Short presentations by the artists
(Artist in residence in Gothenburg)
Karo Akpokiere is a child of the 80's born and raised in Lagos, Nigeria on a robust and consistent diet of cartoons, comic books and drawing time. He received a diploma in Graphic Design from the Yaba College of Technology, Lagos, Nigeria in 2006. His work attempts to strike an effective balance between the personal and commercial aspects of production in graphic design, illustration and pattern design. Using traditional and digital drawing techniques, he creates works that are experiential and reflective of his interests in employing graphic design, illustration, pattern design to pass messages that are sometimes personal, humorous and social.
Akpokiere has taken part in several exhibitions locally and internationally, including having his first solo exhibition 26/365: An exhibition of Illustrated letters Goethe-Institut, Lagos, Nigeria (2011) and the first Lagos Bus Rapid Transit (BRT) Public Art Exhibition, Lagos (2012). Recent group exhibitions have included the 56th Venice Biennale: “All of the World’s Futures” (2015), 2nd Berliner Herbstsalon, Maxim Gorki Theater, Berlin (2015) and Making Africa: A Continent of Contemporary Design: Vitra Design Museum, Weil am Rhein (2015), Guggenheim Bilbao(2015 – 2016).
Asli Altay is the founder director of Future Anecdotes Istanbul (FAI), a visual design studio based in Istanbul, Turkey. Her interest in design lies in the ability to build up narratives and discussions through visual, literary, and spatial experience. Ongoing threads in FAI’s practice include issues of publication and public-action, questions of display and pursuing the role of design as editorial input and integral collaboration instead of provision of services. Altay works internationally and locally with individuals and institutions on projects mostly in terms of publishing and exhibition design. Her work includes collaborations and commissions with institutions such as SALT, Book Works, Lungomare, IKSV, Van Abbemuseum, Istanbul Modern, and Georgetown University.
Recently, Asli Altay, has designed the exhibition “Who Owns the Street?” for the Van Abbemuseum in Eindhoven, in collaboration with Can Altay. Working in close contact with the curator and the museum team, this collaboration investigated the role of design as an editorial tool, and a structural ink between content and context. The exhibition, which is open until April 2017 seeks to generate further debate on the current state of the Street, while looking at recent global developments as well as the history of the museum.
Asli Altay and FAI have participated in the 2nd Design Biennial of Istanbul and the 5th Marrakech Biennale. Altay’s book Future Anecdotes is in the Tate Modern Artist’s Book Collection, amongst other private and public collections. She has lectured, held workshops and participated in conferences on design internationally, including the LCC, Chelsea College of Art and Design, University of Creative Arts,, and European Design Awards Ceremony.
An influential figure in the Istanbul design scene, she has founded and run “Apendiks” from her studio, which provided in-depth showcases for publishers such as Bedford Press and Book Works as well as local and independent publishers. Altay has a reputation for her design collaborations, consultancy and editorial input within publication and exhibition-making, and she also teaches “Exhibition Design” and “Design Publishing” at Istanbul Bilgi University.
(Artist in recidence in Malmö)
In her problematic Minia Biabiany proceeds from space to history to present realities. Coming from Guadeloupe, a non independent french Caribbean island, her installation work focuses on objets and language as elements to create horizontal narratives based on a fragmented territorial approach, or, in other words, based on the archipelago form and paradigm giving more importance to create connexions between things than to objects themselves. In those site specifc works, the installation becomes a spacial diagram. This organization/orchestration is weaved between the space specifcity (light, structure, texture, vestige) and the historical and social charge of the material (like cotton, fabric, salt, clay, water). As a receptacle, the place is a source to constitute a mental territory in the spectator mind. While moving, his gaze rebuilds links between what he sees. Tis slow unfolding of the constitutive elements conveying personal and collective memory allows the merging in a specifc temporality of the installation poetic and poetry.
Recently she focused on the intertwining between the intimate and the politic by
involving language and texts of diverse sources like Edouard Glissant, common Creole proverbs, Paul B. Preciado among others, convoking the way language leads and molds our conception of ourself and our relation with our context. Her last spacial non-organized-narratives implicated a refexion on gender and the internalized colonization heritage connected with an interest in pedagogical issues now orientating her work to question the process of learning itself.
Minia Biabiany lives in Mexico City. In the past she exhibited in Paris (Jeune Creation 2012, Dohyang Lee gallery, 6B) Marseille, Lyon, Shefeld (Reino Unido), Mexico city (Crater Invertido, Bikini Wax) and in the museum of contemporary art TEOR/éTica in San Jose (Costa Rica). She has been in residency in the cité des arts in Paris one year in 2014 and just fnished the art program Soma in Mexico in 2015.
(Artist in recidence in Malmö)
Heman Chong is an artist based in Singapore. He received his M.A. in Communication Art & Design from the Royal College of Art, London in 2002. His work is located at the intersection between image, performance, situations and writing. He is interested in interrogating the functions of producing narratives in our everyday lives. In 2006, he produced a writing workshop with Leif Magne Tangen at Project Arts Centre in Dublin where they co-authored PHILIP, a science fiction novel, with Mark Aerial Waller, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt and Steve Rushton. Between 2012 and 2014, he produced Moderation(s), a programme between Witte de With Contemporary Art in Rotterdam and Spring Workshop in Hong Kong that involved more than fifty artists and engender a conference, three exhibitions, three residencies and a book of short stories. In 2014, he co-founded Stationary with Christina Li. A collection of stories published by Spring Workshop, defined as a recess from their own practices, Stationary invites artists, curators and writers to take stock, chart and elaborate on their obsessions, fascinations and influences within a suspended temporal moment. Copies of Stationary are distributed free of charge via stationarystories.com
is an artist who explores the relationship between capitalism and contemporary artistic practices. His work incorporates guerrilla art tactics and absurdist humour, and also employs the strategies of the very neoliberal media with which he disagrees. Delier engages with questions on how artistic and capitalistic modes of production overlap by placing himself in the role of maker/producer and creating a product for commodification in the industry of art.
Delier’s artistic practice takes on various formats of display from video to installation. His work is often produced with others, whether through performances, or becoming part of his research to produce the artworks themselves. Delier lives and works in Istanbul.
Tamar Ettun is a Brooklyn-based multidisciplinary artist from Jerusalem. She is the founder and director of The Moving Company.
Ettun investigates the concepts of movement and stillness in relation to the ephemeral, and confronts our machine-like psychological defences with accumulated gestures building empathy with the other. She creates immersive colourful psychological landscape consisting of sculpture and performance. It could be viewed as a “handheld history”, a collection of personal accounts, about transformation within a culture.
Ettun received her MFA from Yale University in 2010 where she was awarded the Alice English Kimball Fellowship. She studied at Cooper Union in 2007, while earning her BFA from Bezalel Academy. Her numerous exhibitions and performances include: Bryant Park, Fridman Gallery, the Watermill Center, Madison Square Park, e-flux, Transformer, NADA NYC, the Queens Museum, Braverman Gallery, Indianapolis Museum of Art, the Jewish Museum, Andrea Meislin Gallery, PERFORMA 13, PERFORMA 11, PERFORMA 09.
Ettun has been honoured by several organisations including Franklin Furnace, the Pollock Krasner, Fountainhead Residency, the Watermill Center, MacDowell Fellowship, Abron’s Art Center, the Lower Manhattan Cultural Council, Art Production Fund, Socrates Sculpture Park, Artis, RECESS, and Triangle.
On the Line
. Standing on the line between beauties and evils, the artist tries to catch his identity, reality and belief. Standing on the line between hardness and softness, the artist tries to chase his dreams, futures and freedom. Living in a conservative, strict society, the artist tries to introduce himself what he really is, how really he goes and why really he has chosen to be. In the performance piece “On the line” by artist Kolatt reminds us the lacking of fairness and rights for homosexuality in the society. He is not trying to against and to fight for but to be accepted. In this piece “On the line”, we can feel the strength inside of his unconsciousness and the beauty of a man. While he is trying to beautify, people around him try to dye his beauty with their eyes, words and hates. He is standing on the line to cross over to… … …
“Traditionally and historically photography has conveyed some kind of truth, though what’s not always discussed is the feeling of the actual, the struggles going on outside of the frame, before and after each shot”.
“We’re all victims and perpetrators in life”
Jenny Källman (in conversation with Jeff Rian, Surveillance, 2012)
In her new body of work, Jenny Källman investigates a type of space and a world that remains closed to most of us; the prison cell. Working not only with still photography, but also with sound, music and the moving image, she opens these spaces up towards a kind of representation other than the strictly documentary. Photographing and filming inside a prison for young offenders, she has based a large section of her work on conversations and visits with one particular young boy. The title of the exhibition, Lounge, is an ironic take on the open-ended time and the shared social spaces of the institution. Here, the words Lounge and lounging, stand in direct opposition to their usual connotations of comfort and leisure. As a starting point, Källman has explored the prison space from a very basic, immediate and physical vantage point. She has entered the room with the notion of it being much like a camera, where light is only allowed inside in controlled portions.
What comes out of darkness, mirrors and reflections; these endless loops – signifiers of isolation and confinement? To most of us the significance of these spaces only exist at the margins of our consciousness, too problematic to begin to grasp. What lies in the privilege of choosing where to be? What happens when a person’s scope of action is limited to the very narrowest of spaces, when their choices are minimized?
In these new works, Källman explores and visualizes the subjective experience of being confined. She gives visual and sonic shape to the prison room and the person enclosed within it. The images carry a sense of surveillance characteristic of much of Källman’s work; a sense of being involuntarily or subconsciously watched. In confinement, basic choices become important. Using the simplest of means; light, reflection, sound, rhythm and space, Källman conveys a sense of humanity restricted, of a spirit bound up, but with its very own force and individuality in tact all the same.
Given this minimal space to act out one’s own individuality, it may become
diminished and neglected, but importantly it still asserts itself. In these works, the struggle for independence is expressed through a quiet and persistent ability to maintain and re-create a space - even in confinement. Using sound, music, the moving and the still image, Källman constructs a stage for the minute gestures of individuality to unfold. Through vision, song, action, and small movements, what prevails is an inherent ability to re-define a space within one’s own vision, and through this only can confinement be made possible to endure.
is an artist born in 1979 in Csíkszereda (Romania). She lives and works in Stockholm, Sweden.
Mag makes minimalistic sculptures using heavy organic clay and fabric bodies that seek the universal, both within the human body and the structures surrounding the body. The work began as a performance in which she was trying to get heavy clay bodies to stand without armature. The attempt was executed several times and each time the bodies collapsed and ripped apart. As with her earlier work, Mag mends and provides the remains of the bodies’ new life and meaning. The performativity becomes ritualistic and can occur both in her studio, in front of a camera and an audience.
Mag completed her MFA at the Royal Institute of Art in Stockholm in June 2015 and held her first solo exhibition, entitled KÖSZÖNÖM/TACK/THANKYOU, at Galleri Riis in September 2015. She is also a grant recipient of the Anna-Lisa Thomson Stipend.
(Artist in residence in Gothenburg)
Vita Malulu (Born in Mwanza) is a painter, sculptor, print maker, musician, and dancer based in Dar es Salaam, Tanzania. He received his training from the Bagamoyo College of Arts (TASUBA) and has his studio (and a membership) at Nafasi Art Space, Dar es Salaam. He is also a member of the Norsesund Konstvandring in Sweden.
Malulu works mostly with recycled material to create sculptural instillations that interrogate challenges and difficulties that face the lower class majority of Tanzanians who are often rendered voiceless. His works have been exhibited and sold through several galleries in Dar es Salaam, South Africa (Rose bank mall) and Germany (The Hamburg Mawingu collection).
Solo shows include; The vote and handout, Goethe institute Tanzania(2015) Majangili-Poachers, Goethe Institute Tanzania (2014), Poachers, Kuona Trust, Nairobi (2014), Chasing the Tail, Goethe Institute, Tanzania (2013), Chasing he Tail, 32 degrees East, Uganda (2013).
Group shows include; (2015) February, Beauty Salons and the Beast, apex art franchise program winning exhibition, Dar es Salaam, Tanzania , (2015) January, Cabinet of Curiosities, Nafasi Art Space Dar es Salaam Dickens & Malulu at Emerson Hotel, Zanzibar (2014), Stena hall Gallery, Sweden (2014), East African Encounters, Circle Art Agency (2014), East Africa Art Biennale, Dar es Salaam (2013).
Born in 1969 in Tehran, Iran. Lives in Tehran.
Graduated in Fine Arts from the University Paris I Panthéon-Sorbonne, and in Stage/Space Design from ENSAD, Paris. Her practices aim to connect the arts with everyday life events. She meets the challenges deeply embedded in her society and her personal life, and attempts to change the role of the viewer from ordinary spectator to active participant, using a variety of media. Her recent investigations into performance art allude to the notion and experience of equilibrium, its relation to instability, and the manner in which these two concepts coexist, forming a threshold between order and chaos on which life depends.
Razavipour has co-founded several collectives and NGO in Iran, including different range of activities as experimental theatre company -Leeve TC-, collective artistic space -Jalleh CS & Movazi AG -, artist health support network –Karestan-, and civil rights activism –NAFAS-.
Selected Art exhibitions and grants include: The House of Sleep, Psychico Galley, Athens 2016 – Recalling East, Residency, AIR Laboratory, Warsaw 2015- Dust, CCA, Warsaw 2015 – InsideIran, Rotterdam International Film Festival 2013 – Pulso-Iraniano, Espaco Oi Futuro, Rio de Janeiro - Home Spun, Devi Art Foundation, Delhi 2011 - Disturbing the Public Opinion, Röda Sten, Gothenburg 2010 - Square Mille, Visiting Art Project, 2009 – L’Iran devoilé par ses Artists, Panel Discussion, Centre Pompidou, Paris 2009 - Artist to Artist, Residency, Visiting Arts & Delfina Foundation, London 2008 - Naqsh, Pergamon Museum, Berlin 2008 - Lion under the rainbow, D-Art Foundation, Athens 2007 - Contemporary Art scene in Tehran, Panel Discussion, Art Athena Biennale 2006 - Iran.com, Museum fur neue kunst, Freiburg 2006 - Taiwa, Red Brick warehouse, Yokohama 2006 - Soft Guerrillas in Tehran, Apex Art Gallery, New York 2005 - - Iran Sota La pel, CCCB. & Casa Asia, Barcelona 2004.
Simon Rydén (b. 1985 in Frillesås, Sweden) recently received his MFA in photography from Valand Academy, Gothenburg (2015).
His graduation work, Men hans händer darrar (But his hands tremble), was mainly inspired by Duras and her understanding of the limitations of words and consequently her confidence in words. His works in the exhibition interacted with Duras’ text “Les Mains négatives”, exploring issues such as identity, loss of identity and origin. The works emerged out of questions about how the gaze constructs the individual and the problem of photographic representation.
Simon is interested in our expectations of a photograph – what we imagine a photograph to be. He employs photographs as a commitment in an everyday meditation. Brecht’s ideas of epic theatre and the role of the actor have guided him to his view of his photographic practice, as a stage in which he wishes to visualise the gaze of the viewer. This has spurred him on to move photography into the studio and photograph objects without any obvious value or purpose.
Simon is currently working with constructing textile sculptures, unshaped objects, which he explores with the medium of photography. In the encounter with the viewer, the sculptures appear to assume the roles of actors, posing questions about what and how we see.
His graduation work was exhibited at Galleri Mors Mössa (2015), Gothenburg and he also participated in the graduation show at Göteborgs Konsthall (2015). He has been awarded a project grant from the Swedish Arts Grants Committee (2012) and the Mannheimer Award (2015).
Thale Vangen’s work is based on studies of small details of natural processes, particularly focused on movement and function. She employs familiar motifs from various areas including nature, dream, mythology and mechanics. Elements from mystical and scientific conceptions appear in symbiosis in her works, in which powerful images are more important than truth. She is concerned with the dilemmas of various forms of knowledge and how different models of reality are continuously revaluated, affecting our identities and our ways of thinking, experiencing, choosing and acting.
She works mainly with sculpture, preferably in traditional materials such as bronze, wood and leather. A significant part of her work deals with exploring materials and their potential to affect. Sometimes the materials participate on their own terms, but the working process also reveals traces of a struggle with the physical conditions. Thus the sculptures display an aura of decrepit vulnerability mixed with a dynamic, unbridled force.
Thale Vangen lives and works in Malmö. She was educated at Malmö Art Academy and has a Bachelor’s degree in biochemistry from the University of Bergen.