Petra Bauer Carsten Höller Runo Lagomarsino Meriç Algün Ringborg

The 56th Biennale di Venezia
All The World’s Futures
9 May–22 November 2015
Petra Bauer
Carsten Höller
Runo Lagomarsino
Meriç Algün Ringborg
Cover: Runo Lagomarsino, In Every Step there is a Movement, 2014.
Swedish flag, 39×44×7 cm.
This work was inspired by a story told to the artist by his brother. A Bolivian man carried a flag of the
United States of America in his shoe during a march in support of his country’s new constitution. Between
July 14 and August 16 2013, Lagomarsino’s brother participated in a march from Malmö to Stockholm to
protest in support of the rights of asylum seekers. At the artist’s request, he carried this Swedish flag in his
shoe for the duration of the march, which lasted 34 days and 698 kilometers.
Courtesy of the artist, Nils Staerk, Copenhagen and Mendes Wood DM, São Paulo.
Sweden at the 56th Biennale di Venezia
All The World’s Futures
The Biennale’s curator Okwui Enwezor has invited participation from four
artists who are based in Sweden: Petra Bauer, Carsten Höller, Runo Lagomarsino
and Meriç Algün Ringborg. They will be taking part in the main exhibition at
the Biennale, supported by the Swedish Arts Grants Committee. In addition to
these four artists, Lina Selander will be representing Sweden with the support of
Moderna Museet. Other artists, including Matts Leiderstam and Magnus Bärtås,
will take part in parallel projects such as the first Research Pavilion.
Who is a Swedish artist? At a time when negative nationalism is spreading,
a government agency like the Swedish Arts Grants Committee can be proud
of the fact that the selection criteria employed do not depend on nationality
or ethnicity. In fact the agency seeks to achieve diversity as well as a spread
with regard to origin, gender and geographical distribution and it works with
professional judges of artistic quality. An artist who is based in Sweden and who
has the greater part of their professional activities in the country can be eligible
for government support via the Swedish Arts Grants Committee.
When the exhibition the 56th edition of the Biennale di Venezia opens on 9
May 2015, more artists based in Sweden will participate than for many years.
Back in September last year the curator, Okwui Enwezor, visited Sweden at the
invitation of Moderna Museet and the Swedish Arts Grants Committee. Besides
a well-attended lecture at Moderna Museet he made visits to a succession
of artists, organized by the Iaspis programme, which resulted in the largest
Swedish presence in Venice since 2009. The Swedish Arts Grants Committee
makes it possible for the invited artists to take part in the Biennale through its
contributions to international cultural exchange.
Iaspis, the Swedish Arts Grants Committee’s International Programme for
Visual and Applied Artists offers a range of studio residencies in Sweden and
in eight additional places around the world, plus an extensive range of support
in the form of funding for artists’ own initiatives to travel and participate in
international cultural exchanges. Together with a multiplicity of expert visits,
international collaborative projects and public activities, an international
exchange for visual artists and designers is fostered to an extent which is
impressive even by international standards.
Of this year’s participants at the Biennale, ten have previously been part of the
Iaspis programme’s residencies for foreign artists in Sweden, while a further five
have been invited to come during 2015–2016.
One aspect of our assignment is to promote the visibility of Swedish artists in
international contexts. We are proud of Okwui Enwezor’s choices, resulting
in such an interesting selection. Together with the other artists, these seven
represent a highly qualified Swedish participation.
The theme this year shows how art and artists relate to our turbulent
contemporary world. In the introduction to the exhibition Enwezor writes about
how the memories of earlier catastrophes are piled up in our history and how
artists develop new and fascinating ideas based on the radical changes that we
have experienced over the last two hundred years. The issues that the exhibition
raises about art, resistance, history, how history is written and its relation to our
contemporary world are increasingly urgent.
All of this year’s artists from Sweden represent convincing artistic careers
that help to show how art today can interact with contemporary society in an
engaging way. They observe, analyse, comment on and visualize issues. This is
art that offers us a new perspective, artists who are able to lend us their platform
for observing the world anew.
Unfortunately we are living in an age when international exchange is becoming
more and more difficult. And in an increasingly troubled world artists are
forbidden to travel, their passports are seized, they are imprisoned and their right
to freedom of speech is questioned. In times like these, art and international
cultural exchange are more important than ever and Iaspis, the Swedish Arts
Grants Committee’s international programme for visual and applied arts, is
something we can be proud of.
Johan Pousette
Director of Iaspis programme, The Swedish Arts Grants Committee
All the World’s Futures, panel discussion at Iaspis Open House 2015:
Petra Bauer, Carsten Höller, Meriç Algün Ringborg and Johan Pousette.
Photo: Jean-Baptiste Béranger.
Petra Bauer
Petra Bauer works as an artist and filmmaker. Several of her works
address consequences of the patriarchal and colonial world order on our
present times, both in terms of political and social structures, individual
practices, as well as for the role of art. She often explores these themes
through feminist strategies and theories that critically focus on and
politicize conditions of productions, authorship, narrative structures,
and the choice of aesthetic strategies. Bauer is particularly interested in
how, through the photographic image, one can engage with, as well as
challenge contemporary social and political events and processes.
Between 2009–2014 Bauer worked with a research project, in which
she re-visited three British film collectives that were active in the 1970s
and that used film to make politics. Particular attention was given to the
film collectives and films that used feminist strategies in order to address
women’s issues and situations, both in the realm of film and in society at
large. As part of the project Bauer made the film Sisters!, commissioned
by The Showroom 2011, in collaboration with the London-based feminist
organization Southall Black Sisters that work against the repression of
black women. Bauer took the claim by Southall Black Sisters that there
is a dialectical relationship between larger political structures and the
organization of every day life as a point of departure for the work.
In 2012 Bauer started to research the Socialist Women’s Movement in
Sweden from the early 20th century, which addressed political issues
such as legal rights, childcare, sexuality, suffrage, ownership and women’s
representation in society. In the first part of the project Bauer researched
posters that were used by the Socialist Women’s Movement in order to
mobilize women in the country. Some of the posters were exhibited at
Gävle Konstcentrum in 2012 and Malmö Konstmuseum in 2014.
For All the World’s Futures, the 56th Venice Biennale, Bauer has
continued to develop this research project, and has produced the work
A Morning Breeze. This time Bauer pays particular attention to the period
when the socialist women’s movement emerged and when all political
activities that women were involved in could be seen as potentially
subversive, as women in Sweden did not become legal political subjects
till 1921. The centre of the piece consists of a number of photographs
from 1898–1920 where the women from the labour movement represent
themselves as political collective subjects.
Petra Bauer (1970, Sweden) lives and works in Stockholm, Sweden. She
holds an MFA from Malmö Art Academy (2003), has done cinema studies
and is currently about to finish her practice-based doctoral studies at
Konstfack, the University College of Arts, Crafts and Design in Stockholm.
Recent selected exhibitions include: 2015: A Morning Breeze, All the
World’s Futures, the 56th edition of the Biennale di Venezia, Venice;
Rehearsals: 10 Acts on the Politics of Listening, Swedish Television.
2014: Choreography for the Giants, Liverpool Biennial: International
Festival for Contemporary Art, Liverpool; Ämne: Vad kvinnorna vilja!
and Sisters!, A Voice of One’s Own: On Women’s Fight for Suffrage
and Human Recognition, Malmö Konstmuseum, Malmö; Sisters! and
other films (solo exhibition), Point, Contemporary Art Centre, Nicosia;
Sisters! and Conversations: Stina Lundberg Dabrowski meets Petra
Bauer, It’s Enough, PORTIZMIR3, International Triennal of Contemporary
Art; Choreography for the Giants, Re:visited, Riga Art Space, Riga;
Rehearsals: Eight Acts on the Politics of Listening, in collaboration with
Sofia Wiberg, Tensta Museum, Tensta konsthall, Tensta; Sisters!, Tensta
Museum on the Move, Galerija Nova, Zagreb. 2013: Choreography for the
Giants, 6th Biennial of Moving Image, Mechelen; Göteborg International
Biennial for Contemporary Art (GIBCA), Göteborg; Ljubljana Biennial of
Graphic Arts; Sisters! and Conversations: Stina Lundberg Dabrowski
meets Petra Bauer, Sindrome, La Capella, Barcelona; Sisters!, Grand
Domestic Revolution, CCA Londonderry; Sisters! and Sedan 1902, Gävle
Konstcentrum, Gävle. 2012: Sisters! and Conversations: Stina Lundberg
Dabrowski meets Petra Bauer, Eastside Projects, Birmingham; Sisters!,
Absolute Democracy, Rotor, Graz; Mutual Matters – A film and exhibition
project initiated by Petra Bauer, Marius Dybad-Banderud and Kim
Einarsson, Konsthall C, Hökarängen.
Petra Bauer, A Morning Breeze, 2015.
Left: “What Women Want. A large meeting is arranged Tuesday, November 18th 1913, by the Congress Board
of Social Democratic Women. Mrs. Emma Flood will give a lecture. You are invited to come in great numbers!
Women, join the meeting!”
Right: “Women! Join the meeting! Sunday, October 25th, 4 pm, 1903, arranged by Stockholm Workers’
Commune. Mrs. Kata Dahlström will give a lecture. We send a special invitation to all the women living out
here. Men can also attend if space allows.”
Petra Bauer, A Morning Breeze, 2015.
Top: The Social Democratic Women’s Movement, 1907.
Bottom: The Glove Makers’ Union, 1898.
Images: Labour Movement Archives and Library, Sweden.
Carsten Höller
Doubt and uncertainty are recurring themes in
Carsten Höller’s art, which often takes the form
of laboratory situations, participatory sculptures
and “influential” environments to produce unique
experiences that can only be attained through
personal exposure. Since the early 1990s his
practice has included architecture, corkscrewing
tubular metal slides, carousels, toys, animals,
mirrors, eyewear and sensory deprivation tanks.
Höller turns the world upside down, offering the
viewer an alternative perception of reality and
stimulating a particular state of mind related to
freedom from constraint.
Born in Brussels in 1961, he now lives and works in
Stockholm and Biriwa, Ghana. His major installations
include Test Site (2006), a series of giant slides
for Tate Modern’s Turbine Hall, Amusement Park
(2006), an installation of full-size funfair rides
turning and moving at very slow speed at MASS MoCA,
North Adams, USA, Flying Machine (1996), a work
which hoists the viewer through the air, Upside-Down
Goggles, an experiment with goggles which modify
vision, The Double Club (2008–2009) in London, which
opened in November 2008 and closed in July 2009,
took the form of a bar, restaurant and nightclub
designed to create a dialogue between Congolese
and Western culture. His Revolving Hotel Room
(2008), a rotating art installation, which becomes
a fully operational hotel room at night, was shown
as part of “theanyspacewhatever” exhibition at the
Guggenheim Museum in 2009.
His works have been shown internationally over
the last two decades, including solo exhibitions
at Fondazione Prada, Milan (2000), the ICA Boston
(2003), Musée d’Art Contemporain, Marseille (2004),
Kunsthaus Bregenz (2008), Museum Boijmans Van
Beuningen, Rotterdam (2010), Hamburger Bahnhof,
Museum für Gegenwart, Berlin (2011), New Museum,
New York (2011), TBA 21, Vienna (2014) and National
Gallery of Victoria, Melbourne (2014–2015).
In summer 2015 Carsten Höller will have a major
exhibition at Hayward Gallery in London.
Carsten Höller, RB Ride, 2007.
Modified carousel car ride: steel, artificial leather, aluminum, fiberglass,
colored plastic lightbulbs, electronic controls, electric motor (4 revolutions
per hour), cables. Manufacturer: Robles Bouso Atracciones S.A., Spain. Year of
manufacture: 1969. Diameter: 16.75 m. Height: 10.5 m (max.). Photos: Attilio
Maranzano. Installation view of the exhibition ArtePollino – Un altro Sud
(2009) at Paco Nazionale del Pollino, San Severino Lucano, Potenza (permanent
installation). Courtesy of the Municipality of San Severino Lucano, Regione
Basilicata and Associazione Arte Continua.
Carsten Höller, Slide House Project (Ramp to Mobuto Monument, Kinshasa), 2009.
Pencils, felt-tip pen, and paper on color photocopy. 23.2×29.7 cm (image), 61×51 cm
(frame). Unique. Photo: Carsten Eisfeld. Courtesy of the artist.
Carsten Höller & Måns Månsson, Fara Fara, 2014.
2–channel video installation. Digitized 35 mm film and archival VHS material,
color, sound, 13 min. Variable, projected on two screens. Edition of 3 plus 2
artist’s proofs. Photos: Attilio Maranzano. Installation view of the exhibition
Leben (2014) at Thyssen Bornemisza Art Contemporary-Augarten, Vienna (solo).
Thyssen-Bornemisza Art Contemporary Collection, Vienna. Courtesy of the Gagosian
Gallery, London.
Runo Lagomarsino
In Lagomarsino’s installations, sculptures, pictures and films, he strives
to present alternative perspectives on historical, political and cultural
power relationships, particularly between the Global North and the
Global South. Lagomarsino’s practice often takes a starting point in the
colonial heritage of contemporary Latin America and many of his works
highlight the conflicts and the violence that is constitutive of colonial
borders. The work points at symptoms of this historical violence in
different spheres of our society, how it permeates the iconography of
European cities’ coats of arms, the decoration of porcelain saucers or the
documentation of a football match.
His installations point towards the gaps and cracks in our explanatory
models, questioning accepted images and truth claims in an effort to
disclose the material and discursive processes that have produced these
representations. Nevertheless, he does not primarily seek to tell other
stories, or to reveal hidden truths or construct new historical narratives
from the standpoint of “authentic” colonial subjects. Instead, the
constellations of objects are aimed at telling the same stories in different
ways, at uncovering conflicting dependencies and complex political
events without reducing their inevitable ambiguity. In short it is possible
to describe his practice by an interest (a curiosity) in shifts between
shapes, objects, linguistic systems, continents and contexts. Lagomarsino
tries to construct frictions between language, representation and
dominant narratives. Frictions that allow the viewer to meet in another
space, a space behind the image. His work is an investigation of fractures,
of blind paths from where to tell other stories, from where to unlearn and
particularly from where to read the past and name the future.
Runo Lagomarsino (1977, Sweden) lives and works in Malmö, Sweden,
and São Paulo, Brazil. He holds an MFA from Malmö Art Academy
(2003) and participated in the Whitney Independent Study Program,
New York (2007–2008).
Solo exhibitions include: 2015: Carla Zaccagnini & Runo Lagomarsino,
Malmö Konsthall, Malmö. 2014: Against My Ruins, Nils Stærk,
Copenhagen. 2013: We have everything, but that’s all we have, Mendes
Wood DM, São Paulo; This Thing called the state, Oslo Kunstförening,
Oslo; For Each Light a Shadow, Ignacio Liprandi, Buenos Aires.
2012: Even Heroes Grow Old, Index, The Swedish Contemporary Art
Foundation, Stockholm. 2011: Violent Corners, ar/ge kunst Galerie
Museum, Bolzano; Trans Atlantic Art Statements, Basel.
Selected group exhibitions include: 2015: All the World’s Futures, the
56th edition of the Biennale di Venezia, Venice; CANIBALIA, Kadist
Art Foundation, Paris. 2014: Really useful knowledge, Museo Nacional
Centro de Arte Reina Sofía, Madrid; Der Leone Have Sept Cenbeças,
CRAC Alsace, Altkirch; Under the Same Sun, Guggenheim Museum,
New York; Ir para volver – Leaving To Return, 12° Bienal de Cuenca,
Cuenca. 2013: Meeting Points 7: Ten thousand wiles and a hundred
thousand tricks, M HKA, Antwerp; The Nordic Model®, Malmö Art
Museum, Malmö. 2012: The Unexpected Guest, Liverpool Biennial,
Liverpool; The 30th São Paulo Bienal – The Imminence of Poetics, São
Paulo. 2011: Untitled (12th Istanbul Biennial), Istanbul; Speech Matters,
Danish Pavilion at the 54th Venice Biennale, Venice. 2010: The Moderna
Exhibition 2010, Moderna Museet, Stockholm; The Traveling Show,
Colección Jumex, Mexico City. 2009: Report on Probability, Kunsthalle
Basel, Basel; 2da Trienal Poli/Gráfica de San Juan: América Latina y el
Caribe, San Juan. 2008: Annual Report: A Year in Exhibitions, the 7th
Gwangju Biennale, Gwangju.
Runo Lagomarsino, Stolen Light (Abstracto en Dorado), 2013.
Golden sheets applied to wall; cabinet with light bulbs and neon tubes stolen from The Ethnological
Museum, Berlin. Wall: 360×460 cm; cabinet: 105×60×110 cm. Photo: Gustavo Lowry. Courtesy of
Colección Ignacio Liprandi, Buenos Aires.
Runo Lagomarsino, Pergamon (A Place in Things), 2014.
Incandescent bulbs, fluorescent tubes, halogen lamps and other light devices from the Pergamon Museum,
Berlin. Approximately 600×700 cm. Photo: Erling Lykke Jeppesen. Courtesy of Coleção Teixeira de
Freitas, Lisbon.
Runo Lagomarsino, Four Date Drawings, 2011.
Sun drawing and metal structure. 110×90×90 cm. Photo: Edouard Fraipont. Courtesy of the artist, Nils
Staerk, Copenhagen and Mendes Wood DM, São Paulo.
Meriç Algün Ringborg
Meriç Algün Ringborg was born 1983 in Istanbul, Turkey and currently
lives and works in Stockholm, Sweden. The contrasting differences
between the make-up of both cities — Istanbul and Stockholm —
particularly socially and politically, as well as her movement between
the two, play a key role in her practice.
Permeating through a variety of media, Algün Ringborg’s work is
conceptual, formal and austere in appearance and her approach
meticulous, method-driven and taxonomical. She often identifies
particular contexts and works within set parameters, rooted in order
and control, to reveal and punctuate relations between elements of
complex structures. Her multifaceted work concentrates on issues
of identity, borders, bureaucracy, language and mobility through
appropriated and “ready-made” texts, dictionaries and archives.
Whether binding all the visa application forms in the world into an
encyclopaedic book, or making a dictionary with all the common words
between the Swedish and Turkish languages, she negotiates being
a stranger who crosses physical and imaginary terrains by directly
reflecting her own experience of migrating over cultural, linguistic and
bureaucratic borders. Writing and literature also play a significant role
in Algün Ringborg’s practice. In her ongoing The Library of Unborrowed
Books, she exposes the unseen and the overlooked by setting up a
temporary library with books that have never been borrowed from an
existing library. As well as, in her most recent body of work A Work of
Fiction, she explores the identity of an author by subjecting herself
to strict, self-inflicted rules for creation, such as writing by only using
sample phrases from the Oxford English Dictionary.
Meriç Algün Ringborg holds a BA in Visual Arts and Visual Communication
Design from Sabanci University, Istanbul (2007) and an MFA from The
Royal Institute of Art, Stockholm (2012).
Solo exhibitions include: 2014: Becoming European, Moderna Museet,
Stockholm; A Work of Fiction (Revisited), Galerie Nordenhake, Berlin.
2013: Metatext, Contemporary Art Gallery, Vancouver; The Library of
Unborrowed Books, Art in General, New York. 2012: Line No. 2 (Holy
Bible), Witte de With, Rotterdam.
Selected group exhibitions include: 2015: All the World’s Futures, the
56th edition of the Biennale di Venezia, Venice. 2014: A Thousand
Doors, a collaboration between Whitechapel Gallery and Neon
Foundation at The Gennadius Library, Athens; Leaving to Return, 12th
Cuenca Biennial, Cuenca; You Imagine What You Desire, 19th Biennale
of Sydney, Sydney. 2013: Sequences VI, real time art festival, Reykjavík;
When Attitudes Became Form Become Attitudes, CCA Wattis, San
Francisco and MoCA, Detroit. 2011: Untitled, 12th Istanbul Biennial,
Istanbul.
Her work has been featured in numerous publications such as ArtReview,
Frieze, Mousse, Glänta and The Paris Review amongst others.
Meriç Algün Ringborg, Souvenirs for the Landlocked, 2015.
Mixed media installation, dimensions variable. Detail: Two prints mounted on MDF, 90×60 cm each.
Photo: Jean-Baptiste Béranger. Courtesy of the artist.
Meriç Algün Ringborg, Souvenirs for the Landlocked, 2015.
Mixed media installation, dimensions variable. Detail: Two Guanyin (East Asian deity of mercy) statuettes.
Left: 37×17×12 cm. Right: 50×12×12 cm. Photo: Lucas Odahara. Courtesy of the artist.
Iaspis is the Swedish Arts Grants
Committee’s international programme
for visual and applied artists.
Our mission is to work with internationalisation in various ways with
the aim of increasing and developing contacts between Swedish artists
and international institutions, fellow artists, the general public and
the markets, and in this way contribute to artistic development and
improved working and income opportunities. This is done by means of
direct support for various forms of international cultural exchange, studio
programmes in Sweden and abroad, informational activities and expert
visits, as well as via a public programme of activities which formulate
and explore topical issues in contemporary visual art and design from an
international perspective.
The Iaspis delegation within the Visual Arts Fund decides on all
international grants and funding as well as expert visits and international
joint projects for visual artists and designers.
The Iaspis programme comprises a total of twelve residencies in
Sweden, nine of which are located in Stockholm, and another three
residencies courtesy of collaborative partners in Göteborg, Malmö and
Umeå. Swedish visual artists and designers are eligible for four of the
residencies in Stockholm. International grant holders are invited to
participate in the programme and proposals can be submitted throughout
the year. The form can be downloaded from the website.
Iaspis offers eight residencies abroad for Swedish visual artists
and designers in collaboration with various international residency
programmes. Grant holders are offered the use of a studio, an apartment
and a grant to cover subsistence costs during their residency. Swedish
artists can presently apply for a studio residency in Berlin, Beijing, Cairo,
Jingdezhen, London, New York, Tokyo and Mexico City.
Grants for international cultural exchange are intended to support
artists’ opportunities to exhibit, work and further train abroad. Swedish
artists can apply for funding to invite international artists to Sweden in
order to collaborate and learn from their experiences and knowledge.
Last year applications were made for a total of almost 25 million kronor
and just over 5 million kronor was distributed to 245 exchanges.
Travel grants can be sought in order to travel abroad for a short period
for the purpose of working or training. No invitation is required. Grants
can, for example, be given for self-initiated work stays, participation in a
seminar/conference, or study visits for participating in courses. The trip
should further your artistic development and/or work opportunities.
To spread information about the Swedish art scene, each year a large
number of visits are arranged with foreign curators, critics and other
professionals active in visual arts and design in order to create and
develop contacts with artists active in Sweden. The international
experts are provided with tailor-made programmes, which include
visiting visual artists and designers who are active in Sweden as well
as participating in public programmes. Proposals for international
experts can be submitted throughout the year. The form for this can be
downloaded from the website.
Via international cooperative projects, it is also possible for
institutions, associations and other professional bodies to propose to
the Swedish Arts Grants Committee cooperation in projects which aim
to foster the internationalisation of visual artists and designers active in
Sweden. The Committee’s contribution in this form presumes that other
parties also participate in the funding. Anyone with a proposal for an
international cooperative project should contact the Iaspis director to
discuss possibilities for cooperation.
The Iaspis programme offers an extensive range of public activities
in the form of seminars, lectures, discussions and other kinds of public
events addressing topical issues within visual art and design in both
Sweden and abroad. The events are primarily aimed at professional
practitioners.
The Swedish Arts Grants Committee’s premises are located at Maria
skolgata 83 on Södermalm in Stockholm and comprise offices, studios,
project room and a unique archive of artists who are currently working
in Sweden in the fields of visual art, architecture, design and crafts.
In addition to the Iaspis programme, the agency also encompasses
two more international programmes. The Swedish Arts Grants
Committee’s International Dance Programme (KID) comprises
grants, residencies, cooperative projects and promotional efforts with
the aim of benefiting Swedish dance artists’ international platforms and
giving them more opportunities for long-term international contacts.
After a three-year project period the governmental agency is now
also establishing a permanent programme of international cultural
exchange in the field of music. The Swedish Arts Grants Committee’s
International Music Programme (KIM) aims to broaden, develop and
deepen the music field’s contacts with foreign institutions and individual
professional representatives, and thereby to contribute to artistic
development and improved opportunities for work and income. The
programme is initially focused on composers.
CURRENT GRANT HOLDERS AT IASPIS
FUTURE GRANT HOLDERS 2015
Stockholm:
Allison Smith, Oakland (US)
Jonathan Benji Boyadgian, Bethlehem (PS)
Jürg Lehni, Zürich (CH)
Henrik Lund Jörgensen, Malmö (SE)
Sara Wallgren, Malmö (SE)
Gustav Londré and Lisa Gideonsson,
Stockholm (SE)
Emil Borhammar, Stockholm (SE)
Stockholm:
SILO Studio, London (UK)
Dora Garcia, Barcelona (ES)
Nisrine Boukhari, Damascus/Vienna (SY)
Dusica Drasic, Belgrade (RS)
Cenk Dereli, Istanbul (TR)
Ahmad Aiyad, Cairo (EG)
Shilpa Gupta, Mumbai (IN)
Göteborg:
Phoebe Boswell, London (UK)
Julia Calver, London (UK)
Malmö:
Tania Bruguera, New York/Havana (US/CU)
(postponed)
Göteborg:
Leslie Hewitt, New York (US)
Malmö:
Nilbar Güres, Istanbul/Vienna (TR/AT)
Umeå:
Gean Moreno, Miami (US)
STUDIO GRANT HOLDERS ABROAD
CONTACT IASPIS PROGRAMME
In 2015, Iaspis offers eight different
studios abroad. Applications are accepted
from visual and applied artists based in
Sweden. A shortlist is proposed by the
Iaspis delegation, consisting of members of
the Visual Arts Fund’s board, and the final
selection is made by the host institution,
with the exception of New York. Current and
forthcoming studio grant holders abroad:
Director: Johan Pousette
Project co-ordinator (applied/visual arts):
Annika Björkman
Project co-ordinator (applied arts):
Annika Enqvist
Project co-ordinator (visual arts):
Lena Malm
Assistant: Henrik Högberg
Assistant: Nina Øverli
Secretary, Visual Arts Fund and Iaspis
delegation: Louise Dahlgren
Beijing, IFP:
Dan Wirén, visual artist
Jenny Berntsson, visual artist
Berlin, Künstlerhaus Bethanien:
Patrik Elgström, photographer
Jingdezhen, The Pottery Workshop:
Matilda Haggärde, ceramic artist
Magdalena Christina Nilsson, ceramic artist
London, ACME:
Anna Ådahl, visual artist
London, SPACE:
Emma Löfström, illustrator
Konstnärsnämnden
Maria skolgata 83, 2 tr
SE-118 53 Stockholm
www.konstnarsnamnden.se/iaspis
COLOPHON
Editors: Johan Pousette, Lena Malm
Translation: William Jewson
Graphic design: Rikard Heberling
Printing: TMG, Stockholm, 2015
Cairo, Townhouse:
Axel Petersén, visual artist
Mexico City, SOMA:
Ingrid Furre, visual artist
New York, ISCP:
Kristina Matousch, visual artist
Tokyo, AIT:
Fredrik Färg, designer
Grantholders 2014: Ayreen Anastas and Rene Gabri, New York.
Photo: Jean-Baptiste Béranger.