Student projects
As their final examination, the Curating Art students produce a Master thesis and a curatorial project, e.g. an exhibition. The curatorial project is supervised by a professional curator. Over a period of 20 weeks, the student produces an individual project that is presented and examined at the University, although it might have another space as its main locus. It is empirically or thematically linked to the Master thesis that is produced parallel to the curatorial project.
2024
Nathalie Viruly: Lucky number 1 9 5 3 0 2 0 8 Jens Maismov
The Centre for the Fictitious Ante Facto proudly presents its first exhibition: Lucky Number 1 9 5 3 0 2 0 8, with artist Jens Masimov.
29 August – 2 September
Welcome to the Vernissage on 29 August, 17:00 – 20:00.
Free viewing, 10 SEK coins to play
(limited coins available for purchase through Swish)
Lucky Number 1 9 5 3 0 2 0 8 is a prompt. It's a question about how objects become lucky to us and whether this quality is transferable. Some will call luck skill, and others will favour determinism over randomness, certainty over probability, and anecdotes over causality. This choice unravels something about how we interact with the uncertainty of every day and perhaps what superstition means to the individual.
Numbers are a kind of language at this boundary – a compression toward order and control but also divinely coded as an expression of unchoked desire and value. There is Pythagoras, who found a sense of harmony in numbers and the fact that ten is arguably the most perfect of them all. There is also the devil’s triple and the lack of thirteens in stairwells. These numerical coincidences are folklore reinstated again and again with no fact but rather stories lost to memory. The Lotto. The Bingo. The Jackpot.
Jens Masimov presents eight numerical sculptures made in glass, carbon fibre, wood, and wax, to name but a few of the materials. The sequence is an heirloom from his father, who rearranged the numbers to wage bets on equine beasts with names like Capitalism At Risk, Don’task Don’ttell, Life in Shambles, Lion N Cheatin and Stealin’ Gasoline. Masimov is generous in his work with the Centre for the Fictitious Ante Facto, as sculptures can be won with a combination of luck + skill + a 10 SEK coin. So what guides your choices and strategy for winning here and beyond? Is it sentimentality, logic, material, value, or weight? Is playing enough? Red, black, and roulette. And if you win, will a number mean something more?
Pick a number
1 9 5 3 0 2 0 8
Jens Masimov (b. 1993 in Hedemora, Sweden) is a multidisciplinary artist based in Stockholm. Through immersive and entangled installations, he explores the core idea of ritualistic distortion, wherein sculptural renditions of visual and cultural anchor points act as frameworks for social gatherings. Masimov has previously exhibited works at Galleri Passagen, Årjäng (2023); Bonniers Konsthall, Stockholm (2023); Norberg Festival, Norberg (2023); Podium, Oslo (2022), as well as various independent exhibitions such as High Score Win Win (2024) and GROGGENHEIM (2023).
The Centre for the Fictitious Ante Facto is a fully functional para-institution and avant-garde white cube space based at Stockholm University. The Centre invites winner and loser situations. It celebrates public participation, hosts quarterly shows in experimental formats, and occasionally publishes. It is a part of Nathalie Viruly’s final degree project within Curating Art, International Master’s Programme at the Department of Culture and Aesthetics, Stockholm University. Viruly is a curator and writer from Cape Town, South Africa. Her practice centres on manifestations of the curatorial and editorial, the absurd, and situational.
(w) https://centreforthefictitiousantefacto.cargo.site
(ig) @fictitious_ante_facto
(fb) https://www.facebook.com/events/1185749022661129
(e) fictitiousantefacto@gmail.com
Credits
Artist: Jens Masimov
Curator: Nathalie Viruly
Supervision: Martí Manen
Ester Maria d’Avossa: Transitive Axiom – Sara Elggren and Muiredach O'Riain
Welcome to the Opening 18 June, 17.00–20.00! Live performance 18.00.
Free admission.
Venue: Project room, Färgfabriken, Lövholmsbrinken 1 (Metro stop Liljeholmen).
Curator: Ester Maria d’Avossa.
In the exhibition titled Transitive Axiom themes of translation and passing down of information are explored through the mediums of weaving and sound art. The transitive axiom, a fundamental mathematical principle, signifies that if two quantities are each equal to a third, they are equal to one other. As a non-mathematical concept, this relation can be exemplified by the wording “is an ancestor of.” Thus, beyond mathematics, this idea resonates in human relationships, highlighting interconnectedness and continuity across time.
Within this context, tacit knowledge exchange, akin to ancestral wisdom transmission, relates and exemplifies this axiom, particularly in creative practices such as weaving and musical composition. However, transmission involves translation, risking loss and transformation of information over time.
This exhibition merges the works of Sara Elggren, Swedish weaving artist, and Muiredach O’Riain, Irish composer, prompting viewers to reconsider boundaries between virtual and tangible, visual and auditory, past and present. Elggren’s tapestries, alongside O’Riain’s sound composition based on her weaving notations, illustrate the artists’ dialogue, with digital elements juxtaposed with their analogue counterparts, echoing themes of translation, transition and transformation.
Participants
Sara Elggren (b. 1986), visual and textile artist based in Stockholm, specializes in woven objects and spatial installations. Her artistic work is distinguished by a penchant for repetition and extensive series that delve into themes of technology, code, and the interplay between fabric and interface, as well as mathematical thinking. The artist explores how these elements shape the fabric’s essence, whether as a fluid image or a meticulously structured system containing specific data, through her digital notations. Through meticulous craftsmanship, Elggren transforms this strict order into something altogether new and profound.
Muiredach O’Riain (b. 1996) is an Irish musician, composer, and programmer based in Stockholm. In 2023 he obtained a Master’s degree in electroacoustic composition at Kungliga Musikhögskolan in Stockholm. His work delves into the evolving dynamics between humanity and advancing technologies such as AI and quantum computing, viewing them as potential tools for creative expression. Through his compositions, O’Riain directly engages with these technologies, crafting complex computer-generated soundscapes that blur the lines between organic and artificial sounds aiming thereby to analyse and redefine the boundaries of posthuman musical expression.
Ester Maria d’Avossa (b. 1997) is an Italian-Danish curator and exhibition producer based in Stockholm, Sweden. She is currently enrolled in the International Master’s in Curating and Art Management. With a background in art history and cultural heritage studies, d’Avossa’s curatorial work explores the evolution of heritage and knowledge exchange within the context of contemporary art. Her current research revolves around the duality of craft and art, with a particular focus on textile art.
Jonas van Kappel: Echoes of Visions
In times of ecological and geopolitical crises, the world seems to spin faster. If we close our eyes, can we escape? Can we experience time passing by so slowly that it fades away, stretched into an endless, echoing infinity until it stops ticking? Can we dissolve into the eternal, like an ocean of waiting along the riverbank?
Echoes of Visions is a site-specific art installation at the edge of the city, disconnected from the day-to-day, exploring multisensory perception, eternal aspects of the earth and universe, memory, waiting and the experience of time. A fusion between a smellscape and a soundscape in a former sea container, transformed into a darkened non-visual space, sharpens our senses. Visitors are invited to look inwards instead of outwards, to take off their shoes and enter a cavernous borderland where time is slowed down and the enduring present seems to triumph.
The sound work was created by Berlin-based researcher and artist Hendrik Klatte (b. 1988), who explores experimental soundscapes for natural processes, ideas and emotions. Since 2022, he has studied at the Institute for Music and Media (RSH Düsseldorf) in the Master’s program Klang & Realität [Sound & Reality]. In addition to his artistic endeavours, he publishes international sound artists in thematic compilations of scientific fields on his platform and music label re:natura.
The olfactory work was developed in a collaborative process with Karolina Stockhaus (b. 1981), an independent fragrance creator, consultant and educator. Working with scent as art, she was a finalist in the Art and Olfaction Awards 2023 in Los Angeles (USA), in the category for experimental work with scent. This commissioned scent is based on curatorial, poetic exercises in automatic writing and philosophical conversations about perception, slowing down time, and eternal elements of nature to cherish.
Location: Galleri Frihamnstorget, Frihamnen
Opening event: June 6, 17:00 – 20:00
Exhibition and programme: June 6 – June 16
See the website of Frihamnstorget for opening hours and more information about Echoes of Visions, including an artist talk [opening night], and a ‘sc(i)entific’ poetry workshop [June 15].
Please note that the rear area is completely darkened.
Take off your shoes in the space and hold the walls for extra support.
Credits
Sound artist: Hendrik Klatte
Fragrance creator: Karolina Stockhaus
Graphic design: Hannes Schievink
Curator and Educator: Jonas van Kappel
Mentor: Nina Øverli
Echoes of Visions is a degree project by Jonas van Kappel within Curating Art, International Master’s Programme at the Department of Culture and Aesthetics, Stockholm University. With a diverse background in art history, language studies and theatre, his interests and experiences lie in multi-sensory, queer and experiential approaches to contemporary art, collection research, and theatre education.
Thanks to Index Foundation and Moderna Museet for their generous contribution of materials.
Programming
Echoes of Visions presents an artist talk and a poetry workshop.
6 June
17:30 Artist Talk. Berlin-based sound artist Hendrik Klatte (b. 1988) talks about his music and re:natura: a label and platform for experimental music inspired by both nature and science.
14 June
19:00 – 20:30 Sc(i)entific Poetry Workshop. Olfactory perception is such an inscrutable, fluid experience that we, as human beings, often struggle to put it into words. How do scents and sounds affect our ability to associate, and evoke memories, thoughts and emotions? How can we write about scent and sound abstractly and poetically? In this workshop by curator Jonas van Kappel, we will write poetry in an automatic and associative way after a breathing exercise and a visit to Echoes of Visions, using our senses and art as sources of inspiration. What happens if we trust our intuition and if we are not allowed to judge the outcome?
Ester Maria d’Avossa: DIVE, hosted by Skin Mutts
DIVE is a two-part event consisting of a publication launch and a workshop, hosted by Skin Mutts. The event is curated by Ester Maria d’Avossa.
The publication titled DIVE is a project built to explore the Swedish artistic scene through the eyes of nine Stockholm-based artists and curators. Within each of their practices, the exploration of themes such as personal identity and belonging takes centre stage. DIVE is made in collaboration with Skin Mutts, a Brussels-based platform that focuses on redesigning the conversations on mixed cultural identities. Through firsthand accounts and narratives, Skin Mutts brings a comprehensive understanding of the Swedish art landscape from a variety of perspectives. By shedding light onto the diverse fabric composing this artistic community, we gain valuable insights into how it is shaped, perceived, and experienced by those involved in its evolution. Throughout the evening you will have the chance to deepen your understanding of the topic with the workshop Through Words. Through Words is a conversational workshop to break the ice. Think about a speed-date, but instead of yourself, the questions are focused on community, belonging and society’s perception of our identities. Join us on June 13 at Accelerator for the launch event of the publication, to dive into unique stories of belonging in between worlds.
Free entry – registration required
The publication launch and workshop will be held in English.
Credits
Curator: Ester Maria d’Avossa
Skin Mutts Team: Olivia Lopez Calderon and Lisa Mei Eeraerts
Graphic Designer: Hanna Torseke
Project Supervisor: Nina Øverli
The Master’s Programme in Curating Art has a collaboration with the exhibition hall Accelerator. The students create events in connection to themes that Accelerator wishes to highlight in the exhibition programme.
Hannah Ingvoldstad: Waulking (Òrain Luaidh)
Presented in the library of Bonniers Konsthall, the exhibition Waulking muses on the Gaelic Scottish tradition by the same name – the final stage in the creation of tweed in which women would gather to soften the woolen fabric. The process was accompanied by song and rhythmically hitting the textile, washing it with stale urine and soap. The songs would ease the brutal labour, while also providing coordination for the team. Waulking became a forum for sharing stories of love and loss through song and community. A song-less web (cló bodaich) was considered unlucky – thereby, the process of waulking transforms the fabric into a holder of stories inaccessible.
The exhibition presents the work and practice of Hedvig Bergman (b.1988) and Isabelle Sahba (b.1994). Bound together by an interest in the inherent potentiality of materiality and its ability to expand on narratives of belonging, tradition and creation. The exhibition arose through conversations between the curator and artists regarding subjects similar to those discussed in waulking song. The exhibition is presented therefore as a talisman of probings of artistic intention, the familial, love and loss.
Hedvig Bergman is an artist deeply reliant on her intuition and impulse as the driving force of her work. Each sculpture is simultaneously independent and deeply connected to the previous. One of the sculptures exhibited Tick Tock, Tick Tock (2024) is inspired by the tactility of the brush and brush binding. In the creation of brushes, the eye becomes redundant as the rhythm dictates the movement – similar to waulking. As part of her research into brush binding techniques, Bergman visited the brush bindery Iris Handtverk in Enskede, Stockholm. All of the craftsmen are visually impaired – the binding driven by tactile knowledge. The brush-like sculpture exhibited is made of black oak that has been underwater for over 3400 years and horsehair bought from the last remaining horsehair wholesaler in Europe. The artist has also tied 600 strands of her own hair into the sculpture, working while cradling her newborn.
The work and process of Isabelle Sahba is less impulsive – driven by meticulous research and a considerate exploration of the depths of the material. The work Bildstorm (2022) is an intertwined probing of Sahba’s familial history and materiality. Inspired by a stamp found on an old letter addressed to her father in Sweden from a relative overseas. The artist reckons with the power of symbolism by creating a new stamp with remnants of the old. The artist chews the stamp, breaking down the fibers of the paper, spitting it out, pressing and drying the paper to create a new stamp. The image of the found stamp is no longer accessible – but exists as a phantom in the material along with the artist’s own genetic constitution.
Waulking is an exhibition that takes the audience on a journey through materiality and facilitates an investigation of the stories that lie within, as well as the ghosts of its creation. Through the narrative of waulking, the exhibition explores presence – just as much as absence by highlighting the process and labour as just as crucial as the final work exhibited.
Hedvig Bergman (b. 1988, Stockholm) is an artist working with sculpture and installation. Her work is characterized by an enchantment for traditions and the bodily, the volatile, and the eternal. Bergman earned her MFA at Konstfack in 2023, and a BFA from the Academy of Fine Arts in Trondheim, Norway. She has exhibited her work in Sweden and internationally including in Norway, France and Japan and has received both public and private awards and grants for her work. Recent exhibitions include Intuition at Hand, Silvermuseet Arjeplog, Within & Against, Nobel Week Lights, Kungsbro Strand and Slow Stretch, Occasional Gallery.
Isabelle Sahba (b. 1994) is an artist and architect from Stockholm. She holds a BSc in Architecture from the Royal Institute of Technology (2018) and currently studying a BFA in Fine Art at Konstfack. Her practice is characterized by a research-oriented and material-based approach, incorporating element such as text, sculpture, and spatial compositions. Central to her work is the concept of belonging, as she delves into questions surrounding identity, heritage, and connection to place. Recent exhibitions include Afterlife, Hägerstensåsens Medborgarhus and Within & Against, Nobel Week Lights, Kungsbro Strand.
Exhibition dates
Opening: Wednesday 5 June, 17:00 – 20:00
Thursday 6 June
Friday 7 June
Artist talk: 8 June, 14:00 – 15:00
Sunday 9 June
Artists: Hedvig Bergman and Isabelle Sahba
Curator: Hannah Ingvoldstad
Supervisor: Yuvinka Medina
Linnea Wästfelt: Våg Brus: A series of radio exhibitions broadcast on 88.9 FM
25 April – 5 May
The radio wave moves through time and space without human recognition. The invisible waves exist everywhere, and we move through and with them all the time. Some suggest that soundwaves are constant and never stop existing once created. The radio wave is able to carry soundwaves from transmitter to receiver. In these exhibitions on frequency 88.9 FM, the radio wave creates our exhibition space.
Våg Brus presents an exhibition series broadcast from the local radio station transmitting from Hägerstensåsens medborgarhus. The broadcast houses the artworks, allowing the audience to explore them throughout the duration, when the transmission stops the exhibition closes. Thereafter, the artworks become a memory – never to be revisited in full again.
Våg Brus welcomes everyone, and the exhibition stretches all over Stockholm. Tune in from home, your car, the office, the kiosk, or join us for collective listening sessions at Hägerstensåsens medborgarhus this spring.
25 April 17.30-18 Jesper Vesterlund presents the work Of ghosts and memories
28 April 15-15.30 Rebecca Larsson presents the work SYRINX
3 May 17.30-18 Theodore Trottner presents the work Våta Slingor
5 May 15.00-15.30 Mari Mattsson presents the work Tre hörn av minnet
We welcome you to listen, reflect, and enjoy the exhibitions on 88.9 FM, or through the webradio:
https://www.radiosydvast.se/lyssna-pa-webbradio/
About the artists
Mari Mattsson holds an MA in fine arts from the Royal Institute of Art in Stockholm, Sweden. She often creates site-specific installations that emphasize the visitors movement. Recurring themes explored in her practice are perception, imagination and the concept of time through sound, text and scores.
Rebecca Larsson holds an MA in fine arts from Malmö Art Academy and explores in her practice different techniques and materials, often with language as a starting point. Finding subject matters in literature and often inspired by myths and metaphysics she brings these stories to life.
Jesper Vesterlund holds an MA in fine art from the Royal Institute of Art in Stockholm and works mainly with unheard sounds. Exploring tales and myths of modern times through sounds, he presents histories of the unknown.
Theodore Trottner holds an MA in fine arts from the Royal Institute of Art and an MA in sound art from Stockholm Academy of Dramatic Arts. His practice evolves around exploring sounds as ephemeral works of art. Working with site-specific installations and new methods of presentation he provides the visitor an immersive experience, exploring sound as a unique practice of attentive listening.
About the project
Hägerstensåsens Medborgarhus is a people’s house located in the south of Stockholm. The house hosts a local radio station, a cinema, exhibition spaces and a library. Medborgarhuset is daily used by hundreds of people from different communities. Their ambition is to create an ecosystem of social, artistic and pedagogical practice that enable conversations, reflection and a democratization of the local area and the city at large. The radio operated within the house usually broadcast local radio focusing on communities active in the nearby area. More information about the house can be found on their website:
Wave Noise is a degree project for the MA in Curating Art at Stockholm University. It is curated by Linnea Wästfelt who, in her curatorial practice, works research-based, often with interventions in the public space and alternative methods of presentation. She holds a BA in fine art photography from Glasgow School of Art and is co-founder of Vava Art Collective. She is currently based in Stockholm
After Life: Mapping The Unknown
This exhibition is a collaboration between Fine Art students at Konstfack and MA Curating Art students, year one.
The old world is dying, and the new world struggles to be born.
Antonio Gramsci
The exhibition is developed in the context of a course initiated by Lina Selander for students at Konstfack. The research and work leading up to the exhibition has been generously supported by the Swedish Museum of Natural History and Hägerstensåsens Medborgarhus.
You are invited to embark on a journey exploring the fluid intersections between the spiritual realm, reality, and existence. Throughout the various spaces of Medborgarhuset, the artists invite us to reevaluate our relationship with the unknown. Spirituality, dreaming, and contemplation intertwine, challenging the understanding of our wavering consciousness.
Free entry, no pre-registration required.
Thursday 11 April 18:00 – 22:00 – Vernissage “The Funeral” an evening where we look at the very beginning stages of grief and symbolically say farewell to the world as we know it.
Welcome speech at 18:30
Ritual and speech by Dan Siedell at 18:40
Performance by Cariz Nordlöf at 19:00
Performance by Ib Zakarias at 20:00
Friday 12 April – Movement class by Veronica Bergan “Åsen Skakar” at 15:00 (150/100kr).
Take part in this class at Medborgarhuset which is focused on finding presence and pleasure through movement and begin moving through a sense of absence towards realms of possibility. The class is for everyone regardless of condition or previous experience.
Saturday 13 April – Join us on a somatic walk
A meditative gathering is held by Unn Faleide at 14.00 in the foyer at Medborgarhuset. How can we collectively experience the After Life exhibition in a meditative state?
Sunday 14 April – An artist talk between the artists Cariz Nordlöf, Inês Varandas, Isabelle Sahba and curators Elvira and Carina on the nature of After Life and how it ties into their different artistic practices.
Wednesday 17 April – Finissage “Renewal” at 18.00. In order to close off After Life we gather around water and new life.
The participating artists are Alva Cederholm, Ib Zakarias Knigge, Agnes Magnusson, Cariz Nordlöf, Lovie Peoples, Inês Varandas Pereira, Ljubomir Popovic, Isabella Sahba and Sanna Svensson. The exhibition is co-curated by Unn Faleide, Ruoxi Gao, Carina Hundsdahl, Noel Platts, Elvira K. Wikman and Isa Van den Wouwer.
Charlotte Keegan and Nathalie Viruly: Admits One
'Admits One' is a circus. It has three acts – the launch of a limited edition artist booklet, a reading by pierrette Charlotte Keegan, and a film screening of 'Heterotopias' (2022) by artists Anna Heisterkamp and Isaac Tomkin Clarke. Conceptually, it offers a multiplicity of readings into othered spaces – things that exist where they “shouldn’t”; without regard and often as sites of pain. Here is a point of connection with Accelerator’s current exhibition 'Dodge and/or Burn' by Lisa Tan. For Keegan, this is an exploration of a chronic pain condition called endometriosis, while Heisterkamp and Tomkin Clarke explore veins of Foucault’s concept of the same name. Thus 'Admits One' connects these secrets, sanitoriums and the spectacle; for their admittance and in turn concealment.
The event is part of the ongoing collaboration between the International Master’s Programme in Curating Art and the exhibition hall Accelerator. The students create events in connection to themes that Accelerator wishes to highlight in the exhibition programme.
Please join this event on 30 Jan 2024, from 17:00, in the amphitheater of Accelerator Café. The performance by Keegan begins at 17:30 followed by the screening of Heterotopias (2022). 'Admits One' invites viewers to contemplate the intricate interplay between interior and exterior worlds, mirroring the unruly cells of endometriosis and diverse spaces of inhabitance. The booklets are free and wine is for sale at the Cafe.
Free, no registration required
Credits
Curators: Charlotte Keegan and Nathalie Viruly
Artists: Anna Heisterkamp and Charlotte Keegan
Sound design: Isaac Tomkin Clarke
Mentor: Nina Øverli
2023
Ninhursag Tadaros: BeLonging: Michael Rakowitz and the Mesopotamian Collection
An exhibition at the Museum of Mediterranean and Near Eastern Antiquities curated by Ninhursag Tadaros.
Exhibition: 30 September 2023 – 14 January 2024
Vernissage: Friday 29 September, 5:00 – 8:00 pm
Public opening and programme: Saturday 30 September
Panel discussion: Michael Rakowitz, Ninhursag Tadaros, Maria Dahlström. Moderator: Nathalie Besèr 1:30 pm
Artist talk: Michael Rakowitz in conversation with Nathalie Besèr, 3:00 pm
Ester d'Avossa, Jeanette Gunnarsson and Nathalie Viruly: Intuition at Hand
The exhibition ”Intuition at Hand” at Silvermuseet in Arjeplog is curated by Ester d'Avossa, Jeanette Gunnarsson och Nathalie Viruly. It presents work by artists Jordana Loeb, Hedvig Bergman and Tomas Sjögren, together with objects from the Silver Museum’s collection.
Hannah Ingvoldstad: Occupied
Occupied is a curatorial project and event curated by Hannah Ingvoldstad and developed in connection to Lisa Tan’s exhibition Dodge and/or Burn. The project presented the commissioned work flisbelagt tilfluktsrom (tiled harbour) by LNUA on 25 October. The work will be on view until 15 November as a part of Accelerator’s public programme.
Occupied came to fruition through a series of conversations between the curator and artist about the isolating experience of burnout and overworking. In response to these conversations, the artist created the immersive soundscape flisbelagt tilfluktsrom. The series of atmospheric shifts in the soundscape explores the multifaceted relationship to work and bathroom as site.
The bathroom is one of the most intimate spaces of daily life. At the same time, it is often a shared one. The intertwining of the public and private resonates with subjective and societal experience of burnout. In moments of stress, the bathroom often becomes a refuge – a place of rest. The site transforms to a place to cry – to text – to sit. Through the individual exploration of the sound installation, Occupied wants to open the conversation of overwork and rest.
The opening on the 25th invites visitors to explore the soundscape. The site of rest expands to the Accelerator Café – allowing visitors to rest in unity. At 18:30 there will be an introduction by the curator Hannah Ingvoldstad. The café will be open to purchase something to eat or drink.
LNUA (NO) is the moniker of Oslo-based experimental musician and sound artist Luna Storeide. Through her music, LNUA explores the ever-changing nature of life, using sample manipulation and sound synthesis to create sonic landscapes that reflect the fluidity and chaos of our experiences. Drawing inspiration from a diverse range of genres including ambient, noise, and club music, LNUA’s compositions are immersive and engaging, seamlessly blending atmospheric textures with abrasive, high-energy passages.
Free entry, no registration required.
Credits
Artist: LNUA (NO)
Curator: Hannah Ingvoldstad
Mentor: Nina Øverli
Graphic Design: Sebastian Pandonis
Linnea Wästfelt and Jonas van Kappel: Fragments of Forests
Fragments of Forests is a site-specific exhibition with artists Linnea Lindberg and Mari Mattsson focusing on notions of subjective memory, time and fortune-telling, perception and traces of human presence through acts of breathing and lyric poetry. Curated by Linnea Wästfelt and Jonas van Kappel in collaboration with the exhibition hall Accelerator.
Joel Albinsson, Hanna Mara Noor Bargheer, Jonas van Kappel, Victoria McCarthy,: Reshaping Boundaries
2 September Joel Albinsson, Hanna Mara Noor Bargheer, Jonas van Kappel, Victoria McCarthy, and Linnea Wästfelt curated the making of a collaborative art installation in soapstone, together with artist Anna Zingmark in Kiruna.
This is a part of the Curera project's collaboration programe Learnings. The students recently developed a proposal for the relocation of Kiruna’s public art to the new city park.
Victoria McCarthy Seeing Lithium. Countering the Myth of ‘Green’ Transition through Contemporary Art
A film programme and seminar at Färgfabriken. Curated by Victoria McCarthy.
Film programme: 4 – 7 May 2023, 11:00 – 16:00
Seminar: 6 May 2023, 14:00 – 16:00
This programme is free and does not require RSVP. Both the film screening and the seminar will be held in English.
Lithium, ‘white gold’, ‘oil of the 21st century’ are some of the names used to designate the soft, silvery-white metal at the heart of the future ‘green’ energetic transition. In a time where countries in the Global North make deals and agreements to transition away from fossil fuels towards renewable energies, lithium’s relevance is increasing.
The artworld’s interest in lithium has grown in the last years, with cultural projects and exhibitions on lithium taking place in different parts of the world. Artists are starting to show a profound interest in the intersection between lithium and contemporary art, researching its origin in the Big Bang, the consequences of lithium mining activities in extractive zones, supply chains, Indigenous creation stories, the effects of lithium in human and non-human bodies, or the supposed intangibility of our virtual world. Many of the artworks produced in this context facilitate insights and, in some cases, provide resistance into the geopolitics of ecology, by countering the dominant narrative of the ‘green’ transition.
Seeing Lithium is divided in two parts. Firstly, a film programme that brings together five short video works created by Unknown Fields, Juan Arturo García, Alejandra Prieto, LiCo (David Habets, Cameron Hu, and Stefan Schäfer), and Grupo de Investigação Territorial. The selected videos explore lithium’s current and future extraction sites in the Global North and the Global South, its impact on our states of mind, its origin in the beginning of everything, and the socio-political conflicts it brings forward.
The second part of this programme consists of a seminar, where contemporary artist David Larsson, sustainability researcher and professor Henrik Ernstson, and visual arts curator Victoria McCarthy present different approaches and considerations about the current state of affairs of lithium, its extraction, and its intersection with contemporary art.
Film programme participants:
Unknown Fields is a nomadic art- and design research studio founded in 2009 by Australian in-dependent designer, architect and curator Liam Young, and British artist, architect and writer Katie Davies. Their practice seeks to show the shadows cast by contemporary cities, venturing into expeditions in remote sites of the world. They use primarily film and animation to create chronicles of narratives embedded in global systems and supply chains, shedding light on the consequences of emerging environmental and technological scenarios.
Juan Arturo García is a Mexican contemporary artist, currently a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam. His practice explores accented ways of living, their biopolitical affordances, and tactics for their representation. His latest research studies the production of scientific knowledge in Latin America throughout history, with a particular focus on how complex intertwinings of technical, cultural, mystical, and political desires have been deployed – and how to understand their consequences.
Alejandra Prieto is a Chilean contemporary artist who uses paintings, videos, sculptures, and installations as her media. She studied a BA in Arts in the Catholic University of Chile, and an MA in Visual Arts at Chile University. She has exhibited her works in many art spaces in Chile, and in several international venues and events, such as the La Habana Biennial, Saatchi Gallery (London), SIART Biennial (La Paz), Palais de Tokyo (Paris), and Sala de Arte Público Siqueiros (Mexico City).
LiCo is a research-based art collective which produces fictions, films, and installations on the choreography of mental and environmental life. The collective is composed of physicist, landscape architect and artist David Habets, anthropologist of technoscience Cameron Hu, and political theorist and researcher Stefan Schäfer.
Grupo de Investigação Territorial (Territorial Research Group) is an action-research collective focused on ecological and socio-environmental struggles, composed of researchers and architects Antonio del Giudice, Godofredo Enes Pereira, Jacob Bolton, Mingxin Li, and Tiago Patatas. The group first came together to shed light on the implications of the planned mining projects in the Barroso region, in the North of Portugal.
Seminar participants:
David Larsson is a Swedish contemporary artist based in Jordbro and Stockholm. He works with long-term artistic investigations, focusing on issues of social development and modernity, political events, natural resources, and collecting/archives. These results of these investigations are continuously presented through installations and exhibitions. Alongside artists Hanna Ljungh and Gideonsson/Londré, he initiated the exhibition Litiumtiden at Haninge Konsthall (2022) and the Litiumfestivalen on the island of Utö (2022), where they explored a multitude of perspectives on lithium.
Henrik Ernstson is a Strategic Sustainability researcher and professor, currently working at KTH. He is developing a situated approach to urban political ecology with a special focus on southern and postcolonial urbanism, and, at the same time, a film-based research practice, that uses cinematic ethnography, montage and essay film to engage in the texture, embodiment, and situatedness of political and environmental practices, knowledges and politics. He has published the books Grounding Urban Natures: Histories and Futures of Urban Ecologies (MIT Press, 2019), and Urban Political Ecology in the Anthropo-Obscene: Interruptions and Possibilities (Routledge, 2019).
Victoria McCarthy is an Argentinian visual arts curator and producer. She worked as an exhibition producer and education coordinator at the Centro Cultural Kirchner in Buenos Aires, the largest cultural centre in Latin America. In 2021, she relocated to Sweden in pursuit of an International Masters in Curating Art at Stockholm University. She co-curated with Yul Cho the performance piece How to Draw a Voice, by artists Heidi Edström and Feronia Wennborg for Accelerator; and coordinated the IASPIS Open Studios Autumn 2022. Her current curatorial research explores the intersection between lithium extraction and contemporary art.
This project was made possible thanks to the support of the Department of Culture and Aesthetics, Stockholm University, and Färgfabriken.
Joel Albinsson: empty space / enclosed dissolved
empty space / enclosed dissolved is a site-specific public sound installation in the covered terrace by Malmskillnadsgatan 47 / Tunnelgatan 2. Curated by Joel Albinsson.
18 May – 1 June
Audible between 07:00 – 22:00
Opening May 18, 18:00
The installation is inaugurated with an introduction by Ellen Arkbro and Joel Albinsson, followed by a communal listening to the sound work.
In the middle of the city, at the point where Tunnelgatan and Malmskillnadsgatan meet, a brick building gives way to an occluded passage, a covered terrace. This place is a stone’s throw away from the district’s main street, immediately adjacent to the infamous stairs that Olof Palme’s killer used to make their escape, and above popular Brunkebergstunneln. These sites, though their significance vary greatly in character, all hold a strong place in the public consciousness of the city as sites of transit and commerce, of memory, and the melding of striking architecture and historic feats of engineering.
In contrast, the terrace itself is insignificant to most. Designed to fit a one-way escalator and a lift, it is a space of pure function which provides the city with much needed accessibility. It serves this purpose but does little else. There is no monumentality, no grandeur, no weight of history. It is next to, near, but ultimately a passive bystander to things bigger than itself. Still, it operates as a part in a vital system designed to ferry people up and down Brunkebergsåsen, the steep ridge that cuts across northern Stockholm.
Here the terrace lies, tucked away. Appearing as a hole in the cityscape, not immediately visible unless you know where to look or if you approach it with purpose. The enclosed emptiness calls out for something to fill it and give it shape: to mark it, amending function with form. To prompt the city’s inhabitants to stop and consider what the city is made up of. The holes and pockets, the places that exist next to or in-between, the spaces that still serve a purpose and those that have been made into appendixes, traces of past functions.
Ellen Arkbro responds to the call with a sonic intervention which alters our perception of this otherwise unremarkable space. As the work fills the passage, the space is at once condensed and expanded. The sound melds with the mechanical rhythmic beating of the escalator and the constant thrum of traffic from outside while providing an alternative, embodied mode of listening. The terrace is thus remade into sculptural form which unfolds and changes as one moves through it. The sound seeps through the cracks, flowing out in a suggestive invitation to come and discover, and to exist in this place for a while.
Ellen Arkbro (b.1990, Stockholm) is a Berlin-based composer, musician and sound artist working with harmony and intonation. Her work includes compositions for ensembles and orchestras as well as sustained chordal sculptures presented in installation form.
She has presented her work at Barbican in London, Munch museum in Oslo, Blank Forms in New York, GRM in Paris and the Kölner Philharmonie in Cologne among other places. She is currently an artist in residence at La Becque in Switzerland.
Joel Albinsson (b.1997, Örebro) is a Stockholm-based curator whose work engages with the temporal and spatial qualities of sounding art, as well as with questions regarding urbanities and the power over the city.
Albinsson is currently finishing his master’s degree in curating art at Stockholm University. Recent curatorial work includes the performance piece En Kör Möter at Accelerator in Stockholm with co-curator Hanna Bargheer, and the publication Humanitet for Folkrörelsernas konstfrämjande.
Sarah Rodrigues: Art Curators Day
Join us for a day of celebrating and supporting art curators! Whether you work at an institution or independently, you know how challenging and rewarding curating can be. You also know how important it is to connect with your peers and share your experiences. Curated by Sarah Rodrigues.
On Saturday 27 May, at Slipvillan, you are invited to a full-day programme with discussions on the working realities of curators, workshops for knowledge exchange, and space for care and support. Don’t miss “LULL”, a massage and live piano experience, nor the Speed-dating for Curators & Collaborators, where you can meet potential partners for your future projects (open to all art professionals).
Space is limited, so book your tickets now for each of the activities you want to take part in. We look forward to seeing you!
Johanna Rüskamp: Continuing Bonds
Continuing Bonds is an exhibition about grief and memory with the work of artist Johan Steinmetz and an event hosted by artist and death doula Zafira Vrba Woodski. Curated by Johanna Rüskamp.
Exhibition
Start date: Wednesday 31 May 2023
Time: 17:00
End date: Monday 05 June 2023
Time: 19:00
Location: Kungsholmen International Library, St. Eriksgatan 33 | Fridhemsplan
31 May – 5 June
Mo., Wed. – Fri. 10:00–19:00
Sa. & Su. 11:00–15:00
Opening 31 May, 17:00
Memorial Café with Zafira Vrba Woodski 5 June, 17:00-18:30
An incident like death can transform an object from insignificant to holding intrinsic value. It is the change in emotional attachment that alters the way we perceive something. The things left behind suddenly appear in a different light to the bereaved:
The dress is no longer just a dress; it becomes the dress she wore that afternoon in late August five years ago when she accidentally spilled some coffee.
The material now carries memories.
In an instant, an object that previously went unnoticed gains significance. It is captured and cherished because it feels like the last tangible link that connects us to the departed.
These objects help us sustain a bond with what we have lost, allowing us to continue the connection even in their absence.
The exhibition shows Johan Steinmetz’ RK 511 SE Steinmetz, an artwork comprised of 79 prints, blank spaces, and an audio piece, at the library's entrance area. The work explores the role of material objects in the context of loss. It offers a personal and introspective look into how objects can constitute identity and serve as carriers of memory.
As part of the exhibition, Zafira Vrba Woodski is hosting a Memorial Café on Monday 5 June from 17:00–18:30 for Cake, Coffee, and Conversations Around Death.
It offers a space to talk about death, life, and memories over coffee and cake! Everyone, no matter, whether you're grappling with the loss of a loved one, or simply curious about this often-taboo topic, is welcome to share their story, ask questions, or simply listen. It’s about remembering and honoring our loved ones. It is free of charge and there will be free fika.
Sign up
There is no need for booking, but we kindly request that you sign up here if you intend to join:
More information about the project:
Johan Steinmetz (b. 1995) is a German artist whose work explores the handling, intervention, and appropriation of different spaces and investigates how changes in the environment affect our perception of it. Through the medium of digital photography, he combines and captures the sculptural and performative aspects of his work. The themes of loss and the feeling of being at a standstill are often present in his work. Currently based in Kassel, Germany.
Zafira Vrba Woodski (b. 1980) is an artist, certified death doula, and trans activist. Zafira works with death in art and magic and regularly hosts Death Cafés for the trans communities and Dinner with Death for various constellations and groups. As an Interfaith Minister Zafira also offers queer and trans communities rituals and ceremonies to mark transitions, gender-affirming care, memorials, and celebrations of both relationships and breakups. Currently based in Stockholm, Sweden.
Johanna Rüskamp (b. 1996) is a curator and art educator from Germany. Her academic background is in art aesthetics, sociology, and provenance research. Recent curatorial works include Tunnel Vision as part of Nobel Week Lights and the workshop series Chasing an Idea co-curated with Ifra Shariq in collaboration with Accelerator and Kungsholmens Gymnasium. Currently based in Stockholm, Sweden.
2022
WITHIN & AGAINST.
A collaboration between ten artists, seven curators and six lighting designers.
By intervening in public space and exploring the contrasts of the brutal and the soft, the industrial and the organic, they transform the known into the unknown through the power of light, reflection and darkness. When the sun has gone down, audiences are invited to walk along Kungsbro strand, past Klarabergsviadukten towards Serafimerstranden to experience this exhibition through ten completely new artworks.
The exhibition is part of Nobel Week Lights Stockholm, a light festival that takes place during the Nobel Week in December and is free for everyone.
This exhibition is the result of a collaboration between the following participating curators, artists and lighting designers:’
Curators from Stockholm University
Charlotte Keegan
Clara Donadoni
Ester d'Avossa
Hannah Ingvoldstad
Jonas van Kappel
Linnea Wästfelt
Nathalie Viruly
Artists from Konstfack
André Córdova Rudstedt
Caroline Nord
Charlotte Hedberg
Constance Michnik Fredriksson
Hedvig Bergman
Isabelle Sahba
Johan Pihlanen
Karin Askling
Livia Prawitz
Ting Yu Shih
Lighting designers from KTH
Carolina Borgia
David Santiago Pulla Alvarado
Diana Andrea Niño Bogoya
Evdoxia Iro Gkolompia
Ishita Madan
Maria Eleni Zapounidi
Agnès Biro: 'La Dérive'
'La Dérive' is taken from the concept developed by French theorist Guy Debord called the 'theory of the drift' where a person is given an appointment at a particular place or time without knowing if someone will meet them, not knowing what to expect. This concept is challenging the way one experiences the city, inviting one to take unusual routes and become an observer of urban life...
Please provide your full postal address in order to participate.
(Addresses will not be re-used by the organizer after the event)
Register and more details will come
'La Dérive' will take place on Friday 22/04/2022 after nightfall somewhere (?) in the city of Bruges. More details will be coming to your postbox.
One registration can count for 2 persons / one household.
The event is organized with the support of Mintus, Stad Brugge and Stockholm University.
Lina Aastrup: PRE-EXODUS – VR-experience and artist talk
PRE-EXODUS – VR-experience and artist talk is a collaboration between the exhibition space Accelerator and the International Master’s Programme in Curating Art.
Leila Khoury Nimry was thirteen years old when she fled her home in Haifa, Palestine during the Nakba in 1948. In PRE-EXODUS she shares the memories of her childhood bedroom, illustrated and developed into a virtual reality experience, created by artist Solenne Tadros. The work activates questions of memory, intergenerational trauma, forced displacement and loss of land.
Artist talk 27 April 18:00
Location: Accelerator, Frescativägen 26A
An artist talk on the evening 27 April with Solenne Tadros (b. 1996, Jordan) will introduce the work PRE-EXODUS and invite a conversation on its related themes.
Participants
Solenne Tadros, artist
Lina Aastrup, curator
The artist talk was recorded for Accelerator’s podcast, listen to it here
VR experience 28–30 April
Location: Accelerator, Frescativägen 26A
PRE-EXODUS will be installed in Accelerator’s seminar room and on view April 28–30 during regular opening hours. No booking required. Free admission.
Isabelle Ribe: Cut/paste
Cut/paste is a small series of pop-up zine workshops in Stockholm.
Zines are small, self-published booklets; they are playful, intimate, chaotic, weird, unruly, unpredictable, rebellious and celebratory. They offer unique possibilities for self-expression, participation and subversion which cut/paste aims to explore and channel into several collaborations with local Stockholm art practitioners working with zines.
Programme
Saturday 28 May 2022, 13:00-16:00
Zine Activism
With Belinda Morén
Botkyrka Konsthall
Languages: Swedish, English
Description: In this workshop we propose to explore the activist roots of zine and take a moment when everyone can reflect on and express what inspires them, what disturbs them, what feels most important. The workshop will start with some creative warm-ups to get the inspiration flowing and start some discussions. After that, you are free to create whatever you want!
Sunday 29 May 2022, 13:00-16:00
Visual Poetry
With Frida Häggström Gerdt
Index Foundation
Languages: Swedish, English
Description: This workshop takes text as its starting point, its material and inspiration. It invites you to collect fragments from unexpected sources, and to find new meaning in this act of gathering. It will take you through a series of quick writing exercises, and experiment with different ways of using text as a visual, graphic material in the zine format.
Thursday 02 June 2022, 17:30-20:30
Re-Printed Matter
With RE
Index Foundation
Languages: Swedish, English
Description: Find and bring something that is already printed - it may be a postcard, advertisement, fruit sticker, t-shirt print, album cover, a recipe, lexicon, stamps... During the workshop, we will copy our material, re-work it and find ways of working together and with the material to assemble it into a collective zine. Each participant will bind their own copy.
Saturday 4 June 2022, 13:00-16:00
Speculative Botany
With School in Common
Botkyrka Konsthall
Languages: English, Swedish
Description: We lack a language to communicate with and about plants. In this story-telling workshop, we will use speculation to imagine a plant narrative that does not consider human relations as a starting point. You are invited to work with text, images, drawings, and plant materials collected in the area around Botkyrka Konsthall to create a zine speculating about our multi-species futures!
Open to all
These workshops are open to all, and spontaneous drop-ins are welcome, but we kindly ask you to RSVP to the workshops you wish to attend so we know how many participants to expect. RSVP at: cutpastezines@gmail.com
For more information and updates:
Ingrid Svahn: Movement Patterns
Opening 9 June, 17:00-19:00 (open to all)
Opening hours:
Wednesday-Friday 13:00–18:00
Saturday 12:00–16:00
Movement Patterns explores the meeting between the body and the monument, the fragile and the eternal, movement and stillness, history and memory. In her artistic practice, Chiara Bugatti examines materials that seems to have lost their main function. Through three works of sculpture, installation and video, she explores the memory of materials, their historical associations and narrative possibilities, such as allowing marble to break down to then re-emerge in perishable room installations, or possibly eternal forms. The works goes into dialogue with the premises of Mint they now engage in, in the house of ABF (Workers' Educational Association), located in neighborhoods colored by Swedish political and cultural history.
About the artist
Chiara Bugatti (b.1991, IT) is a visual artist based in Stockholm. Bugatti holds a BFA from the Accademia di Belle Arti di Venezia (IT, 2014), an MFA from Umeå Academy of Fine Arts (SE, 2016) and a Postmaster from the Royal Institute of Art in Stockholm (SE, 2021). She was recently a grant holder at IASPIS and fellow at Akademie Schloss Solitude in Stuttgart. She is part of the current exhibition Släpljus at the Carl Eldh studio museum, as well as the 15th Trienniale Kleinplastik Fellbach in Germany and her work has been exhibited in institutions across Europe. In one of the works in the exhibition, Bugatti collaborates with German artist Sebastian Moske, choreographer Alessandro Giaquinto and a group of dancers from the Stuttgart Ballet (DE).
About the curator
Ingrid Svahn is a freelance curator and student in the international master’s programme in Curating Art at Stockholm University. The exhibition is made as part of her graduation project and made possible with the support of Mint and Stockholm University.
Project supervision
Emily Fahlén
m-i-n-t.se
ABF-huset, Sveavägen 41
Sona Stepanyan: Flowing grounds Stockholm. Tracing a sensory map
Opening 15 June, 18:00–21:00, open to all
Exhibition period: 16–29 June
Opening Hours: 12:00–16:00
Gabey Tjon a Tham (1988) is a multidisciplinary artist working and living in the Hague, The Netherlands. For her first solo exhibition in Stockholm, the artist transforms a yellow sea container into a site-specific sensory experience reflecting on ever-changing urban landscapes and complex properties between man-made, technology, and nature. The immersive installation consisting of kinetic light sculptures, a two-channel video, and a sound composition focuses on the harbor area and the water as a vibrant system with its own temporality where all agents have to adapt to different laws of nowadays unsteadiness.
About the curator
Sona Stepanyan (1987, Armenia) is a freelance curator based in Stockholm and a student of the International Master’s Programme in Curating Art at Stockholm University. The exhibition is made as part of her degree project.
2020
Agnès Biro, Sarah Rodrigues
Overflow - Art Exhibiton
A four-day art exhibition showcasing the works of artists Jo Andersson, Sissela Jensen and Alexey Layfurov. Curated by Agnès Biro and Sarah Rodrigues, students at the International Master’s Programme in Curating at the Department of Culture and Aesthetics at Stockholm University. 24-27 September.
In this year 2020, we have been a part of a worldwide pandemic which has brought most of us under forced isolation.
We are still experiencing the effects of this unprecedented global phenomenon and the resulting destabilization.
In this exhibition, we invite you to explore this state of imposed introspection and to look within (some)one’s intimate spaces.
Due to Covid-19 and for curatorial choices, only groups of 4 people will be allowed per 20 min slot. Make sure you register by following the link below!
Artists
Sissela Jensen
I aim to make striking images that balance the very familiar with the alien and the mundane with the extraordinary. With a strong interest for human perception I explore the limit for visual information and want to recreate my own fascination for the world.
Sissela Jensen born 1988, recently graduated from Master programme in Visual Communication at Konstfack.
@sisselajensen
Jo Andersson
I am interested in energy and its various forms, particularly light. Using glass as my main material of exploration I experiment with creating environments which help to bring the viewer to the present moment.
I received my Masters in Ceramics and Glass from Konstfack in Stockholm, Sweden in June of 2020. I am currently located in Stockholm.
@jojosunbear
Alexey Layfurov
I am working on the intersection between film and graphic design. By balancing between these two disciplines I am trying to address such gigantic concepts as globalisation and make an attempt to visualise them. I am mainly focused on the visual dramaturgy of an image.
I recently graduated from the MFA program in visual communication at Konstfack and I am currently based in Stockholm.
@Layfurov
Curators
Agnès Biro
Agnès Biro is a freelance curator and a Master student in Curating Arts at Stockholm University. While following a Bachelor's degree in Fine Art, she gained interest in challenging the relation between audiences and time. Her curatorial practice explores interruption as a way to influence the visitor’s experience.
Sarah Rodrigues
Sarah Rodrigues is a freelance curator and is currently pursuing the Curating Arts Master’s program at Stockholm University. With a background in Environmental Studies, Anthropology, and Philosophy, she is interested in the intersection of arts, sciences and research with regards to understanding the Self and the Environment.
Elias Kautsky
Tide Pool
A VR exhibition released online 11 June. Curated by Elias Kautsky as part of a degree project within Curating Art, International Master’s Programme at Stockholm University.
Tide pools are bodies of seawater that form on the shore during low tide. They are at this time cut off from the sea, and what can be observed is a habitat with animals and plants that are especially adapted to these conditions. In the planning of this project, social tide pools where forming all over the world due to the ongoing pandemic. Gatherings, in exhibition spaces and elsewhere, were no longer possible and the constant flux of people in physical spaces halted. The habitat changed from sea to tide pool.
Tide Pool is an exhibition with five artists set in a virtual space, accessed by physical means. The works are all made to be experienced with 360-degree technology, and while physical space is at times referenced, it is sparsely represented. Instead the spaces that the visitor will encounter are created by the minds of the artists, and then inhabited by the mind of the visitor. The touch of the hand, and the presence of a fellow visitor may at first seem absent during low tide, but when the immediate surroundings are cut off, for a moment, you are immersed in Tide Pool.
Artists
Adel Akram Alameddine
Karolina Brobäck
Jacob Broms Engblom
Valentine Isaeus-Berlin
Anna Nordström
Date
Released online 11 June 2020 at www.tidepool.se.
For further information:
Elias Kautsky
+46 (0)73-774 95 05
eliaskautsky@outlook.com
Silvia Thomackenstein
Att uppleva konst hemifrån - Sara Nielsen Bonde
The exhibition was open on weekends from 12pm to 5pm and during the week from 1pm to 6pm.
Home is the place where we feel safe, spend time with our loved ones, and refuel our energy.
How does our perception of home change, when we are now asked to spend more time in our own space?
We visit art institutions, go to galleries, travel for exhibitions, and meet like-minded people who share a passion for art and exhibitions.
How does our perception of art change when we are now asked to refrain from visiting exhibitions?
Art brings us together, helps us exchanging ideas, and addresses the needs and circumstances of our society and the world.
How does our perception of both, art and home, change when we exhibit art at home, live with it for a while, and open our home to visitors?
In the exhibition Att uppleva konst hemifrån, curator Silvia Thomackenstein asks herself these questions and exhibits the works of artist Sara Nielsen Bonde in her private garden. In these tricky times, she wants to make a physical visit to an exhibition possible and therefore works site-specific allowing the visitor to perceive art in the curator’s home.
Bonde plays with the interpretation and perspectives of different materials and our expectations of them in her mostly sculptural work. She is interested in the perception of trees, wood, bark, in particular, as something living and decaying. For her, the exhibition project is an opportunity to position the works in an outdoor environment.
About the artist
Sara Nielsen Bonde (b. 1992 Denmark) graduated from the Royal Institute of Art in Stockholm in 2019. In the same year she received the Fredrik Roos Art Grant and exhibited at the konsthall Artipelag in the Stockholm archipelago. Today, the artist lives and works in Gothenburg.
How to participate
In order to protect the curator’s private sphere and thus remain true to the curatorial concept, you are asked to send a short message to +46 76 911 24 27 about your intention to visit the exhibition. You will receive a confirmation and the exact address in reply. This also guarantees that the recommended minimum distance to residents and other visitors can be maintained. The private garden can be entered without any interaction with the residents of the house, but the curator will, of course, be there and will be happy to engage in dialogue.
Live-event on June 11
As part of the exhibition, the host will broadcast a live-event on June 11, 18:30. In order to spark a conversation about wood, curator Silvia Thomackenstein invites you to a round table talk as part of the exhibition, where different perspectives on wood meet, overlap and complement each other - which can create a completely new view of wood. You are invited to experience how complex the material wood can be – or become, how detailed you can work with it, how you can change its structure or even how to draw inspiration from it. The guests of this talk are Andreas Nobel (Interior designer), Céline Montanari (scientist), Max Jacob Falk (cabinetmaker) and Sara Nielsen Bonde (artist).
You can find the link and further information on thomackenstein.com.
Anne Vigeland
Pre-Launch: Letters to Process
The book gathers personal thoughts and reflections from 15 artists working within a broad array of practices, with the aim of expanding public perceptions of what comprises artistic work – from an open, speculative and affective viewpoint.
Pre-launched June 6
A public launch event was been postponed to the autumn, 2020, but Letters to Process was pre-launched on June 6, 2020. It will then be possible to acquire a free copy at Index – The Swedish Contemporary Art Foundation (Stockholm) during their regular opening hours, or to place a postal order by sending an email to: letterstoprocess@gmail.com (the book is free, but you will be asked to reimburse the postal costs).
The catalyst behind Letters to Process is a solo piece by dancer and choreographer Linda Blomqvist titled Selma (2019). During the process of creating the piece, Linda wrote numerous letters to and for Selma, as if Selma was a subject – a fictive someone to lean on, dance with and write to. The collection of letters Linda wrote during the process mirror the emotional bond that arose and developed between the artist and her work over time.
In Letters to Process, Linda and Selma are in the company of 14 other artists who have been invited to engage in a similiar writing practice. They have written letters to artistic processes of their own, and treated those processes as subjects. Collectively, the letters make up a diverse archive of observations and meditations on practice and process; unravelling the relational and affective commitments that constitute artistic work.
Participating artists
Diana Agunbiade-Kolawole
Liza Baliasnaja
Linda Blomqvist
Tim Høibjerg
Inez Jönsson
Rebecca Lindsmyr
Theo Livesey
Natasja Mabesoone
Stina Nyberg
pavleheidler
Pontus Pettersson
Nicklas Randau
Adam Seid Tahir
Eirik Senje
Elinor Tollerz Bratteby
Curator/Editor
Anne Vigeland
Graphic Design
Abudi Alsaleh
Project Supervisor
Anna Efraimsson
Yuying Hu
Navigating Across Borders
Navigating Across Borders is a collaboration between the exhibition space Accelerator and the International Master’s Programme in Curating Art at the Department of Culture and Aesthetics at Stockholm University. Curator for this live streamed event is Yuying Hu.
Accelerator has a collaboration with the International Master’s Programme in Curating Art at Stockholm University. The students create events in connection to themes that Accelerator wishes to highlight in the exhibition programme. Curator for this event is Yuying Hu. In connection with Accelerator’s current exhibition, she will present a talk that centers around multilingualism, the interrelationship between language and society, and linguistic practices that initiate diverse societal changes.
This conversation is an online only event that will be broadcasted live on Accelerator’s Facebook page. The event lasts approximately 60 mins, it is recorded and will be available in Accelerator’s podcast and YouTube channel.
Johanna Gustafsson Fürst has in her exhibition Graft the Words, Whip My Tongue been concerned with themes such as monolingualism and its normative oppression, as well as multilingualism and its enriching potentiality. Borders between different languages embody a complex of power relations that are entangled with social, political, economic, and cultural realities in contemporary societal settings. The following questions will be discussed during the talk: How could we approach such existing power relations? What does it entail to be a bilingual/multilingual subject when navigating across these borders, for example, in the process of translation? In relation to that, translator Jennifer Hayashida and Associate Professor in Spanish Johan Järlehed will discuss how language in a broad sense interacts with social change processes, and how translation practice can be interpreted as an intervention towards the current monolingual reality.
Credits:
Yuying Hu, curator
Jennifer Hayashida, poet, translator and visual artist
Johan Järlehed, Associate Professor in Spanish
Yuying Hu, Elias Kautsky, Silvia Thomackenstein, Anne Vigeland
Survival of the Fittest
The project takes the Swedish Museum of Natural History as a starting point for a dialogue about artistic and curatorial practices in the context of natural science and ideology in the present environmental situation. The museum can be seen as a container, raising questions about cultural heritage, colonialism, posthumanities, evolution and species extinction.
The project, which is led by guest professor Lina Selander from the Royal Institute of Art, began with seminars and guided tours at the Swedish Museum of Natural History. Researchers and invited lecturers shared their perspectives on the historical and contemporary role of natural history museums, with a focus on notions of collecting and systematizing. Drawing from these experiences, the students of the Royal Institute of Art have developed research methods using archival material and other historical sources, leading up to newly produced works that will be presented at Accelerator in close collaboration with students from the Master’s Programme in Curating Art. The geographical and contextual area shared between Accelerator, the Swedish Museum of Natural History and Stockholm University, creates a foundation for further explorations of the connections between art and science.
Time and place:
Guided tours everyday at 13:00, beginning in the reception at Accelerator.
14–16 February, 12:00–18:00.
Credits:
Initiator and project leader: Lina Selander
Artists:
Mattias Andersson, Tobias Bradford, Karolina Brobäck, Sara Ekholm Eriksson, Simon Ferner, Lior Nønne Malue Hansen, Tim Høibjerg, Valentine Isæus-Berlin, Newsha Khadivi, Johanna Kindahl, Linnea Lindberg, Lina Lundquist, Georg Nordmark, Emilie Palmelund, Sixten Sandra, Klara Zetterholm
Curators:
Yuying Hu, Elias Kautsky, Silvia Thomackenstein, Anne Vigeland
Ellen Klintenberg Gedda, Onur Çimen
My Mother’s Language
My Mother’s Language was a collaboration between the exhibition space Accelerator and the International Master’s Programme in Curating Art at the Department of Culture and Aesthetics at Stockholm University. 29 January, 2020.
Accelerator collaborates with the International Master’s Programme in Curating Art at the Department of Culture and Aesthetics. The students create events in connection to themes that Accelerator wishes to highlight in the exhibition programme.
My Mother’s Language is curated by Ellen Klintenberg Gedda and Onur Çimen. Taking Johanna Gustafsson Fürst’s interest in social, political and emotional aspects of language as a starting point, they present an evening that focuses on multilingualism in relation to identity and power.
“My mother’s language cuts against my mouth, as though my mouth remembers how ashamed I used to be of speaking our language in front of others. Now that I’d like to bring it back into my mouth, my mouth won’t let me”, the narrator says in Serbocroatian. Experiences of the role that language plays in shaping one’s own identity and the political and structural conditions of that process, as illustrated in Shapeshifters, is the focus of the evening, discussed through the lens of art as well as the current research in the field.
The evening begins with a conversation between artist Sophie Vuković and Carla Jonsson, Associate Professor at the Department of Swedish Language and Multilingualism at Stockholm University, followed by a screening of Shapeshifters (85 min). The film serves as a point of departure for the conversation as it portrays a sense of belonging beyond national borders by using language both as material and subject matter.
Credits
Ellen Klintenberg Gedda, Curator
Onur Çimen, Co-Curator
Sophie Vuković, Artist
Carla Jonsson, Professor, Department of Swedish Language and Multilingualism, Stockholm University
2019
Onur Çimen, Ellen Klintenberg Gedda, Yuying Hu
Objects Through Time
Objects Through Time is a collaboration between the exhibition space Accelerator and the International Master’s Programme in Curating Art.
Accelerator has a collaboration with the International Master’s Programme in Curating Art at Stockholm University. The students create events in connection to themes that Accelerator wishes to highlight in the exhibition programme. Curators for Curating Art’s fourth event is Onur Çimen, Ellen Klintenberg Gedda and Yuying Hu. They will present an evening that focuses on historical material and cultural heritage in connection to Cyprien Gaillard’s exhibition.
In his exhibition Overburden, Cyprien Gaillard critically addresses concepts of decay, renewal and reconstruction – bringing forth questions concerning the presence and certain usagesof historical objects in current times. In relation to Gaillard’s exhibition, artist Burçak Bingöl and Associate Professor in Archaeology Anna Källén will have a conversation about cultural heritage and the temporal qualities of historical matter. The talk will revolve around current roles and conditions of objects of the past in today’s society – especially in contemporary artistic practices. What stories and perspectives become invisible when we address historical objects from a contemporary point of view – and what layers of interpretation are added?
About Burçak Bingöl
Artist Burçak Bingöl is based in Turkey and explores notions of belonging, cultural heritage, identity, decoration and failure. Working with various mediums such as ceramics, drawing, video and installation, Bingöl’s works can be seen as psychological landscapes that hover between abstraction and representation, rejection and preservation – both embracing and disregarding Eastern and Western traditions. Bingöl is one of the current residencies of IASPIS.
About Anna Källén
Anna Källén is an Associate Professor in Archeology at the Department of Culture and Aesthetics at Stockholm University. Her research focuses on the contemporary usage of archaeological sites, objects and narratives – mainly in Europe and Southeast Asia.
Credits:
Onur Çimen, Curator
Ellen Klintenberg Gedda and Yuying Hu, Co-Curators
Burçak Bingöl, Artist
Anna Källén, Associate Professor in Archeology
Federica Brigo
This is Survival
This is Survival is a collaboration between the exhibition space Accelerator and the International Master’s Programme in Curating Art.
Accelerator has a collaboration with the International Master’s Programme in Curating Art at Stockholm University. The students create events in connection to themes that Accelerator wishes to highlight in the exhibition programme. Curator for Curating Art’s second event is Federica Brigo. As sustainability is a key aspect to Tino Sehgal’s practice, she has chosen to curate an evening that revolves around environmental issues in connection to both artistic and scientific practices.
The evening will consist of a talk between artist Madeleine Andersson and Professor Matthew MacLeod from the Department of Environmental Science at Stockholm University, moderated by Federica Brigo. The talk will address the implications of climate change from two differing, but equally indispensable perspectives; the artistic and the scientific, followed by a screening of Andersson’s video work We’re All Motherfuckers (2018, 40:16 min).
Madeleine Andersson, who graduated with a BFA from Konstfack in 2019, works mainly with moving images in ways that are deliberately direct, dramatic and self-oriented. In We’re All Motherfuckers, Andersson experiments with different ways of embodying climate change – as plastic pollution or global warming – intertwined with personal monologues. Environmental activism and its standards of rhetoric is critically investigated and staged, as highlighted by the video’s multiple editing cuts. Through language puns, humor and expressivity, she emphasizes the acute impacts of climate change as a global threat.
Professor Matthew MacLeod is an environmental chemist whose research revolves around the processes and dynamics of environmental pollutants. He is focused on the fate, exposure and effects of persistent organic pollutants and the environmental impacts of micro- and macro plastics.
Credits:
Federica Brigo, curator
Madeleine Andersson, artist
Matthew MacLeod, professor at the Department of Environmental Science at Stockholm University
Anne Vigeland
Dance Concerts
Dance Concerts is an artistic project that invites practitioners within the choreographic field to present ongoing work. The event is a collaboration with the International Master’s Programme in Curating Art and Accelerator.
Accelerator has a collaboration with the International Master’s Programme in Curating Art at Stockholm University. The students create events in connection to themes that Accelerator wishes to highlight in the exhibition programme. Curator for Curating Art’s first event is Anne Vigeland. In relation to Tino Sehgal’s practice, she has chosen to collaborate with pavleheidler on their project Dance Concerts, initiated in 2016.
Dance Concerts is an artistic project that invites practitioners within the choreographic field to present ongoing work. At Accelerator, several artists will share the intimate acts of experimentation and learning with the audience. The intention is to give insight into the importance of labour within choreographic processes and to raise awareness on the structures that govern what is available to the public eye. The evening will consist of three sharings and The Assembly – a moderated conversation.
Dance Concerts have previously been organised in collaboration with SITE Sweden and Weld. The first occasion of Dance Concert season 3 will now take place in relation to Accelerator’s inauguration exhibition with Tino Sehgal. The event wishes to address the renewed interest for dance and performance within contemporary exhibition contexts and to shed light on art that is concerned with the museum as a site of social exchange.
Credits:
Anne Vigeland, Curator, pavleheidler, Dancer and Dance Scholar
Participating artists:
Anna Westberg, Zoë Poluch, Stina Nyberg, Adam Seid Tahir, Caroline Pyo Soon Byström, Andrea Yang-Nam Svensson
Jasmina Šarić
„The Sea as a Common Place“
Exhibition and discursive programme taking place on Viking Line ship Amorella, during the cruise between Stockholm an Turku, in May 2019. The project is curated by Jasmina Šarić as part of a degree project within Curating Art, International Master’s Programme.
Programme
Exhibition
Route: Stockholm-Turku-Stockholm
25.05. 17:00-21:00
26.05. 10:00-17:00
m/s Amorella
presented in three cabins on the deck 7, next to duty free shop
Screening of the film „Amorella“ by Lordan Zafranović (20')
Route: Stockholm-Mariehamn-Turku
25.05. 21:30
m/s Amorella
Panorama Bar on the deck 9
Artist talk
Route: Stockholm-Mariehamn-Turku
25.05. 22:00
m/s Amorella
Panorama Bar on the deck 9
Urban locations, impregnated with a meaningful history, current ambiguity and the feeling of future non-existence - for more than a decade, Croatian artist Duška Boban has been trying, through the photography, to awaken repressed memories and stimulate different potentialities in the development of urban life. Her last art project thematizes maritime identity of the city, its workers and travel, with a particular focus on ships that were built in her hometown Split and are still sailing around the world. One of them is Amorella, whose launch in 1988 is remembered by generations as one of the highest achievements of once internationally respectable shipbuilding industry of Split. Since then, and for thirty years now, Amorella has been sailing on the same route between Turku, Mariehamn and Stockholm.
In return for the exhibition and a book entitled “Amorella – a Floating City” recently presented in Split, Amorella honours the place where she was born and hosts an exhibition of earlier works by Duška Boban: The Way Home, Dinner Invitation and Modern City. Through the sea as a connecting point, the exhibition tells us a story about the memory, place and belonging - for what is common – being in the Baltic, Meditarenean, or any other place on the Earth.
About the artist
Duška Boban graduated from the Academy of Fine Arts, University of Zagreb in 2000. In 2013, she completed the postgraduate study in visual communications, Academy of Fine Arts and Design in Ljubljana, Slovenia, where she conducted a research on urban identity which resulted in the final master’s degree thesis entitled “Public space and civic participation: Activism and Cultural Practices in Split during the last decade”. She works as a teacher of Photography, Video and Media Projects in School for Design, Graphics and Sustainable Building in Split.
More on her artwork you can find on: www.duskaboban.net
This project is supported by Viking Line and the Embassy of the Rupublic of Croatia in Sweden.
Sofia Jonsson
TIME FRAME – AN EXHIBITION IN FOUR ACTS
Welcome to a window in time and a doing exhibition. The project is curated by Sofia Jonsson as part of a degree project within Curating Art, International Master’s Programme.
The exhibition deals with how to frame exhibition performativity and asks; what temporal forms are there to experience art? It will take place in a display window for one evening. Performance remains of the exhibition will be on display until 7 May.
Artwork schedule
17.00–18.00 Helrenoverad, 2018, Konrad Lidén
18.00–18.15 Parser Building, 2019, by Philip Ullman
18.15–19.00 The Gaze, 2018, Salad Hilowle
19.00–20.00 Fatima Moallim
Interim Igor Blomberg Tranæus
Lauren Johnson
Black Moon
Welcome to an exhibition with artists David Åberg, Linda Pedersen and LIDIJA. The project is curated by Lauren Johnson as part of a degree project within Curating Art, International Master’s Programme.
Programme
13 April: 15:00 - Special performance by LIDIJA w/ refreshments
14 April: 15:00 - Artist Talk w/ refreshments
About the exhibition
Black Moon is a fantasy world created as an attempt to address pressing existential concerns: What is the meaning of Being? Who are we? How do we belong to the world? At a time when normative guides such as ritual or religion - traditional responses to these questions - have lost popular credibility, what will we turn to? Black Moon is one suggestion. A cult not of deception, but illusion, an homage to our imaginative ability to fill fictional worlds with meaning and live in them. A two-day exhibition, Black Moon brings together artists David Åberg, Linda Pedersen and LIDIJA.
Vigeland, Kautsky, Klintenberg Gedda, Brigo, Mayr, Çimen, Thomackenstein, Hu
Body of care and control
Exhibition curated by the first year's students from the International Master's Programme in Curating Art.
Participating artists:
Anna-Karin Rasmusson, Anna Ting Möller, Izabel Lind Färnstrand, Lode Kuylenstierna, Malin Westin, Rebecca Lindsmyr, Snežana Vučetić Bohm
Exhibition
26/1 - 10/2 2019
When Köttinspektionen opened in 1930, originally titled Köttbesiktningsbyrån (Meat Inspection Agency), it was with the purpose of providing a governmental institution for the inspection of slaughtered animals. The building was erected in a neoclassical style as a way of elevating the activity of executing control over Swedish meat distribution in and around the city of Uppsala. The original purpose of the building however, also points towards a historical development of governmental care-taking related to public issues of health and wellbeing.
About the exhibition
The exhibition “Body of Care and Control” takes this history as a starting point in order to examine how notions of bodily inspection are treated through a selection of artistic practices today. The artists participating in this exhibition work within a range of media and techniques, but share a common interest in the body as a concept of enquiry. In a contemporary environment where bodies are considered a constant target for exploitation, surveillance and judgement, little room is left open for both mental and physical fragility, deficiency and incapacity. The perception of a healthy body means the perception of an optimized body, obsessed with efficiency and vitality.
The exhibition presents a manifold of ways of executing both care and control over bodies, as well as where, when and how such acts touch upon one another. By presenting artistic work that openly explores inspection and care-taking, what would otherwise take place behind closed doors in the domestic or institutional domains, “Body of Care and Control” aims to broaden the public image of the repressed experiences and obscure actions that constitute being a body today.
Curators
The exhibition is curated by the first year's students from the International Master's Programme in Curating Art at Stockholm University: Anne Vigeland, Elias Kautsky, Ellen Klintenberg Gedda, Federica Brigo, Helen-Sophie Mayr, Onur Çimen, Silvia Thomackenstein, Yuying Hu.
2018
Alice Clayton
Re 404.21ppm*
Welcome to a performative enquiry into memory, access and climate change. The project is curated by Alice Clayton as part of a degree project within Curating Art, International Master’s Programme.
Lydia Touliatou // Miia Mäkilä // Konstantinos Glynos // Alice Clayton
What slight difference can cause real change? Do we resist denial, boredom and apathy, those conditions which support a systemic disconnection from our natural atmospheres? Can repeated action and routine provide us with tools to forge intrinsic understanding of the climate crisis faced today? How can we – humans – investigate the Anthropocenic psyche?
Re 404.21ppm explores human/climate cognition through the mediums of motion, sound and light. Two dancers perform symbiotically with a musician. At points they act in resistance, sometimes they compound. Reflecting, struggling and collaborating, they invite you to engage with an enquiry into an intangible yet present situation, supporting physical and psychological access into ways we think about our changing planet
*CO2 in atmosphere in parts per million, mean average, 2016. As according to NOAA ERSL Data, Mauna Loa CO2 Records.
Lydia Touliatou // Choreography
Lydia recently graduated from Trinity Laban Conservatoire of Music and Dance, London. Her choreography is situated in cross disciplinary collaboration, site specific performance and the synthesis of contemporary technique with tradition. Her training consists of Classical Indian Dance (Bharatanatyam), ballet and release technique, and these have formed the basis for projects including A Response to Abstract Expressionism, part of the Next Choreography Festival at the Siobhan Davies Studio (2017) and Assemblies, as part of Resolution 2017 Dance Festival. Lydia completed a work placement with Batsheva Dance Company in Tel Aviv, Israel in 2016, and she has collaborated with the choreographers Marina Collard, Stephanie Schober and has worked on Diagonal of Yvonne Rainer by Sara Wookey. In June, she will be performing in two multidisciplinary projects which involve music composition, visual art and drawing in collaboration with students from Trinity Laban and UAL respectively. Sara Wookey. In June, she will be performing in two multidisciplinary projects which involve music composition, visual art and drawing in collaboration with students from Trinity Laban and UAL respectively.
Konstantinos Glynos // Instrumental
Konstantinos Glynos is a Greek London-based musician, playing the Turkish Kanun. He has performed in Athens and London with a repertoire consisting largely of traditional Greek and classical Ottoman music. Over the last two years as a student at Goldsmiths University, London, he has explored experimental approaches to his instrument, transcribing numerous compositions towards creating a Baroque repertoire for the Turkish Kanun. He plays with Eastern Mediterranean, Middle Eastern and Greek experimental and traditional collectives. He has also participated in the first two Rebetiko Carnivals and collaborated with choreographer Lydia Touliatou across several pieces.
Miia Mäkilä // Dance
Finnish-born Miia started dancing at the age of 4 at a local ballet school. She trained in different dance styles until she found contemporary dance and moved to London. Miia graduated from Trinity Laban in 2017 with a first class honours degree. During her studies she worked with choreographers such as Sara Wookey, Lizzi Kew-Ross and Ben Wright amongst others, and was invited to a work placement with Batsheva Young Ensemble in Tel Aviv, Israel. She is currently working with Sadler’s Wells Young Associate artist Wilhelmina Ojanen for a premiere in October and a dance company called Meta4dance for a performance in July. In addition, she has recently completed a placement with Anna Watkins.
Alice Clayton // Curation
Alice is a facilitator of creative endeavours which critically engage with perception, learning mechanisms and notions of change. She has worked principally with artists exploring social and environmental change, previously as coordinator of the O N C A Gallery in Brighton and then through her MA studies in Curating, Arts Management and Law at Stockholm University. Currently, Alice is exploring emergent community arts and outreach for a new London-based charity, whilst producing exhibitions and events in Brighton, London and Stockholm. For Alice, the Arts represent ongoing enquiries into systemic change, and her work aims to support the artists driving it.
Marianna Feher
Sensory Futures #1: The work to end all labor
Welcome to a performative and critical gathering, organized by Marianna Feher as part of a degree project within Curating Art.
We recently celebrated the revolutionary legacy of both 1968 and 1917 – two recurring references in history, politically as well as artistically. But what do we have to celebrate today? On the one hand, we are demonstrating for the right to fully integrate ourselves as subjects in the economic system of capitalist modes of production (the right to work, equal rights, equal wages). On the other hand, we are drifting more towards a situation where humanity itself becomes superfluous when it is no longer necessary for the reproduction of capitalist society (unemployed, migrants, people without papers). Therefore, the revolutionary energies seem to remain captive in the menagerie. In a current state of rising xenophobia, fascism, nationalist fronts, neoliberal depression and climate destruction to name a few – the bleak reality of modernity tells us nothing else than to urgently stress new formulations and reinventions of emancipatory politics. Is it therefore time to abandon previous revolutionary legacies...or perhaps, are they even more relevant today?
Art as a counterpower to state politics has been central to many 20th-century avant-gardes. From constructivism, dadaism, surrealism, and to the boom of artistic movements of the 1960’s such as happenings, situations, performances, and fluxus; art has been considered a political standpoint that remains influential to approaching social issues and crisis through aesthetics and critique. If we reflect on the legacy of political and artistic interventions in revolutionary terms, how are we to understand art in late capitalism?
Together with artists, writers and theorists, who all address or reflect upon these notions in their work – this one-day session aims to approach these questions through a hybrid format including talks, discussions, performances and screenings. This is an attempt to, in various ways, address and conceptualize critical aspects on (art)work, value-criticism, and revolutionary legacies – in order to put forward notions of critical thinking across and beyond capitalist modes of production, and to cross-think some (im)possible future directions.
Participants
Olivia Berkowicz, Rasmus Fleischer, Astrid Grelz, Alice Håkansson, Julia Kouneski, Mattin, Max Ronnersjö, Frida Sandström and Karl Sjölund
Niki Kralli Anell
109 Words 7 Days 3 Dioramas and one stride
Welcome to a a workshop based art project by language introductory high school students and R A K E T A. Curated by Niki Kralli Anell, as a degree project.
One map and a collective stride will take us to alternative cityscapes in Södertälje city. Welcome to join!
Geography
γη (earth) and γράφω (write, describe)
109 Words 7 Days 3 Dioramas and one stride is an ongoing investigation of the city of Södertälje, its geography and its scenery. A project experimenting with narration strategies and printing methods.
New associations, descriptions and meetings – parallel geographies – to Södertälje city have formulated through investigations in photography, sound and text sessions. The workshop based art project 109 Words 7 Days 3 Dioramas and one stride finalizes in three exhibitions spaces, 3 dioramas, where the participants work have landed, intersecting with its urban surroundings.
Edit Fándly
In(form) – a Live Archive
In(form) – a Live Archive activates the archive of previous degree projects that have been realized within the International Master Programme in Curating Art. The initiative is set in motion by Edit Fándly as a degree project within the Curating Art Programme.
Archive opening
18:00-18:10 – Introduction by Edit Fándly
18:10-18:40 – Discussion with Anneli Bäckman and Tova Mozard about the CC7 Biennial – a degree project realized in 2007, as a collective expression by Stina Barkow, Katrin Behdjou Arshi, Alexander Benz, Anneli Bäckman, Nathaniel Howe, Sarah Kim and Bettina Schultz in collaboration with artist Tova Mozard.
The opening includes the screening of Tova Mozard’s video work, Jack of all Trades (2007) commissioned for the CC7 Biennial. The piece will be only displayed during the archive opening.
Archive closing
Friday, 25 May / 18:00 - 20:00
18:00 – 18:30 – Discussion with curators Elena Jarl and Iliane Kiefer about their curatorial final project, Rethinking Flânerie (2016, participating artists: Nisrine Boukhari, Santiago Mostyn and Johanna Steindorf).
19:00 – Launch of the zine Intimate from Time to Time - a project on intimacy, community and collaborative practice by Rosa and Alen from School in Common and friends.
The archive is open on Tuesday, Thursday, Friday (22, 24, 25 May) / 11:00-18:00 and Wednesday (23 May) / 11:00–15:00.
About the project
By placing archival materials of a few selected previous degree projects in the curator students’ lecture room and through an event series, In(form) – a Live Archive imagined as a platform, one possible method to be inspired by what has been done by our fellows in recent past. To make live, visible and accessible the unseen.
The main objective of this initiative is accumulated around the questions how and what can we learn from each other: from a peer curator, from artist(s), from our numerous approaches, a multitude of views, working procedures and aims.
With many thanks to the curators of the activated previous degree projects for their kind assistance: Stina Barkow, Katrin Behdjou Arshi, Alexander Benz, Anneli Bäckman, Nathaniel Howe, Sarah Kim and Bettina Schultz (CC7 Biennial, 2007) ▪ Heather Jones and Sally Müller (Let’s Pretend We Live Here, 2013) ▪ Olga Krzeszowiec Malmsten and Mirja Majevski (Coming Across - Researching / Notes on Intercultural Translation, 2014-2015) ▪ Rado Ištok and Yvonique Wellen (Rethinking Education and Decolonizing Knowledge, 2015-2016) ▪ Elena Jarl and Iliane Kiefer (Rethinking Flânerie, 2016).
Contact
- Phone hours
By appointment.
Last updated: September 3, 2024
Source: Department of Culture and Aesthetics