A visual account of the changing infrastructures that underpin the art world in general and Tensta konsthall in particular. Created by Metahaven. Today: lidl
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First phase:
First Digitalizations of Specimens from Nature: Scan Eyes, 2015
Monitor, plinth, 1’ 25’’, Loop
First Digitalizations of Museological Artefacts: Scan Eyes, 2015
Monitor, plinth, 1’, Loop
Major western museums have begun a second wave of digitization of their collections. After creating comprehensive entries of their collections on their websites, often making photographs of these available for public viewing, this second phase re-presents the three-dimensionality of their cataloged objects.
The logistics of scanning collections through public-private partnerships can give clues as to how intellectual property, public domain, and ideas of accessibility are negotiated anew in this process of creating virtual duplicates of objects for scholarly and public use. Two main strategies are being used: museums work in partnerships with companies who provide the services of scanning, gaining expertise in scanning a variety of special cases; events are organized with the sponsorship of companies where visitors take panoramic pictures and then assemble models from these collections.
Inadvertently, these processes construct strange criteria for the newly digitized collections that emerge, simultaneously, random and technically-motivated. This has lead, as an example of the first case, the Smithsonian Museum to request each department to suggest an object to be scanned. The resulting collection features an array of objects as diverse as: Abraham Lincoln’s Life Masks (respectively from 1860 and 1865), Cosmic Buddha, CasA Supernova Remnant (represented in First Digitalizations of Specimens from Nature: Scan Eyes), Embrea Orchid and its symbiotic partner the Eulaema Bee (this bee model is represented in First Digitalizations of Specimens from Nature: Scan Eyes), a Dolphin Jaw fossil, Amelia Earhart’s flight suit, and so on.
In the second case, the files that result from visitor scans during a public events are imprecise copies of the originals. Visitors often have limited access to equipment and knowledge of specialized techniques, while having to work within the spatial constraints of the museum display. The irregularities of the surfaces and textures that result from these constraints, the unfinished and uncorrected models are displayed in First Digitalizations of Museological Artefacts: Scan Eyes, 2015. Faintly, reflected on the chrome surfaces of First Digitalizations of Museological Artefacts: Scan Eyes, 2015 is a CGI crowd—running as the objects rotate.
The strange arrangement of objects that result from these digital collections makes the otherwise oblique comparison with first European private collections called Cabinets of Curiosities possible. Constituted by noblemen and kings during the nascent period of colonialism, and obtained by trade often with a focus on exotic or mythical objects, these collections are often understood to be proto-museums. They precede both conceptions of museums as public institutions and museology as an academic practice focused on organizing for public display the objects within a museum. The beginning of museology helped organize and reinforce the then nascent distinction between nature and culture, the perception of nature as a source of knowledge and as a resource to be controlled, and categorize distinctions between art and non-art, objects from Western and non-Western cultures. From this tradition, we’ve inherited names for objects that distinguish their cultural or natural fields of origin: sculptures (3-D objects pertaining to culture and identified as art), artifacts (manmade objects, typically an item of cultural or historical interest), or specimens (an individual animal, plant, piece of a mineral, etc., used as an example of its species or type for scientific study or display; an example of something such as a product or piece of work, regarded as typical of its class or group). Human impact on climate change has us questioning this distinction between nature and culture, the assumption that there are various cultures navigating against a unified nature, when perhaps there are various natures and a plurality of irreconcilable boundaries of the human. How are cultural objects and collections affected by these changes?
Bound by website’s terms of services, museums’ attempt at securing representations of their collections as both forms of revenue and sublimation of public access, what other forms of objecthood are these files proposing? And how do they relate to these long-reaching histories of museum collections, colonialism and knowledge-production, and ideas of public access?
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28.6–29.7
Wednesdays–Sundays 12:00–17:00 Opening hours during summer
1.6–24.9 2017 Discrepancies with G.G. by Leonor Antunes
1.6–24.9 2017 The New Hird by Ylva Westerlund
1.6–3.9 2017 Space: The Annotated Friends of
Interpretable Objects
by Mariana Silva
5.7–24.9 2017 Semra Ertan and Audio Tape Index
by Cana Bilir-Meier
As part of Tensta Museum Continues
Wednesdays–Fridays 13:00–16:00 The Art Porch
Wednesdays 14:00–16:00 English Language Café
2017 Tensta Museum Continues
7.8–11.8 Art camp: Painting and Portraits
With Filippa Arrias (The Royal Institute of Arts)
Age: 15–22 years
New nordic network for art centers
Lithograph by Marie-Louise Ekman Fantasifullt möte (Fantasy Meeting) (2017)
1.6–24.9 2017Discrepancies with G.G. by Leonor Antunes. 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.
In the case of Tensta konsthall, the show is informed by the work of Swedish designer and architect Greta Magnusson Grossman (1906–99), for example her 1959 Villa Sundin in the Northern town of Hudiksvall. Having studied furniture design at Konstfack and architecture at the Royal Academy of Technology, both in Stockholm, Magnusson Grossman set up her own studio, called “Studio”. Tables, chairs and lamps, for example the well-known spindly “grasshopper” came out of the studio. In 1933, as the first woman ever, she won the Furniture Design award from the Swedish Society of Industrial Design. Seven years later, she moved to Los Angeles and set up a new studio focusing on lighting and slender furniture with unusual combinations of materials, now with her husband Billy Grossman. In addition to making interiors for Greta Garbo and Ingrid Bergman, she designed numerous villas, combining features connected to Southern Californian lifestyles and European modernism.
In the exhibition, the notion of “acrotony” is featuring. It is the tendency of most trees and plants to give nutritional priority to the lateral shoots nearest the apex of the main shoot. A number of the sculptural elements hold plants at their “top” – unexpected extensions looking like wigs in what is essentially portraits by people, for example “Sergio”, “Charlotte” and “Franca”. The plants, like many of the other materials, come from far away places like South Africa, the Antilles and mountainous areas in South Asia. None of the elements is functional in the sense of furniture, but instead a new kind of object is created. The title ”Discrepancies with” is at once a nod to some modernist architects and designers, and marking a difference to them. Nevertheless, both the animate and inanimate things are bearers of histories, and cultures and therefore also of possibilities.
The exhibition is acting as a point of reference for the konsthall’s so- called Art Porch, a handicraft-based drop-in activity scheduled for July and August. Attendees range from children to the elderly, mostly women, who try out various techniques and materials under the guidance of a range of specialists.
As part of the exhibition, the feminist initiative Hall of Femmes arranges the series L’hommage, talks that highlight and visualize women’s contribution to design and architecture. On three occasions, architects Eileen Gray, Léonie Geisendorf and Greta Magnusson Grossman are discussed. Hall of Femmes promotes an exchange of experiences between places and generations, and their book series includes texts about Ruth Ansel, Lillian Bassman, Janet Froelich, Carin Goldberg, Tomoko Miho, Paula Scher and Lella Vignelli. www.halloffemmes.com
Leonor Antunes was born in 1972 in Lisbon. She studied at the Lisbon Theater and Film School and at the Faculty of Fine Arts of the University of Lisbon. She currently lives and works in Berlin. Antunes has had solo exhibitions at CAPC musée d’art contemporain de Bordeaux, France; KIOSK, Ghent, Belgium; the New Museum, New York; Pérez Art Museum Miami; Kunsthalle Basel, Switzerland; Kunstverein Harburger Bahnhof, Hamburg; Kunstverein Düsseldorf; Museo Experimental El Eco, Mexico City; Museo Nacional Centro de Arte Reina Sofia, Madrid; and Museu de Serralves, Porto, Portugal. Her work has also been featured in numerous international group exhibitions, including Slip of the Tongue, Punta della Dogana, Venice; Sharjah Biennial 12: The past, the present, the possible, United Arab Emirates; 8th Berlin Bienniale for Contemporary Art; Beyond the Supersquare, the Bronx Museum of the Arts, New York; Decorum, Musée d’Art Moderne de la Ville de Paris; Textiles: Open Letter, Museum Abteiberg, Mönchengladbach, Germany; The Language of Less (Then and Now), Museum of Contemporary Art, Chicago; and Singapore Bienniale 2011: Open House.
The exhibition is a part of the collaboration They Were, Those People, a Kind of Solution with WHW (Zagreb), eipcp – European Institute for Progressive Cultural Policies (Vienna) and Centre for Peace Studies (CMS) (Zagreb). With support from the Creative Europe Programme of the European Union.
With support from Fundação Calouste Gulbenkian and Goethe Institut Schweden. Thanks to Air de Paris, and Kurimanzutto.
1.6–24.9 2017Discrepancies with G.G. by Leonor Antunes. 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.more →
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The New Hird by Ylva Westerlund
1.6–24.9 2017 The New Hird by Ylva Westerlund. 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.
Between growing up in the small industrial community of Husum and living in Tensta, which has come to be Westerlund’s home and workplace, the artist has developed a distinctly singular view of her surroundings. Both intricate details of the natural environment and panoramic scenes of urban landscapes reveal her engagement with local ecological processes. Her vision of the future through an ecological lens becomes most apparent in a series of cartoons that depict a large explosion devastating the Järva area. On first glance, the images appear dystopian, but in Westerlund’s narrative, the catastrophe seems to ignite positive change by sparking the growth of other perspectives and new ideas. Eggeby Farm, where the artist’s studio is located, has long functioned as a gathering place for all sorts of activities. In the past, the building was the vicarage for Spånga Church. Today, the property is owned by the city of Stockholm and is leased by Järva People’s Park (Järva Folkets Park), and is home to horses, three dovecotes, bee hives, a theatre barn, a small sculpture park, and artists’ studios.
Husum, best known for its paper mill, began to emerge as an industrial community at the end of the 1700s. At present, its population numbers less than 2,000 people and is steadily decreasing. Tensta’s most distinctive feature is the large, late modernist housing area built between 1967 and 1972. The suburb’s dwellings share space with iron-age graves, or rune stones. Tensta also contains a former military training ground from the early 1900s, which is now a conservation area known as the Järva Field. At present, around 19,000 people live in Tensta—a population that is rapidly increasing (whilst the social services are being dismantled at more or less the same rate). Both Husum and Tensta grew as communities during a period marked by strong political ideas about development. The factory settings in Westerlund’s watercolors illustrate a process that begins with wood and culminates in the production of paper and cardboard. In Husum, political movements, individual identities, and society in general were built up around the factory. What parallels might there be between Husum and Tensta? What happens when places lose a significant part of their identity and function?
During the summer the exhibition at Tensta konsthall will expand into the Järva Field. In a collaboration with Stockholm konst (Stockholm Art), Ylva Westerlund will produce a new piece, Dream Wasteland, to be completed in September 2017. For the project, a continuation of The New Hird, sculptures of drawings will be placed in and around Järva Field, for example at the upper deck of Tensta water tower, on the edge of the Tensta allotment area, and at Eggeby Farm. The sculptures will function like small sign posts, or old boundary stones, for guided walks in the conservation area taking place when specific species can be observed and mapped. This inventory is meant to give the sculptures a specific local context while the images add a dreamlike layer to the overall experience.
In collaboration with the Spånga-Tensta district administration, Westerlund and the Tensta-based poet Makda Embaie will work with young summer workers during the month of June. Together they will produce a new artwork for Tensta Swimming Pool, a project of Många vägar hem (Many Roads Home) supported by Kreativa platser and the Swedish Arts Council.
In addition, from May to September, Westerlund will run a series of workshops with classes of newly- arrived migrant students from the Tensta upper secondary school. Using the Järva Field as their workplace, they will create close studies of nature by way of drawings and cartoons.
The New Hird is a part of Tensta Museum Continues that follows up on the highly acclaimed exhibition Tensta Museum: Reports from New Sweden about history and memory in Tensta 26.10 2013–13.1 2014 and 18.1–18.5 2014. The exhibition traveled in the form of Tensta Museum on the Move (2013–2014) to Galerija Nova in Zagreb, to Survival K(n)it 7 in Riga (2015), and Stockholm County Museum (2015– 2016).
Within the framework of Tensta Museum some forty artists, architects, local associations, performers, sociologists, cultural geographers, philosophers, and other practitioners have addressed the past in artworks, research projects, seminars, and guided walks. And it is through this that they simultaneously report on the condition of Tensta today as a concrete image of what can be described as the New Sweden. Some of the invites participants also looks forward and proposing future scenarios.
The project is a richly contrasting patchwork stretching over four years, in which manifold interests and expressions together form a narrative. Tensta is an unusually multi-faceted and complex place, the collective memory of Tensta splits at numerous angles; it also means that tensions and conflicts erupt around questions of “whose history?” and “whose heritage?” Tensta Museum: Reports from New Sweden also touches upon the concept of cultural heritage and the complicated matter of how it is used in Sweden and elsewhere in Europe today.
Ylva Westerlund studied at Malmö Konsthögskola, 1998–2003. She has participated in numerous exhibitions in Sweden and internationally, including, for example, Contemporary Art Center i Vilnius, 2016, Malmö Konstmuseum 2016, Momentum 9th Nordic Biennal of Contemporary Art in Moss, 2017, and Galleri Krasny, Moskow, 2017.
Saturday 10.6, 15:00 Tour of the exhibition by Ylva Westerlund
1.6–24.9 2017 The New Hird by Ylva Westerlund. The Tensta-based artist Ylva Westerlund, with a studio at Eggeby Farm on the Järva field, is interested in liminal areas, norms, and the relationship between the rural and suburbs. In the entrance of Tensta konsthall, a series of her sci-fi-inspired drawings are presented, including Tensta motifs together with watercolors of interiors and exteriors of the paper mill in Husum, the artist's domicile.more →
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The Annotated Friends of Interpretable Objects by Mariana Silva
1.6–3.9 2017 Space: The Annotated Friends of Interpretable Objects by Mariana Silva . To visit large museums often involves encountering flashy animations and opportunities to experience art digitally. Many museums have been making art work accessible two- dimensionally for a long time, but now they increasingly scan in and construct three-dimensional archives. This is a modern way of reaching the public. But what actually happens in the transition from physical object to mobile animation? And how do we visualize works of art, objects and artifacts?
Push main in the right corner to get to Space.
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.
Two video works are included in the exhibition: First Digitalizations of Specimens from Nature and First Digitalizations of Museological Artefacts, which deal with how the relationship between nature and culture is comprehended. Also questioned are the mechanisms framing the historical borders between objecthood and personhood.
At www.tenstakonsthall.se, we first see a small plastic skeleton of a mammoth on the computer screen, and then go on to other displayed objects: digital 3-D scans of the remains of the super nova Cassiopeia A and the bee species, Eulaema. In the next video, uneven shiny silver sculptures rotate, for instance of the Roman emperor Caligula and the sphinx in Hatshepsut, whose chrome- like surfaces reflect both people and traffic. The animations consist of objects taken from museological and anthropological case studies. These animations and objects prompt questions about what happens when art objects are appropriated by museums, but also how the objects are classified and what significance economic and environmental issues may have.
Silva traces two tendencies in the creation of these institutional 3D archives: that large technology companies become active partners through sponsoring necessary technology; and that such 3D representations are built up through the museum visitors being encouraged to take their own mobile photos, which, when uploaded, create virtual panoramas. The irregularities in the textures visible on many of the objects are the result of unfinished models of the originals. The files that come from visitors’ scans become imprecise copies of the original and affected by limited access to equipment and limited knowledge of these specialized techniques. When efficiency is prioritized and outsourcing becomes a tool, the traditional work of museums carried out by specialists is given over to external actors who lack the required qualifications. What happens then with museums’ collections and representations of objects?
The title of the exhibition shares its name with the book, Friends of Interpretable Objects (2001) by Miguel Tamen. The book takes up theories about how we create so- called “friendships” with inanimate objects and how objects come to life through people’s interpretations. What structures lie behind these interpretations?
Mariana Silva’s contribution to Space is divided into two parts and relate to her ongoing installation, Friends of Interpretable Objects (2013–). Four out of seven animations are exhibited in Space. The piece has previously been accompanied by contributions from invited guests and ha included a sound station beside a wooden chaise longue, which contains an interview with Miguel Tamen. For Space, the videos are presented together with an explanatory text.
Wednesday 5.7, 18:00 Artist presentation by Mariana Silva
First Digitalizations, Specimens from Nature: Scan eyes, 2015 Vitrine 3-D models in order of appearance: Mammuthus Primigenius CasA Supernova Remnant Eulaema Bee
First digitalizations of Museological Artifacts: Scan eyes, 2015 Plinth 3-D models in order of appearance: Marble portrait bust of the emperor Gaius, known as Caligula Head and Shoulders of a Sphinx of Hatshepsut Slit Gong (Atingting kon)
1.6–3.9 2017 Space: The Annotated Friends of Interpretable Objects by Mariana Silva . To visit large museums often involves encountering flashy animations and opportunities to experience art digitally. Many museums have been making art work accessible two- dimensionally for a long time, but now they increasingly scan in and construct three-dimensional archives. This is a modern way of reaching the public. But what actually happens in the transition from physical object to mobile animation? And how do we visualize works of art, objects and artifacts?more →
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Semra Ertan and Audio Tape Index by Cana Bilir-Meier
5.7–24.9 2017 Semra Ertan and Audio Tape Index by Cana Bilir-Meier. In 1982, a 25-year-old poet, draughtswoman, and interpreter from Turkey set herself on fire in the German city of Kiel. This violent act was a protest against the racism that she and other migrants where experiencing in Germany. Many of them were guest workers who, in the words of the poet, were used by her old as well as her new homeland: “my country sold us abroad”. The suicide was reported by the media in both countries and triggered the composer Enjott Schneider to compose an octet in memory of the young woman. As part of Tensta Museum Continues.
Semra Ertan’s story is the starting point for Cana Bilir-Meier’s video Semra Ertan (2013, 7:30 minutes), which can be described as a filmic poem. Fragments of Ertan’s 350 poems, footage from interviews with her, glimpses from the funeral, family photographs, and details of rental contracts are interwoven with “visual pauses”—empty images which help prevent the impression of a seamless story. The film is not a portrait or a biography, but rather an attempt at “respectful handling of her-story”, according the artist herself. Ertan’s poetry, Bilir Meier’s images, and Schneider’s quietly dramatic music remind us of the life and work of a young woman.
In the silent Audio Tape Index (2016, 10 minutes), a computer desktop is the stage for the story. Windows are opened and closed as the corser moves back and forth across the screen. Lists with various amounts of money, images of audio and videotapes, old postcards and envelopes with neat handwriting, photographs of a man in 1960s attire in a factory setting and on the beach, and a woman in a long dress in front of a wooden house appear. Newspaper clippings tell the story of guest worker Gani Bilir who in two years sent a record amount of money from Kiel to his wife Vehbiye and the five daughters in Turkey—30.000 DM, enough to build a house.
Interspersed are questions that anybody dealing with research, whether an artist or not, is familiar with: “whose research is it?”, “how will its results be disseminated?”, “who will benefit from it?”, and “who owns it?”. The questions are quotes from Linda Tuhiwai Smith’s 1999 book Decolonizing Methodologies: Research and Indigenous Peoples, which likewise pointed to crucial issues when regarding a family archive.
Cana Bilir-Meier lives and works in Vienna and Munich. She obtained her art degree from Vienna Fine Arts Academy, the Department of Media Arts and Arts and Education, and Sabancı University in Istanbul. She has worked as a teacher, as a guest lecturer in different universities, and in a yearlong artistic-educational based research project of HKW (Haus der Kulturen der Welt) in Berlin from 2016–17. 2015/2016 she was a grantee of the Austrian scholarship „kültür gemma!“, a project which promotes city culture in Vienna as well as migrant art and cultural production. She won the 2016 Birgit Jürgenssen Award for her video works. Since 2016, she has been a member of the selection committee for short films at the Kassel Documentary and Video Festival.
5.7–24.9 2017 Semra Ertan and Audio Tape Index by Cana Bilir-Meier. In 1982, a 25-year-old poet, draughtswoman, and interpreter from Turkey set herself on fire in the German city of Kiel. This violent act was a protest against the racism that she and other migrants where experiencing in Germany. Many of them were guest workers who, in the words of the poet, were used by her old as well as her new homeland: “my country sold us abroad”. The suicide was reported by the media in both countries and triggered the composer Enjott Schneider to compose an octet in memory of the young woman. As part of Tensta Museum Continues.more →
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Tensta Museum Continues 2017
Tensta Museum Continues 2017 Who can and should formulate histories about “New Sweden” and what happens when an art space pretends to be a museum? Born out of the exhibition Tensta Museum: Reports from New Sweden (2013/2014), Tensta Museum continues in the form of a program focusing on local history and memory, while looking forward and proposing future scenarios for the suburb.
Tensta is an unusually multifaceted and complex place. Its most tangible feature is a large, late-modernist housing area built in 1967–72 as part of the Million Dwelling Programme. Homes share space with Iron Age graves, rune stones, one of the Stockholm region’s oldest churches from the 12th century, a famous baroque chapel, and a former military training area from the early 20th century which is now a protected nature reserve. Around 19,000 people live in Tensta today and roughly 90% have a trans-local background. Here, the rapid population growth is apparent, as is the dismantling of community services.
This summer, questions about cultural heritage, urban planning, and migration will be addressed by new and older artworks, seminars, exhibitions, lectures, city walks, and film screenings. In the smaller exhibition space, functioning as Tensta konsthall’s classroom, two video works by Cana Bilir-Meier (Vienna/Munich) show two poetic films about the downside of labor migration from Turkey to Germany in the 70s and two people’s specific experiences of migration and work. One example is about a brutal protest action by the poet Semra Ertan in the 80s.
The art project The Silent University by Ahmet Ögüt also takes place at Tensta konsthall. This project takes the form of a language café and a library. The Classroom is also where lectures, homework assistance, a craft café, and various local meetings are held. SFI Västerort holds summer courses that include special lessons about public art by the art gallery staff.
The Tensta Museum library can be found on shelves in the classroom. Here, we have Mekonen Tekeste’s work, which consists of illustrated stories about Eritrea written while he was in exile in Stockholm and Tensta, historical books about Tensta, and novels related to the area.
For the third year in a row, Tensta konsthall received sixteen summer- working youths (16–19 years old) from the district. Through their three-week holiday job, they worked in two different groups and projects were supervised by Makda Embaie and Ylva Westerlund or Rudy Loewe and Nachla Vargas Alaeb. The magazine by the youths is on the bulletin board. Another wall displays new and older maps of the Järva area.
The Classroom tables, previously used in the exhibition The Paths to the Common(s) Are Infinite by Ayreen Anastas and Rene Gabri, are designed by the artists and made entirely without nails or screws. Artist Ylva Westerlund’s (Stockholm) watercolors and pen-and-ink drawings in the Tensta gallery entrance depict depopulated environments in and around a paper mill community in western Norrland, as well as a well-known suburb and surrounding green areas of the Järva Field (Järvafältet).
The local shop in the gallery’s entrance offers jewelry made by JohannaN and artist Adam Tensta. Revenue from the sale of the Syrian nougat and Aleppo soap in the shop goes to the clothing and food for war-affected families in Syria and is organized by Fahyma Alnablsi, receptionist and Language Café educator at Tensta konsthall.
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. Fantasifullt möte is available in 400 editions and will cost 4500 SEK each. While sales are handled by Tensta konsthall, the money goes directly to KITH.
Guided tours of Tensta Museum Continues occur every Thursday and Saturday at 14:00.
The project traveled in the form of Tensta Museum on the Move to Galerija Nova in Zagreb, Survival K(n)it 7 in Riga (2015), and Stockholm County Museum (2015–2016).
Tensta Museum Continues 2017 Who can and should formulate histories about “New Sweden” and what happens when an art space pretends to be a museum? Born out of the exhibition Tensta Museum: Reports from New Sweden (2013/2014), Tensta Museum continues in the form of a program focusing on local history and memory, while looking forward and proposing future scenarios for the suburb.more →
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L’hommage: Hall of Femmes
As part of the exhibition Discrepancies with G.G. by Leonor Antunes (Lisbon/Berlin), the feminist initiative Hall of Femmes arranges the series L’hommage, talks that highlight and visualize women’s contributions to design and architecture. On two occasions, architects Eileen Gray and Léonie Geisendorf are discussed. Hall of Femmes promotes an exchange of experiences between places and generations; the initiative's book series includes texts about Ruth Ansel, Lillian Bassman, Janet Froelich, Carin Goldberg, Tomoko Miho, Paula Scher, and Lella Vignelli. www.halloffemmes.com
Wednesday 6.9, 19:00 L’hommage: Katarina Bonnevier on Eileen Gray . The architect and artist Katarina Bonnevier's presentation looks at how architecture reflects society's norms and thus constructs people in it. Focusing on self-taught designer and architect Eileen Gray (1878–1976), with a queer perspective, she analyzes how Gray's life and work in Paris as a gay woman in a male-dominated industry can be seen as a criticism of heteronormal architecture. Bonnevier takes a closer look at the house E.1027 that Gray designed and built on the French Riviera (1926–29) and how the house is shaped by man while shaping man in it.
With finesse, Gray played with architectural boundaries between private and public, inside and outside. She created or broke limits of sound, sight, and space in a house that carries a series of secrets. Bonnevier draws parallels to how Gray herself lived as boundary-breaking, both sexually and in terms of gender roles, and how this may have influenced her way of designing. Her design has been described as experimental and foreign—Le Corbusier himself was obsessed with her work. As part of the exhibition, the feminist initiative Hall of Femmes arranges the series L’hommage, talks that highlight and visualize women’s contributions to design and architecture. On two occasions, architects Eileen Gray and Léonie Geisendorf are discussed. Hall of Femmes promotes an exchange of experiences between places and generations; the initiative's book series includes texts about Ruth Ansel, Lillian Bassman, Janet Froelich, Carin Goldberg, Tomoko Miho, Paula Scher, and Lella Vignelli. www.halloffemmes.com
Katarina Bonnevier (b. 1970) is an architect and artist currently working with the artistic research project "Clubscenen" at the Swedish Centre for Architecture and Design, where she works with large-scale public art installations as well as writing. Through buildings, scenography, costume, and performance, Bonnevier explores the relationships between architecture, aesthetics, and power. Her works include: Production designer for the movie Mamman flickan demonerna (2016), directed by Suzanne Osten; Costume design for Lammungarnas fest, directed by Suzanne Osten, theater Unga Klara, Hitteblomster; Public Interactive Sculpture (2016), Bagarmossen, Stockholmshem; House Architect of St. Anna Gården (2014–). In 2013, she was the host of Fasad, produced by Filt on Sweden's radio P1, for which she earned the year's educator award from the Architects Sweden. In 1997, she obtained her architectural degree from the Architecture School, KTH, where she also studied in 2007 and wrote the dissertation Behind Straight Curtains: Towards a Queer Feminist Theory of Architecture (Stockholm: Axl Books, 2007). Since 2012, she has been part of the design, architecture, and art family, MYCKET with Mariana Alves Silva and Thérèse Kristiansson (www.mycket.org). They work from intersectional perspectives, such as anti-racism and queer feminism, within a practice influenced by theatricality, carnival, and activism.
Wednesday 13.9, 19:00 L’hommage: Charlie Gullström Hughes on Léonie Geisendorf. Architect SAR/MSA SIA Léonie Geisendorf’s architectural practice was primarily based in Sweden, where she counts among the most prominent architects of late modernity and forms part of Le Corbusier’s diaspora across Europe. She is especially known for her expressive treatment of raw concrete, the new material of International Style. The entrance hall of St Göran Gymnasium, a domestic sciences college in Stockholm (1961) is a good example of this, as well as Villa Delin in Djursholm (1970). Both buildings provide a vigorous, three-dimensional spatial experience and distinctive treatment of light, creating (almost miraculously) warm and sunny interiors from raw concrete.
Léonie Geisendorf was born as Leonja Kaplan in 1914 in and later studied architecture at ETH in Zurich. At the end of her studies (1937–38), she worked at Le Corbusier’s practice at Rue de Sèvres in Paris and was greatly inspired by his work. In 1937, Paris hosted a world exhibition that was a melting pot of architects from all over the world. Sweden participated with a pavilion designed by Sven Ivar Lind; the pavilion was ridiculed in Swedish media, though praised and recognised internationally–a disparity which created curiosity among architects. Léonie Geisendorf was working on the design for Le Corbusier’s Pavillon des Temps Nouveaux and saw the works of Sven Ivar Lind and Alvar Aalto at the world exhibition. Like many young architects at the time, she was inspired by and recognised the work opportunities in Scandinavia while Europe was at war. She moved to Sweden in 1938, married a Swiss colleague from ETH (Charles Edouard Geisendorf), and started an architectural practice with him in Stockholm in 1950. He was later appointed professor at ETH, after which they ran parallel offices in Stockholm and Zürich from 1957—thereby pioneering a distributed, collaborative practice across Europe.
Charlie Gullström, PhD, Architect SAR/MSA, is an international authority on Léonie Geisendorf’s architecture. She is University Lecturer and Researcher at KTH Royal Institute of Technology Department of Architecture, where she combines teaching with research and heads the interdisciplinary research group KTH Smart Spaces: Architecture & Interactive Media. Her research addresses architecture in the era of digitalisation and how the design of virtual space enables mediated presence (presence research). Shared virtual spaces emerge as new public spaces that citizens can share. Charlie Gullström also works in the management of the recently awarded Strategic Innovation Programme for Smart Sustainable Cities. This new initiative ensures that Sweden meets its energy and climate goals through an effective use of digitalisation (ICT, IoT); it is funded by the Swedish Energy Agency 2017-2029 and hosted by KTH. A very different research topic of hers addresses Léonie Geisendorf (1914-2016), with whom Gullström had collaborated since 1990. Gullström is currently writing a book with the working title ‘Women in the making of modernity - Architect Léonie Geisendorf's pioneering collaborative practice across Europe’.
As part of the exhibition Discrepancies with G.G. by Leonor Antunes (Lisbon/Berlin), the feminist initiative Hall of Femmes arranges the series L’hommage, talks that highlight and visualize women’s contributions to design and architecture. On two occasions, architects Eileen Gray and Léonie Geisendorf are discussed. Hall of Femmes promotes an exchange of experiences between places and generations; the initiative's book series includes texts about Ruth Ansel, Lillian Bassman, Janet Froelich, Carin Goldberg, Tomoko Miho, Paula Scher, and Lella Vignelli. www.halloffemmes.commore →
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Tours
Guided tours every Thursday and Saturday at 14:00. Current exhibitions: Discrepancies with G.G. by Leonor Antunes and The New Hird by Ylva Westerlund.
Discrepancies with G.G. by Leonor Antunes 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 New Hird by Ylva Westerlund 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.
We do custom tours for elementary school to high school aged groups. Pre-booked tours during the day for schools are free. The tour takes about 50 minutes. Tensta konthall offers guided tours of current exhibitions for large groups such as arts organizations, businesses or private groups. Tours are offered in Swedish and English. Cost is 2000 SEK + voluntary entrance donation. Length is about 50 minutes and maximum number of participants is 30.
In conjunction with tours our Café can offer light meals and snacks at good prices. For reservations and more information about tours contact Emily Fahlén emily@tenstakonsthall.se or 08-36 07 63.
Guided tours every Thursday and Saturday at 14:00. 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 emily@tenstakonsthall.se or 08-36 07 63
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.
PREVIOUSLY
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.
Wednesdays 14:00–16:00 During the summer, every Wednesday an English language café is held at Tensta konsthall. Under the leadership of New York-based curatorial student Piper Ross Ferriter, a group of young and old is taught vocabulary and conversation through different exercises. The educational model is based on creating an informal learning environment where the language is practiced by hanging out and chatting. Everyday activities, various interests, and the current art exhibitions are discussed. Volunteers are welcome to attend, email didem@ tenstakonsthall.se. As part of Tensta Museum Continues.
Wednesdays 14:00–16:00 During the summer, every Wednesday an English language café is held at Tensta konsthall. Under the leadership of New York-based curatorial student Piper Ross Ferriter, a group of young and old is taught vocabulary and conversation through different exercises. The educational model is based on creating an informal learning environment where the language is practiced by hanging out and chatting. Everyday activities, various interests, and the current art exhibitions are discussed. Volunteers are welcome to attend, email didem@ tenstakonsthall.se. As part of Tensta Museum Continues.more →
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The Art Porch
Wednesdays–Fridays 13:00–16:00 The Art Porch. The porch at Tensta konsthall becomes a venue for young and old interested in art, crafts and handicrafts. There are sewing machines to use and materials to experiment with. Participants can bring their own craft projects from home or start new ones here. You can also try to embroider, sew, make friendship bracelets and keychains, as well as dye fabrics. This year, the workshop is led by Tensta konsthall staff Makda Embaie and Muna Al Yaqoobi.
The Art Porch is also hosted by various artists and crafters, and will include plant coloring and a kite-making workshop. Every Thursday, the local youth club Hjuset’s girls group will host guest games with exciting activities.
Wednesdays–Fridays 13:00–16:00 The Art Porch. This is the last week to participate in the open art workshop for children and adults this summer. There are sewing machines to use and materials to experiment with. Participants can bring their own craft projects from home or start new ones here. You can also try to embroider, sew, make friendship bracelets and keychains, as well as dye fabrics. This year, the workshop is led by Tensta konsthall staff Makda Embaie and Muna Al Yaqoobi. The Art Porch is also hosted by various artists and crafters, and will include plant coloring and a kite-making workshop. Every Thursday, the local youth club Hjuset’s girls group will host guest games with exciting activities.more →
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Nordic art network
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 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 is initiated by Petra Bauer and Jenny Richards in collaboration with The Women’s Centre in Tensta-Hjulsta.
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.
Tuesday 21.3, 13:00–14:30 Inauguration of k.ö.k at The Women’s Centre in Tensta-Hjulsta.
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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Siri, Roten och den observerade luftfuktigheten by Pia Sandström
Siri, Roten och den observerade luftfuktigheten by Pia Sandström. As an homage to the public work Frisk luft, Rent vatten, Fruktbar jord (Clean air, clean water, fertile soil) (1976) by Siri Derkert at Gullingeskolan in Tensta, the artist Pia Sandström developed a wall-based work with text and drawing on concrete. The work came about as part of the project Art Detectives, where Pia Sandström and architect Stefan Petersson, together with teachers and students at the Tensta Schools Enbacksskolan, Elinsborgsskolan, and Gullingeskolan, charted and discussed public art in their own schools. In collaboration with the Stockholm konst. As part of Tensta Museum Continues.
Wednesday 22.3, 12:50 Inauguration of Siri, Roten och den observerade luftfuktigheten by Pia Sandström.
Siri, Roten och den observerade luftfuktigheten by Pia Sandström. As an homage to the public work Frisk luft, Rent vatten, Fruktbar jord (Clean air, clean water, fertile soil) (1976) by Siri Derkert at Gullingeskolan in Tensta, the artist Pia Sandström developed a wall-based work with text and drawing on concrete. The work came about as part of the project Art Detectives, where Pia Sandström and architect Stefan Petersson, together with teachers and students at the Tensta Schools Enbacksskolan, Elinsborgsskolan, and Gullingeskolan, charted and discussed public art in their own schools. In collaboration with the Stockholm konst. As part of Tensta Museum Continues.more →
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Saturday Drawing with Ylva Westerlund
One Saturday every month the Tensta-based artist Ylva Westerlund teaches drawing techniques in graphite, ink and indian ink. Westerlund has a studio at Eggeby Gård (Eggeby Farm) on Järvafältet (Järva Field) and is interested in borders and norms. Drop-in, open to both adults and children. Free to attend. For questions: emily@tenstakonsthall.se
One Saturday every month the Tensta-based artist Ylva Westerlund teaches drawing techniques in graphite, ink and indian ink. Westerlund has a studio at Eggeby Gård (Eggeby Farm) on Järvafältet (Järva Field) and is interested in borders and norms. Drop-in, open to both adults and children. Free to attend. For questions: emily@tenstakonsthall.semore →
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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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Women Café
Tuesdays and Thursdays, 13:00 Every Tuesday and Thursday afternoon, 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 amplified up and reinforced by teachers from Hemslöjden and by the other participants.
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. To participate: info@tenstakonsthall.se. In collaboration with Hemslöjden, and The Women's Center in Tensta- Hjulsta.
Tuesdays and Thursdays, 13:00 Every Tuesday and Thursday afternoon, 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 amplified up and reinforced by teachers from Hemslöjden and by the other participants.more →
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Tensta Talks: Symposium: The Eros Effect: Sound records
Sound records Symposium: The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice, was held Saturday 17.10, 10:00–18:00 2015.
The symposium is the starting point of a multi-year inquiry into the relationship between art and solidarity movements, performed in a series of commissions, exhibitions, workshops, presentations, and film screenings. Faced with fascist parties gaining ground in Europe and an increasingly tough social climate, we see the necessity to return to the notion of solidarity in order to try its validity today. Will solidarity still be relevant in the future, or is it a historical concept? Do we need to find new ways to describe the political movements of today and their struggles, sympathies, and commitments? What does recognizing the urgency of a situation imply, and how do we act upon it?
The invited speakers were Mathieu Kleyebe Abonnenc (Metz), Filipa César (Berlin), Kodwo Eshun (London), Peo Hansen (Norrköping), Ingela Johansson (Stockholm), Stefan Jonsson (Norrköping), Kristine Khouri (Beirut), Doreen Mende (Berlin), Bojana Piškur (Ljubljana), Natascha Sadr Haghighian (Berlin/Tehran), Rasha Salti (Beirut), Rojda Sekersöz (Stockholm), Gulf Labor/Natascha Sadr Haghighian (Ashok Sukumaran (Mumbai)), Dmitry Vilensky (S:t Petersburg), Marion von Osten (Berlin), Mathias Wåg (Stockholm) and Aleksandra Ålund (Norrköping).
The symposium is a collaboration with REMESO: The Institute for Research on Migration, Ethnicity and Society at Linköping University.
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In collaboration with the Guinean filmmakers Sana Na N’Hada, Flora Gomes, and Suleimane Biai and with the institutional support of the Arsenal – Institute for Film and Video Art, Berlin, artist Filipa César and curator Tobias Hering embarked in 2012 on an ambitious project which included the digitization of the remains of a very fragmentary audio-visual archive stored in Bissau and, subsequently, an ongoing series of discursive events and screenings dedicated to this material. They named the project Luta Ca Caba Inda after the title of an unfinished film in this collection.
Filipa César (Berlin) is an artist and filmmaker interested in the porous boundaries between the moving image and its public reception, the fictional aspects of the documentary, and the politics and poetics inherent to the production of audiovisual matter. Since 2011, César has been researching the origins of cinema in Guinea-Bissau, exploring its geopolitical radiancies, uprising promises, and poetic potencies today, and developing that research into the collaborative project Luta Ca Caba Inda. She is a participant of the project Visionary Archive, 2013–15 by the Arsenal-Institute for Film and Video Art, Berlin. Selected film festivals include Kurzfilmtage Oberhausen, 2013; Forum Expanded – Berlinale, 2013; IFFR, Rotterdam, 2010, 2013 och 2015; Indie Lisboa, 2010; DocLisboa, 2011. Selected exhibitions and screenings include Istanbul Biennial, 2003; Tate Modern, London, 2007; SFMOMA, 2009; São Paulo Biennial, 2010; Manifesta 8, Cartagena, 2010, Haus der Kulturen der Welt, Berlin, 2011; Festival Meeting Points 7, 2013–14; NBK, Berlin, 2014, and SAAVY Contemporary, Berlin 2015. Contemporary, Berlin 2015.
Marion von Osten Tricontinentale Net – Prospects and Projects
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The online platform and journal jtricontnentale.net aims to revisit the historical prospect of the Tricontinental Movement created by activists, theorists, musicians, filmmakers, and artists as a major references point for non-aligned transnational solidarity projects until today. Constituted as African, Asian, and Latin-American anti- colonial and non-aligned resistance, from the mid-1960s onwards, the Tricontinental Movement had immense effects on the constitution of the New Left and various Third World solidarity initiatives in the Northern hemisphere. The Action Committee of tricontinentale.net consists of Marion von Osten (Berlin), Mathieu Kleyebe Abonnenc (Metz), Olivier Hadouchi (Paris), Serhat Karakayali, (Berlin) Kenza Sefrioui (Casablanca), Peter Spillmann (Zurich/Berlin), and Daniel Weiss (Zurich).
Marion von Osten (Berlin) is a visual artist, writer, and exhibition maker. She is a founding member of Labor k3000 Zurich (1999–), together with Peter Spillmann; of kpD – kleines post- fordistisches Drama (2003–) and of the Center for Post-colonial Knowledge and Culture (CPKC, Berlin) (2010–). Research and exhibition projects include Aesthetics of De-colonization, Institute for Theory; ZHDK Zurich/ Center for Post-colonial Knowledge and Culture (CPKC, Berlin); Model House— Mapping Trans-cultural Modernisms, Academy of Fine Arts Vienna, 2010–2013; Action! painting/publishing, Les Laboratoires d’Aubervilliers, Paris, 2011–2012; In the Desert of Modernity— Colonial Planning and After, Les Abattoirs de Casablanca, 2009 and Haus der Kulturen der Welt, Berlin, 2008. Since 2013, is doing a PHD in Fine Arts Candidate at Lund University/Malmö Art Academy.
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During this intervention, Mathieu Kleyebe Abonnenc will look briefly at the history of the creation of the Tricontinental magazine in order to determine the originality of its political and aesthetic contributions. He will specifically focus on the French translation of the magazine published by François Maspero between 1968 and 1971. Abonnenc will try to put these translations in the French political and editorial context of the 1960s and also to explore the gaps and differences between the Cuban and the French magazine as so many productive adaptations of the political and aesthetic project of the Tricontinental. Finally, he will also try to locate traces of the dissemination of these magazines by the copying and/or reusing of articles or images in publications in Mozambique or French Guiana.
Artist Mathieu Kleyebe Abonnenc (Metz) devotes his focus to the cultural hegemonies upon which the evolution of contemporary societies is based. Through video, photography, installations, drawing, or exhibition projects, Abonnenc explores the principles behind the dominant presence of pre-existent elements and events—notably those linked to imperial history and the colonies of so-called developed countries. Recent group exhibitions include All World’s Futures, 56th Venice Biennale and Personne et les autres, Belgian Pavilion. He was part of the Berlin Biennale 2014, Giving Contours to Shadow. He has recently presented his work in solo shows in such venues as Kunsthalle Basel; Fondation Serralves, Porto; Pavilion, Leeds; La Ferme du Buisson, Noisiel; Marcelle Alix, Paris, and Gasworks, London.
Ingela Johansson The Great Miners’ Strike 1969–70 in Sweden and its solidarity actions
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This talk will elaborate on how art has reflected the historical event of the strike in Northen Sweden 1969–70. The strike in the state-owned mining companies has been described as the first major cracks in the facade of the welfare state. The outstanding and broad social engagement and activism for the strikers’ cause included different fields of culture workers who mirrored the situation in various works. During the talk, Johansson will give examples of how solidarity was manifested.
Since 2010 artist Ingela Johansson (Stockholm) has been working on her investigation What happened with the art of the strike? in which she examines the great miners’ strike and how it relates to the general radicalization of the artistic and cultural landscape in the wake of the 1968 uprising. The project has taken various forms, each of which makes use of archival materials from the time of the strike.
Bojana Piškur The Museum of Solidarity in Santiago 1971
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The focus for this talk will be various emancipatory practices within culture, specifically at the Museum of Solidarity in Santiago, Chile. In 1972, an important event was organized under the auspices of UNESCO, a seminar in Santiago—capital of a socialist and non-aligned Chile—debating a new type of museum, one that would link cultural rehabilitation with political emancipation. This museum would follow social and cultural changes closely and be socially progressive without being ideologically restricted by any political representation. An example would be, if observed retrospectively, the Museum of Solidarity in Santiago, Chile. The concept of this museum was the common idea of two people: president Salvador Allende and Maria Pedrosa, a Brazilian art critic in exile in Chile. After an open letter by President Allende to the artists of the world in 1971, donations from all over the world started to arrive in Santiago. There were 600 works alone in the first year of the museum’s existence, representing a heterogeneous mixture of styles. The act of donation was a political action in itself and considered as a concept of political and cultural solidarity with Chilean socialist project. This museological experiment ended abruptly with the military coup in September 1973.
Bojana Piškur (Ljubljana) graduated in art history from the University of Ljubljana and received her Ph.D. at the Institute for Art History at the Charles University in Prague, the Czech Republic. She is a senior curator at the Moderna Galerija in Ljubljana. She has researched topics including post avant- gardes in former Yugoslavia, absent archives, relationships between art forms and politics of resistance, etc., always in relation to the wider social and political environment.
Kodwo Eshun Forms of Discontent in Handsworth Songs by Black Audio Film Collective
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Godard’s Kino-Eye section in Loin de Vietnam (1967) initiates the institutional critique of cinema as a means for building political solidarity. The kinds of Left-pathos yielded by the cinematic auto-critiques of solidarity is elaborated in Nightcleaners Part 1 (1975) by Berwick Steet Collective and reaches its zenith with Ici et Ailleurs (1976) by Godard and Kean-Pierre Gorin. Handsworth Songs (1986) by Black Audio Film Collective announces the end, not of cinematic solidarity as such, but of the tradition of Left cinematic critiques of solidarity.
Kodwo Eshun (London) is an artist and theorist. In 2002, he co-founded the Otolith Group, whose works have been recently presented in solo exhibitions at Serralves, Porto and Bergen Kunsthall and in group exhibitions such as The Anthropocene Project: A Report, Haus der Kulturen der Welt and Cut to Swipe, Museum of Modern Art, New York. In 2010, the Otolith Group was nominated for the Turner Prize. Eshun has co- curated exhibitions on Black Audio Film Collective, Harun Farocki, and Anand Patwardhan. He is the author of Dan Graham: Rock My Religion (2012) and More Brilliant than the Sun: Adventures in Sonic Fiction (1998) and co-editor of World 3 (2014), The Militant Image: A Cine-Geography: Third Text 108 (2011), Harun Farocki: Against What? Against Whom? (2009), and The Ghosts of Songs: The Film Art of the Black Audio Film Collective (2007). Eshun lectures in Aural and Visual Cultures at the Department of Visual Cultures, Goldsmiths, University of London.
Kristine Khouri och Rasha Salti In the Labyrinths of Exhibition Histories: The International Art Exhibition for Palestine, Beirut 1978
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For five years, Kristine Khouri and Rasha Salti have conducted research about and around an exhibition of an exceptional scale and scope that took place in Beirut in the midst of the civil war and whose archival and documentary traces have been almost entirely lost. The International Art Exhibition for Palestine opened at the Beirut Arab University in March 1978. It was comprised of some two hundred artworks donated by artists hailing from thirty countries, including Matta, Tàpias and Miró. The exhibition was intended as the seed collection for a museum in exile, taking the form of an itinerant exhibition that was meant to tour worldwide until it could be repatriated to a free and de-mocratic Palestine. The size and scope of the exhibition was unprecedented in the region.
Kristine Khouri (Beriut) is an independent researcher and writer. Her research interests focus on the history of arts circulation and infrastructure in the Arab world. She curated The Founding Years (1969–1973): A Selection of Works from the Sultan Gallery Archives (2012) at the Sultan Gallery, Kuwait. Rasha Salti (Beirut) is a writer, researcher, and curator and an international programmer for the Toronto International Film Festival.
Together, Khouri and Salti are co-founders of the History of Arab Modernities in the Visual Arts Study Group, a research platform focused around the social history of art in the Arab world. Their current work is focused on the history of that was opened in Beirut in 1978. The research of the International Art Exhibition in Solidarity with Palestine was transformed into an exhibition, Past Disquiet: Narratives and Ghosts of the International Art Exhibition for Palestine, 1978, which opened at the Museu d’Art Contemporani de Barcelona (MACBA) in 2015.
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The presentation will provide some thoughts on the September 2015 surge of refugee solidarity in Sweden and around Europe. Why now? What does it say about the future? Is this an example of the Eros Effect? If so, who is the object of desire here? To continue, he will look at the history of racism and the history of solidarity in post-World War II Sweden. Theories of Swedish exceptionalism, that is, of Sweden’s unique status as the internationalist nation—are they in any way plausible? Theories of Sweden as the run-of- the-mill racist European nation—are they plausible too? Jonsson will then elaborate on the Swedish manifestations of solidarity with the anti-colonial struggles and the third world in the 1960s and 1970s, after which he will move on to the debate about structural discrimination and multiculturalism of the 1990s and 2000s. In which ways can these two tendencies elucidate one another? Are they successive of or concurrent with one another?
Stefan Jonsson (Norrköping) is professor of ethnic studies at the Institute for Research on Migration, Ethnicity, and Society (REMESO), Linköping University and a critic at Sweden’s major newspaper Dagens Nyheter. He has written widely on European modernism and modernity, focusing especially on representations and fantasies of crowds and collectivities, as well as on racism and on colonial and postcolonial cultures and aesthetics. Among his recent books are A Brief History of the Masses and Crowds and Democracy (2013) and, co-authored with Peo Hansen, Eurafrica: The Untold History of European Integration and Colonialism (2014).
Peo Hansen Solidarity Knows Only Borders: Reflections on the Current Refugee Crisis in the European Union
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In response to the current refugee crisis in and around the European Union, calls for solidarity have been abundant. Many EU leaders, intellectuals, and others been eager to invoke “European solidarity” and “European values” as remedies for the crisis and for nationalist resurgence. Yet, since EU cooperation on asylum and refugee matters has always claimed European solidarity and European values as its guiding principles, this talk seeks to understand why this same EU cooperation has proven so utterly detrimental to refugees and so ill-equipped to deal with the global refugees crisis.
Peo Hansen (Norrköping) is Professor of Political Science at the Institute for Research on Migration, Ethnicity, and Society, REMESO, Linköping University. His main research interests revolve around European integration, EU migration policy, postwar European geopolitics, and the history of colonialism and decolonization. His most recent publications include The Politics of European Citizenship: Deepening Contradictions in Social Rights and Migration Policy (2012) and Eurafrica: The Untold History of European Integration and Colonialism (co-authored with Stefan Jonsson, 2014).
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This talk will recount two incidences of violence whose investigation and prosecution seems unfinished. The first case addresses an incident that occurred in Stockholm’s Husby neighborhood in May 2013. Lenine Relvas-Martins, a 69 year old resident of Husby, was killed by the Piketen police in his own apartment. The presentation will try to connect the incidence to questions about the militarization of police, systemic racism, and the hegemony over violence. Why do certain violent acts stay legally unaccounted for? Often we find ourselves left to our own devices, as there seems no legal instrument to charge police, secret service, or other government entities. Natascha Sadr Haghighian’s upcoming project Fuel to the Fire at Tensta konsthall recounts and contextualizes Relvas-Martins’s killing. The other case addresses the many inconsistencies and unsolved questions around the terror acts committed by the rightwing underground group NSU (The National Socialist Underground). The group killed 10 people in Germany and injured many more over the course of 13 years. Allegedly, they had support not only from different rightwing groups but also from within the Federal Intelligence Service, the Federal Office for the Pro- tection of the Constitution, the Military Counterintelligence Service, and the police.
Natascha Sadr Haghighian’s (Berlin/ Tehran) research-based practice encompasses a variety of forms and formats, among them video, performance and installations and is primarily concerned with the socio- political implications of contemporary modes of world-making, especially in the field of vision. Her project Fuel to the Fire will take place at Tensta konsthall in 2016. Rather than offering highlights from a CV, Haghighian asks readers to go to www.bioswop.net, a CV-exchange platform where artists and other cultural practitioners can borrow and lend CVs.
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Over the last ten years, a new kind of district organization has emerged in the suburbs of Stockholm. The organizations are not only working for the conversions of their own neighborhoods, but also using their structures to work practically and in solidarity to help EU migrants. They support transit refugees, and arrange anti-racist manifestations, and provide help during, for example, fire disasters. But despite the positive experiences, these local initiatives are met with skepticism by the authorities and seen as a “noisy minority” trying to undermine the legitimacy and interests of the authorities. A paradoxical situation has arisen where grassroots organizations are labeled as extremists and conflict-creators and actively thwarted by the new authority, the National Coordinator Against Violent Extremism, even while these organizations are filling in where the authorities have failed and are, thereby, preventing catastrophic situations.
Mathias Wåg is the publisher of the anarchist magazine Brand. Wåg began his activist years during the struggles to save the Hansta forest in the Järva field in the late 80s and in the resistance to the building of highway constructions around Stockholm in the 90s. He has published the anthology I stundens hetta (In the Heat of the Moment) (2011), which summarizes ten years of international mass mobilizations from globalization movements to crisis protests. During the 00s, Wåg has lived intermittently in Italy and been active in the movement for the autonomous social center. He is currently contributing to the anthology Nutida politiska teoretiker (Contemporary Political Theorists) (2015), with a chapter on the Italian autonomous thinker Antonio Negri. Wåg won the Guldspaden (Golden Shovel) Journalist Award in 2014 for his investigations with the journalist collective the Research Group into anonymous racist hatred on the internet.
Aleksandra Ålund Swedish Urban Justice Movements— Options Ahead?
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This presentation will summarize an ongoing research project on Urban Justice Movements (UJM) following the youth uprising in Swedish cities in 2009 and 2013. The project investigates how UJM relate to the established Swedish civil society organizations, what social imaginaries are produced, and how UJM constitute themselves as public voices in mass media, cultural politics, popular culture, etc.
Aleksandra Ålund (Norrköping) is professor at REMESO, The Institute for Research on Migration, Ethnicity, and Society at Linköping University. She has published widely in Swedish, English, and other languages on international migration and ethnicity, identity, culture, gender, youth and social movements.
Ashok Sukumaran/Gulf Labor (replaced by Natascha Sadr Haghighian) The Museum and the Camp
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Since 2011, Ashok Sukumaran has been part of the Gulf Labor Coalition, whose struggle to ensure workers’ rights has led to concrete results, with the private institutions and businesses involved in Saadiyat Island agreeing to a minimum set of commitments, including the right to change jobs, an end to passport confiscation, and the refunding of recruiting fees. Sukumaran has been to Saadiyat Island and its construction sites and worker camps many times as an artist-researcher and translator. In March this year, for reasons described only as “security,” he was thrice denied a visa to enter the UAE.
Ashok Sukumaran (Bombay) is co-founder of the collective studio CAMP and the footage archive Pad. ma. His artistic interest has been in aspects of contemporary existence that recede from our senses and from cognition. CAMP’s collective artistic projects since 2007 include films, exhibitions, and books nestled in electrical systems, surveillance systems, archives, and maritime worlds among others. A six-year project on the Indian Ocean recently resulted in the film From Gulf to Gulf to Gulf and two publications, Wharfage (2009) and M.S.V. (forthcoming, 2016).
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In this talk, Dmtry Vilensky will focus on Rosa’s House of Culture, a recent initiative of the St. Petersburg-based collective Chto Delat. It is the space and process in which art is building its new engaged public. At this moment, art exists under pressure from state structures, new laws, and aggression from the general public and, at the same time, risks all forms of instrumentalization from the side of neo-liberalism. Rosas's House of Culture questions the legacy of the Soviet tradition of Houses of Culture, which was a well-spread, state-supported infrastructure for leisure and educational activities of people in Soviet Union. What can we learn from that experience, and how can we imagine a new model of the House of Culture in composing a counter-public sphere?
Dmitry Vilensky (St. Petersburg) is an artist and educator who works mostly in collective practices and focuses on developing large-scale architecture constructions, learning plays and films. Не is a founding member of Chto Delat (What is to be done?), a platform initiated in 2003 by a collective of artists, critics, philosophers, and writers with the goal of merging political theory, art, and activism. Vilensky is also an editor of the Chto Delat newspaper and main facilitator of a School of Engaged Art in St. Petersburg. He has participated with Chto Delat in their recent exhibitions and performances, including the San Paulo Biennale 2014; Haus der Kulturen der Welt, Berlin, 2013; Gwangju Biennale, Gwangju, 2012; Chto Delat Perestroika: Twenty Years After: 2011–1991, Kölnischer Kunstverein, Cologne, 2011; Ostalgia, New Museum, New York, 2011; Study, Study and Act Again, Moderna Galerija, Ljubljana, 2011; and The Urgent Need to Struggle, Institute of Contemporary Art, London, 2010.
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As part of the so-called “second generation of immigrants” from Bakur (the Kurdish part of Turkey), Sekersöz makes work that revolves around political events in Kurdistan and Sweden and experiences from her own childhood in the northern suburbs of Stockholm and the village of Älvdalen in Dalarna. The presentation will focus on stories that link together artistic work and political pressures, including meetings with activists from Rojava (the Kurdish part of Syria) and the work to collect 170 000 SEK for medicine for the region. In the newly started project the Bakur Committees, Sekersöz wants to draw attention to the critical political situation in the region through digital campaigns and tangible solidarity actions.
Rojda Sekersöz (Stockholm) studied film directing at the Stockholm Academy of Dramatic Arts. She is also a poet in the poetry network Revolutionary Poetry. She is currently developing her first film with the working title "Dream on", about a girl who dreams of a different life, but constantly forced into in the existing system. Sekersöz is also working on the short film Carnita in the Making about Carlos and his drag persona Carnita Molida.
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This talk will depart from an image that was taken in a room in the Hotel Beau Rivage in Beirut in 1980 while the East-German photographer Horst Sturm and his Palestinian-Lebanese bodyguard took a rest. It was taken in a political moment when, for the people, the Palestinian struggle changed from armed resistance against Israel’s occupation to the continuation of the militant struggle by the means of photography. It is a moment when the revolutionary image that portrayed the strength of the people’s struggle changed to a humanitarian image that exposed the people’s defeat as an economy of suffering. The talk will put “solidarity” in question by unpacking the social-collective necessity for image production to move below official solidarity declarations, while being situated exactly inside those structures.
Doreen Mende (Berlin) is a curator and theorist. Recent exhibitions include KP Brehmer Real Capital – Production, Raven Row, London 2014; Travelling Communiqué, 2014–13, Museum of Yugoslav History in Belgrade, Haus der Kulturen der Welt in Berlin. Mende is co-editor of eflux journal 59 Harun Farocki (2014), resident writer of the blog for Manifesta Journal (2013–14), and editor-in-chief of the publication series Displayer at University of Arts and Design/ZKM Karlsruhe (2006–09). Since 2015 Mende has been the responsible professor for a research- based program on the practice and theory of curatorial questions in geopolitics at HEAD Genève.
Sound records Symposium: The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice, was held Saturday 17.10, 10:00–18:00 2015. 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?more →
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The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice
The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice. The symposium forms the starting point of a multi-year inquiry into the relationship between art and solidarity movements, performed in a series of commissions, exhibitions, workshops, presentations, and film screenings. Faced with fascist parties gaining ground in Europe and an increasingly tough social climate, we see the necessity to return to the notion of solidarity in order to try its validity today. Will solidarity still be relevant in the future, or is it a historical concept? Do we need to find new ways to describe the political movements of today and their struggles, sympathies, and commitments? What does recognizing the urgency of a situation imply, and how do we act upon it?
Saturday 17.10, 10:00–18:00 2015 Symposium The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice. Listen to the presentations here.
The invited speakers are Mathieu Kleyebe Abonnenc (Metz), Filipa César (Berlin), Kodwo Eshun (London), Peo Hansen (Norrköping), Ingela Johansson (Stockholm), Stefan Jonsson (Norrköping), Kristine Khouri (Beirut), Doreen Mende (Berlin), Bojana Piškur (Ljubljana), Natascha Sadr Haghighian (Berlin/Tehran), Rasha Salti (Beirut), Rojda Sekersöz (Stockholm), Gulf Labor/Ashok Sukumaran (Mumbai), Håkan Thörn (Göteborg), Dmitry Vilensky (S:t Petersburg), Marion von Osten (Berlin), Mathias Wåg (Stockholm) and Aleksandra Ålund (Norrköping).
The Eros Effect project borrows its title from the researcher and activist George N. Katsiaficas's essay by the same name from 1989. We will continue to build on the analytical tool “Eros Effect,”which is an attempt to acknowledge the emotional aspects of social movements. The concept thus aims to turn away from earlier theories that considered “mass movements” as primitive and impulsive, as emotional outbursts, or as exclusively rational efforts in order to change the norms and institutions of a society. With his notion the Eros Effect, Katsiaficas suggests that social movements always constitute both and that the struggle for liberation is equally an “erotic” act and a rational desire to break free from structural and psychological barriers. Franz Fanon made similar observations when he stated that resistance towards colonialism causes positive effects on the emotional life of individuals.
The symposium is a collaboration with REMESO: The Institute for Research on Migration, Ethnicity and Society at Linköping University. The opening for Filipa César's project Transmission From the Liberated Zones will be from 19:00 to 21:00. This is the first presentation within the project The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice.
RSVP to office@tenstakonsthall.se no later than Thursday, 15 October.
Program (changes might appear)
10:00 Introduction by Maria Lind, Stefan Jonsson, and Peo Hansen 10:30 Filipa César: Notes on Luta Ca Caba Inda (The struggle is not over yet) 10:50 Marion von Osten: The Tricontinentale Net – Prospects and Projects 11:10 Mathieu Kleyebe Abonnenc: A Continental Drift 11:30 Pause 11:50 Håkan Thörn: The Meaning of Solidarity: The Case of the Global Anti-Apartheid Movement 12:10 Ingela Johansson: The Great Miners’ Strike 1969–70 in Sweden and its solidarity actions 12:30 Bojana Piškur: The Museum of Solidarity in Santiago 1971 12:50 Kodwo Eshun: Forms of Discontent in Handsworth Songs by Black Audio Film Collective 13:10 Kristine Khouri and Rasha Salti: In the Labyrinths of Exhibition Histories: The International Art Exhibition for Palestine, Beirut 1978 13:45 Lunch 14:30 Stefan Jonsson: The Question of Solidarity 14:45 Peo Hansen: Solidarity Knows Only Borders: Reflections on the Current Refugee Crisis in the European Union 15:10 Natascha Sadr Haghighian: Left To Our Own Devices 15:30 Mathias Wåg: The Politics of Self Organization 15:50 Pause 16:10 Aleksandra Ålund: Swedish Urban Justice Movements – Options Ahead? 16:30 Ashok Sukumaran/Gulf Labor: The Museum and the Camp 16:50 Dmitry Vilensky: Rosa’s House of Culture 17:10 Rojda Sekersöz: The Story in Focus 17:30 Doreen Mende: Solidarity in Struggle 18:00 Discussion
The symposium is free of charge.
A film program that includes some of the symposium's guests took place Sunday 18.10, 13:00–16:00.
Ca va, ça va, on continue (2013) by Mathieu Abonnenc The Lesson on Dis-Consent (2011) by Chto Delat In the Year of the Quiet Sun (2013) by Otolith Group The Poetry of Anger (1978) by Lennart Malmer
The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice. The symposium forms the starting point of a multi-year inquiry into the relationship between art and solidarity movements, performed in a series of commissions, exhibitions, workshops, presentations, and film screenings. Faced with fascist parties gaining ground in Europe and an increasingly tough social climate, we see the necessity to return to the notion of solidarity in order to try its validity today. Will solidarity still be relevant in the future, or is it a historical concept? Do we need to find new ways to describe the political movements of today and their struggles, sympathies, and commitments? What does recognizing the urgency of a situation imply, and how do we act upon it?more →
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The Trial: Rossella Biscotti
The Trial / Il Processo (2010/2017) by Rosella Biscotti. Based on the original courtroom recordings from the 1982–84 trial of members of Autonomia Operaia in Rome.
Important update: The actual performance is postponed until May. Instead an open working rehearsal around The Trial will take place Sunday 29.1, 13.00–16.00.
13.00–14.00 Introduction to the context, the characters and the participants to the 7th April Trial. Mathias Wåg, Michele Masucci, Joanna Warsza, and CuratorLab.
14.00–16.00 Round table on the characters, their characteristics, and short readings.
With: Samira Ariadad, Florin Bobu, Emily Fahlén, Domna Gounari, Madelene Gunnarsson, Nikki Kane, Sarah Kim, Christine Langinauer, Julia Lindblom, Maria Lind, Staffan Lundgren, Jérôme Malpel, Michele Masucci, Burak Mungen, Saima Usman, Joanna Warsza and others. Curated by Tensta konsthall and CuratorLab directed by Joanna Warsza.
On the April 7, 1979, a number of left-wing activists and intellectuals, members of Potere Operaio (Workers Power) and Autonomia Operaia, including the subsequently influential philosophers Antonio Negri and Paolo Virno, were arrested across Italy on charges of terrorism. They were accused of leading the armed organization Brigate Rosse (the Red Brigades) and creating the intellectual backing for left-wing radicalism. The original trial took place between 1982 and 1984, before the Criminal Court of Rome, in the same high-security courthouse that hosted important trials of Italy’s ‘years of lead’ (Anni di piombo) – a period of social turmoil and extremism in Italy (its name comes loosely from the number of bullets being used back then). The fact that Autonomia Operaia was not related to and did not direct the Red Brigades was eventually recognized by the Italian legal system when all charges were dropped on appeal in 1987.
Rossella Biscotti edited a six-hour excerpt from the original recordings by Radio Radicale, a radio station run by Italy’s Radical Party. The original audio is translated and interpreted live by a number of Stockholm-based cultural producers including CuratorLab participants, invited artists, activists, and other inhabitants from Tensta.
The act of translation is also an act of mediation, and an embodiment of the ideas developed by Autonomia Operaia. The piece offers the performative act of transversing and translating the trial with one’s own body, experiencing and re-expressing concepts such as labour, wage negotiation, precarity, immaterial working conditions, and other core notions. These are all concepts that many cultural workers of today are actively rethinking–often inspired by the so-called Operaist movement–in order to potentially gather in solidarity and organize.
In the end, activists and intellectuals were convicted; for example Virno was sentenced to twelve years in prison for "subversive activities and creation of an armed group." In 1987 he appealed and was released. Negri was still in prison awaiting trial in 1983 when he got elected as a member of the Radical Party. The fact that he was a member of parliament gave him an opportunity to claim immunity and he was temporarily released. He then escaped to France and stayed there for fourteen years. In 1997, after negotiations, his prison time got reduced from 30 to 13 years. Negri returned to Italy to serve the end of his sentence and was released from prison in the spring of 2003.
Rossella Biscotti has taken part in major international exhibitions including Sonsbeek 16, Arnhem (2016) 55th Venice Biennale and 13th Istanbul Biennale (2013), dOCUMENTA 13 (2012), and Manifesta 9 (2012). She will participate in the coming Contour Biennial, Mechelen. Her work has been presented in solo exhibitions at Museion in Bolzano (2015), Wiels in Brussels, Sculpture Center in New York (2014), Secession in Vienna, e-flux in New York (2013), and CAC Vilnius (2012) among others.
The performance is a part of Tensta konsthall’s multi-year inquiry The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice, which looks 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 test 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 Eros Effect project borrows its title from the researcher and activist George N. Katsiaficas's essay by the same name from 1989. We will continue to build on the analytical tool “Eros Effect,” which is an attempt to acknowledge the emotional aspects of social movements. The concept thus aims to turn away from earlier theories that considered “mass movements” as primitive and impulsive, as emotional outbursts, or as exclusively rational efforts in order to change the norms and institutions of a society. With his notion the Eros Effect, Katsiaficas suggests that social movements always constitute both and that the struggle for liberation is both an “erotic” act and a rational desire to break free from structural and psychological barriers. Franz Fanon made similar observations when he stated that resistance towards colonialism creates positive effects on the emotional life of individuals.
With support from the Italian Institute in Stockholm.
The Trial is a joint project by Tensta konsthall, CuratorLab at Konstfack University College of Arts, Crafts and Design, and Konstfack Research Week 2017.
The Trial by Rosella Biscotti. On April 7, 1979, a number of militant and intellectual former members of Potere Operaio (Workers Power) and Autonomia Operaia in Italy were arrested on suspicion of terrorism. They were accused of having initiated the armed organization the Red Brigades and of the kidnapping of Aldo Moro.more →
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Citizen to Citizen
Thuesdays 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 ←
Thuesdays 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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Text Prize 2016
It’s time to send in your contribution to Tensta konsthall's Text Prize. The contest is for young people aged 15-25 years who reside in Stockholm’s outer urban areas. The form of the text is not set: it can be a short story, a diary note, an essay, rap lyrics, poetry, or an everyday observation. It is important that stories get a chance to be formulated. The prize aims to promote young people's interest in language and the desire to address their own reality, their thoughts and ideas, in words. The competition is held in collaboration with Tensta Library, and the winner will be announced in March 2017. First prize is 5,000 SEK, second prize 2000 SEK, and third prize 1,000 SEK.
The jury is composed of writer Lena Andersson, poet Meron Mangasha, publisher Björn Linnell, journalist Rouzbeh Djalaie, Tal Lewinsky from Tensta Library, and Emily Fahlén from Tensta konsthall.
Send the text to emily@tenstakonsthall.se along with your name, birth date, address, and telephone number. The deadline to submit is 13.2 2017.
28.12–29.12, 13:00–16:00 Text workshop with Arazo Arif. Open workshop for for young people who wish to be guided in their writing and want to make a contribution to Tensta konsthall’s Text Prize 2016. Bring your idea, your commenced text or your finished works and exchange ideas, read other people's texts and learn tips and tools for writing more.
Arazo Arif is a poet and journalist, project manager and editor for the platform Kultwatch, and the third prize winner of the Text Prize 2015.
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Winners 2016: First Prize winner: Mona Monasar med Andra generation och Vit, Vit, Vit Second prize winner: Evin Cherif med Halvmånsformade ärr Third Prize Winner: Nioosha Shams med En värld som färgas röd
Winners 2015: First Prize winner: Marianne Al-Ghorabi with I am a Tensta-katt Second prize winner: Evyn Shipowner with tPlatsen där jag bor/ Vår historia Third Prize Winner: Arazo Arif with Om platsen där jag bor är världen vem är jag då
Honorable Mention: Lema Shansab
Winners 2014: First Prize Winner: Evin Ahmad with the collection of poems Blog, svett och pipas. Second prize winner: Nebay Araya with Gråa Väggar Hårda Skal Third Prize Winner: Sofia Pappa with Låt stå!
For the third year in a row, Tensta konsthall presents a text prize for young people aged 15-25 years who reside in Stockholm’s outer urban areas. The form of the text is not set: it can be a short story, a diary note, or an essay as well as rap lyrics, poetry, or an everyday observation. It is more important that stories get a chance to be formulated and get spread than that they have correct grammar and flawless Swedish. The prize aims to promote young people's interest in language and the desire to dress their own reality, their thoughts and ideas, in words. It is the formulated existence that creates clear contours.more →
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Vegan brunch
Vegan brunch. On the last Sunday of every month, café Auel hosts the konsthall’s popular vegan brunch with East African dishes. On the menu : Injera (sourdough bread), cauliflower mash, parsley, chick-peas with berbere, spinach beet and kale stew, zucchini with chilli, lentil stew with caraway, sweet potato salad with pomegranate and rocket salad, tabbouleh and more. Sittings: 12:00 and 13:30. For bookings please contact: auelcoffee@hotmail.com.
Vegan brunch. On the last Sunday of every month, café Auel hosts the konsthall’s popular vegan brunch with East African dishes. On the menu : Injera (sourdough bread), cauliflower mash, parsley, chick-peas with berbere, spinach beet and kale stew, zucchini with chilli, lentil stew with caraway, sweet potato salad with pomegranate and rocket salad, tabbouleh and more. Sittings: 12:00 and 13:30. For bookings please contact: auelcoffee@hotmail.com.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.
Ongiong 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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The News Agency
Ongoing The News Agency, a long-term initiative for young people who are interested in journalism that focuses on the production and analysis of different forms of documentary storytelling. Nyhetsbyrån is a part-time course for young people aged 18 to 26 that is run in collaboration with JMK, the Department of Media Studies at Stockholm University, and GDI, the Graphic Design & Illustration department at Konstfack. By borrowing methods from art, the course enables an approach that opposes a sensationalist media logic in favor of thought and reflection.
Nyhetsbyrån is taught by teachers from JMK and Konstfack together with invited guest teachers. Some educational moments will take place in the school's workshops and studios, but most of the work will be done at Nyhetsbyrån's facilities in Tensta. Study visits and internships at workplaces are important components of the course.
The course poses questions regarding the possibilities for developing new routes into prestigious university programs for journalism and art. How can the entire city of Stockholm be represented at schools for art and journalism and in the editorial offices of newspapers and TV and radio stations? A long-term goal is to make these programs, which are currently dominated by very homogeneous student groups, available to more people.
In the same way as TT News Agency, Nyhetsbyrån intends to operate under the slogan "we make other better." The production of text, images, graphics, and video material, with an emphasis on documentary storytelling from the suburbs, is a way to act as a national news agency aimed towards a more representative journalism. Nyhetsbyrån's web page will hopefully play an important role as a body of knowledge to be used by established media in their research.
Nyhetsbyrån will also arrange separate courses, public conversations, open lectures, and screenings of video work.
Ongoing The News Agency, a long-term initiative for young people who are interested in journalism that focuses on the production and analysis of different forms of documentary storytelling. Nyhetsbyrån is a part-time course for young people aged 18 to 26 that is run in collaboration with JMK, the Department of Media Studies at Stockholm University, and GDI, the Graphic Design & Illustration department at Konstfack. By borrowing methods from art, the course enables an approach that opposes a sensationalist media logic in favor of thought and reflection.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.
Ongoing The artist and composer Tarek Atoui work with the music genre, Tarab, and other classical Arabian music. It has a very sparsely documented history which Atoui, trained in electro-acoustic music and sound art, has delved into over several years. In Tensta he creates, over a period of six months, a kind of living archive together with local musicians and people interested in music. It becomes a bank of experience, whose constant changes and elaborations take place through encounters, listening together, improvisational concerts and conversations about music. All this ends up in various pieces of music that can be heard in the gallery café and concerts at Stockholm Music & Arts and Tensta Market. The participants' various musical traditions become an expression of Järva’s diverse musical identity.
The core of Tarek Atoui’s work is an ongoing reflection on the instrument as an idea and of the performative act as a complex, open, and dynamic process. He builds new instruments and invites groups of professional musicians to take on music that is unknown to them and then create new music based on it; he has for example worked with deaf children and observed Arabic music’s unwritten history. Atoui is an artist, composer, and musician from Beirut who prefers a collective approach and testing restrictive practice opportunities in performance, composition, and improvisation. He has extensive experience in initiating and managing artistic innovation and workable common processes, among others at the art exhibition Documenta in Kassel in the summer of 2012 and at the biennial in Sharjah the next year.
The music presented in Stockholm is the result of a process where a group of twenty people associated with the Järva area create the basis for a new piece of music through constant change and refinement of already existing music of their choice. The project started in April when posters were put up in the Järva area inviting musicians to an open meeting at Tensta Konsthall.
After the audition process a new group of musicians was created, playing everything from jazz, hip hop, and afrobeat to reggae, folk, and soul. All of the musicians carry a curiosity and willingness to test their limits in a project whose foundation is in improvisation and experimental music. In May they started recording new material in the EMS studio 2. The newly recorded music is shared among the group's members for reinterpretations and remixes. The final step in the creative process is that all the new versions of the music are collected. From this Atoui creates a new whole in which improvisation has a natural role to play, and together they perform the piece of music on stage.
de:tune Järva: Abdugani Abdukerim, AfroDiivas, Afrodistance, James Barrett, Simon Bwomono, Taha Elneshily, Flimpoman, Bruno Hibombo, Örjan Hultén, Guljahon Hurramova, Fiedavs Kakimov, Jonas Kronman, Jan Liljekvist, Victor Lisinski, Tassos Spiliotopoulos, Zahir Tahir and Malin Thurén.
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1.8–3.8 Tarek Atoui and de:tune Järva at Stockholm Music & Arts 7.9 Tarek Atoui and de:tune Järva at Tensta Market
Playlist at Tensta konstall’s café, 2015
Jonas Kronman
The playlist was made by Jonas Kronman, 39, who grew up in Tensta. Jonas works with music in geriatric care. He joined de:tune Järva because of his desire to challenge himself and his broad interest in music, something that is clearly demonstrated in his playlist. “My playlist consists of African American music, Romani, Balkan, reggae, Finnish tango, Swedish ballads, Latin, etc. I love music partly because it creates the possibility of meetings.” Jonas Kronman is an active member of the music project detune: Järva, a project where musicians linked to the Järva area explore the district’s musical identity. Led by the artist and musician Tarek Atoui.
1. Arja Saijonmaa - Jag vill tacka livet 2. Bob Marley - Three Little Birds 3. Mikael Wiehe - Ska nya röster sjunga 4. Dire Straits - Brothers in Arms 5. Cyndi Lauper - True Colors 6. John Coltrane - Favourite Things 7. Louis Armstrong - What a wonderful world 8. Mary J. Blige - No More Drama 9. 2pac - Life Goes On 10. Mary Gauthier - Mercy Now 11. Karin Krog & Dexter Gordon - How Insensitive 12. Yasmin Levy - Naci En Alamo (Vengo)
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Taha Elneshily and Malin Thurén Playlist in Tensta konsthall Café, 2015 (artist/song)
1. Nina Simone – Feeling Good 2. Ana Carolina – Voce nao sabe 3. Ferran Savall – Paris 4. Samir Soror – Alf Lela we Lela 5. Mohamed Abdel Wehab – El naher el kaled - piano and violin 6. Amal Maher - Hob eh – song by Om Kolthom 7. Gahad Akl – Gabar played by violin 8. Shaima el Shaybe – Mahma tachoudni kadoudni el modone 9. Samo Zen – Helemt biki 10. Sherine – Ana kolli milkak 2014 11. Jihad Akl – Shiraz 12. Mehrezyia – El taouile fat el maedt - song by Om Kolthom 14. 13. George Assad – Songs in memory of Mohamed Abd el Wehab - violin 15. Karem Mahmoud – Enaby played with oud 16. Purcell – Dido & Aeneas - When I am laid in earth (Dido's lament) Elin Manahan Thomas 17. Hosno – Ana bahebec - turkish music 18. Laleh – Snö 19. Ray Lamontagne – A Falling Through 20. Philip Glass – The Hours (2002) soundtrack_ 01. The Poet Acts 21. Tingsek ft. Ane Brun – Easier 22. Nat King Cole – Unforgettable (HQ) 23. Saian Supa Crew – Abecedaire des cons (KLR) 24. Bo Sundström och Frida Öhrn – Det är vackrast när det skymmer 25. Mohammed Ali – Sista Resan (Officiell Musikvideo) 26. Halo by Ane Brun feat. Linnea Olsson – (If I Stay MV) 27. Ane Brun – Big in Japan 28. Avishai Cohen – Halah 29. Marin Marais – Le Badinage - Jordi Savall 30. First Aid Kit – Emmylou 31. Michael Kiwanuka – Home Again 32. Fatoumata Diawara – Makoun Oumou 33. Stina Nordenstam – Fireworks 34. Lisa Ekdahl – Nature Boy 35. Lisa Ekdahl – Vem vet 36. Françoise Hardy – Soleil 37. Laleh – dar yek gooshe 38. Laleh – Vårens Första Dag
Bruno Hibombo Playlist in Tensta konsthall Café, 2014 (artist/song)
Diamanda Galás –supplica a mia madre Fiona Apple – Red Red Red Tori Amos – Time Pj Harvey – The Darker Days of Me & Him Kate bush – Houdini Laurie Anderson – walking and falling Cibo Matto – Artichoke Deerhoof – Whither the Invisible Birds? Joni Mitchell – Hejira Portishead – Threads Charles Ives (Piano: Gilbert Kalish) – Piano Sonata No. 2, “Concord. Mass., 1840–60”: Third Movement, “The Alcotts” Philip Glass/Philip Glass Enesmeble – Closing Jocelyn Pook – Masked Ball Tricky – Makes Me Wanna Die Lokua Kanza – Liteya ACO–AmenoHinoTameni Moloko – It’s Nothing Papa Wemba – Awa Y’ Okeyi (Emotion Version) Peggy lee – Is That All There Is? Olivier Messiaen – O Sacrum Convivium! Henryk Gorecki – 3 pieces in old style: I. Michael Nyman (Harpsichord: Elisabeth Chojnacka) – Concerto for Harpsichord and Strings: Part 3 Henry Cowell – The Tides of Manaunaun
Bruno Hibombo is a musician and participant in de:tune Järva.
James Barrett Playlist in Tensta Konsthall café, 2014 (song/artist)
Archangel Thunderbird - Amon Duul II Black Fella White Fella - Warumpi Band Born into Magic - Stag Hare Boss Tabla - Transglobal Underground Death to Everyone – ’Bonnie’ Prince Billy Deer Head Apparition - Pelt Dread at the Controls - Mikey Dread Ephemeral Lakes - Gondwanaland Final Enclosure (Featuring Hakim Bey) – Braindamage Flowering of the Crown - 6majik9 From the Side of Man and Womankind - Tony Conrad and Faust Good Morning, Captain - Slint Heaven - Talking Heads Immigrants on Course - DJ Mutamassik Kailash Kokopelli - Kokopelli Dreaming Little Fluffy Clouds - The Orb Lysergic Sound Of Dub - High Tone Monday Morning in Lagos - Fela Kuti and Afrika 70 Money - P.A.I.N. (Propaganda and Information Network) One Way - The Levellers Place de Abbessess - Birdy Nam Nam Pêche de nuit - Henri Chopin Raga Bhimpalasi - Mallikarjun Mansur Raga Yaman - Villyat Kahn Red Skin Girl - A Tribe Called Red Theme de Yoyo - Art Ensemble of Chicago The Water Wheel - Hamza El Din Well-Heeled Man - Josephine Foster and The Supposed You Used to Think - Erica Pomerance Zombie - Fela Kuti and Afrika 7
James Barrett is an Australian sound artist, poet, academic and writer living in Stockholm, Sweden. He is completing a PhD in digitally mediated narrative in the Department of Language Studies at Umeå University. James plays didgeridoo, sitar, different hand drums, jaw harp, mouthorgan, guitar and various flutes. He has released CDs and individual sound pieces on labels in Australia, the United States and in Ukraine. More of his story and downloads of his music can be accessed from here: http://about.me/James.G.Barrett
Ongoing The artist and composer Tarek Atoui work with the music genre, Tarab, and other classical Arabian music. It has a very sparsely documented history which Atoui, trained in electro-acoustic music and sound art, has delved into over several years. In Tensta he creates, over a period of six months, a kind of living archive together with local musicians and people interested in music. It becomes a bank of experience, whose constant changes and elaborations take place through encounters, listening together, improvisational concerts and conversations about music. All this ends up in various pieces of music that can be heard in the gallery café and concerts at Stockholm Music & Arts and Tensta Market. The participants' various musical traditions become an expression of Järva’s diverse musical identity.more →
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Tensta konsthall Text Prize
For the second year in a row Tensta konsthall is presenting a text prize for young people, year 15–25, in Tensta. The prize aims to encourage creative writing and to contribute new stories from the area to the area itself. The jury is comprised of the August Prize winner Lena Andersson, poet Meron Mangasha, publisher Björn Linnell, journalist Rouzbeh Djalaie, Tal Lewinsky from Tensta Library, and Emily Fahlén from Tensta konsthall.
The 2015 winners are Marianne Al-Ghorabi with the text I am a Tensta-cat; Evyn Redar with The place where I live / Our history; and Arazo Arif with If the place where I live is the world than who am I.
The winners will receive 3000, 2000, and 1000 Swedish krona.
This year Lema Shansab is awarded an honorable mention for her honest story about the absurdity of religious oppression and the experience of being delimited by gender and faith.
To read the texts, visit the bag section on this web page. Click bag in the top right corner, check the box, and click "save bag" in order to download.
The jury’s motivation:
First Prize: Marianne Al-Ghorabi I am a Tensta-cat
In a wayward and imaginative view of Tensta as seen through the eyes of a familiar stranger, Marianne Al-Ghorabi allows the reader to access different spaces in the city and the borough through the unsentimental and nonjudgmental eyes of a cat. This exceptional and scrutinizing story is guided by humor and precision.
Second prize: Evyn Redar The place where I live/Our History
This story offers delicately observed situations and substantial snapshots of young people's lives in a particular location, all depicted with both warm sincerity and cold aloofness. A rhythmic language allows the reader to enter into Evyn Redar's fictional world for a moment, where powerful images of friendship and betrayal, joy and boredom, and hope and hopelessness are evoked.
Third prize: Arazo Arif If the place where I live is the world then who am I
With strong, formal poetry and profound reflections, Arazo Arif takes the reader into a world of language where nothing really exists outside of its wording. Here, well-pitched metaphors reveal a complex reality that becomes obvious only when it is spoken.
Honorable mention: Lema Shansab An honest and naked story about the absurdity of religious oppression and what it's like to be defined by your gender and faith. With minor stylistic actions, Lema Shansab conveys the homelessness that intolerance entails. She evokes a painful desperation through a child's inquiry, which is softened only by the relationship with a beloved grandfather.
Previous: Thursday 13.3, 14.00 Award Ceremony Tensta konsthall text price. The jury as well as the winners are present during the ceremony. Readings and refreshments. (The jury: Lena Andersson, Rouzbeh Djalaie, Emily Fahlén, Tal Lewinsky and Björn Linnell).less ←
For the second year in a row Tensta konsthall is presenting a text prize for young people in Tensta. The prize aims to encourage creative writing and to contribute new stories from the area to the area itself. The jury is comprised of the August Prize winner Lena Andersson, poet Meron Mangasha, publisher Björn Linnell, journalist Rouzbeh Djalaie, Tal Lewinsky from Tensta Library, and Emily Fahlén from Tensta konsthall.more →
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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: 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.
Ongoing The floor in Tensta konsthall´s exhibition space is a work by the artist Wade Guyton (New York). The very means of artistic production, particularly painting, are the focus of many of Wade Guyton’s works. The work Untitled (2010) is a remake of the floor in Guyton’s former studio. Cheap plywood was painted glossy black, thereby creating a large sculpture, or pedestal, as the very support of all work taking place in the studio. At the same time, the floor becomes an enormous monochrome painting, partaking in a somewhat daunting tradition. At Tensta konsthallthe floor has been released from this context, taking on a different existence.
Ongoing The floor in Tensta konsthall's exhibition space is a work by New York based artist Wade Guyton. The very means of artistic production—particularly painting—are the focus of many of his works. Untitled (2010) is a remake of the floor in Guyton’s former studio space.
Tommy Støckel: Workshop with Ross Tensta Gymnasium and KTH Tensta
Ongoing The results from the workshop that the artist Tommy Støckel held in December 2011, together with students from Ross Tensta Gymnasium and KTH Tensta in conjunction with Tensta konsthall are exhibited in Ross Tensta gymnasium’s conservatory.
In Tommy Støckels (Copenhagen/Berlin) artistry, crafts and science, speculation and optical phenomenons are joint together. Most of the materials he use can be purchased from shops where you can by stationary supplies or material for various crafts. Paper, cardboard, foam and glue are put together in industrious production processes carried out by hand. The same materials and methods were put to use in the workshop with its young participants. Their assignment was to create an exhibition that was adapted to the specific sight. All aspects should be considered carefully, nothing should be left to chance or be temporary. The theme of the exhibiton is abstraction and the students chose to make an abstraction of the world.
Ongoing The results from the workshop that the artist Tommy Støckel held in December 2011, together with students from Ross Tensta gymnasium and KTH Tensta in conjunction with Tensta konsthall are exhibited in Ross Tensta Gymnasium’s conservatory. The workshop was carried out during Abstract Possible: The Stockholm Synergies, where Tommy Støckel partook with the piece In My Mind This Goes On Forever (2012).
Ongoing 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 Samuel Berhane at 076-597 39 09 or mailaauelcoffee@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 Emily Fahlén emily@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 (immediately in front of the public toilet). Go down the wooden stairs. Tensta konsthall is located directly on your right.
Staff
Fahyma Alnablsi, reception, economy and teaching fahyma (at) tenstakonsthall.se
Muna Al Yaqoobi, leader of Women's Cafe muna (at) tenstakonsthall.se
Emily Fahlén, mediator and production emily (at) tenstakonsthall.se
11.10 2017–21.1 2018 Since the 1980s, Måns Wrange has cross-fertilized his artistic work with curating as a social practice. The exhibition at Tensta konsthall is based on issues regarding utopian bureaucracy, magical realism, and immateriality.
According to the philosopher Max Weber, bureaucracy creates a utopian quality when it is applied to prevent the abuse of power and to make organizations more democratic. Wrange looks at Weber's theory through the magic-realist lens of the writer Jorge Luis Borges, embedding magical elements in a realistic setting. “Magic bureaucracy” thereby creates a third reality, both rational and absurd, and, at the same time, realistic and utopian, and immaterial rather than object-like. The exhibition's own story, including a new sound work as well as large-scale wall drawings, will guide the visitors through an (un)organized space.
The exhibition includes Wranges conceptual project The Aerial Kit (1983-1989), a yellow metal box similar to the artist Marcel Duchamp's mini museum "boite a valise." It contains about thirty different works relating to spaces of air including sounds, images, clippings, and objects from the activities of the eccentric farmer M. Swingberg, who in the late 1960s cemented his fields to create a private airfield. (The box is part of the art collection of Moderna Museet). The art club "Salongen" at the cinema Lido on Södermalm 1991-1992, organized by Wrange together with his brother Paul, was a space for exhibitions, debates, video screenings, a magazine library, and food. During the same period, he curated the video section at Stockholm Film Festival in collaboration with Moderna Museet. Wrange selected several feminist and queer works by Martha Rosler, Chantal Akerman, Mona Hatoum, and John di Stefano. Some of the films will be included in the exhibition, in an environment that refers to "Salongen."
Wrange will also create a new version of his famous work "Stockholm Syndrome" (1998), an interactive exhibition structured as a story with several layers, based on the hostage drama at Norrmalmstorg. Works by Eija-Liisa Ahtila, Chris Burden, Thomas Demand, Stan Douglas, Renée Green, Abigail Lane, Shirin Neshat, Ricardo de Oliveira, and others are part of the project.
11.10 2017–21.1 2018 Since the 1980s, Måns Wrange has cross-fertilized his artistic work with curating as a social practice. The exhibition at Tensta konsthall is based on issues regarding utopian bureaucracy, magical realism, and immateriality.more →
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Christopher Kulendran Thomas
18.10 2017–21.1 2018 New Eelam, by Christopher Kulendran Thomas (London), is a long-term artwork in the form of a start-up—a real-estate technology company founded by the artist to develop a flexible, global housing subscription that aims to make homes as streamable as music or movies. Based on collective co-ownership rather than private property, it aims to rewire property relations through the luxury of communalism rather than of individual ownership.
Kulendran Thomas’s work deals with the structures for the production and distribution of art. In New Eelam, Kulendran Thomas reflects particularly on the issue of citizenship, the right to belong somewhere which is linked to specific nations and, in his case, specifically to the Tamil Tigers' (unsuccessful) struggle for a separate nation in Sri Lanka. What would happen if technology instead allowed a more liquid form of citizenship, regardless of frontiers? Such a state would work primarily through contemporary art’s transnational networks and art’s ability to develop prototypes for new lifestyles. New Eelam thus imagines a future citizenship in an accelerated technological era, where companies can operate as states and brands communicate like artists.
18.10 2017–21.1 2018 New Eelam, by Christopher Kulendran Thomas (London), is a long-term artwork in the form of a start-up—a real-estate technology company founded by the artist to develop a flexible, global housing subscription that aims to make homes as streamable as music or movies. Based on collective co-ownership rather than private property, it aims to rewire property relations through the luxury of communalism rather than of individual ownership.more →
past
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Goldin+Senneby - Standard Length of a Miracle
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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Summer opening: Cana Bilir-Meier, Mariana Silva, James Voorhies
Wednesday 5.7, 17:00–19:30 2017 Cana Bilir-Meier will introduce and show her two films which convey the personal hardship of migration and employment. Mariana Silva will present her online exhibition of artwork and challenging comparison between digital preservation and colonial seizure. James Voorhies will discuss his newly released book Beyond Objecthood examining how and why museum exhibitions have changed over the last 50 years.
Programme
17:00–17:45 Introduction to the films Semra Ertan (2013) and Video Tape Index (2016) by Cana Bilir-Meier in the Classroom 18:00–18:30 Presentation by Mariana Silva 19:00–19:30 Talk + release of Beyond Objecthood: The Exhibition as a Critical Form by James Voorhies. Conversation with artist Carsten Höller, James Voorhies, and curating student Piper Ross Ferriter
Presentation: Cana Bilir-Meier
Semra Ertan and Video Tape Index by Cana Bilir-Meier. In 1982, a 25-year-old poet, draughtswoman, and interpreter from Turkey set herself on fire in the German city of Kiel. This violent act was a protest against the racism that she and other migrants where experiencing in Germany. Many of them were guest workers who, in the words of the poet, were used by her old as well as her new homeland: “my country sold us abroad”. The suicide was reported by the media in both countries and triggered the composer Enjott Schneider to compose an octet in memory of the young woman.
Semra Ertan’s story is the starting point for Cana Bilir-Meier’s video Semra Ertan (2013, 7:30 minutes), which can be described as a filmic poem. Fragments of Ertan’s 350 poems, footage from interviews with her, glimpses from the funeral, family photographs, and details of rental contracts are interwoven with “visual pauses”—empty images which help prevent the impression of a seamless story. The film is not a portrait or a biography, but rather an attempt at “respectful handling of her-story”, according the artist herself. Ertan’s poetry, Bilir Meier’s images, and Schneider’s quietly dramatic music remind us of the life and work of a young woman.
In the silent Video Tape Index (2016, 10 minutes), a computer desktop is the stage for the story. Windows are opened and closed as the corser moves back and forth across the screen. Lists with various amounts of money, images of audio and videotapes, old postcards and envelopes with neat handwriting, photographs of a man in 1960s attire in a factory setting and on the beach, and a woman in a long dress in front of a wooden house appear. Newspaper clippings tell the story of guest worker Gani Bilir who in two years sent a record amount of money from Kiel to his wife Vehbiye and the five daughters in Turkey—30.000 DM, enough to build a house.
Interspersed are questions that anybody dealing with research, whether an artist or not, is familiar with: “whose research is it?”, “how will its results be disseminated?”, “who will benefit from it?”, and “who owns it?”. The questions are quotes from Linda Tuhiwai Smith’s 1999 book Decolonizing Methodologies: Research and Indigenous Peoples, which likewise pointed to crucial issues when regarding a family archive.
Cana Bilir-Meier lives and works in Vienna and Munich. She obtained her art degree from Vienna Fine Arts Academy, the Department of Media Arts and Arts and Education, and Sabancı University in Istanbul. She has worked as a teacher, as a guest lecturer in different universities, and in a yearlong artistic-educational based research project of HKW (Haus der Kulturen der Welt) in Berlin from 2016–17. 2015/2016 she was a grantee of the Austrian scholarship „kültür gemma!“, a project which promotes city culture in Vienna as well as migrant art and cultural production. She won the 2016 Birgit Jürgenssen Award for her video works. Since 2016, she has been a member of the selection committee for short films at the Kassel Documentary and Video Festival.
Presentation: The Insect Wing of the Museum by Mariana Silva
At the museum, the moth epidemic continues. Environmentalists are outraged by the institution’s eradication of the infestation in order to protect the collections—privileging preservation over conservation. In Space, Tensta konsthall’s online platform (www.tenstakonsthall.se ), artist Mariana Silva (Lisbon/New York) examines the second wave of digitalization sweeping through western museums. The Annotated Friends of Interpretable Objects (2013–) incorporates two videos, First Digitalizations of Specimens from Nature and First Digitalizations of Museological Artefacts.
Silva filters this 3D-imaging trend through fact and fiction, and poses apt questions about digitalization in an era confounded by the destructive consequences of climate change and war. Her works scrutinize how the relationship between nature and culture is comprehended, the mechanisms framing the historical borders of objecthood and personhood, and the slippery slope from digital preservation to colonial appropriation.
In Silva’s presentation of her ongoing investigation, she will acknowledge the environmentalist’s argument that returning the nearly extinct species to its natural habitat could help recover its ecosystem of origin—as well as the counter argument that just as hives have mutated over the last century, so have infestations. And we have with them. Our crowds, publics, mobs, and masses can still be seen in the Museum of Social Forms. But they are not the same.
Mariana Silva has had exhibitions and screened her work at Gwangju Biennale (2016), Moscow Biennale (2016), EDP Foundation (Lisbon, 2015), Astrup Fearnley Museum (Oslo, 2015), Parkour (Lisbon, 2014), e-flux (New York, 2013), Indie Film Festival (Lisbon, 2012), Whitechapel Gallery (London, 2011), Kunsthalle Lissabon, (Lisbon, 2011), and Serralves Museum for Contemporary Art (Oporto, 2010). Together with artist and writer Pedro Neves Marques, she runs Inhabitants, an online channel for exploratory video and documentary reporting (http://inhabitants-tv.org/).
Beyond Objecthood: The Exhibition as a Critical Form av James Voorhies
Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur. James Voorhies is a curator and art historian of modern and contemporary art. He is Dean of Fine Arts and Associate Professor at California College of the Arts in San Francisco, and founder of Bureau for Open Culture.
Carsten Höller is a scientist and artist with a decades-long exhibition history of international renown. His interactive installations resemble laboratory experiments that distill the user-experience to the sensorial with unpredictability and irreverence.
Piper Ross Ferriter is an independent curator and curatorial fellow of the School of Visual Arts in New York City.
Wednesday 5.7, 17:00–19:30 2017 Cana Bilir-Meier will introduce and show her two films which convey the personal hardship of migration and employment. Mariana Silva will present her online exhibition of artwork and challenging comparison between digital preservation and colonial seizure. James Voorhies will discuss his newly released book Beyond Objecthood examining how and why museum exhibitions have changed over the last 50 years.more →
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Course: History of migration and migration politics
2017 A course in the histories and politics of migration. Featuring, amongst others, Petra Bauer, Peo Hansen, Stefan Jonsson, Shahram Khosravi, Mahmoud Keshavarz, and Ahmet Ögüt.
When asylum rights are continuously violated and migration is economized, a need is created to counteract knowledge deficiency and stop historical ignorance from spreading. Tensta konsthall has therefore initiated a collaboration with several universities and research institutes, resulting in a multi-disciplinary night class beginning in February 2017. The class covers the history of migration, cross-border policy in Europe and internationally, migration beyond the concept of the nation state, asylum rights, etc. Contemporary art will be a feature throughout the course, as the questions and ideas addressed are at the core of the work exhibited at the konsthall, and artists working with the themes will join the class, sharing ideas and insights. In collaboration with Södertörn University; Stockholm University; REMESO – Institute for Research on Migration, Ethnicity and Society at Linköping University; Royal Institute of Art; and Malmö University. The course starts 8.2 with meetings approximately twice a month.
Note that the coursedoes not givecredits.
Application deadline 1.2 2017.
For registration and further information: emily@tenstakonsthall.se
Schedule spring 2017:
Wednesday 8.2, 19:00 Global migration: An introduction by Shahram Khosravi (Stockholm University)
Global migration, especially forced migration, is an important feature of our times. It is characterized by two opposing global trends: one is migration due to political or military conflict, or/and poverty or environmental disasters. The second consists of the increasingly strict migration policies of wealthy countries. Shahram Khosravi (Stockholm University) is the first contributor to Tensta konsthall’s new course in the histories and politics of migration, which runs over two semesters. Khosravi’s lecture will touch on the causes and consequences of migration and provides history as well as a comparison between various parts of the world. In collaboration with Södertörn University; Stockholm University; REMESO—Institute for Research on Migration, Ethnicity and Society at Linköping University; Royal Institute of Art; and Malmö University. The course is fully booked, to get on the waiting list email emily@tenstakonsthall.se.
Saturday 18.2, 14:00 Symposium: Museums in Exile and witness seminar Excavating International Solidarity: Artist Actions, Museography, and Exhibition Histories by Rasha Salti and Kristine Khouri
For the past five years, the curators Kristine Khouri and Rasha Salti have researched the highly unique exhibition The International Art Exhibition for Palestine, which was inaugurated in Beirut in 1978. It was organized by the PLO and consisted of a few hundred artworks donated by artists around the world, including artists like Roberto Matta, Antoni Tàpies, and Joan Miró. The exhibition was meant to be the starting point for a Palestinian museum in exile, and took the form of a touring exhibition until it could be handed over to a free and democratic Palestine. When Israel attacked Beirut in 1982, the archive building was bombed and all of the material was lost. Khouri and Salti trace the history of the exhibition, its organization, and links to artistic solidarity movements and museums in exile of that time.
When asylum rights are continuously violated and migration is economized, there is a need created to counteract misinformation and to stop historical ignorance from spreading. In this lecture, Shahram Khosravi, professor of Social Anthropology at Stockholm University, explores boarders and irregular migration in relation to issues such as global (in)security, asylum, and human trafficking.
Wednesday 15.3, 19:00 No entry – The relationship between migration, politics, and aesthetics byStefan Jonsson (REMESO)
As migration has increased, border crossings have turned into one of the most important political issues, an issue that makes governments fall and sweeps authoritarian leaders to power. What is often forgotten is that migration is simultaneously a political force in its own right, a force of which migrants are the subject. Professor Stefan Jonsson asks what it would mean if policy and research on migration treated migrants as subjects rather than objects and devised new ways of looking at borders, home, identity, and territory. Moreover, how can art, which often questions walls, identities, and lines of demarcation, be important?
Wednesday 5.4, 19:00 EU and the failure of migration policy by Peo Hansen (REMESO)
Peo Hansen lectures on migration and refugee policy in the EU today. Two of the main questions will be: why does the EU believe that it is hit by a refugee and migration crisis, and why do refugees keep dying at Europe's borders? To these questions are added necessary historical and political-economic perspectives. The question of why the current situation arose is answered by a look back at some of the main forces behind migration policies – from the 1950s economic boom to the current economic crisis and austerity policies. Peo Hansen is a professor at REMESO, Linköping University. For registration: emily@tenstakonsthall.se
Wednesday 19.4, 19:00 Migration in the Arts by Petra Bauer (Royal Institute of Art)
How can we understand migration history through the experiences of a local women's association in Tensta or London? The artist Petra Bauer has a particular interest in women's organizations and in political resistance in its most everyday forms. She will introduce her work with Southall Black Sisters, a feminist organization in London that works against the oppression of black women. There will also be a screening of the film Sisters! (2011), which came out of that process. Additionally, Bauer will present the newly initiated project k.ö.k (Kvinnor önskar kollektivitet – Women Desire Collectivity), experimenting with ways to build a feminist institution in the existing Women's Center in Tensta-Hjulsta.
Wednesday 26.4, 19:00Towards a Transversal Pedagogy and The Silent University by Ahmet Ögüt (Tensta konsthall)
The artist Ahmet Öğüt presents the project The Silent University, a solidarity-based knowledge exchange platform by refugees, asylum seekers, and migrants initiated in 2012. For five years, The Silent University has involved people who, despite having a degree, have been unable to exercise their skills or training because of structural problems and discrimination. Together, the participants have developed lectures, talks, events, archives, and publications. The Silent University exists in various forms in London, Hamburg, Ruhr, Athens, Amman, and Stockholm. Since 2013, the project has been present at Tensta konsthall, currently in the forms of a language cafe and Citizens for citizens with Fahyma Alnablsi.
Thursday 4.5, 19:00 Screening Claudia Del Fierro (Tensta konsthall)
Screening of the video works El Complejo: Territorio liberado / Liberated territory (2017, Spanish / Swedish with English subtitles, 20 minutes) and El complejo: La Guerrilla, la memoria / The Guerrilla, recollection) (2014, Spanish with English subtitles, 16 minutes) by Claudia Del Fierro. Conversation with the artist and researchers Hans Carlsson and Julia Willén.
2017 A course in the histories and politics of migration. Featuring, amongst others, Petra Bauer, Peo Hansen, Stefan Jonsson, Shahram Khosravi, Mahmoud Keshavarz, and Ahmet Ögüt.more →
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Artist presentation Ylva Westerlund
Saturday 10.6, 15:00 2017 Artist presentation and guided tour of the exhibition The New Hird by Ylva Westerlund. 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.
Between growing up in the small industrial community of Husum and living in Tensta, which has come to be Westerlund’s home and workplace, the artist has developed a distinctly singular view of her surroundings. Both intricate details of the natural environment and panoramic scenes of urban landscapes reveal her engagement with local ecological processes. Her vision of the future through an ecological lens becomes most apparent in a series of cartoons that depict a large explosion de- vastating the Järva area. On first glance, the images appear dystopian, but in Westerlund’s narrative, the catastrophe seems to ignite positive change by sparking the growth of other perspectives and new ideas. Eggeby Farm, where the artist’s studio is located, has long functioned as a gathering place for all sorts of activities. In the past, the building was the vicarage for Spånga Church. Today, the property is owned by the city of Stockholm and is leased by Järva People’s Park (Järva Folkets Park), and is home to horses, three dovecotes, bee hives, a theatre barn, a small sculpture park, and artists’ studios.
Ylva Westerlund studied at Malmö Konsthögskola, 1998–2003. She has participated in numerous exhibitions in Sweden and internationally, including, for example, Contemporary Art Center i Vilnius, 2016, Malmö Konstmuseum 2016, Momentum 9th Nordic Biennal of Contemporary Art in Moss, 2017, and Galleri Krasny, Moskow, 2017.
Saturday 10.6, 15:00 2017 Artist presentation and guided tour of the exhibition The New Hird by Ylva Westerlund. 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 →
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Artist presentation by Leonor Antunes
Thursday 1.6, 14:00 2017 Artist presentation by Leonor Antunes. The minimalist installations of Leonor Antunes (Lisbon/Berlin) reveal traces of a twentieth-century modernist architecture. Antunes's works allude to geometric forms and patterns from lesser-known designers and architects, often women. In her research-based installations, furniture designed by Eileen Moray Gray (1878-1976) as well as buildings by the architect Lina Bo Bardi (1914-1992) are interpreted.
The atmospheric installations are inspired by the specific context in which they are constructed, but what characterizes Antunes’s art is also her interest in how techniques and materials travel long distances and thus become part of global trading. The installations act as tactile encounters between the architectural memory and craft history of certain places. Cork, rope, leather, and nets are recurring materials in Antunes’s spatial interventions.
Thursday 1.6, 14:00 2017 Artist presentation by Leonor Antunes. The minimalist installations of Leonor Antunes (Lisbon/Berlin) reveal traces of a twentieth-century modernist architecture. Antunes's works allude to geometric forms and patterns from lesser-known designers and architects, often women. In her research-based installations, furniture designed by Eileen Moray Gray (1878-1976) as well as buildings by the architect Lina Bo Bardi (1914-1992) are interpreted.more →
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What Does an Archive Do?
What Does an Archive Do? is Tensta konsthall’s new seminar series which looks into current functions of archives in relation to contemporary art and beyond. Archives are intimately connected to the modern era and its impulse to historicize, thus shaping our relationship to history. From artists such as Andy Warhol, Raqs Media Collective, and Walid Raad’s Atlas Group Archive to philosophers like Michel Foucault, Jacques Derrida and Gayatri Spivak, the archive is treated as a significant phenomenon – one which the formal powers always try to control – to be criticized, opened up, subverted and fictionalized.
It is in the light of the urgency to reformulate narratives of both the past, present and future, as well as the upsurge in art projects which use existing archives and establish new ones in order to produce alternative knowledge and counter memory that this series is organized. What Does an Archive Do? is a collaboration with the Department of Gender Studies at Södertörn University and the Department of Media Studies at Stockholm University.
What Does an Archive Do? adds to the previous seminar series organized by Tensta konsthall, all ending with a question mark: What Does an Art Institution Do? (2011–12), What Does Social Practice Do? (2012), What Does Art Theory Do? (2013), What Does Art Mediation Do? (2014) and What Does an Exhibition Do? (2015).
Since 2012 Tensta konsthall has been organizing an exhibition program focusing on arhicives, librarys and collections. Amongst them are Bidoun Library (2012), Katitzi: A Literary Character Rooted in Reality (2012), Two Archives (2013), META and regina: Two (Magazine) Sisters in Crime (2014), Here We LTTR: 2002–2008 (2015)
Spring 2017
Wednesday 8.3, 19:00 The Archive as Cultural Geology? – A Hypothesis by Ute Meta Bauer This lecture explores if archives – both physical and digital can serve as a geological digging ground for understanding different moments in culture. In addition, can the creation of such archives as ‘cultural geology’ serve as the ‘grounds’ for future understandings of ‘our’ time or do archives the way they are constituted mislead us in this endeavor? For more than twenty-five years, Bauer has worked as a curator of exhibitions and presentations on contemporary art, film, video, and sound, with a focus on transdisciplinary formats, and was early in using the archive to highlight alternative histories.
With support from Goethe-Institut Schweden.
Ute Meta Bauer (Berlin/Singapore) is currently director and curator Founding Director of Nanyang Technological University (NTU) Centre for Contemporary Art Singapore, and a Professor at the NTU, School of Art, Design and Media. Bauer was curator of The Future Archive, Neuer Berliner Kunstverein (n.b.k.), Berlin (2012); Artistic Director of the 3rd berlin biennale for contemporary art, Berlin (2004); and Co-Curator of Documenta11, Kassel (2001–2002). She formerly was Associate Professor in the Department of Architecture at MIT (Massachusetts Institute of Technology), Cambridge (2005-2012), where she also served as Director of the MIT Visual Art Program (VAP) and as Founding Director of the MIT Program in Art, Culture, and Technology. From 2012–2013, she was the Dean of Fine Art at the Royal College of Art, London.
Wednesday 3.5, 19:00 The Other Camera by Jacqueline Hoàng Nguyễn
Jacqueline Hoàng Nguyễn focuses on The Making of an Archive (2014–ongoing), a project composed of digitizing workshops, which aims to record the everyday life and civic engagements by Canadian immigrants and amateur photographers. Photographic documents by newcomers who benefited from the Canadian point based system––which was implemented in 1967 and positioned Canada as the instigator of multiculturalism––are collected. The photographs are digitized and their accompanying narratives recorded, thereby preserving records of personal histories in order to address the absent representation of multiculturalism in official archives.
Jacqueline Hoàng Nguyen (Stockholm) is an artist that uses a broad range of medium while mostly relying on archival material to investigate issues of historicity, collectivity, Utopian politics, and multiculturalism within the framework of feminist theory. In 2015, she was the first artist-in-residence at the Museum of Ethnography in Stockholm. The residency was part of SWICH - Sharing a World of Inclusion, Creativity and Heritage – a collaborative project involving ten European museums of Ethnography and World Cultures. Together with curator Rado Ištok, they are currently editing Crating the World: Displaced Myths, Desires and Meanings, a parallel compendium to Nguyễn's exhibition Black Atlas presented at the Museum of Ethnography, to be published in Spring 2017.
Wednesday 10.5, 19:00 Seeing Revolution Non-linearly by Alisa Lebow
Alisa Lebow (London) is a film maker and film scholar. In the lecture Lebow presents the project Filming Revolution, an interactive data-based archive about independent and documentary filmmaking in Egypt since the revolution. The Filming Revolution website combines Lebow’s scholarly and practical work, and is her first foray into interactive media. Her research is generally concerned with issues related to documentary film, recently to do with questions of “the political” in documentary. www.filmingrevolution.org
Alisa Lebow is currently a Reader in Film Studies at University of Sussex, teaching modules such as ‘Film and Revolution’ and ‘First Person Film’. Her books include The Cinema of Me (Wallflower, 2012) and First Person Jewish (University of Minnesota Press, 2008). She is also the co-editor of A Companion to Contemporary Documentary with Alexandra Juhasz (Wiley-Blackwell, 2015). Lebow’s film work includes For the Record: The World Tribunal on Iraq (2007), Treyf (1998, co-directed with Cynthia Madansky) and Outlaw (1994).
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Thursday 10.11, 19:00 Metabolism by curator Doreen Mende. Instead of defining archival work as excavation leading towards findings by an expert who masters ‘the law of what can be said’ (Michel Foucault), the proposal of an archival metabolism considers the archive as a transformative system that metabolizes its materialities towards its own laws, languages, sociabilities, geographies, and time-zones with the possibility of “initiating what is not yet there” (Harun Farocki).
The talk is organized in four chapters. Each of them will depart from a set of the archive’s state of matter: the Xerox copy, the image-data-file, the anecdote, and the book as a living character. In other words, the question What is an archive? takes us inevitably towards the investigation of What does an archive initiate? What does it produce? This lecture is done in collaboration with CuratorLab, Konstfack. In English.
Doreen Mende (Berlin) is a curator and theorist. Recent exhibitions include KP Brehmer Real Capital – Production, Raven Row, London 2014; Travelling Communiqué, 2014–13, Museum of Yugoslav History in Belgrade, Haus der Kulturen der Welt in Berlin. Mende is co- editor of eflux journal 59 Harun Farocki (2014), resident writer of the blog for Manifesta Journal (2013–14), and editor- in-chief of the publication series Displayer at University of Arts and Design/ZKM Karlsruhe (2006–09). Since 2015, Mende has been the responsible professor for a research-based program on the practice and theory of curatorial questions in geopolitics at HEAD Genève.
Wednesday 14.12, 19:00 Matts Leiderstam (Stockholm) has a particular interest in the art museum as a site, the gaze, and the viewer. In several of his research-based projects he copied and paraphrased existing works in order to suggest alternative interpretations.
What Does an Archive Do? is Tensta konsthall’s new seminar series which looks into current functions of archives in relation to contemporary art and beyond. Archives are intimately connected to the modern era and its impulse to historicize, thus shaping our relationship to history. From artists such as Andy Warhol, Raqs Media Collective, and Walid Raad’s Atlas Group Archive to philosophers like Michel Foucault, Jacques Derrida and Gayatri Spivak, the archive is treated as a significant phenomenon – one which the formal powers always try to control – to be criticized, opened up, subverted and fictionalized.more →
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Palestinian Cinema: Solidarity Through Film
Tuesday 9.5, 18:00 2017 Talk and screening: Palestinian Cinema: Solidarity Through Film, with Researcher and Filmmaker Khadijeh Habashneh (Amman/Ramallah). As part of The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice. In English.
Palestinian Cinema: Solidarity Through Film focuses on film produced in the 70s and 80s, reflecting on how filmmakers and cinematic practices were pivotal in political engagement and international solidarity with Palestine.
The event comprises a public talk with Khadijeh Habashneh and the screening of two films: Children Nevertheless (1984, 25min) by Khadijeh Habashneh and Off Frame AKA Revolution Until Victory (2016, 62min) by Mohanad Yaqubi.
Palestinian Cinema in the 60s, 70s and 80s developed out of an urgent need to document the experiences of the Palestinian Revolution. At the forefront of this were filmmakers such as Sulafa Jadallah, Hani Johariyyeh and Mustafa Abu Ali, who established the Palestinian Film Unit, formed in 1967 out of the film department of the Palestinian Liberation Organization (PLO). In the 1970s, the unit was transformed into the Palestinian Cinema Institute.
Khadijeh Habashneh is one of the key figures of this initiative. As a filmmaker, member of the Palestinian Cinema Group and previously, head of the Palestinian Archive and the Palestinian Cinema Institute in Beirut, Habashneh has played a central role in the promotion of Palestinian Cinema through her efforts to preserve the Palestinian Film Archive, heavily damaged during the siege of Beirut by the Israeli army in 1982.
Children Nevertheless focuses on the orphan children of Tall El Zaatar, and exemplifies the production of documentaries that presented the life of refugees in camps. Off Frame is a meditation on the Palestinian people's struggle to produce an image and self-representation on their own terms in the 1960s and 1970s, with the establishment of the Palestine Film Unit as part of the PLO. Unearthing films stored in archives across the world, the film begins with popular representations of modern Palestine and traces the works of filmmakers who supported the Palestinian cause.
Fostering a platform for cross-generational references, the format opens a space for dialogue and discussion regarding the importance of film narratives for our contemporary understanding of Palestinian struggles.
Programme
18:00 Introduction 18:10 Screening: Children Nevertheless 18:40 Talk with Khadijeh Habashneh + questions 20:00 Screening: Off Frame AKA Revolution Until Victory The screening will be followed by an informal discussion. We kindly ask you to rsvp to: curator@arthistory.su.se
The investigations at the centre of this presentation draw multiple connections with the significant research undertaken by Kristine Khouri and Rasha Salti on the International Art Exhibition in Solidarity with Palestine (Beirut, 1978), presented at Tensta konsthall in February 2017 under the title Excavating International Solidarity: Artist Actions, Museography, and Exhibition Histories.
This event is a collaboration between the Curating Art Master Programme at the Department of Culture and Aesthetics at Stockholm University and Tensta konsthall, and is organised by Alba Baeza, Aleksei Borisionok, Gerald Heffernan and Jasmine Hinks.
Tuesday 9.5, 18:00 2017 Talk and screening: Palestinian Cinema: Solidarity Through Film, with Researcher and Filmmaker Khadijeh Habashneh (Amman/Ramallah). As part of The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice. In English.more →
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Tensta Museum Continues
1.2–7.5 2017 Tensta Museum Continues follows up on the highly acclaimed exhibition Tensta Museum: Reports from New Sweden about history and memory in Tensta 26.10 2013–13.1 2014 and 18.1–18.5 2014. The exhibition traveled in the form of Tensta Museum on the Move (2013–2014) to Galerija Nova in Zagreb and Stockholm County Museum (2015– 2016).
Tensta Museum continues is an integrated part of Tensta konsthall. In the Classroom, located in the small exhibition space, appears Emily Fahlén and Ahmet Ögüts video works Same Time Next Day, developed on behalf of Oslo arkitekturtriennal 2016 on the theme of belonging in relation to forced and selected migration. The film is about the passage of time in Tensta and the iconic poet Sherko Bekas poems once written on the site.
The art project The Silent University by Ahmet Ögüt also takes place here. At Tensta konsthall, this project takes the form of a language café and a library. The Classroom is also the location where lectures, film screenings, homework assistance, a craft café, and various local meetings are held. On the bulletin board, visitors can see materials including pieces from ongoing projects by participants of Tensta konsthall’s project The News Agency, a long-term initiative for young people who are interested in art and journalism. Maps of Tensta are also on display, alongside archival material from the Kurdish Association Spånga, which celebrates 30 years this year. The tables here, previously used in the exhibition The Paths to the Common(s) Are Infinite by Ayreen Anastas and Rene Gabri, are designed by the artists and made exclusively from organic materials and entirely without nails or screws. There are also traces of a previous exhibition in the form of a wooden bench built by furniture maker Moa Ott, developed in conjunction with Goldin+Senneby retrospective The Standard Length of a Miracle (2016).
In the reading corner the Tensta Museum library can be found, where we have Mekonen Tekeste’s work, which consists of illustrated stories about Eritrea, which were written in exile in Stockholm and Tensta, historical books about Tensta, and novels related to the area. The local shop in the gallery’s entrance offers jewelry made by JohannaN and the artist Adam Tensta and handmade necklaces and rings by Öznur Özturk whose sale supports the Women’s Center in Tensta-Hjulsta. Revenues from the sale of the Syrian nougat and Aleppo soap in the shop goes to the clothing and food to war-affected families in Syria and organized by Fahyma Alnablsi, receptionist and Language Café educator at Tensta konsthall.
Guided tours of Tensta Museum Continues by the staff at Tensta konsthall occur every Thursday and Saturday at 14:00.
1.2–7.5 2017 Tensta Museum Continues follows up on the highly acclaimed exhibition Tensta Museum: Reports from New Sweden about history and memory in Tensta 26.10 2013–13.1 2014 and 18.1–18.5 2014. The exhibition traveled in the form of Tensta Museum on the Move (2013–2014) to Galerija Nova in Zagreb and Stockholm County Museum (2015– 2016).more →
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Spring Dates 2017
Exhibitions: It Is not Necessary To Understand Everything by Naeem Mohaiemen 1.2–7.5 2017
Naeem Mohaiemen (Dhaka/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 (2012), a film essay which departs from the 1977 hijacking of Japan Air Lines' flight 472, in which the plane was forcefully redirected to Dhaka. As a part of The Eros Effect: Art, Solidarity movements and the Struggle for the Social Justice.
Autonomy Cube by Trevor Paglen 1.2–7.5 2017
Autonomy Cube (2014) is a work by Trevor Paglen (San Francisco/Berlin) made in collaboration with digital civil liberties activist, computer security researcher, and artist Jacob Appelbaum, which subverts that situation. The cube, as a minimalist sculpture, provides secure Wi-Fi for visitors at art institutions and in public spaces. The network called Tor is maintained by thousands of volunteer-run servers and is used by many people around the world to protect their privacy, from activists and journalists, to populations living under dictatorships or other repressive regimes.
Same Time Next Day by Emily Fahlén and Ahmet Öğüt 1.2–7.5 2017
By exploring the notion of a chronic temporality, this film investigates continuities and repetitions, ongoing processes that lack defined beginnings and ends, by considering the daily routines of the founder of a news network for the Eritrean diaspora, the industrious enthusiast behind a local women's association, and the most famous poet of Kurdistan who smokes every waking hour. They all move in the same centre squares, linked together by bridges separating traffic. As part of Tensta Museum Continues. Thursdays and Saturdays, 14:00 Guided tours of the current exhibitions
Wednesday 25.1, 13:00 Artist presentation: Agnieszka Polska
Sunday 29.1, 12:00–17:00 Public rehearsal of The Trial by Rossella Biscotti. With CuratorLab, Konstfack. As part of The Eros Effect
Tuesday, 31.1, 17:00–20:00 Opening: It Is not Necessary To Understand Everything by Naeem Mohaiemen, Autonomy Cube by Trevor Paglen and Same Time Next Day by Emily Fahlén and Ahmet Ögüt
Wednesday 1.2, 19:00 Artist presentation: Naeem Mohaiemen
Thursday 2.2, 19:00 Lecture: Curating the Audiovisual Heritage: Thoughts on Diversity, Archives and Memory by Dagmar Brunow. As part of the seminar series What Does an Archive Do?
Wednesday 8.2, 19:00 Course: The Histories and Politics of Migration. Lecture: Global Migration: An Introduction by Shahram Khosravi (SU). For registration: emily@tenstakonsthall.se
Saturday 11.2, 14:00 Film screening and discussion: Information Skies (2016) Metahaven
Wednesday 15.2, 19:00 Film screening: Afsan's Long Day (The Young Man Was, Part II) by Naeem Mohaiemen
Saturday 18.2, 14:00 Symposium:Museums in Exile by Kristine Khouri and Rasha Salti. As part of Excavating International Solidarity: Artist Actions, Museography and Exhibition Histories
Sunday 19.2, 13:00 Witness Seminar: Sweden in Solidarity with Chile and Palestine. Participants: Sonja Martinson, Björn Springfeldt, Bitte Alling-Ode and Eva Zetterberg. As part of Excavating International Solidarity: Artist Actions, Museography and Exhibition Histories by Kristine Khouri and Rasha Salti. In collaboration with Södertörn University
Wednesday 22.2 Inauguration: New works by Pia Sandström on Gullingeskolan in Tensta. As part of Tensta Museum Continues
Wednesday 22.2, 19:00 Course: The Histories and Politics of Migration. Lecture: Borders and irregular migration by Shahram Khosravi (SU). For registration: emily@tenstakonsthall.se
Monday 2.27–Friday 3.3 Art Camp with the Department of Interior Architecture and Furniture Design (Konstfack), 10-14. For registration: emily@tenstakonsthall.se
Tuesday 7.3, 18:00 Conversation: Feminism in the Suburbs with researcher Johanna Gullberg (SU) and the poet Nattalie Power Bunpuckdee. In collaboration with Stockholm University
Wednesday 8.3, 19:00 Lecture: The Archive as Culture Geology? – A hypothesis by curator Ute Meta Bauer. As part of the seminar series What does an Archive Do?
Wednesday 15.3, 19:00 Course: The Histories and Politics of Migration. Lecture: No Entry: On the relationship between migration, politics and aesthetics by Stefan Jonsson (REMESO). For registration: emily@tenstakonsthall.se
Wednesday 22.3, 19:00 Film screening: Last Man in Dhaka Central (The Young Man Was, Part III) by Naeem Mohaiemen
Saturday 25.3, 14:00 Artist presentation: Trevor Paglen
Wednesday 29.3, 19:00 Lecture: The Potato Revolution by Håkan Blomqvist. As part of Tensta Museum Continues
Thursday 30.3, 19:00 Lecture: Rights, Claims, Solidarity by Thomas Keenan (Bard Collage). As part of The Eros Effect
Wednesday 5.4, 19:00 Course: The Histories and Politics of Migration. Lecture: EU and the Failure of Migration Policy by Peo Hansen (REMESO). For registration: emily@tenstakonsthall.se
Monday, 4.10–Thursday, 4.13 Art Camp with Unga Klara. 15–24. For registration: emily@tenstakonsthall.se
Wednesday 19.4, 19:00 Presentation by artist Petra Bauer. As part of the course The Histories and Politics of Migration
Saturday 22.4, 14:00 Walk in Tensta with a focus on the million program’s exteriors by architect Erik Stenberg. As part of Tensta Museum Continues
Wednesday 26.4, 19:00 Lecture: The Silent University by Ahmet Ögüt. As part of the course The Histories and Politics of Migration
Wednesday 3.5, 19:00 Lecture: The Other Camera by Jacqueline Hoang Nguyen. As part of the seminar series What Does an Archive Do?
Thursday 4.5, 18:00 Film screening: El Complejo # 2 with Claudia del Fierro. As part of The Eros Effect
Friday 5.5, 12:00–17:00 Seminar: El Complejo # 2 with Claudia del Fierro. As part of The Eros Effect
Wednesday 10.5, 19:00 Lecture: Seeing Revolution nonlinear by film scholar Alisa Lebow. As part of the seminar series What Does an Archive Do?
Museums in Exile and witness seminar Excavating International Solidarity: Artist Actions, Museography, and Exhibition Histories
17.2–7.5 2017 Research material in the Classroom. Excavating International Solidarity: Artist Actions, Museography and Exhibition Histories by Rasha Salti and Kristine Khouri. As part of The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice.
The International Art Exhibition for Palestine was inaugurated in Beirut (Lebanon), in March 1978, and was intended as the seed collection for a museum in exile. Inspired by the International Resistance Museum for Salvador Allende in Chile, the museum took the form of an itinerant exhibition that was meant to tour until it could ‘repatriate’ to Palestine. Organized by the Plastic Arts Section of the Palestine Liberation Organization’s Unified Information Office, comprising almost 200 works, donated by 200 artists from nearly 30 countries, the exhibition remains one of the most ambitious, in scale and scope, to have ever been showcased in the Arab world until this day. The exhibition went on tour, one hundred artworks were exhibited in Japan, another selection in Norway and yet another in Iran. Tragically, during the Israeli army’s siege of Beirut in 1982, sustained shelling destroyed the building where the works were stored as well as the exhibition’s archival and documentary traces.
At Tensta konsthall parts of Kristine Khouri’s and Rasha Salti’s research material on the exhibition will be on display in the classroom. A three day symposium consisting of student workshops, a public presentation on Khouri and Salti’s research on ‘museums in exile’ as well as networks of solidarity between artists, and a witness seminar inviting participants involved in art actions and solidarity movements related to Chile and Palestine in the 1970s will take place 17–19.2.
Kristine Khouri (Beirut) is an independent researcher and writer. Her research interests focus on the history of arts circulation and infrastructure in the Arab world.
Rasha Salti (Beirut) is a writer, researcher, and curator and programmer for La Lucarne at Arté France.
Symposium 18–19.2
Saturday 18.2 , 14:00–16:00 Open lecture: Four Stories of Museums in Exile by Rasha Salti and Kristine Khouri
In Rasha Salti and Kristine’s Khouri lecture they will present their research on The International Art Exhibition for Palestine in the context of other museums in exile, departing from the Museo de la Solidaridad, the Museo Internacional de la Resistencia Salvador Allende (International Resistance Museum for Salvador Allende), the Art Contre/against Apartheid collection/museum, and the Art for the People of Nicaragua/Museo Julio Cortazar. The lecture will address the respective stories and reflect on the significance of solidarity, the creation of an alternative realm for the production, exhibition and dissemination of art entirely independent of the market, and the intersections of national struggles with transnational perspectives. Also exploring the roots of the notion of a museum in exile, its mechanism as a museographic practice, and the environment of social and political engagement of artists in which it was embedded. In English.
Sunday 19.2, 13:00–15:30
Witness seminar: Sweden In Solidarity with Chile and Palestine
Participating: Bitte Alling-Ode (artist), Yvonne Fredriksson (Palestinagrupperna), Lars-Gösta Hellström (Palestinagrupperna), Sonja Martinson Uppman (journalist), Björn Springfeltd (former director at Moderna museet), and Eva Zetterberg (politican and former ambassador to Santiago de Chile). The moderators are Rasha Salti, Kristine Khouri and Charlotte Bydler (Senior Lecturer and researcher, Södertörn University).
The witness seminars explore the Swedish context of solidarity networks and artistic practices around the anti-Pinochet struggle and Palestinian struggle during the 1970s. One part of the seminar will focus on the history of The International Resistance Museum for Salvador Allende in Sweden, established in Paris shortly after the Pinochet coup, by a group of international and Chilean art critics, artists and intellectuals, in 1974, and in Sweden 1978 at Moderna museet. The other part of the symposium will look in to the Swedish solidarity organization for Palestine during the same period, especially through the history of “Palestina grupperna”. In English.
Since the early 2000s, the Institute of Contemporary History at Södertorn University has implemented the scientific strategy of organizing witness seminars on important themes. The objective is to create new source materials for the future and also to shed light on important historical events. For the witness seminars, a number of actors are invited to discuss a specifically chosen theme under the leadership of some of the Institute’s researchers.
In collaboration with the Institute of Contemporary History and The Department for Culture and Learning, Södertörn University
Excavating International Solidarity: Artist Actions, Museography and Exhibition Histories is organized by Kristine Khouri and Rasha Salti. Originally this project was conceived and presented as Past Disquiet: Narratives and Ghosts from the International Art Exhibition for Palestine, 1978 by the Museu d’Art Contemporani de Barcelona (MACBA) in 2015. Its Berlin iteration in 2016 was exhibited at and co-produced with Haus der Kulturen der Welt (HKW).
The research for this project has been made possible by the generous support of Rana Sadik and Samer Younis, the Sharjah Art Foundation, the Arab Fund for Arts and Culture (AFAC), ZedGrant, the A. M. Qattan Foundation, and Tensta konsthall.
17.2–7.5 2017 Research material in the Classroom. Excavating International Solidarity: Artist Actions, Museography and Exhibition Histories by Rasha Salti and Kristine Khouri. As part of The Eros Effect: Art, Solidarity Movements and the Struggle for Social Justice.more →
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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 →
Våravdelningen Tensta museum: Rapporter från nya Sverige Tensta konsthall 18.1 2014–18.5 2014 Tensta museum: Rapporter från nya Sverige handlar om historia och minne ?i Tensta, både i förhållande till platsen och till de människor som bor och ?verkar här. Ett fyrtiotal konstnärer, arkitekter, lokala föreningar, artister, sociologer, kulturgeografer, filosofer och andra berör det förflutna i konstverk, forskningsprojekt, seminarier, vandringar mm. Samtidigt rapporterar de också? om sakernas tillstånd i Tensta idag, om det som på många sätt kan beskrivas?som det nya Sverige. Ett Sverige som visserligen inte är helt nytt men som det är nödvändigt att acceptera som annorlunda än för några decennier sedan. Ett land där människor har vitt skilda bakgrunder och där ekonomiska och sociala skillnader ökar påtagligt – enligt en ny rapport?från OECD växer inkomstklyftorna i Sverige snabbast bland de trettiofyra medlemsländerna. Några av de inbjudna deltagarna kommer också att peka framåt och föreslå framtida scenarier.more →
Spring Department Tensta Museum: Reports from New Sweden Tensta konsthall 18.1 2014–18.5 2014 Tensta Museum: Reports from New Sweden is about the history and memories of Tensta, both in relation to the place and to the people who live and work there. Some forty artists, architects, local associations, performers, sociologists, cultural geographers, philosophers, and others address the past in, for example, art works, research projects, seminars, and guided walks. At the same time they will be reporting on the condition of things in Tensta today, on what can be described as the “new Sweden.” This is a Sweden containing people of widely different backgrounds, where economic and social differences are palpably intensifying: according to a new OECD report, income gaps in Sweden are increasing the most rapidly of any of the 34 member states. In their contributions to Tensta Museum, some of the invited participants will also be looking forward and proposing future scenarios.more →
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 →
Tensta konsthalls historia Jan Ekman Tensta Konsthall blev efter o?ppningen 1998 snabbt omtalad fo?r sitt dja?rva, na?stan framfusiga konstprogram. Grundarnas mod la?g inte enbart i deras ho?gkvalitativa utsta?llningsprogram som utmanade institutioner med la?ngt sto?rre ekonomiska resurser. De var ocksa? modiga nog att placera utsta?llningsrummet la?ngt bortom de etablerade konststra?ken. Konsthallen a?r inrymd i en outnyttjad lagerlokal under ett anspra?kslo?st ko?pcentrum i Stockholmsfo?rorten Tensta, ett omra?de vars befolkning idag na?rmar sig 20.000 personer varav ca 90% har translokal bakgrund.more →
Josabet Sjöberg Lawen Mohtadi Josabeth Sjöberg var självlärd. Hon saknade formell utbildning. Men hon hade en tydlig konstnärlig tanke. De målningar som idag finns bevarade - 59 stycken, varav 57 finns på Stockholms stadsmuseum - kan delas in i fyra kategorier. Hennes 12 bostäder på Södermalm. Gatulivet på Södermalm, ofta sett från fönstret i hennes bostad. Institutioner som hus för äldre och sjuka. Kyrkorum. I bostadsbilderna sitter hon ofta med handarbete vid fönstret, vänd mot ljuset och gatan. more →
Tensta -En plats som ständigt ska bli bättre Emma Holmqvist Utbyggnaden av bostadsomra?det Tensta 1967-71 ingick i det mest ambitio?sa bostadsbyggnadsprojekt som genomfo?rts i Sverige, det sa? kallade Miljonprogrammet. Pa? grund av den ra?dande bostadsbristen besta?mde staten att en miljon nya bosta?der skulle byggas under en tioa?rsperiod (Sax, 2000). En sa?dan stor volym har aldrig uppna?tts sedan dess i Sverige. more →
Iman Issa 13.6—29.9 2013 Tensta konsthall Iman Issas (Kairo/New York) installationer talar till minnena och?vår förmåga att göra associationer. I Trettiotre berättelser om rimliga karaktärer på bekanta platser möter vi glimtar från en utflykt till en djurpark, en iakttagelse på ett universitet, ett fragment av en familjs semestertraditioner – relationer och vardagliga händelser beskrivna med några få adjektiv, namn och andra detaljer. I Vanliga inslag är det meningar ur arabiska intellektuellas självbiografier, bl a Nawal El Saadawis och Edward Saids, som kopplar ihop det personliga med det allmängiltiga. I verket Revolutionären är det istället runt det ordets många betydelser som berättelesen vävs. more →
Iman Issa 13.6—29.9 2013 Tensta Konsthall Iman Issa’s (Cairo/New York) installations speak to our memories and our ability to make associations. In Thirty-three Stories about Reasonable Characters in Familiar Places we get glimpses from a trip to the zoo, an observation from a campus, a fragment of a family’s vacation traditions – relationships and everyday events described with barely any adjective, names or other details. In Common Elements it is familiar text from several intellectuals’ autobiographies, like Nawal El Saadawi and Edward Said among others, that connects the personal with shared, lived experience. The audio piece The Revolutionary weaves a story around the multiple meanings of the word ”revolutionary”. more →
Bernd Krauss, Vi fortsätter BBDG 13.6—29.9 2013 Tensta konsthall En teatralisk och hemsnickrad tennis-boutique som bygger på boken Sanningen - Mina år med Björn Borg av Lars Skarke (1993) är inledningen till Bernd Krauss projekt Vi fortsätter BBDG. Här finns gott om begagnade Björn Borg-kläder men inga underkäder - bara de plagg som inte längre är i produktion får ingå. Installationen väcker till liv historien om hur den kända tennisspelarens namn under titeln Björn Borg Design Group blev till ett välkänt varumärke. more →
Bernd Krauss, We Are Continuing BBDG 13.6—29.9 2013 Tensta Konsthall A flamboyant and homemade tennis boutique, based on the book The Truth - My Years With Björn Borg by Lars Skarke (1993), functions as an introduction to Bernd Krauss’ project We Are Continuing BBDG. In the installation there are a range of used Björn Borg clothes, but no underwear—only the clothes that are no longer in production may be included in the show. The installation brings to life the story of how the famous tennis player’s name, under the title of Björn Borg Design Group, became a well-known brand. more →
Reverberation: A film portrait of Megafonen by Behzad Khosravi Noori and René León Rosales Tensta Konsthall 13.6–29.9 2013 In the 30 minute long documentary Reverberation (2012), the artist Behzad Khosravi Noori (Teheran/Stockholm) and the ethnologist René León Rosales (Stockholm) follow some of the members of Megafonen on a trip to Gothenburg. Megafonen is an organization that works for social justice and the rehabilitation of the Swedish suburbs. During the trip many questions are asked regarding the processes of segregation and integration in Sweden today. more →
Genklang: ett filmporträtt av Megafonen av Behzad Khosravi Noori och Rene León Rosales Tensta Konsthall 13.6–29.9 2013 I den trettio minuter långa dokumentären Genklang (2012) följer konstnären Behzad Khosravi Noori (Teheran/Stockholm) och etnologen Rene León Rosales (Stockholm) några av Megafonens medlemmar på en resa till Göteborg. Megafonen a?r en organisation som arbetar för social rättvisa och upprustning av Sveriges förorter. Under resan till Göteborg ställs många frågor om processer för segregation och integration i dagens Sverige. more →
Zak Kyes Working With... Tensta Konsthall 13.6–29.9 2013 Zak Kyes Working With..., brings together a range of works by graphic designer Zak Kyes, as well as works by several of his collaborators—including architects, artists, writers, curators, editors, and other graphic designers—commissioned specifically for the exhibition. The new works all have a special - structural - role in the making of the exhibition, such as the exhibition display, object captions, exhibition poster, audio guide, workshop, lecture, archive, and publication. This way Kyes and his collaborators explore how graphic design today is a practice that both mediates and is mediated by its allied disciplines.more →
Zak Kyes Working With... Tensta konsthall 13.6–29.9 2013 Zak Kyes Working With... fo?r samman en rad av den grafiska formgivaren Zak Kyes’ egna verk med arbeten av personer som han samarbetat med. Det handlar om arkitekter, konstna?rer, fo?rfatttare, curatorer, fo?rla?ggare och andra grafiska formgivare som har gjort nya verk specifikt fo?r utsta?llningen. De nya verken har alla haft en sa?rskild – strukturell
- funktion i arbetet info?r utsta?llningen: tex utsta?llningsarkitekturen, verkstexter, utsta?llningsaffisch, audioguide, workshop, fo?rela?sningar, arkiv och katalog. Pa? sa? vis underso?ker Kyes och hans samarbetspartners dagens grafiska formgivning som en praktik som ba?de fo?rmedlar och fo?rmedlas av besla?ktade discipliner.more →
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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