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We will move in triangular formations and step on each other's feet.
Archive for mars, 2011

"I Godots väntrum" Kajsa Dahlberg och Gritt Uldall-Jessen 2011. Läsning/performance för Vita Kuben, Norrlandsoperan, Umeå den 7:e april 2011. Medverkande: Charlotte Nordenfors, Gunilla Nordenfors, Kerstin Norlander, Malin Arnell, Kajsa Dahlberg och Gritt Uldall-Jessen.



Fokus för mitt arbete är ett konstant görande av plats. Plats för dialog, konflikt, maktanalys, kunskapsutbyten, pedagogik – samtal och aktivitet för förändring. Jag har tagit den plats jag har behövt för att göra min vardag som konstnär inte bara meningsfull, men betydelsefull, för andra än mig själv. Jag har antagit rollen som curator, förening och universitet, skribent, politiker och aktivist, performer, tänkare och görare, lärare, diskussionspartner och agitator, aldrig diktator, det skulle vara alldeles för ensamt. Jag har varit del av en rad samarbeten; Sedan 2005 del av institutionsälskande föreningen JA!. 2006 – 2011, alternativet Malmö Fria Kvinnouniversitet (MFK) tillsammans med Lisa Nyberg. 2009 samarbetade jag med Jeuno Kim kring en serie performance föreläsningar på Malmö Konsthall. 2009-2010 startade och drev Nobody Puts Baby In A Corner i New York tillsammans med Malin Arnell. 2005-2006 var jag del av Produktionsenheten.

Just nu:
Malmö Fria Kvinnouniversitet MFK intar Konsthall C genom projektet Insisting to be part of this moment/movement (övertygade om vår storhet), 1 april – 29 maj 2011. MFK har också precis släppt boken Do the Right Thing – en handbok från MFK.

Tillsammans med min amerikanska kollega Tia-Simone Gardner under söker jag den svarta medborgarrättsrörelsens utveckling i USA och UK. Walking back, talking back and an investigation in 4 parts; One is a basic mapping of the origin and organization of the movements in the US and the UK. Secondly, were where the women? We know that the term intersectionality grew out of the practical situation for black feminists of the 60ties and 70ties; the black power movement didn’t want to acknowledge that them being women meant dealing with another type of oppression then being black, and the white hegemonic feminist movement didn’t want to acknowledge that it meant something that they were black and women, the situation led to the forming of the black feminist movement. Where are we at today and what can we learn from this? Thirdly we want to look and compare the different developments between the US and the UK to the present day where (to simplify things) the UK movement moved in to academia and developed Cultural Studies whereas in the US the focus was on community building. bell hooks says: “When our lived experience of theorizing is fundamentally linked to processes of self-recovery, of collective liberation, no gap exists between theory and practice.” As we understand it was the founding goal of both groups to bridge this gap, so why this split? What influences do post-colonial histories, labor- and educational political programs and immigrant policies have on their different developments? Because each site has unique histories of oppression, it is interesting to look closer at the following resistance and possibilities for social struggles; the UK and its colonized people, the US and its enslaved. The fourth aspect is therefore to look at the pedagogical aspects of the movements. We know for example that it was obligatory for those who joined the Black Panther guerilla section to also read Franz Fanon and Karl Marx, but Fanon and Marx are not the easiest thinkers and writers so how did they organize that? How did they connect the writings with the doing? How were they able to make Fanon and Marx understandable and relatable, especially under the U.S. Empiricism and anti Communist politics?

Under hösten 2011 utvecklar jag en serie Performance Föreläsningar med konstnär Jeuno Kim.

2011 är jag också del av ett kollektivt romanprojekt Schackrummet, initierat av Sinziana Ravini.



"The Collaboration: MS and AL", work in progress

My artistic practice is informed by feminist theory, intersectionality and post-colonialism. I work primarily with video on a project basis and often documentary footage and/or historical research serve as a starting points. Right now I am working on a project exploring the tension between a “history of feminism” and a ”feminist reading of history” considered from a Benjaminian perspective. The task is to take the legacy of historical materialism further and through fiction rethink temporality to be able to imagine a future different than the one introduced to us by the hegemony of the present. I aim to work self-reflexively and also problematize my own gaze, position and privileges. Many of my projects are interdisciplinary and in collaboration with other artists or people from other fields.



Rehearsal for Education I (2010)Single channel video, Black & white (no sound),16 mm film transferred to digital video,
4:30 minutes

Hong-An Truong is an artist and writer based in Brooklyn. She has been an artist-in-resident at the Center for Photography at Woodstock and the Visual Studies Workshop. Her photographs and videos have been shown at the Godwin-Ternbach Museum in Queens, the ISCP, the Los Angeles County Museum of Art, Laguna Art Museum, Torrance Art Museum, Oakland University Art Gallery, and DobaeBacsa Gallery in Seoul. Her work was included in 1968: Then and Now at NYU’s Tisch School of the Arts in 2008 and screened at the PDX Documentary and Experimental Film Festival in 2009. Recent group shows include Art in General, Gallery 456 at the Chinese American Arts Council, both in New York, a screening at DeSoto Gallery in Los Angeles, and the New Media Gallery at the John Hope Franklin Center at Duke University. Truong received her MFA at the University of California, Irvine and was a studio fellow in the Whitney Independent Study Program.

Webbsida: www.hongantruong.com/


Cum pane - the one you share your bread with, 2002, 8 min, 35 mm, Dolby-SR, 1.1;66

Anna Linder is active in the field of film, music and art. Born 1967 in Storuman, Lapland. Lives and works in Stockholm, Sweden. Since 1990 she has taken part in various cultural projects, working as a producer and manager for art shows, events and concerts. Her works have been selected for festivals and art exhibitions, in Sweden as well as abroad. Her first film cum pane – the one you share your bread with has been screened at the ICA in London, The Modern Museum and The Museum of National Antiquities in Stockholm, Arsenal Experimental in Berlin and at several film festivals around the world. The short film 13 Related Sewing Machines had premiere of Folkets bio (The People’s Bio) on 4 March 2011. She has a Master degree in Sound Art at the Dramatic Institute and EMS, Sockholm and at the moment she is attending the MFA programme in film – with a specialisation in Curatorial Studies for Film and Video, The School of Film Directing, Gothenburg.

Webbsida: www.annalinder.se


Jag befinner mig för ögonblicket i ett vitt tomrum och väntar på nästa ögonblick (I find myself at the moment in a white void, waiting for the next moment) performance, 4 hours, IN THE ACT gives: LIKE YOU SAID - Borrowed words and stolen scenes, Högkvarteret, Stockholm, 2011.

Malin Arnell is a interdisciplinary artist/researcher, whose work is sited within the public, social realm. Informed by feminist art and queerfeminist activism she predominantly works in collaborative and collective fields; a working method which informs much of her ethos around the making of art. Arnell works in a variety of media; mapping and making guides out of explorations into territory and social, political, structures. Making and distributing alternative/wild/feral produce and creating experimental social events. Arnell is a founding member of the feminist performance group High Heel Sisters (2002-2007) and in 2005 she co-founded föreningen JA!/the YES! Association. Together with Johanna Gustavsson she organized NOBODY PUTS BABY IN A CORNER, a series of feminist gatherings in New York (2009-2010). She received a MFA from University College of Art, Crafts and Design, Stockholm and was a studio fellow at the Whitney Independent Study Program, New York. Since 2010 she’s a choreography research student at the University of Dance and Circus in Stockholm.



  • YES! Association / Föreningen JA! var ett konstkollektiv, ett konstverk, en förening, en konstarbetare, en institution, en grupp människor som arbetade för att störta de styrande heteronormativa, patriarkala, rasistiska och kapitalistiska maktstrukturerna genom att genomföra en strukturell omfördelning av tillgången till finansiella resurser, plats och tid inom (konst)fältet.
    YES! Association / Föreningen JA!, All that you touch You Change. All that you Change Changes you #2 (2017)
    A New Spelling of a Street – A tribute to Audre Lorde (2017)

    YES! Association / Föreningen JA!

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