| 1. |
- Aglert, Katja
(författare)
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“Archipelagic Rehearsals” – Attemptive Thinking Through Practicing Textual Artistic Research
- 2021
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Ingår i: Karib - Nordic Journal for Caribbean Studies. - : Novus Forlag. - 1894-8421 .- 2387-6743. ; 6:1, s. 1-11
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Tidskriftsartikel (refereegranskat)abstract
- The article is based on a lecture performance titled “Archipelagic Rehearsals – Abstract as Score” that was presented at the RGS-IBG conference, held jointly by the Royal Geographical Society and the Institute of British Geographers, in Cardiff in 2018. The presentation was an exploration of a possibility to practice, in Édouard Glissant’s terms, “archipelagic thinking” by presenting a lecture with interaction from the audience, as a lecture performance. That “archipelagic experiment” is continued in the article through an attempt to format the performance as an academic text. In turn, the text is an attempt to create new imaginaries and storytelling with Spanish slugs through participatory artistic experimental practice. The writing as artistic practice offers the potential for becoming and as such it is unpredictable in its outcome. The article starts with the author’s framing of Glissant’s poetics and attempts a feminist and more-than-human approach to present the event – the performance of the lecture and the story of the slug in footnotes that were an integral part of the lecture.
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| 2. |
- Aglert, Katja
(konstnär, creator_code:cre_t)
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Green Screen
- 2016
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Konstnärligt arbete (utställning/event) (refereegranskat)
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| 3. |
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| 4. |
- Algün, Meriç
(konstnär, creator_code:cre_t)
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A Glossary of Distance and Desire
- 2023
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Konstnärligt arbete (refereegranskat)abstract
- Genom rumsliga installationer och funna objekt tar Meriç Algün upp frågor om identitet, gränser, språk och relationer. Hennes tidiga verk behandlar erfarenheten av sociala och politiska skillnader mellan hennes födelseort Istanbul och hemstad Stockholm, och den auktoritära byråkrati många människor möter när de korsar nationella gränser. Algüns konstnärliga metod tar ofta avstamp i research eller personliga erfarenheter, som blir till verk i formen av arkiv över idévärldar och tankegods med egna logiska system. Separation, begär och relationer är centrala begrepp i de verk som presenteras i utställningen. I installationsverket A Glossary of Distance and Desire (2019/2023), som gett utställningen dess titel, är ett hundratal föremål placerade på färgstarka podier i geometriska former. Installationen är en lekfull ansats till att skapa en vokabulär för att tala om kärlek, begär och splittring. Bland föremålen återfinns fossiler, bilder, böcker, ljud och ordboksurklipp. Verket Eternity 1988–∞ (2019–pågående) består av en samling helsidesannonser för Calvin Kleins parfym Eternity. Under de 35 år som Eternity marknadsförts har den amerikanska fotomodellen Christy Turlington varit dess ansikte utåt. I annonserna porträtteras Turlington med olika män och barn som ska föreställa hennes lyckliga familj. Sedan 2017 porträtteras hon intill sin man i verkliga livet. Eternity 1988–∞ är en dråplig påminnelse om hur kapitalismen kan profitera på vår ständiga längtan efter den eviga kärleken. Algüns tre verk dröjer sig kvar i kärlekens oförutsägbara ovisshet, vilket kan te sig både tilldragande och skrämmande. Tillsammans drar verken paralleller mellan destruktiva försök att kontrollera, äga sitt begär och den exploaterande sidan i människans relation till naturen. Likt kärleks-objektet besitter naturen den ofrånkomliga egenskapen som någonting ytterst annat än oss själva. Utställningen Meriç Algün – A Glossary of Distance and Desire kan ses som ett försvarstal till kärlekens outgrundlighet och hur acceptans av det okontrollerbara är dess förutsättning.Magasin III, 1 april - 17 december 2023
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| 5. |
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All Images Will Disappear, One Day : 4th Autostrada Biennale
- 2023
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Konstnärligt arbete (refereegranskat)abstract
- All Images Will Disappear, One Day 4th Autostrada Biennale 07.07 – 09.09.2023 All Images Will Disappear, One Day is an exhibition about what makes and unmakes us, what entangles and disentangles us from ourselves, about freedoms beyond choices, imaginaries that flow despite and across borders. It is an exhibition about collective autobiographies stored in cultural archives, those deep reservoirs of words, objects, patterns, feelings, or misunderstandings. It is about connecting with the unknown. What is unarchivable reminds us that all images disappear, one day, slipping into a temporal void. Yet art survives as a language of resistance and resilience, a way to validate our existence in the world, a horizon beyond imperial visual regimes. The biennale takes you on a journey around former NATO hangars, where the core of the exhibition sits, and then down into the streets of Prizren, and farther to Prishtina and Mitrovica. It starts with an artwork that first took root in 2021, which follows the sun: Agnes Denes’s Sunflower Fields (2021–ongoing). Another thirty art projects await you, asking, in their metaphorical languages: Which images do we hold on to and why? How do certain past and future memories, be it of a puppet theater, a typographer, a sacred book, an endemic flower, a blackbird, a clandestine gallery, a children’s hideout, a nomadic playground, or a destroyed museum, persistently, and somehow unconsciously, live on? How does the past stop to form the present but not the future? And how do we fail to stick to the values that supposedly unite us all? The exhibition, in accordance with its Latin etymology, ex-hibere, is a complex process of making something hidden visible. It is an invitation to travel through a set of multifaceted, social, poetic, and ephemeral art pieces across the three cities. It is a constellation of images that will disappear and open space for the construction of life anew. Therefore, it is about staying with what is difficult, but also about letting go at the same time. The exhibition promises unpredictable encounters in and out of Prizren, the Balkans, Europe outside Europe, and the planet. And finally, it is about hope and persistence, in spite of it all. Artists of the 4th Autostrada Biennale Prizren Opening: July 7–8, 2023 Agnes Denes Anna Boghiguian* Bajram Mehmeti Bella Rune Blerta Haziraj* Bouchra Khalili Dardan Zhegrova* Darinka Pop-Mitić* Hong–Kai Wang Gözde İlkin* Ivo Nikić* Kameelah Janan Rasheed Kostas Bassanos* Luchezar Boyadjiev Michael Rakowitz* Mila Panić* Nathan Gray and the Juluwarlu Group Aboriginal Corporation* Nil Yalter Neda Saeedi* Núria Güell Open Group* Oscar Lara Sebastián Díaz Morales & Ruangrupa School of Mutants* Selma Selman Vatra Gallery* Xhevdet Xhafa Prishtina Opening: July 9, 2023, 13:00 p.m. Agnes Denes Hera Büyüktaşcıyan* Mitrovica Opening: July 9, 2023, 19:00 p.m. Alban Muja* Rena Rädle & Vladan Jeremić* *New commissions Curated by Joanna Warsza Övül Ö. Durmuşoğlu CuratorLab participants/curators of the public program: Andria Nyberg Forshage Áron Rossman-Kiss Giulia Menegale Giovanni Giacomo Paolin Hana Halilaj Hala Alnaji Hampus Bergander Ieva Laube Maximilian Lehner Orestis Mavroudis
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| 6. |
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| 7. |
- Bandolin, Gunilla, et al.
(författare)
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How much for a tree? : How planning goes wild and the values of trees
- 2015
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Ingår i: Proceedings of Nordes No 6, 2015. - Stockholm : Konstfack. - 9789185549191
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Konferensbidrag (refereegranskat)abstract
- This exhibition item contains a book, “How much for a tree” and a 4 channel video installation. The book investigates a planning process in Malmö, that turns out as a disaster. A hundred year old park is destroyed. The investigation of the process is done in the form of a drama, where all the people involved get to tell their version. The question that is posed is: What are the values that are destroyed by this planning disaster? The video installation tries to give an answer to the question from the authors’ point of view. What are the values of trees? There are numerous ways of valuing trees, from biologic estimation on the value for insects and other plants, from the perspective of the property owner, from the importance for the air quality in the city, etc. For telling the values of trees from non-anthropocentric view, the trees importance for humans is not important. A non-anthropocentric view values what trees are in themselves, as far as it is possible for human beings to identify. The authors, both artists, suggest that through artistic means it is possible to touch upon and communicate the real non-anthropocentric values of trees.
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| 8. |
- Berríos-Negrón, Luis, Associate Professor, 1971-, et al.
(författare)
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Methods of Indirection : a trialogue between Patrizia Bach, Howard Eiland, and Luis Berríos-Negrón about Walter Benjamin and translating The Arcades Project
- 2020
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Ingår i: Journal for Artistic Research. - Amsterdam : Society for Artistic Research. - 2235-0225. ; :22
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Tidskriftsartikel (refereegranskat)abstract
- Walter Benjamin deemed his Arcades Project [Das Passagen-Werk (Mit Bindestrich und Werk mit Capital W)] “the theatre of all my struggles and all my ideas.” As a vast accumulation of materials, it had become for him a literary laboratory for testing social, critical, and spatial ideas. The co-authors here present an exposition where they look to reactivate that ‘theatre’ to search, test, and draw from each other alternative recursions for their respective practices. Their respective discourses are intersected through a voluntary 'trialogue' that plays between three different roles aiming to diverge from the traditional form of a Q&A. The exchanges gravitate around ‘greenhouse’ as the historiographic display structure to the Arcades, as well as to Global Warming. But, the format also triggers ‘indirections’ urging unforeseen aspects that may further research and revisions of the Arcades. For the authors, such indirections actualise and translate, yet again, other dormant aspects of each others perceptions about Benjamin. Ultimately, joined by the attitude to share and reactivate that ‘theatre-laboratory’ with you—the reader and exposition visitor—the actors look for cues that encourage further procedures of experimentation and reflexion.
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| 9. |
- Broms, Loove, 1977-
(creator_code:cre_t)
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Beyond Efficiency
- 2020
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Konstnärligt arbete (refereegranskat)abstract
- Part of exhibition Human Nature at the Museum of Ethnography, Stockholm 26 September 2020 - 6 November 2022
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| 10. |
- Bärtås, Magnus
(konstnär, creator_code:cre_t)
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Age of Anger
- 2018
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Konstnärligt arbete (refereegranskat)abstract
- Verket visat i utställningen "Broderi osv", Lokstallarna, Stömstad, 30/6–29/7 2018
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