![\"DEF_Slides_Valentina_Pagina_1\"](\"https:\/\/edu.konstfack.se\/curatorlab2014\/wp-content\/uploads\/2015\/05\/def_slides_valentina_pagina_1.jpg\")
<\/a>\u201cPerformance as Sculpture\u201d is a project in progress on performance and the objects it activates by curator Valentina Sansone<\/strong>. Conceived for CuratorLab, Performance as Sculpture: Ecstasy of Things<\/em> is its second event: a series of two workshops run by artists Benjamin Valenza<\/strong> and Nicole Bachmann<\/strong>, and the students of: Konstfack University College of Arts, Crafts and Design \/ The Royal Institute of Art \/ Stockholm University of the Arts (DOCH, School of Dance and Circus). With a screening of video works by Ellie Ga<\/strong>.<\/p>\nThe combination of things, performers and audience in the same environment defines a particular mode for the object to be present: it builds up the performative space by affecting its surroundings. By coining the term \u201cecstasy of the object\u201d, as an attempt to describe how things appear as present, philosopher Gernot B\u00f6hme also introduced the concept of \u2018space\u2019 as an element originating from primary qualities of an object, such as its extension and form, its sound and smell, the modes through which it acts on the performers and seizes the audience.<\/p>\n
If the practices that allow the circulation of the performance make also the performative space expand, what is the new condition of the object\/sculpture, and how is it critically assimilated?<\/p>\n
Workshop 1: <\/strong><\/p>\n Benjamin Valenza: Performance Proletarians \/ Hit the North<\/strong><\/p>\n Friday 13 March 2015, from 10am to 4.30pm<\/strong><\/p>\n Konstfack University College of Arts Crafts and Design, room S2<\/strong><\/p>\n Saturday, 14 March 2015, from 6 to 9pm<\/strong><\/p>\n Anquestionmark, Stockholm<\/strong><\/p>\n With \u201cPerformance Proletarians \/ Hit the North\u201d, Benjamin Valenza addresses to issues such as the language and the circulation of ephemeral formats. During a one-night public event, the audience can choose to attend a 3-hour programme \u201clive\u201d at off-space Andquestionmark; streamed \u201clive\u201d online; or both, simultaneously.<\/p>\n Workshop 1: Performance Proletarians\/Hit the North! by Benjamin Valenza (Marchl 13, 2015), Konstfack University.<\/p><\/div>\n Benjamin Valenza, Performance Proletarians\/Hit the North!, 2015. Anquestionmark, Stockholm.<\/p><\/div>\n Benjamin Valenza, Performance Proletarians\/Hit the North!, 2015. Anquestionmark, Stockholm. Performance by Maria Fjell and Petra Hultman, performed by: Olivia PLender and Jorun Kugelberg.<\/p><\/div>\n Benjamin Valenza, Performance Proletarians\/Hit the North!, 2015. Anquestionmark, Stockholm. Performance by Nicholas Bates.<\/p><\/div>\n Benjamin Valenza, Performance Proletarians\/Hit the North!, 2015. Anquestionmark, Stockholm.<\/p><\/div>\n Benjamin Valenza, Performance Proletarians\/Hit the North!, 2015. Anquestionmark, Stockholm.<\/p><\/div>\n Workshop 2: <\/strong><\/p>\n Nicole Bachmann: From text to performance to print<\/strong><\/p>\n From Tuesday 21 to Thursday 23 April 2015, from 10am to 4.30pm<\/strong><\/p>\n Konstfack University College of Arts Crafts and Design <\/strong><\/p>\n From Text to Performance to Print<\/em>\u00a0is a workshop\u00a0about performance and text where language\/voice\/text is at the core of the\u00a0work. It\u00a0takes into consideration the\u00a0different forms and formats text can inhabit e.g. printed, spoken word, or text-based\u00a0performance, as well as\u00a0written\u00a0text that is performative through its\u00a0structure or form.<\/p>\n Workshop 2: From Text to Performance to Print by Nicole Bachmann (April 23, 2015), Konstfack University.<\/p><\/div>\n Workshop 2: From Text to Performance to Print by Nicole Bachmann. Text and performance by Maria Stiernborg and Kajsa Wadhia (April 23, 2015), Konstfack University.<\/p><\/div>\n Workshop 2: From Text to Performance to Print by Nicole Bachmann. Text and performance by Maria Stiernborg and Kajsa Wadhia (April 23, 2015), Konstfack University<\/p><\/div>\n Workshop 2: From Text to Performance to Print by Nicole Bachmann. Text and performance by Maria Stiernborg and Kajsa Wadhia (April 23, 2015), Konstfack University<\/p><\/div>\n Workshop 2: From Text to Performance to Print by Nicole Bachmann. Text and performance by Maria Stiernborg and Kajsa Wadhia (April 23, 2015), Konstfack University.<\/p><\/div>\n Workshop 2: From Text to Performance to Print by Nicole Bachmann. Text and performance by Hanna Kish (April 23, 2015), Konstfack University.<\/p><\/div>\n Workshop 2: From Text to Performance to Print by Nicole Bachmann. Text and performance by Emelie Johansson (April 23, 2015), Konstfack University.<\/p><\/div>\n From March 13 to May 13, Performance as Sculpture Screening section<\/strong> features a selection of videos by artist Ellie Ga<\/strong>, hosted at the Konstfack Library video room. Meant as a fixed device \u2013opposite to the dynamic structure of the workshop series\u2013 this section also presents a selected bibliography of texts proposed by invited artists, critics, curators, choreographer and dancers etc.: a platform for the public to meet, read and discuss.<\/p>\n Ellie Ga, Measuring the Circle, 2013-14. Still from video, 21 mins 45 secs.<\/p><\/div>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n 4\u00a0May \u2013 28 May 2015<\/p>\n Opening: 4\u00a0May 15.00-18.00<\/p>\n Public presentation of the exhibition and project on 26 May 16.00- 17.00<\/p>\n Konstbiblioteket<\/p>\n Nationalmuseum\/ Moderna Museet<\/p>\n Artists: \u00c5ke Hodell, LG Lundberg, P\u00e4r Th\u00f6rn and Sofie Karp.<\/p>\n Curated by\u00a0Jacob Hurtig<\/p>\n Ner\/slag \u2013 Upp\/brott \u2013 S\u00f6nder\/fall <\/em>is the first part of the project The exhibition as a publication\/ The publication as exhibition<\/em> and shows works by \u00c5ke Hodell (1919-2000), LG Lundberg (1938-), P\u00e4r Th\u00f6rn (1977-) and Sofie Karp (1981-). From Hodells terrifying depiction of the Holocaust in Orderbuch<\/em> published in 1965 to Th\u00f6rns alphabetical ordering of Die Leiden des jungen Werthers (alphabetisch) <\/em>from 2012.<\/p>\n All of the selected works relates to questions about repression, violence and control, but also a possible resistance. Concepts and ideas that is important to talk about with growing fascism and other authoritarian ideas both in Sweden and the rest of the world.<\/p>\n Ner\/slag \u2013 Upp\/brott \u2013 S\u00f6nder\/fall<\/em> takes place at Konstbiblioteket, is part of the course CuratorLab, Konstfack and is curated by Jacob Hurtig.<\/p>\n <\/p>\n PDF of the publication released in conjunction with the opening.\u00a0<\/a><\/p>\n Opening hours is Tuesday- Thursday 1 – 5 pm.<\/p>\n Konstbiblioteket<\/p>\n Nationalmuseum \/ Moderna Museet<\/p>\n Holmamiralens v\u00e4g 2, 2 tr. Skeppsholmen<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n Artist\u2019s talk and screening\u00a0by\u00a0Louis Henderson<\/strong> Louis Henderson, Black Code\/Code Noir, 2015, video still<\/p><\/div>\n Images from a present memory<\/em>\u00a0is an event that will premiere\u00a0Black Code\/Code Noir,\u00a0<\/em>the latest video by British artist Louis Henderson. The new work is introduced in\u00a0a conversation between the artist and curator Valeria Mancinelli about his research and through two previous works,\u00a0Lettres du Voyant\u00a0<\/em>(2013) and\u00a0All That is Solid\u00a0<\/em>(2014). These videos were filmed in Accra, Ghana, in and around a waste ground where thousands of computers are being recuperated by young men, who break and burn the plastic casings in order to extract the precious metals contained within as a kind of reverse neocolonial mining. Henderson\u2019s work seeks to produce analogies between colonialism and technologies as forms of control.<\/em><\/p>\n Black Code\/Code Noir<\/em>\u00a0brings together various temporally and geographically disparate elements into a critical reflection on two recent events: the murders of Michael Brown and Kajieme Powell in Missouri, USA, 2014.\u00a0Black Code\/Code Noir<\/em>\u00a0looks into the ways in which the murders were captured and disseminated on the Internet by citizens who witnessed the events and their aftermath, thus encouraging a reflection on the manipulation, circulation and control of images in this contemporary moment. Focusing on videos recorded by mobile phones and uploaded on YouTube, the forming of social media networks as both meeting points for demonstration and remembrance, and the online (mis)representation through state controlled media \u2013\u00a0Black Code\/Code Noir<\/em>\u00a0uses the Internet as a\u00a0social site of excavation. Taking an archaeological perspective\u00a0Black Code\/Code Noir<\/em>\u00a0traces back a certain route through history in order to find the complex origins of what makes such tragedies occur \u2013 drawing a series of lines from the murders of Brown and Powell within the age of algorithmic\u00a0Big Data<\/em>\u00a0policing to the\u00a0Black Code<\/em>\u00a0laws that designed the treatment of slaves in the Americas. These codes have morphed in their digital becoming from paper decrees to algorithmic interpretations, yet the intent remains the same: to design the lives of people in minority, to keep them within the plantation capitalist system.<\/p>\n Yet how can human bodies have agency in this situation and how can this necropolitical control be resisted? As a movement towards an answer\u00a0Black Code\/Code Noir\u00a0<\/em>makes a historical\u00a0d\u00e9tournement\u00a0<\/em>towards a past future and looks to the Haitian revolution as a symbol of a future possibility; if France\u2019s 17th century Code Noir was the original form of this algorithmic governance then the Haitian revolution was the first instance of its hacking. Yet how do we read this in the present? How do we rewrite this code as a hack?<\/p>\n Images from a present memory<\/em>\u00a0is produced in the frame of CuratorLab program at Konstfack and presented by Mount Analogue in collaboration with Platform Stockholm.<\/p>\n Louis Henderson <\/strong>(UK, 1983) is an English artist and filmmaker, his work investigates the networked links between colonialism, technology, capitalism and history. He has shown his work at places such as: Rotterdam International Film Festival, CPH:DOX, Transmediale, the Centre Pompidou, Museo Reina Sofia, Tate Modern and Whitechapel Gallery.<\/p>\n Mount Analogue <\/strong>is a publishing space, curatorial and editorial agency and analogue studio, initiated 2011 in Stockholm by Diana Kaur and Tris Vonna-Michell. Recent projects include the exhibition Port by Yuki Higashino and Elisabeth Kihlstr\u00f6m and the publication Collapsing Ourselves, a twelve-inch vinyl record by Mattin and Hong-Kai Wang.<\/p>\n Platform Stockholm<\/strong> is an arts organization dedicated to the development of cultural production through collective participation in net-based systems to create shared resources initiatives. Platform is a place for work, collaboration and meeting for over one hundred cultural producers, mainly artists, but with a large variety of professionals ranging from designers to writers, photographers to architects.<\/p>\n <\/p>\n COUNTER PLANNING FROM THE KITCHEN<\/span><\/p>\n Kim McAleese and Josefin\u00a0Varg\u00f6<\/a><\/span><\/p>\n For Season 5,\u00a0Underverk<\/a> (Josefin Varg\u00f6<\/a>‘s experience design platform)<\/span>\u00a0collaborates with curator Kim McAleese and together we\u00a0present a series of food events spanning April and May 2015, which focus on home labour and the gender divide in relation to domestic tasks (such as cooking, cleaning and maintenance). The projects ask whether much has changed -if anything at all- since the feminist protests of the early 1970s.<\/p>\n The discussions and participation in the presented food events contribute a vital part and act as the core material of the project\u2019s research. The results and documentation will be presented in a printed matter acting as the final piece of the programme.<\/p>\n EVENT 1<\/strong> In Konsthall C\u2019s kitchen, an invited commercial \u2018chef\u2019 and a domestic \u2018cook\u2019 respond to the questions posed in the Mierle Laderman Ukeles\u2019 Manifesto for Maintenance Art.<\/p>\n Produced in 1969, the manifesto connected to other feminist activities around the world which began to articulate the gendered inequities between paid and unpaid labour. The chefs Josefin G\u00fcnther and Magdalena G\u00fcnther are invited to make a dinner, using the food as their material to convey what they believe to be \u2018maintenance work\u2019 as an attempt to readdress the issues raised in Ukeles manifesto.<\/p>\n The dinner is part of the public program of the Ukeles exhibition at Konsthall C, the idea being that members of the public are invited to engage in some of her thoughts and artistic concepts over a meal in the space.<\/p>\n Josefin G\u00fcnther is a sommelier currently working as a freelance writer. Food, beverages, scents and flavours have always been a very big and natural part of her life and she is always looking to add new scents and flavours to her palate. Finding new ways of expressing what we experience when we eat and drink is an ongoing home-project of hers.<\/p>\n <\/p>\n EVENT 2<\/strong> For many women, the home was a natural subject of artistic production as a highly charged site of rampantly contradictory meanings. As Lucy Lippard noted, \u2018[women artists] work from such [household] imagery because it\u2019s there, because it\u2019s what they know best, because they can\u2019t escape it.\u2019<\/p>\n Underverk<\/span>\u00a0presents a set of feminist film screenings\u00a0punctuated by food provided by meal\u00a0ecologist Ayhan Aydin and experience designer Josefin Varg\u00f6, who have translated certain elements from the films into taste. In this film programme, the artists explore domestic issues such as motherhood, familial relationships, control of physical space and the preparation and consumption of food.<\/p>\n 20:00-20:30 \u2014 Course 1:\u00a0Blanchisseuse<\/em>, a steamed introduction. Limited food, available on first come, first served basis.<\/p>\n Ayhan Aydin (Meal Ecologist) works interdisciplinary with how the food system as a whole functions. Aydin integrates social sciences, natural sciences, food craftsmanship and practical farming. Ayhan has previously participated in the projects Restaurant roam (Parkteatern), Fittja Open (Botkyrka Konsthall), Nordic Sound Bite (New Nordic Food). In the three different projects, food has been a central and fundamental part of the story.<\/p>\n<\/div>\n Photo from\u00a0Rohesia Hamilton Metcalfe: La Blanchisseuse (1993)<\/p>\n <\/p>\n<\/a><\/a><\/a><\/a><\/a><\/a>All photos: courtesy Sara Linderoth<\/h5>\n
<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a>Nicole Bachmann<\/strong> mixes text-based performances with objects and sound in order to animate her site-specific installations. Bachmann is the founder of Performance as Publishing<\/em> (with Ruth Beale), an independent practice-based research project that explores the relationship between the written word and exhibition-making, audio and performance. She lives and works in Zurich and London.<\/h5>\n
Ellie Ga<\/strong> is researcher at the Royal Institute of Art in Stockholm. Her work originates from long-term processes that often depart from a research in situ<\/em>: a scientific expedition near the North Pole or a marine archeology program at Alexandria University. Her most recent projects (Square, Octagon, Circle<\/em>, 2012 and The Fortunetellers<\/em> 2007-2014) include a series of videos, performances, photographs and ephemera, installations, texts and interviews that she organizes into separate subcategories, binding narratives from her routines and involving the public through storytelling. She lives and works in London.<\/h5>\n
Benjamin Valenza<\/strong>\u2019s performances include sculptures, poetry, literature, and videos. In 2014, he conceived the project Performance Proletarians <\/em>with artist Lili Reynaud-Dewar: a live broadcast of a 36-hour program of performances. He is the co-founder of Galerie 1m3, an artist-run space based in Lausanne. Valenza lives and works in Rome.<\/h5>\n
In collaboration with: <\/strong>Anquestionmark, Stockholm; The Royal Institute of Art, Stockholm; and the students of Konstfack University College of Arts, Crafts and Design \/ The Royal Institute of Art \/ Stockholm University of the Arts (DOCH, School of Dance and Circus)<\/h5>\n
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Ner|slag – Upp|brott – S\u00f6nder|fall<\/h3>\n
<\/p>\n<\/a> <\/a> <\/a>
\n<\/a><\/a>
\n<\/a><\/p>\n<\/a><\/p>\nAbout the project:<\/h5>\n
The exhibition as a publication\/ the publication as an exhibition<\/em> investigates and researches how artists have used printed matter as a field of creating and presenting independent art works; how a book, a fanzine, or a score can become an exhibition sphere; and what characterizes such field of work with all its possibilities and disadvantages?<\/h5>\n
Images from a present memory<\/strong><\/h2>\n
\nin dialogue with Valeria Mancinelli<\/strong>
\nSaturday 23 May, 3 \u2013 5 pm<\/strong>
\nAt Platform Stockholm<\/strong>
\nF\u00e4rgkontoret,\u00a0L\u00f6vholmsgr\u00e4nd 12, Stockholm<\/strong><\/p>\n<\/a><\/h5>\n
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\n Housewarming Dinner<\/strong>
\n April 7, 19:00\u201421:00<\/strong>
\n Konsthall C, Cigarrv\u00e4gen\u00a014<\/strong><\/p>\n<\/a><\/p>\n
\n FEMINIST FILM SCREENINGS<\/strong>
\n Br\u00e4nnkyrkagatan 13<\/strong>
\n 21 May 2015<\/strong>
\n 20:00\u201422:00<\/strong><\/p>\n
\n20:40-20:50 \u2014 Course 2:\u00a0Semiotics of the Carrot<\/em>, the value of an ingredient.
\n21:00-22:00 \u2014 Course 3:\u00a0Our time is coming<\/em>, communal soup experience.<\/p>\n