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Final presentation/examination

14 – 15 January 2016

This last meeting is the final presentation and examination for your Organising Discourse projects.

For this you shall prepare for an oral as well as written presentation of your project, including background, process and outcome, conclusion and possible future developments. You may use any media you like (images, film, sound, objects etc.). Prepare for 20 minutes presentation and 20 minutes for Q&A and comments.

I will ask you all to prepare and send your written presentation to me before 12 January.

Also please inform me if you aren’t available all time and if you need to schedule your presentation before.

Guest critic will be artist and designer Bettina Schwalm.

The assessment will be based on your proposal and formally also on the ‘Intended learning outcomes’. Informally it is about the actual learning outcomes and therefore the process of the projects is as important as the actual result and failures perhaps as important as success.

For those of you who have not already developed your platform fully or as a completed project (witch may not be your intention) you may present it’s present condition and future development (all in relation to your project proposal).

If someone has not been able to finalize their projects in relation to this or simply has failed to reach the intended goal, another future assessment is possible and can be scheduled.

For formal matters on this please see the Course Description: http://www.konstfack.se/PageFiles/19968/COURSE%20DESCRIPTION.pdf


A process to shape a pedagogy platform for sustainability in emerging markets.


Asinda Platform was shaped during my participation at “Organizing discourse” at Konstfack. This platform aims to build a pedagogical model for teaching “sustainability for environments in critical stage” to design students in developing countries. Asinda is where to practice, how to transform the mindset to focus on the purpose of design and shift toward participatory design by learning to be the facilitator and translator of ideas. This platform will focus where a small  change can lead to fundamental  differences in the system as a whole and how could help to change direction of complex  socio-ecological systems to the basic goals of sustainability. How to recreate sustainability-related knowledge and use rethink design.


This project focuses on identifying and further developing  new forms of knowledge in  production and consumption  , and how this knowledge will apply to local trans-disciplinary  case studies. The main focus of this platform will revolve around contemporary social challenges- climate and environmental issues (mainly: drought and lack of water)- in Middle East specifically in Iran. Review of existing knowledge and experiences related to designs and opportunities of different forms of knowledge production to develop sustainability transformation. Gathering practical approaches as a fundamental source to establish advance methodology for the need of regional sustainability transformation.

Read more about Asinda

Mansooreh is an individual designer, born and raised in Tehran, moved to Sweden to to complete her studies in Design in 2010. In participation to an Organising Discourse program at Konstfack, she shaped a pedagogy platform for sustainability in emerging markets. Her approach to the topic is how design can contribute to strong sustainable innovative work in societies with little or no previous design experience. What type of design principle should designers develop so all culture, religion, ethnic and other sensitive aspect are included in the process, and can play their role in developing the learning network. 

Project Abstract: Correspondence

Correspondence is a publication and conversation, gathering work processes, methodologies and tools


There are moments in our work in which we hesitate, consider and critique.

We question the tools that guide our thinking, the invisible support to our practice.

We are interested in understanding the paths on which we place ourselves, not intended on the result, but rather differing thought processes.

We extend our curiosities to other fields, asking collaborators to answer our questions and to share their own doubts, as a collective.

Through discussing the question of process, we aim to make the creative support visible. The question does not have a universal answer, nor a clear resolution, but rather multiple points of view.

Correspondence is collecting different ways to think, focusing on how rather than what. As independent pieces existing for themselves, we gather mistakes, ignorance, naivety, unexpected discoveries, imperfections, failures, sketches, uncertainties, and drafts.

Gathering them on the same surface is an attempt to let them speak as open processes, able to discuss, between differing fields, practices and places.

Each one of the collaborators is invited to discuss a past or current project, a theoretical approach, or pieces from their work, in the form and time they want.

These voices together become a support structure to us.

This first gathering is an ongoing discussion.


Iris Lacoudre and Jennifer Heinfeld began their collaboration firstly with friendship, discussion and time. As architects and makers, they found reciprocity in their dialogue, challenging their own pedagogies and questioning the contemporary practice of their field. In August 2014, they left their respective architecture practices and moved to Dessau, Germany to participate in a collaborative research initiative through the Stiftung Bauhaus Dessau. Through three months of research, studio momentum, communal living, and the conclusion of their work into an designed and curated exhibition, they returned to a place neither their homeland, to Stockholm, Sweden. Beginning in January 2015, they began a new working method and process at Konstfact, University College of Arts, Crafts and Design.

Pattern//Antipattern: The Glitcha! platform

The Glitcha! project consists of three parts: a virtual platform (website + Facebook group + blog) an itinerant Glitch Art exhibition, and a series of theoretical texts analyzing the sociopolitical implications of Glitch Art, starting with the upcoming text to be published in the January edition of Glitchet, that takes as case-study Peruvian Glitch/Error Aesthetics. Artists from places such as Mexico, Peru, Sweden, Rumania, Greece, Turkey and U.S. have been given the opportunity to interact, discuss, and show their own (visual) research on the subject.

Above all else glitch art is the art of inducing error artifacts in visual or audio data. In fact, the etymology of ‘glitch’ has as much to do with ‘failure’ as it has to do with ‘technical problems’ which may or may not be of a digital or electronic nature (1). The Glitcha! platform was generated from an intentional rupture: Paola Torres has been researching on the generic concept of “pattern” since 2012, leading to varios art works and solo shows, the most recent one in 2015, called Perennial Patterns, Liquid Matrices, that linked design patterns in traditional societies and concepts found within Information Technologies. Repeated decoration, recurring design, regular/ intelligible form or discernible sequence a pattern can be a template/stencil, a layout, a mold, a strand of DNA which sets the genetic sequence of a new strand, a blueprint or map. In fact, pattern recognition is the primary way that our brain processes sensory stimuli: in the end, it may be seen essentially as a way of mapping, consisting of finding correspondences between planes or fields through isomorphic configurations that inevitably end up reflected in the diverse manifestations of human creativity, starting, in this particular case, from aesthetics and design.

Comprehension through Creative Destruction

A glitch could be taken then as an irruption, a breaking down of a pattern or system. In such a way, it’s the other side of one same coin. Referring to Glitch Art and its origins, Rosa Menkman, important Glitch Aesthetics theoretician, states:

“While most of these artworks do not have a lot in common, all of them do show that this is the product of an elitist discourse and dogma widely pursued by the naive victims of a persistent upgrade culture (…). In the future the consumer will pay less for a device that can do more, but at the same time will reach a state of obsolescence faster. This quest for complete transparency (the perfect, invisible interface) has changed the computer system into a highly complex assemblage that is hard to penetrate, and sometimes even completely closed off. (…) The user has to realize that improvement is nothing more than a proprietary protocol, a deluded consumer myth of progression towards a holy grail of perfection.” (2)

Glitch art would then exist as a reaction that questions both the limits of a particular digital system (computer, smartphone, etc) as well as the global socio-technological system, where errors on a smaller scale (i.e. the particular) would be a transcalar mirror (mirror in the sense described by Danto(3)) of failures within our current system of “technological dependence and constant need to upgrade”.

(1) Zimmer, Ben, The Hidden History of Glitch, for Visual Thesaurus, https://www.visualthesaurus.com/cm/wordroutes/the-hidden-history-of-glitch/

(2) Menkman, Rosa, Glitch Studies Manifesto, in Video Vortex Reader II, Institute of Network Cultures, http://art310-f12-hoy.wikispaces.umb.edu/file/view/Glitch+Studies+Manifesto+rewrite+for+Video+Vortex+2+reader.pdf

(3) Danto, Arthur C. 1981. The Transfiguration of the Commonplace.

Paola Torres Núñez del Prado explores notions of interpretation, translation, misrepresentation and perceptual cross-modality by the act of going beyond the “observing of art” through interactive painting, sculpture and video-art.
She has been part of art shows in Stockholm, Malmo and Norrkoping in Sweden, Lima, Cuzco and Arequipa in Peru, New York, Albuquerque and Florida in U.S.
She has won the Arte.mov “Midias Locativas Amazonian Ecorregion” Prize, and have been Finalist in multiple art competitions.Paola Torres Nuñez del Prado holds an M.A. from The Royal College of Art, Sweden and an undergraduate degree in art at Hunter College, City
University of New York (2003-2004).

In the sixties and early seventies you thought you won victories

In the sixties and early seventies you thought you won victories. You were happy. Things changed. No backlash in sight.

That was not true for long. Elementary fights for rights had to be taken again. Things, concepts thought to be evident just disappeared.

Were they destroyed or could they be repaired? Must you begin from scratch or is something to be learned from looking backward or at least recognised?

If you think there is something to repair, you have to study the object or concept observant. What is its history? You have to learn about its history, the way of constructing it and how it was used before.

I will pay attention to the concept of work. You all know what is said about work in the capitalist society. Marx and Engels have told about power and exploitation. But still there is much to reflect on today about what work is in a qualitative meaning.

Work is in a way a social act, has a content of reform and creation. This is a concept to repair.

In the sixties the French philosopher André Gorz was an inspiring questioner of the concept. He was an important source of inspiration for Modellen, a model for a qualitative society, which opened at Museum of Modern Art in Stockholm in autumn 1968. Together with a Danish student at the Academy of Art in Copenhagen Palle Nielsen I wrote a letter to the director of the museum, asking for place to install a room for the creative play of children.

The concept “a qualitative society” was borrowed from André Gorz, questioning “what is work for?”

Why do you work, for what do we need work? What constitutes necessities? In the Model children were our guides into a society of creative, social activities.

The concept of work rise the questions, what is work for? What shall I produce more than things? Skill, necessities, beauty, wellbeing, social empathy? What is worth to work for?

A product represent work. Meaningful work? Work shaping meaning? Worth to repair? What meaning does repairing contributes?

I got once much inspired by a book Per Myrströms Pannkakor circa 12 stycken just to reflect on what things represents in skill and work and poetry.

Almost fifty years have gone since the joyful fight for alternatives in the sixties. So much disintegrated. You could always ask, what was the meaning? It is hard to answer. You will always have to find the meaning within yourself as a social creature. Never stop asking.

The world is much darker, but in the confidence in creative, collective work we could repair utopias hidden in everyday life.

Gunilla Lundahl


Maria Karin Walczuk – “Concrete Times, The Bridge Life at RCS” – A Documentary Film

Documentary filmmaker Maria Karin Walczuk has gained access to an “illegal” skatepark group in the Stockholm city, where middle-aged skaters constitute the core group. They artistically expand upon this personalized locale every Saturday, allowing other skaters to join their growing purpose – to become an “art project,” and eventually be legalized. For the past two years they have taken care of this run-down area under a bridge, creatively challenging themselves and their pockets so that they can have a place to call their own.

Maria Karin Walczuk is a young filmmaker who in these past years has focused mainly on documentary work as her cardinal passion and personal form of activism. Originally from the states, specifically Hawai’i – Walczuk has lived all over Europe, but now considers Sweden her real creative base. Pursuing studies that challenge her artistic practice, Walczuk continues to grow, absorbing new sources of inspiration with insightful stories to share.

Check out this short clip! – RCS Sneak Peak

Project Abstract

Jonatan Lennman: Building (a collective thing)

How can we claim our rights to access and understand the things and spaces around us? How can we deal with the complex structures that control them? Can we make it more simple together? Could it be more like cooking? ‘Building (a collective thing)’ is a series of workshops exploring the creation of temporary collectives or collaborations around design related issues. The verb “Building” in the title is understood as a collective process that creates both physical and social structures. By using that word i also claim that working together hands-on is a good way to meet (at least very interesting) and everyone should do it. The process of making with materials can bring up issues for discussion as well as it can allow conversation to take other forms than just words.

Jonatan Lennman is a product designer BA, educated at Beckmans College of Design. Further studies in art, architecture and gender at KTH and Konstfack, in addition to carpentry and D.I.Y projects inform his current practice which explores non-hierarchical, collaborative and self-reflective ways of doing design. He is also one of the co-organisers of recurring meetings of interdisciplinary exchange with art, architecture and other fields.

Project description PDF: Project proposal Jonatan Lennman version 2015-12-10

Red Dot Platform – An experimental hybrid art space

The Red Dot Platform project aroused as a result of a constant search for different ways for proposing art projects of social awareness characteristics.

After being suspicious of the different strategies that project within the trend of socially engaged art are using in order to accomplish their goals I decided to architect a project that will explore until which point contemporary art can have an effective contribution to social matters.

Trying to scape from proposing a more tactical project which could go on line with my previous strategies, my current proposal aims to be an active provider having constant change and critical thinking as tools for the designing of sustainable international exchanges that could contribute to the analysis of the subject rather than attempting to come up with a formula for success. Being myself in a hybrid intercontinental space, a Peruvian artist based in Sweden and currently connected with a Swedish and a Peruvian art school, I find this situation extremely beneficial for the consolidation of a new art space.

‘Red Dot Platform’ lands in-between Peruvian and Swedish art scenes, having on one end the logistic support of Art Academy ‘Corriente Alterna’ (Peru) and on the other end the premises of the platform ‘Organising Discourse’ of curator Magnus Ericson (SE).

This initiative develops as an annex to ‘Organising Discourse’, discursive platform administrated by Konstfack – University College of Arts, Crafts and Design, Sweden and has the intention to work closely in the develop of knowledge through critical thinking.

The experimental artistic platform ‘Red Dot Platform’ has the intention to function as an experimental space for the connection and interaction of different discourses on diverse disciplines as well as a merging element of the diverse art scenes that will intervene through their active participation on displays as well as through the input of their future guests.

Taking an interdisciplinary conversational strategy a series of workshops, exhibitions, lectures and events in general are scheduled in order to architect the consolidation of this new place for discussion as well as for questioning the relevance of the need and existence of similar initiatives for the different scenes that is aiming to target.

Red Dot Platform had its first event on June 2015 and the second one is scheduled for December 2015. For this second one the idea is to organize a conversation that could target different artists who use different strategies but referring to similar subjects.


Marina Turmo: Building Ideas

My main focus is to research on the power that a setting has to give shape to our thoughts, memories and daydreams, consequently to our work.

When I started the course this search focused on the places like cabins that could host introspection. Places for solitude that would help focusing and propitiate creativity.

This path of search has changed little by little, affected by the course itself, and it has developed into the finding of a shared space. A space to work collectively as a way of enhancing creativity and shaking off our routines for a deeper dive into our work.

This place turned out to still be a cabin…

Marina Turmo Born in Holland, but raised in Madrid, Spain and now based in Stockholm. With an education in Fine Arts, and a passion for learning, is taking part now of the Masters Program in Visual Communication, in Konstfack, program with a focus on norm critique. Her interests are diverse, but all connected in one aspect: storytelling.

More information about Marina’s project here.