; ; ;
Carole Condé and Karl Beveridge, Kajsa Dahlberg,
Duane Linklater → John Hampton, Juan Ortiz-Apuy, Joshua Schwebel
Curated by Sam Cotter
June 23 – August 6, 2016
Working Conditions brings together the work of artists questioning where they stand and what they stand amidst. Acknowledging that the studio exists at the intersection of many ecologies, the artists place themselves in relation to factors beyond their place of production, looking at the power dynamics, blind spots and measures of success contained in the economies and ecosystems surrounding them. Their interactions negotiate complicities, rights and responsibilities while pushing at the blurry boundaries between art and life.
In Working Conditions, the act of asking a question is framed as a tool to confront reality: taking stock of both one’s position and the conditions around them. Here production is linked to conversation and negotiation, assembling becomes a means of disassembly and concrete answers dissolve into a search for better questions.
Within the exhibition, the term “working conditions” becomes twofold: signalling evaluation, as the artists look outward to understand the mechanics of work and labour framing their practice, and introspection, as the artists form their personal terms of engagement or the conditions under which they are willing to work. Looking at a diverse range of subjects—from the moderators of Wikipedia to the producers of video equipment, from the precarious economies of artist-run centres to the family breakfast table and beyond—the artists in Working Conditions ask how their actions influence and are influenced by the world around them.
A dialogue between Gabrielle Moser and Helena Reckitt in OnCurating that was just published:
Feminist Tactics of Citation, Annotation, and Translation: Curatorial Reflections on the Now You Can Go programme
2016-05-24 to 2016-06-24
Feminist Training Camp at nGbK
21 May - 24 June 2016 // Opening: 20 May 2016
Foto: Merja Hannikainen
Wake up! This is station 2016 on your dial. If you can’t find it then you’re in trouble, sister.
– Born in Flames, 1983
Wassan Ali, Bini Adamczak & Konstanze Schmitt, Anna Bromley, Cinenova Feminist Film and Video Distributor / Karolin Meunier & Sandra Schäfer, COOL FOR YOU, Kajsa Dahlberg, Athena Farrokhzad, Feministische Gesundheitsrecherchegruppe Berlin / Julia Bonn & Alice Münch & Inga Zimprich, Feminist Repair Café / Elisa Garrote Gasch, Annie Goh, Minna Henriksson, International Women's Space, Karolina Kucia, Las Hipókritas, Lowkick Tag Team, Peer Projekt / Hydra, Iris Rajanayagam, Noha Ramadan, reboot.fm / Diana McCarty, Naomi Rincón Gallardo, Sabrina Saase & Lanca, Nora Sternfeld, Dominika Trapp & Virág Bogyó, MC Xuparina, Andrea Zarza & Miranda Iossifidis a.o.
A message from the future is warning us that time is running out.
In the past years Europe’s colonial continuities and deeply rooted fascist practices have come to the fore in ever more frightening ways. Resistance is now crucial. We urgently need to revive old and develop new feminist and anti-fascist strategies of resistance and survival.
What training do we need?
No play proposes a structure, a temporal, spatial and social architecture that turns the exhibition space of nGbK into a resource, a site of activity and exchange in the shape of a Feminist Training Camp.
The Training Camp stems from a queer understanding of feminism with a strong emphasis on grassroots models of collective organization, knowledges based in lived experience and the handling of daily oppressions. A space for disagreement and negotiation that can create a situated public considered political. For this, an intersectional understanding of how categories such as gender, race, class, ability, and sexual orientation are intertwined in oppressive power structures is necessary.
2016-05-21 to 2016-06-23
Memory of a Landscape
Curated by Henrik Andersson
May 21 – June 23, 2016
Sahar Al-khateeb, Henrik Andersson, Maher Abdul Aziz, Kajsa Dahlberg,
Jasmin Daryani, Silje Figenschou Thoresen, Hamish Fulton,
Elisabet Hasselberg Olsson, Saskia Holmkvist, Matts Leiderstam, Carl Erik Ström
Rödbodtorget 2, Stockholm
I will be screening a couple of my films as part of this fantastic project by Clara López Menéndez and Andrew Kachel
A new job to unwork at
Organized by Clara López Menéndez and Andrew Kachel in the LACE Project Room
Participants include Andrew Kachel and Clara López Menéndez (organizers), Rafa Esparza, Shoghig Halajian, Dylan Mira, Lee Relvas, Patrick Staff, and alexia welch.
Opening reception March 9, 2016 – 7:00-10:00pm
Exhibition dates: March 9, 2016 – April 17, 2016
Wednesday March 16, 6:30pm
Reach, Grasp, Move, Position, Apply Force – HD Video, 40 minutes, 16:9, Kajsa Dahlberg 2015
Wednesday March 23, 6:30pm
The All-Around Reduced Personality (Die Allseitig reduzierte Persönlichkeit – Redupers) – 35mm to Digital, 95 minutes, 4:3, Helke Sander, 1978
Wednesday April 6, 6:30pm
The Nightcleaners – 16mm to Digital, 90 minutes, 4:3, Berwick Street Film Collective, 1970-1972
more info at anewjobtounworkat.tumblr.com/
2016-02-27 to 2016-03-06
I'm part of this great event in Oslo next week. Hope you can come!
29 February - 6 March 2016
Atelier Felix and Akademirommet
Kunstnernes Hus, Oslo
Stipendiatforum is hosting a weeklong forum at Kunstnernes Hus from February 29th to March 6th, 2016. The forum is organised in sessions where participants are encouraged to alternate between practical formats and approaches to thinking practice.
With a focus on sharing of methods, techniques and pedagogies we are perhaps able to shift and/or sharpen our individual attention or collective awareness. If so, where and how do we find ourselves and our work in the intersections of formal, political and therapeutical art practices?
The forum meetings will take place in Atelier Felix, a new round table room in Kunstnernes Hus, and the screenings etc. will take place in Akademirommet in the same building. The program is open for the general public to engage in. Please note that certain parts might have limited places. First come, first serve. For details please contact firstname.lastname@example.org or email@example.com.
Stipendiatforum is a semi autonomous forum for the research fellows at the Oslo National Academy of the Arts (KHiO). Since 2013, the forum has invited different guests for a day or two in conversation in different homes, sidewalks and meeting rooms. The intention has been to share and engage in each other’s practices through conversation that develops with time, care and within an informal structure.
Emily Roysdon, Malin Arnell, Melinda A. Meyer, Angela Melitopoulos, Marc Herbst, Anders Paulin, Arkadi Zaides, Liv Bugge, Jesper Alvær, Lisa Torell, Ingri Fiksdal, Ingvild Holm, Raphaël Grisey, Mike Sperlinger, Tale Næss, Susanne Winterling, Eddie Esmail, Tina Jonsbu, Jørn Mortensen, Janne-Camilla Lyster, Rike Frank, Finn Iunker, Merete Røstad, Venke Sortland, Pernille Holden, Kai Johnsen, Brynjar Bandlien, Gunhild Mathea Olaussen, Anders Paulin, Ane Hjort Guttu, Kajsa Dahlberg, Bull.Miletic, Paula Cobo-Guevara, Edvine Larssen, Silje Marie Aker Johnsen, Mai Hofstad Gunnes
2015 - 12 - 15
Maja Čule, Kajsa Dahlberg, Katerina Duda, Mihael Giba, Hrvoje Hiršl
Curatorial concept: Martina Kontošić
The phenomenon of suffocation of public space by intensely communicated content defines contemporary society, together with the ways in which the very society treats this phenomenon. The precarization of the system is in full force; even those more successful, if they are attempting to preserve full moral integrity, enter exceedingly disadvantageous relations of invested labour, free time and financial compensation.
Heroic exhaustion is partly an auto-ironic construct of the protagonist of artistic scene which refers not only to the physical and mental exhaustion of those included, but also to the exhaustion of ways and spaces which are used for greater visibility of artistic activity. An intensive struggle for public space is being fought, both for physical spaces or locations of still existing cultural magazines and papers, as well as for the space for transferring messages and competing for the attention of the audience whose concentration is growing weaker. By analysing approaches to communicating the desired message, the exhibition presents artistic positions of different critical intensities directed towards the system they are a part of. The key element is the control over personal freedom of agency which is endangered by the general precarization of employment. By exhibiting various methods of artistic work, we are influencing not only the interpretation of the notion of heroic exhaustion which becomes not only ironic, but also an accommodating description of current state of a generation imprisoned within inevitable changes of social and economic relations.
The exhibition is a part of the collaborative project This Is Tomorrow. Back to Basics: Forms and Actions in the Future of What, How & for Whom/WHW, Zagreb, Tensta Konsthall, Stockholm and Latvian Center for Contemporary Art / LCCA, Riga, with the support of the Creative Europe Programme of the European Union.
2015 - 12 - 13
Laura Guy and I are doing the workshop as part of the NOW YOU CAN GO seminar:
# Intimate Acts: A feminist workshop
Sun 13 Dec, 10.00am-13.00pm
The Showroom, 63 Penfold Street, NW8 8PQ London, United Kingdom
A half-day workshop exploring collective acts of annotation, translation, and recontextualisation in relation to feminist reading and writing.
“Intimate Acts” is an attempt to produce a collective political language through a series of practical activities organised around extracts of existing text. The workshop will consider how strategies of citation, translation, annotation and appropriation can be put into the service of a feminist politics and what is at stake in doing so.
Reading transforms the meaning of a text. Sometimes this transformation manifests as a material intervention. For example, annotations generate an alternative text in the margins of an original. Underlining passages, we single out extracts to return to at a later point, share with others, or else deploy in a different context. Quotations articulate things that matter at the time. They help to give form to our own feelings, desires and demands. Reading allows us access to languages other than our own and in turn gives written language over to circulate as a new set of possibilities.
Feminism has often emphasised experimental forms of literature. It has politicised reading through collective reading groups and by developing radical approaches to translation and distribution. Feminist writers have worked to show how language shapes us and have invented strategies in order to reconfigure, disrupt or undermine what Gertrude Stein once referred to as “patriarchal poetry”. In doing so, feminist literature and theory has made traditional forms of language speak otherwise in the on-going pursuit for self-knowledge and self-determination.
Participants are asked to bring a book with them in which they have underlined a short passage of text.
Booking available through Eventbrite
2015 - 12 - 01 to 2015 - 12 - 13
NOW YOU CAN GO
A programme of events considering feminist thinking, art and activism, taking place across The Showroom , the ICA , Space Studios and Raven Row , (1–13 December, London 2015).
Image: Anna Valeria Borsari, Autoritratto in una stanza, documentario [Self-Portrait in a Room, Documentary], 1977, still from video. Courtesy of the artist and Archivio Cavallino, Venice.
More info about that and the whole seminar here:http://nowyoucango.tumblr.com/
Juxtaposing historical with contemporary positions, the series explores feminist concepts of generation and genealogy. It asks whether practices of consciousness-raising and collectivity might help us to combat the fragmentation, exhaustion and anxiety that we experience under networked capitalism. The programme draws inspiration from Italian feminisms, including the work of collectives formed in the 1970s: Rivolta Femminile (Female Revolt), Libreria delle Donne di Milano (Milan Women’s Bookstore Collective), and Lotta Femminista (Feminist Struggle).
A touchstone is the work of Carla Lonzi, the writer and cofounder of Rivolta Femminile, and her refusal of power and rejection of masculine creativity that exploits female supportive activity. This process of ‘deculturation’ entailed Lonzi’s withdrawal from her roles as an art critic, as a feminist leader, and from her relationship with her lover, the sculptor Pietro Consagra, which she documented in a dialogue between them called Vai pure (Now You Can Go).
Now You Can Go grows out of the Feminist Duration Reading Group which meets monthly at Space Studios in London. The programme has been developed by participants from the Feminist Duration Reading Group including Angelica Bollettenari, Giulia Casalini, Diana Georgiou, Laura Guy, Irene Revell and Amy Tobin, and is coordinated by Helena Reckitt with Dimitra Gkitsa.
Supported by the Arts Council of England, Grants for the Arts.
With additional support by Goldsmiths’ Annual Fund, Goldsmiths’ Art Department, and the Women’s Art Library at Goldsmiths, University of London; EWVA European Women’s Video Art in the 70s and 80s’ (DJCAD, University of Dundee); IASPIS; and Electra.
2015 - 11 - 14
From Here To Afternoon/Reach, Grasp, Move, Position, Apply Force
As part of the finissage of Mikhail Lylov and Patrik Haggren's show From Here to Afternoon there will be a screening of Reach, Grasp, Move, Position, Apply Force at D21 Kunstraum Kunstraum in Leipzig.
Reach, Grasp, Move, Position, Apply Force follows the development of film and video technology through time management systems, an invention that historically served to increase the efficiency of labor as well as to establish pathologies of neurophysiology. This recent work of Kajsa Dahlberg seeks to understand the way that these motions, measured in time, today are a source of conflict in conglomerate companies like Amazon and Apple, but also in freelance work, and questions their utility for strategies of both control and resistance. The film may also be considered a reflection on the conditions of artistic practice.
Screening and discussion at 16:00
From Here to Afternoon borrows its initial gestures from an early 20th century photographic technology for motion study applied by North American labor engineers and adapted by Soviet neurophysiology. In the works of the exhibition's artists, techniques for externally taking control over movements of individual and collective bodies come across their counter-techniques, as when processes toward movement's formalization in the organization of work, are utilized in the organization against subjection. These tactical relations between capital and labor, state and individual always leave readable or reconstructible traces, that the exhibition attempts to demonstrate as possible ways of looking for counter strategies behind the images of past resistances.
With works by: Elke Marhöfer, Romana Schmalisch, Liz Magic Lazer, Alice Creischer and Andreas Siekmannn, Arseniy Zhilyaev.
2015 - 11 - 06
Fotografisk Center cordially invites you to the opening of the exhibition:
06.11 – 20.12.2015
Akram Zaatari, Andrea Geyer, Benj Gerdes & Jennifer Hayashida, Benjamin Tiven, Inuk Silis Høegh, Katya Sander, Kajsa Dahlberg, Lasse Lau, Lin + Lam, Matthew Buckingham, Michelle Dizon, Naeem Mohaiemen, Nanna Debois Buhl, Pia Arke & Anders Jørgensen, Raed Yassin, Rania Rafei & Raed Rafei, Regina José Galindo, Robert Ochshorn, Sergio De La Torre, Stéphane Gérard, Sarah Vanagt & Katrien Vermeire, William E Jones
Thursday, November 5th at 5pm – 7pm
The exhibition will be opened by visual artists and curators Lasse Lau &
Rewriting Histories examines how history can be retold from a contemporary perspective through film and video works, slide installations and photography by internationally renowned Danish as well as international artists. The exhibition focuses on history and the archive - a theme in art - that with recent political events has received renewed attention and relevance. Rewriting Histories – conceptually staged in an intriguing visual language - is curated in collaboration with artists Lasse Lau and Benj Gerdes at Photographic Center.
2015 - 11 - 06
Fernisering, Danske Grafikeres Hus fredag d.6 november kl.17-20
A Feminist Culture Reader undersøger den enorme indflydelse feministisk tænkning har, og har haft, på forskellige generationer af billedkunstnere, i et nationalt og internationalt perspektiv.
A Feminist Culture Reader byder på værker af kunstnere med vidt forskellige (feministiske) positioner, der hver især giver et indblik i eksistens set igennem køn, traume og (kunst)historisk materiale.
A feminist Culture Reader består af en solo udstilling af Peter Brandt, samt en gruppeudstilling i Danske Grafikeres Hus. I forbindelse med de to udstillinger vises en række satellit udstillinger rundt omkring i byen, der skaber en dialog om udstillingernes tematikker på tværs af institutioner.
Mer info: www.feministculturereader.dk
2015 - 11 - 04
2015 - 10 - 20
Jakten på tid i arbetets rörelser - Kajsa Dahlberg
Tisdag 20 oktober 2015, kl 18.00
BAR10, Konstepidemin, Konstepidemins väg 6
I serien Arbetarkonst: System som ”Methods –Time Measurement” (MTM) markerade på slutet av 1940-talet ett radikalt brott i synen på kroppsarbete genom att fokusera på mänskliga rörelser. I filmen Reach, Grasp, Move, Position, Apply Force undersöker Kajsa Dahlberg genom videotekniken hur dessa rörelser knutna till tid idag förhandlas inom alltifrån gigantiska företag som Amazon och Apple till budfirmor och frilansare. Filmtiteln beskriver samtidigt Dahlbergs konstnärliga metod för arbetstidsundersökning.
I samarbete med BAR10 och tidskriften Paletten
Tisdag 20 oktober 2015, kl 18.00, BRA10, Konstepedimin, Göteborg
2015 - 09 - 14
Interview with: artistoftheweek.dk #57
2015 - 09 - 4 - 2015 - 09 - 6
September 4-6, 2015
MABL -Mobile Artist's Book Libraryvisits Istanbul to present and collaborate with Swedish and Turkish artists' books and related artists. The aim is to exchange thoughts, ideas, artistic methods and works and not theleast to initiate possible future collaborations with artists and organisations on location. As a follow up and continuation of the project and the exchange in Istanbul MABL is invited to Plattan Library at Kulturhuset in Stockholm later this fall 2015.
In conjunction with the opening of the Istanbul Art Biennal MABL runs a three dayprogrammed presentation at Aciliyet Mektebi/School of Urgency and the bookstore Robinson Crusoe 389 at SALT Beyoğlu. Also includingan event at BAS in Karakoy. MABL presents parts of its collection of artist's books and publications juxtaposed with parts of BAS collection. BAS is an artist run space in Istanbul initiated by Banu Cennetoğlu where artists' books and publications arecollected, displayed and produced.
The program includes specially invited artists from Sweden and Turkey presenting works in the shape of books, sound, objects, performance, as well as talks and walks.
Participating artists and organisations in Istanbul:
Meriç Algun Ringborg
Tina Eriksson Fredriksson
2015 - 07 - 13
Bureau of General Services Queer Division
208 West 13th Street #210
Your Words Give Me a Headache
July 13 at 7 pm
Curated by Clara Lopez
2015 - 06 - 04
4 – 26 July 2015
CAC Bukovje Landskrona present:
Two exhibitions for the Kilometre of Sculpture, Võru, Estonia: "Working Drawings And Other Visible Things On Paper Not Necessarily Meant To Be Viewed As Art (After Bochner)" and "Small Good Things (Artworks We Like That Fitted In Our Suitcases)"
Artists: Bengt Adlers, Conny Blom, Mel Bochner, Kalle Brolin, Vasja Cenčič, Martin Creed, Kajsa Dahlberg, Jeremy Deller, Ditte Ejlerskov, Milanka Fabjančič, Vadim Fishkin, Tomaž Furlan, Johan Furåker, Alexander Gutke, Felix Gmelin, Carl Michael von Hausswolff, Ištvan Išt Huzjan, IRWIN, Janez Janša, Janez Janša and Janez Janša, Stine Marie Jacobsen, Lisa Jeannin, Žiga Kariž, Clay Ketter, Jukka Korkeila, Anna Ling, Anna Lundh, Miltos Manetas, Jonathan Meese, Peter Miller, Kristina Müntzing, Jesper Norda, Björn Perborg, Magnus Petersson, Adrian Piper, Klara Sax, Lina Selander, Emelie Sjunnesson, Nataša Skušek, Nina Slejko Blom, Nedko Solakov, Mladen Stropnik, Annika Ström, Stefanos Tsivopoulos, Leon Zuodar, Serkan Özkaya, Ulla West, Johan Wik.
2015 - 05 - 29
THE WELFARE STATE
29.05 – 27.09.2015
The Welfare State contains new and existing works by eight artists of different generations: Francisco Camacho Herrera, Josef Dabernig, Kajsa Dahlberg, Róza El-Hassan, Donna Kukama, Artūras Raila, Anne-Mie Van Kerckhoven and Stephen Willats. It also contains visual and textual material from the four cultural archives in Flanders: Amsab and the Liberal Archive in Ghent, KADOC in Leuven and ADVN in Antwerp.
Curator: Anders Kreuger
The welfare state is an abstract notion. But also very concrete. Political, but also bureaucratic. What does it have to do with art?
The welfare state operates with regulations, rights and obligations that apply to everyone in the same way, requiring individuals to identify themselves as members of society first and foremost. In this sense, the welfare state is the antithesis of art. Many artists support the welfare state in both theory and practice, and they are fascinated by rules as such, but they have little interest in following rules formulated by others than themselves…
The welfare state is an emancipatory political project, although it was first invented as a way of keeping class struggle and revolution at bay. It is hard to disassociate the European welfare state from the darker elements of recent history, such as militarism, colonialism and the degradation of the natural environment. Yet the welfare state, as a model for social cohesion and political stability, is now gaining ground in new parts of the world, notably in East Asia.
The exhibition The Welfare State does not look back with nostalgia at the welfare state in its ‘classical’ form as a utopian blueprint for an egalitarian (and homogenous) society in postwar Western Europe. It does not invite artists to ‘illustrate’ political and social engagement. But it does ask some fundamental questions. What is the ‘imaginary’ of the welfare state? Does it have a ‘form’? Can it be ‘shown’?
The Welfare State is accompanied by a printed publication, and by an ambitious discursive programme. During the spring of 2015 M HKA organises a series of public seminars in collaboration with the researchers at the Herman Deleeck Centre for Social Policy at the University of Antwerp. Public forums are organised on 30 May 2015 at Cinema Zuid in Antwerp, in collaboration with CAHF (Contemporary Art heritage Flanders) and in September in Brussels, in collaboration with the Flemish-Dutch House deBuren.
2015 - 05 - 18
We Can (Not) Work It Out: A Curatorial Inquiry into the Danish Radio Archive is a practice-based PhD thesis written by Trine Friis Sørensen, a curator and a PhD candidate at Department of Arts and Cultural Studies, University of Copenhagen.
The thesis is based on the commission of two artists, Kajsa Dahlberg and Olof Olsson, to produce artworks in relation to the DR Archive, the thesis inquires into the archival questioning that the artworks produce, and furthermore proposes a way to conduct research through curating.
Also read Trine Friis Sørensen essay Judith Shakespeare – Undead or Alive? On Kajsa Dahlberg’s Artist Book A Room of One’s Own / A Thousand Libraries in the publication Notes On Location
2015 - 05 - 06
Friends and friends of friends join!
An invitation to read together on the eve of the UK General Election.
On 6 May 2015, please join us on the steps of Trafalgar Square (directly outside the National Gallery) at 6.15pm for a 6.30pm start.
We will be reading artist Zoe Leonard’s manifesto “I want a president…” (1992) alongside an updated version for 1 hour, after which we will reconvene in a local park or pub (depending on the weather) to celebrate.
Bring yourselves, your lovers, your comrades, your family and friends.
Join the event on Facebook
This is part of a series of readings that have been organised internationally and which were first initiated by a group of artists, Malin Arnell, Kajsa Dahlberg, Johanna Gustavsson and Fia-Stina Sandlund, in dialogue with Zoe Leonard and in response to the 2010 election in Sweden. The readings are politically independent. More information on the project can be found here and here and here.
2015 - 04 - 09
THE PRECARIAT AND THE WELFARE STATE: a double-angled investigation
Seminar, Thursday 9 April 2015, at University of Antwerp in cooperation with M HKA.
On Thursday, 28 May ‘The Welfare State’ will open at M HKA.
The project includes an exhibition, with contributions by artists from different countries, as well as an ambitious programme of lectures and other public events organised in collaboration with a number of different partners in Belgium (academics, archives, cultural organisations).
‘The Welfare State’ aims at formulating pertinent thoughts about society and about art and society, and to address different aspects of the overall topic in different ways, creating meaningful combinations of art and non-art.
A first event of this kind will take at the University of Antwerp on April 9, on the topic of the precarious worker.
Last year saw the publication of a book ominously titled “The Precariat: The New Dangerous Class”. It contends that precariousness is becoming the new normality in globalised labour markets. Its author, Guy Standing, was not the first academic to reach or aspire bestseller author status with such claims. Academics and journalists alike have long been lamenting the decline of the fulltime, steady job in the wake of the turmoil brought by deindustrialisation, cut-throat global competition and skill-biased technological change.
This seminar examines this alleged trend from an academic as well as an artistic angle.
Ive Marx from Antwerp University will provide an introduction to the academic prophets of gloom and doom in the world of work.
Swedish artist Kajsa Dahlberg will screen a rough cut of a new video on the negotiation of time in labour. For more than a century, film has been used in experiments to understand and optimise our movements. Systems like the Methods–Time Measurement marked a radical shift in attitudes towards manual labour by focusing on the efficiency of human movements. Dahlberg uses the production of the video itself as a starting point to examine the negotiation of time in labour today, from Amazon warehouses, Apple manufacturers in China to smaller-scale service industries such as freelance translating and parcel delivery.
Anders Kreuger, curator at M HKA, will moderate the discussion by referring to the thoughts articulated by other participating artists in the ‘Welfare State’ exhibition.
2015 - 03 - 16
Goldsmiths, Department of Art, Research Symposium
16th and 17th March, 2015
This two-day research symposium considers the resonance of feminist art, thinking and collectivity in contemporary life. Riffing on Amelia Jones' concept of 'queer feminist durationality,' it explores feminist legacies, potentials and pitfalls to examine how tactics and strategies from earlier movements and projects are being re-examined and redeployed today. Concerned with the dangers of romanticising earlier struggles and succumbing to Left melancholy, the symposium looks at how feminisms in art and curating contribute to a constellation of cultural production. Such speculations open up the differences in intention and reception across place, time and context.
Kajsa Dahlberg (Berlin and Malmö), Claire Fontaine (Paris), Laura Guy (Goldsmiths), Rehana Zaman (Goldsmiths), Helena Reckitt (Goldsmiths), Louise Shelley (The Showroom, London), art historian Catherine Grant (Goldsmiths), Nina Power (University of Roehampton).
At Goldsmiths College, Richard Hoggart Building, rooms 325-326,
New Cross, London
2015 - 01 - 19
REPRINT appropriation (&) literature
Annette Gilbert, a scholar in comparative literature at the Freie Universitaet Berlin, have written this fantastic book on appropriation litterature in which my piece A Room of One's Own / A Thousand Libraries is one of the examples.
Since the 1960s, writers have radically challenged the notion of originality and creativity in literature. They stopped writing new texts for their books and instead drew upon pre-existing books: canonical texts of world literature or intellectual history are transcribed by hand, edited, altered, alphabetically arranged or simply copied and republished under one’s own name. By now Appropriation Literature amounts to a critical mass that has generated its own tradition. The present anthology is the first to give an international overview of the phenomenon, presenting 126 books and projects by over 90 authors.
2014 - 10 - 18
2014 - 09 - 17
2014 - 07 - 14 - 2014 - 07 - 20
A week-long salon with 11 artists, curators and theorists at Skomvær Lighthouse organised by FRANK.
The salon was held at Skomvær Fyr in the Lofoten islands in Northern Norway, where Katarina Bonnevier, Liv Bugge, Malene Dam, Mathias Danbolt, Vika Begalska, Berivan Erdogan, Ester Fleckner, Jason Rosenberg, Sille Storihle, Elin Vister, Elijah Yakovenko and myself spent an amazing week together, sharing work and research. More at: f-r-a-n-k
2014 - 06 - 16
A a night walk during daytime through Tiergarten in Berlin on June 16 2014.
2014 - 04 - 10 - 2014 - 04 - 14
Is It Really working? A Physical Symposium/Crash Course has recently taken place within the framework of my MA thesis project for the Master in Curatorial Studies at CCS Bard.
The symposium/crash course occurred between April 10th and 14th 2014 and comprised a series of closed and open conversations and workshops among artists and culture agents coming from different fields of artistic production. The idea was to gather around a discussion concerning the current conditions of culture production, with the current situation for artists, curators, and other art workers in the area of NYC as a starting point. The lenses through which we departed in our conversations is a sense of commitment to political positions informed by feminist and queer politics, with the constant problematization and questioning that such political affiliations entail.
The core group that was invited to participate in this experimental platform was formed by Vanessa Anspaugh, Malin Arnell, Amelia Bande, Gregg Bordowitz, Kajsa Dahlberg, Andrew Kachel and Alhena Katsof. Arnell and Dahlberg, despite not being directly invited with the allocated budget for my project, were able to participate since they were also part of my classmates shows, Carla Acevedo-Yates and Andrew Kachel. Through a form of informal collaboration between us, they all were able to take part in these conversations, informing with their thoughtful formulations of their experience, the scope of the problematics brought to the table.
2014 - 02 - 28
Voluspå marks the 100-year anniversary of the Norwegian suffrage movement. 2013 has been a year for celebrating women, feminism and equality, and through the book FRANK comments on the centennial and questions the established narration of feminist history. It serves as an exploration of this lineage in Norway and Sweden through the lives and works of artists and writers. The book features Vanessa Baird, Katarina Bonnevier, Kajsa Dahlberg, Mathias Danbolt, Marie Høeg, Hilma af Klint, Carl Larsson, Klara Lidén, Wencke Mühleisen, Claes Oldenburg, Henrik Olesen, Sidsel Paaske and Martin Skauen.
The Feverish Library (continued)
19 January – 23 February 2013
Opening Saturday 19 January, 6 – 8.30pm
Karl-Marx-Allee 45, 10178 Berlin, +49 30 2408 8130
PDF Broschyr 100 år
Poster procuced as part of the public art comission at the Government building R6 in Oslo, Norway. The piece One hundred years in a workday is a 7,5 hour long videoloop installed at the entrance of the building. Inaugurated on December 3rd 2012.
OPENING: JUN 2012
JUN - SEPT 2012
Curator: Martí Manen
Telling everything, Not Knowing How comes around to the view of narrativity with the intention of asking what can be done and what can be told from the art side, which role plays the emotion within the narrative and also which fiction, reality, political and social contents appear within the contemporary creation.
Art is a great plataform from which to explore narrativity. The pressumption of content we face when viewing an artwork enhances an emotional connection when narrating and explaining stories. Within the contemporary art fields there exists a willingness to explain, to establish a rather literary dialogue with the person viewing the artworks. But, at the same time, it appears to be necessary to ask ourselves the reasons, questioning the forms, investigating the genealogies and becoming conscious of the moment we live in order to observe what is happening in the communication field. The languages and the readings of art are constantly modified, each artist and each viewer alter the conception of what is an artwork, what is transmitting or how it is received. There are not strict rules, hence the poetic escaping possibilities are multiple. In a social context, where there is rather not space for the investigation of possibilities, understanding art as a place from where to build other forms is desirable. And, if we incorporate emotions as key element, the affection capacity is positivily altered.
Telling everything, not knowing how is shown as double format exhibition. On the one hand, the exhibition is displayed at CA2M with works which incorporate narrative possibilities as well as questioning the fact of how to explain. On the other hand, a novel written by the curator of the exhibition.
The novel embodies the complete set of works displayed in the exhibition, accompanied by others, within a plot which becomes the conceptual and discursive base of the project. Two characters from the book wander around their recently obtained maturity, after knowing the death of the Cuban-American artist, Felix Gonzalez-Torres, main reference in the incorporation of narration in art from an emotional, political and personal aspect, highlighting his willingness to share, without having to enter into the private side. The death of Felix Gonzalez-Torres is the starting point of a double journey structured by means of artworks. A novel which offers a kind of approximation different from the physical exhibition and it is, in fact, one of the pilars of the narrative. To make use (and to pervert) of the novel as exhibition venue allows working at once with the artwork as well as with information, with ideas and emotions, and with theory and practice. The writing of the novel stretches some roles to the limit: the curator makes use of the artworks from an absolute subjectivity aiming to create a narrative structure in fiction, the artworks become literary and reading material, visitors of the museum become readers, while the readers of the novel are tourning around an exhibition that take place within the book pages.
The novel, specially published for this project, is available both at CA2M as well as in bookstores.
The physical exhibition at CA2M presents a set of key works which will talk about narrativity and contemporary art, examples on how to explain, to deconstruct a story, to analyze and to work the characters, parallel readings to the documentary and what is understood as cinematographic, as well as a formal contact with literature and the definition of story.
A number of installations, film and video projects, photographies and text-based artworks coexist in a permanent dialogue where stands out the need to interact with the public.
Eija-Liisa Ahtila (Finland), Rosana Antolí (Spain), Rosa Barba (Italy-Germany), Keren Cytter (Israel), Kajsa Dahlberg (Sweden), Lilli Hartmann (Germany- Great Britain), Rosalind Nashashibi / Lucy Skaer (Great Britain), Christodoulos Panayiotou (Cyprus), Job Ramos (Spain) and Alex Reynolds (Spain).
The project is presented in two interrelated formats: on the one hand, we have the exhibition with key works that open up various narrative possibilities and, on the other, we have a novel.