter Weiss och Gunilla Palmstierna-Weiss pjäs Viet Nam Diskurs (1968) och dess komplexa produktionshistoria, samt det politiska och kulturella sammanhang i vilket den tillkom. Deras pågående forskning introducerar samtida perspektiv på 1960-talets radikala politik och hur den blev en del av filmen, teatern och konsten. På Tensta konsthall antar Viet Nam Diskurs Stockholm formen av en växande samling. Vietnamdiskurs legendariska scenografi, av Gunilla Palmstierna-Weiss, presenteras i form av skisser, fotografier, texter och vittnesmål.more →
Viet Nam Discourse Stockholm by Marion von Osten with Peter Spillmann Tensta konsthall 10.6–25.9 2016 Viet Nam Discourse Stockholm by Marion von Osten with Peter Spillmann The Center for Post-Colonial Knowledge and Culture (CPKC).As part of The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice. For the project Viet Nam Discourse Stockholm, the artist and researcher Marion von Osten and Peter Spillmann have revisited Peter Weiss's and Gunilla Palmstierna-Weiss's drama Viet Nam Diskurm complex production history as well as the political and cultural context in which the play was created. Their ongoing research is creating a virtual archive of the radical politics of the 1960s and how they became a part of film, theater, and art. During the summer Viet Nam Discourse Stockholm at Tensta konsthall is creating a platform for conversations, interpretations, and readings about and of the entangled histories of art practice and solidarity movements. The play’s legendary set design by Gunilla Palmstierna-Weiss will be presented in the form of sketches, photographs, texts, and testimonies.more →
Halvmånsformade ärr Evin Cherif Andrapristagare Tensta konsthalls textpris 2016. more →
Nioosha Shams En värld som färgas röd Tredjepristagare Tensta konsthalls textpris 2016.more →
Standardlängden av ett mirakel av Goldin+Senneby Tensta konsthall 27.1–15.5 2016 Standardlängden av ett mirakel är en muterande retrospektiv av Goldin+Senneby. Den Stockholmsbaserade konstnärsduon har under de senaste tio åren utforskat virtuella världar, offshore-företag, strategier för undandragande och subversiv spekulation. På ett ovanligt och underfundigt vis kombinerar de konstnärlig praktik, finansiell teori och performativa metoder som bl a lånats från magins värld. Retrospektiven presenteras genom installationer och performance dels på Tensta konsthall, dels på platser som inte specifikt förknippas med samtidskonst. Handelshögskolan, Tredje AP-fonden, Finansinspektionen, klädbutiken A Day’s March, Cirkus Cirkör och det konsthistoriska museet Prins Eugens Waldemarsudde fungerar som scener där verk från Goldin+Sennebys tioåriga praktik återaktiveras. Genom att låta det konstnärliga fältet möta offentliga institutioner och kommersiella aktörer förskjuts perspektiven för var konsten kan ta plats och vem som är publik. more →
Standard Length of a Miracle by Goldin+Senneby Tensta konsthall 27.1–15.5 2016 Standard Length of a Miracle is a mutating retrospective by Goldin+Senneby. Over the past ten years, the Stockholm-based artist duo has explored virtual worlds, offshore companies, withdrawal strategies, and subversive speculation. In a unique and subtle way, they combine artistic practice, financial theory, and performative methods, which are sometimes borrowed from the world of magic. The retrospective will be presented as installations and performances at Tensta konsthall as well as at other places not primarily associated with contemporary art. Stockholm School of Economics, the Third Swedish National Pension Fund, the Financial Supervisory Authority, the clothing store A Day's March, Cirkus Cirkör, and the historical art museum Prince Eugen’s Waldemarsudde all serve as stages for reactivations of Goldin+Senneby’s oeuvre from the past ten years. Introducing the artistic field to public institutions and commercial centers enables a shift of perspective about where art takes place and who the audience is.more →
Standardlängden av ett mirakel Jonas Hassen Khemiri Författaren Jonas Hassen Khemiri svarar på Goldin+Sennebys tioåriga praktik genom en litterär meta-fiktion som läses upp på konsthallen varje dag kl 14:12. I novellen Standardlängden av ett mirakel tar berättarjaget namnet Anders Reuterswärd, med förhoppningen om att kunna få jobb på en konsthall. I ett rappt berättartempo utan punktion och möjlighet att hämta andan, slungas läsaren in i en medvetandeström där alla associationer är lika viktiga. Monologen kopplas också samman med en ek-installation på konsthallen.more →
Standard Length of a Miracle Jonas Hassen Khemiri The author Jonas Hassen Khemiri’s meta-fictional response to Goldin+Senneby’s ten-year practice will be read out loud at the konsthall every day at 14:12. In the short story The Standard Length of a Miracle, the narrator changes his name to Anders Reuterswärd, hoping to increase his chances of getting hired at a konsthall. At a brisk pace without punctures or breathing space, the reader gets thrown into a stream of consciousness where all associations are equally important. The short story’s monologue is connected to the installation of an oak in the gallery space. more →
Standard Length of a Miracle (Arabic) Jonas Hassen Khemiri The author Jonas Hassen Khemiri’s meta-fictional response to Goldin+Senneby’s ten-year practice will be read out loud at the konsthall every day at 14:12. In the short story The Standard Length of a Miracle, the narrator changes his name to Anders Reuterswärd, hoping to increase his chances of getting hired at a konsthall. At a brisk pace without punctures or breathing space, the reader gets thrown into a stream of consciousness where all associations are equally important. The short story’s monologue is connected to the installation of an oak in the gallery space. more →
New Visions med Rana Begum, Nadia Belerique, Monir Farmanfarmaian, David Maljkovic, Philippe Parreno, Adam Pendleton, Yelena Popova Tensta konsthall 27.1–15.5 2016 Hur ser vi? Med vilken blick och från vilken horisont? I grupputställningen New Visions ingår verk där seendets mekanismer och förutsättningar står i fokus. I målningar, reliefer och fotografier av Rana Begum, Nadia Belerique, Monir Farmanfarmaian, David Maljkovic, Philippe Parreno, Adam Pendelton och Yelena Popova riktas uppmärksamheten till mötet mellan verket och den som betraktar. Som betraktare bidrar en till att formulera verket, påverka vilka mönster som framträder och vilka associationer som väcks. I New Visions uppmanas betraktaren att skärpa blicken och kroppsligt erfara såväl verken som deras plats i utställningsrummet.more →
New Visions with Rana Begum, Nadia Belerique, Monir Farmanfarmaian, David Maljkovic, Philippe Parreno, Adam Pendleton, Yelena Popova Tensta konsthall 27.1–15.5 2016 How do we see? With what gaze and from what horizon? In the group exhibition New Visions, seven artists with interests in the mechanisms and conditions of seeing address these questions. In paintings, prints, and photographs, the attention is pointed back to the observer. Thus, the observer contributes to the formulation of the work, affecting the patterns that appear and the associations that come forth. By refocusing and refiguring the way the eye apprehends a given space, New Visions contests the habits of seeing and the methods of directing the eye. more →
Transmission from the Liberated Zones by Filipa César Tensta konsthall 18.10 2015–17.1 2016 Opening this fall is the artist and filmmaker Filipa César's new work Transmission from the Liberated Zones. The show marks the starting point of a two-year program line at Tensta konsthall that investigates contemporary art’s relation to international solidarity movements and examines the notion solidarity can imply today. Since 2008, César has worked with the post-colonial history of Portugal and the liberation movement in Guinea-Bissau. Her work renegotiates the mechanisms of history writing by combining established and subjective perspectives with the poetics inherent in moving images.more →
Transmission from the Liberated Zones av Filipa César Tensta konsthall 18.10 2015–17.1 2016 I höst visas konstnären och filmaren Filipa Césars nya verk, Transmission from the Liberated Zones (Sändningar från befriade områden). Den utgör startpunkten för en två år lång programlinje på Tensta konsthall som undersöker samtidskonstens förhållande till internationella solidaritetsrörelser och vad begreppet solidaritet kan betyda idag. César har sedan 2008 arbetat med Portugals postkoloniala historia och befrielserörelsen i Guinea-Bissau. Hennes verk omförhandlar historieskrivandets mekanismer genom att kombinera vedertagna och subjektiva perspektiv med filmens poetiska potential. more →
Symposium Eros-effekten: Konst, solidaritetsrörelser och kampen för social rättvisa Tensta konsthall Symposium: Eros-effekten: Konst, solidaritetsrörelser och kampen för social rättvisa som ägde rum lördag 17.10, 10:00–18:00. Symposiet utgjorde startpunkten för Eros-effekten: Konst, solidaritetsrörelser och kampen för social rättvisa, en flerårig studie av förhållandet mellan konst och solidaritetsrörelser som manifesteras i form av utställningar, workshops, presentationer, filmvisningar m m. I en tid då fascistiska partier vinner mark i Europa och samhällsklimatet blir allt hårdare, vill vi återvända till begreppet solidaritet för att pröva dess giltighet idag. Har solidaritetsbegreppet en framtid eller måste vi hitta nya sätt för att beskriva samtidens politiska organisering och kamper? Vad innebär det att inse allvaret i en situation och hur agerar man därefter?
Bland de inbjudna deltagarna fanns Mathieu Kleyebe Abonnenc (Metz), Filipa César (Berlin), Kodwo Eshun (London), Peo Hansen (Norrköping), Ingela Johansson (Stockholm), Stefan Jonsson (Norrköping), Kristine Khouri (Beirut), Doreen Mende (Berlin), Bojana Piškur (Ljubljana), Natascha Sadr Haghighian (Berlin/Tehran), Rasha Salti (Beirut), Rojda Sekersöz (Stockholm), Gulf Labor/Natascha Sadr Haghighian (Ashok Sukumaran (Mumbai)), Dmitry Vilensky (S:t Petersburg), Marion von Osten (Berlin), Mathias Wåg (Stockholm) och Aleksandra Ålund (Norrköping).more →
Liquidity Inc. av Hito Steyerl Tensta konsthall 10.10 2015–10.1 2016 Liquidity Inc. av Hito Steyerl, som en del av Den nya modellen. ”Be water, my friend.” Så inleds Hito Steyerls videoinstallation Liquidity Inc. (2014) om det formlösa, flytande, våldsamma och samtidigt livsnödvändiga som är vatten. I Liquidity Inc. strömmar vattnet fram över tv-skärmar och iPhone- skärmsläckare. Vattnet är på samma gång en faktisk vätska och en outtömlig metafor, kapitalets flytande form, It- bubblan när den spricker.more →
Symposium The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice Tensta konsthall Symposium: The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice, was held Saturday 17.10, 10:00–18:00. The symposium is the starting point of a multi-year inquiry into the relationship between art and solidarity movements, performed in a series of commissions, exhibitions, workshops, presentations, and film screenings. Faced with fascist parties gaining ground in Europe and an increasingly tough social climate, we see the necessity to return to the notion of solidarity in order to try its validity today. Will solidarity still be relevant in the future, or is it a historical concept? Do we need to find new ways to describe the political movements of today and their struggles, sympathies, and commitments? What does recognizing the urgency of a situation imply, and how do we act upon it?
The invited speakers were Mathieu Kleyebe Abonnenc (Metz), Filipa César (Berlin), Kodwo Eshun (London), Peo Hansen (Norrköping), Ingela Johansson (Stockholm), Stefan Jonsson (Norrköping), Kristine Khouri (Beirut), Doreen Mende (Berlin), Bojana Piškur (Ljubljana), Natascha Sadr Haghighian (Berlin/Tehran), Rasha Salti (Beirut), Rojda Sekersöz (Stockholm), Gulf Labor/Natascha Sadr Haghighian (Ashok Sukumaran (Mumbai)), Dmitry Vilensky (S:t Petersburg), Marion von Osten (Berlin), Mathias Wåg (Stockholm) and Aleksandra Ålund (Norrköping).more →
Liquidity Inc. by Hito Steyerl Tensta konsthall 10.10 2015–10.1 2015 Liquidity Inc. by Hito Steyerl, as part of The New Model. “Be water, my friend” reads the initial phrase in Hito Steyerl’s Liquidity ?Inc. (2014), a video installation about the formless, floating, violent, and simultaneously vital water. In Liquidity Inc., water gushes out of television screens and iPhone screen savers. It functions both as a liquid and as an inexhaustible metaphor: the liquefied form of capital, the dot-com bubble when it bursts.more →
Tensta museum: Fortsättning Tensta konsthall 17.6–4.10 2015 Tensta museum: Fortsättning följer upp den uppmärksammade utställningen Tensta museum: Rapporter från nya Sverige, om historia och minne i Tensta. Efter höstavdelningen (26.10 2013–13.1?2 014) och våravdelningen (18.1–18.5 2014) samt filialer under samma period på Stockholms Stadsmuseum och Stockholms Medeltidsmuseum, fortsätter ortens eget museum att vara en integrerad del av konsthallens verksamhet. I konsthallens entré visas utställningen Det träden ser av Tenstabaserade konstnären Mats Adelman. I klassrummet visas videoverket Porto 1975 av konstnären Filipa César och kortfilmen Rehearsals. I det sinnrika Tenstaskåpet får vi ta del av material från de projekt och utställningar som konstnärerna Nina Svensson och Bernd Krauss gjort i samarbete med konsthallen de senaste åren. På onlineplattformen Space presenteras radioprogrammet SR Urbania där rapparen Adam Tensta befinner sig i ett framtida Tensta. more →
Tensta Museum Continues Tensta konsthall Tensta Museum Continues follows up on the highly acclaimed exhibition Tensta Museum: Reports from New Sweden, about history and memory in Tensta. After Tensta Museum Fall Department (26.10 2013–13.1 2014) and Spring Department (18.1–18.5 2014) as well as branches during the same period at the Stockholm City Museum, and Museum of Medieval Stockholm, the suburbs’ own museum now continues as an integrated part of Tensta konsthall. On view in the entrance of the konsthall is the Tensta-based artist Mats Adelstam’s exhibition, What the Trees See. The classroom space features the video Porto 1975, by the artist Filipa César and the short film Rehearsals. The ingenious Tensta Cabinet features material from projects and exhibitions made in recent years by the artists Nina Svensson and Bernd Krauss in collaboration with Tensta konsthall. The online platform Space presents the radio program SR Urbania in which the rapper Adam Tensta resides in a future Tensta.more →
Here We LTTR: 2002–2008 Tensta konsthall 23.5–27.9 2015 LTTR är namnet på ett queerfeministiskt konstnärskollektiv med hjärtat i New York. I början på 2000-talet bedrev gruppen ett ambitiöst redaktörsarbete och kunskapsinsamlande som bl a resulterade i en årlig tidskrift, performancer och filmprogram. Genom samarbeten, organisering, föreläsningar och tidsskriftsskapande, kopplade LTTR samman ett vibrerande queer community. Tidskriften, som kan beskrivas som å ena sidan ett konstverk och å andra sidan en politisk händelse, antog för varje nummer en ny skepnad – så som spiralblock med guldinskription, manillakuvert och LP-omslag. LTTR skapade ständigt nya dialoger och utmanade givna former, även sina egna. Förkortningen LTTR befann sig i konstant rörelse och kom under åren att betyda allt från Lesbians To The Rescue, Listen Translate Translate Record, Lesbians Tend To Read till Lacan Teaches To Repeat. more →
Here We LTTR: 2002–2008 Tensta konsthall 23.5–27.9 2015 LTTR is a feminist, genderqueer artist collective originally based in New York. In the early 2000s, the group engaged in ambitious editorial work and knowledge gathering that resulted in an annual journal, performance events, and video programs, among other things. LTTR catalyzed a vibrant queer community in formation through collaboration, organizing, explicit discourse, journal making, and distribution. The journal, half work of art, half political event, took on a new guise for each issue, ranging from spiral notebooks with golden inscriptions to manila envelopes to LP covers. LTTR constantly created new dialogues and challenged given forms, including their own. The acronym LTTR was in constant motion and was to be read in a multitude of ways, including Lesbians To The Rescue, Listen Translate Translate Record, Lesbians Tend To Read, and Lacan Teaches To Repeat. more →
Jag är en Tensta-katt Marianne Al-Ghorabi Vinnande (förstapristagare) bidrag i Tensta konsthalls textpris 2015. more →
Untitled Lema Shansab Hederspristagare av Tensta konsthalls textpris 2015.more →
Frederick Kiesler: Visions at Work. Annotated by Céline Condorelli and Six Student Groups Tensta konsthall 11.2–2.5 2015 In collaboration with the Austrian Frederick and Lillian Kiesler Private Foundation in Vienna, Tensta konsthall shows the first exhibition in Sweden of Frederick Kiesler's genuinely transdisciplinary work. Frederick Kiesler (1890–1965) was an architect, artist, scenographer, pedagogue, theorist and - not least - a groundbreaking exhibition designer.more →
Frederick Kiesler: Visioner i arbete. Med tillägg av Céline Condorelli och sex studentgrupper Tensta konsthall 11.2–2.5 2015 Frederick Kiesler: Visioner i arbete, med tillägg av Céline Condorelli och sex studentgrupper. I samarbete med Austrian Frederick and Lillian Kiesler Private Foundation i Wien, visas den första utställningen i Sverige med Frederick Kieslers genuint transdisciplinära arbeten. Frederick Kiesler (1890–1965) var arkitekt, konstnär, scenograf, pedagog, teoretiker och – inte minst – banbrytande utställningsdesigner.more →
Life as a Full-Scale Demonstration: Konsument i oändligheten:1971 Helena Mattsson One particular aspect of the exhibition will be treated in this article, the use of "real full-scale architecture" as a curatorial practice, and how architecture, framed by the museum, becomes a tool for constructing a critical space based on corporeal experiences. The environments play with the reality and realism not only by their full scale but also by mirroring existing environments outside the museum. more →
A Canon of Exhibitions Bruce Altshuler Discussion of an exhibitionary canon is something new. And it is new because the serious study of exhibitions is something new, or at least relatively new. The two factors have driven recent research and publication on exhibitions: the changing landscape of art history, with its expanding interests in social and institutional histories, and, perhaps more importantly, the curatorial boom of the late 1980's and 1990s. more →
A Short Organum for the Theatre Bertold Brecht The following sets out to define an aesthetic
drawn from a particular kind of theatrical performance
which has been worked out in practice
over the past few decades. In the theoretical statements,
excursions, technical indications occasionally
published in the form of notes to the writer’s
plays, aesthetics have only been touched on casually
and with comparative lack of interest. There
you saw a particular species of theatre extending or
contracting its social functions, perfecting or sifting
its artistic methods and establishing or maintaining
its aesthetics — if the question arose — by rejecting
or converting to its own use the dominant conventions
of morality or taste according to its tactical
needs. more →
Monogamy Tirdad Zolghadr Monogamy is something you endure. It marks a sustained condition, rather than a rational decision or a natural impulse. In the best of cases, by highlighting the idea of commitment as an institution, monogamy denaturalizes commitment even as it consolidates it.more →
The Undercommons - Fugitive Plannings & Black Study Stefano Harney & Fred Moten In this series of essays Fred Moten and Stefano Harney draw on the theory and practice of the black radical tradition as it supports, inspires, and extends contemporary social and political thought and aesthetic critique. more →
Research by Drawing Dieter Bogner Frederick Kiesler was one of the 20th century’s most radical exhibition designers. To this day, the concepts he developed over four decades in Vienna, Paris, and New York redefine the relationships between exhibition object, spatial design, and spectator. Most importantly, Kiesler proposed that in every period of art, artists relate to specific aspects of the complex process of perception. more →
Det här är alla ställen av Ane Hjort Guttu Tensta konsthall 22.10 2014–11.1 2015 Det här är alla ställen av Ane Hjort Guttu, del av Den nya modellen. Filmen Det här är alla ställen består främst av en dialog mellan två kvinnor i Stockholmsförorten Tensta. Den arabiska våren utgör en bakgrund för dialogen och filmen kopplar ihop de tre senaste årens globala proteströrelser med protesterna i Husby, Tensta och på andra platser i Sverige i maj 2013. Det här är alla ställen är samtidigt en förföriskt vackert filmad studie av förhållandet mellan politiska och personliga kriser. Den Oslobaserade konstnären Ane Hjort Guttu arbetar poetiskt med grundläggande existentiella och politiska förhållanden, ofta i video- och installationsform. http://www.anehjortguttu.netmore →
This Place is Every Place by Ane Hjort Guttu Tensta konsthall New ModelThis Place is Every Place essentially consists of a dialogue between two women in the suburb of Tensta in Stockholm. The Arab spring is a backdrop for their conversation, and the film puts forward a connection between the global protest movements of the past three years and the riots in the Swedish suburbs. This Place is Every Place is a seductive, beautifully shot study of the relationship between political and personal crises, pointing to widespread lost faith in alternative social organization. The Oslo-based artist Ane Hjort Guttu works poetically with fundamental existential and political conditions, often in the form of video and installation. http://www.anehjortguttu.netmore →
School Section av Dave Hullfish Bailey Tensta konsthall 22.10 2014–11.1 2015 School Section av Dave Hullfish Bailey, del av Den nya modellen. Med utgångspunkt i 1960-talets utopiska idéer hittar konstnären Dave Hullfish Bailey i installationen School Section verkliga och påhittade samband mellan hur mark används i USA och det offentliga skolsystemet där. Han söker sig ut i ett landskap fyllt med sociala, politiska och ekonomiska spänningar. Drop City i Colorado, USA, var en sorts hippiekollektiv som låg i närheten av en nedlagd kommunal skola. Skolan hade byggts trettio år tidigare, som en följd av depressionen. Här valde progressiva amerikaner att satsa på den offentliga utbildningen och lokalt möta den ekologiska och ekonomiska ödeläggelsen som kom i spåren av sandstormar i regionen. Genom att utgå från skolan, ”det institutionella spöket", som ett villkor för livet i Drop City, finner Hullfish Bailey historiska - möjliga eller omöjliga - samband emellan dem båda. more →
School Section by Dave Hullfish Bailey Tensta konsthall 22.10 2014–11.1 2015 School Section by Dave Hullfish Bailey, as part of The New Model. Bailey's practice is rooted in close observation, cross-disciplinary analysis and the experimental mapping of specific places, often sites where geographical edges coincide with cultural and economic margins. Sculptural processes and forms—including models, improvised devices, working prototypes, provisional architectures and sited interventions—play multiple roles in his projects, not only as conceptual motors and concretely experienced objects, but as means for speculative realignments of social patterns.more →
No Exceptions Mickael Löfgren Inga undantag (No Exceptions) is the name of a new report authored by Mikael Löfgren and developed by Klister, a nationwide network of small and medium-sized contemporary art centers in Sweden. In the report, Löfgren argues that the demand for measurability and immediate statistics that characterizes contemporary cultural discourse is not suitable for evaluating the work of the country's smaller art institutions. Such a pragmatic and economically-driven model of analysis is taken from New Public Manegement (NPM) and only works if the primary goal of a business is to generate profit. But as cultural institutions in general, and smaller art galleries in particular, work towards other objectives, evaluations must also adapt to their language and methods. more →
Rapport: Inga undantag Mikael Löfgren Inga undantag är namnet på en ny rapport författad av Mikael Löfgren, och framtagen av Klister, ett rikstäckande nätverk för små och medelstora samtidskonsthallar i Sverige. I rapporten argumenterar Löfgren för att de krav på mätbarhet och omedelbara siffror som kännetecknar vår tids kulturdiskurs inte lämpar sig för att utvärdera det arbete som bedrivs på landets mindre konstinstitutioner. Löfgren menar att det som framför allt kännetecknar konsthallarnas arbete är deras förmåga att etablera fungerande nätverk, både lokalt, regionalt, nationellt och globalt.more →
The Paths to the Common(s) Are Infinite Tensta konsthall 11.6–28.9 2014 The Paths to the Common(s) Are Infinite utgår från de New York-baserade konstnärerna Ayreen Anastas och Rene Gabris frågeställningar och formuleringar kring begreppet the common(s) och utgörs av olika undersökningar, erfarenheter och materiella spår av möten. Med commons (allmänningar) har man historiskt sett avsett delat ägande och nyttjande av land och vatten, som t ex i medeltida England, men idag har begreppet vidgats avsevärt för att innefatta även kultursfären, programvara och allmännyttans grundskola, sjukvård och infrastruktur. Konstnärerna finner otaliga exempel på Commoning (att "göra det gemensamma") och en strävan efter the Common(s) i vår tid av privatiseringar och ekonomiska nedskärningar.more →
The Paths to the Common(s) are Infinite Tensta Konsthall 11.6-28.9 2014 The Paths to the Common(s) are Infinite is an attempt by the New York-based artists Ayreen Anastas and Rene Gabri to situate and share various inquiries, experiences, and material traces of encounters, which have brought them to questions of the common(s). The commons have historically referred to shared ownership and care of land and water, for example in Medieval England, but what is commonly held today is much wider encompassing the cultural sphere, software, and public goods such as public education, health care, and infrastructure. For the artists, the practices of commoning and struggles for common(s) in an ever more privatized and economized existence are everywhere today.more →
Miraklet i Tensta (Theoria) Tensta konsthall 11.6–28.9 2014 Magnus Bärtås nya film Miraklet i Tensta (Theoria) är en egensinnig skildring av hur Jungfru Maria uppenbarade sig i Tensta sommaren 2012, baserad på vittnesmål från internet. Med hjälp av boende i Tensta har vittnesmålen gestaltats och filmats i samma rum på konsthallen där filmen kommer att visas. Del av Den nya modellen.more →
The Miracle in Tensta (Theoria) Tensta Konsthall 11.6–28.9 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.more →
META och regina: Två tidskrifter i systerskap Tensta konsthall 11.6–28.9 2014 Arkivutställning. META och regina är två tidskrifter som grundades oberoende av varandra på 1990-talet av två kulturproducenter. Båda använde sitt förnamn som titel på tidningen och därmed hade de skapat sig varsitt verktyg för att nå ut till allmänheten med en institutionskritisk hållning till rådande normer i tidens konstvärld. De två tidningarna har olika karaktär och arbetar utifrån var sin strategi men utgår båda från ett feministisk perspektiv.??more →
META and regina: Two (Magazine) Sisters in Crime Tensta Konsthall 11.6–28.9 2014 Archive exhibition. META and regina: Two (Magazine) Sisters in Crime. META and regina are both magazines founded independently in the 1990’s by two female cultural producers. Using their first names as titles of the magazines they made a public statement as a tool of institutional critique on normative concepts within the art system at the time. Although distinguished by their unusual characters and strategies, the two magazines - META and regina - share a common feminist position and subversive approach that make them 'sisters in crime'.more →
Tensta museum: Fortsättning Tensta konsthall 11.6–28.9 Tensta museum: Rapporter från nya Sverige handlar om historia och minne i Tensta, i förhållande till platsen och till människor som bor och verkar här. Efter Tensta museums höstavdelning (26.10 2013–13.1 2014) och våravdelning (18.1–18.5 2014) samt filialer under samma period på Stockholms Stadsmuseum och Stockholms Medeltidsmuseum fortsätter nu ortens eget museum i form av Salong Tensta, ett klassrum för svenskalektioner, originalritningar av Tenstas planarkitekt Igor Dergalin, affischer av konstnären Jakob Kolding, konst- och litteraturvandringar och seminarier. På onlineplattformen Space presenterar Beiruts Arab Image Foundation Rifat Chadirji Collection med fotografier av senmodernistisk arkitektur och människor i det offentliga rummet i Irak under perioden ca 1950–75. Medborgare till medborgare, en mötesplats för nyanlända som behöver stöd och kunskap om samhället i Sverige, äger rum varje tisdag. Genom The Silent University arrangeras språkcafé.more →
Tensta Museum Continues Tensta Konsthall 11.6–28.9 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 here. After Tensta Museum Fall Department (26.10 2013–13.1 2014) and Spring Department (18.1–18.5 2014) as well as branches in the same period at the Stockholm City Museum, and Museum of Medieval Stockholm, the suburbs own Museum is now continuing in the form of Salon Tensta, a classroom for Swedish lessons, original drawings of Tensta by architect Igor Dergalin, posters by artist Jakob Kolding, an Arts and Literature walk in Tensta and seminars. The online platform Space and Beirut’s Arab Image Foundation present Rifat Chadirji’s Collection of photographs with late modernist architecture and people in public space in Iraq from the period around 1950–75. Citizen to Citizen, a venue for newcomers who need support and knowledge of the community in Sweden takes place every Thuesday and a language café is organized through The Silent University.more →
Rifat Chadirji’s work: building modern Iraqi identity and hadara Caecilia Pieri Rifat Chadirji is considered to be one of the major 20th century Iraqi architects, not only through his realizations but also through the considerable bulk of his work in the fields of architectural practice, theory, teaching and photography. The text was first published in Modern Heritage Observer, Beirut (2013). more →
Doing the Dirty Work?: The Global Politics of Domestic Labour (2000) Editor: Bridget Jane Anderson Pages 1-27. There has been a tendency amongst feminists to see domestic work as the great leveller, a common burden imposed on all women equally by patriarchy. This unique study of migrant domestic workers in the North uncovers some uncomfortable facts about the race and class aspects of domestic oppression. Based on original research, it looks at the racialisation of paid domestic labour in the North - a phenomenon which challenges feminsim and political theory at a fundamental level.more →
At home: An Anthropology of Domestic Space (1999) Editor: Irene Cieraadred In a volume that brings together a wide range of disciplines - art history, sociology, architecture, cultural anthropology, and environmental psychology -, Irene Cieraad presents a collection of articles that focuses on the practices and symbolism of domestic space in Western society. These essays go beyond the discussion of conventional issues such as aesthetics and social standing. 'At home' takes an in-depth anthropological look at how different cultures use their homes as a visual model of the culture's social structure.more →
Vad gör konstförmedlingen? Tensta konsthall Vår 2014. En av de stora frågorna i samtidskonsten är hur konsten förmedlas, på vilket sätt publiken kan möta konsten och ta del ?av den. Förmedling innefattar alltså presentation och kommunikation om och utifrån konst i bred bemärkelse. Vad gör konstförmedlingen? är en seminarieserie på Tensta konsthall under våren 2014. I samarbete med Institutionen för bildpedagogik och Curatorlab, Konstfack.more →
What Does Art Mediation Do? Tensta Konsthall Spring 2014. 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. What Does Art Mediation Do? is a series of seminars at Tensta Konsthall during the spring of 2014. In collaboration with the Department of Visual Arts Education and Curatorlab, Konstfack.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 →
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 →
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 →
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 →
Vad hände med strejkkonsten? Ett konstprojekt av Ingela Johansson (2010-) Tensta konsthall 14.3–26.5 2013 Utgångspunkten för konstnären Ingela Johanssons projekt är den vilda strejk som utbröt i december 1969 i malmfälten i Norrbotten. strejken spred sig från Kiruna till Svappavaara och Malmberget och efter några dagar hade ca 5000 gruvarbetare lagt ner arbetet. Genom FNL-grupperna, och andra politiska grupperingar kom många kulturarbetare att solidarisera sig med gruvarbetarna, och engagera sig i deras situation. Projektet rymmer olika undersökningar av strejken och de materialiseras på skilda sätt. En del består av visandet av Gruvarbetarnas strejkkonstsamling, en konstsamling som kom till under strejken som stöd till strejkkassan, till vilken cirka åttio konstnärer skänkte verk.more →
Göra som man vill: Marie-Louise Ekman i sällskap med Sister Corita Kent, Mladen Stilinovic och Martha Wilson Tensta konsthall 18.10 2012–13.1 2013 Göra som man vill fokuserar på Marie-Louise Ekmans verk från sent 1960-tal till sent 1980-tal och inkluderar på samma gång arbeten från samma period av Sister Corita av Kent, Mladen Stilinovic och Martha Wilson. För första gången i Sverige presenteras nu Ekmans tidiga verk tillsammans med samtida utomsvenska konstnärer vars intressen och arbetssätt är besläktade med hennes.more →
Doing what you want: Marie-Louise Ekman accompanied by Sister Corita Kent, Mladen Stilinovic and Martha Wilson Tensta Konsthall 18.10 2012 –13.1 2013 Doing what you want focuses on Marie-Louise Ekman’s work from the late-1960s to the late-1980s and also includes work from the same period by Sister Corita of Kent, Mladen Stilinovic and Martha Wilson. For the first time in Sweden, Tensta konsthall will present Ekman’s early work together with contemporary non-Swedish artists with kindred interests and spirits.more →
Katitzis resa genom Sverige Tensta konsthall 25.10 2012–27.1 2013 Utställningen handlar om Katarina Taikons självbiografiska romanfigur Katitzi som är huvudpersonen i tretton böcker och åtta seriealbum publicerade 1969-1982. Den lyfter fram och diskuterar en unik flickkaraktär, vars romska bakgrund är central i berättelsen, från barn- och ungdomslitteraturens värld. Utställningen består av originalutgåvor av böcker, serietidningar och album samt illustrationer, artiklar, recensioner, TV-inspelningar, fotografi och annat arkivmaterial.more →
Katitzi: A Literary Character Rooted in Reality Tensta konsthall 9.10–5.12 2013 The exhibition Katitzi - A Literary Character Rooted in Reality, was first shown at Tensta konsthall in 2012 and will now be on view at Gallery8, the contemporary art space of the European Roma Cultural Foundation in Budapest.??The exhibition deals with Katarina Taikon’s (1932-1995) autobiographical figure Katitzi, who is the main character of thirteen books and eight comics published from 1969 to 1982. The exhibition consists of original editions of books, comic books and albums, as well as illustrations by Björn Hedlund, articles, reviews, TV recordings, photography, and other archival materials.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 →
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