Bios Of The Participants12 September 2018
Patrick Amsellem is Director and Chief Curator of Skissernas Museum – Museum of Artistic Process and Public Art in Lund, Sweden. Previously he was the Associate Curator of Photography at the Brooklyn Museum. Formerly he was a curator at the Rooseum Center for Contemporary Art in Malmö, Sweden. Patrick has taught at New York University and is the author of several exhibition catalogues. He received an M.A and Ph.D. in Art and Architectural History from New York University’s Institute of Fine Arts. His research has focused on themes of monumentality and memorialization.
Interdisciplinary artist, researcher and educator Malin Arnell, PhD. is a frequent collaborator with other artists, activists and writers. Through her practice, she explores key issues for participating in (social) environments by emphasizing matter, doing, and actions, focusing on the experiences around/in/through/of the body (my body, their body, our body), through the incorporation of affectivity between relationalities, territories, and power. She was part of the artist-run and non-for-profit exhibition space Konstakuten (2001-2006). She was a founding member of the feminist performance group High Heel Sisters (2002-2007), and she co-founded YES! Association / Föreningen JA! (2005-ongoing), a separatist association for art workers whose practices and activities are informed by feminism with an intersectional perspective. Her collaboration and works has been exhibited internationally in Stockholm (Moderna Museet, Index – The Swedish Contemporary Art Foundation, Gothenburg (Röda Sten, Gothenburg’s konstmuseum); Copenhagen (Den Frie, Warehouse9), Helsinki (KIASMA, Gallery August/Nifca), London (ICA, Institute of Contemporary Art); New York (Swiss Institute Contemporary Art, EFA Project Space, White Columns, The Kitchen, Danspace Project | St. Mark’s Church, Elizabeth A. Sackler Center for Feminist Art at Brooklyn Museum, CCS Bard Galleries / Hessel Museum of Art); Los Angeles (Hammer Museum, Human Resources); Detroit (INCA Institute); Toronto (The Power Plant Contemporary Art Gallery); São Paulo (Paço das Artes) among others. She completed an MFA at Konstfack, University College of Art, Crafts and Design, Stockholm (2003), and was a Participant in the Studio Program at the Whitney Museum Independent Study Program, New York (2009-2010). She has a Ph.D. in Choreography from Stockholm University of the Arts (2016) and was a visiting scholar in the Department of Performance Studies at the Tisch School of the Arts, New York University (2012-2015).
The curator, writer and critic Sara Arrhenius is Vice Chancellor of the Royal Institute of Art in Stockholm since 2017. She has fostered artistic research and production, focusing on their connection to other areas of knowledge and society, with a keen sensibility for the local context while addressing contemporary global issues. She has many years’ experience in leading key art institutions and organisations as open and public platforms. Previously Arrhenius was the director of Bonniers Konsthall, which she accompanied from construction and inaugural opening in 2006 to the position it holds today. She is Chair of the Swedish Visual Arts Fund. She has also been the director of the International Artist’s Studio Program in Sweden (Iaspis), from 2000 to 2005, where she led an internationally recognised program of residencies, grants, exhibitions and publications. She has served as founding editor of several magazines, and publishes regularly on contemporary art.
Jonna Bornemark is associate professor in philosophy and works at The Center for Studies in Practical Knowledge. She is the editor of anthologies such as Phenomenology of Religion: New Frontiers, Monument and Memory, and Phenomenology of Eros. In 2010 she defended her thesis Kunskapens gräns – gränsens vetande: en fenomenologisk undersökning av transcendens och kroppslighet (Limits of Knowledge – Knowledge of the Limit: A Phenomenological Investigation of Transcendence and Embodiment). Jonna is currently active in several research-projects within the theory of practical knowledge, phenomenology, and philosophy of religion. Within these projects she discusses the limits of calculation, skills of judgement, subjectivity and the concept of Bildung. But also, the relation between humans and animals, pregnancy and embodiment. Some central characters are Mechthild von Magdeburg, Nicolas of Cusa, Giordano Bruno, Edmund Husserl, Max Scheler and Edith Stein. In 2018 Bornemark’s publication Den omätbaras renässans: En uppgörelse med pedanternas världsherravälde will be released.
Sara Brolund de Carvalho is an architect, artist, writer and educator based in Stockholm. From September 2018 she will hold a Research Fellowship at Arkdes where she will be developing the project ”Utopia in action: co-housing in the future?” She is currently writing a report for the Swedish Art Council that maps practitioners and themes within artistic practices in the urban development realm. She runs since 2013 together with researchers Helena Mattsson and Meike Schalk the research group Action Archive. Their methods are based on collaborative formats, such as participatory action research, and simultaneously, these formats are also part of the dissemination of the research. They have developed participatory historical records through public actions that bring together diverse actors and a public around urban cultural, historical, and political issues by employing experimental research formats such as witness seminars, walks, films, re-enactments, and collective time-space mappings. Their current research The Political City: From Community Spaces to Common Spaces (funded by Formas / SRE: Architecture in the Making) is concerned with citizen initiatives desiring participation in city planning and architecture, and the civic or common spaces their engagement produce. The project employs apart from the above mentioned methods also Forum Theatre as research method. The project will disseminate in a publication and be part of an exhibition in 2019 at the Az W, Architecture Centre in Vienna. She has until recently worked as a project leader for Grannskapskontoret (the neighborhood office), a “youth shop” in Hökarängen, Stockholm focusing on local civic engagement and urban planning through creative practices.
Kjell Caminha is an artist with growing interest in curatorial strategies as means for furthering decolonial dialogues within his artistic research and practice. He holds a MFA from Valand Academy, University of Gothenburg (SE) where he runs a course on public art and lectures in the bachelor and master fine art programs. Among other projects, Caminha curated a series of seminars fostering discussions on hospitality practices, diversity and migration knowledge and politics: Practices and Notions of the Migrant Image (May 2015); On Afrophobia: Towards Decolonial Curatorial Approaches (January 2016); and worked as art educator with focus on public programming for Wheredoiendandyoubegin – On Secularity, Gothenburg International Biennial for Contemporary Art (2017). Lately he co-organised the exhibition Setting the Table at Baltic 39 (April 2018) as part of coordination of research project Stretched – Expanding Notions of Artistic Practices through Artist-led Cultures (2015-2018) led by artist Jason E. Bowman. Together with artists Andreas Engman and Rose Borthwick, Caminha is part of the collective Afterworks that, through hosting, food and discussion, aims to address normative historic structures and to rethink and reframe approaches to being together via specifically framed encounters.
Lena From is Head of the Art department at Public Art Agency Sweden and has extensive professional experience in the field of public art, urban development and architecture. Over the past three years, From has worked as the project manager of Art is happening – a project that produces art on initiatives by local residents in residential areas of the Million Programme. She has a background in journalism and art history, and has prior to joining the Agency worked as editor of the magazine Arkitektur and with public art at Stockholm konst, City of Stockholm.
Catharina Gabrielsson is docent in architecture and associate professor in urban theory at the School of Architecture KTH. Her research centers on the relationship between architecture and the city, bridging across aesthetics, politics and economics in combining fieldwork operations with archival and literature research. Her published work includes articles and chapters in e.g. Architectural Theory Review, Architecture and Culture, field, Deleuze and Architecture (Edinburgh University Press, 2013), Architecture and Field/Work (London: Routledge, 2010) andCurating Architecture and the City (London: Routledge, 2009). She is co-editor of Architecture and Capitalism, Solids and Flows (Architecture and Culture: Vol. 5, Issue 2 2017), Architecture and Feminisms: Ecologies, Economies, Technologies (Routledge 2017) and Deleuze and the City (Edinburgh University Press, 2016). A forthcoming volume, Neoliberalism: An Architectural History (co-edited with Kenny Cupers and Helena Mattsson) was awarded by The Graham Foundation and will be published by University of Pittsburgh Press in 2019. She is an editorial member of Architecture and Culture, Arkitektur, and Research Fellow at The Swedish Research Institute of Istanbul. In 2017 she was elected member of the Royal Academy of Fine Arts.
Alyssa Grossman is a social and visual anthropologist, and is currently Associated Researcher at Valand Academy, University of Gothenburg. Her work spans the fields of memory studies, critical heritage, museum studies, visual culture, and art/anthropology collaborations. Her ongoing research in Romania has been exploring everyday sites and practices of remembrance work in post-communist Bucharest, with the incorporation of film-making and other visual, sensory, and experimental methodologies into her fieldwork. Her films about memory in the post-communist Romanian context include Lumina amintirii / In the Light of Memory (2010, awarded Best Feature Length Film at Temple University’s 2nd Annual Futures of Visual Anthropology film festival), and Memory Objects, Memory Dialogues (2011, co-directed with Selena Kimball). She holds a PhD in Social Anthropology with Visual Media from the University of Manchester (2010), and an MA in Visual Anthropology from the University of Manchester’s Granada Centre for Visual Anthropology (2005).
Kim Gurney is based in Cape Town, South Africa, and works in an interdisciplinary way across writing, art practice, and academic research. Her research interests include contemporary art, urbanism, the public sphere and media studies. Most recently, she explored how contemporary art matters by following artwork journeys from the studio to the collection. Kim is widely published including two recent books linked to Johannesburg. The art of public space: Re-imagining and curating the ephemeral city followed a trilogy of performative art projects to suggest ideas around the commons; and August House is dead; long live August House! The story of a Johannesburg atelier is a book of creative nonfiction about the changing fortunes of an innercity building. Kim’s own art practice relates to disappearances of different sorts and makes restorative gestures. She also engages other practitioners through nomadic curatorial platforms. All of Kim’s interdisciplinary work is infused by a former life in newsrooms, with a special interest in current affairs and how the past inflects the present – most pointedly in work relating to South Africa’s Truth and Reconciliation Commission. Kim currently holds an Andrew W. Mellon Foundation Next Generation Researcher fellowship in the Centre for Humanities Research at University of the Western Cape, and is affiliated as a Research Associate in the African Centre for Cities at University of Cape Town.
Sepideh Karami is an architect, writer and researcher with a PhD from KTH School of Architecture, Critical Studies. Her thesis focused on the idea of Interruption and dissident architecture developed through writing practices and critical fiction understood as political practices of making architectural spaces. She graduated from Iran University of Science and Technology in 2002 with an M.A. in Architecture, and from Chalmers University in Sweden with an M.A. in “Design for Sustainable Development” in 2010. Since completing her first degree in architecture, she has been committed to teaching, research and practice in different international contexts.
Lotte S. Lederballe Pedersen (b. 1971), mag. art and PhD in art history, works as a Senior Adviser at the Danish Agency for Culture and Palaces, performing tasks for The Danish Arts Foundation within the field of art in public space. In 2017 she defended her PhD dissertation Un/Written Rules: An investigation of the cultural political foundation, the administrative framework, and the artistic legitimacy of embellishment projects under the Art Circular, which investigates the complex connection between the political, managerial and artistic aspects of state funded contemporary embellishment projects in public buildings in Denmark. The PhD resulted from a collaboration between the Department of Arts and Cultural Studies at Copenhagen University and the Danish Agency for Culture and Palaces.
From 2007-2014 Lotte S. Lederballe Pedersen served as project manager at the Danish Pavilion at the Venice Biennale managing art exhibitions by Elmgreen & Dragset (2009), Katerina Gregos (2011) and Jesper Just (2013), which she also curated. She has curatorial experience from ARKEN Museum of Modern Art in Copenhagen, where she curated PICASSO – For All Times (2004), HOME CITY – Morten Stræde (2006), DREAMTIME – Aboriginal Art from the Ebes Collection (2006), and DUANE HANSON – Sculptures of the American Dream (2007).
Lotte S. Lederballe Pedersen has studied architecture at the School of Architecture in Aarhus and art history at Aarhus University, Copenhagen University and Columbia University in New York.
Kieran Long is director of ArkDes, Sweden’s national centre for architecture and design. Long has been Keeper of the Design, Architecture and Digital Department at the Victoria & Albert Museum, where he led the museum’s collecting and exhibition program on contemporary design. Previously, Kieran was architecture critic of the Evening Standard newspaper, deputy editor of Icon magazine and editor-in-chief of the Architects’ Journal and the Architectural Review. In 2012, he led the curatorial team for David Chipperfield on the 2012 Venice Architecture Biennale. Kieran has been the presenter of two BBC television series, Restoration Home and The £100,000 House and is the author of several books, including Common Ground: A Critical Reader. He has taught architecture and design at the Royal College of Art, London Metropolitan University, Greenwich University, and Kingston University, and been an invited lecturer at Yale University, KTH Stockholm, the Canadian Centre for Architecture, EPFL Lausanne, as well as many other universities and institutions throughout the UK.
Italian born, Matteo Lucchetti is a curator, art historian, and writer. His main curatorial interests are focused on artistic practices that redefine the role of art and the artist in society. His recent curatorial projects include: Marinella Senatore: Piazza Universale. Social Stages, Queens Museum, New York, 2017; De Rerum Rurale, 16th Rome Quadriennale, Rome, 2016; Don’t Embarrass the Bureau, Lunds Konsthall, Lund, 2014; Enacting Populism in its Mediæscape, Kadist Art Foundation, Paris, 2012; and Practicing Memory, Fondazione Pistoletto, Biella, 2010. In the projects he curated, Lucchetti has worked with artists such as Lawrence Abu Hamdan, Rossella Biscotti, Nástio Mosquito, Marinella Senatore, Jonas Staal, SUPERFLEX, Stefanos Tsivopoulos, Pilvi Takala, and Stephen Willats, among others. Since 2010, Lucchetti co-directs, with Judith Wielander, the Visible project, a research endeavor and the first European biennial award devoted to socially engaged artistic practices in a global context, initiated and supported by Pistoletto Foundation, Biella and Fondazione Zegna, Trivero. He served as Curator of Exhibitions and Public Programs at BAK, basis voor actuele kunst, Utrecht in 2017–2018.
Lucchetti has worked as curator in residence at Para Site, Hong Kong; Kadist Art Foundation, Paris; and AIR, Antwerp. During his residency at BAK in 2010, Lucchetti worked in the frame of the Former West project to develop curatorial and discursive possibilities for the new online platform of the research—the digital archive. He has organized and taken part in several seminars, talks, and debates at various institutions, such as the Centre d’Art Contemporain, Geneva; Steirischer Herbst, Graz; and the Centre for Historical Reenactments, Johannesburg. He lectured as a guest professor at HISK, Gent; Piet Zwart Institute, Rotterdam; Sint Lucas Antwerpen, Antwerp; and Accademia di Belle Arti di Brera, Milan, and contributed to magazines such as Mousse Magazine, Manifesta Journal, and Art Agenda.
Magdalena Malm is the Director of the Public Art Agency Sweden. She joined the agency in August 2012 and during her leadership she is redefining the direction of the Art Agency towards also including temporary projects and artists’ involvement in urban development.Prior to joining the Public Art Agency, Malm was the founding director of Mobile Art Production, an independent arts organisation producing situation-specific art projects. She has curated a number of exhibitions at Moderna Museet Stockholm, at the Venice Art Biennale and at Iaspis international exchange program and she is co-editor of among other Black Box Illuminated and Imagining the Audience.
Håkan Nilsson associate professor in Art History at Södertörn University, currently researching post-war, modernist cooperative art groups in former Yugoslavia, France and Sweden – in relationship to democracy and public space. Former professor in Art Theory and History at Konstfack, University College of Arts, Crafts and Design. Nilsson is interested in questions concerning Art in the Public Realm, of present-day and historically. He co-organised the conference Placing Art in the Public Realm, Konstfack 2008, and was the editor of Placing Art in the Public Realm, 2012. Nilsson was involved in the project Space, Power, and Ideology, Södertörn University 2012-16, researching contemporary alternative architecture with Tor Lindstrand. Nilsson defended his PhD thesis in 2000 on the role modernist Clement Greenberg played in the construction of (American) postmodernism, and has since then returned to questions concerning abstraction, painting and modernity. He is the author of Måleriets rum (The Space(s) of Painting), 2009. Nilsson was Assistant Professor at Skövde University, School of Culture and Communication 2000-07, focusing on “new” media and practice-based research. He contributed to the research project Art (Without) Spaces: Internet Art in Germany, Lithuania and Sweden, Södertörn University 2007-09 with Charlotte Bydler and Dan Karlholm (project lead), investigating early Swedish Internet art, focusing on the hybridization of space. Nilsson frequently publishes catalogue texts, essays and art criticism in daily paper Svenska Dagbladet.
Alessandro Petti is a professor of Architecture and Social Justice at the Royal Institute of Art in Stockholm and is a Loeb Fellow at Harvard University Graduate School of Design. He is an architect who combines theoretical research with an architectural, artistic, and pedagogical practice engaged in the struggle for justice and equality. In 2012 he founded “Campus in Camps” with Sandi Hilal, an experimental educational program in refugee camps in Palestine – www.campusincamps.ps – With Sandi Hilal and Eyal Weizman, Petti created DAAR (Decolonizing Architecture Art Residency) an architectural studio and residency program that has gathered architects, artists, activists, urbanists, filmmakers, and curators to work collectively on politics and architecture – www.decolonizing.ps – They published together Architecture After Revolution, revisiting today’s struggles for justice and equality not only from the historical perspective of revolution, but also as a continued struggle for decolonization.
René León Rosales is currently Head of Research at the Mångkulturellt centrum (Multicultural center) in Botkyrka, Stockholm. His dissertation, On the hither side of the future (2010), is a study of the effects that economic and ethnic segregation, politics and masculine ideals have on boys’ identifications in a multi-ethnic school in the northern part of Botkyrka. Since then, he has studies issues regarding how municipalities can improve their work against discrimination. He is currently working with a research project called The suburbs and the renaissance of the education of the people, with funding from the Swedish Research Council. The project investigates the rise and politicization of an urban justice movement in vulnerable racialized neighborhoods in major Swedish cities.
Monica Sand, artist, researcher and research manager at ArkDes, the Swedish Centre for Architecture and Design in Stockholm. With a specific interest in public space as means for artistic explorations and interventions, she is currently, as a researcher, following methods and processes in Art is Happening run by the Swedish Art Agency.
Oscar Svanelid is a PhD student in Art history at Södertörn University since 2015. He works on a thesis with the preliminary title Shaping Life: The Etho-Poetic function of the Brazilian avant-garde. This thesis is about artistic attempts to shape human life within the avant-garde tradition. The thesis is argued in case studies focusing on artists Geraldo de Barros, Lygia Pape and Lygia Clark active within a constructivist avant-garde tradition. In this material Svanelid encounter anthropophagical mixes where constructivism becomes actualized as therapeutic healing, radical pedagogy as well as religious design with the often-explicit aim to reshape human life. As part of the PhD he will also publish a paper about the critical reception of American Pop Art in Brazil at the early period of military dictatorship (1964-1968) in the forthcoming anthology Art in Transfer: Curatorial Practices and Transnational Strategies in the Era of Pop (ed. Annika Öhrner)
Nazem Tahvilzadeh Post-doctoral researcher in Urban and Regional Studies at KTH holds a PhD in Public Administration and his research deals with critical perspectives on urban politics in Swedish cities. He is in general concerned with issues of power, democracy and policy regarding contemporary urban development politics in cities. He has written about participatory governance, citizens’ participation, social movements and sustainable development policies in planning and the situation of exclusion and marginalization in urban peripheries. A significant part of his research is conducted by ethnographic and co-productive methodologies together with social movements and with policy and planning administrators.
Rebecka Katz Thor (b. 1982, Stockholm) is a researcher and critic. She holds a Ph.D. in Aesthetics from Södertörn University, Sweden. Her research focus is on image production and its relation to historical, ethical, and political claims. Her dissertation Beyond the Witness – Holocaust Representations and the Testimony of Images investigates the image-as-witness in three films made of archival materials. She has an M.A. from the New School for Social Research, NewYork (2009) and was a researcher at the Jan van Eyck Academie, Maastricht (2009-11). She writes essays and criticism for, amongst others, Konstfrämjandet, Kunstkritikk, Malmö Konsthall, Statens Konstråd, and Paletten. She has a long-standing artistic collaboration with artist Petra Bauer; in 2015 they participated in the Gothenburg Bienniale and in 2018 they present their work at the first Riga Biennale and at Extra City in Antwerp.
Swedish artist and artistic researcher Lisa Torell recently got her dissertation approved at Tromsø Academy of Contemporary Art and Creative Writing at UiT, within the Norwegian Artistic Research Programme. Through her artistic practice-based research project Potential of the Gap, she has been working with the thin line between public and semi-public spaces in a site-specific performative approach. She has focused on the relationship between place, language and identity in relation to conventions, perception, systems and logic, social structures and singularity and how to set these things in motion. She is senior lecturer at Tromsø Academy of Contemporary Art and Creative Writing and is the editor of the book Place to Place, 9 artists reflection about site-specificity and place related processes. Environment, Location, Site, Spot, Space, Room. (2016, 2017) She was the representative in UHR and NRKU (2016-2018), Chair at INDEX’s board (2010-2013). Her articles have been published in: A-Prior magazine (Be), Billedkunst (No) Paletten, IDEA arts+society (Ro), she have been shown at: INDEX. Research Biennale, Venice, Nordnorsk Kunstmuseum (No), Bonniers konsthall, Göteborgs konsthall, Verkstad konsthall, Marabouparken and Gallery Depo (Tu). She’s currently working with a collaborative city-planning project with the municipality in Tromsø and Jan Liesegang/ Raumlabor, Residence-in-Nature Lainio/ Luleåbiennalen and an upcoming show at Marabouparken.
Mick Wilson is an artist, educator and researcher based in Sweden and Ireland. He is Professor and Head of the Valand Academy, University of Gothenburg, Sweden (2012-2018), having previously been Dean of the Graduate School of Creative Arts & Media, Ireland (2008-2012). He was co-editor-in-chief (2015-2017) of PARSE Journal: www.parsejournal.com. He is visiting faculty at the Masters in Curatorial Practice SVA New York; and at Bard CCS; and, previously, at the de Appel Curatorial Programme. He taught at the “Curatorial School: Researching Curatorial Practices” Malta, 2017, and was co-convenor with P. O’Neill and J. Graham of the 4th Moscow Curatorial Summer School, 2015. Edited volumes include: How Institutions Think (2017) MIT, and The Curatorial Conundrum (2016) MIT, both with P. O’Neill & L. Steeds; Curating Research, (2014) Open Editions, and Curating and the Educational Turn (2010) Open Editions, both with P. O’Neill; SHARE Handbook for Artistic Research Education (2013) ELIA, with S.v. Ruiten. Recent exhibitions include: “Seminar” BAK (2017); “Aesthetics Jam” Taipei Biennial (2014); “Joyful Wisdom” Rezan Has Museum, Istanbul (2013); “The Judgement is the Mirror” Living Art Museum, Reykjavík (2013); ongoing projects include “the food thing” and “dead public”. Forthcoming co-edited volumes include Public Enquiries: PARK LEK and the Scandinavian Social Turn, BDP (2018); and Curating After the Global, MIT (2018/9). In 2019-Spring 2020 he will be on research sabbatical in the Netherlands and further afield working on a long term project addressing the question of political community with the dead.