Short presentations by the artists
was born in 1985 in Stockholm where he is currently based. He holds a Master of Fine Arts from Ädellab (2014), the Department of Jewellery and Corpus, at Konstfack, the University College of Arts, Craft and Design, Stockholm.
Since 2014 Tobias has worked with sculptural installation art and conceptual jewellery art. Focusing on the theme of masculinities, his latest work critically investigates the role played by craftsmanship and a specific certain group of hand tools in the construction of destructive ideals of masculinity. An important component in the process has been the analysing of the tool belt as a piece of jewellery, used as a symbol of an ideal of masculinity.
The relationship of the human body to the hand tool is central to Tobias’ Master’s degree work, comprising sculptural hybrids between Tobias’s own body and a group of hand tools and tool belts. The works are primarily made of opaque silicone, which is very similar to Tobias’ own skin.
Since last year Tobias has been working on the project The Châtelaine. The work comprises a series of hybrid objects, this time between today’s tool belt in leather and historic châtelaine jewellery. Both objects are filled with practical functionality (tool) and symbolic/social functionality (jewellery). Despite their similarities they are interpreted very differently because of their different contexts and gender constructions. Works from the series have been acquired for the collections of the Nationalmuseum in Stockholm and the CODA Museum in Apeldoorn, Netherlands.
During the past ten years Tobias has exhibited widely in international contexts, including at museums such as the Design Museum, London; the Pinakothek der Moderne, Munich; the Nationalmuseum and Röhsska Museet in Sweden. He has also held a number of solo exhibitions at galleries in Sweden, the Netherlands and Spain.
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(b. 1982) is a graduate of Konstfack, the University College of Arts, Craft and Design, Stockholm. Employing a historical and norm-critical perspective, she works with performance and video with the starting point in her interest in marginalised stories. For the past three years Hultin has been working on the project I’m Every Lesbian - a first-person guided tour that presents parts of a city’s lesbian history based on interviews with local lesbians. She has realised the project in Tirana, Belgrade and Oslo and at a number of locations in Sweden. Sofia Hultin’s work has been displayed at, among others, Tensta konsthall, Norrköpings konstmusuem, Marabouparken Art Gallery, Stockholm; Malmö Art Museum; the Gothenburg Museum of Art, Gävle konstcentrum and the Munch Museum, Oslo.
and Martina Seitl formed Lundahl & Seitl in 2003 — a transdisciplinary artistic collaboration that focuses on making the viewer’s perception the central medium of the work, breaking down the perceived barriers between ‘doing and viewing’. Time and evolution are the key experiences of this serial practice. Strongly rooted in research, each project is specific to a particular place and situation, while also investigating the symbiotic evolution of human consciousness and cognition with culture and technologies. Lundahl & Seitl’s practice includes curatorial work, large-scale projects, workshops and seminars, often in collaborations with different disciplines.
During the IASPIS Studio Programme, two main projects are under development:
Unknown Cloud on its Way to Europe
This project reflects our recent development with smartphone projects involving large groups of the public in an interplay between physical and virtual spaces, traditional and social media. With a starting point in the evolutionary function of humanity’s ability to collaborate in large groups, bonded over a shared belief in fictional objects, the Cloud is an exploration of art’s ability to act as a tool for personal and social change.
New Originals - If this was an Object
It begins in the visitors’ mind as they enter a fictional world of tangible memories in an illustrated novelette*. At the museum, the visitors enter an architectural installation: a construction reminiscent of a Black Maria. However, in contrast to Edison’s film studio, the function of this building aims to work towards a dissolution of an image as a fixed object. In a choreographed physical experience in three stages, visitors observe their own stream of visual and sensory processing and how memory is formed over time. In this room historical objects float free of their bibliographic and museum anchorings, and in the visitor’s consciousness new originals are formed.
*collaboration with Alex Bäckström.
Upcoming commissions include the Kochi-Muziris Biennale, India and the Centre Pompidou-Metz, France, as well as solo exhibitions at Kunstmuseum Bonn and Martin-Gropius-Bau, Berliner Festspiele Berlin.
Industrial designer Katja Pettersson has run her own company and worked with groups in the area of fair design, and as a lecturer and teacher. Katja is a co-founder of the design group Front, which she left in 2009 to start 50/50, a company in which the designers and producers work on an equal basis and share the profits fifty-fifty. Katja is currently a part-time lecturer at Konstfack, the University College of Art, Craft and Design, Stockholm and in her own practice she is presently developing a public art commission from Stockholm Konst for the courtyard of the Stockholm City Museum.
Katja’s work deals primarily with reunderstanding and relearning, both individually and collectively. Employing conversation and an intuitive gathering of phenomena in nature (spiritual and physical), she interprets her readings onto the objects she designs, thus attempting to convey to the user a sense of recognition and understanding of the objects. Her main question is how materiality and design can increase our understanding of economic, social and political sustainability. During her residency at Iaspis she will focus on her ongoing investigation of how we abuse our resources, with the conditions of the basic elements as mediators. Analysing the elements, attempting to recreate their essence as archaeological discoveries, she highlights that which we take for granted today and tomorrow may be inaccessible.
Katja Pettersson (b. 1972) was born and raised in Karlstad, Sweden. Katja has a practical background and studied textile techniques at Stenebyskolan, Dalsland and at the Swedish School of Textiles, Borås, and has also worked as a seamstress, costume assistant and costume designer at various theatres. In addition to receiving an MFA from Konstfack, the University College of Arts, Craft and Design, Stockholm she has also studied at RISD (the Rhode Island School of Design) in the USA. During her time with Front the group realised a huge range of investigative projects, some of which are represented in museum collections such as MoMA, New York; Centre Pompidou, Paris and the Victoria and Albert Museum, London.
was born 1985 in Kharkiv, Ukraine where he currently lives and works. He graduated in 2008 from the National Academy of design and arts in Kharkiv, where he studied in the sculpture department.
Since 2005, he has been a founding member of the SOSka group, an art collective based in Kharkiv. The same year he cofounded the SOSka gallery-lab, an artist-run-space in an abandon house in a center of Kharkiv. Under Ridnyi's lead, the gallery-lab was instrumental in the developing the artistic scene in the region before it was closed in 2012.
Current focus of his artistic practice lies in site-specific installations, short films and photography series reflecting social and political reality through a research in people's individual stories and reflection on collective histories.
Among his solo exhibitions of the last years are: “Forecast for yesterday” in Blockhaus DY10 in Nantes, France (2016), “Under suspicion” in Edel Assanti in London, Great Britain (2016), “Shelter” in Visual Culture Research Center in Kyiv, Ukraine (2014), “Labor circle” in Project room of CCA Zamek Ujazdowski in Warsaw, Poland (2012).
His works have been shown in group exhibitions including “Photography today: distant realities” in Pinakothek der Moderne in Munich, Germany (2016), “Politics of form” at GfZK – Museum for contemporary art Leipzig, Germany (2015), “The School of Kyiv”, Kyiv biennial 2015, “All the World's Futures” at the 56-th Venice biennial for contemporary art, Italy (2015), "Lest the two seas meet" at Museum of modern art in Warsaw (2015), “Through Maydan and beyond” at Architekturzentrum Wien in Vienna (2014), “The Ukrainians” at DAAD gallery in Berlin (2014), “Ten thousand wiles and hundred thousand tricks” at Institute of African studies in Moscow, Russia (2014), “Global activism” at Centre for art and media in Karlsruhe, Germany (2013), “The monument to a monument” in the National Pavillion of Ukraine at the 55-th Venice biennial for contemporary art, Italy (2013), “Ukrainian News” at CCA Zamek Ujazdowski in Warsaw, Poland (2013), “The Global contemporary. Art Worlds after 1989” at Centre for art and media in Karlsruhe (2011) and others.
Ridnyi has also curated a number of international group exhibitions in Ukraine. The exhibition “The New History” at State Museum of art in Kharkiv (2009) co-curated with the SOSka group, was censored and consequently banned by the direction of the museum. His most recent curatorial project “After the Victory” at CCA Yermilov centre in Kharkiv (2014), explored speculations on history in connection with the latest political events in Ukraine.
was born in Detroit, Michigan U.S.A. As a child he spent half the year in the urban city of Detroit and half in a protected forest in Ontario, Canada. He currently resides and maintains a studio practice in Detroit. Lambert holds a Masters from Cranbrook Academy of Art in Metalsmithing (2014) and has apprenticed as a leathersmith for 8 years. As well as studying Art and Design Lambert holds academic degrees and notations in Psychology, Art History and American Studies from Wayne State University in Detroit (2012).
Lambert’s work often looks at the blurring of systems and hegemonic scales/binaries, often combining technological and hand process to create hybrid/chimerical forms that directly engage or address the body. Lambert’s work has been collected internationally as well as being shown at venues such as the Norton Museum of Art (Palm Beech, Florida), Craft Council of British Columbia Gallery (Vancouver, Canada), Handwerkskammer für München und Oberbayern (Munich, Germany) Walker Arts Center (Minneapolis, Minnesota), Collective Design Fair (New York, NY) and the Queer Culture Center (San Francisco, California)
Gabriel A. Maher
is a designer with a background in interior architecture who is currently living and working in the Netherlands. Maher’s practice is essentially focused on relationships between body and structure and an interest in objects and systems. An emerging methodology seeks to create situations where research and design come together in performance. The methodology proposes an alternative position for the act and practice of design; to De___SIGN, which has become a working method and an action. As designers, we are essentially makers of meaning, we help to establish SIGNifications. To De___SIGN is to search for and pull apart complex systems of signs and meanings imbedded in any manner of things; humans, objects, clothing, space. The process is a deconstruction. The De____sign(er) acknowledges to see design as beyond ‘object’ and understand it fully within a system of representation. This system is the media, of which design is inseparable. Questioning design practices through queer and feminist frameworks is a core position and approach. This has become a framework for a social design practice. Until 2012, Maher practised and taught interior architecture and design in Sydney and Melbourne, Australia—during this time Maher was awarded the SIDA Foundation Mary White Memorial Scholarship from the University of New South Wales, nominated for the Vice Chancellors Distinguished Teaching Award while teaching at RMIT University and lastly, in 2011, became the recipient of the SIDA Foundation Travelling Scholarship. In 2014, upon completion of a Master’s degree in Social Design at Design Academy Eindhoven, Maher received the Keep An Eye Foundation Grant and Gijs Bakker Award— and in 2015 became the recipient of a Stimuleringsfonds Creatieve Industrie Development Grant for the Netherlands.
(b. 1975) is a South African artist based in Cape Town. His work, framed in large-scale installations at galleries and museums, or as unannounced interventions in public spaces, often makes use of ellipsis, displacement and détournement to explore the nature of belief and the dynamics of communication in our contemporary world. His practice employs a variety of media including audio, installation and text, referencing aspects of conceptualist and minimalist traditions, as well as his academic studies in advertising, comparative religion and theatre.
Webb has presented his work around the world at institutions such as Wanås Konst, Palais de Tokyo and the Darat al Funun, as well as at major international exhibitions including the 12th Bienal de la Habana (2015), the 55th Biennale di Venezia (2013), the 3rd Marrakech Biennale (2009) and the 8th Biennale d’Art Contemporain de Lyon (2007).
Recent projects include the creation of an associative audio guide for the Skogskyrkogården cemetery in Stockholm, and La Syzygie, a multi-dimensional reading of the Théâtre Graslin in Nantes. In 2016, Webb will stage We Listen For The Future, a solo show at the Yorkshire Sculpture Park, participate in History Unfolds at Historiska museet, Stockholm, and he will hold a solo exhibition at Galerie Imane Farès in Paris.