Ria Pacquée (Belgium)
Ria Pacquée had her international breakthrough in the 1980s with a performance series featuring the self-conceived characters Madame and It. By infiltrating reality as these two personae, she carried out an artistic investigation on the thin line between fiction and documentary. In more recent work she focuses on photographic and video productions, but her experiences as a performance artist still play an important role in the process.
As a spectator of public life in her photographs and videos and as a participant in the performances, ‘the street’ is Ria Pacquée’s area of study – the living setting where she ‘rambles’ and discreetly records events from her particular point of view. An interest in rituals, the ‘non-sense’ of religions, anonymous city wandering and the collecting of its accompanying sounds and images — a recreation and appropriation of reality by extracting details from their everyday context — are recurring themes in her work. But much is left to chance as well.
Jeanne van Heeswijk (Schijndel)
Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to “radicalize the local”. Her long-scale community-embedded projects question art’s autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.
Noted projects include Hotel New York P.S. 1 in New York (September 1998 to August 1999); De Strip (The Strip) in Westwijk, Vlaardingen (May 2002 - May 2004); Het Blauwe Huis (The Blue House) in Amsterdam (May 2005 - December 2009); Homebaked in Liverpool (November 2011 - present); Freehouse, Radicalizing the Local in Rotterdam (September 2008- present), Philadelphia Assembled in Philadelphia (2015-2017) and Training for the Not-Yet in Utrecht (2018-2019).
Her work has been featured in numerous books and publications worldwide, as well as internationally renowned biennials such as those of Liverpool, Shanghai, and Venice. She was the 2018-19 BAK Fellow, the 2014-2015 Keith Haring Fellowship in Art and Activism at Bard College and she has received the 2012 Curry Stone Prize for Social Design Pioneers, and in 2011, the Leonore Annenberg Prize for Art and Social Change. She lives and works in Rotterdam.
Elke Krasny (Vienna)
Elke Krasny, PhD, professor at the Academy of Fine Arts Vienna. Her scholarship focuses on critical practices in architecture, urbanism, and art addressing ecology, economy, labor, memory, and feminisms. Her exhibition Hands-on Urbanism. The Right to Green was shown at the 2012 Venice Biennale of Architecture. Edited volumes include Critical Care. Architecture and Urbanism for a Broken Planet with Angelika Fitz (MIT Press, 2019), and In Reserve! The Household with Regina Bittner (Spector Books, 2016). Recent essays include ‘Citizenship and the Museum: On Feminist Acts’ (2017), and ‘Divided We Share: On the Ethics and Politics of Public Space’ (2019).
Sarat Maharaj (London)
Sarat Maharaj is Professor of Visual Art and Knowledge Systems, Malmö Art Academy/Lund University and Research Professor, Goldsmiths’ University of London, where he was previously History/Theory of Art Professor (1980-2005). He was Rudolf Arnheim Professor, Humboldt University, Berlin (2001-02) and Research Fellow, JvE, Maastricht.
He was co-curator on Okwui Enwezor’s team for Documenta XI, 2002, for “Farewell to Postcolonialism,” Guangzhou (2008) and for the 29th Sao Paolo Biennial, 2010.
He was chief curator of “Pandemonium- art in a time of creativity fever,” Göteborg, 2011 and curatorial advisor for Sharjah Biennale 2012.
His specialist publications cover Marcel Duchamp, James Joyce, and Richard Hamilton – “visual art as know-how and no-how,” textiles, globalization, and cultural translation. Maharaj’s current project is “Ignorantitis Sapiens”: the knowledge/non-knowledge/ignorance virus in a pansophic age.
Matts Leiderstam (Stockholm)
Matts Leiderstam was born in Gothenburg 1956 and lives in Stockholm. He obtained a PhD in Fine Arts at the Malmö Art Academy 2006 and studied painting at Valand Academy between 1984-1989.
He has been a professor at Malmö Art Academy since 2011. Selected solo exhibitions include: Wilfried Lentz, Rotterdam (2017); Andrehn-Schiptjenko, Stockholm (2016); Kunsthalle Düsseldorf, Grazer Kunstverein, Graz (2010); Salon MoCAB – Museum of Contemporary Art, Belgrade (2008). Selected group shows: The 11th Shanghai Biennale; “Generosity. The Art of Giving,” The National Gallery, Prague (2016); “Recto Verso,” Fondazione Prada, Milan; “In Search of Matisse,” Heine Onstad Kunstsenter, Oslo (2015); 8th Berlin Biennale, Berlin; “Late Barbarians,” Gasworks, London (2014); “Ciclorama,” Museo Tamayo, Mexico City (2013); “The End of Money,” Witte de With,
Rotterdam;“Pandemonium – Art in the Time of Creativity Fever,” the Gothenburg International Biennale of Contemporary Art (2011).
Fernando Garcia-Dory (Madrid)
is an artist, farmer, shepard, landowner, educator....
His work engages specifically with the relationship between culture and nature now, as manifested in multiple contexts, from landscape and the rural, to desires and expectations concerned with identity, through to (global) crisis, utopia and the potential for social change. He studied Fine Arts and Rural Sociology, and now prepairing his PhD on Agroecology. Interested in the harmonic complexity of biological forms and processes, his work addresses connections and cooperation, from microorganisms to social systems, and from traditional art languages such as drawing to collaborative agroecological projects, actions, and cooperatives.www.inland.org
lectures and writes about the economic and social construction of publics within contemporary art, the manipulation of forms of participation and the potential of forms of political, architectural and social reorganization within artistic and curatorial culture.
Just to name a few research projects include: Curating Architecture, a think tank and exhibition examining the role of exhibitions in the making of architecture’s social and political forms (AHRC 2007-2009). Actors, Agent and Attendants, a research project and set of publications that address the role of artistic and curatorial production in contemporary political milieus (in collaboration with SKOR 2009-2012), co-director with Suhail Malik, Andrew Wheatley and Sarah Thelwall of the research project The Aesthetic and Economic Impact of the Art Market, an investigation into the ways in which the art market shapes artists’ careers and public exhibition (2010-ongoing), Public Alchemy, the public programme for the Istanbul Biennial 2013 (co-curated with Fulya Erdemci), Tagore, Pedagogy and Contemporary Visual Cultures (in collaboration with Grant Watson and Iniva, AHRC 2013-2014), How to Work Together (in collaboration with Chisenhale Gallery, Studio Voltaire and The Showroom, London 2014-ongoing).
Dr. Andrea Phillips is Baltic Professor of Art and Director of BxNU Research Institute, Northumbria University and Baltic Centre for Contemporary Art, Newcastle upon Tyne.
Rikke Frank (Berlin)
Rike Frank has been an Associated Professor of exhibition studies at the Academy of
Fine Art, Oslo and curator of the Academy’s exhibition space Akademirommet at
Kunstnernes Hus, Oslo. She is curator, writer and researcher.
Rikke Frank draws on her in-depth knowledge of exhibition history, theory and practice, and further on her experience of long-term collaborative research projects, while specifically contributing her longstanding skills in exhibition-making.
Elke Krasny (Vienna)
Curator, cultural theorist, urban researcher and writer
Professor of Art and Education at the Academy of Fine Arts Vienna; 2014 City of Vienna Visiting Professor at Vienna University of Technology; 2013 Visiting Professor at the Master Program for Architecture and Urban Studies at the Academy of Fine Arts Nuremberg; 2012 Visiting Scholar at the Canadian Centre for Architecture in Montréal ; 2011 Visiting Curator at the Hongkong Community Museum. She holds a Ph.D. from the University of Reading. Krasny lectures internationally and has authored articles, essays, and books on contemporary architecture, feminist historiography of curating, urban transformation, politics of memory, and socially involved art and architecture practice.
Together with Dorothee Richter and Lara Perry, she edited the 2016 Curating in Feminist Thought, OnCurating Issue29. She co-edited the 2013 volume Women's:Museum. Curatorial Politics in Feminism, Education, History, and Art.
Curatorial works include On the Art of Housekeeping and Budgeting in the 21st Century, with Regina Bittner at Bauhaus Dessau; Mapping the Everyday. Neighbourhood Claims for the Future at Simon Fraser University’s Audain Gallery, Vancouver; Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought at Zurich University of the Arts; Hands-On Urbanism 1850-2012. The Right to Green originated at the Architecture Centre Vienna, has shown internationally, and was included in the 2012 ‘Comomon Ground’ Venice Architecture Biennale.
Meike Schalk (Stockholm, Berlin)
Meike Schalk has been directing major research projects such as the ‘Strong Research Environment’ Architecture in Effect: Rethinking the Social. She is currently the head of research education at KTH School of Architecture, where she directs the PhD program in Architecture as well as the joint PhD program ‘Art, Technology and Design’ including artists, architects and designers, run by KTH in collaboration with the University of Arts, Crafts and Design in Stockholm. Schalk had earlier directed the interdisciplinary and interdepartmental MSc program Sustainable Urban Planning and Design (2011-2016) at KTH (see CV).
Jane Rendell (London)
Jane Rendell’s work crosses architecture, art, feminism, history and psychoanalysis, and she has more recently developed critical spatial practice through site-writing, a mode of performative critical engagement that operates through the written and spoken word. Her authored books include Silver (2016), The Architecture of Psychoanalysis (2016), Site-Writing (2010), Art and Architecture (2006), and The Pursuit of Pleasure (2002); and co-edited collections Critical Architecture (2007), Spatial Imagination (2005), The Unknown City (2001), Intersections (2000), Gender, Space, Architecture (1999) and Strangely Familiar (1995). New publications include, ‘Giving an Account of Oneself, Architecturally’, Journal of Visual Culture; and with Michal Murawski, Reactivating the Social Condenser, co-edited special issue of The Journal of Architecture forthcoming 2017). Jane is Professor of Architecture and Art at the Bartlett School of Architecture, UCL, where she is Director of History & Theory and leads the Bartlett’s Ethics Commission. http://www.janerendell.co.uk/
Azar Mahmoudian (Tehran)
Azar Mahmoudian is a curator and educator based in Tehran. Recently she was part of the curatorial team of the 11thGwangju Biennale (2016). She co-ran kaf, an independent space focusing on discursive programs on art and theory in Tehran (2010-2015) and been a lecturer at Tehran Art Universities. Her research develops from her ongoing engagement with exhibiting formats and modes of political imaginary which emerges within display structures.
Lisa Torell, born 1972 in Gothenburg, is a Swedish artist.
She was educated 1996-1999 at the art school in Umeå and 1999-2001 at the Department of Art, Konstfack. Her works have been shown at Kulturhuset [clarify], Artgenda, SRc on Sweden's Radio, Gallery Index and Bildmuseet. She has been reviewed in, among other things, the Art, Art Perspective, Svenska Dagbladet, Aftonbladet and Dagens Nyheter. She participates in the book Texst and with texts on the glass facade of the Medborgarplatsen library. She has, among other things, been published in the books Temporary urban structures and An alternative guide to the National Museum, National Museum.
Alison Gerber (Malmö)
Alison Gerber is a sociologist whose research focuses on artists as workers, value in working life, and working life as public life. In her work she investigates the ways that artists, broadly defined, account for the value of their own practice, looking to artists as a lens through which to investigate valuation in contemporary working life. Her current projects aim to develop a theory of social processes of disagreement and revaluation. Her writing has appeared in magazines, academic journals, newspapers, catalogues, and books. Her new book, Art Work?: Making Cents and Nonsense of Art, is under advance contract at Stanford University Press with publication planned for 2017. Her previous work included public projects (Artists’ Work Classification (2006-present); Undervattenskonsert (2004); Informations in English (2002) and curatorial practice (Let’s Trade / Dumb Economy, Funny Democracy, Impossible Projects (2005); Karta/Terräng (2005); Make it Real (2003)). Alison holds a BA and BFA from the University of Minnesota, attended Critical Studies at Malmö Art Academy / Lund University, and holds an MA, MPhil, and PhD in Sociology from Yale University. She is currently a postdoctoral researcher in the Department of Social and Economic Geography’s research center on Culture, Creativity, and the Economy at Uppsala University in Sweden. She lives in Malmö, Sweden.
Marjetica Potrč (Berlin)
Marjetica Potrč is an artist and architect based in Ljubljana and Berlin.
Her work includes drawing, architecture, and public art projects.
Since 2011, she is a professor at the University of Fine Arts/HFBK in Hamburg. Students of her course: Design for the Living World, are engaged in participatory projects during the long-term residencies on locations such as Soweto in South Africa.
Her work has been exhibited extensively throughout Europe and America.
Potrč has received numerous awards, including the Hugo Boss Prize (2000) and the Vera List Center for Arts and Politics Fellowship at The New School in New York (2007).
akcg makes artistic and critical studies involving relationships between town and country, for example in northern Europe and Brazil in the South. In attempt to create span between places and all those who are staying there, sometimes seemingly separated, they work investigating over time, with the camera, text and speech. akcg understand art as a possible agora. Since January akcg included in the group, the team, which operates Konsthall C in Hökarängen in Stockholm. In this collaboration, new formats launched at the Art Hall, such as centrifuge radio popular. Local broadcast on FM 95.3 Mhz, with global importance. akcg see on the airwaves as a common space.
Oliver Ressler (Vienna)
Oliver Ressler, born 1970, lives and works in Vienna. Ressler has had more than 60 solo exhibitions, among them in Berkeley Art Museum, USA; Museum of Contemporary Art, Belgrade; Centro Cultural Conde Duque, Madrid; Alexandria Contemporary Arts Forum, Egypt; Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; Centro Andaluz de Arte Contemporaneo – CAAC, Seville; Foundation Fabbrica Del Cioccolato, Torre-Blenio (CH); MNAC – National Museum of Contemporary Art, Bucharest; and SALT Galata, Istanbul.
Ressler has participated in more than 300 group exhibitions, including Museo Reina Sofía, Madrid; Van Abbe Museum, Eindhoven; MASSMoCA, North Adams, USA; Centre Pompidou, Paris and at the biennials in Seville (2006), Moscow (2007), Taipei (2008), Lyon (2009), Gyumri (2012), Venice (2013), Athens (2013, 2015), and Quebec (2014). He is the director of 27 films. A retrospective of his films took place at Centre d’Art Contemporain Genève in 2013.
He is the co-curator of an exhibition cycle on the financial crisis, It’s the Political Economy, Stupid, and project leader of the research project Utopian Pulse – Flares in the Darkroom at Secession in Vienna in 2014.
Ressler is the first price winner of the newly established Prix Thun for Art and Ethics Award in 2016. www.ressler.at
Polonca Lovšin (Ljubljana)
Polonca Lovšin (1970) is an architect and artist based in Ljubljana. She recently completed her Ph.D. at Bauhaus University, Weimar, Germany (2015). In her work she focuses on self-organised initiatives and alternative ways of living and working in our daily life.
She is a co-founder of a group KUD Obrat, based in Ljubljana. The group initiated together with neighbourhood residents a community garden Beyond a Construction Site in Ljubljana (2010-present).
Among her most important solo shows are: A Chicken or an Egg, House of culture, Pivka, Slovenia (2016), Movement for Public Speech, Square of Liberty, Maribor, Art Gallery Maribor (2015, 2016), Land, Water, Garden, Freedom (MSUM) Museum of Contemporary Art Metelkova, Ljubljana (2015), Every Egg Matters, P74 Centre and Gallery, Ljubljana (2013) and Electrified Dreams, Kunstverein Gera, Germany (2011). Some selected group exhibitions are: Stories from the Edge, Kunstahaus Graz, Austria (2016), Crises and New Beginnings: Art in Slovenia 2005–2015, (MSUM) Museum of Contemporary Art Metelkova, Ljubljana (2015), Measures of saving the World Part 5, Gallery Rotor, Graz, Austria (2014), 6. and 7. U3, Triennial of Contemporary Art in Slovenia, Moderna Gallery and MSUM, Ljubljana (2009, 2013).
Lovšin has received numerous awards, scholarships and residencies. She was the winner of public art(invited call) in Maribor 2015, she won the Zlata Ptica award for visual and media art achievements in Slovenia (2010), an art residency in London, Ministry of Culture of Slovenia (2016), at Wysing Arts Centre in Cambridge, UK (2009), and an Artslink residency in New York/San Francisco, U.S.A. (2006).
She is author of several texts and publications such as artist book, Ready to Change, (Onestarpress Paris, 2003), Ready 2 Change, (co-editor with Urška Jurman, Zavod MASKA and Zavod P.A.R.A.S.I.T.E, 2005), Back to the City, (Zavod Kibla, Zavod PARASITE and Kunstverein Gera, 2011). Her Ph.D. Thesis Between the Urban and the Rural: Back to the City was published online in 2015.
She has created several workshop for students of Visual Arts, Architecture and Design such as workshop Santefaction at Week of Architecture in Prishtina, Kosovo (2015), Together a Tree House, with participants of community garden Beyond of Construction Site in Ljubljana (2015) and Multifunctional Equipment at Faculty of Architecture, University of Ljubljana (2014). In winter semester 2016/2017 she will take the position of assistant Professor of sculpture at Academy of Fine Arts in Ljubljana.
Helen Stratford (Sheffield)
Located between visual art, live art, architecture, writing and performance Helen Stratford’s work and research asks what alternate spatial knowledge can performative research bring to the understanding and production of architecture and urban politics in public space? During the lecture Helen will discuss strategies and ways of working, including humour, open dialogue and durational actions, that open up questions around how cities and public places are performed and practiced.
Helen Stratford is an architect and an artist. PhD candidate in Architecture at the University of Sheffield, UK, she is the 2013 recipient of the RIBA LKE Ozolins Studentship in Architecture. Her work and research has formed the basis of presentations, performances and exhibitions at international conferences and events, including Wysing Arts Centre: Cambridge, RIBA, Tate Modern and ICA: London, Opera House: Leipzig, Akademie Solitude: Stuttgart, Center for Contemporary Arts: Celje, Škuc Gallery and P74: Ljubljana, Living Art Museum: Reykjavik, Barnard College: New York and École des Beaux Arts: Paris. www.helenstratford.co.uk
Dari Bae (Seoul)
Dari Bae (Seoul) formed an interdisciplinary practice investigating socio-political subjects within urban environment. It is a research-based project oriented practice based on dialogue and collaboration with situation - participants. Her current work 'Urban Project DASSI (Culture Centre for homeless / 2015 / Seoul)’ was composed by series of engaged workshops and activities co-operating with writers, architects, artists, social workers, homeless and local dwellers.
Jeanne van Heeswijk (Rotterdam)
Jeanne van Heeswijk is a visual artist who facilitates the creation of dynamic and diversified public spaces in order to “radicalize the local”. Van Heeswijk embeds herself as an active citizen in communities, often working for years at a time. These long-scale projects, which have occurred in many different countries, transcend the traditional boundaries of art in duration, space and media and questions art’s autonomy by combining performative actions, meetings, discussions, seminars and other forms of organizing and pedagogy. Inspired by a particular current event, cultural context or intractable social problem, she dynamically involves community members in the planning and realization of a given project. As an “urban curator”, van Heeswijk’s work often unravels invisible legislation, governmental codes and social institutions, in order to enable communities to take control over their own futures. www.jeanneworks.net
Bojan Salaj (Ljubljana)
Bojan Salaj (1964) is a photographer who since the early 1990s continuously creates and exhibits his artistic projects. In his works he highlights and questions the representation of photography in mass media, iconography of power structures, models of construction of history, and ways of establishing national and cultural identities. He commonly follows distinctly conceptual approaches and objectivistic principles. Since 1994 he is employed as a photographer at the National Gallery in Ljubljana and he is, at the same time, author of numerous photographs from the field Slovenian cultural heritage. He lives and works in Ljubljana.
Stephen Wright (Paris)
Stephen Wright is a Paris-based art writer and teaches the practice of theory at the European School of Visual Arts (eesi.eu). His writing has focused primarily on the politics of usership, particularly in contexts of collaborative, extradisciplinary practices with variable coefficients of art. His current research seeks to understand the ongoing usological turn in art and society in terms of contemporary escapological theory and practice.
Theodor Barth (Oslo)
Theodor Barth works with involving writing in creative practice and teaches mainly at the MA-level at Oslo National Academy of the Arts (Design, Art & Public Space, Arts & Crafts). Key words: field-work, diaries, reflective practice, semiotics.
When he talks about involving writing in creative practice, he addresses primarily writing as a material practice – a generative process tool – and then only extends it into literary genres, and/or exploring for its theoretical potentials.
Barth focuses on what writing can achieve in terms of developing an embodied optic on one's own work – on par with sketch and photography – hatching new repertoires beyond the province of writing.
Writing is then about developing a repertoire beyond the horizons of the "comfort-zone" and for the "contact-zone". It can be bent to serve our sensitization to what is concretely going on in our work, and acquire a skilled sense of what is moving at that level.
His objective is to assist in the development of the autonomy needed to know where one stands. And in this way to facilitate the development of an interceptive intelligence in discussions based on a broad visual education and readings.
He holds a doctoral degree in anthropology and has published in a wide range of genres: newspaper essays, artist books verging into catalogue, catalogue essays, co-authoring with artists, research publications in experimental archaeology, experimenting with hybrid genres combining documentary and archive, and has developed an extant collection of flyers.
Erling Sandmo (Oslo)
Erling Sverdrup Sandmo (født 6. november 1963) er en norsk historiker, radioprogramleder og musikkritiker. Sandmo er spesialist på kriminalhistorie, mentalitetshistorie i tidlig nytid, rettshistorie og klassisk musikkhistorie. Han er nå professor ved Universitetet i Oslo, Institutt for arkeologi, konservering og historie.
Sandmo ble cand philol. ved Universitetet i Oslo i 1991. Han disputerte til doktorgraden i 1998 på avhandlingen Slagsbrødre en mentalitetshistorisk studie om fenomenet vold i Norge i første del av 1600-tallet. Sandmo har også markert seg som rettshistoriker og har utgitt bind to av Norges Høyesteretts historie, som dekker perioden 1905-65. Han er sønn av Agnar Sandmo, professor i samfunnsøkonomi.
Mikkel B. Tin (Oslo)
Mikkel B. Tin defended a thesis on Merleau-Ponty’s aesthetics in Paris in 2001. In the following years he was a researcher at the folk museums of Oslo and Prague and in 2007 was appointed professor of Traditional Arts at the Telemark University College. In November and December 2013 he was responsible for a PhD course in Body Based Practices at the Telemark University College. In his books and articles, he focuses particularly on phenomenology, aesthetics and embodied knowledge.
Marius Grønning (Oslo)
Associate professor in urban and regional planning, Norwegian University of Life Sciences, NMBU.
Anne Beate Hovind
is an important figure with-in the production of art in public context in Oslo. She is a project manager for the property developer Bjorvika Infrastrukur, the person behind the production of Slow Space projects that represent an immense achievement within not only art production in Oslo but internationally.
Learning Site, represented by Rikke Luther (Copenhagen)
The Learning Site focuses on the local conditions in which its art practice is located. This entails a critical examination of the material resources and economies available within specific situations. Each situation may entail an examination of economic and environmental factors, but also labor rights, property rights and the production and distribution of knowledge, which are investigated in tandem to produce a variety of different critical perspectives.
Maria Lind (Stockholm)
Maria Lind is Director of the Tensta Konsthall, Stockholm, and an independent curator and writer. She was the director of the graduate programme at the Center for Curatorial Studies, Bard College from 2008–10. Before that, she was director of lASPIS in Stockholm (2005–07) and director of the Munich Kunstverein (2002–04). Previous to that she was curator at Moderna Museet in Stockholm (from 1997–2001) and in 1998 was co-curator of Manifesta 2, Europe’s nomadic biennial of contemporary art. She has published widely, in art magazines, daily newspapers, catalogues and anthologies. Her most recent publication is Art and the F Word: Reflections on the Browning of Europe, co-edited with WHW (2014). Lind was the 2009 recipient of the Walter Hopps Award for Curatorial Achievement. A book of her essays to date, Selected Maria Lind Writing, was published by Sternberg Press in 2010.
Ane Hjort Guttu (Oslo)
Ane Hjort Guttu is a filmmaker and author. Guttu’s work centres on issues relating to power and freedom in the Scandinavian post-welfare state.
She will be presenting the film This Place is Every Place (2014) that was produced as part of the research project Den nya modellen [The New Model] at Tensta Konsthall on the outskirts of Stockholm, Sweden. The project, initiated by Maria Lind and Lars Bang Larsen, examines the legacy of the 1968 exhibition Modellen: En modell for et kvalitativt samhälle [The Model: A model for a qualitative society] at Stockholm’s Moderna Museet. Guttu’s film is a poetic and fictional account of a conversation about faith between two sisters in suburban Tensta, touching on political as well as religious aspects. The Arab Spring and the protests in Tensta and elsewhere in Sweden in 2013 provide the backdrop for the film.
Solvita Krese (Riga)
Solvita Krese is an art curator and critic based in Riga. From 2000 she is director of Latvian Centre for Contemporary Arts (LCCA). Since 2009 she has initiated and curated annual Contemporary Art Festival Survival Kit. She has curated a number of large scale international exhibitions: Mobile Museum (2007); Urbanologic (2007); Archeology of Reality (2006); Trespassers. Contemporary Art from the 80s at National Art Museum in Riga (2005); The Body in Baltic Photography, Berlin (2005); Latvian participation at the 26th Bienal de São Paulo (2004); co-curator of the exhibition Faster than History, Kiasma, Helsinki (2004); re:public, Riga (2003). She is among the initiators and co-organizers of two large scale transnational art projects and research platforms: republic art (2003–2005), which explores and promotes interventionist and activist practices of public art; and transform (2005−2008), a research on political and artistic practices of institutional critique.
Oddrun Sæter (Oslo)
Oddrun Sæter is a sociologist and professor at Oslo and Akershus University College (HiOA). She is the head of research of the Urban Research Program at HiOA. For many years she has done reseach on urban issues, from public art, urbanity and place processes, to urban politics and gentrification, both in Oslo and Williamsburg, New York. At present, she is the project leader of research on residential mobility in the Oslo region, in cooperation with UiO. Why do people move from one place to another? is the main question we discuss in interviews of people on the move. Beside traditional social science methods, Sæter also applies photography and film as part of her urban studies.
Sandra Lorentzen (Oslo)
Sandra Lorentzen (born 1985) is an art historian and curator, with a BSc in Management Science from Warwick Business School, England, and an MA in Art History from the University of Oslo. She has been active in the field of art and culture, employed at institutions such as Henie Onstad Art Centre, the Stenersen Museum, the National Theatre, and recently as curator at Northern Norway Art Museum. At Northern Norway Art Museum, she has curated numerous exhibitions such as Still Life in Motion, Thomas Falstad: Polygon Window and Queen's Gambit. Inspired by the cultural scene in Tromsø, she also initiated and is chairman of Culture Night in Tromsø.
Terje Roalkvam (Oslo)
Terje Roalkvam (born 1948) is an artist living in Oslo. Educated from the State School of Art and Craft in Oslo (Oslo National Academy of the Arts) and the Art Academy ASP in Warszaw. Started as a printmaker, now working with sculpture and drawing. He has exhibited in Norway and in various European cities (Galerie Emilia Suciu, Karlsruhe/Ettlingen, Konstruktiv Tendens, Stockholm). He has also had solo museum exhibitions in Stenersenmuseet, Oslo; Lillehammer Kunstmuseum and Nordnorsk Kunstmuseum, Tromsø. Has made 35 art projects in different public spaces in Norway. In 1987 he started the group project “3+1” with colleagues Paul Brand and Dag Skedsmo and as part of that project he has arranged exhibitions with, among others, Carl Andre, Sol LeWitt and Richard Long.
Odd Are Berkaak (Oslo)
Odd Are Berkaak is an anthropologist who has been working as a professor at the University of Oslo for nearly 40 years. During these years he has been working with a wide range of projects. As a researcher, the Rastafari project has been a continuous flaming motivation all along. Beyond the Rastafari project, his research field circles around how people on Earth have created pictures of their past – of their history – with regard to how memories are materialized in monuments and in other ways. He has worked in Jamaica, St.Vincent, Zambia, South Africa, Ethiopia, England, the USA and Norway. In addition to books, articles and lectures, Berkaak has produced works in other media, such as films and music.
Trude Schjelderup Iversen (Oslo)
Trude Schjelderup Iversen works for Public Art Norway KORO. She is a curator, editor and art critic based in Oslo. She has been the director of UKS (Young Artists Society) and has contributed to Frame, Le Monde Diplomatique, Kontour, Morgenbladet, Billedkunst and Kunstkritikk, in addition to various catalogues and books. Schjelderup Iversen has been a curator in residence at the Center for Curatorial Studies, Bard College, lecturing on Contemporary Art Theory. She is currently pursuing a PhD on art as critique, entitled The Aesthetic Argument, at the Department of Literature, Area Studies and European Languages at the University of Oslo.
Jørn Mortensen, Rector of Oslo National Academy of the Arts (Oslo)
Jørn Mortensen, was a dean of the Art and Craft Department at the Oslo National Academy of the Arts, has held several positions within the field of contemporary art after his MA graduation in Media and Communication and his BA in Musicology and History of Ideas (Philosophy) at the University in Oslo, among them: assistant director at the Office for Contemporary Art (OCA), head of communication at Public Art Norway (KORO), director at Momentum – Nordic Biennal for Contemporary Art and director at Young Artists Society (UKS). Mortensen was editor in chief for Art in the Oslo Opera House (2011) and has also written articles in the KORO Yearbook as well as elsewhere.
In addition to initiating and organizing AGENDA – an interndisciplinary forum highlighting different topics at the Oslo National Academy of the Arts – he is currently chair at Kunsthall Oslo and artistic consultant and chair of the National Art Selection Committee for Memorial Sites after 22 July.
Per Gunnar Eeg-Tverbakk (Oslo)
Per Gunnar Eeg-Tverbakk graduated from the Bergen Academy of Art and Design and the Hochschule für Bildende Künste, Hamburg. He is currently a freelance curator with 20 years of experience in a number of art institutions and art projects in public space. From 1995–1998 he was head of the Otto Plonk gallery in Bergen. The following year, he worked as the exhibition manager at NIFCA (Nordic Institute for Contemporary Art) in Helsinki. Eeg-Tverbakk was deputy director of the Kunstnernes Hus from 2000-01. His freelance assignments include curating the Lofoten International Art Festival (LIAF) in 1999, and the 2004 Nordic Art Biennial Momentum. From 2003–2005, he was project manager for Kunst i Nordland – Artistic Interruptions, a site-specific, international art project initiated by the county of Nordland. Then, from 2005–09, he was a research fellow at the Oslo National Academy of the Arts (KHiO). He was also director of Kunsthall Oslo for two years. Eeg-Tverbakk has been responsible for a number of exhibitions and projects and he has been working with artists such as Elmgreen & Dragset, Olafur Eliasson, Matias Faldbakken, Marianne Heier, Aleksandra Mir, Marjetica Potrc, Eva Rothschild and Knut Åsdam. He has held positions as director, project manager, producer and curator and currently has a number of positions and roles in the Norwegian art scene. Among his main current positions: art consultant in the Art Selection Committee for Memorial Sites after 22 July and a member of the curatorial team for the pilot project for the Oslo Biennial of Public Art.