Symposium: Samtidskonst och digitalisering

Lördag 17 augusti 2019, kl. 13 - 17:30

Foto: Sidsel Meineche Hansen, An Artist’s Guide to Stop Being an Artist (2019).

Hur förhåller sig samtidskonsten till den teknologiska utvecklingen? Välkommen till ett symposium om den digitala teknologins estetiska och politiska konsekvenser, utforskade genom olika samtida konstnärliga praktiker. Frågan ges ett brokigt svar genom flera konstpraktiska, teoretiska och historiska perspektiv.

Medverkar gör konstnärerna Sidsel Meineche Hansen och Hanni Kamaly samt konsthistorikern Nina Cramer och filosofen Josefine Wikström. Tillsammans utgör de ett första block av presentationer på temat Heads, Hands and Avatars: Contemporary Art and Colonizing Capitalism.

Därtill medverkar konstskribenten Gaby Cepeda och konstgruppen eeefff från det digitala konstresidensprojektet Liquid Fiction, som kommer att presenteras av projektets initiativtagare Frida Sandström. De presenterar – jämte konstnärerna Lundahl & Seitl och Kristoffer Gansing, konstnärlig ledare för Transmediale – under rubriken Time and Motion After the Postdigital, modererat av Fredrik Svensk, chefredaktör för Paletten.

Samtliga presentationer äger rum på engelska.

Programmet genomförs i samarbete med Folkteatern och Regionteater Väst med stöd av Västra Götalandsregionen samt det digitala residensprogrammet Liquid Fiction vid Nordiska Akvarellmuseet och tidskriften Paletten.

Plats: Foajébaren, Göteborgs Stadsteater. Fri entré.

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Stina Edblom, konstnärlig ledare, Göteborgs Konsthall hälsar välkommen.
Patrik Haggren, programkoordinator, Göteborgs Konsthall, introducerar dagen.

Heads, Hands and Avatars: Contemporary Art and Colonizing Capitalism
Josefine Wikström – Art, Society and Technology in Adorno
Sidsel Meineche Hansen – Everything is personal data
Nina Cramer – I Am Queen Mary, the data body
Hanni Kamaly – HeadHandEye_remix

14.30 Panelsamtal
Sidsel Meineche Hansen, Nina Cramer och Hanni Kamaly.
Moderator: Josefine Wikström

15.00 Paus

Time and Motion After the Postdigital
Lundahl & Seitl and ScanLAB Projects – Acceptable Levels of Reality
Frida Sandström – Liquid Fiction
eeefff – Parasite Interface
Gaby Cepeda – MARKET (i)LOGIC: A look at (ir)rational and (in)efficient escapes
Kristoffer Gansing – The Eternal Network: Anachronisms of Art and Digitalisation

17.00 Panelsamtal
Frida Sandström, Lundahl & Seitl och Kristoffer Gansing.
Moderator: Fredrik Svensk

17.30 Slut

Gaby Cepeda is an independent curator and art writer based in Mexico City. Her work focuses on the areas where intersectional feminism and technology meet in art, as well as the subjectivities and art practices that emerge from contemporary violent contexts. She has been worked as an independent curator for over eight years, and curated and participated in exhibitions at Museo Nacional de Bellas Artes in Buenos Aires, Sala Luis Miró Quesada Garland in Lima, Art Gallery of Ontario in Toronto, Whitebox Art Center in New York, Biquini Wax in Mexico City and at the Transart Triennale in Berlin. Through 2019-2020, Cepeda is an invited writer at the Liquid Fiction platform. In her presentation ”MARKET (i)LOGIC: A look at (ir)rational and (in)efficient escapes”, she will interweave the idea of logistics as presented by Fred Moten and Stefano Harney, as a capitalist science that dreams of dispensing with the subject altogether – with ideas around decolonizing (and/or abolishing) the market presented by Silvia Rivera Cusicanqui.

Nina Cramer is a Copenhagen-based art historian whose research interests include current and historical articulations of blackness in a Nordic visual field, colonial archival logics, and contemporary African Diasporic aesthetics. She has worked in an educational, editorial, and curatorial capacity as a member of the decolonial collective Marronage since 2017. Cramer will discuss the sketches of Jeannette Ehlers’ and La Vaughn Belle’s sculpture I Am Queen Mary,  focusing on data bodies and issues of data ownership in relation to colonial archives.

eeefff is a collaboration of two people, Nicolay Spesivtsev (artist, computer scientist, researcher) and Dzina Zhuk (writer, artist). Active from 2013. Based in Moscow. They work with emotional effects of the new economic regimes driven by computation, materiality of sensibility, affects within creative industries, frictions between user interfaces and protocols, test settings for collective imaginaries. The methods of eeefff are: making public actions and situations, online interventions, performative seminars, software and hardware hacks, framing environments and settings. eeefff organized several events, such as Speculative Computer Club, Russia (2017) and Work Hard! Play Hard!, Belarus (2016-2019). As artists in residence at the Liquid Fiction platform, eeefff are developing the project Parasiting Interfaces, where they test online and offline temporalities of scrolling, communicating and working and the “preemptive” affect of users. For this presentation, they will present a work-in-progress of the work, that goes live on October 1 2019.

Kristoffer Gansing has been the artistic director of the transmediale festival since 2012. As a curator and researcher he is interested in the intersections of media, art, and activism. He is co-founder of the festival The Art of the Overhead (2005) and from 2007-2010 was an editorial board member of the artist-run channel tv-tv in Copenhagen. From 2001-11 he taught the theory and practice of new media at the K3 School of Arts and Communication at Malmö University. In 2013 he completed his PhD thesis, entitled Transversal Media Practices, a study dealing with media archaeology, art, and technological development. His presentation will revisit some earlier imaginaries of art and digital technology, linking these to an earlier imperative of networking that during the 1990s transformed into what could be called actually existing network culture. In the light of various backlashes against networks and their corporate technological infrastructures, sometimes referred to as “techlash”, this presentation looks at the limits of networks and what they might mean in the broader, mainstreamed debate of the ongoing “digitalisation” of society. In this context, art has already gone through several phases of this transformation and the argument here will be that rather than a catch-all concept, now is high time for more differentiated historical accounts of art and the digital as well as contemporary approaches to be effective in the singular.

Sidsel Meineche Hansen lives and works in London. Her work focuses on the industrial complex that connects virtual and robotic bodies to human labour within the pharmaceutical, pornographic and tech-industries. Selected solo exhibitions include: An Artists Guide to Stop Being an Artist, SMK – The National Gallery of Denmark (2019); Real Doll Theatre, KW Institute for Contemporary ArtBerlin; End-user, Kunsthal Århus, Denmark; OVER, Index Stockholm, Sweden (2018). The presentation Everything is Personal Data will discuss the growing economy built on the monetisation of personal and behavioural data in relation to works in progress.

Hanni Kamaly’s interdisciplinary works involve sculpture, video and performance, that investigate the process of alienation and the devaluation of the subject. has been exhibited at the following institutions and spaces: Ginerva Gambino, Cologne (2019), Tegel, Stockholm (2019), Lunds konsthall (2019), Moderna Museet, Stockholm (2018/19), Luleå Biennial (2018/19), Malmö Art Museum (2017/18), Ahrenshoop Kunsthaus, Ahrenshoop (2018), Skånes konstförening, Malmö (2017), Almanac, London (2017), Rupert, Vilnius (2016). HeadHandEye_remix is a performance-lecture that explores the collection of body parts in museums with material sampled from historical archives, popular media and online resources. Focusing on the fragmented body and its parts as objects, the lecture connects colonial history with current events. The interweaving images and stories in associative thought chains reveal how power has always been exercised by controlling and dehumanising the body of the other.

The current version of Liquid Fiction unfolds over two cycles: the first from May 2019 to September 2019, the second from October 2019 to February 2020. At the end of each residency, an ongoing artistic practice, developed in a curatorial dialogue with the platform, is made public along with reflective essays and expanding research conducted by Frida Sandström and invited writer Gaby Cepeda. Artists-in-residence during the first cycle are Heba Y. Amin (EG), eeefff (RU), Alina Chaiderov (RU/SV), Olof Marsja (SE). Confirmed artists for the second cycle are Anna Rúin Tryggvadottir (IS), Stine Janvin (NO) and Hanni Kamaly (NO).

Lundahl & Seitl, Christer Lundahl and Martina Seitl, are pioneers of an immersive anti-disciplinary practice within contemporary art and performance. Through composed multisensory, spatial, and site-specific situations the duo creates conditions for experiences to take place within individuals, as well as to be shared by groups. The presentation will explore in what way memory and archives are present in the artwork The Memor, 2019. What can environments producing simulated ‘acceptable levels of reality’ between the physical and the digital, between the human and the non-human, teach us about perceptual biases, reciprocity and truth?

Frida Sandström is a writer and critic based in Stockholm, frequently published in Swedish and international media. She is a contributing editor at Paletten Art Journal and a visiting lecturer in Contemporary Art Theory at Umeå Academy of Fine Arts, and at Gerlesborg School of Arts. Sandström is a member of the non-profit cultural association Anrikningsverket and of the curatorial group behind Norbergfestival. Together with dancer and writer Kasia Wolinská she runs the score-based study practice The Future Body at Work. Sandström is the initiator of the digital residency program and editorial platform Liquid Fiction, at the Nordic Museum of Watercolors. It explores logistic reversals of contemporary fluidity as methods for ethical, autonomous liveness in the arts today. Whilst the museum departs from the legacy of watercolors, Liquid Fiction investigates liquidity as a central concept for historical and contemporary logistical systems of communication within which the arts reside – which Sandström will elaborate on in her presentation.

ScanLAB Projects is a pioneering creative practice, half art studio half research laboratory, led by artists/designers/technologists Matthew Shaw and William Trossell. The practice is formed around a shared passion for highly crafted making and storytelling that manifests itself in digital and physical works.

Fredrik Svensk is editor-in-chief of Paletten Art Journal and holds a Lecturer position in Art Theory at Valand Academy, University of Gothenburg. His research and teaching is specialized on the biopolitics of art in light of colonial and capitalist modernity. He writes art criticism for Artforum, Kunstkritikk and Aftonbladet kultur, and his essays has been published in many books and journals internationally.

Josefine Wikström received her PhD in philosophy at Centre for Research in Modern European Philosophy 2017. She co-edited the book Objects of Feminism (2017) with Maija Timonen and is an editor of the journal Philosophy of Photography. Her upcoming book is Towards a New Concept of Performance in Art (Routledge 2020). Wikström is a lecturer at Stockholm University of the Arts and has previously taught aesthetic theory at Söderntörn University and Goldsmith University. She has written for Kunstkritikk, Afterall and Mute, among others, and is a dance critic for Dagens Nyheter. Her presentation, Art, Society and Technology in Adorno, will discuss art’s inseperable relation to the social and technological productive forces. “Much has been said about the relation between contemporary art and digital development. New terminologies such as ‘new media’ and ‘digital art’ have led to new specific genres designating the artistic use of new technology. Nevertheless, they are rarely talked about from perspectives of social economy or anti-capitalism.