MOMUMENTS OF SUBURBIA BY MINNA HENRIKSSON

ONLINE CONTRIBUTION / EAT THE RICH

Monuments of Suburbia: The Spatial Politics of Public Art in Helsinki by Minna Henriksson. A text from the publication Sustainable Societies for the Future.

This text approaches the topic of urban development and segregation of the suburbs in Helsinki through observations of its public space. To clarify from the start, when discussing segregation in the Nordic countries, as well as issues surrounding inequality and the polarization of societies, we must first acknowledge that the Nordic countries are societies founded on racist institutional practices. Race science was a highly influential scientific discipline in each of them during the nineteenth and early twentieth centuries. While traces of these practices in the sphere of science have been actively hidden, in other fields such as art, they remain very much present. Race science, which gave birth to eugenics laws, were in place in all Nordic countries until the end of the 1960s, and in some until the end of the 1970s.

Credit
Minna Henriksson (Writer)
Motto Books (Publisher)
Olga Prader (Designer)

DEAR SINGAPORE ART MUSEUM ACQUISITION COMMITTEE BY SALTY XI JIE NG

ONLINE CONTRIBUTION / EAT THE RICH

‘A Performance Lecture: Dear Singapore Art Museum Acquisition Committee’ took place on 16 January from 2pm to 3pm at the Main Deck, Singapore Art Museum at Tanjong Pagar Distripark, as part of SAW Dialogues 2022, presented by Art & Market in partnership with National Arts Council, Singapore. It explored the intricate relationship between museums and practitioners of social forms of art, as well as highlighting future directions for the progressive development of such a relationship. Conducted in a performance lecture format, the event was hosted by Salty Xi Jie Ng, Artist and Pilot Resident of Singapore Art Museum, in collaboration with Shayus Sharif, Bras Basah Open, current EX-SITU: Art Spaces Residents of Singapore Art Museum.

The performance lecture saw a lively presentation of Xi Jie’s research interspersed with dramatic elements, including a mock exhibition space outside the room. Audiences were also encouraged to participate in the performance lecture by casting votes during key points of the presentation. Towards the end of the event, the speakers laid out a budget red carpet – in the form of a red string – for Zarina Muhammad, art practitioner and lecturer at LASALLE College of the Arts, to deliver an excerpt from her work, ‘9 Questions as Instructions to Construct Pragmatic Prayers for Peculiar Habitats’.

Salty Xi Jie Ng (SG) co-creates semi-fictional paradigms for the real and imagined lives of humans within the poetics of the interdimensional intimate vernacular. Often playing with relational possibilities, her transdisciplinary work is manifested from fantasy scores for the present and future that propose a collective re-imagining through humour, care, subversion, play, discomfort, a celebration of the eccentric, and a commitment to the deeply personal. Her practice dances across forms such as brief encounter, collaborative space, variety show, poem, conversation, meal, publication, film, performance.

ART IN SAXO BANK: AN INFORMAL MEETING BY HANNIBAL ANDERSEN

ONLINE CONTRIBUTION / EAT THE RICH

A guided tour of Saxo Bank’s Copenhagen headquarters reveals the wealth, both symbolic and literal, of artworks and other exhibits acquired by the firm to furnish their offices while inspiring and motivating its employees. It is a prime example of a corporate art collection, a powerful tool to embody and project the values of a company, both internally and to the outside world: art is deployed to contaminate the world of finance with its ambitious ideas, and vice-versa.’

Hannibal Andersen (DK) is a Copenhagen based visual artist who works in the dynamic and speculative terrain where economics, politics, and ideology intersect. Andersen’s work deals with themes such as money, debt, finance, (de)commodification, branding, intellectual property and the implications of relentless privatization. As such, his practice seeks to provide a glimpse into the clandestine political economic mechanisms at play in and between institutions of power. Andersen has exhibited, performed, and researched widely in Denmark and abroad and has a forthcoming residency at ISCP in New York in 2023, and a public mural in collaboration with Kunsthal Charlottenborg titled The Abstract Expression of Privatization debuting this summer in Copenhagen.

Credit
Hannibal Andersen (Artist)

EAT THE RICH – A SEMINAR ON CAPITALISM, POWER, AND THE ROLE OF THE ART INSTITUTION

SEMINAR AT MALMÖ ART MUSEUM 3 SEPTEMBER 2022

Welcome to a performative seminar on capitalism, power, and the role of art institutions. The program offers lectures and performances with artists, creators and researchers.

How has capitalism contributed to issues of otherness, structural exploitation, and global inequality? And how are these matters carried forward by the art institutions through generic commodification, neglected power relations, and anti-diversity?

Inspired by the themes from the Robin Hood mythos, the seminar Eat the Rich will focus on power relations in a multifaceted conversation on anti-capitalist ideas. Artists and other creatives will accompany researchers in a programme of intermingling lectures, and performances—aiming to make the seminar a creatively choreographed and engaging production.

PROGRAMME 3/9: Front Stage (open to the public) 

Location: Malmö Konstmuseum, Skovgaardsalen 

11.00 – 11.15: Welcome   

11.15 – 12.00: Franziska Hoppe (DK), screening of Physcics Envy & Portrætter (Portraits), performance   

12.00 – 12.20: Rana Dasgupta (IN/UK), dramatic reading by Özlem Sağlanmak (DK) 

12.20 – 13.05: Whose Museum (SE), performance  

13.05 – 13.35: Mette Riise (SE/DK), How to build an artist brand, the museum edition, artistic lecture  

Break – 13.35 – 14.30: Refreshments and performance by Francis Patrick Brady (UK/SE)   

14.30 – 15.00:  Tabita Rezaire (FR), screening of SORRY FOR REAL   

15.00 – 15.30: Hanni Kamaly (NO), performative lecture 

15.30 -16.00: Floating Museum (US), performative conversation  

16.00 – 16.30 Drinks and thank you w. Apparatus 22 (RO)  


The one-day seminar is free of charge, spoken language is English and registration is required. Please find the registration link here.

The seminar Eat the Rich is made in the framework of Museum Why?—a Nordic learning network consisting of a group of Nordic art museums. In recent years, art museums in the Nordic region have increasingly oriented their practices toward more socially sustainable notions of relevance, inclusion, and democratic participation. This welcome development poses a number of challenges to rethink the core functions and values of museums.

The seminar’s title “Eat the Rich” references to a political slogan associated with class conflict and anti-capitalism. The phrase is attributed to Jean-Jacques Rousseau whose political philosophy influenced the progress of the Enlightenment throughout Europe, as well as aspects of the French Revolution and the development of modern political, economic, and educational thought.

AFTERNOON SESSION 1.0

With the aim of creating an open and informal learning platform for sharing and discussing knowledge, Museum Why introduces the Afternoon Sessions – a new series of open-for-all webinars calling attention to specific concerns deriving from Museum Why’s three main focus areas; Infrastructure, Decoloniality and Sustainability. 

First Afternoon Session Dissecting infrastructure – the spatial and digital interconnections between heritage and future is scheduled on 3 February 2022, 2-4 pm UTC+1 and features presentations by M. Phil. and architect Tom Duncan, Post doc and anthropologist Margareta von Oswald and curator Matylda Krzykowski. Everyone is warmly welcome to join!

NEW MUSEUM VOCABULAR

A for accessibility
C for communication
C for community
H for health
N for necessities
O for operation
P for play
P for politics
P for product
P for presence
P for participation
R for repository
S for surprice
T for trust
T for thing
T for together
V for value
Z for zzzzz

TRONDHEIM 2.0

DAY 2 – INSTITUTIONAL PERSPECTIVE

SEMINAR DOCUMENTATION – ENGLISH

Featuring
Signe Meisner Christensen, Apparatus 22 (workshop), and Kati Kivinen (final remarks)

TRONDHEIM 1.2

DAY 1 – PUBLIC PERSPECTIVE / USER PERSPECTIVE

SEMINAR DOCUMENTATION – ENGLISH

Featuring
Ofri Cnaani, and Apparatus 22

TRONDHEIM 1.0

DAY 1 – PUBLIC PERSPECTIVE / USER PERSPECTIVE

SEMINAR DOCUMENTATION – ENGLISH

Museum Why? E for Endospore // S for 1:1 Scale // R for Rewilding

The formats of contemporary art institutions are lumbered with a number of serious shortcomings: exaggeration, extravagance, competitiveness, elitism, overproduction, pomposity and wastefulness. As opposed to this, the practices of artists engaged in generating social change are focused on daily chores, unheroic and unspectacular and not always resulting in a tangible work of art, often escaping the institutional radar; migrating – whether of their own desire or due to necessity – beyond the art world. When dealing with the pitfalls of contemporary art, we must bear in mind the freedom of art, including the freedom to cease being what it is supposed to be. Sometimes this is related to returning to more compromised or historically marginalised forms such as propaganda. After all, every work that persuades us of something, be it a form of aesthetics, an opinion, a pleasure or an unpleasurable experience is a form of propaganda. Today more than ever before, we need the art of propaganda to act on behalf of minority rights, women’s reproductive rights and the well-being of our natural environment and other species. The extravagant costume of contemporary art often constrains movement and impedes the ability to deliver a well-aimed blow.

Featuring
Sebastian Cichocki, and Steffen Wellinger

TOWARDS A FUTURE MUSEUM GLOSSARY: A FOR ABILITY, T FOR TRUST

SEMINAR 25-26 NOVEMBER 2021 AT TRONDHEIM KUNSTMUSEUM

A for accessability C for communication C for community H for health N for necessities O for operation P for play P for politics P for product P for presence P for participation R for repository S for surprise T for trust T for thing T for together V for value Z for zzzzz

Through a programme of lectures, workshops and discussions the seminar Towards a Future Museum Glossary: A for Ability, T for Trust aims to help museums and their audiences speak about the museum, its duties and purpose in the future, and to better understand their respective roles and the basis of their interaction.
The starting point for the seminar is a desire to initiate a performance of a new vocabulary for the museum of the future, a vocabulary that adapts to the needs of both the institution and the general public.

See the full programme and get tickets here

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The voyage had begun, and had begun happily with a soft blue sky, and a calm sea.