Archive for March, 2011
"In Godot Waiting Room" Kajsa Dahlberg and Gritt Uldall-Jessen, 2011. Reading / Performance for Vita Kuben, Norrlandsoperan, Umeå, April 7th, 2011. Participants: Charlotte Nordenfors, Gunilla Nordenfors, Kerstin Norlander, Malin Arnell, Kajsa Dahlberg and Gritt Uldall-Jessen.
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Focus for my work is a constant making/taking space. Space for dialogue, conflict, analysis of power, knowledge production and pedagogy – discussions and activities for change. I have claimed the space I have needed to make my every day as an artist not only meaningful, but important, also for others then myself. I have taken on the role of the curator, association and university, writer, politician and activist, performer, thinker and doer, educator, discussion partner and agitator, never a dictator, that would be too lonely for me. I have been part of a number of collaborations; since 2005 part of the YES! Association – lovers of institutions. 2006 – 2011, running the alternative Malmö Free University for Women together with Lisa Nyberg. In 2009 I collaborated with Jeuno Kim on a series of performance lectures at Malmö Konsthall. 2009 – 2010 I initiated and ran Nobody Puts Baby In A Corner in New York together with Malin Arnell. 2005 – 2006 I was part of the Production Unit.
Right now:
Malmö Free University for Women takes over art institution Konsthall C with the project Insisting to be part of this moment/movement (övertygade om vår storhet) April 1 – May 29 2011. We also just released the book Do The Right Thing – a manual from MFK.
Together with my American colleague Tia-Simone Gardner I am initiating Walking back, talking back – an investigation in 4 parts on the development of the Black Power Movement in the US and the UK; 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 guerrilla 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?
During fall 2011 I am developing a series of performance lectures together with artist Jeuno Kim.
2011 I am part of a collaborative writing project called Schackrummet (The Chess Room) initiated by Sinziana Ravini.
JOHANNA GUSTAVSSON CV.pdf(in Swedish)
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"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.
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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/
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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
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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.
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